Stanje kao na fotografijma ! 50cm x 70cm Originalan filmski plakat Hari Poter i Dvorana tajni (engl. Harry Potter and the Chamber of Secrets) je film iz 2002. godine, režisera Krisa Kolambusa. Zasnovan je na istoimenom romanu Džoane Ketling Rouling i drugi je film u filmskoj seriji Harija Potera. Priča prati Harija Potera na drugoj godini u Hogvortsu i kako naslednik Salzara Sliderina otvara Dvoranu tajni i oslobađa čudovište koje okamenjuje đake u školi. U glavnim ulogama igraju Danijel Radklif kao Hari Poter, Rupert Grint kao Ron Vizli i Ema Votson kao Hermiona Grejndžer. Film je izašao u britanskim i američkim bioskopima 15. novembra 2002. godine. Postigao je kritički i komercijalni uspeh, zaradivši preko 879 miliona dolara širom sveta. Bio je drugi najuspešniji film iz 2002. godine, iza filma Gospodar prstenova: Dve kule. Film je nominovan za mnoge nagrade, uključujući nagradu BAFTA za najbolju scenografiju, najbolji zvuk i najbolje specijalne vizuelne efekte. Prati ga šest nastavaka, od kojih je prvi Hari Poter i zatvorenik iz Askabana iz 2004. godine, a poslednji film iz serijala je Hari Poter i relikvije Smrti: Drugi deo iz 2011. godine, skoro deset godina nakon izlaska prvog filma. Harry Potter and the Chamber of Secrets Directed by Chris Columbus Screenplay by Steve Kloves Based on Harry Potter and the Chamber of Secrets by J. K. Rowling Produced by David Heyman Starring Daniel Radcliffe Rupert Grint Emma Watson Kenneth Branagh John Cleese Robbie Coltrane Warwick Davis Richard Griffiths Richard Harris Jason Isaacs Alan Rickman Fiona Shaw Maggie Smith Julie Walters Cinematography Roger Pratt Edited by Peter Honess Music by John Williams Production companies Warner Bros. Pictures[1] Heyday Films[1] 1492 Pictures[1] Distributed by Warner Bros. Pictures[2] Release dates 3 November 2002 (Odeon Leicester Square) 15 November 2002 (United Kingdom and United States) Running time 161 minutes[3] Countries United Kingdom United States Language English Budget $100 million[2] Box office $879.6 million Cast Further information: List of Harry Potter cast members Daniel Radcliffe as Harry Potter: A 12-year-old British wizard famous for surviving his parents` murder at the hands of the evil wizard Lord Voldemort as an infant, who now enters his second year at Hogwarts School of Witchcraft and Wizardry.[4] Rupert Grint as Ron Weasley: Harry`s best friend at Hogwarts and one of the youngest members of the Weasley family.[4] Emma Watson as Hermione Granger: Harry`s other best friend and the trio`s brains.[4] Kenneth Branagh as Gilderoy Lockhart: A celebrity author and the new Defence Against the Dark Arts teacher at Hogwarts.[5] Hugh Grant was the first choice for the role to play Lockhart,[6] but due to reported scheduling conflicts he was unable to play the character.[7] Alan Cumming was also considered, but withdrew due to salary disputes.[8] John Cleese as Nearly Headless Nick: The ghost of Gryffindor House.[9] Robbie Coltrane as Rubeus Hagrid: The half-giant gamekeeper at Hogwarts who is framed for opening the Chamber of Secrets and is sent to Azkaban on Lucius Malfoy`s orders. This movie reveals Hagrid`s expulsion from Hogwarts due to Tom Riddle (aka. Lord Voldemort) framing him. Martin Bayfield portrays a young Hagrid.[4] Warwick Davis as Filius Flitwick: The Charms teacher at Hogwarts and head of Ravenclaw House.[9] Richard Griffiths as Vernon Dursley: Harry`s abusive Muggle uncle, who despises wizards and now works as a drill company director.[9] Richard Harris as Albus Dumbledore: The headmaster of Hogwarts and one of the greatest wizards of the age.[4] Harris died shortly before the film was released and the role of Dumbledore was played by Michael Gambon from Harry Potter and the Prisoner of Azkaban onwards.[10] Jason Isaacs as Lucius Malfoy: Draco`s father and a former Hogwarts pupil of Slytherin House who now works as a school governor at Hogwarts.[11] Maggie Smith as Minerva McGonagall: The Transfiguration teacher at Hogwarts and head of Gryffindor House.[4] Gemma Jones as Madam Pomfrey: The magical Healer of the Hogwarts hospital wing.[11] Alan Rickman as Severus Snape: The Potions teacher at Hogwarts and head of Slytherin House.[9] Fiona Shaw as Petunia Dursley: Harry`s Muggle aunt.[9] Julie Walters as Molly Weasley: Ron`s mother.[9] Several actors from Philosopher`s Stone reprise their roles in this film. Harry Melling portrays Dudley Dursley, Harry`s cousin.[12] James and Oliver Phelps play Fred and George Weasley, Ron`s twin brothers;[13] Chris Rankin appears as Percy Weasley, Ron`s other brother and a Gryffindor prefect;[14] and Bonnie Wright portrays their sister Ginny.[15] Tom Felton plays Draco Malfoy, Harry`s rival in Slytherin,[16] while Jamie Waylett and Joshua Herdman appear as Crabbe and Goyle, Draco`s minions.[17][18] Matthew Lewis, Devon Murray and Alfred Enoch play Neville Longbottom, Seamus Finnigan and Dean Thomas, respectively, three Gryffindor students in Harry`s year.[16][19] David Bradley portrays Argus Filch, Hogwarts` caretaker,[20] and Sean Biggerstaff as Oliver Wood, the Keeper of the Gryffindor Quidditch team.[21] Leslie Phillips voices the Sorting Hat.[22] Christian Coulson appears as Tom Marvolo Riddle, a manifestation of young Lord Voldemort; before Coulson was cast, Eddie Redmayne[11][23] and Joseph Morgan auditioned for the role.[24] Mark Williams portrays Arthur Weasley, Ron`s father.[11] Shirley Henderson plays Moaning Myrtle, a Hogwarts ghost.[25] Miriam Margolyes appears as Pomona Sprout, Hogwarts` Herbology professor and head of Hufflepuff.[4] Hugh Mitchell portrays Colin Creevey, a first year student that is a fan of Harry`s.[26] Robert Hardy appears as Cornelius Fudge, the Minister for Magic.[27] Toby Jones voices Dobby, a House-elf,[13] while Julian Glover voices Aragog, an acromantula.

Lobby card za film `Heavy metal`, rad cuvenog crtaca Ricarda Korbena (Den, Svet mutanata itd), a za pricu `Den`. . Distribucija `Centar film`, Beograd. 23x17 cm. Nije u pitanju nikakva naknadna stampa, tj, replika, vec originalna kartica. RETKO! Ricard Korben Heavy Metal is a 1981 Canadian adult animated science fantasy anthology film directed by Gerald Potterton and produced by Ivan Reitman and Leonard Mogel, who also was the publisher of Heavy Metal magazine, which was the basis for the film. It starred the voices of Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Percy Rodriguez, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, and Zal Yanovsky. The screenplay was written by Daniel Goldberg and Len Blum. The film is an anthology of various science fiction and fantasy stories tied together by a single theme of an evil force that is `the sum of all evils`. It was adapted from Heavy Metal magazine and original stories in the same spirit. Like the magazine, the film features a great deal of graphic violence, sexuality, and nudity. Its production was expedited by having several animation houses working simultaneously on different segments. Upon release, the film received mixed reviews from critics, with praise towards the animation, visuals, Elmer Bernstein`s score and voice acting, but criticism towards its story and overuse of graphic violence. The film however was a modest success at the box office and has since achieved cult status. The film`s influential soundtrack was packaged by music manager Irving Azoff and included several popular rock bands and artists, including Black Sabbath, Blue Öyster Cult, Sammy Hagar, Don Felder, Cheap Trick, DEVO, Journey, and Nazareth, among others.[2] A sequel titled Heavy Metal 2000 (2000) was released in 2000 and received negative reviews.[citation needed] Plot `Soft Landing` The title sequence was based on the comic of the same name by Dan O`Bannon and Thomas Warkentin.[citation needed] The title sequence story opens with a Space Shuttle orbiting the Earth. The bay doors open, releasing a 1960 Corvette. An astronaut seated in the car then begins descending through Earth`s atmosphere, landing in a desert canyon. Crew Jimmy T. Murakami and John Bruno – directors John Coates – producer Dan O`Bannon – writer Thomas Warkentin – art direction Music `Radar Rider` by Riggs Studio MGM Titles T.V. Cartoons Ltd `Grimaldi` In the framing story, the astronaut Grimaldi arrives at home where he is greeted by his daughter. He says he has something to show her. When he opens his case, a green, crystalline sphere rises out and melts him. It introduces itself to the terrified girl as `the sum of all evils`. Looking into the orb known as the Loc-Nar, the girl sees how it has influenced societies throughout time and space. Cast Percy Rodriguez (uncredited) as Loc-Nar Don Francks as Grimaldi Caroline Semple as Girl Crew Harold Whitaker – director John Halas – producer Studio Halas & Batchelor Animation Ltd `Harry Canyon` Original story by Daniel Goldberg and Len Blum; based on The Long Tomorrow by Moebius. In a dystopian and crime-ridden New York City in 2031, cynical taxicab driver Harry Canyon narrates his day in film noir style, grumbling about his fares and frequent robbery attempts he thwarts with a disintegrator installed in the back of his seat. He stumbles into an incident where he rescues a red haired young woman from Rudnick, a gangster who murdered her father. She explains that her father discovered the Loc-Nar, and they have been pursued relentlessly by people attempting to obtain it. Harry takes her to his apartment, where they have sex. She decides to sell the Loc-Nar to Rudnick and split the money with Harry. Rudnick is disintegrated by the Loc-Nar at the exchange, and she attempts to double-cross Harry to keep the money for herself. When she pulls out a gun, Harry uses the disintegrator on her. He keeps the money, and summarizes the incident as a `two-day ride with one hell of a tip`. Cast Percy Rodriguez (uncredited) as Loc-Nar Harvey Atkin as Alien, Henchman John Candy as Desk Sergeant Marilyn Lightstone as Whore Susan Roman as Girl, Satellite Richard Romanus as Harry Canyon Al Waxman as Rudnick Crew Pino van Lamsweerde – director W. H. Stevens Jr. – producer Vic Atkinson – producer Daniel Goldberg – writer Len Blum – writer Music `Veteran of the Psychic Wars` by Blue Öyster Cult `True Companion` by Donald Fagen `Blue Lamp` by Stevie Nicks `Open Arms` by Journey `Heartbeat` by Riggs Studio Atkinson Film Arts `Den` Based on the character of the same name created by Richard Corben. A nerdy teenager finds a `green meteorite` near his house and adds it to his rock collection. During a lightning experiment, the orb hurls the young man into the world of Neverwhere, where he transforms into a naked, muscular man called Den, an acronym for his earth name, David Ellis Norman. There, Den witnesses a strange ritual, rescuing a beautiful young woman who is about to be sacrificed to Uhluhtc. Reaching safety, she introduces herself as Katherine Wells from the British colony of Gibraltar. The two start having sex, but are interrupted by the minions of Ard, an immortal man who wants to obtain the Loc-Nar for himself. After being taken to see Ard, Den demands to see Katherine. His request is ignored and Ard orders his men to castrate Den. Den fights off the soldiers and shoots Ard, who is immortal and heals immediately. The girl turns out to be sleeping, encased in glass under a spell where only Ard can awaken her. Ard offers Den a deal: if he gets the Loc-Nar from the Queen and brings it to him, the girl will be released. Den agrees and infiltrates the palace along with Ard`s best soldier, Norl. They are promptly caught by the Queen`s guards, but she offers leniency if Den has sex with her. He complies, thereby distracting the Queen while the raiding party steals the Loc-Nar. Den escapes and races back to rescue Katherine from Ard. Recreating the lightning incident that drew him to Neverwhere, he is able to banish Ard and the Queen. Den suspects that they were teleported to Earth. Refusing the opportunity to take the Loc-Nar for himself, Den rides with Katherine into the sunset, content to remain in Neverwhere. As for the Loc-Nar, it rises into the sky and lands on a space station where it is picked up by someone else. Cast Percy Rodriguez (uncredited) as Loc-Nar John Candy as Den Jackie Burroughs as Katherine Wells Martin Lavut as Ard Marilyn Lightstone as Queen August Schellenberg as Norl Crew Jack Stokes – director Jerry Hibbert – producer Richard Corben – writer Studio Votetone `Captain Sternn` Based on the character of the same name created by Bernie Wrightson. On a space station, crooked space captain Lincoln F. Sternn is on trial for numerous serious charges presented by the prosecutor consisting of 12 counts of murder in the first degree, 14 counts of armed theft of Federation property, 22 counts of piracy in high space, 18 counts of fraud, 37 counts of rape — and one moving violation. Pleading `not guilty` against the advice of his lawyer Charlie, Sternn explains that he expects to be acquitted because he bribed a witness named Hanover Fiste. Fiste takes the stand upon being called to by the prosecutor, but his perjury is subverted when the Loc-Nar, now the size of a marble, causes him to blurt out highly incriminating statements about Sternn (though whether or not any of them are true is unknown) before changing him into a hulking muscular brute that chases Sternn throughout the station, breaking through bulkheads and wreaking havoc. Eventually, he corners Sternn, who gives him his promised payoff, and he promptly shrinks back to his scrawny original form. Sternn opens a trap door under Fiste, ejecting him into space. The Loc-Nar enters Earth`s atmosphere with Fiste`s flaming severed hand still clinging to it. Cast Percy Rodriguez (uncredited) as Loc-Nar Rodger Bumpass as Hanover Fiste Joe Flaherty as Charlie, the lawyer Douglas Kenney as Regolian Eugene Levy as Captain Lincoln F. Sternn John Vernon as Prosecutor Crew Julian Harris – director Paul Sebella – director Bernie Wrightson – writer Music `Reach Out` by Cheap Trick Studio Boxcar Animation Studios Inc `Neverwhere Land` Because of time constraints, a segment called `Neverwhere Land`, which would have connected `Captain Sternn` to `B-17`, was cut. The story follows the influence of the Loc-Nar upon the evolution of a planet, from the Loc-Nar landing in a body of water, influencing the rise of the industrial age, and a world war. This original story was created by Cornelius Cole III. The original rough animatics are set to a loop of the beginning of Pink Floyd`s `Time`. The 1996 VHS release included this segment at the end of the tape. On the DVD release, this segment is included as a bonus feature. In both released versions, the sequence is set to the music of `Passacaglia` (from Magnificat), composed and conducted by Krzysztof Penderecki and with animation studio being produced by Duck Soup Produckions. `B-17` A World War II B-17 bomber nicknamed the Pacific Pearl makes a difficult bombing run and suffers heavy damage with all of the crew except the pilot and co-pilot killed by gunfire. As the bomber limps home, the co-pilot goes back to check on the crew. Finding nothing but dead bodies, he notices the Loc-Nar trailing the plane. Informing the pilot, he heads back to the cockpit, when the Loc-Nar rams itself into the plane and reanimates the dead crew members as zombies. The co-pilot is killed, while the pilot parachutes away in time. He lands on an island where he finds a graveyard of airplanes from various times, along with the wrecked airplanes` zombified airmen, who surround him, sealing the horrified pilot`s fate. Cast Percy Rodriguez (uncredited) as Loc-Nar Don Francks as Co-Pilot (Holden) George Touliatos as Pilot (Skip) Zal Yanovsky as Navigator Crew Barrie Nelson – director W. H. Stevens Jr. – producer Dan O`Bannon – writer Music `Heavy Metal (Takin` a Ride)` by Don Felder Studio Atkinson Film-Arts `So Beautiful & So Dangerous` Based on the comic of the same name by Angus McKie. Dr. Anrak, a prominent scientist, arrives at The Pentagon for a meeting regarding mysterious mutations that are plaguing the United States. At the meeting, the doctor tries to dismiss the occurrences. When he sees the Loc-Nar in the locket of Gloria, a beautiful buxom stenographer, he begins to behave erratically and motorboats her. A colossal starship drills through the roof and abducts the doctor and, by accident, Gloria. The ship`s robot is irritated at Anrak, who is actually a malfunctioning android, but its mood changes when it sees Gloria. With the help of the ship`s alien pilot Edsel and co-pilot Zeke, the robot convinces Gloria to stay on board and have `robot sex` (albeit off-screen). Meanwhile, Edsel and Zeke snort a huge amount of a powdered drug called Plutonian Nyborg before flying home, zoning out on the cosmos. Too intoxicated to fly straight, they crash-land unharmed in a huge space station. Cast Percy Rodriguez (uncredited) as Loc-Nar Rodger Bumpass as Dr. Anrak John Candy as Robot Joe Flaherty as General Eugene Levy as Male Reporter / Edsel Alice Playten as Gloria Harold Ramis as Zeke Patty Dworkin as Female Reporter Warren Munson as Senator Crew John Halas – director Angus McKie – writer Music `Queen Bee` by Grand Funk Railroad `I Must Be Dreamin`` by Cheap Trick `Crazy? (A Suitable Case for Treatment)` by Nazareth `All of You` by Don Felder `Prefabricated` by Trust `Heavy Metal` by Sammy Hagar Studio Halas & Batchelor Animation Ltd `Taarna` Original story by Daniel Goldberg and Len Blum; based on Arzach by Moebius. The Loc-Nar, now the size of a giant meteor, crashes into a volcano on another world and draws a large mass of curious people. As they begin to climb the volcano, it erupts and green slime covers the crowd, mutating them into an evil barbarian army. The mutants subsequently attack a nearby city of peaceful scholars. Desperate, the city leaders mentally summon the Taarakians, a once powerful yet now declining warrior race with whom the city had a pact, but the city falls before the call can be answered. Taarna, a beautiful yet mute warrior and the last of the Taarakians, receives the summons. After ritually preparing herself, she and her avian mount fly to the beleaguered city, only to find the citizens dead. Determined to avenge them, she begins following the trail of their murderers and encounters a small band of the mutant barbarians. After killing them and with more information at hand, she travels towards the mutant camp, but she and her mount are captured. Taarna is tortured and thrown into an open pit, unconscious. Her mount escapes and rescues her. She tries going for the Loc-Nar, but the mutants pursue and shoot her mount down. The mutant leader faces Taarna in a duel to the death, wounding her, but Taarna manages to kill him. With the last of their strength, Taarna and her companion make a death flight to the volcano. As they approach, the Loc-Nar warns her off, claiming that sacrificing herself would be futile. Ignoring the Loc-Nar, Taarna unleashes the power imbued in her sword and dives into the volcano, destroying the Loc-Nar. Cast Percy Rodriguez (uncredited) as Loc-Nar Thor Bishopric as Boy Ned Conlon as Councilman #1 Len Doncheff as Barbarian #1 Don Francks as Barbarian #2 Joseph Golland as Councilman #2 Charles Joliffe as Councilman #3 Mavor Moore as Elder August Schellenberg as Taarak Cedric Smith as Bartender George Touliatos as Barbarian #3 Vlasta Vrána as Barbarian Leader Zal Yanovsky as Barbarian #4 Music `E5150` by Black Sabbath `The Mob Rules` by Black Sabbath `Through Being Cool` by Devo `Epilogue` As the final story ends, the Loc-Nar that was terrorizing the girl destabilizes and begins breaking up. The girl flees it and her home. The Loc-Nar then explodes, destroying the mansion in the process. Taarna`s reborn mount appears outside and the girl happily flies away on it. It is then revealed that Taarna`s soul has been reincarnated in the girl, transforming her into a new Taarakian. Cast Percy Rodriguez (uncredited) as Loc-Nar Music `Working in the Coal Mine` by Devo Production Ivan Reitman gained a deal with Columbia Pictures to create an animated film and asked Gerald Potterton to oversee it.[5] The initial script had Arzach as the framing device for the film, but the script was thrown out after Jean Giraud refused to allow the usage of his characters. Len Blum and Daniel Goldberg created Taarna and a green orb instead.[6] Chris Achilléos did the character design for Taarna.[7] Michael Mills was hired to create the opening and closing segments, but script rewrites had the sequences redrawn multiple times. Reitman, displeased with the high expenses, withheld payment. Mills sued and the case was settled out of court. Reitman hired Jimmy T. Murakami to create a new opening.[6] Atkinson Film-Arts animated Harry Canyon, directed by Pino van Lamsweerde, and the B-17 segment by Barrie Nelson. Captain Sternn was animated by Boxcar films under the direction of Paul Szuchopa and Julian Harris. Halas and Batchelor and TVC animated the other segments. Taarna was created in Montreal by 11 designers, 30 animators, and 54 assistants under the direction of John Bruno. José Abel, Danny Antonucci, and Zdenko Gašparović worked on Taarna.[8] Animator Robert Balser directed the animation of the `Den` sequence for the film.[9] The film uses the rotoscoping technique of animation in several shots. This process consists of shooting models and actors, then tracing the shot onto film.[10] Release The film was released on August 7, 1981. It was a financial success, grossing over $20 million on a $9 million budget (equivalent to a gross of $64 million in 2022).[3] Reception The film was met with mixed response. Review aggregator Rotten Tomatoes reports that 66% of critics have given the film a positive review based on 35 reviews, with an average rating of 5.8/10 and the critical consensus: `It`s sexist, juvenile, and dated, but Heavy Metal makes up for its flaws with eye-popping animation and a classic, smartly-used soundtrack.`[11] Janet Maslin of The New York Times wrote that `for anyone who doesn`t think an hour and a half is a long time to spend with a comic book, Heavy Metal is impressive,` and noted that the film `was scored very well, with music much less ear-splitting than the title would suggest.`[12] Variety declared, `Initial segments have a boisterous blend of dynamic graphics, intriguing plot premises and sly wit that unfortunately slide gradually downhill ... Still, the net effect is an overridingly positive one and will likely find its way into upbeat word-of-mouth.`[13] Gene Siskel of the Chicago Tribune gave the film three stars, writing that it `isn`t intended for close scrutiny on a literal level. The film clearly is intended as a trip, and on that level it works very nicely.` He criticized the film as `blatantly sexist` and for having `wildly romanticized` violence.[14] Sheila Benson of the Los Angeles Times wrote, `Somehow a great deal of the charm [of the magazine] leaked out on the way to the movie house, but all of the sadism stayed put. And then some. It`s the most expensive adolescent fantasy revenge fulfillment wet dream ever to slither onto a screen.`[15] John Pym of The Monthly Film Bulletin found that it was `to put it mildly, something of a hodge-podge.`[16] Film historian and critic Leonard Maltin gave the film 3 stars out of 4 in his Movie Guide, calling the feature `... uneven, but great fun on a mindless, adolescent level.`[17] On the whole, in terms of individual segments, critics were typically most favorable towards the `Den` story.[18] Critic Janet Maslin gave the film a positive review in The New York Times. She said, `The other highly memorable story is about a bookworm from earth who winds up on another planet, where his spindly body is transformed into that of an extraterrestrial Hercules.` She also complimented John Candy`s vocal performance as Den.[19] Christopher John reviewed Heavy Metal in Ares Magazine #11 and commented that `Sadly, what could have been a true boost for animation in this country[20] is a weak, opportunistic failure, put together with very little care and no love at all.`[21] Home media Heavy Metal aired frequently on HBO throughout the 1980s and 90s.[citation needed] Prior to official release on VHS and LaserDisc in 1996, the film was re-released to 54 theatres on March 8, 1996, remixed in Sony`s 8-track SDDS audio system, taking in US$550,000 (equivalent to $1,026,247 in 2022).[4] The subsequent home video release, the first animated film issued on the VHS format to be THX-certified, moved over one million units.[22] The film was released on Blu-ray Disc on February 1, 2011 as a Best Buy exclusive and it was later released everywhere on June 14, 2011.[23] A remastered 4K version was released on Ultra HD Blu-ray on April 19, 2022, bundled with a Blu-ray Disc release of the sequel, Heavy Metal 2000 (2000).[24] Music Soundtrack This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message) Heavy Metal: Music from the Motion Picture Soundtrack album by various artists Released July 1981 Genre Heavy metal[25] hard rock[25] Label Full Moon/Asylum/Epic Heavy Metal film soundtracks chronology Heavy Metal: Music from the Motion Picture (1981) Heavy Metal 2000 OST (2000) Singles from Heavy Metal: Music from the Motion Picture `True Companion` / `All of You` Released: 1981 Professional ratingsReview scores Source Rating AllMusic [25] The soundtrack was released on LP in 1981, but for legal reasons, was not released on CD until 1995. The album peaked at number 12 on the Billboard 200 chart. The film`s theme song, `Heavy Metal (Takin` a Ride)` was sung by Don Felder. It was released as a single in the U.S. and reached number 43 on the Billboard Hot 100[26] and number five on the Mainstream Rock chart on September 19, 1981.[27] Blue Öyster Cult wrote and recorded a song called `Vengeance (The Pact)` for the film, but the producers declined to use the song because the lyrics provided a capsulized summary of the `Taarna` vignette. `Veteran of the Psychic Wars` was used instead. Both songs can be found on Blue Öyster Cult`s album Fire of Unknown Origin. Although used in the film, the songs `Through Being Cool` by Devo and `E5150` by Black Sabbath were not included in the released soundtrack album. These songs are on New Traditionalists and Mob Rules, respectively. The legal difficulties surrounding the use of some songs in the film delayed its release to home media. The production company`s use of some songs was limited solely to the theatrical release and soundtrack and did not include home media releases. It was not until 1996 that there was an official home media release on VHS when Kevin Eastman, who had bought the publishing rights of Heavy Metal magazine in 1992 and previously contributed to the magazine, reached a settlement with the music copyright holders.[28] The original LP contained four tracks per side and was programmed in stackable order (A, D, B, C). Rhino Records reissued the two-LP collection in 2017, programmed in standard order (A, B, C, D), as part of their `Rocktober` collection.[29] No. Title Artist Length 1. `Heavy Metal` (original version) Sammy Hagar 3:50 2. `Heartbeat` Riggs 4:20 3. `Working in the Coal Mine` Devo 2:48 4. `Veteran of the Psychic Wars` Blue Öyster Cult 4:48 5. `Reach Out` Cheap Trick 3:35 6. `Heavy Metal (Takin` a Ride)` Don Felder 5:00 7. `True Companion` Donald Fagen 5:02 8. `Crazy (A Suitable Case for Treatment)` Nazareth 3:24 9. `Radar Rider` Riggs 2:40 10. `Open Arms` Journey 3:20 11. `Queen Bee` Grand Funk Railroad 3:11 12. `I Must Be Dreamin`` Cheap Trick 5:37 13. `The Mob Rules` (alternate version) Black Sabbath 3:16 14. `All of You` Don Felder 4:18 15. `Prefabricated` Trust 2:59 16. `Blue Lamp` Stevie Nicks 3:48 Charts Chart (1981–1982) Peak position US Billboard 200[30] 12 Certifications Region Certification Certified units/sales Canada (Music Canada)[31] Platinum 100,000^ United States (RIAA)[32] Platinum 1,000,000^ ^ Shipments figures based on certification alone. Score Unusual for the time, an LP recording of Elmer Bernstein`s score was released alongside the soundtrack in 1981, and it featured the composer`s first use of the ondes Martenot, an instrument which became a trademark of Bernstein`s later career. On March 13, 2008, Film Score Monthly released an official, expanded CD release of Bernstein`s score, which he conducted.[33] The score was performed by the Royal Philharmonic Orchestra with the London Voices and Jeanne Loriod on the ondes Martenot. Original track listing: `Den and the Green Ball` (03:17) `Den Makes It` (02:49) `Den and the Queen` (02:56) `Den`s Heroics` (02:52) `Bomber and the Green Ball` (04:41) `Space Love` (01:32) `Harry and the Girl` (03:45) `Tarna Summoned` (sic) (02:50) `Flight` (02:20) `Tarna Prepares` (sic) (03:35) `Barbarians` (03:37) `Tarna Forever` (sic) (03:37) Re-release track listing: `Beginning` 1:16 `Intro to Green Ball` 1:18 `Discovery/Transformation (Den and the Green Ball)` 3:15 `Den Makes Out (Den Makes It)` 2:42 `Castrate Him/Searching for the Loc-Nar` 2:04 `Queen for a Day (Den and the Queen)` 2:54 `Pursuit (Den’s Heroics)` 2:51 `Fiste` 1:27 `Getting Bombed` 3:06 `Green Ball` 2:15 `Dem Bones` 2:44 `No Alarm` 0:58 `Robot Love (Space Love)` 1:32 `Harry` 1:35 `The Next Morning` 1:56 `End of Baby` 2:43 `Council (Taarna Summoned)` 2:49 `The Flight to Temple (Flight)` 2:16 `The Sword (Taarna Prepares)` 3:32 `Flight to Holiday Town` 2:20 `Fighting` 2:43 `My Whips!/Taarna Escapes Pit` 4:57 `Finish (Taarna Forever)` 3:34 Bonus tracks `Den Makes Out` (film version) 2:49 `Bomber and the Green Ball` (album edit) 4:35 `Harry and the Girl` (album edit) 3:41 `Barbarians` (album edit) 3:34 Sequel The sequel, titled Heavy Metal 2000, was released in 2000. Upon its release, Heavy Metal 2000 received negative reviews from critics and has fallen into obscurity. Legacy and cultural impact Several years after the film`s release, Heavy Metal managed to achieve a strong cult following mainly through midnight screenings, TV showings, and home video releases.[citation needed] The film served as inspiration for many animation and science fiction films and shows following it such as Blade Runner (1982), Starchaser: The Legend of Orin (1985), Gandahar (1987), Akira (1988), The Fifth Element (1997), Titan A.E. (2000), Sausage Party (2016), Mandy (2018), The Spine of Night (2021), Futurama, and Rick & Morty.[citation needed] The film was parodied in a season 12 episode of the adult animated comedy series South Park entitled `Major Boobage` (2008; S12E03), which also featured songs from the film`s soundtrack.[citation needed] Some news reports have suggested that Heavy Metal was an influence for Elon Musk when he launched a Tesla Roadster alongside a fake spaceman in the front seat into orbit in 2018, which seems to reference the film`s title sequence `Soft Landing`, in which a space traveler lands on Earth in a Chevrolet Corvette convertible two-seater.[34][35] Both Heavy Metal and the British animated film Watership Down (1978) served as strong influences on the animation and anthology styles of the music video At the Door by The Strokes.[36] Remake In March 2008, Variety reported that Paramount Pictures was set to make another animated film with David Fincher `spearheading the project`. Kevin Eastman, who is the current owner and publisher of Heavy Metal, would direct a segment, as would Tim Miller, `whose Blur Studio will handle the animation for what is being conceived as an R-rated, adult-themed feature`.[37] Entertainment website IGN announced, on July 14, 2008, `David Fincher`s edgy new project has suffered a serious setback after it was dropped by Paramount, according to Entertainment Weekly.`[38] Entertainment Weekly quoted Tim Miller as saying `David really believes in the project. It`s just a matter of time.`[39] In September 2008, Eastman was quoted as saying `Fincher is directing one, Guillermo del Toro wants to direct one, Zack Snyder wants to direct one, Gore Verbinski wants to direct one`. It was reported that the film had been moved to Sony division Columbia Pictures (which had released the original) and had a budget of $50 million.[40] In June 2009, Eastman said `I`ve got breaking news that Fincher and James Cameron are going to be co-executive producers on the film, Cameron will direct one.[41] Mark Osborne and Jack Black from Tenacious D were going to do a comedy segment for the film.`[42] Production is stalled indefinitely, as no film distributor or production company has shown interest in distributing or producing the remake since Paramount Pictures decided to forgo being the film`s distributor,[43] who purportedly thought such a film was `too risqué for mainstream audiences`.[39] In July 2011, filmmaker Robert Rodriguez announced at the Comic-Con that he had purchased the film rights to Heavy Metal and planned to develop a new animated film at the new Quick Draw Studios.[44] On March 11, 2014, with the formation of his very own television network, El Rey, Rodriguez considered switching gears and bringing it to TV.[45] On March 15, 2019, the reboot was released on Netflix as a reimagining titled Love, Death & Robots.[46] Richard Corben (October 1, 1940 – December 2, 2020) was an American illustrator and comic book artist best known for his comics featured in Heavy Metal magazine, especially the Den series which was featured in the magazine`s first film adaptation in 1981. He was the winner of the 2009 Spectrum Grand Master Award[1] and the 2018 Grand Prix at Angoulême. In 2012 he was elected to the Will Eisner Award Hall of Fame. Biography Richard Corben was born on a farm[2] in Anderson, Missouri, and went on to get a Bachelor of Fine Arts degree from the Kansas City Art Institute, in 1965.[3] At the same time, he trained in bodybuilding, but eventually retired from the art with few accomplishments due to a lack of time to dedicate himself to it.[4] After working as a professional animator at Kansas City`s Calvin Productions, Corben started writing and illustrating for the underground comics, including Grim Wit, Slow Death, Skull, Rowlf, Fever Dreams and his own anthology Fantagor.[5] In 1970 he began illustrating horror and science-fiction stories for Warren Publishing.[6] His stories appeared in Creepy, Eerie, Vampirella, 1984 and Comix International. He also colored several episodes of Will Eisner`s Spirit. All the stories and covers he did for Creepy and Eerie have been reprinted by Dark Horse Books in a single volume: Creepy Presents Richard Corben.[7] The three stories he drew for Vampirella have been reprinted by Dynamite Entertainment in Vampirella Archives Vol. 5.[8] In 1975, when Moebius, Druillet, and Jean-Pierre Dionnet started publishing the magazine Métal Hurlant in France, Corben submitted some of his stories to them.[9] He continued his work for the franchise in America, where the magazine was called Heavy Metal. Also in 1975, a selection of his black-and-white underground comix stories was collected in hardcover as The Richard Corben Funnybook from Kansas City`s Nickelodeon Press. In 1976 he adapted a short Robert E. Howard story in an early graphic novel, Bloodstar.[10] Among the stories drawn for Heavy Metal he continued the saga of his most famous creation, Den, which had begun in the short film Neverwhere and a short story in the underground publication Grim Wit No. 2. The saga of Den is a fantasy series about the adventures of a young underweight nerd who travels to Neverwhere, a universe taking inspirational nods from Robert E. Howard`s Hyborian Age, Edgar Rice Burroughs`s Barsoom and H. P. Lovecraft`s horror dimensions. This story was adapted in a highly abridged form, in the animated film Heavy Metal, where Den was voiced by John Candy in a humorous interpretation of the character that Corben found excellent. Corben`s collaborations are varied, ranging from Rip in Time with Bruce Jones, to Harlan Ellison for Vic and Blood, to the Mutant World titles, Jeremy Brood, and The Arabian Nights with Jan Strnad. From 1986 to 1994 Corben operated his own publishing imprint, Fantagor Press. Among the titles Fantagor published were Den, Den Saga, Horror in the Dark, Rip in Time, and Son of Mutant World. Fantagor went out of business after the 1994 contraction of the comics industry.[11] [12] Due to the sexual nature of Corben`s art, it has been accused of being pornographic, a description he himself disagrees with, preferring to call his work `sensual` instead.[4] One notorious example was the interview he gave Heavy Metal editor Brad Balfour in 1981.[2][13][14] Corben was very dissatisfied with the interview. He felt it portrayed him as a `petty, childish, borderline psychotic oaf`. He wrote a letter in retort, which was published in the September 1981 issue.[15] Corben did the cover of Meat Loaf`s Bat Out of Hell, Jim Steinman`s Bad for Good and a movie poster (based on a layout compositional sketch by Neal Adams[16]) for the Brian De Palma film Phantom of the Paradise. In addition, he provided cover art for the VHS release of the low-budget horror film Spookies. In 2000, Corben collaborated with Brian Azzarello on five issues of Azzarello`s run on Hellblazer (146–150) which was collected in a trade called Hellblazer: Hard Time.[17] He also adapted the classic horror story The House on the Borderland by William Hope Hodgson for DC`s Vertigo imprint. In 2001, Azzarello and Corben teamed up to create Marvel`s Startling Stories: Banner (a four issue mini-series exploring Doc Samson`s relationship with Bruce Banner) and Marvel MAX`s Cage (a five issue mini-series starring Luke Cage). In June 2004, Corben joined with Garth Ennis to produce The Punisher: The End, a one-shot title for Marvel published under the MAX imprint as part of Marvel`s The End series. The story tells of The Punisher`s final days on an earth ravaged by nuclear holocaust. Ever the independent, Corben would work with rocker Rob Zombie and Steve Niles in 2005 on a project for IDW Publishing called Bigfoot. In 2007, Corben did a two issue run on Marvel Comics` surreal demon biker, Ghost Rider. At Marvel`s MAX imprint he has produced Haunt of Horror, a mini-series adapting classic works of horror to comics. The first mini-series, published in 2006, was based on the stories of Edgar Allan Poe[18] followed by a second series in 2008 adapting works by H. P. Lovecraft.[19] Between 2008 and 2009 he illustrated the flashback sequences in Conan of Cimmeria #1–7, collected as Conan Volume 7: Cimmeria. In 2009 he illustrated Starr the Slayer for Marvel`s MAX comics imprint. Since then Corben has done more work for Marvel, DC, IDW, and most notably Dark Horse, drawing the Eisner Award-winning Hellboy. In May 2020, Parallax Studio announced preproduction on the live-action animated film MEAD (originally titled To Meet the Faces You Meet) based on the comic book Fever Dreams illustrated by Corben and written by Jan Strnad.[20][21] The film stars Robert Picardo and Samuel Hunt and features the voices of Patton Oswalt and Patrick Warburton.[22] MEAD was premiered at the 2022 Cannes Film Festival on May 22, 2022, and will be released for streaming in North America on August 9, 2022.[23] Personal life Corben`s wife is named Madonna `Dona` (née Marchant). Corben was the special-effects/animation technician for her prize-winning film entry Siegfried Saves Metropolis in a contest sponsored by Famous Monsters of Filmland magazine in 1964 (see issues #34 and 35). They married soon afterward in 1965.[24] They had a daughter, Beth, who is a watercolor painter and often colored her father`s comics. Corben died on December 2, 2020, following heart surgery. He was 80 years old.[25] Awards Corben`s work in comics and animation has won him recognition, including the Shazam Award for Outstanding New Talent in 1971, and a Shazam Award for Superior Achievement by an Individual in 1973. Corben won a 1973 Goethe Award for `Favorite Fan Artist`. He also received a CINE Golden Eagle and President of Japan Cultural Society trophy in 1968 for his short film Neverwhere.[26] While working for the Warren anthologies, he received numerous Warren Awards: 1973 Best Artist/Writer and Special Award for `Excellence`, 1976 Best Art for `Within You, Without You` (Eerie #77) and Best Cover (also for Eerie #77), and 1978 Best Cover Artist.[1] In 2009 Corben won the `Best Finite Series/Limited Series` Eisner Award for Hellboy: The Crooked Man and in 2011 he won the `Best Single Issue (or One-Shot)` Eisner Award, for Hellboy: Double Feature of Evil. Finally, in 2012 he was elected to the Will Eisner Award Hall of Fame. In 2015, Corben was inducted into the Ghastly Awards Hall of Fame. His previous Ghastly Awards include Best Artist in 2013 and Best One-shot Comics for his Dark Horse Poe adaptations... Edgar Allan Poe`s The Conqueror Worm in 2012, Edgar Allan Poe: The Raven & The Red Death (2013) and Edgar Allan Poe`s Morella and the Murders in the Rue Morgue in 2014.[27] In January 2018 he won the prestigious Grand Prix at Angoulême and presidency of the 2019 festival.[28] Beginning concurrently with the 2019 festival in January, a 250-piece collection of his original artworks was put on display at the Musée d`Angoulême, the exhibit ending March 10, 2019.

ČUDESNI SVET HANNA-BARBERA Smehotresna olimpijada Hanna-Barbera Productions, Inc. (/ˌhænə bɑːrˈbɛərə, - ˈbɑːrbərə/ HAN-ə bar-BAIR-ə, -⁠ BAR-bər-ə),[1] also variously known as H-B Enterprises, H-B Production Co., and Hanna-Barbera Cartoons, Inc., was an American animation studio and production company founded in 1957 by Tom and Jerry creators and former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera.[2] Hanna-Barbera Productions, Inc. Hanna-Barbera Logo.svg Formerly H-B Enterprises, Inc. (1957–1960) Hanna-Barbera Productions (1959–1991) Hanna-Barbera, Inc. (1991–1992) H-B Production Co. (1992–1993) Hanna-Barbera Cartoons (1993–2001) Type Subsidiary Industry Television Cinema Founded July 7, 1957; 64 years ago Founders William Hanna Joseph Barbera George Sidney Defunct 2001; 20 years ago Fate Absorbed into Warner Bros. Animation and Cartoon Network Studios Successors Warner Bros. Animation Cartoon Network Studios Hanna-Barbera Studios Europe Headquarters Sherman Oaks Galleria, Sherman Oaks, California, United States Products TV shows Movies Specials Direct-to-video material Shorts Commercials Interstitials Parent Taft Broadcasting (1966–1987) Great American Broadcasting (1987–1991) Turner Broadcasting System (1991–1996) Warner Bros. Animation (1996–2001) Time Warner (1996–2001) Divisions Wang Film Productions Cartoon Network Studios It was a prominent presence in American animation for five decades with a variety of animated series, including The Huckleberry Hound Show, The Flintstones, The Yogi Bear Show, The Jetsons, Wacky Races, Scooby-Doo, Where Are You! and The Smurfs.[3] and was awarded with eight Emmy Awards and a star on the Hollywood Walk of Fame.[4][5] Taft Broadcasting bought the company in 1966 and retained ownership until 1991.[6] By the 1980s, as the profitability of Saturday-morning cartoons was eclipsed by weekday afternoon syndication, Hanna-Barbera`s fortunes had declined. In 1991, Turner Broadcasting System purchased it from Great American Broadcasting (renamed from Taft in 1988), used its back catalog as programming for Cartoon Network.[7][8] Turner Broadcasting later merged with Time Warner (now WarnerMedia) in 1996.[9] Hanna and Barbera continued to serve as creative consultants and mentors of their studio, which would become a subsidiary of Warner Bros. Animation after Turner`s merger with Time Warner in 1996. After Hanna died in 2001, Hanna-Barbera was absorbed into Warner Bros. Animation. Since the studio`s closure, Warner Bros. has continued to produce new programming and material based on Hanna-Barbera`s classic properties. History Edit Tom and Jerry and birth of studio (1939–1957) Edit William Hanna and Joseph Barbera, founders of the studio and creators of Tom and Jerry, Yogi Bear, The Flintstones and more. William Debney `Bill` Hanna, a native of Melrose, New Mexico and Joseph Roland `Joe` Barbera, born of Italian heritage in New York City, first met at the Metro-Goldwyn-Mayer (MGM) studio in 1939, while working in Rudolf Ising`s unit at MGM`s animation division. With both having worked at other studios since the early 1930s, the two solidified a partnership that would last for six decades. Their first cartoon together, the Oscar-nominated Puss Gets the Boot, featuring a cat named Jasper and an unnamed mouse, was released in 1940 and served as the first entry in the long-running theatrical short subject series Tom and Jerry. Serving as directors of the shorts for 20 years, Hanna supervised the animation,[10] while Barbera did the stories and preproduction. Seven of the cartoons won the Oscar for Best Short Subject (Cartoons) between 1943 and 1953, and five additional shorts were nominated for the award during this period. However, the Oscars were awarded to producer Fred Quimby, who was not involved in the creative development of the shorts.[11]:83–84 Other projects done by the duo for MGM include animated/live-action sequences for Anchors Aweigh, Dangerous When Wet and Invitation to the Dance and one-shot shorts Gallopin` Gals, The Goose Goes South, Officer Pooch, War Dogs and Good Will to Men, a 1955 remake of 1939`s Peace on Earth. With Quimby`s retirement in 1956, Hanna and Barbera became the producers in charge of the MGM animation studio`s output.[12] In addition to continuing to write and direct new Tom & Jerry shorts, now in CinemaScope, Hanna and Barbera supervised the last seven shorts of Tex Avery`s Droopy series, and produced and directed a short-lived Tom and Jerry spin-off series, Spike and Tyke, which ran for two entries. In addition to their work on the cartoons, the two men moonlighted on outside projects, including the original title sequences and commercials for the CBS sitcom I Love Lucy.[13] With the emergence of television, MGM decided in mid-1958 to close its cartoon studio, as it felt it had acquired a reasonable backlog of shorts for re-release.[12] While contemplating their future, Hanna and Barbera began producing additional animated television commercials.[14] During their last year at MGM, they had developed a concept for a new animated TV program about a dog and cat duo in various misadventures.[14] After they failed to convince the studio to back their venture, live-action director George Sidney, who had worked with Hanna and Barbera on several of his theatrical features for MGM, offered to serve as their business partner and convinced Screen Gems, a television production subsidiary of Columbia Pictures, to make a deal with the producers.[2] A coin toss determined that Hanna would have precedence in naming the new studio. Harry Cohn, president and head of Columbia Pictures, took an 18% ownership in Hanna and Barbera`s new company, H-B Enterprises,[2] and provided working capital. Screen Gems became the new studio`s distributor and its licensing agent, handling merchandizing of the characters from the animated programs.[15] The duo`s cartoon firm officially opened for business in rented offices on the lot of Kling Studios (formerly Charlie Chaplin Studios)[13] on July 7, 1957, one year after the MGM animation studio closed.[14] Sidney and several Screen Gems alumni became members of the studio`s board of directors and much of the former MGM animation staff — including animators Carlo Vinci, Kenneth Muse, Lewis Marshall, Michael Lah and Ed Barge and layout artists Ed Benedict and Richard Bickenbach — became the new production staff.[14] Hoyt Curtin was in charge of providing the music while many voice performers came on board, such as Penny Singleton, Paul Winchell, Janet Waldo, Alan Reed, Henry Corden, Jean Vander Pyl, Frank Welker, Arnold Stang, Marvin Kaplan, Allen Melvin, Bea Benaderet, June Foray, Gerry Johnson, Lucille Bliss, Casey Kasem, Gary Owens, Scatman Crothers, George O` Hanlon, Daws Butler, Don Messick, Julie Bennett, Mel Blanc, Howard Morris, John Stephenson, Hal Smith, Tim Matheson and Doug Young. Success with animated sitcoms (1957–1969) Edit H-B Enterprises was the first major animation studio to successfully produce cartoons exclusively for television,[16] and after rebroadcasts of theatrical cartoons as programming, its first TV original The Ruff and Reddy Show, premiered on NBC in December 14, 1957.[17] The Huckleberry Hound Show premiered in syndication in September 29, 1958 and aired in most markets just before prime time. A rating success, it introduced a new crop of cartoon stars to audiences, in particular Huckleberry Hound, Pixie and Dixie and Mr. Jinks and Yogi Bear, and was the first animated series to win an Emmy. The studio began expanding rapidly following its initial success and several animation industry alumni – in particular former Warner Bros. Cartoons storymen Michael Maltese and Warren Foster, who became new head writers for the studio – joined the staff at this time, along with Joe Ruby and Ken Spears as film editors and Iwao Takamoto as character designer.[14] By 1959, H-B Enterprises was reincorporated as Hanna-Barbera Productions, Inc., and slowly became a leader in TV animation production from then on. The Quick Draw McGraw Show and its only theatrical short film series, Loopy De Loop, followed that year. The Flintstones premiered on ABC in prime time in 1960, loosely based on the CBS series The Honeymooners. It was set in a fictionalized Stone Age of cavemen and dinosaurs. Jackie Gleason considered suing Hanna-Barbera for copyright infringement, but decided not to because he did not want to be known as `the man who yanked Fred Flintstone off the air`. The show ran for six seasons, becoming the longest-running animated show in American prime time at the time (until The Simpsons beat it in 1997), ratings and merchandising success and the top-ranking animated program in syndication history. It initially received mixed reviews from critics, but its reputation eventually improved and it is now considered a classic. The Yogi Bear Show, Top Cat, Wally Gator, Touché Turtle and Dum Dum, Lippy the Lion & Hardy Har Har and The Jetsons soon followed in 1961 and 1962. Several animated TV commercials were produced, as well, often starring their own characters (probably the best known is a series of Pebbles cereal commercials for Post featuring Barney tricking Fred into giving him his Pebbles cereal) and H-B also produced the opening credits for Bewitched, in which animated caricatures of Samantha and Darrin appeared. These characterizations were reused in the sixth season Flintstones episode `Samantha`. The former Hanna-Barbera building at 3400 Cahuenga Boulevard West in Hollywood, seen in a 2007 photograph: The small yellow structure (lower right) was originally the `guard shack` for the property entrance to the east of the building. In 1963, Hanna-Barbera`s operations moved off the Kling lot (by then renamed the Red Skelton Studios) to 3400 Cahuenga Boulevard West in Hollywood Hills/Studio City. This contemporary office building was designed by architect Arthur Froehlich. Its ultra-modern design included a sculpted latticework exterior, moat, fountains, and a Jetsons-like tower. In 1964, newer programs included The Magilla Gorilla Show, The Peter Potamus Show, and Jonny Quest. Atom Ant, Secret Squirrel, and Sinbad Jr. and his Magic Belt came in 1965. Screen Gems and Hanna-Barbera`s partnership lasted until 1965 when Hanna and Barbera announced the sale of their studio to Taft Broadcasting.[15] Taft`s acquisition of Hanna-Barbera was delayed for a year by a lawsuit from Joan Perry, John Cohn, and Harrison Cohn – the wife and sons of former Columbia Pictures president Harry Cohn, who felt that the studio undervalued the Cohns` 18% share in the company when it was sold a few years previously.[18] In 1966, a new Laurel and Hardy series, Frankenstein Jr. and The Impossibles, and Space Ghost first aired and by December 1966, the litigation had been settled and the studio was finally acquired by Taft for $12 million. Taft folded the studio into its corporate structure in 1967 and 1968,[15] becoming its distributor. Hanna and Barbera stayed on with the studio while Screen Gems retained licensing and distribution rights to the previous Hanna-Barbera-produced cartoons,[15] along with trademarks to the characters into the 1970s and 1980s.[15][19] A number of new comedy and action cartoons followed in 1967, among them are The Space Kidettes, a new Abbott & Costello series, Birdman and the Galaxy Trio, The Herculoids, Shazzan, Fantastic Four, Moby Dick and Mighty Mightor, and Samson & Goliath. The Banana Splits Adventure Hour, The Adventures of Gulliver, and The New Adventures of Huckleberry Finn arose in 1968, while the successful Wacky Races and its spinoffs The Perils of Penelope Pitstop and Dastardly and Muttley in Their Flying Machines aired on CBS, followed by Cattanooga Cats for ABC. The studio had a record label, Hanna-Barbera Records,[20] headed by Danny Hutton and distributed by Columbia Records. Previously, children`s records featuring Hanna-Barbera characters were released by Colpix Records. Mysteries, spinoffs and more (1969–1979) Edit Writers Ruby and Spears created Scooby-Doo, Where Are You! for CBS Saturday mornings in 1969, a mystery-based program which blended comedy, action, and elements from I Love a Mystery and The Many Loves of Dobie Gillis.[21][22] Running for two seasons, it centered on four teenagers and a dog solving supernatural mysteries, and became one of Hanna-Barbera`s most successful creations and has spawned several new spin-offs, such as The New Scooby-Doo Movies, The Scooby-Doo Show, Scooby-Doo and Scrappy-Doo and many others, which were regularly in production at Hanna-Barbera into the 1990s.[23] Referred to as `The General Motors of animation`, Hanna-Barbera eventually went even further by producing nearly two-thirds of all Saturday-morning cartoons in a single year. Several Hanna-Barbera series from the 1970s, such as Josie and the Pussycats, The Funky Phantom, The Amazing Chan and the Chan Clan, Speed Buggy, Butch Cassidy and the Sundance Kids, Goober and the Ghost Chasers, Inch High, Private Eye, Clue Club, Jabberjaw, Captain Caveman and the Teen Angels and The New Shmoo built upon the mystery-solving template set by Scooby-Doo, with further series built around teenagers solving mysteries with a comic relief pet of some sort. The Pebbles and Bamm-Bamm Show returned The Flintstones characters to television in 1971 with a new spin-off series based on their now teenaged children while The Flintstone Comedy Hour and The New Fred and Barney Show remained in production through the early 1980s. Meanwhile, Josie would get her own spinoff Josie and the Pussycats in Outer Space. Yogi Bear, Huckleberry Hound and others returned in 1972 for brand new shows, such as Yogi`s Gang, Laff-a-Lympics, Yogi`s Space Race, and Galaxy Goof-Ups, while Tom and Jerry were also given a new series of televised cartoons in 1975. The Great Grape Ape Show and The Mumbly Cartoon Show followed soon after. In 1972, Hanna-Barbera opened an animation studio in Australia, with the Hamlyn Group acquiring a 50% stake in 1974. Hamlyn was acquired by James Hardie Industries. In 1988, Hanna-Barbera Australia bought itself out from Hardie and Taft Broadcasting, with the studio changing its name to Southern Star Group. The studio has since become Endemol Shine Australia, a division of the Banijay Group. In 1973, Hanna-Barbera produced the first of several iterations of Super Friends, an action-adventure series adapted from DC Comics` Justice League of America superhero characters. Following the initial 1973 Super Friends TV series on ABC, the show returned to production in 1976, remaining on ABC through 1986 with continuations such as The All-New Super Friends Hour, Challenge of the Super Friends, and The World`s Greatest Super Friends. Hanna-Barbera`s other 1970s series included Harlem Globetrotters, Wait Till Your Father Gets Home, Help!... It`s the Hair Bear Bunch!, The Roman Holidays, Sealab 2020, Jeannie, The Addams Family, Partridge Family 2200 A.D., These Are The Days, Valley of the Dinosaurs, Wheelie and the Chopper Bunch, Dynomutt, Dog Wonder, CB Bears, The Robonic Stooges, The All New Popeye Hour, Godzilla, Buford and the Galloping Ghost and Jana of the Jungle. Charlotte`s Web, an adaptation of E. B. White`s children`s novel and Hanna-Barbera`s first feature film not based on one of their TV shows, was released in 1973 by Paramount Pictures. While the majority of American television animation during the second half of the 20th century was made by Hanna-Barbera, with major competition coming from Filmation and DePatie-Freleng, then-ABC president Fred Silverman gave its Saturday-morning cartoon time to them after dropping Filmation for its failure of Uncle Croc`s Block.[citation needed] Along with the rest of the American animation industry, it began moving away from producing all its cartoons in-house in the late 1970s and early 1980s. Ruby and Spears worked with Hanna-Barbera in 1976 and 1977 as ABC network executives to create and develop new cartoons before leaving in 1977 to start their company, Ruby-Spears Enterprises, with Filmways as its parent division.[22] In 1979, Taft bought Worldvision Enterprises, which became Hanna-Barbera`s distributor. New live-action material was produced in the 1970s and early 1980s, as well as new live-action/animated projects since the mid-1960s. Their live-action unit spun off and became Solow Production Company in 1976.[24] Control decrease and Smurfs-era (1980–1991) Edit Led by Marc Levoy, Hanna-Barbera began developing a computerized digital ink and paint system in 1979,[25] long before other animation studios. This process helped bypass much of the time-consuming labor of painting and photographing cels, and was implemented on a third of Hanna-Barbera`s animated programs, televised feature films and specials from 1984 through 1996.[25][26] New episodes of both Super Friends and Scooby-Doo and Scrappy-Doo, as well as The Fonz and the Happy Days Gang, Richie Rich, and The Flintstone Comedy Show emerged in 1980. Laverne and Shirley in the Army, Space Stars, The Kwicky Koala Show, and Trollkins debuted in 1981. Taft purchased Ruby-Spears Enterprises from Filmways, making it a sister studio to Hanna-Barbera. As a result, several early-1980s series were shared between both studios, the animated version of Mork & Mindy and The Scooby-Doo/Scrappy-Doo/Puppy Hour among them.[27] Filmation, Marvel/Sunbow, Rankin/Bass and DIC introduced successful syndicated shows based on licensed properties. While Hanna-Barbera continued to produce for Saturday mornings and weekday afternoons, it no longer dominated the TV animation market and its control over children`s programming went down from 80% to 20%. The Smurfs, adapted from the comic by Pierre Culliford (known as Peyo) and centering on a group of tiny blue creatures led by Papa Smurf, premiered and aired on NBC for nine seasons, becoming the longest-running Saturday-morning cartoon series in broadcast history, a significant ratings success, the top-rated program in eight years and the highest for an NBC show since 1970.[28] Jokebook, The Gary Coleman Show, Shirt Tales, Pac-Man, The Little Rascals, The Scooby-Doo/Scrappy-Doo/Puppy Hour, The Dukes, Monchhichis, The New Scooby and Scrappy-Doo Show and The Biskitts would be aired in 1982 and 1983. Following an animation strike in 1982,[29] more of Hanna and Barbera`s shows were outsourced to studios outside of the United States and firms such as Cuckoo`s Nest Studios, Mr. Big Cartoons, Toei Animation, and Fil-Cartoons in Australia and Asia provided production services to Hanna-Barbera from 1982 through to the end of its existence. The New Scooby-Doo Mysteries, Snorks, Challenge of the GoBots, Pink Panther and Sons, Super Friends: The Legendary Super Powers Show, The Super Powers Team: Galactic Guardians, The 13 Ghosts of Scooby-Doo, Yogi`s Treasure Hunt, Galtar and the Golden Lance, Paw Paws and new episodes of The Jetsons premiered in 1984 and 1985. The Greatest Adventure: Stories from the Bible, the first new straight-to-video series, debuted.[30] In 1986, new episodes of Jonny Quest, Pound Puppies, The Flintstone Kids, Foofur and Wildfire aired while Sky Commanders and Popeye and Son debuted in 1987. Taft, whose financial troubles were affecting the Hanna-Barbera studio, was acquired by the American Financial Corporation in 1987, which renamed Taft to Great American Broadcasting the following year.[citation needed] A Pup Named Scooby-Doo, The Completely Mental Misadventures of Ed Grimley, new episodes of Yogi Bear, Fantastic Max, The Further Adventures of SuperTed, and Paddington Bear followed in 1988 and 1989. Great American sold Worldvision to Aaron Spelling Productions, while Hanna-Barbera and its library remained with them. Producer Tom Ruegger, working on A Pup Named Scooby-Doo, got a call in January 1989 from Warner Bros. to resurrect its animation department.[31] Ruegger, along with several of his colleagues, left Hanna-Barbera at that time to develop new programs such as Tiny Toon Adventures and Animaniacs at Warner Bros.[31] David Kirschner, known for producing the An American Tail and Child`s Play film franchises, was later appointed as the new CEO of Hanna-Barbera.[32] In 1990, under Kirschner, the studio formed Bedrock Productions, a unit for various movies and shows.[33] While Great American put Hanna-Barbera, along with Ruby-Spears, up for sale after being less successful and burdened in debt, new shows Midnight Patrol: Adventures in the Dream Zone, Rick Moranis in Gravedale High, Tom & Jerry Kids Show, Bill and Ted`s Excellent Adventures, The Adventures of Don Coyote and Sancho Panda and Wake, Rattle, and Roll (later as Jump, Rattle, and Roll) first aired. Acquisition by Turner, Cartoon Network, and absorption into Warner Bros. Animation (1991–2001) Edit In 1991, while Young Robin Hood, The Pirates of Dark Water and Yo Yogi! debuted on-air, Turner Broadcasting System outbid MCA (then-parent company of Universal Studios), Hallmark Cards and other major companies in acquiring Hanna-Barbera while also purchasing Ruby-Spears as well. The two studios were acquired in a 50-50 joint venture between Turner Broadcasting System and Apollo Investment Fund for $320 million.[34][35] Turner purchased these assets to launch a new all-animation network aimed at children and younger audiences. Its president of entertainment Scott Sassa hired former MTV Networks executive Fred Seibert to head Hanna-Barbera, who filled the gap left by the Great American-era production crew with new animators, directors, producers and writers, including Pat Ventura, Craig McCracken, Donovan Cook, Genndy Tartakovsky, David Feiss, Seth MacFarlane, Van Partible, Butch Hartman and Stewart St. John.[36] In 1992, after being renamed to H-B Production Company, the studio unleashed new animated series Fish Police, Capitol Critters and new episodes of The Addams Family for broadcast. Turner launched Cartoon Network, the first 24-hour all-animation channel, to air its library of cartoon classics, of which Hanna-Barbera was the core contributor.[37] In 1993, the studio again named itself to Hanna-Barbera Cartoons, Inc. (though the Hanna-Barbera Productions name would still be used in regards to the pre-1992 properties) and while Turner acquired its remaining interests from Apollo Investment Fund for $255 million,[38] Droopy, Master Detective, The New Adventures of Captain Planet, SWAT Kats: The Radical Squadron and 2 Stupid Dogs emerged that year and in 1994. At this time, Turner Broadcasting System refocused the studio to produce new shows exclusively for its networks. Dumb and Dumber debuted and aired on ABC in 1995 and became the final new Hanna-Barbera show to air on a broadcast network. Afterward, What a Cartoon! (first promoted as World Premiere Toons), an animation showcase led by Seibert, premiered and featured new creator-driven shorts developed for Cartoon Network by Hanna-Barbera`s in-house staff. Several new original animated series emerged from it, including Dexter`s Laboratory, Johnny Bravo, Cow and Chicken, and The Powerpuff Girls. In 1996, while the new series Cave Kids and The Real Adventures of Jonny Quest premiered, Turner Broadcasting merged with Time Warner. Sherman Oaks Galleria in 2002. The building where Hanna-Barbera was located from 1998 to 2001 is visible at right. In 1998, after being on Cahuenga Blvd. since 1963, Hanna-Barbera, its archives and its extensive animation art collection moved to Sherman Oaks Galleria in Sherman Oaks, California, where Warner Bros. Animation was located and operated alongside that studio there until 2001, when H-B was absorbed into it.[39][40] After Hanna-Barbera`s absorption into Warner Bros. Animation, Cartoon Network Studios was revived and took over production of Cartoon Network`s programming.[41] Hanna died of throat cancer on March 22, 2001. The Cahuenga Blvd. studio faced demolition after Hanna-Barbera vacated the facilities in 1997, despite the efforts of Barbera and the others to preserve it. In May 2004, the Los Angeles City Council approved a plan to preserve the headquarters, while allowing retail and residential development on the site.[42] New projects based on legacy properties (2001–present) Edit After absorbing the Hanna-Barbera studio, Warner Bros. Animation has continued to produce new productions based on Hanna-Barbera`s legacy properties. Barbera continued to be involved in the production of new material based on Hanna-Barbera`s properties until his death of natural causes on December 18, 2006.[43] Warner Bros. has produced several films based on Hanna-Barbera properties, including the film Yogi Bear in 2010 and Top Cat: The Movie in 2011, as well as several films based on the Scooby-Doo franchise. Most recently, Warner Animation Group released the film Scoob! on May 15, 2020, which is intended to be the first installment of a Hanna-Barbera cinematic universe.[44][45][46] Warner Animation Group also has a live action The Jetsons film,[47][48][49] an animated The Flintstones, film and an animated Wacky Races film[50] in development, along with more new content.[51][52] On April 7, 2021, Cartoon Network Studios Europe announced that it would rebrand as Hanna-Barbera Studios Europe to revive the name.[53] Production Edit Production process changes Edit The small budgets that television animation producers had to work within prevented Hanna-Barbera from working with the full theatrical-quality animation that Hanna and Barbera had been known for at Metro-Goldwyn-Mayer. While the budget for MGM`s seven-minute Tom and Jerry shorts was about $35,000, the Hanna-Barbera studios were required to produce five-minute Ruff and Reddy episodes for no more than $3,000 apiece.[2] To keep within these tighter budgets, Hanna-Barbera furthered the concept of limited animation (also called `planned animation`)[54] practiced and popularized by the United Productions of America (UPA) studio, which also once had a partnership with Columbia Pictures. Character designs were simplified, and backgrounds and animation cycles (walks, runs, etc.) were regularly re-purposed. Characters were often broken up into a handful of levels so that only the parts of the body that needed to be moved at a given time (i.e. a mouth, an arm, ahead) would be animated. The rest of the figure would remain on a held animation cel. This allowed a typical 10-minute short to be done with only 1,200 drawings instead of the usual 26,000. Dialogue, music, and sound effects were emphasized over action, leading Chuck Jones—a contemporary who worked for Warner Bros. Cartoons and whose short The Dover Boys practically invented many of the concepts in limited animation—to disparagingly refer to the limited television cartoons produced by Hanna-Barbera and others as `illustrated radio`.[55] In a story published by The Saturday Evening Post in 1961, critics stated that Hanna-Barbera was taking on more work than it could handle and was resorting to shortcuts only a television audience would tolerate.[56] An executive who worked for Walt Disney Productions said, `We don`t even consider [them] competition`.[56] Animation historian Christopher P. Lehman argues that Hanna-Barbera attempted to maximize their bottom line by recycling story formulas and characterization instead of introducing new ones. Once a formula for an original series was deemed successful, the studio would keep reusing it in subsequent series.[57] Besides copying their own works, Hanna-Barbera would draw inspiration from the works of other people and studios.[57] Lehman considers that the studio served as the main example of how animation studios that focused on TV animation differed from those that focused on theatrical animation. Theatrical animation studios tried to maintain full and fluid animation and consequently struggled with the rising expenses associated with producing it.[57] Limited animation as practiced by Hanna-Barbera kept production costs at a minimum. The cost in quality of using this technique was that Hanna-Barbera`s characters only moved when necessary.[57] Its solution to the criticism over its quality was to go into films. It produced six theatrical feature films, among them are higher-quality versions of its television cartoons and adaptations of other material. It was also one of the first animation studios to have their work produced overseas. One of these companies was a subsidiary began by Hanna-Barbera in November 1987 called Fil-Cartoons in the Philippines,[58][59] with Jerry Smith as a consultant for the subsidiary.[60] Wang Film Productions got its start as an overseas facility for the studio in 1978.[61] Sound effects Edit Hanna-Barbera was known for its large library of sound effects, which have been featured in exhibitions at the Norman Rockwell Museum.[62] List of Hanna-Barbera productions Edit Main article: List of works produced by Hanna-Barbera Productions See also