Well, Cameron Johnson is moving to America.I am sure that he will have a good time there. Well, I am Cameron! My friend Eliza is making a bob website. Today I am adding this comment in the wonderous free time on the computers that my teacher is giving me.
That one more level game seems not to be working. Well, just type that into your adress bar. The game is funny, the only bad stinky thing is that my enemie richard lord likes it. Ragdoll
I know viewers will take advantage of this, my name is Camero Again and my password is Dave'sbar, the bar I made up. I am also Cameron, the creator of this blog.
I have good stuff on my website. This is a permission slip for my school athletics team! 5th June, 2007
Dear parents,
Your child has been chosen to represent the school in the Tamworth Schools’ Athletics at the Tamworth Athletics Stadium on Monday, 11th June. Your child will be in the following event(s):
1 2 3
The event will start at 4.00 p.m. and finish at about5.30 p.m.
If you can help with transport, please complete the pro forma below.
Yours sincerely,
Brian Mulligan
—————————————————————————————-
I give permission for my child ……………………….
to take part in the athletics tournament at the Tamworth Athletics Stadium on Monday, 11th June.
I will now rate my taekwondo teacher, oliver kells Cleverness: 8/10 Agility: 10/10 Stamina: 10/10 Abilities: 9/10 Scary: 4/10 He's not scary except when he says the dreaded"Cee"
Ah, hello, want to know about lego swars 3? Game Info Building on the success of both LEGO® Star Wars™ "block-buster" videogames, LEGO® Star Wars™: The Complete Saga enables families to play through the events of all six Star Wars movies in one videogame for the first time ever. Developer Traveller's Tales takes full advantage of the unique capabilities of all three next-generation consoles, while also adding new characters, new levels and new features. Players can build and battle this fall on the Wii™, PLAYSTATION®3 computer entertainment system and Xbox 360™ videogame system from Microsoft. Traveller's Tales is also creating an entirely new Nintendo DS™ version, developed brick by brick from the ground up.
Features Families can commemorate the 30th anniversary of Star Wars by playing through the events of all six Star Wars movies in one videogame for the first time ever. Solve puzzles that encourage creative thinking through the use of teamwork and unique building situations only possible in a LEGO galaxy far, far away. Adds new levels, new characters and new features to the fun, creativity and tongue-in-cheek humor that made LEGO® Star Wars™: The Video Game and LEGO® Star Wars™ II: The Original Trilogy such huge hits. New levels, such as Episode II's never-before-played high-speed pursuit of bounty hunter Zam Wessell, further complete the entire Star Wars story. New playable characters like Watto, Zam Wessell, Boss Nass and more bring the total count to over 160. The upgraded Character Customizer includes all Prequel Trilogy characters for the first time, while also expanding its customization options well beyond those in LEGO Star Wars II, for millions more possibilities. Create cross-Trilogy mash-up characters like Han Windu and Lando Amidala. New game features include enhanced Force powers, new power-ups, and a new Challenge Mode. Levels from the original LEGO Star Wars are revamped to meet the gameplay evolutions of LEGO Star Wars II. For the first time, every Prequel Trilogy character -- even those without the Force -- can build, as well as jump into and out of the vehicles they create. Redesigned "Mos Espa Podrace" and "Gunship Cavalry" levels now encourage the open vehicle gameplay of LEGO Star Wars II. New bonus levels and 10 additional Bounty Hunter Missions offer new challenges in the Prequel Trilogy. Enhancements for every platform: Xbox 360 and PLAYSTATION 3: The LEGO Star Wars premiere of online two-player co-op lets families play together from anywhere in the world for the first time. Xbox 360 and PLAYSTATION 3: New high-resolution LEGO models and characters, along with new environment graphics and special effects, create visuals unparalleled by any other LEGO galaxy far, far away. Wii: Motion-sensitive inputs give you exciting new ways to control your LEGO Star Wars characters. Nintendo DS: Created from the ground up by Traveller's Tales, this version incorporates exclusive touch-screen action and challenges. Peek behind the scenes with the bonus video "The Building of LEGO Star Wars."
Well, you've noticed i've disguised again. It's hard forgetting your password, so i have to register all the time. I've just done my production of oliver.
I have played wallace and gromit cotw allot recently, here's some things about it. Wallace & Gromit: The Curse of the Were-Rabbit closely follows the events of the Aardman film, with players using co-operative modes to guide any pairing of Wallace, Gromit or their rabbit friend, Hutch, through four huge areas. Players are given a free reign of the area as they attempt to solve the problems besetting the Giant Vegetable Competition, and their mission takes them from the seaside to suburbia as they venture out at night to confront the beast responsible for the vegetable-based carnage.
Adding to their troubles, though, the villain of the piece has seized control of Wallace's 'Mind-Manipulation-O-Matic' device to transform common garden pests into bigger, more dangerous Were-beasts, and only Wallace's Bungun - a device to suck up adversaries or anything that is lying around and then fires them at tremendous speed - can save the day. Wallace's skill with gadgets also ensures that further apparatus is available, with Electric Screwdrivers, Harvesters and Grapplers appearing throughout the game to bolster the inventor's arsenal and help bypass puzzle-based elements in the game.
With its huge, free-roaming play area (the first time Wallace & Gromit's town has appeared in a video game), inventive action, plentiful gadgets, varying sub-games and visuals that mimic the distinctive look of Aardman's film, The Curse of the Were-Rabbit perfectly captures the fun and menace of Wallace & Gromit's first silver screen outing. GameSpot Score 6.3 fair The cute claymation couple look and sound pretty good in this mission-based platformer, but the gameplay isn't all that compelling. Gameplay 6 Graphics 7 Sound 7 Value 6 Tilt 6 Difficulty: Medium Learning Curve: About a half hour Game Details About Our Rating System The Good Looks and sounds like a Wallace & Gromit game Open town to explore Lots of missions to do. The Bad Gameplay isn't particularly fun or exciting Mission design isn't always clear Not much appeal for those who aren't hardcore Wallace & Gromit fans. Nick Park's lovable claymation characters, the affable inventor Wallace, and his preternaturally intelligent dog, Gromit, are at it again in their newest video game, The Curse of the Were-Rabbit. Based on the film of the same name, the game is a platformer that has you controlling Wallace & Gromit as you explore a town and do missions for your fellow townsfolk. While the game does a good job at capturing the look and feel of the Wallace & Gromit universe, the missions themselves are only mildly amusing at best, and are sometimes unclear in their objectives.
Everyone's favorite clay couple star in a new game. The story of The Curse of the Were-Rabbit loosely follows that of the film. Wallace and Gromit are partners in a humane pest-control company called Anti-Pesto. They've drummed up quite a bit of business catching rabbits as the town leads up to the annual vegetable competition. With all the townspeople trying to protect their giant vegetables, Anti-Pesto is in charge of catching all the rabbits in town and protecting them from destruction by the furry pests. Lord Victor, a smarmy hunter, sneers at the humane methods Wallace and Gromit use to catch the rabbits, preferring instead to shoot them. But the Lady of the town, Tottington, favors the bloodless way of doing things, and contracts Wallace and Gromit to protect her house, much to the jealous chagrin of Victor. After a brief tutorial level in which you clear rabbits from Lady Tottington's house, the rest of the town is opened up, and you can wander around and pick up simple missions from the various townsfolk. The town is open-ended, so much like in a Grand Theft Auto game, you're free to walk around and explore, doing the missions in any order you please--although some areas of the town are locked away until you've completed certain tasks.
The missions are often very short and simple; they often involve going into gardens and catching varmints like rabbits and squirrels before they eat the large vegetables. Others are chores like finding three vials of holy water that the vicar has lost in the sewer, or sorting vegetables that roll down a Rube-Goldberg device that the bank manager has constructed. To do the tasks, both Wallace and Gromit are armed with a vacuum-like weapon called a bun-gun. The bun-gun can suck up single rabbits, vegetables, or other items and shoot them out. You'll also unlock other gadgets and tools along the way, like a screwdriver that Wallace can use to disarm security doors via a minigame, or umbrellas that you can use to float down from high places. Certain missions and puzzles require both characters to work together, so if you're playing single-player, you can go to certain spots and whistle for the other character to help you. You can also play the campaign cooperatively with two players, so you can work together to do these tasks. The combo tasks are usually pretty obvious, like having one character suck open a switch cover with the bun-gun while the other character hits the switch. Wallace and Gromit each have special strengths, as well. Wallace is taller and can double jump to higher places, for example, while Gromit has the ability to wall jump up narrow crevices to get to high places, much like the Prince in the Prince of Persia games.
Over the course of the campaign, you'll eventually learn the secret behind the were-rabbit that's terrorizing the town and eating all the vegetables, and you'll get the ability to switch the time from day to night and back. Certain missions that involve fighting were-creatures require you to play at night, and in these missions, you'll gather up the valves that Lord Victor has stolen from Wallace's mind-manipulation-o-matic device. There are quite a few missions to do in the game, and a good amount of things to do for the townsfolk. The problem is that none of it is particularly fun, so it feels a lot like a series of minigames instead of a coherent story that flows together. The game certainly nails down the whimsical atmosphere of the Wallace & Gromit universe, so if you're a big fan, there's some amusement to be had in the game. But eventually most people will probably grow tired of herding rabbits into vacuum-suck drains and fighting were-creatures.
Rabbit herding is a central aspect to the game. As far as presentation goes, The Curse of the Were-Rabbit does a good job at capturing the look of Nick Park's claymation characters. The game doesn't look all that impressive from a technical standpoint, but anyone who's seen a Nick Park short knows that the look of his universes doesn't require a superflashy graphics engine to capture properly. The goofy animations of the characters certainly captures the whimsy of Wallace and Gromit, but if there's any complaint to be made it's that the characters don't move in that claymation fashion like they do in the films. The game also seems to use a lot of the same voice actors from the film, and the music in the game also sounds appropriately goofy and authentic in that regard. Cutscenes from the actual movie round out a game that presents its source material pretty well.
While there's certainly a lot to do in the game, a wealth of gadgets to mess around with, and hundreds of rabbits to catch, Wallace & Gromit: The Curse of the Were-Rabbit ultimately limits its appeal with by-the-numbers gameplay. If you love Nick Park's creations and the film, the game's worth checking out; but beyond that, there are better options out there if you're looking for a family-friendly platformer.
Just me again saying a few things. The play last night was wonderful, except we had to sing stupid concider yourself again! It's terrible standing there for half an hour knee bending. It is total utter knee-hurting. Well, i have a cast list for you. The artful dodger and the policeman- richard davis and conor shiner- got told off for righting in people's yearbook's. Bad people!
Only cameron again! I have the whole lionel bart version of oliver here! Oliver! - The Musical Songs from: Food Glorious Food Oliver! I Shall Scream Boy for Sale That's Your Funeral Where is Love? Consider Yourself You've Got to Pick a Pocket or Pwo It's a Fine Life I'd do Anything Be Back Soon Omm-Pah-Pah My Name As Long As He Needs Me Who Will Buy? Reviewing the Situation [the following is from Foosie..]
OLIVER! 1963
Lionel Bart was 28 when he wrote the book, music and lyrics to OLIVER! based on the 1838 Charles Dickens classic OLIVER TWIST. (Bart had changed his last name from Begleiter when he was 24.) He had started out writing pop tunes for Tommy Steele (having been in a skiffle group called the Caveman with him), and had written two previous successful West End Shows, FINGS AIN'T WOT THEY USED T'BE (music and lyrics - 1957) and LOCK UP YOUR DAUGHTERS (lyrics - 1959). According to Rex Bunnett writing in The Musicals, originally Bart was looking to create a vehicle to star Tommy Steele when he decided to adapt OLIVER TWIST, but that plan went out the window when Bart limited the show to the early part of the book that also formed the basis for the successful 1948 David Lean film. By the time OLIVER! opened on Broadway, Bart had 3 hit shows running simultaneously in London, OLIVER!, LOCK UP YOUR DAUGHTERS and BLITZ (music and lyrics). He died April 4, 1999.
See also
FOOD, GLORIOUS FOOD
Is it worth the waiting for? If we live 'til eighty-four All we ever get is gru...el! Ev'ry day we say our prayer -- Will they change the bill of fare? Still we get the same old gru...el! There's not a crust, not a crumb can we find, Can we beg, can we borrow, or cadge, But there's nothing to stop us from getting a thrill When we all close our eyes and imag...ine
Food, glorious food! Hot sausage and mustard! While we're in the mood Cold jelly and custard! Pease pudding and saveloys! What next is the question. Rich gentlemen have it, boys: In-di-gestion!
Food, glorious food! We're anxious to try it. Three banquets a day -- Our favourite diet! Just picture a great big steak -- Fried, roasted or stewed. Oh, food, Wonderful food, Marvellous food, Glorious food.
Food, glorious food! What is there more handsome? Gulped, swallowed or chewed -- Still worth a king's ransom! What is it we dream about? What brings on a sigh? Piled peaches and cream, about Six feet high!
Food, glorious food! Eat right through the menu. Just loosen your belt Two inches and then you Work up a new appetite. In this interlude -- Then food, Once again, food Fabulous food, Glorious food!
Food, glorious food! Don't care what it looks like: Burned, underdone, crude -- Don't care what the cook's like. Just thinking of growing fat -- Our senses go reeling. One moment of knowing that Full-up feeling!
Food, glorious food! What wouldn't we give for That extra bit more -- That's all that we live for. Why should we be fated to Do nothing but brood On food, Magical food, Wonderful food, Marvellous food, Fabulous food, Beautiful food, Glorious food!
OLIVER!
Mr. Bumble, the parish beadle, enters. (The dictionary defines a beadle as an inferior parish officer in England having a variety of duties, as the preservation of order in church service, the chastisement of petty offenders, etc.) He is accompanied by the Widow Corney, the Workhouse Mistress. Mr. Bumble hands out the day's meagre food to the boys. When he signals the boys they can start eating, they wolf down the food to the tune of OLIVER. When they finish, Oliver requests a second helping.
MR. BUMBLE: For what you are about to receive May the Lord make you truly thankful. BOYS: Amen. OLIVER: Please, Sir, I want some more. MR. BUMBLE: What? OLIVER: Please, Sir, I want some more. MR. BUMBLE: More! WIDOW CORNEY: Catch him! MR. BUMBLE: Snatch him! WIDOW CORNEY: Hold him! MR. BUMBLE: Scold him! WIDOW CORNEY: Pounce him! Trounce him! Pick him up and bounce him! MR. BUMBLE: Wait! Before we put the boy to task May I be so curious as to ask His name? BOYS: O-li-ver WIDOW CORNEY AND MR. BUMBLE: Oliver! Oliver! MR. BUMBLE: Never before has a boy wanted more! MR. BUMBLE AND WIDOW CORNEY: Oliver! Oliver! MR. BUMBLE: Won't ask for more when he knows what's in store. There a dark, thin, winding Stairway without any bannister Which we'll throw him down, and Feed him on cockroaches Served in a canister ALL: Oliver! Oliver! MR. BUMBLE: What will he do When he's turned black and blue? He will curse the day Somebody named him ALL: O-li-ver! MR. BUMBLE AND WIDOW CORNEY: Oliver! Oliver! MR. BUMBLE: Never before has a boy wanted more! MR. BUMBLE AND WIDOW CORNEY: Oliver! Oliver! WIDOW CORNEY: He won't ask for more When he knows what's in store. MR. BUMBLE: There's a sooty chimney Long overdue for a sweeping out Which we'll push him up, And one day next year With the rats he'll be creeping out! ALL: Oliver! Oliver! MR. BUMBLE: What will her do In this terrible stew? He will rue the day Somebody named him... ALL: O-li-ver!
I SHALL SCREAM
Oliver is dragged off as Bumble and the Widow do a bit of courting. When the beadle sneaks a kiss, the Widow protests:
WIDOW CORNEY: Mr. Bumble, I shall scream! MR. BUMBLE: No, you wouldn't, heigh-ho. If I wanted something special, Then you couldn't say "no". Did I nearly catch you smiling? Yes I did, and it's beguiling. If your hand is close, I'll press it. Yes, you like it -- come confess it! Yes, you do. WIDOW CORNEY: No, I don't. MR. BUMBLE: Yes, you do! WIDOW CORNEY: I shall scream! I shall scream! Til they hasten to my rescue, I shall scream. MR. BUMBLE: Since there's nobody that's near us Who can see us or can hear us, If I ask you can I kiss you Say what will my pretty miss do? WIDOW CORNEY: I shall scream, scream, scream! MR. BUMBLE: If I pinch you one pinch -- From you shy protective shell, Can I un-inch you one inch? Will my blithesome, buxom beauty Let her suitor do his duty? Though his lap ain't very large, dear Sit upon it -- there's no charge, dear. Will you sit? WIDOW CORNEY: No, I shan't MR. BUMBLE: Will you sit? WIDOW CORNEY: I shall scream! I shall scream! For the safety of my virtue I shall scream. Though your knee is rather cozy, See my cheeks are getting rosy. You would have me in your power. If I sat here for an hour. MR. BUMBLE (gasping under her weight): I shall scream, scream, scream! WIDOW CORNEY (getting off his lap): You're a naughty bad man, If you think I can't be proper, Prim and haughty -- I can And you'll pardon if I mention You must state your true intention. How? MR. BUMBLE: Is there not another room here? WIDOW CORNEY (regretfully): No. MR. BUMBLE: If there were a bride and groom here -- Would there be? WIDOW CORNEY: Well, there might. MR. BUMBLE: We shall see. WIDOW CORNEY: I shall scream! I shall scream! At the thought of what you're thinking, I shall scream! MR. BUMBLE: You will wonder where that scream went When we come to an agreement. As my lovey-dove is chubby, Could she love a chubby hubby? WIDOW CORNEY: I shall scream, Mr. Bumble! I shall scream, Bumble-Wumble! I shall scream, scream (what, now?) scream! (Kiss).
BOY FOR SALE
Oliver is brought to Mr. Bumble with all his worldly belongings in a small bundle. Bumble takes him off to sell, singing:
One boy, Boy for sale. He's going cheap. Only seven guineas. That or thereabouts.
Small boy, Rather pale From lack of sleep. Feed him gruel dinners; Stop him getting stout.
If I should say he wasn't very greedy, I could not, I'd be telling you a tale. One boy, Boy for sale. Come take a peep. Have you ever seen As nice a boy for sale?
THAT'S YOUR FUNERAL
Mr. Bumble takes Oliver to the undertaker's parlor of Mr. and Mrs. Sowerberry and sells him into indentured servitude for 5 pounds. Sowerberry intends to use Oliver as a coffin follower. We learn Oliver's full name is Oliver Twist, named by Mr. Bumble when his mother died in childbirth. Sowerberry puts a top hat on Oliver and is pleased with the effect.
MR. BUMBLE: He's a born undertaker's mute: I can see him in his black silk suit Following behind the funeral procession With his features fixed in a suitable expression. There'll be horses with tall black plumes To escort us to the family tombs, With mourners In all corners Who've been taught to weep in tune.
Then the coffin lined with satin. That's your funeral. MRS. SOWERBERRY: That's your funeral. SOWERBERRY: Large enough to wear your hat in. That's your funeral. MRS. SOWERBERRY: That's your funeral. SOWERBERRY: We're just here to glamorize you for that Endless sleep. MR. & MRS. SOWERBERRY: You might just as well look fetching When you're six feet deep. MRS. SOWERBERRY: At the wake we'll drink a toddy To the body beautiful. MR. SOWERBERRY: That's your funeral. MRS. SOWERBERRY: Not our funeral. MR. & MRS. SOWERBERRY: That's your funeral. SOWERBERRY: If you're fond of overeating That's your funeral. MRS. SOWERBERRY: That's your funeral. SOWERBERRY: Starve yourself by undereating That's your funeral. MR. BUMBLE: That's my funeral. MRS. SOWERBERRY: Visualize the earth descending on you clod by clod. You can't come back when you're buried Underneath the sod. MR. & MRS. SOWERBERRY: We will not reduce our prices. Keep your vices usual. SOWERBERRY: That's your funeral MRS. SOWERBERRY: Not our funeral. ALL: That's your funeral. MR. BUMBLE: I don't think this song is funny. SOWERBERRY: That's your funeral. MR. BUMBLE: Here's the boy, now where's the money? SOWERBERRY: That's your funeral. MRS. SOWERBERRY: That's your funeral. MR. BUMBLE: That's your funeral. SOWERBERRY: We don't harbour thoughts macabre, There's no need to frown MR. & MRS. SOWERBERRY: In the end we'll either burn you up or nail you down. We love coughs and wheezes And diseases called incurable. That's your funeral. No one else's funeral. SOWERBERRY: That's your... MRS. SOWERBERRY: That's your... MR. & MRS. SOWERBERRY: Funeral!
WHERE IS LOVE?
Oliver is given some scraps to eat and then is left alone to sleep among the coffins. He sings:
Where is love? Does it fall from skies above? Is it underneath the willow tree That I've been dreaming of? Where is she Who I close my eyes to see? Will I ever know the sweet "hello" That's meant for only me?
Who can say where she may hide? Must I travel far and wide? 'Til I am beside the someone who I can mean something to. Where, Where is love?
Who can say where she may hide? Must I travel far and wide? 'Til I am beside the someone who I can mean something to. Where, Where is love?
The next morning Noah Claypole arrives for work; he calls Oliver "Workhouse" and rags him about his mother, goading Oliver into a fight. Oliver winds up in a coffin, which Noah and the Sowerberries sit on. They get Mr. Bumble who tries to intimidate Oliver to no avail. Bumble blames the Sowerberries for feeding him meat. Bumble lets Oliver out of the coffin and he manages to run away.
CONSIDER YOURSELF
A week later Oliver is walking along Paddington Green. The Dodger comes by, dressed in a top hat and an oversized overcoat, and sizes up the runaway. The Dodger offers Oliver lodgings with a "respectable old gentleman" named Fagin. They introduce themselves, Dodger as Jack Dawkins to his "hintimate" friends, which upon reflection, he realizes he doesn't have.
DODGER: Consider yourself at home. Consider yourself one of the family. We've taken to you so strong, It's clear we're going to get along. Consider yourself well in. Consider yourself part of the furniture. There isn't a lot to spare. Who cares? Whatever we got we share!
If it should chance to be We should see Some harder days, Empty-larder days, Why grouse? Always a chance we'll meet Somebody to foot the bill, Then the drinks are on the house! Consider yourself our mate. We don't want to have no fuss, For after some consideration, we can state Consider yourself One of us!
Consider yourself... OLIVER: At home? DODGER: Consider yourself... OLIVER: One of the family? CAPTAIN: We've taken to you OLIVER: So strong? DODGER: It's clear we're BOTH: Going to get along. DODGER: Consider yourself... OLIVER: Well in? DODGER: Consider yourself... OLIVER: Part of the furniture? BOTH: There isn't a lot to spare! Who cares? Whatever we got we share. DODGER: Nobody tries to be lah-di-dah and uppity. There a cup o'tea for all. Only it's wise to be handy wiv' a rolling pin When the landlord comes to call! BOTH: Consider yourself Our mate. We don't want to have no fuss, For after some consideration we can state Consider yourself One of us! COMPANY: Consider yourself at home. We've taken to you so strong. Consider yourself well in. There isn't a lot to spare
If it should chance to be We should see Some harder days -- Empty-larder days -- Why grouse? Always a chance we'll meet Somebody to foot the bill -- Then the drinks are on the house!
Consider yourself our mate. We don't want to have no fuss, For after some consideration, we can state Consider yourself One of us!
Consider yourself at home. Consider yourself one of the family. We've taken to you so strong, It's clear we're going to get along.
Consider yourself well in, Consider yourself part of the furniture. There isn't a lot to spare. Who cares? Whatever we got we share!
If it should chance to be We should see Some harder days, Empty-larder days, Why grouse? Always a chance we'll meet Somebody to foot the bill, Then the drinks are on the house!
Consider yourself our mate. We don't want to have no fuss, For after some consideration, we can state Consider yourself One of us!
YOU'VE GOT TO PICK A POCKET OR TWO
Dodger takes Oliver to meet Fagin. Oliver notices all the handkerchiefs hanging up and wonders if Fagin runs a laundry. Fagin says his line of business pays a little better. With the help of his boys, Fagin demonstrates.
FAGIN: Let's show Oliver how to do it, my dears. You see, Oliver, In this life, one thing counts: In the bank, large amounts! I'm afraid these don't grow on trees, You've got to pick a pocket or two. You've got to pick a pocket or two, boys, You've got to pick a pocket or two. BOYS: Large amounts don't grow on trees. You've got to pick a pocket or two. FAGIN: Why should we break our backs Stupidly paying tax? Better get some untaxed income: Better pick a pocket or two. You've got to pick a pocket or two, boys, You've got to pick a pocket or two. Sing, boys! BOYS : Why should we all break our backs? Better pick a pocket or two. FAGIN : Charlie, take your hat off while you're in class!
Robin Hood, what a crook: Gave away all he took. Charity's fine, subscribe to mine. Get out and pick a pocket or two. You've got to pick a pocket or two, boys, You've got to pick a pocket or two. BOYS: Robin Hood was far too good. Get out and pick a pocket or two. FAGIN: Watch the beat, boys!
Take a tip from Bill Sikes: He can whip what he likes. I recall, he started small; He had to pick a pocket or two. You've got to pick a pocket or two, boys, You've got to pick a pocket or two. BOYS: We can be like old Bill Sikes If we pick a pocket or two. FAGIN: Pay attention!
Dear old gent passing by, Something nice takes his eye. Everything's clear, attack the rear! Get in and pick a pocket or two. You've got to pick a pocket or two, boys, You've got to pick a pocket or two. BOYS: Have no fear, attack the rear. Get in and pick a pocket or two. FAGIN: When I see someone rich, Both my thumbs start to itch. Only to find some peace of mind I have to pick a pocket or two. You've got to pick a pocket or two, boys, You've got to pick a pocket or two. BOYS: Just to find some peace of mind FAGIN AND BOYS: You have to pick a pocket or two!
The boys hand over the day's takings to Fagin. Fagin tries to teach Oliver the art of picking a pocket and rewards him with sixpence. Oliver's now got sixpence, a home and a profession.
The next morning while the boys are all asleep, Fagin takes a box from a trapdoor in the floor; this is his miser's hoard, which he gloats over. His little pleasure: "a cup of coffee and a quick count-up". Oliver wakes up and sees him, to Fagin's displeasure; he sends Oliver off for a wash while he hides his treasure again.
IT'S A FINE LIFE
Nancy and Bet arrive; Nancy swigs gin, which she calls a small pleasure.
NANCY: Small pleasures, small pleasures, Who would deny us these? Gin toddies -- large measures -- No skimping if you please! I rough it. I love it. Life is a game of chance. I'll never tire of it -- Leading this merry dance. If you don't mind having to go without things, It's a fine life! ALL : Fine life! NANCY : And though it ain't all jolly old pleasure outings, It's a fine life! ALL: Fine life! NANCY: When you've got someone to love, You forget your cares and strife. Let the prudes look down on us. Let the wide world frown on us. It's a fine, fine life! BET and NANCY: Who cares if straightlaces Sneer at us in the street? Fine airs and fine graces NANCY: Don't have to sin to eat. BET and NANCY: We wander through London Who knows what we many find? There's pockets left undone On many a behind. NANCY: If you don't mind taking it like it turns out, It's a fine life! ALL: Fine life! NANCY: And keep the candle burning until it burns out. It's a fine life! ALL: Fine life! NANCY: Though you sometimes do come by The occasional black eye, You can always cover one While he blacks the other one, But you don't dare cry. BET: No flounces, no feathers, No frills and furbelows. All winds and all weathers Ain't good for fancy clothes. NANCY: These trappings, BET: These tatters, BET and NANCY: These we can just afford. NANCY: What future? BET: What matters: BET and NANCY: We've got our bed and board. NANCY: If you don't mind having to deal with Fagin, It's a fine life! ALL: Fine life! NANCY: And though diseased rats threaten to bring the plague in, It's a fine life! ALL: Fine life! NANCY: But the grass is green and dense On the right side of the fence. And we take good care of it That we get our share of it ALL: And we don't mean pence! BET and NANCY: If you don't mind having to like or lump it, It's a fine life! ALL: Fine life! NANCY: Though there's no tea-sippin' and eatin' crumpet, It's a fine life! ALL: Fine life! NANCY: Not for me, the happy home: Happy husband, happy wife. Though it sometimes touches me, For the likes of such as me, Mine's a fine. ALL: Fine life!
I'D DO ANYTHING
Nancy and Bet are introduced to Oliver. Nancy says no one knows how a gentleman of quality acts, "except Dodge."
NANCY: Here, Dodge, have you seen the way the quality gentlemen treats their ladies? DODGER: Of course, I have. NANCY: Shall we show 'em how it's done? DODGER: Definitely. FAGIN: Oh, come on, Nancy, give us a free show on the stage!
NANCY: All right, all right, 'ow does it go now, Dodge? It's all bowin' and 'ats off and -- DODGER: And "don't let your petticoat dangle in the mud, my darling." NANCY: And I'll go last. DODGER: No, no, I'll go last. NANCY: I'll go last. DODGER: I'd do anything, For you, dear, anything, For you mean ev'rything to me. I know that I'd go anywhere, For your smile, anywhere, For your smile ev'rywhere I'd see. NANCY: Would you climb a hill? DODGER: Anything! NANCY: Wear a daffodil? DODGER: Anything! NANCY: Leave me all your will? DODGER: Anything! NANCY: Even fight my Bill? DODGER: Wot? Fisticuffs? I'd risk ev'rything, For one kiss -- ev'rything. Yes, I'd do anything! NANCY: Anything? DODGER: Anything for you! NANCY: Oliver, you do everything you saw 'im do, and I'll tell you all the words you don't know, alright? OLIVER: I'd do anything NANCY: For you, dear, OLIVER: For you, dear, anything NANCY: For you mean OLIVER: For you mean everything to me. I know that I'd go anywhere, For your smile, anywhere, For your smile ev'rywhere I'd see BET: Would you lace my shoe? OLIVER: Anything! BET: Paint your face bright blue? OLIVER: Anything! BET: Catch a kangaroo? OLIVER: Anything! BET: Go to Timbuctoo? OLIVER: And back again! I'd risk ev'rything For one kiss -- ev'rything -- Yes, I'd do anything BET: Anything? OLIVER: Anything for you! DODGER: Come on, Fagin! FAGIN: Would you rob a shop? ALL: Anything! FAGIN: Would you risk the "drop"? ALL: Anything! FAGIN: Though your eyes go pop ALL: Anything! FAGIN: When you come down plop? ALL: Hang ev'rything! We'd risk life and limb To keep you in the swim. Yes, we'd do anything! FAGIN: Anything? ALL: Anything for you.
BE BACK SOON
Fagin sends the boys out to pick pockets, with Oliver under the Dodger's watchful tutelage.
FAGIN: Good luck on your first job, Oliver, my dear. I shall be waiting for you 'ere when you come back.
You can go, but be back soon. You can go, but while you're working This place, I'm pacing 'round Until you're home, safe and sound.
Fare thee well, but be back soon. Who can tell where danger's lurking? Do not forget this tune: be back soon. BOYS: How could we forget How could we let Our dear old Fagin worry? We love him so, We'll come back home In, oh, such a great big hurry. DODGER: It's him that pays the piper. BOYS: It's us that pipes his tune. So long, fare thee well, Pip! Pip! Cheerio! We'll be back soon. FAGIN: You can go but be back soon. You can go, but bring back plenty Of pocket handkerchieves; And you should be clever thieves. Whip it quick, and be back soon. There's a sixpence here for twenty: Ain't that a lovely tune? Be back soon. DODGER: Our pockets'll hold A watch of gold That chimes upon the hour. BOYS: A wallet fat An old man's hat The crown jewels from the tower. We know the Bow Street Runners, DODGER: But they don't know this tune: ALL: So long, fare thee well. Pip! Pip! Cheerio! We'll be back soon. FAGIN: Cheerio, but be back soon. I dunno, somehow I'll miss you. I love you, that's why I Say, "Cheerio" Not goodbye.
Don't be gone long Be back soon. Give me one long last look, bless you. Remember our old tune: be back soon! BOYS: We must disappear, We'll be back here, Today, perhaps tomorrow. We'll miss you too It's sad but true That parting is such sweet sorrow.
And when we're in the distance You'll hear this whispered tune: So long, fare thee well Pip! Pip! Cheerio! We'll be back soon.
FAGIN: BOYS : Cheerio, but be back soon. I dunno, somehow I'll miss you I love you, that why I Say, "Cheerio" Not goodbye.
Don't be gone long Be back soon. Give me one long, last look, bless you. Remember our old tune: Be back soon! We must disappear, We'll be back here, Today, perhaps tomorrow. We'll miss you too; It's sad but true That parting is such sweet sorrow.
And when we're in the distance You'll hear this whispered tune: So long, fare thee well Pip! Pip! Cheerio! We'll be back soon.
And when we're in the distance You'll hear this whispered tune: So long, fare thee well, Pip! Pip! Cheerio! BOYS and FAGIN: We'll be back soon. DODGER: So long, fare thee well, Pip! Pip! Cheerio! We'll be back soon. BOYS: So long, fare thee well, Pip! Pip! Cheerio! BOYS and FAGIN We'll be back soon DODGER: So long, Fagin. FAGIN: Dodger, if you happen to pass the Tower of London, have a look at the Crown Jewels, won't you, boy? DODGER: Alright, ta ra!
Out on the street, Mr. Brownlow's pocket is picked by one of the boys and Oliver is mistakenly accused, chased and captured for the Act I cliffhanger.
OOM-PAH-PAH
At the Three Cripples public house that evening, as the customers drink and have a raucous good time, the landlord calls upon Nancy to sing the "old school song":
NANCY: All right! All right! 'Ere we go then!
There's a little ditty They're singin' in the city, Especially when they've been On the gin or the beer. If you've got the patience, Your own imaginations 'll tell you just exactly what you want to hear: ALL: Oom-pah-pah! Oom-pah-pah! That's how it goes, Oom-pah-pah! Oom-pah-pah! Ev'ryone knows: NANCY: They all suppose what they want to suppose When they hear oom-pah-pah!
Mister Percy Snodgrass Would often have the odd glass -- But never when he thought anybody could see. Secretly he'd buy it, And drink it on the quiet, And dream he was an Earl Wiv' a girl on each knee! ALL: Oom-pah-pah! Oom-pah-pah! That's how it goes. Oom-pah-pah! Oom-pah-pah! Ev'ryone knows: NANCY: What is the cause of his red shiny nose? Could it be oom-pah-pah?
Pretty little Sally Goes walkin' down the alley, Displays a pretty ankle to all of the men. They could see her garters, But not for free and gratis -- An inch or two, and then She knows when to say when! ALL: Oom-pah-pah! Oom-pah-pah! That's how it goes. Oom-pah-pah! Oom-pah-pah! Ev'ryone knows: NANCY: Whether it's hidden, or whether it shows -- It's the same, oom-pah-pah!
She was from the country, But now she's up a gum-tree -- She let a feller feed 'er, and lead 'er along. What's the use o' cryin'? She's made a bed to lie in. She's glad to bring a coin in, And join in this song! ALL: Oom-pah-pah! Oom-pah-pah! That's how it goes! Oom-pah-pah! Oom-pah-pah! Ev'ryone knows: NANCY: She is no longer the same blushin' rose Ever since oom-pah-pah!
There's a little ditty They're singing in the city Especially when they've been On the gin or the beer. If you've got the patience, Your own imaginations 'll tell you just exactly what you want to hear: ALL: Oom-pah-pah! Oom-pah-pah! That's how it goes, Oom-pah-pah! Oom-pah-pah! Ev'ryone knows: They all suppose what they want to suppose When they hear oom-pah-pah!
MY NAME
At the end of Nancy's song, Bill Sikes, her boyfriend enters. The place grows quiet, as he carries with him a strong air of menace.
SIKES:
Strong men tremble when they hear it! They've got cause enough to fear it! It's much blacker than they smear it! Nobody mentions my name!
Rich men hold their five-pound notes out; Saves me emptying their coats out. They know I could tear their throats out Just to live up to my name!
Wiv' me jimmy in me hand, Let me see the man who dares Stop me taking what I may; He can start to say his prayers!
Biceps like an iron girder, Fit for doing of a murder, If I just so much as heard a Bloke even whisper my name!
Bill Sikes!
Strong men tremble when they hear it! They've got cause enough to fear it! It's much blacker than they smear it! Nobody mentions my name!
Some gent, slumming wiv' his valet, Bumped into me in an alley. Now is eyes'll never tally; He'd never heard of my name!
One bloke used to boast a claim He could take my name in vain. Poor bloke, shame 'e was so green; Never was 'e seen again!
Once bad -- what's the good of turning? In hell, I'll be there a-burning; Meanwhile, think of what I'm earning All on account of my name!
What is it? What is it? What is it? My name!
AS LONG AS HE NEEDS ME
Dodger and the boys rush into the pub to explain how Oliver was nicked but absolved in court and taken to the Bloomsbury home of the gentleman whose pocket was picked. Fagin and Sikes are worried that Oliver might talk, Sikes threatens Nancy until she agrees to retrieve Oliver.
NANCY:
As long as he needs me - Oh, yes, he does need me - In spite of what you see, I'm sure that he needs me.
Who else would love him still When they've been used so ill? He knows I always will As long as he needs me.
I miss him so much When he is gone, But when he's near me I don't let on
The way I feel inside, The love I've got to hide. The hell! I've got my pride As long as he needs me.
He doesn't say the things he should. He acts the way he thinks he should. But all the same, I'll play This game his way.
As long as he needs me, I know where I must be; I'll cling on steadfastly As long as he needs me.
As long as life is long, I'll love him right or wrong, And somehow, I'll be strong As long as he needs me.
If you've been lonely Then you will know When someone needs you, You love them so.
I won't betray his trust Though people say I must. I've got to stay true just As long as he needs me.
WHO WILL BUY?
At Mr. Brownlow's house, Oliver, cleaned up amid unaccustomed luxury, looks out of the window to see street sellers.
ROSE-SELLER: Who will buy my sweet red roses? Two blooms for a penny. Who will buy my sweet red roses? Two blooms for a penny. MILKMAID: Will you buy any milk today, mistress? Any milk today, mistress? ROSE-SELLER: Who will buy my sweet red roses? MILKMAID: Any milk today, mistress? ROSE-SELLER: Two blooms for a penny. STRAWBERRY-SELLER: Ripe strawberries, ripe! Ripe strawberries, ripe!
STRAWBERRY-SELLER
MILKMAID:
ROSE-SELLER: KNIFE GRINDER: Ripe strawberries, ripe! Any milk today, mistress? Who will buy my sweet red roses? Knives, knives to grind! Any knives to grind? Knives, knives to grind! Any knives to grind? Who will buy?
STRAWBERRY-SELLER: Who will buy? MILKMAID: Who will buy? ROSE-SELLER: Who will buy? OLIVER: Who will buy this wonderful morning? Such a sky you never did see! ROSE-SELLER: Who will buy my sweet red roses? OLIVER: Who will tie it up with a ribbon And put it in a box for me? STRAWBERRY-SELLER: Ripe strawberries, ripe! OLIVER: So I could see it at my leisure, Whenever things go wrong, And I would keep it as a treasure To last my whole life long. MILKMAID: Any milk today? OLIVER: Who will buy this wonderful feeling? I'm so high I swear I could fly. KNIFE GRINDER: Knives! Knives to grind! STRAWBERRY-SELLER: Ripe strawberries, ripe! OLIVER: Me, oh my! I don't want to lose it So what am I to do To keep the sky so blue? There must be someone who will buy... LONG SONG SELLER: Who will buy? KNIFE GRINDER: Who will buy? MILKMAID: Who will buy? ROSE-SELLER: Who will buy? ALL: Who will buy this wonderful morning? Such a sky you never did see! Who will tie it up with a ribbon And put it in a box for me?
There'll never be a day so sunny, It could not happen twice. Where is the man with all the money? It's cheap at half the price!
Who will buy this wonderful feeling? I'm so high I swear I could fly. Me, oh my! I don't want to lose it So what am I to do To keep the sky so blue? OLIVER: There must be someone who will buy ROSE-SELLER: Who will buy my sweet red roses? Two blooms for a penny!
Brownlow has noticed a likeness between Oliver and his daughter Agnes. Brownlow has some books to be returned to a bookseller and decides to send Oliver on this errand. When Oliver emerges from the house, Nancy pretends he's her little brother. Oliver doesn't want to go with her, but Sikes appears, grabs him and takes him back to Fagin's.
REVIEWING THE SITUATION
Things don't seem to be going well, with Nancy finally standing up to Bill, and the threat that Oliver might have told Brownlow where Fagin and his pickpocket gang live. Fagin stops to take stock:
A man's got a heart, hasn't he? Joking apart -- hasn't he? And though I'd be the first one to say that I wasn't a saint, I'm finding it hard to be really as black as they paint.
I'm reviewing the situation: Can a fellow be a villain all his life? All the trials and tribulation! Better settle down and get meself a wife. And a wife would cook and sew for me, And come for me, and go for me, And go for me and nag at me, The fingers she will wag at me. The money she will take from me. A misery, she'll make from me... I think I'd better think it out again!
A wife you can keep, anyway; I'd rather sleep, anyway. Left without anyone in the world, And I'm starting from now, So how to win friends and to influence people? So how?
I'm reviewing the situation: I must quickly look up ev'ryone I know: Titled people -- with a station -- Who can help me make a real impressive show! I will own a suite at Claridges, And run a fleet of carriages, And wave at all the duchesses With friendliness, as much as is Befitting of my new estate... "Good morning to you, magistrate!" (beat) I think I'd better think it out again.
So where shall I go -- somebody? Who do I know? Nobody! All my dearest companions Have always been villains and thieves. So at my time of life I should start Turning over new leaves?
I'm reviewing the situation: If you want to eat -- you've got to earn a bob! Is it such a humiliation For a robber to perform an honest job? So a job I'm getting, possibly, I wonder who the boss'll be? I wonder if he'll take to me? What bonuses he'll make to me? I'll start at eight and finish late, At normal rate, and all, but wait! I think I'd better think it out again.
What happens when I'm seventy? Must come a time, seventy. When you're old, and it's cold And who cares if you live or you die? The one consolation's the money You may have put by.
I'm reviewing the situation: I'm a bad 'un and a bad 'un I shall stay! You'll be seeing no transformation, But it's wrong to be a rogue in ev'ry way.
I don't want nobody hurt for me, Or made to do the dirt for me. This rotten life is not for me. It's getting far too hot for me. Don't want no one to rob for me. But who will find a job for me. There is no in between for me, But who will change the scene for me? I think I'd better think it out again!
At the end of this wonderful comic/poignant number, when Fagin sings "but who will change the scene for me", the terrific Sean Kenny stage begins to revolve into the setting for the next scene.
Widow Corney has married Mr. Bumble to his everlasting regret. Old Sally wishes to make a dying confession to the workhouse Matron. Sally admits she robbed Oliver's mother on her deathbed of a golden locket. Learning that Oliver comes from a rich family, the Bumbles set out to find him. Bumble winds up at the home of Mr. Brownlow who has advertised for Oliver's return; Bumble gives him the locket which turns out to be a likeness of Brownlow's daughter, Agnes.
Nancy shows up at Brownlow's and confesses her part in kidnapping Oliver, letting slip she had taken him to Fagin's. Brownlow promises not to have Nancy watched or followed and she promises to bring Oliver to him that night at midnight on London Bridge.
AS LONG AS HE NEEDS ME (REPRISE)
NANCY:
He doesn't act as though he cares, But deep inside I know he cares, And that is why I'm tied Right by his side.
As long as he needs me I know where I must be But, will he never see That someone else needs me?
As long as life is long, I'll love him - right or wrong, But he's so big and strong And someone else needs me:
A child with no one to take his part. I'll take his part, Bill, But cross my heart I won't betray your trust Though people say I must. My heart will stay true just As long as Bill needs me.
That night Nancy sets out with Oliver but runs into Sikes He kills her (discreetly out of view of the audience) and her body falls from London Bridge. Brownlow appears in time to see Sikes disappearing with Oliver. He discovers Nancy's body and calls for help. Sikes takes Oliver to Fagin's just as Brownlow is describing him to the police, who identify him as Bill Sikes. Someone in the crowd spots Bill's dog and, angry at the death of the popular Nancy, they set off after it. Sikes appears on the roof with Oliver bound in a rope, threatening to kill the boy. A policeman shoots Sikes, who falls. Oliver is rescued and taken to Mr. Brownlow. The police nab Dodger, who loudly protests. Another policeman carts off Fagin's loot.
REVIEWING THE SITUATION (REPRISE)
Penniless and homeless, Fagin emerges from under the bridge and sings:
Can somebody change? It's possible. Maybe it's strange, But it's possible.
All my bosom companions and treasures -- I've left them behind. I'll turn a leaf over, and who can tell what I may find?
The curtain comes down on Act II to raise again for the Finale, which is a reprise of FOOD, GLORIOUS FOOD. At the end of this, Mr. Brownlow, Bet and Oliver come out with a huge hamper of food. Oliver says, "Help yourself, lads!" as the boys all cheer.
There follows a reprise of CONSIDER YOURSELF and I'D DO ANYTHING.
A whole chapter of Oliver! The proper book! Chapter I Treats of the place where Oliver Twist was born, and of the circumstances attending his birth.
Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is one anciently common to most towns, great or small: to wit, a workhouse; and in this workhouse was born; on a day and date which I need not trouble myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events; the item of mortality whose name is prefixed to the head of this chapter. For a long time after it was ushered into this world of sorrow and trouble, by the parish surgeon, it remained a matter of considerable doubt whether the child would survive to bear any name at all; in which case it is somewhat more than probable that these memoirs would never have appeared; or, if they had, that being comprised within a couple of pages, they would have possessed the inestimable merit of being the most concise and faithful specimen of biography, extant in the literature of any age or country.
Although I am not disposed to maintain that the being born in a workhouse, is in itself the most fortunate and enviable circumstance that can possibly befall a human being, I do mean to say that in this particular instance, it was the best thing for Oliver Twist that could by possibility have occurred. The fact is, that there was considerable difficulty in inducing Oliver to take upon himself the office of respiration,- a troublesome practice, but one which custom has rendered necessary to our easy existence; and for some time he lay gasping on a little flock mattress, rather unequally poised between this world and the next: the balance being decidedly in favour of the latter. Now, if, during this brief period, Oliver had been surrounded by careful grandmothers, anxious aunts, experienced nurses, and doctors of profound wisdom, he would most inevitably and indubitably have been killed in no time. There being nobody by, however, but a pauper old woman, who was rendered rather misty by an unwonted allowance of beer; and a parish surgeon who did such matters by contract; Oliver and Nature fought out the point between them. The result was, that, after a few struggles, Oliver breathed, sneezed, and proceeded to advertise to the inmates of the workhouse the fact of a new burden having been imposed upon the parish, by setting up as loud a cry as could reasonably have been expected from a male infant who had not been possessed of that very useful appendage, a voice, for a much longer space of time than three minutes and a quarter.
As Oliver gave this first proof of the free and proper action of his lungs, the patchwork coverlet which was carelessly flung over the iron bedstead, rustled; the pale face of a young woman was raised feebly from the pillow; and a faint voice imperfectly articulated the words, "Let me see the child, and die."
The surgeon had been sitting with his face turned towards the fire: giving the palms of his hands a warm and a rub alternately. As the young woman spoke, he rose, and advancing to the bed's head, said, with more kindness than might have been expected of him:
"Oh, you must not talk about dying yet."
"Lor bless her heart, no!" interposed the nurse, hastily depositing in her pocket a green glass bottle, the contents of which she had been tasting in a corner with evident satisfaction. "Lor bless her dear heart, when she has lived as long as I have, sir, and had thirteen children of her own, and all on 'em dead except two, and them in the wurkus with me, she'll know better than to take on in that way, bless her dear heart! Think what it is to be a mother, there's a dear young lamb, do."
Apparently this consolatory perspective of a mother's prospects failed in producing its due effect. The patient shook her head, and stretched out her hand towards the child.
The surgeon deposited it in her arms. She imprinted her cold white lips passionately on its forehead; passed her hands over her face; gazed wildly round; shuddered; fell back- and died. They chafed her breast, hands, and temples; but the blood had stopped for ever. They talked of hope and comfort. They had been strangers too long.
"It's all over, Mrs. Thingummy!" said the surgeon at last.
"Ah, poor dear, so it is!" said the nurse, picking up the cork of the green bottle, which had fallen out on the pillow, as she stooped to take up the child. "Poor dear!"
"You needn't mind sending up to me, if the child cries, nurse," said the surgeon, putting on his gloves with great deliberation. "It's very likely it (r)will¯ * be troublesome. Give it a little gruel if it is." He put on his hat, and, pausing by the bed-side on his way to the door, added, "She was a good-looking girl, too; where did she come from?"
"She was brought here last night," replied the old woman, "by the overseer's order. She was found lying in the street. She had walked some distance, for her shoes were worn to pieces; but where she came from, or where she was going to, nobody knows."
The surgeon leaned over the body, and raised the left hand. "The old story," he said, shaking his head: "no wedding ring, I see. Ah! Good night!"
The medical gentleman walked away to dinner; and the nurse, having once more applied herself to the green bottle, sat down on a low chair before the fire, and proceeded to dress the infant.
What an excellent example of the power of dress, young Oliver Twist was! Wrapped in the blanket which had hitherto formed his only covering, he might have been the child of a nobleman or a beggar; it would have been hard for the haughtiest stranger to have assigned him his proper station in society. But now that he was enveloped in the old calico robes which had grown yellow in the same service, he was badged and ticketed, and fell into his place at once- a parish child- the orphan of a workhouse- the humble, half-starved drudge- to be cuffed and buffeted through the world- despised by all, and pitied by none.
Oliver cried lustily. If he could have known that he was an orphan, left to the tender mercies of churchwardens and overseers, perhaps he would have cried the louder.
Stuff about oliver from wikipedia. Oliver Twist (1838) is Charles Dickens' second novel. The book was originally published in Bentley's Miscellany as a serial, in monthly installments that began appearing in the month of February 1837 and continued through April 1839. George Cruikshank provided one steel etching per month to illustrate each installment.[1]
Oliver Twist is the first novel in the English language to center throughout on a child protagonist [2] and is also notable for Dickens' unromantic portrayal of criminals and their sordid lives.[3] The book's subtitle, The Parish Boy's Progress alludes to Bunyan's The Pilgrim's Progress and also to a pair of popular 18th-century caricature series by William Hogarth, "A Rake's Progress" and "A Harlot's Progress."[4]
An early example of the social novel, the book calls the public's attention to various contemporary social evils, including the workhouse, child labour and the recruitment of children as criminals. Dickens mocks the hypocrisies of the time by surrounding the novel's serious themes with sarcasm and dark humour. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of his hardships as a child laborer in a cotton mill was widely read in the 1830s.
Oliver Twist has been the subject of numerous film and television adaptations, and is the basis for a highly successful British musical, Oliver!.
Contents [hide] 1 Plot summary 2 Characters in "Oliver Twist" 3 Major themes and symbols 4 Film, TV or theatrical adaptations 5 Notes 6 External links
[edit] Plot summary
"Please, sir, I want some more." Illustration by George CruikshankOliver Twist was born into a life of poverty and misfortune in the workhouse in Mudfog, a town within a 75 mile radius of London. Orphaned almost from his first breath by his mother’s death in childbirth and his father’s unexplained absence, Oliver is meagerly provided for under the terms of the Poor Law, and spends the first nine years of his life at a "baby farm" in the 'care' of a woman named Mrs. Mann. Along with other juvenile offenders against the poor-laws, Oliver is brought up with little food and few comforts.
Around the time of the orphan’s ninth birthday, Mr Bumble, a parish beadle, removes Oliver from the baby farm and puts him to work picking oakum at the main branch-workhouse. Oliver, who toils with very little food, remains in the workhouse for six months, until the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal tremblingly comes forward, bowl in hand, and makes his famous request: "Please, sir, I want some more."
A great uproar ensues. The board of well-fed gentlemen who administer the workhouse, while eating a meal fit for a king, are outraged by Oliver's 'ingratitude'. Wanting to be rid of this troublemaker, they offer five pounds to any person wishing to take on the boy as an apprentice. A brutal chimney sweep almost claims Oliver, but, when he begs despairingly not to be sent away with "that dreadful man" a kindly old magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver well, and, because of the boy's sorrowful countenance, uses him as a "mute", or mourner, at children's funerals. His wife, however, takes an immediate dislike to Oliver – primarily because her husband seems to like him – and loses few opportunities to underfeed and mistreat him. He also suffers torments at the hands of Noah Claypole, a bullying and none-too-bright fellow apprentice who is jealous of Oliver's promotion to mute.
One day, in an attempt to bait Oliver, Noah insults the orphan’s late mother, calling her "a regular right-down bad 'un". Oliver flies into an unexpected passion, attacking and even besting the much bigger boy. Mrs. Sowerberry takes Noah's side, helps him subdue Oliver, and later goads her husband and the Beadle into again beating the young orphan. Alone that night, Oliver finally decides to run away. He wanders aimlessly for a time, until a well-placed tableau sets his wandering feet towards London.
During his journey to London, Oliver encounters one Jack Dawkins, who is also affectionately known as the Artful Dodger, although young Oliver is oblivious to the hint. Dawkins provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dawkins to the gentleman’s residence. In this way, Oliver unwittingly falls in with an infamous criminal known as Fagin, the "old gentleman" of whom Dawkins spoke. Ensnared, Oliver lives with Fagin and his criminal associates in their lair at Saffron Hill for some time, naively unaware of their criminal occupations.
Later, Oliver innocently goes out to "make handkerchiefs" with two of Fagin’s underlings: Dawkins and a boy of a humorous nature named Charley Bates. Oliver realizes too late that their real mission is to pick pockets, and, although he doesn't participate, he is hunted down and arrested. To the judge's evident disappointment, a witness clears Oliver, who, by now acutely ill, faints in the courtroom. A wealthy old gentleman named Mr. Brownlow, whom he was previously thought to have robbed, takes Oliver home and cares for him.
Oliver stays with Mr. Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss, however, is interrupted when Fagin, fearing Oliver might "peach" on his criminal gang, orchestrates Oliver's kidnapping. When Mr. Brownlow sends Oliver to pay for some books, one of the gang, Nancy, although reluctantly, accosts him with help from a brutal robber named Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five pound note Mr. Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver expresses dismay at his abduction, he flees and attempts to call for police assistance, but is ruthlessly dragged back by the Dodger, Charlie and Fagin. Nancy, however, is sympathetic toward Oliver and saves him from beatings by Fagin and Sikes, who is Nancy's abusive lover.
In an attempt to again bring him into a life of crime, Oliver is forced by Fagin to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not cooperate, sends Oliver through a small window and orders him to unlock the front door. The robbery goes wrong, however, and Oliver is shot. After being abandoned by Sikes, a wounded Oliver ends up under the care of the people he was supposed to rob: Rose Maylie and the elderly Mrs. Maylie. Convinced of Oliver’s innocence, Rose takes the boy in and nurses him, once again, back to health.
Meanwhile, a mysterious man named Monks has found Fagin and is plotting with him to destroy Oliver's reputation. Nancy, by this time ashamed of her role in Oliver's kidnapping, and fearful for the boy's safety, goes to Rose Maylie and Mr. Brownlow to warn them. She knows that Monks and Fagin are plotting to get their hands on the boy again. She manages to keep her meetings secret until Noah Claypole (who has fallen out with the undertaker and moved to London to seek his fortune), using the name "Morris Bolter," joins Fagin's gang for protection. During Noah's stay with Fagin, the Artful Dodger is caught with a stolen silver snuff box, convicted and transported to Australia. Later, Noah is sent by Fagin to "dodge" (spy on) Nancy, and discovers her secret. Fagin angrily passes the information on to Sikes, twisting the story just enough to make it sound as if Nancy had informed on him (in actuality, she had shielded Sikes, whom she loves despite his brutal character). Believing her to be a traitor, Sikes murders Nancy in a fit of rage, and is himself killed when he accidentally hangs himself while fleeing an angry mob.
Monks is forced by Mr. Brownlow (an old friend of Oliver's father) to divulge his secrets: he is Oliver's paternal half-brother and, although he is legitimate, he was born of a loveless marriage. Oliver's mother, Agnes, was their father's true love. Monks has spent many years searching for his father's bastard child - not to befriend him, but to destroy him (see Henry Fielding's Tom Jones for similar circumstances). Brownlow asks Oliver to give half his inheritance (which proves to be meager) to Monks because he wants to give him a second chance; and Oliver, to please Brownlow, complies. Monks then moves to America, where he squanders his money, reverts to crime, and ultimately dies in prison. Fagin is arrested and condemned to the gallows; in an emotional scene, Oliver goes to Newgate Gaol to visit the old reprobate on the eve of his hanging.
On a happier note, Rose Maylie turns out to be the long-lost sister of Oliver's mother Agnes; she is therefore Oliver's aunt. She marries her long-time sweetheart Harry, and Oliver lives happily with his saviour, Mr. Brownlow. Noah becomes a paid informant; Mr. Bumble loses his job and is reduced to great poverty; and Charley Bates, horrified by Sikes' murder of Nancy, becomes an honest citizen, moves to the country, and works his way up to prosperity.
[edit] Characters in "Oliver Twist"
Cover page of Oliver Twist, this the first novelization which appeared in 1838, six months before the serialization was completed.Oliver Twist – the title character, an orphan boy born in a workhouse Fagin – a man who recruits and trains boys for thievery Bill Sikes – a violent thief and eventual murderer The Artful Dodger aka Jack Dawkins – one of Fagin's boy pickpockets Charley Bates – another of Fagin's boy pickpockets Nancy – Bill's girl; a thief trained by Fagin who longs for a better life Betsy – (nearly always called simply Bet) a thief of Fagin's and friend of Nancy Noah Claypole – untalented apprentice to Mr Sowerberry, and something of a bully Mr. Brownlow – Oliver's saviour, a kindly old gentleman Monks, aka Edward Leeford – Oliver's half-brother, a criminal type bent on destroying Oliver. Rose Maylie– A kindly young woman, Oliver's second saviour, who turns out to be his aunt. Mr Bumble – the parish Beadle and leader of the orphanage. He's officious, corrupt, a chronic mangler of the King's English, and a great source of comic relief. Mr. Sowerberry – an Undertaker who takes Oliver into his service. He's not a bad sort, and rather likes Oliver. Mrs. Sowerberry – Mr. Sowerberry's shrewish wife, who dislikes Oliver and treats him cruelly. Charlotte – servant to Mrs Sowerberry; in love with Noah Claypole Gamfield – a vicious chimney-sweep who nearly claims Oliver as apprentice Fang – a harsh, unjust magistrate who almost sentences Oliver to three month's hard labour. Dickens based him on a real magistrate named Laing. Mrs Bedwin – Motherly housekeeper to Mr Brownlow who nurses Oliver back to health Mr Grimwig – an old friend of Mr Brownlow's who pretends to be a great cynic, but is really a sentimental softy.
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Oliver Twist, one of Dickens's best-known novels, is a grimly comic indictment of the effects of industrialism upon 19th century England. Oliver, an innocent child, is trapped in an unforgiving society where, thanks in part to the harsh new Poor Laws, his only practical alternatives seem to be the workhouse, Fagin's den of thieves, a prison sentence, or an early grave. From this grim industrial/institutional setting, however, a fairy tale also emerges: In the midst of corruption and degradation, the essentially passive Oliver remains pure-hearted; he refrains from evil when those around him succumb; and, in proper fairy-tale fashion, he eventually receives his reward - just as his chief tormenters receive theirs. On the way to this happy ending, Dickens takes the opportunity to explore the kind of life an orphan, outcast boy could expect to lead in the London of the 1830s.[5]
Charity and love - and the lack thereof - are important motifs in Oliver Twist.[6] Although mistreated by almost everyone who has any authority over him, Oliver receives love and kindness from a few people – the old magistrate who saves him from Mr. Gamfield, the bookseller who gives evidence to clear him, and, of course, Mr. Brownlow, Rose Maylie, and Nancy. These unaccustomed acts of kindness make a great impression on Oliver, and save him from a variety of bad ends. In contrast to the false charity offered by Fagin, and the grudging pittance afforded him at the workhouse, Mr. Brownlow and Rose Maylie open their homes and hearts to Oliver, and Nancy loses her life when she defies her criminal "family" and helps him escape the life they've planned for him.
Ambivalence is a notable theme in the novel, and is most discernible in Nancy. Although she is a full-fledged criminal, indoctrinated and trained by Fagin since childhood, she retains enough empathy to repent her role in Oliver's kidnapping, and to take steps to try to atone. As one of Fagin's victims, corrupted but not yet morally dead, she gives eloquent voice to the horrors of the old man's little criminal empire. She wants to save Oliver from a similar fate; at the same time, she recoils from the idea of turning traitor, especially to Bill Sikes, whom she loves. When he was later criticised for giving a "thieving, whoring slut of the streets" such an unaccountable reversal of character, Dickens ascribed her change of heart to "the last fair drop of water at the bottom of a weed-choked well."[7] With Nancy, Dickens shows how the forces of corruption can distort a person's impulses toward the good (Nancy's "good character", by Fagin's lights, consists in being a clever thief who won't "peach") without extinguishing those impulses altogether.
England's class system is another important part of the novel's dynamics. Dickens shows how the Poor Law Amendment of 1834 influenced society: a middle class developed and began to exploit the lower classes[citation needed]. Mrs. Mann, Mr. Bumble and Mrs. Sowerberry are examples of middle class people who abuse members of the lower class. Oliver, an orphan without friends, means, or known relatives, is routinely despised and mistreated on that basis alone - often by people such as Noah Claypole who are only slightly above him on the social scale. When salvation arrives for Oliver, it comes primarily from the upper classes.
If Dickens intends to criticise the class system, however, he delivers a rather mixed message. Noah Claypole, a charity boy like Oliver, is idle, mean, and cowardly; Sikes is a thug; Fagin lives by corrupting children; and the Artful Dodger seems born for a life of crime. Most of the middle-class people Oliver encounters, such as the savagely hypocritical "gentlemen" of the workhouse board, are, if anything, worse.[8] Oliver, on the other hand, who has an air of refinement remarkable for a workhouse boy, proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimizing anyone else. This apparently hereditary gentlemanliness makes Oliver Twist something of a changeling tale, not just an indictment of social injustice. Oliver, born for better things, struggles to survive in the savage world of the underclass before finally being rescued by his family and returned to his proper place.
In a style that would become characteristic, Dickens makes considerable use of symbolism. The "merry old gentleman" Fagin, for example, has satanic characteristics - he is a veteran corrupter of young boys who first appears standing over a fire holding a toasting-fork in lieu of a pitchfork, and the underworld he presides over has an infernal aspect.[9] Food, too, has symbolic value; Oliver's odyssey begins with a simple request for more gruel, and Mr. Bumble's shocked exclamation "Oliver Twist has asked for more!" indicates that the "more" Oliver hungers for is not just gruel.[10] Chapter 8--which contains the last noteworthy mention of food in the form of Fagin's dinner--marks the first time Oliver "ate his share" and represents the transformation in his life that occurs after he joined Fagin's gang.
Names are a rich source of comic symbolism in Dickens' writing, often marking their owners as semi-monstrous caricatures. Mrs. Mann, who has charge of the infant Oliver, is not the most motherly of women; Mr. Bumble, despite his impressive sense of his own dignity, continually mangles the official language he tries to use; and Mr. Fang, the magistrate who adjudicates Oliver's alleged theft of a handkerchief, is such a sadist that he nearly consigns the ailing boy to three month's hard labour - a sentence that would surely have killed him. The Sowerberry's are, of course, "sour berries", a reference to Mrs. Sowerberry's perpetual scowl, and, possibly, to Mr. Sowerberry's profession (burying) and to the poor provender Oliver receives from them. The "good" characters are also named according to their type; Mr. Grimwig, for example, is so called because his seemingly "grim", pessimistic outlook is actually a protective cover for his kind, sentimental soul. Oliver Twist's name, chosen according to an alphabetical system, at first reflects nothing more than his lowly status as just another "item of mortality" in a long list of others. The surname "Twist", however - although bestowed by the eminently prosaic Mr Bumble - foreshadows the strange turns of fortune which await its bearer.
The world of Oliver Twist is indeed a grim one. Dickens manages to contrive happy endings for most of the deserving characters, however; and although Oliver's escape from the slums is more or less miraculous, he clearly hopes to improve the chances of orphans like Oliver by opening the public's eyes to their vulnerability and suffering. In Oliver Twist, the gaze of knowing eyes can be a powerful force. Fagin, who for decades manages to conceal his criminal activities, ends up squirming in the "living light" of too many eyes as he stands in the dock, awaiting sentence. When Sikes kills Nancy, the memory of her eyes continues to accuse him even after he has fled the scene. Charlie Bates turns his back on crime when he sees the murderous cruelty of the man who has been held up to him as a model. With Oliver Twist, Dickens invites the public to become similarly enlightened.
[edit] Film, TV or theatrical adaptations There have been many theatrical, film and television adaptations of Dickens' novel:
Beginning in 1868, Dickens himself frequently performed a dramatic reading called "Sikes and Nancy" from Oliver Twist. His family begged him to desist because he flung himself into the performance with such energy that he undermined his by-then precarious health.[11] Several stage versions of the novel played England and the U.S. during the nineteenth century, often to Dickens's dismay and outrage; copyright laws were not enforced strictly then, and Dickens seldom received royalties from the stage versions. The earliest film adaptation is a silent film made in 1909. A 1912 version starring Nat Goodwin as Fagin. A 1916 version with Tully Marshall as Fagin, Hobart Bosworth as Bill Sikes, and Marie Doro in a trouser role as Oliver. The 1922 film, the most famous silent version of the classic ever made, starring Jackie Coogan as Oliver and Lon Chaney as Fagin. The film was lost for almost 50 years, until a print was rediscovered in Europe in the 1970s.[citation needed] A low-budget 1933 version of the novel (the first with sound), starring Irving Pichel as Fagin, Dickie Moore as Oliver Twist, and Doris Lloyd as Nancy. Oliver Twist, a feature film from 1948 by David Lean, starring Alec Guinness in one of his most defining roles as Fagin, is still considered the classic film version. In 1960, Lionel Bart's musical play Oliver! opened to rave reviews in London. It became the longest-running musical there up to that time, playing six years. Producer David Merrick brought the show to the United States. The show toured nationally in cities including Los Angeles, San Francisco and Detroit before opening at the Imperial Theatre on Broadway on January 6, 1963, where it received less ecstatic reviews and did not run nearly as long as it did in London. Lionel Bart's musical was adapted for the big screen in Oliver! (1968), it received eleven nominations and won six including the Academy Award for Best Picture in 1969. It featured Mark Lester as Oliver, Ron Moody as Fagin, Oliver Reed as Sikes, Shani Wallis as Nancy, and Jack Wild as the Artful Dodger. It received better reviews than the show had. The film also won an Oscar for its director, Sir Carol Reed. Moody and Wild were also Oscar-nominated, but did not win. This is still the only film version of the novel to receive Oscar nominations. George C. Scott played Fagin in a 1982 television version. A 1985 BBC television drama adaptation in their Classic Serial strand, produced by Terrance Dicks and starring Eric Porter as Fagin. An animated interpretation by Disney called Oliver & Company (1988), loosely based on Dickens, about an orphaned cat named Oliver who meets a dog called Dodger. It takes place in New York City instead of England. A television movie, Oliver Twist, was released in 1997. An ITV/PBS production, Oliver Twist, from 1999, adapted by Alan Bleasdale and starring Robert Lindsay as Fagin, and Andy Serkis as Bill Sikes. In 2001, Oliver!, A theatrical adaptation, was done at the Centaur theatre in Montreal Starring James Mariotti-Lapointe as Oliver. The 2003 movie Twist by director Jacob Tierney is loosely based on the novel but set in modern-day Toronto with male prostitution and drugs, rather than pickpocketing. Boy called Twist by director Timothy Greene (2004) is set in Cape Town, South Africa, in the street-kid scene. With its unglamorous but sympathetic account of city poverty, the film is true to Dickens' story. In 2005 director Roman Polanski released a new big-budget version of Oliver Twist. In December 2006, "Twist", a new musical (with no connection to the 2003 film), with book and lyrics by Gila Sand and music by Scissor Sisters composer and collaborator Paul Leschen with Gila Sand (additional music by Garrit Guadan), opened at the Kraine Theatre in New York. The Score was nominated for a 2007 Drama Desk Award to Outstanding Music (Paul Leschen with Gila Sand). [1] In May 2007, German student film makers published an English subtitled parody on "Oliver Twist", titled "Twisted Olivier", on their web site. In autumn of 2007, the BBC will show a new Oliver Twist, written by Sarah Phelps and directed by Coky Giedroyc.[12] Adaptations of the novel tend to simplify the original story. The way the book is normally interpreted on screen causes modern readers to focus on Bill Sikes as the villain. They thus fail to recognise how Fagin has trained Sikes and made him what he is; part of Dickens' message is that he might have done the same with Oliver had chance not intervened.
The renowned comic book creator, Will Eisner, disturbed by the anti-semitism in the typical depiction of Fagin, created a graphic novel in 2003 titled Fagin the Jew. In this book, the back story of the character and events of Oliver Twist are depicted from his point of view.
[edit] Notes ^ Oxford Reader's Companion to Dickens (Paul Schlicke, Editor). Oxford: Oxford University Press, 1999, p. 141. ^ According to many Dickens scholars such as Peter Ackroyd (in Dickens. New York: HarperCollins, 1990, pp. 216-7), although the early part of Fielding's Tom Jones features its protagonist as a child. ^ Donovan, Frank. The Children of Charles Dickens. London: Leslie Frewin, 1968, pp. 61-62 ^ Dunn, Richard J.. Oliver Twist: Whole Heart and Soul (Twayne's Masterwork Series No. 118). New York: Macmillan, p. 37. ^ Miller, J. Hillis. "The Dark World of Oliver Twist" in Charles Dickens (Harold Bloom, editor), New York: Chelsea House Publishers, 1987, p. 35 ^ Walder, Dennis, "Oliver Twist and Charity" in Oliver Twist: a Norton Critical Edition (Fred Kaplan, Editor). New York: W.W. Norton, 1993, pp. 515-525 ^ Donovan, Frank, ibid, p. 79. ^ Oxford Reader's Companion to Dickens, ibid., p. 459. ^ Miller, ibid, p. 48 ^ Miller, ibid, p. 31 ^ Oxford Reader's Companion to Dickens, ibid., p. 479. ^ http://www.thestage.co.uk/news/newsstory.php/17401/drop-the-dead-donkey-duo-creates-new-bbc1
[edit] External links Wikisource has original text related to this article: Oliver TwistOnline Text Oliver Twist, available at Project Gutenberg. Oliver Twist - complete book in HTML Oliver Twist - easy to read HTML version Oliver Twist - searchable HTML version Critical analysis When Is a Book Not a Book? Oliver Twist in Context, a seminar by Robert Patten from the New York Public Library Background information and plot summary for Oliver Twist, with links to other Dickens resources. [hide]v • d • eOliver Twist Characters Fagin | Bill Sikes | The Artful Dodger | Nancy Sikes | Rose Maylie Film adaptions Oliver Twist (1948) | Oliver! | Oliver & Company | Oliver Twist (1997) | Twist | Boy called Twist | Oliver Twist (2005) Other adaptions Oliver! | Fagin the Jew | Oliver Twist (TV miniseries)
Retrieved from "http://en.wikipedia.org/wiki/Oliver_Twist" Categories: Articles lacking reliable references from December 2006 | Pages needing expert attention | Articles with unsourced statements since February 2007 | All articles with unsourced statements | Articles with unsourced statements since July 2007 | 1838 novels | Novels by Charles Dickens | Serialized novels | London in fiction | Black and white films | 1909 films | Charles Dickens characters | Fictional orphans | Fictional thieves
Table of Contents CHAPTER I TREATS OF THE PLACE WHERE OLIVER TWIST WAS BORN AND OF THE CIRCUMSTANCES ATTENDING HIS BIRTH CHAPTER II TREATS OF OLIVER TWIST’S GROWTH, EDUCATION, AND BOARD CHAPTER III RELATES HOW OLIVER TWIST WAS VERY NEAR GETTING A PLACE WHICH WOULD NOT HAVE BEEN A SINECURE CHAPTER IV OLIVER, BEING OFFERED ANOTHER PLACE, MAKES HIS FIRST ENTRY INTO PUBLIC LIFE CHAPTER V OLIVER MINGLES WITH NEW ASSOCIATES. GOING TO A FUNERAL FOR THE FIRST TIME, HE FORMS AN UNFAVOURABLE NOTION OF HIS MASTER’S BUSINESS CHAPTER VI OLIVER, BEING GOADED BY THE TAUNTS OF NOAH, ROUSES INTO ACTION, AND RATHER ASTONISHES HIM CHAPTER VII OLIVER CONTINUES REFRACTORY CHAPTER VIII OLIVER WALKS TO LONDON. HE ENCOUNTERS ON THE ROAD A STRANGE SORT OF YOUNG GENTLEMAN CHAPTER IX CONTAINING FURTHER PARTICULARS CONCERNING THE PLEASANT OLD GENTLEMAN, AND HIS HOPEFUL PUPILS CHAPTER X OLIVER BECOMES BETTER ACQUAINTED WITH THE CHARACTERS OF HIS NEW ASSOCIATES; AND PURCHASES EXPERIENCE AT A HIGH PRICE. BEING A SHORT, BUT VERY IMPORTANT CHAPTER, IN THIS HISTORY CHAPTER XI TREATS OF MR. FANG THE POLICE MAGISTRATE; AND FURNISHES A SLIGHT SPECIMEN OF HIS MODE OF ADMINISTERING JUSTICE CHAPTER XII IN WHICH OLIVER IS TAKEN BETTER CARE OF THAN HE EVER WAS BEFORE. AND IN WHICH THE NARRATIVE REVERTS TO THE MERRY OLD GENTLEMAN AND HIS YOUTHFUL FRIENDS. CHAPTER XIII SOME NEW ACQUAINTANCES ARE INTRODUCED TO THE INTELLIGENT READER, CONNECTED WITH WHOM VARIOUS PLEASANT MATTERS ARE RELATED, APPERTAINING TO THIS HISTORY CHAPTER XIV COMPRISING FURTHER PARTICULARS OF OLIVER’S STAY AT MR. BROWNLOW’S, WITH THE REMARKABLE PREDICTION WHICH ONE MR. GRIMWIG UTTERED CONCERNING HIM, WHEN HE WENT OUT ON AN ERRAND CHAPTER XV SHOWING HOW VERY FOND OF OLIVER TWIST, THE MERRY OLD JEW AND MISS NANCY WERE CHAPTER XVI RELATES WHAT BECAME OF OLIVER TWIST, AFTER HE HAD BEEN CLAIMED BY NANCY CHAPTER XVII OLIVER’S DESTINY CONTINUING UNPROPITIOUS, BRINGS A GREAT MAN TO LONDON TO INJURE HIS REPUTATION CHAPTER XVIII HOW OLIVER PASSED HIS TIME IN THE IMPROVING SOCIETY OF HIS REPUTABLE FRIENDS CHAPTER XIX IN WHICH A NOTABLE PLAN IS DISCUSSED AND DETERMINED ON CHAPTER XX WHEREIN OLVER IS DELIVERED OVER TO MR. WILLIAM SIKES CHAPTER XXI THE EXPEDITION CHAPTER XXII THE BURGLARY CHAPTER XXIII WHICH CONTAINS THE SUBSTANCE OF A PLEASANT CONVERSATION BETWEEN MR. BUMBLE AND A LADY; AND SHOWS THAT EVEN A BEADLE MAY BE SUSCEPTIBLE ON SOME POINTS CHAPTER XXIV TREATS ON A VERY POOR SUBJECT. BUT IS A SHORT ONE, AND MAY BE FOUND OF IMPORTANCE IN THIS HISTORY CHAPTER XXV WHEREIN THIS HISTORY REVERTS TO MR. FAGIN AND COMPANY CHAPTER XXVI IN WHICH A MYSTERIOUS CHARACTER APPEARS UPON THE SCENE; AND MANY THINGS, INSEPARABLE FROM THIS HISTORY, ARE DONE AND PERFORMED CHAPTER XXVII ATONES FOR THE UNPOLITENESS OF A FORMER CHAPTER; WHICH DESERTED A LADY, MOST UNCEREMONIOUSLY CHAPTER XXVIII LOOKS AFTER OLIVER, AND PROCEEDS WITH HIS ADVENTURES CHAPTER XXIX HAS AN INTRODUCTORY ACCOUNT OF THE INMATES OF THE HOUSE, TO WHICH OLIVER RESORTED CHAPTER XXX RELATES WHAT OLIVER’S NEW VISITORS THOUGHT OF HIM CHAPTER XXXI INVOLVES A CRITICAL POSITION CHAPTER XXXII OF THE HAPPY LIFE OLIVER BEGAN TO LEAD WITH HIS KIND FRIENDS CHAPTER XXXIII WHEREIN THE HAPPINESS OF OLIVER AND HIS FRIENDS, EXPERIENCES A SUDDEN CHECK CHAPTER XXIV CONTAINS SOME INTRODUCTORY PARTICULARS RELATIVE TO A YOUNG GENTLEMAN WHO NOW ARRIVES UPON THE SCENE; AND A NEW ADVENTURE WHICH HAPPENED TO OLIVER CHAPTER XXXV CONTAINING THE UNSATISFACTORY RESULT OF OLIVER’S ADVENTURE; AND A CONVERSATION OF SOME IMPORTANCE BETWEEN HARRY MAYLIE AND ROSE CHAPTER XXXVI IS A VERY SHORT ONE, AND MAY APPEAR OF NO GREAT IMPORTANCE IN ITS PLACE, BUT IT SHOULD BE READ NOTWITHSTANDING, AS A SEQUEL TO THE LAST, AND A KEY TO ONE THAT WILL FOLLOW WHEN ITS TIME ARRIVES CHAPTER XXXVII IN WHICH THE READER MAY PERCEIVE A CONTRAST, NOT UNCOMMON IN MATRIMONIAL CASES CHAPTER XXXVIII CONTAINING AN ACCOUNT OF WHAT PASSED BETWEEN MR. AND MRS. BUMBLE, AND MR. MONKS, AT THEIR NOCTURNAL INTERVIEW CHAPTER XXXIX INTRODUCES SOME RESPECTABLE CHARACTERS WITH WHOM THE READER IS ALREADY ACQUAINTED, AND SHOWS HOW MONKS AND THE JEW LAID THEIR WORTHY HEADS TOGETHER CHAPTER XL A STRANGE INTERVIEW, WHICH IS A SEQUEL TO THE LAST CHAMBER CHAPTER XLI CONTAINING FRESH DISCOVERIES, AND SHOWING THAT SUPRISES, LIKE MISFORTUNES, SELDOM COME ALONE CHAPTER XLII AN OLD ACQUAINTANCE OF OLIVER’S, EXHIBITING DECIDED MARKS OF GENIUS, BECOMES A PUBLIC CHARACTER IN THE METROPOLIS CHAPTER XLIII WHEREIN IS SHOWN HOW THE ARTFUL DODGER GOT INTO TROUBLE CHAPTER XLIV THE TIME ARRIVES FOR NANCY TO REDEEM HER PLEDGE TO ROSE MAYLIE. SHE FAILS. CHAPTER XLV NOAH CLAYPOLE IS EMPLOYED BY FAGIN ON A SECRET MISSION CHAPTER XLVI THE APPOINTMENT KEPT CHAPTER XLVII FATAL CONSEQUENCES CHAPTER XLVIII THE FLIGHT OF SIKES CHAPTER XLIX MONKS AND MR. BROWNLOW AT LENGTH MEET. THEIR CONVERSATION, AND THE INTELLIGENCE THAT INTERRUPTS IT CHAPTER L THE PURSUIT AND ESCAPE CHAPTER LI AFFORDING AN EXPLANATION OF MORE MYSTERIES THAN ONE, AND COMPREHENDING A PROPOSAL OF MARRIAGE WITH NO WORD OF SETTLEMENT OR PIN–MONEY CHAPTER LII FAGIN’S LAST NIGHT ALIVE CHAPTER LIII AND LAST
Maybe what happens daethly hallows: Snape dies on pg. 658 Burbage dies on pg. 12 Hedwig dies on pg. 56 Mad-Eye dies on pg. 78 Scrimgeour dies on pg. 159 Wormtail dies on pg. 471 Dobby dies on pg. 476 Fred Weasley dies on pg. 637 Harry gets fucked up by Voldemort on pg. 704 but comes back to life on pg. 724 Tonks, Lupin, and Colin Creevy have their deaths confirmed on pg. 743
19 years after the events in the book:
Ron has married Hermione, their two children are named Rose and Hugo Harry has married Ginny, their three children are named Lily, James, and Albus Severus. Draco Malfoy has a son named Scorpius
Retrieved from "http://en.wikipedia.org/wiki/Harry_Potter_and_the_Deathly_Hallows"
Info on harry potter 7 rumors Dumbledore is really dead. He is not in hiding and is not coming back. There will be no character named "Icicle," and JKR said she didn't recall saying there ever would be. Dumbledore is not related to Harry. Harry is not related to Voldemort, and he is not related to Salazar Slytherin. Lily Potter is not alive. Lily was not a Death Eater Crookshanks is not an Animagus. Neville is not Peter Pettigrew's son. Remus Lupin does not have a twin brother. Petunia is not a Squib. Dumbledore is not Harry/Ron from the future. Mrs. Norris/Crookshanks is not an Animagus.
More rumors Harry will not become Minister of Magic. Peter Pettigrew’s silver hand will not kill Lupin. Lupin will not return as a DADA professor. The prophecy refers to Harry, and not in any way to Neville. The final part of the prophecy does not mean Harry has to kill Neville, or vice versa
Harry potter 6 stuff Voldemort and his Death Eaters openly wreak chaos throughout Britain. Following public outcry over Cornelius Fudge's mishandling of the Voldemort situation, he is forced to resign, and is succeeded by Rufus Scrimgeour as the new Minister for Magic. As a result, Arthur Weasley receives a promotion.
At his home in Spinner's End, Severus Snape receives a visit from Draco Malfoy's mother Narcissa and her sister, Bellatrix Lestrange. Narcissa swears Snape to an Unbreakable Vow, ensuring he will protect Draco and, should her son fail, complete his mission for the Dark Lord.
Albus Dumbledore arrives at the Dursley's and asks Harry Potter to accompany him to see retired professor Horace Slughorn. With unwitting help from Harry, Dumbledore persuades Slughorn to resume his old teaching post at Hogwarts. Harry then spends the remaining summer months at The Burrow with the Weasleys and Hermione, who is also visiting. To his family's dismay (mainly Ginny, Mrs. Weasley, and Fred and George), Bill Weasley has become engaged to Fleur Delacour, the Beauxbatons champion in the Triwizard Tournament. Harry, Ron, and Hermione receive their O.W.L. results. Hermione receives high marks in all her subjects, but Ron and Harry fail Divination and History of Magic. They are also unable to take N.E.W.T.-level Potions because Snape only accepts "O" (Outstanding) grades. The course is a requirement to Harry's ambition of becoming an Auror.
As school begins, Snape is surprisingly announced as the new Defense Against the Dark Arts instructor while Slughorn takes his place as the Potions teacher. Since Slughorn only requires a minimum "E" grade (Exceeds Expectations) at O.W.L. to take his N.E.W.T.-level Potion classes, Harry and Ron are now able to sign up. Slughorn lends Harry and Ron old Potions textbooks. Harry's copy is marked as the property of "The Half-Blood Prince". The talented former owner's handwritten notes help Harry excel in the class. As a reward, Slughorn gives him a small vial of Felix Felicis, a good luck potion.
As the year progresses, more Death Eater attacks occur that may be linked to events happening at Hogwarts. On the first Hogsmeade visit, Katie Bell, a Gryffindor student, is seriously injured when she is forced to carry a cursed necklace while under the Imperius Curse. Harry suspects Malfoy or another Death Eater is involved. In another incident, Ron is accidentally poisoned when he drinks mead that was intended for Dumbledore - Harry's quick thinking saves his life when he forces a bezoar, a poison antidote, into his mouth. Hermione is so distraught over Ron's near death, that the two end their ongoing feud, and Ron breaks up with Lavender Brown, whom he was dating mostly to annoy Hermione because she had kissed Viktor Krum. Ron and Hermione's continual bickering had caused Harry to fear they would never reconcile. In the meantime, Harry realizes that he has feelings for Ginny when he jealously observes her kissing her boyfriend, Dean Thomas.
Dumbledore gives Harry private lessons using his Pensieve to view collected memories about Voldemort's past. A memory belonging to Slughorn is partially missing. Aided by the Felix Felicis potion, Harry retrieves it from him. Dumbledore speculates that Voldemort has split his soul into seven fragments, storing six pieces in Horcruxes to grant himself immortality, while leaving the seventh in his own body. Two Horcruxes have been destroyed (Tom Riddle's diary by Harry[HP2] and Marvolo Gaunt's ring by Dumbledore).
When Harry finds Malfoy sobbing in Moaning Myrtle's bathroom, they begin hurling curses at each other. Harry casts Sectumsempra (a spell gleaned from the Half-Blood Prince's annotations), causing blood to gush from Malfoy's body. Snape arrives and tends to Malfoy. Recognizing the spell, he orders Harry to hand over his Potions book. Harry instead gives him Ron's copy. Snape assigns Harry detention for the same day as the Quidditch finals. After detention, Harry learns that Gryffindor won the finals, with Ginny Weasley as their substitute Seeker. During the victory celebration, Harry's suppressed feelings for Ginny are revealed when he spontaneously kisses her; Ginny had broken up with Dean Thomas several days before, and she and Harry begin dating.
Just before Harry and Dumbledore leave to find another Horcrux (Salazar Slytherin's locket), Harry gives the remaining Felix Felicis to Ron, Hermione and Ginny. He has suspected all year that Malfoy may be a Death Eater and has confided his suspicions to Dumbledore, who seemed unconcerned. He learns later that Dumbledore had Snape investigate Malfoy. One day, Harry learns from Professor Trelawney that it was Snape who had passed information to Voldemort about Harry's parents fifteen years before; enraged, Harry confronts Dumbledore about trusting Snape after what he had done. Dumbledore reveals that he has learned the location of one of the Horcruxes, and invites Harry to accompany him in retrieving it. Believing Malfoy and Snape are involved in something sinister, Harry asks Ron, Hermione, Luna Lovegood, Neville Longbottom, and Ginny to patrol the halls while he and Dumbledore are gone. Harry then Disapparates with Dumbledore to a secret cave. Upon retrieving the Horcrux, Dumbledore is seriously weakened by a potion he drank in order to uncover the locket inside a basin.
Returning to Hogsmeade, Harry and Dumbledore see Lord Voldemort's Dark Mark hovering over Hogwarts. They borrow broomsticks from Madam Rosmerta, whom they later discover to be under the Imperius Curse. They fly to the Astronomy Tower where they are ambushed by Draco Malfoy. Dumbledore paralyses Harry, who is under his Invisibility Cloak, just before Draco disarms Dumbledore. Draco reveals that he helped the Death Eaters enter Hogwarts, although Dumbledore discerns that the obviously frightened boy was coerced into aiding Voldemort's followers. In the meantime, members of the Order of the Phoenix (including Remus Lupin, Nymphadora Tonks, Professor McGonagall and Bill Weasley) battle the Death Eaters.
Death Eaters appear on the Astronomy Tower and urge Draco to fulfill his mission—killing Dumbledore—but Draco is reluctant and apparently scared. Snape arrives; still weak from the potion, Dumbledore entreats Snape with an ambiguous plea. Without hesitation, Snape kills Dumbledore with the Avada Kedavra killing curse. The spell's force hurls Dumbledore's body over the tower wall. Upon Dumbledore's death, Harry is freed from the paralysing spell. The Death Eaters flee, and Harry pursues Snape, who identifies himself as the Half-Blood Prince in a short-lived duel before escaping with Malfoy. Snape states how Harry doesn't have the strength to defeat him and he is weak just like his father, only enraging Harry even more, but they still escape leaving Harry angry and very upset.
Harry recovers the locket from Dumbledore's body only to discover that it is a fake. Inside is a note from someone with the initials "R.A.B." who has stolen the real Horcrux and has vowed that it will be destroyed with the hope that when Voldemort meets his match he "will be mortal once more".
The school year ends abruptly with Dumbledore's funeral, which is attended by hundreds of people, including the students, teachers, and magical creatures that live in the Forbidden Forest. Professor McGonagall is appointed Hogwarts' interim headmistress, although the school may not reopen. Professor Slughorn replaces Snape as the head of Slytherin house. Regardless, Harry decides to leave Hogwarts to search for the remaining Horcruxes. Ron and Hermione vow to accompany him, while Harry ends his relationship with Ginny to protect her from Voldemort. The book concludes as Harry looks forward to Bill and Fleur's wedding and being comforted that "...there was still one last golden day of peace left to enjoy with Ron and Hermione".
[edit] Controversies The record-breaking publication of Half-Blood Prince was accompanied by controversy. In May 2005 bookmakers in the UK suspended bets on which main character would die in the book amid fears of insider knowledge. A number of high value bets were made on the death of Albus Dumbledore, many coming from the town of Bungay where, it was believed, the books were being printed at the time. Betting was later reopened.[2] Other controversies included the "right to read" Potter books inadvertently sold before the release date, environmental concerns over the source of the paper used in the printing of millions of books, and fan reactions to the plot developments and revelations of the novel.
Back to blog | Harry Potter and the Order of the Phoenix chapter summaries
Harry Potter and the Half-Blood Prince chapter summaries
The following index provides links to the chapter summaries of Harry Potter and the Half-Blood Prince. The summaries are mainly intended for people who want to remember what happened earlier while they are reading the book, to find where something happened, or for parents who can't get the book away from their kids to find out what the fuss is all about. Enjoy!
Chapter 1: The Other Minister Chapter 2: Spinner's End Chapter 3: Will and Won't Chapter 4: Horace Slughorn Chapter 5: An Excess of Phlegm Chapter 6: Draco's Detour Chapter 7: The Slug Club Chapter 8: Snape Victorious Chapter 9: The Half-Blood Prince Chapter 10: The House of Gaunt *Chapter 11: Hermione’s Helping Hand *Chapter 12: Silver and Opals *Chapter 13: The Secret Riddle *Chapter 14: Felix Felicis *Chapter 15: The Unbreakable Vow *Chapter 16: A Very Frosty Christmas *Chapter 17: A Sluggish Memory *Chapter 18: Birthday Surprises *Chapter 19: Elf Tails *Chapter 20: Lord Voldemort’s Request *Chapter 21: The Unknowable Room *Chapter 22: After the Burial *Chapter 23: Horcruxes *Chapter 24: Sectumsempera *Chapter 25: The Seer Overhead *Chapter 26: The Cave *Chapter 27: The Lightning-Struck Tower *Chapter 28: Flight of the Prince *Chapter 29: The Phoenix Lament *Chapter 30: The White Tomb
*=summary still to come
This is only a list of chapters- but more are still to come.
A beeter book summary than ever! War has broken out between the magical community and Voldemort's Death Eaters, in plain sight of the non-magical Muggle community. The Prime Minister of England receives a surprise visit from Cornelius Fudge, Minister of Magic. Fudge explains the violence and murders are a result of the magical war.
Acknowledging that the Ministry was wrong about Sirius Black being on Voldemort's side, Fudge has stepped down from the Ministry, to be replaced by Rufus Scrimgeour. We discover that many high-level Muggle government officials are Ministry of Magic staff undercover and keeping an eye on things. However, a significant number of them have been killed or injured in the attacks and the Ministry is informing the Muggle government of the circumstances. Bellatrix Lestrange and her sister Narcissa pay a visit to Severus Snape. They tell Snape they do not trust him because he has been at Hogwarts for years under the orders of Voldemort but hasn't gotten rid of Albus Dumbledore nor Harry Potter. Snape reveals his job for the Dark Lord is spying on Dumbledore and the Order of the Phoenix and providing information about their activities.
Narcissa is the wife of Lucius Malfoy, now imprisoned in Azkaban, and mother of Draco. She has come to Snape to ask his help in looking after Draco who has been enlisted to help Voldemort on a dangerous and secret mission. Snape makes an Unbreakable Vow to do all he can to protect Draco on his mission, and to complete the mission if Draco fails. Harry Potter is asleep at the window of his bedroom in Privet Drive. Strewn about his table are newspapers reporting that many think the prophecy stolen from the Ministry at the end of Book 5 reveals Harry as "the Chosen One" destined to fight Voldemort to the death. The papers also reveal that security is much tighter in the magical community, including at Hogwarts. One of the new dangers is that Voldemort is using Inferi, corpses that have been commanded to do the Dark Lord's bidding.
A letter from Dumbledore reveals that Harry is waiting for Dumbledore to arrive at 11 p.m., to be taken to the Burrow, the Weasley's house. When Dumbledore arrives promptly at 11 p.m., the Dursleys are very surprised—Harry hadn't told them about the plan.
Dumbledore reveals that Harry has inherited all of Sirius' possessions, including the house at Number 12 Grimmauld Place. However, Dumbledore is not sure that there isn't an enchantment protecting the house from moving outside the pureblood Black family. Dumbledore has a tricky plan to find out if Harry is now the rightful owner. He asks Harry to summon Kreacher, the house elf, who would now be beholden to Harry if the house belongs to him. Kreacher does not want to serve Harry but discovers he must, and all know that Grimmauld Place, and the secrets it contains, are now Harry's and will not end up in the hands of Voldemort's allies. Harry also inherits Buckbeak, the hippogriff, but who has been renamed Witherwings to protect him from the Ministry.
Dumbledore shows his anger at the Dursleys for mistreating Harry all these years, but asks only that Harry be allowed to visit once more before his 17th birthday, to keep up the magical protection. At age 17, Harry will have come of age in the magical community.
Dumbledore and Harry travel not to the Burrow but by apparating to the village Budleigh Babberton where they find, hiding and disguised as a sofa, Horace Slughorn. Slughorn used to be head of Slytherin House at Hogwarts many years ago but has been reclusive in recent years. Harry helps Dumbledore convince Slughorn to come back to Hogwarts as a teacher. Slughorn is known for having favorite students, mainly those who come from powerful families and who might be able to help him out in the future. Dumbledore and Harry apparate to outside the Burrow, where Dumbledore tells Harry that it is good he hasn't revealed the contents of the prophecy to anybody but that he should share more of his secrets with his close friends—after all, they might be able to help him. Dumbledore also suggest that Harry carry his invisibility cloak with him at all times, including in Hogwarts. Harry and Dumbledore go into the Burrow to see Mrs Weasley, who is talking with Nymphadora Tonks. While Mrs Weasley is feeding Harry, Mr Weasley comes home after working very late confiscating counterfeit spells and objects.
Harry goes to bed, only to be woken quite soon by Ron and Hermione. Ginny, Ron's younger sister, comes in shortly after, annoyed and frustrated at Fleur Delacour, who is staying with them and is engaged to marry Bill Weasley, Ron's older brother. Ginny and the rest of the Weasleys would rather Bill marry Tonks.
At breakfast, Harry reveals that he is going to be having private lessons with Dumbledore this year at school. A little later, owls arrive carrying Harry, Ron, and Hermione's grades from the previous school year, the O.W.L.s. Harry does pretty well but doesn't get an "Outstanding" in Potions, which Snape had said would mean he can't continue, and therefore, not become an Auror. Ron also does well and Hermione is slightly disappointed to only get an "Exceeds Expectations" at Defense Against the Dark Arts, despite an "Outstanding" for every other subject. They spend a few more weeks at the Burrow before school is due to start again. During that time, there are more reports of deaths and injuries. The whole magical community is living in a state of fear, and even some shops at Diagon Alley have closed down, including Ollivander's wand shop. Better news is that Harry has been made Gryffindor Quidditch captain.
The trip to Diagon Aleey involves a security escort for Harry and much supervision by the Weasley parents and Hagrid. In the robe shop, they run into Draco Malfoy and his mother, Narcissa. Draco is being obnoxious as usual and the Malfoy's end up leaving the store in annoyance, and after an argument with Harry.
The students visit Weasleys' Wizard Wheezes, Fred and George's joke shop, and are impressed by the range of wares. The Ministry is even buying some defensive items from the store, a sideline beyond the jokes the store usually sells. Fred and George tease Ginny about having a boyfriend, Dean Thomas.
Harry, Ron, and Hermione see Draco walk past outside without his mother and decide to follow him. He goes down Knockturn Alley into Borgin and Burkes, known for its dark magic supplies. Using extendable ears, they eavesdrop and discover that Malfoy has something put aside for him there and is asking the shop owner to try to fix it for him. Draco threatens the owner that he knows Fenrir Greyback, who will check that everything goes according to Malfoy's wishes. Hermione goes into the shop to try to find out what Draco was asking about but the shop owner won't let on. Harry is becoming obsessed with what Malfoy was doing and decides that the incident in the robe store was because he had become a Death Eater and was hiding the Dark Mark on his arm. Harry convinces Mr Weasley to investigate Malfoy further before getting on the train to Hogwarts.
Harry travels to school with Neville and Luna but is constantly harrassed by younger girls who admire him. Professor Slughorn invites Harry and Neville to have lunch with him in the teacher's compartment along with other students connected to important families. One of them is Gryffindor student Cormac McLaggen. During questions from Slughorn, Harry refuses to reveal anything about the prophecy, but it is clear that the whole lunch is about Slughorn trying to suck up to the students and prove himself as important. Malfoy is upset that he wasn't invited to lunch, but tries to dismiss it as unimportant.
Harry sneaks into Malfoy's carriage under his invisibility cloak and hides up in a luggage rack to eavesdrop. Malfoy is lying with his head in Pansy Parkinson's lap. Draco lets on that he is one some sort of job for the Dark Lord and that he might not even go back to school the following year. When the others leave, Malfoy stays behind. He had seen Harry's foot under the cloak, and then paralyzes him with a spell, punches and kicks him in the face, and covers him with the invisibility cloak so that Harry will be trapped and hidden, probably to be transported back to London on the train with nobody finding him. Tonks discovers Harry was missing and rescues him from the paralysis. They walk up to the school, later than all the others. Snape meets them at the gate, to Harry's distress, walks him to the feast, where he has missed the sorting. After dinner, Dumbledore tells the school that Slughorn will be the new Potions master and that Snape will be teaching Defense Against the Dark Arts. Dumbledore reminds them of the extra security and that they aren't allowed to walk around after dark. Hagrid is teaching Care of Magical Creatures again, and is now looking after Grawp in a cave up in the mountains nearby. Harry, Ron, and Hermione realize Hagrid will be upset that none of them are taking his class this year.
Harry finds out he is allowed to take Potions because Slughorn doesn't require an "Outstanding" from the previous year, just an "Exceeds Expectations." That means Harry could still try to become an Auror.
In the first Defense Against the Dark Arts class, Snape is hard on Harry and his friends, as usual, but starts to teach them nonverbal spells (ways of casting spells without having to speak.) Harry earns himself a detention by being rude to Snape, but find out that Dumbledore wants to teach him at the same time—Saturday night at 8 p.m.
In the first Potions class, Harry doesn't have the textbooks and ingredients because he didn't think he could do the course. He borrows them from the classroom cupboard, and finds his textbook is filled with annotations. Slughorn shows them a few potions he has already made and Hermione can identify them all. One of them is called Felix Felicis, which gives good luck for a time. A vial of the potion is offered as a reward for the student in the class who can best make a Draught of Living Death. Harry follows the instructions in his annotated borrowed textbook and finds they are far superior to the printed instructions. His potion is the best, and he wins the vial of Felix Felicis.
Looking through the book further, Harry discovers the inscription, "This Book is the Property of the Half-Blood Prince." Harry goes to Dumbledore's office for his first private lesson to find out that Dumbledore arranged for him to do Snape's detention the next weekend. Harry learns that his lessons will consist of finding more about Voldemort's past, and trying to help Dumbledore fill in some missing pieces. Dumbledore uses the Pensieve in his office to explore memories he has obtained from others, and takes Harry with him to see the memories unfold.
The first memory belonged to Bob Ogden, an employee of the Department of Magical Law Enforcement. Dumbledore convinced Ogden to give up some of his memories before he died some years earlier. The memory begins. Ogden is trying to talk to some people in a cottage but they don't want to let him in or talk. The people living inside speak Parseltongue, the language of snakes, but Ogden can't understand it. Ogden is there to talk to Mr. Gaunt about his son, Morfin, using magic in front of a Muggle. Gaunt's daughter, Merope, is also present in the house. Gaunt is very cruel to his children, especially Merope, who is not very good at magic. It makes her seem too much like a Muggle and he hates Muggles more than anything.
Gaunt reveals his family members are the last remaining descendents of Salazar Slytherin, and shows him one of Slytherin's gold lockets to prove it. While Ogden is questioning the Gaunts, some Muggles go by in a cart, and Merope watches the man in the cart closely because she is interested in him, to her father's disgust. It is that man in the cart who Morfin had attacked with magic and the reason for Ogden's investigation. Gaunt goes crazy at his daughter looking at the man, and Ogden flees the house.
The son, Morfin, and the father, Marvolo Gaunt, are later convicted of crimes by the Wizengamot and sentenced to serve time in Azkaban. Harry recognizes the name Marvolo, and Dumbledore confirms that Mr. Gaunt was the grandfather of Tom Marvolo Riddle, or Lord Voldemort. Marvolo's daughter Merope had enchanted the man in the cart, Tom Riddle, and tricked him into marrying her. When she released the enchantment, Riddle left her immediately, but she was pregnant with the boy who would become Voldemort.
Once Harry has heard these stories, he is ready to leave but spots a ring in Dumbledore's office that he recognized from the memory they watched. It had belonged to Marvolo Gaunt. The rest will come soon! just reade the other reviews i have put down for you!
Haiku stuff that i just put in here for the sake of it: waiting to visit, wrapped in strange poetic smells-- a wintry sun
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I.66 at great aunt's house. aunt confined by grief, illness, obsession, piety
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I.65 houses huddled by the darkened church of Combray, unreal in my mind
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Wednesday, January 25, 2006 I.64 house, town, morning, night flooded back by madeleine from my cup of tea
Permalink 9:31:27 PM Your views [0]
I.63 and suddenly the memory revealed itself-- Sundays at Combray
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I.62 palpitating in the depths of my being-- memory evades
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I.61 called into being, abyss of uncertainty, mind overtaken
Permalink 9:30:18 PM Your views [0]
I.60 many years later filled with a precious essence-- petites madeleines
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I.59 worthwhile memories are involuntary, defeated by death
Permalink 9:29:28 PM Your views [0]
I.58 for long afterwards old memories of Combray clouded
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I.57 aching heart soothed-- a rare and artificial exception
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I.56 daydreaming away from the text, for pages-- Champi's mystery
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I.55 in search of time's impossible journeys eager for George Sand
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I.54 gifts of armchairs collapse under newlyweds but it's art
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I.53 all life's things must have intellectual profit-- grandmother's presents
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I.52 premature gifts of grandmother's quelled the tears-- four short, wide books
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I.51 I could weep with her but our relationship changed-- sorrow's puberty
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First 50 Proustku It's a beginning... the first 50 "Proustku" are posted on the Haiku of Lost Time blog.
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I.50 unhappiness now seen as involuntary-- my tears flow
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I.49 Memories return, an irretrievable time-- Mamma spent that night
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I.48 father surprises, devoid of principles-- Mamma in my room
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I.47 Denied with silence, scared by father's imminence-- father's candle
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I.46 Coming upstairs, I throw myself on her-- Mamma's candle
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I.45 gossip of Swann's age, wife, loves, and happiness-- a so-so ice
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I.44 nervous impulses bring on faults atop my list-- the visit ends
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Welcome ProustianWay co-travelers Adventures are more fun in company (he declares with nary a reference nor justification). After enjoying discussion groups for other books (Finnegans Wake esp., given its complexity), I dug around until I found the ProustianWay, a yahoo group for people reading Proust.
A few of those members are dropping in here, so welcome co-travelers, fellow adventurers!
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Sunday, January 22, 2006 I.43 still moonlight-- seeming to be elsewhere, precise muted strings
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I.42 sitting on the foot of my bed waiting for her-- silence
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I.41 but the messenger might be the sole ally-- "There is no answer."
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I.40 I did not yet know Swann would understand my pain-- love the messenger
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I.39 finger bowls put round note soon to be delivered-- Mamma not lost
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I.38 lying to Françoise to deliver my message-- the sealed envelope
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I.37 Would Françoise carry a message to my mother? complex etiquette
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I.36 missing my kiss, I leave my heart with mother-- the stairs' varnished smell
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Thursday, January 19, 2006 I.35 eyes glued to mother-- finding the exact spot to place my kiss
I.33 but three or four books give importance this life-- newspaper's wrapper
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I.32 "nice neighbours" Celine's thanks to Swann-- case of Asti
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I.31 forthcoming anguish insulated from feeling-- iron table
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I.30 Mother corners Swann to ask of his daughter-- I follow
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I.29 Swann's the topic of all thought and action-- I'll miss my kiss
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I.28 grand-generation ruled by contrariness-- a bribe of Asti
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I.27 old biddies avoiding worldy matters-- atrophied hearing
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Tuesday, January 17, 2006 I.26 Swann in attendance at Duc de X----'s luncheon caught grandfather's ear Permalink 10:17:26 AM Your views [0]
I.25 Swann's friends were common by association, revealed grandmother Permalink 10:17:13 AM Your views [0]
I.24 early Swann of my mind charming mistakes of my youth-- his aquiline nose Permalink 10:17:02 AM Your views [0]
I.23 Swann plays piano-- our Combray garden not high clubs and salons Permalink 10:16:51 AM Your views [0]
I.22 in evening clothes from dining "with a princess"-- aunt's sarcasm, knits Permalink 10:16:41 AM Your views [0]
I.21 peeping over glasses, she queries Swann on his common lodgings Permalink 10:16:28 AM Your views [0]
I.20 amusing stories and a dull preciseness-- my great aunt doubts Swann Permalink 10:16:18 AM Your views [0]
I.19 Swann's secret of a brilliant social life kept him in our caste Permalink 10:16:05 AM Your views [0]
I.18 hand across forehead, eyes rubbed and glasses wiped-- dead wife remembered Permalink 10:15:52 AM Your views [0]
I.17 fetching the liquers to appear ordinary-- Swann's voice Permalink 10:15:36 AM Your views [0]
I.16 double tinkle heralds Swann's late visit-- no kiss tonight Permalink 10:15:15 AM Your views [0]
I.15 too short a kiss was Mamma's painful goodnight-- that look! Permalink 10:14:59 AM Your views [0]
I.14 in cowardice crying in the attic-- orris-root scent Permalink 10:12:14 AM Your views [0]
I.13 scolding grandfather's forbidden taste of brandy, she smiled Permalink 10:11:59 AM Your views [0]
I.12 after dinner grandmother walks in the rain on too-straight paths Permalink 10:11:49 AM Your views [0]
I.11 mystery, beauty intrude on well-fit habits-- my doorknob Permalink 9:48:42 AM Your views [0]
I.10 out of the forest Golo rode for Geneviève-- shone on the wall Permalink 9:48:32 AM Your views [0]
I.9 recalling Balbec, Paris, and the rest-- lying awake Permalink 9:48:21 AM Your views [0]
I.8 little room high ceiling getting lower-- clock ticks Permalink 9:48:11 AM Your views [0]
I.7 a winter nest-- snapshots of a horse break into trot Permalink 9:44:44 AM Your views [0]
I.6 Siena marble in my Combray bedroom-- sunset's reflection Permalink 9:44:32 AM Your views [0]
I.5 immobile, the world is as I make it-- I face a wall Permalink 9:44:22 AM Your views [0]
I.4 divergent dozing losing sense of space and time-- rope down from heaven Permalink 9:44:05 AM Your views [0]
I.3 cheek warm from her kiss-- Eve born from Adam's rib, not the woman I seek Permalink 9:43:54 AM Your views [0]
I.2 comfortable pillow-- dreaming of false morning, nearly midnight Permalink 9:43:39 AM Your views [0]
I.1 living in my book-- dissolved into the darkness, I'm falling asleep Permalink 9:43:26 AM Your views [0]
Haiku of Lost Time: "Proustku" Haiku is a very old form of Japanese poetry that has traditionally followed fairly stringent guidelines. I was fortunate to be involved in a 3 month-long haiku workshop with the World Haiku Club where I learned a lot about the form from some very accomplished haijin (haiku poets).
Associating the word "haiku" with what I will be writing here will be plain wrong in most cases. for this project I'll be doing something a little different: the "Proustku". The form I will be writing will be closer to senryu, which are structurally identical to haiku but much more flexible in content. Occasionally there will be haiku among the senryu but that will occur only when the pages of the text happen to evoke some particularly strong image of an appropriate type that I can capture with the form. Basically, I will try to capture something of the memories that Proust reconstructs in his book, but attempting to capture both the events and/or the feelings Proust's narrator describes. I'm sure that my idea of this invented form will develop as I go and become more concrete in time.
Any time I have put haiku-like forms on the web, somebody comes along and complains that what I am writing is not haiku because it doesn't follow the 5-7-5 syllable form. However, most haijin writing in English acknowledge that the 5-7-5 form does not come cloest to representing the Japanese original form. For example, the amount of information contained in 5-7-5 Japanese "syllables" is much less than in that many English syllables. Therefore, many English haijin espouse a smaller number of syllables (3-4-3, for example) to more closely approximate the quantity of information in a Japanese haiku, but they also do not believe in holding too strictly to these counts. In these Proustku, I'll typically use a loose form consisting of a longer line between two shorter ones, with the syllable count not exceeding 5-7-5, but often being less. Permalink 9:41:38 AM Your views [0]
Haiku of Lost Time: The Choice of Translation Not having French, a serious decision must be made before embarking on Proust: which translation? There are a number of major translations in English, including the original by C. K. Scott Moncrieff, the revision by Terence Kilmartin, a further revision by D. J. Enright, and a new translation by a group of translators, each to a volume.
Typically, modern translations are better than older ones and revised translations better than the originals, but not always. A few aspects work against the latest translation. Perhaps the most important is the style of the translation, but also significant is that only the first four volumes are available in the United States, where I am currently based, due to the extension of copyright protection of the original text, as dictated by the Sonny Bono Copyright Act. So leaving aside the new translation, I have chosen to use what is generally regarded as the best English translation of Proust, the Enright revision of the Scott Moncrieff and Kilmartin text.
The specific edition I am using is The Modern Library Classics paperback edition. Links to the books at Amazon are: Volume 1: Swann's Way (606 text pages) Volume 2: Within a Budding Grove Volume 3: The Guermantes Way Volume 4: Sodom and Gomorrah Volume 5: The Captive & The Fugitive Volume 6: Time Regained Permalink 9:40:38 AM Your views [0]
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Directed by Mike Newell
Writing credits (WGA) Steve Kloves (screenplay)
J.K. Rowling (novel)
Cast (in credits order) verified as complete Eric Sykes ... Frank Bryce
Timothy Spall ... Wormtail (Peter Pettigrew)
David Tennant ... Barty Crouch Junior
Daniel Radcliffe ... Harry Potter
Emma Watson ... Hermione Granger
Rupert Grint ... Ron Weasley Mark Williams ... Arthur Weasley James Phelps ... Fred Weasley Oliver Phelps ... George Weasley
Bonnie Wright ... Ginny Weasley Jeff Rawle ... Amos Diggory Robert Pattinson ... Cedric Diggory
Jason Isaacs ... Lucius Malfoy
Tom Felton ... Draco Malfoy
Stanislav Ianevski ... Viktor Krum Robert Hardy ... Cornelius Fudge Philip Rham ... Death Eater Olivia Higginbottom ... Death Eater Ashley Artus ... Death Eater Alex Palmer ... Death Eater Paschal Friel ... Death Eater Richard Rosson ... Death Eater (as Richard Rosson 'Rubber Ritchie') Roger Lloyd-Pack ... Barty Crouch (as Roger Lloyd Pack) Sheila Allen ... Ministry Witch Su Elliot ... Ministry Witch Anne Lacy ... Ministry Witch Flip Webster ... Ministry Witch
David Sterne ... Ministry Wizard Christopher Whittingham ... Ministry Wizard Liam McKenna ... Ministry Wizard
Campbell Graham ... Ministry Wizard Margery Mason ... Food Trolley Lady Katie Leung ... Cho Chang Matthew Lewis ... Neville Longbottom
Robbie Coltrane ... Rubeus Hagrid William Melling ... Nigel
Michael Gambon ... Albus Dumbledore David Bradley ... Argus Filch Devon Murray ... Seamus Finnigan Afshan Azad ... Padma Patil
Alan Rickman ... Severus Snape Predrag Bjelac ... Igor Karkaroff (as Pedja Bjelac)
Tolga Safer ... Karkaroff's Aide
Brendan Gleeson ... Professor Alastor 'MadEye' Moody Alfie Enoch ... Dean Thomas Louis Doyle ... Ernie MacMillan Jamie Waylett ... Vincent Crabbe Josh Herdman ... Gregory Goyle Charlotte Skeoch ... Hannah Abbott
Miranda Richardson ... Rita Skeeter Robert Wilfort ... Photographer
Gary Oldman ... Sirius Black Tiana Benjamin ... Angelina Johnson Henry Lloyd-Hughes ... Roger Davies (as Henry Lloyd Hughes) Jarvis Cocker ... Band Lead Singer Jonny Greenwood ... Band Lead Guitar Phil Selway ... Band Drums (as Philip Selway) Steve Mackey ... Band Bass Guitar Jason Buckle ... Band Rhythm Guitar Steve Claydon ... Band Keyboards
Shirley Henderson ... Moaning Myrtle Alan Watts ... Assistant Judge
Ralph Fiennes ... Lord Voldemort Adrian Rawlins ... James Potter Geraldine Somerville ... Lily Potter rest of cast listed alphabetically: Jack Bagley ... Class Member/Ballroom Dancer (uncredited)
Natalie Hallam ... Wizard Teacher (uncredited)
Ian Whyte ... Madame Olympe Maxime (uncredited)
Produced by David Barron .... executive producer Chris Carreras .... associate producer David Heyman .... producer Peter MacDonald .... co-producer Lorne Orleans .... producer (IMAX version) Tanya Seghatchian .... executive producer John Trehy .... associate producer
Original Music by Patrick Doyle
Cinematography by Roger Pratt (director of photography)
Film Editing by Mick Audsley
Casting by Mary Selway Fiona Weir
Production Design by Stuart Craig
Art Direction by Mark Bartholomew Alastair Bullock (as Al Bullock) Alan Gilmore Gary Tomkins Alexandra Walker
Set Decoration by Stephanie McMillan
Costume Design by Jany Temime
Makeup Department Mark Coulier .... key prosthetic makeup artist Nick Dudman .... creature & makeup effects designer Eithne Fennel .... chief hair designer (as Eithne Fennell) Eithne Fennel .... chief hair stylist (as Eithne Fennell) Andrea Finch .... hair stylist: second unit Betty Glasow .... hair stylist Jenny Harling .... hair stylist Shaune Harrison .... key prosthetic makeup artist Teresa Hinton .... hairdresser Belinda Hodson .... makeup artist Jan Jamison .... hair stylist Amanda Knight .... makeup designer John Lambert .... makeup effects buyer Clare Le Vesconte .... chief makeup artist Elizabeth Lewis .... makeup and hair coordinator Sharon Nicholas .... makeup artist Lyn Nicholson .... creature effects coordinator Lyn Nicholson .... makeup effects coordinator Alex Rouse .... wig maker Norma Webb .... makeup artist: second unit Amy Byrne .... hair trainee (uncredited) Sarah Downes .... makeup artist (uncredited) Sarah Downes .... makeup dailies (uncredited) Michael Krehl .... makeup artist (uncredited) Adrian Rigby .... prosthetic makeup assistant (uncredited)
Production Management David Carrigan .... production manager Tim Lewis .... unit production manager Russell Lodge .... production manager: second unit Jessie Thiele .... post-production supervisor
Second Unit Director or Assistant Director Janette Boyle .... additional third assistant director Tom Brewster .... additional third assistant director Lyndsay Bullock .... third assistant director: second unit Jane Burgess .... co-second assistant director Rob Burgess .... additional third assistant director Chris Carreras .... first assistant director Jamie Christopher .... first assistant director: second unit William Dodds .... second assistant director (as Will Dodds) Robert Grayson .... key second assistant director (as Robert P. Grayson) Stewart Hamilton .... additional third assistant director Sallie Anne Hard .... second assistant director: second unit (as Sallie Hard) Phillippa Hunt .... third assistant director (as Philippa Hunt) Natasha Llewelyn .... additional third assistant director Peter MacDonald .... second unit director (as Peter Macdonald) Michael Michael .... third assistant director Ali Morris .... third assistant director Fiona Richards .... second assistant director (as Fiona Perry) Adam Jenkins .... additional third assistant director: dailies (uncredited) Nick Shuttleworth .... additional second assistant director (uncredited) Kevin Westley .... additional first assistant director: second unit (uncredited)
Art Department Andrew Ackland-Snow .... senior art director Wayne D. Barlowe .... conceptual artist (as Wayne Barlowe) Celia Barnett .... specialist researcher Jim Barr .... prop modeller Andrew Bennett .... art department assistant Hannah Biggs .... prop modeller Graham Blinco .... hod stagehand Pierre Bohanna .... supervising modeller Adam Brockbank .... creature designer Paul Burgess .... dressing propman Oliver Carroll .... art department assistant Miraphora Caruso .... props concept artist Paul Catling .... creature designer Bruce Cheesman .... chargehand standby propman: second unit Paul Cheesman .... property storeman Jane Clark .... storyboard artist Matt Cooke .... dressing propman Stan Cook .... dressing propman Bryn Court .... h.o.d. sculptor Julia Dehoff .... draughtsman Ben Dennett .... conceptual artist Andy Evans .... h.o.d. construction electrician Martin Foley .... stand-by art director John Fox .... chargehand dressing propman Pip Fox .... stand-by propman: second unit Paul Freeth .... construction stand-by Daniel Handley .... drapesman Gary Handley .... drapesmaster Rosie Hardwick .... assistant art director Brian Hartnoll .... construction stand-by Gary Hayes .... construction buyer (as Garry Hayes) Paul J. Hayes .... construction manager (as Paul Hayes) Steve Hedinger .... h.o.d. decor and lettering artist Kevin Herbert .... dressing propman Sean Higgins .... construction stand-by Christian Huband .... assistant art director Geoffrey Huband .... conceptual artist Molly Hughes .... draughtsman Peter Hunt .... props driver Gary Ixer .... stand-by propman Jodie Jackman .... art department coordinator Jonathan Jackson .... prop modeller Jessie Jones .... drapery supervisor Gary Jopling .... junior draughtsman Nicky Kaill .... scenic artist Matthew Kerly .... art department assistant John Kirsop .... hod carpenter Paul 'Spike' Knight .... prop modeller Neil Lamont .... supervising art director Eduardo Lima .... graphic artist Steve Lowen .... construction stand-by Tom Lowen .... construction stand-by (as Tommy Lowen) Chris Lunney .... archivist Catriona Maccann .... junior modeler Peter Mann .... construction stand-by Francis Martin .... decor & lettering artist Iain McCaig .... conceptual artist Ginger McCarthy .... hod rigger Christian McDonald .... chargehand dressing propman Stuart Meridew .... prop manufacturing buyer Mickie Mills .... chargehand dressing propman (as Micky Mills) Ian Murphy .... construction stand-by Kevin Nugent .... h.o.d. metal worker Gerry O'Connor .... dressing propman Nick Pelham .... storyboard artist Amanda Pettett .... construction coordinator Denis Rich .... storyboard artist Oliver Roberts .... art department assistant Steven Sallybanks .... scenic artist (as Steve Sallybanks) Lee Sandales .... co-set decorator Robin Schoonraad .... prop modeller (as Robin Schoonaraad) Christian Short .... chargehand dressing propman Nicola Short .... construction coordinator Tamazin Simmonds .... assistant production buyer Andy Skipsey .... dressing propman James Skipsey .... dressing propman (as Jim Skipsey) William Stickley .... construction stand-by (as Will Stickley) Tom Still .... assistant art director Deborah Stokely .... production buyer Hattie Storey .... junior draughtsman Stephen Swain .... stand-by art director Paul Taggart .... hod plasterer Claudine Thomas .... junior draughtsman Emma Vane .... draughstman Matt Walker .... scenic artist John Weller .... modelling coordinator Robert Weller .... construction stand-by (as Rob Weller) David Wescott .... assistant construction manager Paul Wescott .... hod painter Michael Westcott .... construction stand-by Barry Wilkinson .... property master Ben Wilkinson .... chargehand dressing propman Jamie Wilkinson .... assistant property master Simon Wilkinson .... supervising chargehand standby propman Marcus Williams .... h.o.d. scenic artist Andrew Williamson .... conceptual artist Ruth Winick .... junior draughtsman Tiffany Woods .... prop modeller Steve Wotherspoon .... junior modeler Tony Wright .... storyboard artist Simon Aronson .... prop maker (uncredited) Will Ayres .... props (uncredited) Sylvain Despretz .... storyboard artist (uncredited) Shane Harford .... dressing props (uncredited) Dennis Murray .... plasterer (uncredited) Ethan J. Platt .... assistant property master (uncredited) Dermot Power .... conceptual artist (uncredited) Simon Wilkinson .... stand-by property master (uncredited)
Sound Department Sam Auguste .... additional dialogue editor Nicolas Becker .... foley artist Tim Blackham .... sound mixer: second unit Peter Burgis .... foley artist John Casali .... boom operator Doug Cooper .... sound mix technician Vincent Cosson .... sound mix technician David Crozier .... production sound mixer Andie Derrick .... foley artist Phillip Mark Freudenfeld .... sound studio technician (as Phil Freudenfeld) Steve Hancock .... sound studio technician Nigel Heath .... foley mixer Tom Johnson .... sound re-recording mixer Alex Joseph .... foley editor Andy Kennedy .... sound effects editor Daniel Laurie .... adr editor (as Dan Laurie) Dennis Leonard .... supervising sound editor Gerard McCann .... music editor Jerome McCann .... sound assistant Chris Murphy .... sound assistant Douglas Murray .... sound effects editor Jon Olive .... additional sound effects editor Barney Pratt .... assistant sound editor Mike Prestwood Smith .... sound re-recording mixer Robin Quinn .... music editor (as Robin Whittaker) John Samworth .... boom operator: second unit Bjorn Ole Schroeder .... dialogue editor (as Bjørn Ole Schroeder) Gemma Stansfield .... assistant sound editor Daniel Stevens .... sound assistant (as Dan Stevens) Graham Sutton .... supervising music editor Randy Thom .... sound designer Randy Thom .... supervising sound editor Nick Wollage .... music recordist and music mixer Chris Barrett .... assistant music engineer (uncredited) Colin Cooper .... adr mixer (uncredited) Robert Edwards .... adr recordist (uncredited) Will Files .... assistant sound designer (uncredited) Olga FitzRoy .... assistant music engineer (uncredited) Nick Foley .... adr recordist (uncredited) Philip Jenkins .... studio assistant (uncredited) Jon Olive .... adr recordist (uncredited) Jamie Roden .... adr mixer (uncredited) Ted Swanscott .... adr mixer (uncredited) Michael Wabro .... foreign mix supervision (uncredited) Poppy Watson .... sound trainee (uncredited)
Special Effects by Adam Aldridge .... special effects technician Phil Ashton .... animatronic model designer Peter Aston .... special effects buyer Ritchie Baker .... special effects technician Chris Barton .... supervising animatronic designer James Bernardinis .... mold maker (as Jimmy Bernardinis) Ian Biggs .... special effects senior technician: second unit Nigel Brackley .... special effects supervising engineer Terry Bridle .... special effects senior technician Mark Bullimore .... special effects supervising engineer Jan Burns .... animatronic model designer (as Janet Burns) Trevor Butterfield .... special effects senior technician Mel Coleman .... mold maker John Cramman .... special effects technician Tracey Curtis .... senior modeller Demi Demetriou .... special effects technician Bill Dennis .... mold maker Matthew Denton .... performance systems supervisor (as Matt Denton) Nick Dudman .... creature effects designer Michael Durkan .... special effects supervising engineer (as Mike Durkan) Ronnie Durkan .... special effects technician Malcolm Evans .... animatronic model designer Luke Fisher .... sculptor Chris Fitzgerald .... sculptor (as Christopher Fitzgerald) Catherine Flemming .... animatronic model designer Barry Fowler .... mold making supervisor Martin Fowler .... mold maker (as Martyn Fowler) Adrian Getley .... senior modeller Chris Giles .... special effects technician Barrie Gower .... animatronic model designer Chris Greenwood .... mold maker Frank Guiney .... special effects senior technician Lotta Haggqvist .... fabricator Tamzine Hanks .... animatronic model designer Matt Harlow .... special effects technician Simon Hewitt .... special effects senior technician Kate Hill .... sculptor Andrea Hochgatterer-Kowland .... animatronic model designer (as Andrea Hochgatterer) Andy Hunt .... sculptor David Hunter .... special effects supervising engineer Jamie Iovino .... mold maker (as Jamie Lovino) Colin Jackman .... sculptor Martin Jago .... animatronic model designer Abbie Jones .... animatronic model designer Mark Jones .... animatronic model designer Valerie Jones .... key animatronic designer Nick Joscylene .... special effects technician: second unit (as Nick Joscelyne) Chris Kearney .... mold maker Tacy Kneale .... key animatronic designer John Lambert .... creature effects buyer Joshua Lee .... animatronic model designer Jeremy Lovett .... special effects senior technician (as Jem Lovett) Stephen Lowen .... mold maker (as Steven Lowen) Kristyan Mallett .... foam & silicon technician (as Krystian Mallett) Raj Mariathason .... mold maker (as Raj Mariathasan) Waldo Mason .... sculptor Holly McNabb .... foam & silicon technician Noah Meddings .... special effects technician: second unit Digby Milner .... special effects senior technician Brian Morrison .... special effects supervising engineer Luke Murphy .... special effects senior technician: second unit Stephen Murphy .... animatronic model designer Elizabeth Murray .... fabrication supervisor Julian Murray .... supervising sculptor Martin Neill .... special effects floor supervisor: second unit John Nolan .... animatronic model designer Richard Northcroft .... sculptor (as Rick Northcroft) Tracy O'Brien .... animatronic model designer Alan Perez .... wire effects technician Lee Phelan .... special effects technician Ben Philips .... special effects technician (as Ben Phillips) Peter Pickering .... special effects senior technician (as Pete Pickering) John Pilgrim .... special effects technician Anton Prickett .... special effects senior technician John Richardson .... special effects supervisor Marcus Richardson .... special effects technician Rosie Richardson .... special effects coordinator Andy Roberts .... animatronic model designer Phil Ross .... animatronic model designer Jim Sandys .... animatronic model designer (as James Sandys) Charlene Sant .... fabricator Dan Scott .... sculptor Joe Scott .... animatronic model designer Terry Sibley .... mold maker Tamzin Smythe .... mold maker (as Tamzin Smyth) Diane Staniforth .... animatronic model designer (as Diane Nicholson) Paul Stephenson .... special effects workshop supervisor Paul Stephenson .... special effects workshop supervisor Guy Stevens .... supervising animatronic designer Phoebe Tait .... special effects technician Paul Taylor .... special effects senior technician Dominic Tuohy .... special effects first floor supervisor Livia Turco .... sculptor Jennifer Walker .... key animatronic designer David Watson .... special effects senior technician (as Dave Watson) Kevin Welch .... wire effects coordinator Andy Weller .... wire effects technician Kevin Westcott .... special effects technician (as Kevin Wescott) Paul Whybrow .... special effects senior technician Simon Williams .... animatronic model designer Helen Wilson .... mold maker Keith O. Wilson .... mold maker (as Keith Wilson) Dan Woodley .... sculptor Matt Wood .... special effects technician Steve Wright .... animatronic model designer Benjamin M. Esterson .... special effects technician (uncredited) Martin Jago .... puppeteer (uncredited)
Stunts Lucy Allen .... stunts Tom Barry .... stunts Martin Bayfield .... stunts Bruce Cain .... stunts Nick Chopping .... stunts Sophie Clarke .... stunts George Cottle .... stunts Kelly Dent .... stunts Jack Duhig .... stunts Poppy Emuss .... stunts Bradley Farmer .... stunts Dave Fisher .... stunts Paul Herbert .... stunts David Holmes .... stunts Rickie Hubbucks .... stunts Rowley Irlam .... stunts Tolga Kenan .... stunts Paul Kennington .... stunts Anthony Knight .... stunts Ellen Lister .... stunts Guy List .... stunts Marc Mailley .... stunts Ryan Newberry .... stunts Greg Powell .... stunt coordinator Dominic Precce .... stunts (as Dominic Preece) Gordon Seed .... stunts Ian Whyte .... stunts Len Woodcock .... stunts (as Lenny Woodcock) Rick English .... stunt performer (uncredited) Dean Forster .... stunts (uncredited) James O'Donnell .... stunts (uncredited) Peter Pedrero .... stunt performer (uncredited) Kevin Welch .... stunt rigger (uncredited) Joanna Whitney .... stunt double (uncredited)
Camera and Electrical Department David Appleby .... key grip (as Dave Appleby) Marc Atherfold .... second assistant camera: second unit Lawrence Bewsher .... underwater camera technician: second unit Sam Bloor .... grip electrician Dan Blundy .... crane technician: second unit Dave Brennan .... grip electrician Mike Brewster .... director of photography: second unit Bob Bridges .... video assist coordinator Stuart Bridges .... video operator Bob Brock .... grip electrician (as Rob Brock) Jason Bulley .... grip electrician: second unit Jason Bulley .... underwater camera operator: second unit Andy Challis .... grip electrician Murray Close .... still photographer Ken Coles .... camera operator: "c" camera, second unit Trevor Coop .... camera operator: "b" camera Joel Corby .... second assistant camera: second unit Luke Coulter .... second assistant camera: second unit Jim Crowther .... grip Adam Dale .... aerial camera operator: second unit Ted Deason .... first assistant camera: second unit Graham Driscoll .... lighting programmer (as Graham Driscol) Andy Duncan .... grip electrician: second unit Paul Edwards .... steadicam operator: second unit Mark Evans .... grip electrician John Ferguson .... first assistant camera: second unit Stephen Finch .... lighting coordinator Sascha Garcia .... grip electrician Peter Goddard .... gaffer: second unit Wayne Goddard .... grip electrician: second unit Dan Hartley .... video operator: second unit Colin Hazell .... crane technician: second unit Alice Hobden .... underwater camera operator: second unit Darren Holland .... key grip: "a" camera, second unit Lewis Hume .... second assistant camera Simon Hume .... first assistant camera Bob Johnson .... grip electrician: second unit Sacha Jones .... second assistant camera Mark Keeling .... grip electrician: second unit Pip Keeling .... grip electrician: second unit Lee Kemble .... crane technician: second unit Ben Knight .... grip electrician: second unit Jamie Knight .... grip electrician: second unit Lee Knight .... grip electrician: second unit Jim Knox .... grip electrician Mark Laidlaw .... grip electrician Martin Lewis .... second assistant camera: second unit Jim Lloyd .... grip electrician Danny Madden .... grip electrician: second unit Graham Martyr .... first assistant camera Matt McDonald .... assistant video operator: second unit Billy Merrell .... best boy (as Bill Merrell) Nic Milner .... camera operator: "a" camera, second unit Dean Morris .... camera grip: "c" camera, second unit Phil Murray .... grip Patrick O'Flynn .... grip electrician (as Pat O'Flynn) Robert Palmer .... first assistant camera Scott Parker .... grip electrician Steve Petrie .... underwater video assist: second unit Tim Phillips .... second assistant camera Bernie Prentice .... grip electrician: second unit (as Bernie Prentice Sr.) Geoff Reid .... grip electrician Sam Renton .... second assistant camera Dave Ridout .... rigging gaffer David Rist .... camera grip: "b" camera, second unit (as Dave Rist) Adam Samuelson .... crane technician grip Danny Shelmerdine .... first assistant camera: second unit Tony Skinner .... grip electrician Ross Slater .... grip electrician Mario Spanna .... crane technician: second unit Gary Spratling .... camera operator: "b" camera Stefan Stankowski .... camera operator: "b" camera, second unit Peter Taylor .... camera operator: "a" camera Elliot Thomas .... grip electrician (as Elliott Thomas) Alf Tramontin .... steadicam operator Dan Travers .... grip electrician: second unit John Turner .... grip electrician: second unit Derek Walker .... steadicam operator: second unit Al Watson .... grip electrician Michael White .... grip electrician Tom Wilkinson .... second assistant camera: second unit Lawrence Winter .... crane technician: second unit Paul Wood .... grip electrician Steve Wood .... grip electrician Sarah Woodward .... second assistant camera Tim Wooster .... underwater camera operator: second unit David Armstrong .... trainee grip (uncredited) Chris Clarke .... additional second assistant camera: second unit (uncredited) Jason Coop .... daily second assistant camera (uncredited) Andy Edridge .... additional grip: second unit (uncredited) Danny Espey .... electrician (uncredited) Mike Evans .... additional first assistant camera: second unit (uncredited) Chuck Finch .... gaffer (uncredited) Clement Gharini .... camera operator: flying camera (uncredited) Kenny Groom .... additional first assistant camera: second unit (uncredited) Alan Hall .... additional second assistant camera: second unit (uncredited) Oliver Loncraine .... additional first assistant camera: second unit (uncredited) Richard Merrell .... electrician (uncredited) Jamie Mills .... electrician (uncredited) Gareth Munden .... still photographer (uncredited) Ben Pendrey .... camera trainee (uncredited) Richard B. Shean .... video assistant (uncredited) David Taylor .... electrician (uncredited) J. Glyn Williams .... first assistant camera: aerial unit (uncredited) Charlie Woodburn .... first assistant camera: aerial unit (uncredited)
Costume and Wardrobe Department Chloe Aubry .... assistant costume designer (as Chloe Aubrey) Sue Bradbear .... costumer Mauricio Carneiro .... costume illustrator Rosy Coppola .... costumer Charlie Copson .... costumer David Crossman .... costume supervisor Victoria Crossman .... wardrobe mistress Richard Davies .... costume buyer David J. Evans .... costumes (as Dave Evans) Charlotte Finlay .... costume supervisor Magot Forster .... costumer Michelle Gisonda .... costume buyer Laurent Guinci .... wardrobe master: second unit Georgina Gunner .... wardrobe supervisor Andrew Hunt .... costume assistant Helen Jerome .... crowd wardrobe mistress Stephen Kill .... costumer Heather Leat .... wardrobe mistress: second unit Stephanie Little .... costumer Cavita Luchman .... costumer Mary Matthesion .... costumer Sara Meek .... assistant costume designer Neil Murphy .... wardrobe master Yvonne Otzen .... assistant costume designer Gary Page .... costumer Timothy Shanahan .... costumer (as Tim Shanahan) Frank Simon .... costumer Rupert Steggle .... wardrobe assistant William Steggle .... costumes Esther St. John Gray .... wardrobe assistant Jo Van Schuppen .... costumer Louise Walshaw .... costumer Maggie Walsh .... costume coordinator Dave Croucher .... costumes (uncredited) Vidya Krishnamurthy .... daily costume assistant (uncredited) Nicholas Roche-Gordon .... wardrobe assistant (uncredited) William Steggle .... personal dresser: Dan Radcliffe and Rupert Grint (uncredited)
Editorial Department Niklas Aldergren .... digital intermediate systems administrator Todd Baillere .... post-production consultant (IMAX version) Nigel Bunyan .... assistant editor Ian Cunningham .... assistant editor Jo Dale .... assistant editor Maxine Gervais .... lead colorist Tom Kemplen .... assistant editor Ben Renton .... assistant editor Katie Reynolds .... post-production coordinator Dan Roberts .... additional editor Dan Roberts .... first assistant editor Mark Sale .... assistant editor Holly Thornton .... assistant post-production coordinator Jane Winkles .... assistant editor Bill Daly .... post-production executive (uncredited) Eoin McGuirk .... assistant editor: Technicolor (uncredited)
Transportation Department Jim Adams .... unit driver Oliver Best .... unit driver Nigel Birtchnell .... unit driver Jimmy Carruthers .... unit driver Derrick Clark .... driver: costume (as Derek Clark) Eddie Coleman .... transportation co-captain Warren Deluce .... unit driver Mick Downs .... unit driver (as Mick Downes) Brian Estabrook .... transportation captain Peter Harvey .... unit driver Mark Hill .... unit driver John Hollywood .... unit driver Frank Hughes .... driver: makeup truck, second unit Jim Magill .... unit driver Jason Mortlock .... unit driver Bruce Neighbour .... unit driver David Norman .... unit driver David Rosenbaum .... transportation coordinator (as Dave Rosenbaum) Colin Sheffield .... unit driver Mike Smith .... unit driver Chris Streeter .... transportation: second unit Bill Walker .... unit driver Alan Watts .... unit driver Kitch Young .... unit driver
Other crew Nguyen Ngoc Anh .... dance assistant Lawrence Ashmore .... orchestrator Libbie Barr .... script supervisor Jayne Barton .... assistant accountant John Bell .... orchestrator Jim Bentley .... diver: second unit Matt Biffa .... music supervisor Vicky Bishop .... assistant production coordinator Ben Blanco .... production assistant: second unit Anthony Bloom .... animal trainer Cate Brackpool .... dance assistant Dave Brown .... pilot: second unit Jason Buckle .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works" Phillipa Bullock .... production assistant: second unit Amanda Burns .... production assistant Ken Burry .... security: second unit Daniel Burton .... unit nurse: second unit Felicity Burton .... production assistant Adam Byles .... production runner: second unit Amy Byrne .... production assistant Rebecca Cain .... production assistant Leah Chalk .... safety advisor Mark Clark .... surface best boy: second unit Steve Claydon .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works" Nicky Coats .... assistant accountant Jarvis Cocker .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works" David Collier .... production assistant (as Dave Collier) Clare Collingridge .... production assistant Sean Connor .... underwater focus puller: second unit Jon Croker .... assistant: Mr. Newell Claire Cunningham .... dance assistant Jason Curtis .... safety advisor Sean Dabbs .... production assistant Niki Dally .... unit publicist Daniel Dark .... production administrator (as Dan Dark) Aled Davies .... diver: second unit Vanessa Davies .... key unit publicist Tony Davis .... assistant production coordinator Emily Dawson .... chaperone Louise Day .... production assistant Stanley A. Dellimore .... senior technical imaging artist (IMAX DMR version) Robin Demetriou .... catering manager Tony Denham .... location security Laila Diallo .... dance assistant Stephen Dibben .... production assistant: second unit Abigail Doyle .... vocal tutor Patrick Doyle .... orchestrator Guy Drayton .... lead diver: second unit Shelly Drury .... assistant: Mr. Heyman Paula Eden .... production assistant Jake Edmonds .... safety coordinator Martin Enckell .... diver: second unit Sue Enoch .... department of education John Ensby .... laboratory timer Reshad Esmail .... set security Ceri Evans .... script supervisor: second unit (as Ceri Evans Cooper) Lucy Evans .... assistant music supervisor Karen Fayerty .... unit nurse Sophie Finch .... set production assistant: dailies Jasmine Fitter .... assistant choreographer Jane Flowers .... production assistant (as Jayne Flowers) Grant Fowler .... production assistant Vic Fraser .... music copying Vic Fraser .... music librarian Sandra Frieze .... dialogue coach Nicola Frost .... production assistant Dr. Ian Furbank .... unit doctor Mark Gallagher .... production assistant Kate Garbett .... production coordinator: second unit Georgie Gardner .... production assistant Brian Gascoigne .... musician: keyboards and synthesizer Mark Gent .... production administrator Gary Gero .... animals supervisor Ben Goode .... production assistant: second unit Gisella Goodwin .... department of education Natasha Gormley .... production coordinator: second unit Guillaume Grange .... assistant trainer Claire Green .... production assistant Jonny Greenwood .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works" Oliver Greetham .... production administrator Gill Griggs .... sports massage therapist Nigel Grint .... chaperone Anna Hall .... producer coordinator Khamlane Halsackda .... dance assistant Kenaston Hardy .... department of education Michael Harm .... unit location manager Steve Harvey .... unit location manager Mike Hedges .... song producer: "Do the Hippogriff", "This is the Night" & "Magic Works" Robin Higgs .... unit location manager: second unit James Hobson .... production assistant Jacky Holding .... assistant accountant Sarah Hood .... set assistant Ian Hoskin .... head of crowd tuition Odette Hughes .... assistant choreographer Steve Irvine .... diver: second unit Joseph Jayawardena .... unit location manager Bob Johnson .... underwater spark Frankie Johnson .... production assistant Geraint Jones .... assistant accountant Eloise Kay .... unit publicist Sean Kelly .... production assistant Simon David Kenny .... production assistant Nichola Kerr .... assistant accountant Alex Klien .... production studio coordinator Grace Lan .... technical operations supervisor Leo Lerus .... dance assistant Sara Levy .... set assistant Matthew Luscombe .... stills assistant Steve Mackey .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works" Andy Madden .... set assistant Vince Madden .... floor best boy: second unit Jenny Mark .... department of education Zoe Marsden .... production assistant Peter McClue .... diving supervisor: second unit Donna McCormick-Smith .... assistant trainer Wayne McGregor .... choreographer Mae McKenna .... vocal tutor Alastair McNeil .... assistant accountant Sonny Merchant .... production assistant Richard Merrill .... floor chargehand (as Richard Merrell) Simon Mills .... underwater focus puller: second unit Ali Morris .... licence coordinator Simon Neville .... animal trainer: owl Jes Nicholls .... lead diver: second unit (as Jes Nichols) Bertil Nilsson .... set assistant (as Bertil Nilson) Gary Nixon .... production accountant Dr. Francis Nolan .... parseltongue Ingrid Parkes .... production assistant Matthew Patching .... assistant trainer Dilip Patel .... assistant accountant Nigel Permane .... underwater focus puller: second unit David Pinkus .... set assistant Mary Price .... unit nurse Lesley Quinn .... unit nurse Sue Quinn .... location manager Rebecca Rae .... stunt secretary Jane Ralley .... department of education Bill Ratty .... leading firefighter Adrian Rigby .... production assistant Megan Roberts .... production assistant: second unit Amy Robertson .... unit publicist Patrick Roddam .... set assistant Maggie Rodford .... music supervisor Maggie Rodford .... score producer Yolanda Rodowicz .... production assistant Jay Rosenwink .... assistant accountant Angela Rowden .... assistant accountant Pete Rutledge .... diver: second unit Jane Ryan .... set production assistant: second unit Sam Sale .... production assistant: second unit Paula Sargeant .... assistant accountant Alex Sayer .... unit publicist Steven Scrace .... leading firefighter Phil Selway .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works" Dave Shaw .... diving coordinator: second unit Richard B. Shean .... production assistant (as Richard Sheen) James Shearman .... conductor James Shearman .... orchestrator Matt Simpson .... production assistant Adam Slatter .... department of education Sarah Louise Smith .... production assistant (as Sarah L. Smith) Mark Somner .... unit location manager David Sousa .... head animal trainer (as Dave Sousa) Matthias Sperling .... dance assistant Hilary Stainsby .... dance assistant Andy Surry .... assistant: Mr. Barron (as Andrew T. Surry) Linda Taylor .... assistant accountant Anna Tennant .... animal maintenance Aurelia Thomas .... assistant location manager Julie Tottman .... head animal trainer Joshua Tuersley .... diver: second unit Taylor Tulip-Close .... production assistant (as Taylor Tulip Close) Gary Turnbull .... diver: second unit John Twigg .... department of education John Udall .... assistant accountant Sue Unsworth .... department of education Louise Van Hamme .... assistant accountant Antoine Vereecken .... dance assistant Poppy Watson .... production assistant Amanda Weaver .... dance assistant Jenny Weight .... production assistant Natasha Westlake .... production assistant Janet Willis .... head of education Winnie Wishart .... production coordinator Marc Wolff .... aerial coordinator: second unit Carmelina Wright .... department of education Peter Wright .... department of education Youki Yamamoto .... keyboard programmer Youki Yamamoto .... synthesizer programmer Holly Bates .... accounts trainee (uncredited) Karen Betteridge .... location assistant (uncredited) Matt Betteridge .... location assistant (uncredited) Morne Botes .... double (uncredited) Tom Browne .... daily runner: second unit (uncredited) Ian Creed .... marine safety (uncredited) Lara Davis .... production assistant (uncredited) David Decio .... stand-in: Rupert Grint (uncredited) Enfys Dickinson .... manager (uncredited) Abigail Doyle .... personal assistant: Patrick Doyle (uncredited) Abigail Doyle .... production assistant (uncredited) Jennifer Evans .... animal administrator (uncredited) Gordon Gram .... double: Durmstrang Student (uncredited) Chris Hopkins .... audio/video systems engineer (uncredited) David House .... double: Roger Davies (uncredited) Lynne Kemp .... production assistant (uncredited) Allin Kempthorne .... stand-in (uncredited) Perry M. Kimura .... scanning and recording: EFilm (uncredited) Angela R. Knight .... double: Miranda Richardson and Rita Skeeter (uncredited) Angela R. Knight .... stand-in: Miranda Richardson (uncredited) Gareth Lewis .... additional set assistant (uncredited) Ray Lloyd .... wire rigger (uncredited) Sandrine Loisy .... set production assistant: dailies (uncredited) Sandrine Loisy .... stand-in: Emma Watson (uncredited) James McWilliam .... additional orchestrator (uncredited) Kelly Messias .... assistant: Ralph Fiennes (uncredited) Laura Miles .... script supervisor daily (uncredited) Sharon Milton .... crowd tutor (uncredited) Lewis Morison .... assistant to composer (uncredited) Andrea Payne .... runner: model unit (uncredited) Charlie Reed .... additional floor runner (uncredited) Peter Rnic .... stand-in: Alastor 'MadEye' Moody (uncredited) Christian Simpson .... stand-in: "Weasley Twins" (uncredited) Chantelle Stoffel .... daily floor runner (uncredited) Ed Symon .... production assistant (uncredited) Lucy Thomas .... production assistant (uncredited) Maurice Weller .... wire rigger (uncredited) David Wilcock .... accounts trainee (uncredited) John Williams .... composer: theme "Harry Potter" (uncredited)
Thanks Ann Koska .... thanks: Sally King Ltd. Mary Selway .... dedicatee: 1936-2004
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Jk rowling stuff: Biography for J.K. Rowling advertisement photos board contact details
Date of Birth 31 July 1965, Yate, nr. Bristol, England, UK
Birth Name Joanne Rowling
Nickname Jo JKR
Height 5' 5" (1.65 m)
Mini Biography Joanne Rowling was born in Yate, near Bristol, a few miles south of a town called Dursley ("Harry Potter"'s Muggle-family). Her father Peter Rowling was an engineer for Rolls Royce in Bristol at this time. Her mother, Anne, was half-French and half-Scottish. They met on a train as it left King's Cross Station in London. Her sister Diana is about 2 years younger than Joanne. In 1971, Peter Rowling moved his family to the nearby village of Winterbourne (still in the Bristol vicinity). During the family's residence in Winterbourne, Jo and Di Rowling were friends with neighborhood children, Ian and Vikki Potter. In 1974, the Rowling family moved yet again, this time to Tutshill, near the Welsh border-town of Chepstow in the Forest of Dean and across the Severn River from the greater Bristol area. Rowling admits to having been a bit of a daydreamer as a child and began writing stories at the age of six. After leaving Exeter University, where she read French and Classics, she started work as a teacher but daydreamed about becoming a writer. One day, stuck on a delayed train for four hours between Manchester and London, she dreamed up a boy called "Harry Potter". That was in 1990. It took her six years to write the book. In the meantime, she went to teach in Portugal, married a Portuguese television journalist, had her daughter, Jessica, divorced her husband and returned to Britain when Jessica was just three months old. She went to live in Edinburgh to be near her sister, Di. Her sudden penury made her realize that it was "back-against-the-wall time" and she decided to finish her "Harry Potter" book. She sent the manuscript to two agents and one publisher, looking up likely prospects in the library. One of these agents that she picked at random based on the fact that she liked his name, Christopher Little, was immediately captivated by the manuscript and signed her on as his client within three days. During the 1995-1996 time-frame, while hoping to get the manuscript for "Harry Potter & The Philosopher's Stone" published, Rowling worked as a French teacher in Edinburgh. Several publishers turned down the manuscript before Bloomsbury agreed to purchase it in 1996.
IMDb Mini Biography By: van_whistler@hotmail.co.uk
Spouse Neil Murray (26 December 2001 - present) 2 children Jorge Arantes (16 October 1992 - 30 November 1993) (divorced) 1 child
Trivia Graduated from Exeter University.
Is a former English teacher.
She writes all of her books in longhand, rather than with a computer.
Daughter, Jessica Rowling Arantes was born on July 27, 1993.
Her book, "Harry Potter and the Goblet of Fire", was the top-selling book of 2000, with 7 million hardcovers sold.
When the first "Harry Potter" novel was published, the publisher asked her to use initials rather than her first name, because boys would be biased against a book written a woman. Since she only had one given name, they then asked her to make up another initial; she took "K." from her favorite grandmother, Kathleen.
She was awarded the O.B.E. (Officer of the Order of the British Empire) in the 2000 Queen Elizabeth II's Birthday Honors List for her services to literature and received it from one of her fans, Prince Charles, the Prince of Wales.
Son, David Gordon Rowling, born March 24, 2003 in Edinburgh.
In 2002, she was sued for plagiarism in the District Court of the Southern District of New York by Pennsylvania-based author Nancy Stouffer, who claimed that J.K. Rowling had lifted ideas from her 1984 book "The Legend of Rah and Muggles", which includes a character called "Larry Potter". However, the case against J.K. Rowling was dismissed on 19 September 2002, when the judged ruled that Ms. Stouffer had lied to the court and doctored evidence to support her claims.
Is one of only two contemporary authors to have a novel spend more than a year on both the New York Times hardcover and paperback best-seller lists, the other author being Nicholas Sparks.
As of November 2002, the year and month of the second "Harry Potter" movie (Harry Potter and the Chamber of Secrets (2002)) being released, her franchise of books have currently sold over 175,000,000 copies and printed in over 200 languages to become the biggest and fastest selling novels ever.
On 3 April 2003, she and Time Warner successfully sued Dutch publishing company Byblos in the Amsterdam High Court. This prevents Byblos publishing Russian author Dmitry Yemets' novel "The Magic Double Bass", which features a girl wizard "Tanya Grotter". It was deemed to plagiarize Rowling's novel "Harry Potter and the Philosopher's Stone" and to infringe her copyright.
The fifth book in the Harry Potter series, entitled "Harry Potter and the Order of the Phoenix", was published on June 21 2003. It was approximately 896 pages long, containing 38 chapters and over 255,000 words, making it her longest "Harry Potter" book yet. The first U.S. printing was 8.5 million copies, an American publishing record.
In 2003, unauthorized Chinese-language "sequels" to the "Harry Potter" series appeared for sale in the People's Republic of China. These poorly-written books, written by Chinese ghost writers, contain characters from the works of other authors, including Gandalf from J.R.R. Tolkien's "Lord of the Rings", and the title character from L. Frank Baum's "The Wizard of Oz". Rowling's lawyers successfully took legal action against the publishers who were forced to pay damages.
She is a big fan of the rock band The Smiths and in 2003, she appeared on the Channel Four documentary The Importance of Being Morrissey (2002) (TV).
Is a huge fan of "Monty Python" and claims to put some of their humor into her books. Two apparent references to the "Monty Python" sketch "Crunchy Frog" can be found in her "Harry Potter" books: two of the sweets are a chocolate frog, and a cockroach cluster. "Monty Python" member John Cleese appears in the films.
One of her favorite movies is The Fabulous Baker Boys (1989), which was written and directed by "Harry Potter" screenwriter Steve Kloves.
She received an honorary degree from Edinburgh University in recognition of the Potter books and her outstanding contribution to children's literature. [7 July 2004]
Her 3rd child, Mackenzie Jean Rowling, was born on January 23, 2005 in Edinburgh.
Character names in her books are often clues to their identities or secrets. For example, Professor Remus Lupin is a werewolf. According to myth, Romulus and Remus were the founders of Rome and were raised by wolves. His last name, Lupin, is derived from the Latin lupus, for wolf, and the English adjective lupine, meaning wolf-like. Lupin was converted into a werewolf by Fenrir Greyback, whose name is taken from Fenrir, the monstrous wolf son of Loki in Norse mythology. (His alias, Fenrisulfr, was the basis for Fenris Ulf, the American name for Maugrim in C.S. Lewis's "Chronciles of Narnia".) Sirius Black, who turns into a black dog, is named for the star Sirius, which can be found in the constellation Canis Major - the big dog.
Whilst at University she had little money so, for friends' birthdays, she wrote them personal little stories.
Shares the same birthday with Michael Klesic, Wesley Snipes, Ben Chaplin, Barry Van Dyke, Emilia Fox and Loren Dean.
After spending six years writing the first installment of her "Harry Potter" novels, Rowling was rejected by 9 publishers before London's Bloomsbury Publishing signed her on.
The day she signed her contract for the first "Harry Potter" novel, the publishing representative told her she would not make any money selling children's books.
Originally wrote "Harry Potter" to pay off her gas bills while living in a tiny flat with her then, baby daughter.
Although she incorporates characteristics of people she knows into "Harry Potter" characters, she says that the character "Gilderoy Lockhart" is the only character she purposely based on someone she knew. She would not say who she based the character on, only that it was not her ex-husband, and that whoever it was is probably so ignorant and so narcissistic, that he is probably claiming either to be the basis for "Albus Dumbledore", or the real author of the "Harry Potter" books.
Claims her first audience for "Harry Potter" was her daughter, to whom she would read parts of the story that she wrote as a bedtime story.
Is a huge fan of "Monty Python", and claims to put some of their humor into her books.
Owns two properties in the Perthshire and Edinburgh areas of Scotland. In 2003, she hired a former SAS officer as her bodyguard to patrol her Perth home and protect her family.
Doesn't actually have a middle name. She chose the "K" for her initials because she thought it sounded good in conjunction with her surname, and alphabetically it was the next letter after "J".
Was almost barred from boarding a plane from the U.S. to the U.K. when airport security personnel demanded that her manuscript for her final book be screened or placed in her checked luggage. Rowling refused to give up the manuscript, which was bound with rubber bands.
December 21, 2006: Announced that the last "Harry Potter" book will be titled "Harry Potter and the Deathly Hallows".
Finished writing the final book in the fantasy franchise three weeks ago - and marked the occasion by leaving graffiti in a Scottish hotel. Eagle-eyed guests at the five-star Balmoral Hotel spotted a line from the best-selling author scrawled in black pen on the back of a marble bust in a room Rowling occupied. She wrote, "J.K. Rowling finished writing Harry Potter And The Deathly Hallows in this room (652) on Jan 11th 2007."
One of her biggest fans is Stephen King.
Is an avid train buff.
Like her hero, she now lives in a castle.
Based Hermione on herself.
Personal Quotes [Asked by an interviewer about the next "Harry Potter" book]: Well, it will be a papery object with pages inside.
[Discussing her daughter, Jessica]: Kids at her school will sidle up to me and say, "Does Jessica know what happens in book 4? Does Jessica know the title of book 4?" And I keep saying, "No! There is no point kidnapping her, taking her around back of the bike shed, and torturing her for information."
Bigotry is probably the thing I detest most.
I had an American journalist say to me, "Is it true you wrote the whole of the first novel on napkins?" I was tempted to say, "On teabags, I used to save them."
I gave my hero a talent I'd love to have. Who wouldn't want to fly?
The spells are made up. I have met people who assure me, very seriously, that they are trying to do them, and I can assure them, just as seriously, that they don't work.
[When asked what the title would be for book six]: It will be called 'Harry Potter and...' something. Catchy, don't you think? And I think I'll follow the same model for seven.
People ask me if there are going to be stories of Harry Potter as an adult. Frankly, if I wanted to, I could keep writing stories until Harry is a senior citizen, but I don't know how many people would actually want to read about a 65 year old Harry still at Hogwarts playing bingo with Ron and Hermione.
[Family Circle, 4-1-06]: Anything's possible if you've got enough nerve.
[About being held up at an airport for refusing to be parted from the manuscript of her seventh "Harry Potter" book]: The heightened security restrictions on the airlines made the journey back from New York interesting, as I refused to be parted from the manuscript of book seven. A large part of it is handwritten and there was no copy of anything I had done while in the U.S. They let me take it on thankfully, bound up in elastic bands. I don't know what I would have done if they hadn't -- sailed home probably.
Where Are They Now (2004) Working on the last two books of her popular worldwide masterpiece, "Harry Potter".
(July 2004) Currently putting the finishing touches on "Harry Potter and the Half-Blood Prince", the sixth book in the series. It will get a worldwide release at midnight on July 16th, 2005.
(July 2004) Announced she is expecting 3rd child next year.
(2005) Her third child was born on January 23, 2005 in Edinburgh.
(July 2005) Wrote and released "Harry Potter and the Half Blood Prince", the sixth installment of the Harry Potter series.
(November 2005) Currently at work on the final installment of the "Harry Potter" series. It should be released sometime in 2007.
(December 2005) Working on a new book aimed at younger readers.
(May 2007) Preparing for the release of her latest and last book in the Harry Potter series, Harry Potter and the Deathly Hallows
Lyrics to my fave song: Rag Doll lyrics [Chorus:] Rag Doll livin' in a movie Hot tramp Daddy's little cutie You're so fine they'll never see ya leavin' by the back door, mam Hot time get it while it's easy Don't mind come on up and see me Rag Doll baby won't you do me like you done before
I'm feelin' like a bad boy Mm just a like a bad boy I'm rippin' up a Rag Doll Like throwin' away an old toy Some babe's talkin' real loud Talkin' all about the new crowd Try and tell me of an old dream A new version of the old scene Speak easy on the grape vine Keep shufflin' in a shoe shine Old tin lizzy do it till you're dizzy Give it all ya got until you're put out of your misery
[Chorus]
Yes I'm movin' Yes I'm movin' Get ready for the big time Tap dancing on a land mine Yes I'm movin' Yes I'm movin' Old tin lizzy do it till you're dizzy Give it all ya got until you're put out of your misery
Rag Doll livin' in a movie Hot tramp Daddy's little cutie You're so fine they'll never see ya leavin' by the back door, mam Hot time get it while it's easy Don't mind come on up and see me Rag Doll, baby won't ya do me, baby won't ya do me, baby won't ya do me like you done before
Yes I'm movin' Yes I'm movin' Get ready for the big time Get crazy on the moon shine Yes I'm movin' I'm really movin' Sloe Gin Fizzy, do it till you're dizzy Give it all ya got until you're put out of your misery
Star wars game stuff In the PS2 Star Wars: Episode III video game, players will control all the Jedi abilities of both Anakin Skywalker and Obi-Wan Kenobi, including devastating Force powers and advanced lightsaber techniques involving robust combo attacks and defensive maneuvers. As Anakin, players will unleash the power of the dark side in ruthless lightsaber and Force attacks. As Obi-Wan, players will struggle to save the galaxy from darkness by focusing the power of the light side into swift and precise lightsaber attacks and using the Force to control enemy actions.
E O T F D G C B A H Z Q X C L W S L M U G K G Y N L L K G D X S P P M H C P E H Y D Q Y U H N K E D C Q F I Y W D U Z A J F M G K Y E A F V W X U R X I A O M A V U K Z G T X N D G J G D V V C I K B T P D P K Z F S E O V B U X N Z D U H S N A P E R L E P U L J S J Y N Q T O I E P R D U W O W E Z H N Z R G U T S K A N Q G N W C L Q T B E T W T G M V A K D L F P L B E S L L E M N A O Z Y F W T D R U I O V I F C F H V G E M I P U U D I K X K C W O Z G U U R P R O M D K R K A E E I C E D G B I M L Y C A R D J L V K L B L C I Z G C D K P J O Q L R F H X U G Z L M F T N D T A N J R X J G K Z F W R A W W U G M K E J I E X O Y W H F A A E X Z D E N M P K W P G U D S D P P Z V T K S P A T S T P B A I P G Z H M M Z U E K J M L H R E Y L O P E T B Y A Y K F S K C I T A X K C L O H T Q Q K V Z A I J S A Z R I S P A W L J Z N L Z M D L P E R L O P X C S W U N E I I A F S D L N R H T G F K H K N A N O W Y H B I A S B O N W A W P B M P I M X U W Z G E J M Z R X U M P U F V F O I U O C L O F P C T N H G Q W F Y K Z W B Z B O J A C E V O E K P L P F N A R O N X S F H V W X X E N F G D O R R U M T M K O A O B K D J L C V I Q L F S E R I U S I H S T E U D N B A L G Z E J O C C F F N O W V Y T Z U K G Z J C F H H H D J U V S F U K T P E T U N I A S G E Z O Z F G H K H F G N I F L I Z R G W V U S Q R T V T C J O I M H X I O V E V F X B Z L U N A M L Z N Z V F G P Q A M L Z Q Q E R D E T G Q A Q Z F Z Z Q O J I A I P N G O L X U E Z X W U V V H B E D S J E M U Z Y N X G Q D F P G C W V R K F S S T H L Q R N Y Y Q E P L A Q N W L R Y R H R S M G E K P K W E U H Y W F V E Y X U Y B B O D F Z A Q J S T Z Y H E K X A F S A S J X U W W W P J U R D V X C H U X X B M D I O X I R F Y M Q R I R J W X R K U G M K W B D U B Q E K G J O A H R N D A R N B Z X U Z D T M N W X O D U C F G K F I H M W E I O A T T T P M J N Z F R E L Z I T M S R A M A S I N Z X T C Q V Q C F Q S H J T F D V U G J M C U T L U B I E Y R I N L N M R T P D D E C T I C Y F K S K T X G P E N V T H B B R T K K B U L Y M J F K D V B U O R Y R Z E D L Z L L J P C P V O A T B L D I V W A W M N I S X N A G A N Q B I G N H D G L C G M O B R X A A Q W U D R U I R E L W O H C Y H C W R R E K F I J O Z G R T I O U E V T D P M J X N Z R G E A G M X A Y Z L T M F A M S U I N T E M C G M I U W W X T O G L T U W N L B F A E L G E A N S G Y V H C F L V E V B N Z Q H T H O J U T K J H D U U U U U X S O O B P K K W N D U C I K I A P Z U D Y F A U C E H I T E M W N X T N U U T M D Q W L O O V S R S B Y L S L M W R X Y A K P S H F W F E J Y M I N R Z H N C H E A S J M Z R M U I J O T Y F K O V X K M K L M J L J V H E C X J I Q R G M F F G T E N C E D R I C E L K J U R Y O Q Q S B L C C X W Z Z O C X Q V Z L X P H E Y B N S T R U Z Q J Z V O S N U A U V D S R U M L Y T P H I T L O Y U S P R B X S U B T H G I N K K D C S S R O J N W U A N C M H D I Q A M X E G K L G A I R H I N B L E F Q D A I N X H Q W Y V K B E A Q E M H L I R F R I O P K M N O N R G H I R P A G I W D E H F W M D C C M D H K C R E C U Q F J T U D Q X Q C B V M V G R J P L Y A R T W E G V M R M C G O N N I C A L Q D P I E S S N V R R C Q P J O Z R S X O Q E K L J H R G H V Y I H G L S F E B N I H S T E J P Y L N T B R R D Y N I K M S Q Y Y I L O Y Q C S T W C B D Q E U T Z O U A H S O Q M S C Y D L L J X J C G Y R G H O P H B T U I L N Z M L N L N E X Z L U I W S R L A N W R D N B U C E N O X B X O N R G M D T D A E M D Z A O I M O T X Z T C I I A Y J T K Y W B V Y N C J N J P I P N M D W W M F B H L Y C Q U A H J K B A A C O K O N P X W W V W E E O E L B A K T E Q D F O Q X U N U E R P Q P A O R Q K D D E W X P D A R V E B M S P E U O E U X G E T H M I W O C E H C Q U W F B N Z R J O B F F C B B H L C O D G C W A V T B G Y A K W K A U B E X N O O I B B E M I Q M R Z M Z D S D X H X T X X O N W E Q A X E K Y B W J Y W I M B K M I F C W R P V E P O X K T T O L Y V S O P H M C U O X J C X E T Y F Q P X R L C C E S E N B T K X X H M Q Y B D F T B Z J S I W Z I F O L U R I U Z P I P D Q I C H M K O R G F L K O P W G F P I X W X D T P S R H Q V T Y F X O B U U J K N I U B Y E B E A V O M V F G P R Z H R E O R Q F T D I D H V K T H X K E T M D Y S S D F M F P D W S L X B X O M P B R O D K I I Q M L K D K J O D F F L H O B M V G D E E B Q H H T R S J N O C U F A F X I E F S A U J K C D I W Y A R B A D N P Q J B X Q Z W B V L L U N C M R E N I D V U K S E O M K P C R L O L C E Q N R K K J S Q D I E H F A K Z L X Q F J Q G C Q G M H L X K A D M Z O Y A S V E M E H L U B K E H E L R Z N C V S I F E R N M W B Y W E B C L Q J J K Z Z W Z B R L T Q K D F W N M A C Z H J B C F H L S C Q L O V Q B D E V G T B E N E K L A F F G X Y G W I Z I C H O S B S U U V N Z K O T E H Z O T L B T C Y C J J G K Z C M N Q O E P H B J H R Y Z S Y W I R E Y S L Y T H E R I N Z H S A O W Q T F O W O R V J K I N J E S S Z E U T F L H U T M Q K E P E J V G N O O H F K V J J C M M K E L L I V V E N Z P E A B Q J S J W Q F B L C O Z U A H V P V H T E I L H T G D I M R F M J G Z R L I W X L K T L M R C B Z H Y Q E I J Z J H D Y W W O S Y U O K B F G V M Y K
ARTHUR BOGGART BUCKBEAK CEDRIC DEAN DEMENTOR DOBBY DRACO DUDLEY DUMBLEDORE FLEU FLICKWICK FRED GEORGE GINNY GRINGOTTS GRYFINNDOR HAGRID HARRY HEDWIG HERMIONE HORNTAIL HOWLER HUFFLEPUFF KNIGHTBUS LUCIUS LUNA LUPIN MARGE MCGONNICAL NEVVILLE PETUNIA QUIRREL RAVENCLAW REMEMBRALL RON SEAMUS SIRIUS SLYTHERIN SNAPE VERNON VICTOR VOLDERMORT WAND WERWOLF
Hermione: I'm a Hogwarts girl, in my Hogwarts world I do magic, it's fantastic Ghosts fly everywhere, pixies in my hair A vacation from Muggle situations
Ron: Wizards, witches, snakes, and snitches
Hermione: I'm a hard-working girl In this non-Muggle world I do spells, I save Ron, I save Harry
Ron: You're a know-it-all girl And I almost could scream Your obsession with homework is scary
Hermione: You can laugh At my wa-ays But my O.W.L.S Are better than yours Oo-oo-oo I'm a Hogwarts girl, in my Hogwarts world I do magic, it's fantastic Ghosts fly everywhere, pixies in my hair A vacation from Muggle situations
What kind of sorcerer are you? How do you do the things you do? Share with me your secrets deep inside. What kind of sorcerer are you? Are you loyal through and through? And do you have a heart that's true? What kind of sorcerer are you? If you're the loyal kind you're a Hufflepuff, Here you won't find people who are too tough. The badger's the symbol of the house, and in Hufflepuff Tower there's nary a mouse!
What kind of sorcerer are you? How do you do the things you do?
If you're sneaky you're in Slytherin, They'll do whatever it takes to win! Good luck with Snape and his Potions class, Make one wrong move and you won't pass!
What kind of sorcerer are you? How do you do the things you do? Share with me your secrets deep inside. What kind of sorcerer are you? Are you loyal through and through? And do you have a heart that's true? What kind of sorcerer are you?
If you're brave as a lion, go Gryffindor! When they win they let out a mighty roar! You'll be like Harry Potter and his friends, and your Hogwarts adventure will not soon end!
What kind of sorcerer are you? How do you do the things you do?
Last but not least there's Ravenclaw, and they're the smartest people I ever saw. Those are the houses at Hogwarts School, so put me on, don't be a fool!
What kind of sorcerer are you? How do you do the things you do? Share with me your secrets deep inside. What kind of sorcerer are you? Are you loyal through and through? And do you have a heart that's true? What kind of sorcerer are you?
All who are here will be a wizard or witch Try to win at Quidditch! Our plan is this: gotta teach 'em all! The Hogwarts spirit never falls...
What kind of sorcerer are you? How do you do the things you do? Share with me your secrets deep inside. What kind of sorcerer are you? Are you loyal through and through? And do you have a heart that's true? What kind of sorcerer are you? What kind of sorcerer are you? How do you do the things you do? Share with me your secrets deep inside. What kind of sorcerer are you? Are you loyal through and through? And do you have a heart that's true? What kind of sorcerer are you?
Cameron Michael Johnson talks about his wonderful life in England, but now he's moving to America! Includes Crash Nitro Kart Help and Doctor who episdoe guide.
74 comments:
Well, Cameron Johnson is moving to America.I am sure that he will have a good time there. Well, I am Cameron! My friend Eliza is making a bob website. Today I am adding this comment in the wonderous free time on the computers that my teacher is giving me.
Well, I, allso cameron in disquise have a game for you:
http://onemorelevel.com/games.php?game=364
It is wicked.
That one more level game seems not to be working. Well, just type that into your adress bar. The game is funny, the only bad stinky thing is that my enemie richard lord likes it. Ragdoll
I know viewers will take advantage of this, my name is Camero Again and my password is Dave'sbar, the bar I made up. I am also Cameron, the creator of this blog.
Go on the simpson's movie.com. it's wicked!
Hi Again!
Go on the official website of doctor who, it's got wicked videos.
I have good stuff on my website.
This is a permission slip for my school athletics team!
5th June, 2007
Dear parents,
Your child has been chosen to represent the school in the Tamworth Schools’ Athletics at the Tamworth Athletics Stadium on Monday, 11th June.
Your child will be in the following event(s):
1
2
3
The event will start at 4.00 p.m. and finish at about5.30 p.m.
If you can help with transport, please complete the pro forma below.
Yours sincerely,
Brian Mulligan
—————————————————————————————-
I give permission for my child ……………………….
to take part in the athletics tournament at the Tamworth Athletics Stadium on Monday, 11th June.
I can/cannot help with transport.
Signed…………………………………..
Yes, my teacher's name is brian!
I know the athletics are already over, but i just wanted to show you the brilliantness.
Bob is cool! A good remark by my good friend eliza. Go on my blog htp://bob.blogspot.com
Our school have a cool game called mission control.
My friend rhianne does not know how to reset a computer!
My favourite simpsons one is the one about bart having two mommies. Watch simpsons every day on sky one at 7 pm!
Everyone go on Bob.com!
Ah, my site is so good! It has everything in the world i like!
Whatever,loser
The ehykiuiy said... is eliza.
http://bobisverycool.blogspot.com- a good site for bob lovers! El;iza told me to write this.
I spelt Eliza wrong in my last post!
I have only put 1 comment on bob is very cool. I don't think it is very good. Don't tell Eliza!
I will now rate my taekwondo teacher, oliver kells
Cleverness: 8/10
Agility: 10/10
Stamina: 10/10
Abilities: 9/10
Scary: 4/10
He's not scary except when he says the dreaded"Cee"
I hear Eliza is adding more to her site.
She is writing more about bob, she is obssesed!
Well, I think my site is better!
Yes, it is well cooler.
Look at my crash nitro kart stuff!
I shows you lots of secrets of crash niotro kart!
This is a good day.
We just had to do a stinking fire drill. Mrs Rowlnads stinks!
Mrs rowlnads poem.
Syinker
Mrs rowlnads poem.
Syinker
it was a rubish poem for a rubish woman!
Ah, hello, want to know about lego swars 3?
Game Info
Building on the success of both LEGO® Star Wars™ "block-buster" videogames, LEGO® Star Wars™: The Complete Saga enables families to play through the events of all six Star Wars movies in one videogame for the first time ever. Developer Traveller's Tales takes full advantage of the unique capabilities of all three next-generation consoles, while also adding new characters, new levels and new features. Players can build and battle this fall on the Wii™, PLAYSTATION®3 computer entertainment system and Xbox 360™ videogame system from Microsoft. Traveller's Tales is also creating an entirely new Nintendo DS™ version, developed brick by brick from the ground up.
Features
Families can commemorate the 30th anniversary of Star Wars by playing through the events of all six Star Wars movies in one videogame for the first time ever.
Solve puzzles that encourage creative thinking through the use of teamwork and unique building situations only possible in a LEGO galaxy far, far away.
Adds new levels, new characters and new features to the fun, creativity and tongue-in-cheek humor that made LEGO® Star Wars™: The Video Game and LEGO® Star Wars™ II: The Original Trilogy such huge hits.
New levels, such as Episode II's never-before-played high-speed pursuit of bounty hunter Zam Wessell, further complete the entire Star Wars story.
New playable characters like Watto, Zam Wessell, Boss Nass and more bring the total count to over 160.
The upgraded Character Customizer includes all Prequel Trilogy characters for the first time, while also expanding its customization options well beyond those in LEGO Star Wars II, for millions more possibilities. Create cross-Trilogy mash-up characters like Han Windu and Lando Amidala.
New game features include enhanced Force powers, new power-ups, and a new Challenge Mode.
Levels from the original LEGO Star Wars are revamped to meet the gameplay evolutions of LEGO Star Wars II.
For the first time, every Prequel Trilogy character -- even those without the Force -- can build, as well as jump into and out of the vehicles they create.
Redesigned "Mos Espa Podrace" and "Gunship Cavalry" levels now encourage the open vehicle gameplay of LEGO Star Wars II.
New bonus levels and 10 additional Bounty Hunter Missions offer new challenges in the Prequel Trilogy.
Enhancements for every platform:
Xbox 360 and PLAYSTATION 3: The LEGO Star Wars premiere of online two-player co-op lets families play together from anywhere in the world for the first time.
Xbox 360 and PLAYSTATION 3: New high-resolution LEGO models and characters, along with new environment graphics and special effects, create visuals unparalleled by any other LEGO galaxy far, far away.
Wii: Motion-sensitive inputs give you exciting new ways to control your LEGO Star Wars characters.
Nintendo DS: Created from the ground up by Traveller's Tales, this version incorporates exclusive touch-screen action and challenges.
Peek behind the scenes with the bonus video "The Building of LEGO Star Wars."
Well, you've noticed i've disguised again. It's hard forgetting your password, so i have to register all the time. I've just done my production of oliver.
I have played wallace and gromit cotw allot recently, here's some things about it. Wallace & Gromit: The Curse of the Were-Rabbit closely follows the events of the Aardman film, with players using co-operative modes to guide any pairing of Wallace, Gromit or their rabbit friend, Hutch, through four huge areas. Players are given a free reign of the area as they attempt to solve the problems besetting the Giant Vegetable Competition, and their mission takes them from the seaside to suburbia as they venture out at night to confront the beast responsible for the vegetable-based carnage.
Adding to their troubles, though, the villain of the piece has seized control of Wallace's 'Mind-Manipulation-O-Matic' device to transform common garden pests into bigger, more dangerous Were-beasts, and only Wallace's Bungun - a device to suck up adversaries or anything that is lying around and then fires them at tremendous speed - can save the day. Wallace's skill with gadgets also ensures that further apparatus is available, with Electric Screwdrivers, Harvesters and Grapplers appearing throughout the game to bolster the inventor's arsenal and help bypass puzzle-based elements in the game.
With its huge, free-roaming play area (the first time Wallace & Gromit's town has appeared in a video game), inventive action, plentiful gadgets, varying sub-games and visuals that mimic the distinctive look of Aardman's film, The Curse of the Were-Rabbit perfectly captures the fun and menace of Wallace & Gromit's first silver screen outing.
GameSpot Score
6.3
fair The cute claymation couple look and sound pretty good in this mission-based platformer, but the gameplay isn't all that compelling.
Gameplay 6 Graphics 7 Sound 7 Value 6 Tilt 6 Difficulty: Medium
Learning Curve: About a half hour
Game Details
About Our Rating System
The Good
Looks and sounds like a Wallace & Gromit game Open town to explore Lots of missions to do.
The Bad
Gameplay isn't particularly fun or exciting Mission design isn't always clear Not much appeal for those who aren't hardcore Wallace & Gromit fans.
Nick Park's lovable claymation characters, the affable inventor Wallace, and his preternaturally intelligent dog, Gromit, are at it again in their newest video game, The Curse of the Were-Rabbit. Based on the film of the same name, the game is a platformer that has you controlling Wallace & Gromit as you explore a town and do missions for your fellow townsfolk. While the game does a good job at capturing the look and feel of the Wallace & Gromit universe, the missions themselves are only mildly amusing at best, and are sometimes unclear in their objectives.
Everyone's favorite clay couple star in a new game.
The story of The Curse of the Were-Rabbit loosely follows that of the film. Wallace and Gromit are partners in a humane pest-control company called Anti-Pesto. They've drummed up quite a bit of business catching rabbits as the town leads up to the annual vegetable competition. With all the townspeople trying to protect their giant vegetables, Anti-Pesto is in charge of catching all the rabbits in town and protecting them from destruction by the furry pests. Lord Victor, a smarmy hunter, sneers at the humane methods Wallace and Gromit use to catch the rabbits, preferring instead to shoot them. But the Lady of the town, Tottington, favors the bloodless way of doing things, and contracts Wallace and Gromit to protect her house, much to the jealous chagrin of Victor. After a brief tutorial level in which you clear rabbits from Lady Tottington's house, the rest of the town is opened up, and you can wander around and pick up simple missions from the various townsfolk. The town is open-ended, so much like in a Grand Theft Auto game, you're free to walk around and explore, doing the missions in any order you please--although some areas of the town are locked away until you've completed certain tasks.
The missions are often very short and simple; they often involve going into gardens and catching varmints like rabbits and squirrels before they eat the large vegetables. Others are chores like finding three vials of holy water that the vicar has lost in the sewer, or sorting vegetables that roll down a Rube-Goldberg device that the bank manager has constructed. To do the tasks, both Wallace and Gromit are armed with a vacuum-like weapon called a bun-gun. The bun-gun can suck up single rabbits, vegetables, or other items and shoot them out. You'll also unlock other gadgets and tools along the way, like a screwdriver that Wallace can use to disarm security doors via a minigame, or umbrellas that you can use to float down from high places. Certain missions and puzzles require both characters to work together, so if you're playing single-player, you can go to certain spots and whistle for the other character to help you. You can also play the campaign cooperatively with two players, so you can work together to do these tasks. The combo tasks are usually pretty obvious, like having one character suck open a switch cover with the bun-gun while the other character hits the switch. Wallace and Gromit each have special strengths, as well. Wallace is taller and can double jump to higher places, for example, while Gromit has the ability to wall jump up narrow crevices to get to high places, much like the Prince in the Prince of Persia games.
Over the course of the campaign, you'll eventually learn the secret behind the were-rabbit that's terrorizing the town and eating all the vegetables, and you'll get the ability to switch the time from day to night and back. Certain missions that involve fighting were-creatures require you to play at night, and in these missions, you'll gather up the valves that Lord Victor has stolen from Wallace's mind-manipulation-o-matic device. There are quite a few missions to do in the game, and a good amount of things to do for the townsfolk. The problem is that none of it is particularly fun, so it feels a lot like a series of minigames instead of a coherent story that flows together. The game certainly nails down the whimsical atmosphere of the Wallace & Gromit universe, so if you're a big fan, there's some amusement to be had in the game. But eventually most people will probably grow tired of herding rabbits into vacuum-suck drains and fighting were-creatures.
Rabbit herding is a central aspect to the game.
As far as presentation goes, The Curse of the Were-Rabbit does a good job at capturing the look of Nick Park's claymation characters. The game doesn't look all that impressive from a technical standpoint, but anyone who's seen a Nick Park short knows that the look of his universes doesn't require a superflashy graphics engine to capture properly. The goofy animations of the characters certainly captures the whimsy of Wallace and Gromit, but if there's any complaint to be made it's that the characters don't move in that claymation fashion like they do in the films. The game also seems to use a lot of the same voice actors from the film, and the music in the game also sounds appropriately goofy and authentic in that regard. Cutscenes from the actual movie round out a game that presents its source material pretty well.
While there's certainly a lot to do in the game, a wealth of gadgets to mess around with, and hundreds of rabbits to catch, Wallace & Gromit: The Curse of the Were-Rabbit ultimately limits its appeal with by-the-numbers gameplay. If you love Nick Park's creations and the film, the game's worth checking out; but beyond that, there are better options out there if you're looking for a family-friendly platformer.
Just me again saying a few things. The play last night was wonderful, except we had to sing stupid concider yourself again! It's terrible standing there for half an hour knee bending. It is total utter knee-hurting. Well, i have a cast list for you. The artful dodger and the policeman- richard davis and conor shiner- got told off for righting in people's yearbook's. Bad people!
Only cameron again!
I have the whole lionel bart version of oliver here!
Oliver! - The Musical
Songs from:
Food Glorious Food
Oliver!
I Shall Scream
Boy for Sale
That's Your Funeral
Where is Love?
Consider Yourself
You've Got to Pick a Pocket or Pwo
It's a Fine Life
I'd do Anything
Be Back Soon
Omm-Pah-Pah
My Name
As Long As He Needs Me
Who Will Buy?
Reviewing the Situation
[the following is from Foosie..]
OLIVER! 1963
Lionel Bart was 28 when he wrote the book, music and lyrics to OLIVER!
based on the 1838 Charles Dickens classic OLIVER TWIST. (Bart had
changed his last name from Begleiter when he was 24.) He had started
out writing pop tunes for Tommy Steele (having been in a skiffle group
called the Caveman with him), and had written two previous successful
West End Shows, FINGS AIN'T WOT THEY USED T'BE (music and lyrics -
1957) and LOCK UP YOUR DAUGHTERS (lyrics - 1959). According to Rex
Bunnett writing in The Musicals, originally Bart was looking to create
a vehicle to star Tommy Steele when he decided to adapt OLIVER TWIST,
but that plan went out the window when Bart limited the show to the
early part of the book that also formed the basis for the successful
1948 David Lean film. By the time OLIVER! opened on Broadway, Bart
had 3 hit shows running simultaneously in London, OLIVER!, LOCK UP
YOUR DAUGHTERS and BLITZ (music and lyrics). He died April 4, 1999.
See also
FOOD, GLORIOUS FOOD
Is it worth the waiting for?
If we live 'til eighty-four
All we ever get is gru...el!
Ev'ry day we say our prayer --
Will they change the bill of fare?
Still we get the same old gru...el!
There's not a crust, not a crumb can we find,
Can we beg, can we borrow, or cadge,
But there's nothing to stop us from getting a thrill
When we all close our eyes and imag...ine
Food, glorious food!
Hot sausage and mustard!
While we're in the mood
Cold jelly and custard!
Pease pudding and saveloys!
What next is the question.
Rich gentlemen have it, boys:
In-di-gestion!
Food, glorious food!
We're anxious to try it.
Three banquets a day --
Our favourite diet!
Just picture a great big steak --
Fried, roasted or stewed.
Oh, food,
Wonderful food,
Marvellous food,
Glorious food.
Food, glorious food!
What is there more handsome?
Gulped, swallowed or chewed --
Still worth a king's ransom!
What is it we dream about?
What brings on a sigh?
Piled peaches and cream, about
Six feet high!
Food, glorious food!
Eat right through the menu.
Just loosen your belt
Two inches and then you
Work up a new appetite.
In this interlude --
Then food,
Once again, food
Fabulous food,
Glorious food!
Food, glorious food!
Don't care what it looks like:
Burned, underdone, crude --
Don't care what the cook's like.
Just thinking of growing fat --
Our senses go reeling.
One moment of knowing that
Full-up feeling!
Food, glorious food!
What wouldn't we give for
That extra bit more --
That's all that we live for.
Why should we be fated to
Do nothing but brood
On food,
Magical food,
Wonderful food,
Marvellous food,
Fabulous food,
Beautiful food,
Glorious food!
OLIVER!
Mr. Bumble, the parish beadle, enters. (The dictionary defines a
beadle as an inferior parish officer in England having a variety of
duties, as the preservation of order in church service, the
chastisement of petty offenders, etc.) He is accompanied by the Widow
Corney, the Workhouse Mistress. Mr. Bumble hands out the day's meagre
food to the boys. When he signals the boys they can start eating,
they wolf down the food to the tune of OLIVER. When they finish,
Oliver requests a second helping.
MR. BUMBLE: For what you are about to receive
May the Lord make you truly thankful.
BOYS: Amen.
OLIVER: Please, Sir, I want some more.
MR. BUMBLE: What?
OLIVER: Please, Sir, I want some more.
MR. BUMBLE: More!
WIDOW CORNEY: Catch him!
MR. BUMBLE: Snatch him!
WIDOW CORNEY: Hold him!
MR. BUMBLE: Scold him!
WIDOW CORNEY: Pounce him!
Trounce him!
Pick him up and bounce him!
MR. BUMBLE: Wait!
Before we put the boy to task
May I be so curious as to ask
His name?
BOYS: O-li-ver
WIDOW CORNEY AND MR. BUMBLE: Oliver! Oliver!
MR. BUMBLE: Never before has a boy wanted more!
MR. BUMBLE AND WIDOW CORNEY: Oliver! Oliver!
MR. BUMBLE: Won't ask for more when he knows what's in store.
There a dark, thin, winding
Stairway without any bannister
Which we'll throw him down, and
Feed him on cockroaches
Served in a canister
ALL: Oliver! Oliver!
MR. BUMBLE: What will he do
When he's turned black and blue?
He will curse the day
Somebody named him
ALL: O-li-ver!
MR. BUMBLE AND WIDOW CORNEY: Oliver! Oliver!
MR. BUMBLE: Never before has a boy wanted more!
MR. BUMBLE AND WIDOW CORNEY: Oliver! Oliver!
WIDOW CORNEY: He won't ask for more
When he knows what's in store.
MR. BUMBLE: There's a sooty chimney
Long overdue for a sweeping out
Which we'll push him up,
And one day next year
With the rats he'll be creeping out!
ALL: Oliver! Oliver!
MR. BUMBLE: What will her do
In this terrible stew?
He will rue the day
Somebody named him...
ALL: O-li-ver!
I SHALL SCREAM
Oliver is dragged off as Bumble and the Widow do a bit of courting.
When the beadle sneaks a kiss, the Widow protests:
WIDOW CORNEY: Mr. Bumble, I shall scream!
MR. BUMBLE: No, you wouldn't, heigh-ho.
If I wanted something special,
Then you couldn't say "no".
Did I nearly catch you smiling?
Yes I did, and it's beguiling.
If your hand is close, I'll press it.
Yes, you like it -- come confess it!
Yes, you do.
WIDOW CORNEY: No, I don't.
MR. BUMBLE: Yes, you do!
WIDOW CORNEY: I shall scream! I shall scream!
Til they hasten to my rescue, I shall scream.
MR. BUMBLE: Since there's nobody that's near us
Who can see us or can hear us,
If I ask you can I kiss you
Say what will my pretty miss do?
WIDOW CORNEY: I shall scream, scream, scream!
MR. BUMBLE: If I pinch you one pinch --
From you shy protective shell,
Can I un-inch you one inch?
Will my blithesome, buxom beauty
Let her suitor do his duty?
Though his lap ain't very large, dear
Sit upon it -- there's no charge, dear.
Will you sit?
WIDOW CORNEY: No, I shan't
MR. BUMBLE: Will you sit?
WIDOW CORNEY: I shall scream! I shall scream!
For the safety of my virtue I shall scream.
Though your knee is rather cozy,
See my cheeks are getting rosy.
You would have me in your power.
If I sat here for an hour.
MR. BUMBLE (gasping under her weight): I shall scream, scream,
scream!
WIDOW CORNEY (getting off his lap): You're a naughty bad man,
If you think I can't be proper,
Prim and haughty -- I can
And you'll pardon if I mention
You must state your true intention. How?
MR. BUMBLE: Is there not another room here?
WIDOW CORNEY (regretfully): No.
MR. BUMBLE: If there were a bride and groom here --
Would there be?
WIDOW CORNEY: Well, there might.
MR. BUMBLE: We shall see.
WIDOW CORNEY: I shall scream! I shall scream!
At the thought of what you're thinking,
I shall scream!
MR. BUMBLE: You will wonder where that scream went
When we come to an agreement.
As my lovey-dove is chubby,
Could she love a chubby hubby?
WIDOW CORNEY: I shall scream, Mr. Bumble!
I shall scream, Bumble-Wumble!
I shall scream, scream (what, now?) scream!
(Kiss).
BOY FOR SALE
Oliver is brought to Mr. Bumble with all his worldly belongings in a
small bundle. Bumble takes him off to sell, singing:
One boy,
Boy for sale.
He's going cheap.
Only seven guineas.
That or thereabouts.
Small boy,
Rather pale
From lack of sleep.
Feed him gruel dinners;
Stop him getting stout.
If I should say he wasn't very greedy,
I could not, I'd be telling you a tale.
One boy,
Boy for sale.
Come take a peep.
Have you ever seen
As nice a boy for sale?
THAT'S YOUR FUNERAL
Mr. Bumble takes Oliver to the undertaker's parlor of Mr. and Mrs.
Sowerberry and sells him into indentured servitude for 5 pounds.
Sowerberry intends to use Oliver as a coffin follower. We learn
Oliver's full name is Oliver Twist, named by Mr. Bumble when his
mother died in childbirth. Sowerberry puts a top hat on Oliver and is
pleased with the effect.
MR. BUMBLE: He's a born undertaker's mute:
I can see him in his black silk suit
Following behind the funeral procession
With his features fixed in a suitable expression.
There'll be horses with tall black plumes
To escort us to the family tombs,
With mourners
In all corners
Who've been taught to weep in tune.
Then the coffin lined with satin.
That's your funeral.
MRS. SOWERBERRY: That's your funeral.
SOWERBERRY: Large enough to wear your hat in.
That's your funeral.
MRS. SOWERBERRY: That's your funeral.
SOWERBERRY: We're just here to glamorize you for that
Endless sleep.
MR. & MRS. SOWERBERRY: You might just as well look fetching
When you're six feet deep.
MRS. SOWERBERRY: At the wake we'll drink a toddy
To the body beautiful.
MR. SOWERBERRY: That's your funeral.
MRS. SOWERBERRY: Not our funeral.
MR. & MRS. SOWERBERRY: That's your funeral.
SOWERBERRY: If you're fond of overeating
That's your funeral.
MRS. SOWERBERRY: That's your funeral.
SOWERBERRY: Starve yourself by undereating
That's your funeral.
MR. BUMBLE: That's my funeral.
MRS. SOWERBERRY: Visualize the earth descending on you clod by clod.
You can't come back when you're buried
Underneath the sod.
MR. & MRS. SOWERBERRY: We will not reduce our prices.
Keep your vices usual.
SOWERBERRY: That's your funeral
MRS. SOWERBERRY: Not our funeral.
ALL: That's your funeral.
MR. BUMBLE: I don't think this song is funny.
SOWERBERRY: That's your funeral.
MR. BUMBLE: Here's the boy, now where's the money?
SOWERBERRY: That's your funeral.
MRS. SOWERBERRY: That's your funeral.
MR. BUMBLE: That's your funeral.
SOWERBERRY: We don't harbour thoughts macabre,
There's no need to frown
MR. & MRS. SOWERBERRY: In the end we'll either burn you up or nail you
down.
We love coughs and wheezes
And diseases called incurable.
That's your funeral.
No one else's funeral.
SOWERBERRY: That's your...
MRS. SOWERBERRY: That's your...
MR. & MRS. SOWERBERRY: Funeral!
WHERE IS LOVE?
Oliver is given some scraps to eat and then is left alone to sleep
among the coffins. He sings:
Where is love?
Does it fall from skies above?
Is it underneath the willow tree
That I've been dreaming of?
Where is she
Who I close my eyes to see?
Will I ever know the sweet "hello"
That's meant for only me?
Who can say where she may hide?
Must I travel far and wide?
'Til I am beside the someone who
I can mean something to.
Where,
Where is love?
Who can say where she may hide?
Must I travel far and wide?
'Til I am beside the someone who
I can mean something to.
Where,
Where is love?
The next morning Noah Claypole arrives for work; he calls Oliver
"Workhouse" and rags him about his mother, goading Oliver into a
fight. Oliver winds up in a coffin, which Noah and the Sowerberries
sit on. They get Mr. Bumble who tries to intimidate Oliver to no
avail. Bumble blames the Sowerberries for feeding him meat. Bumble
lets Oliver out of the coffin and he manages to run away.
CONSIDER YOURSELF
A week later Oliver is walking along Paddington Green. The Dodger
comes by, dressed in a top hat and an oversized overcoat, and sizes up
the runaway. The Dodger offers Oliver lodgings with a "respectable
old gentleman" named Fagin. They introduce themselves, Dodger as Jack
Dawkins to his "hintimate" friends, which upon reflection, he realizes
he doesn't have.
DODGER: Consider yourself at home.
Consider yourself one of the family.
We've taken to you so strong,
It's clear we're going to get along.
Consider yourself well in.
Consider yourself part of the furniture.
There isn't a lot to spare.
Who cares? Whatever we got we share!
If it should chance to be
We should see
Some harder days,
Empty-larder days,
Why grouse?
Always a chance we'll meet
Somebody to foot the bill,
Then the drinks are on the house!
Consider yourself our mate.
We don't want to have no fuss,
For after some consideration, we can state
Consider yourself
One of us!
Consider yourself...
OLIVER: At home?
DODGER: Consider yourself...
OLIVER: One of the family?
CAPTAIN: We've taken to you
OLIVER: So strong?
DODGER: It's clear we're
BOTH: Going to get along.
DODGER: Consider yourself...
OLIVER: Well in?
DODGER: Consider yourself...
OLIVER: Part of the furniture?
BOTH: There isn't a lot to spare!
Who cares?
Whatever we got we share.
DODGER: Nobody tries to be lah-di-dah and uppity.
There a cup o'tea for all.
Only it's wise to be handy wiv' a rolling pin
When the landlord comes to call!
BOTH: Consider yourself
Our mate.
We don't want to have no fuss,
For after some consideration we can state
Consider yourself
One of us!
COMPANY: Consider yourself at home.
We've taken to you so strong.
Consider yourself well in.
There isn't a lot to spare
If it should chance to be
We should see
Some harder days --
Empty-larder days --
Why grouse?
Always a chance we'll meet
Somebody to foot the bill --
Then the drinks are on the house!
Consider yourself our mate.
We don't want to have no fuss,
For after some consideration, we can state
Consider yourself
One of us!
Consider yourself at home.
Consider yourself one of the family.
We've taken to you so strong,
It's clear we're going to get along.
Consider yourself well in,
Consider yourself part of the furniture.
There isn't a lot to spare.
Who cares? Whatever we got we share!
If it should chance to be
We should see
Some harder days,
Empty-larder days,
Why grouse?
Always a chance we'll meet
Somebody to foot the bill,
Then the drinks are on the house!
Consider yourself our mate.
We don't want to have no fuss,
For after some consideration, we can state
Consider yourself
One of us!
YOU'VE GOT TO PICK A POCKET OR TWO
Dodger takes Oliver to meet Fagin. Oliver notices all the
handkerchiefs hanging up and wonders if Fagin runs a laundry. Fagin
says his line of business pays a little better. With the help of his
boys, Fagin demonstrates.
FAGIN: Let's show Oliver how to do it, my dears. You see, Oliver,
In this life, one thing counts:
In the bank, large amounts!
I'm afraid these don't grow on trees,
You've got to pick a pocket or two.
You've got to pick a pocket or two, boys,
You've got to pick a pocket or two.
BOYS: Large amounts don't grow on trees.
You've got to pick a pocket or two.
FAGIN: Why should we break our backs
Stupidly paying tax?
Better get some untaxed income:
Better pick a pocket or two.
You've got to pick a pocket or two, boys,
You've got to pick a pocket or two.
Sing, boys!
BOYS : Why should we all break our backs?
Better pick a pocket or two.
FAGIN : Charlie, take your hat off while you're in class!
Robin Hood, what a crook:
Gave away all he took.
Charity's fine, subscribe to mine.
Get out and pick a pocket or two.
You've got to pick a pocket or two, boys,
You've got to pick a pocket or two.
BOYS: Robin Hood was far too good.
Get out and pick a pocket or two.
FAGIN: Watch the beat, boys!
Take a tip from Bill Sikes:
He can whip what he likes.
I recall, he started small;
He had to pick a pocket or two.
You've got to pick a pocket or two, boys,
You've got to pick a pocket or two.
BOYS: We can be like old Bill Sikes
If we pick a pocket or two.
FAGIN: Pay attention!
Dear old gent passing by,
Something nice takes his eye.
Everything's clear, attack the rear!
Get in and pick a pocket or two.
You've got to pick a pocket or two, boys,
You've got to pick a pocket or two.
BOYS: Have no fear, attack the rear.
Get in and pick a pocket or two.
FAGIN: When I see someone rich,
Both my thumbs start to itch.
Only to find some peace of mind
I have to pick a pocket or two.
You've got to pick a pocket or two, boys,
You've got to pick a pocket or two.
BOYS: Just to find some peace of mind
FAGIN AND BOYS: You have to pick a pocket or two!
The boys hand over the day's takings to Fagin. Fagin tries to teach
Oliver the art of picking a pocket and rewards him with sixpence.
Oliver's now got sixpence, a home and a profession.
The next morning while the boys are all asleep, Fagin takes a box from
a trapdoor in the floor; this is his miser's hoard, which he gloats
over. His little pleasure: "a cup of coffee and a quick count-up".
Oliver wakes up and sees him, to Fagin's displeasure; he sends Oliver
off for a wash while he hides his treasure again.
IT'S A FINE LIFE
Nancy and Bet arrive; Nancy swigs gin, which she calls a small
pleasure.
NANCY: Small pleasures, small pleasures,
Who would deny us these?
Gin toddies -- large measures --
No skimping if you please!
I rough it. I love it.
Life is a game of chance.
I'll never tire of it --
Leading this merry dance.
If you don't mind having to go without things,
It's a fine life!
ALL : Fine life!
NANCY : And though it ain't all jolly old pleasure outings,
It's a fine life!
ALL: Fine life!
NANCY: When you've got someone to love,
You forget your cares and strife.
Let the prudes look down on us.
Let the wide world frown on us.
It's a fine, fine life!
BET and NANCY: Who cares if straightlaces
Sneer at us in the street?
Fine airs and fine graces
NANCY: Don't have to sin to eat.
BET and NANCY: We wander through London
Who knows what we many find?
There's pockets left undone
On many a behind.
NANCY: If you don't mind taking it like it turns out,
It's a fine life!
ALL: Fine life!
NANCY: And keep the candle burning until it burns out.
It's a fine life!
ALL: Fine life!
NANCY: Though you sometimes do come by
The occasional black eye,
You can always cover one
While he blacks the other one,
But you don't dare cry.
BET: No flounces, no feathers,
No frills and furbelows.
All winds and all weathers
Ain't good for fancy clothes.
NANCY: These trappings,
BET: These tatters,
BET and NANCY: These we can just afford.
NANCY: What future?
BET: What matters:
BET and NANCY: We've got our bed and board.
NANCY: If you don't mind having to deal with Fagin,
It's a fine life!
ALL: Fine life!
NANCY: And though diseased rats threaten to bring the plague in,
It's a fine life!
ALL: Fine life!
NANCY: But the grass is green and dense
On the right side of the fence.
And we take good care of it
That we get our share of it
ALL: And we don't mean pence!
BET and NANCY: If you don't mind having to like or lump it,
It's a fine life!
ALL: Fine life!
NANCY: Though there's no tea-sippin' and eatin' crumpet,
It's a fine life!
ALL: Fine life!
NANCY: Not for me, the happy home:
Happy husband, happy wife.
Though it sometimes touches me,
For the likes of such as me,
Mine's a fine.
ALL: Fine life!
I'D DO ANYTHING
Nancy and Bet are introduced to Oliver. Nancy says no one knows how a
gentleman of quality acts, "except Dodge."
NANCY: Here, Dodge, have you seen the way the quality gentlemen treats
their ladies?
DODGER: Of course, I have.
NANCY: Shall we show 'em how it's done?
DODGER: Definitely.
FAGIN: Oh, come on, Nancy, give us a free show on the stage!
NANCY: All right, all right, 'ow does it go now, Dodge? It's all
bowin' and 'ats off and --
DODGER: And "don't let your petticoat dangle in the mud, my darling."
NANCY: And I'll go last.
DODGER: No, no, I'll go last.
NANCY: I'll go last.
DODGER: I'd do anything,
For you, dear, anything,
For you mean ev'rything to me.
I know that
I'd go anywhere,
For your smile, anywhere,
For your smile ev'rywhere I'd see.
NANCY: Would you climb a hill?
DODGER: Anything!
NANCY: Wear a daffodil?
DODGER: Anything!
NANCY: Leave me all your will?
DODGER: Anything!
NANCY: Even fight my Bill?
DODGER: Wot? Fisticuffs?
I'd risk ev'rything,
For one kiss -- ev'rything.
Yes, I'd do anything!
NANCY: Anything?
DODGER: Anything for you!
NANCY: Oliver, you do everything you saw 'im do, and I'll tell you all
the words you don't know, alright?
OLIVER: I'd do anything
NANCY: For you, dear,
OLIVER: For you, dear, anything
NANCY: For you mean
OLIVER: For you mean everything to me.
I know that
I'd go anywhere,
For your smile, anywhere,
For your smile ev'rywhere I'd see
BET: Would you lace my shoe?
OLIVER: Anything!
BET: Paint your face bright blue?
OLIVER: Anything!
BET: Catch a kangaroo?
OLIVER: Anything!
BET: Go to Timbuctoo?
OLIVER: And back again!
I'd risk ev'rything
For one kiss -- ev'rything --
Yes, I'd do anything
BET: Anything?
OLIVER: Anything for you!
DODGER: Come on, Fagin!
FAGIN: Would you rob a shop?
ALL: Anything!
FAGIN: Would you risk the "drop"?
ALL: Anything!
FAGIN: Though your eyes go pop
ALL: Anything!
FAGIN: When you come down plop?
ALL: Hang ev'rything!
We'd risk life and limb
To keep you in the swim.
Yes, we'd do anything!
FAGIN: Anything?
ALL: Anything for you.
BE BACK SOON
Fagin sends the boys out to pick pockets, with Oliver under the
Dodger's watchful tutelage.
FAGIN: Good luck on your first job, Oliver, my dear. I shall be
waiting for you 'ere when you come back.
You can go, but be back soon.
You can go, but while you're working
This place, I'm pacing 'round
Until you're home, safe and sound.
Fare thee well, but be back soon.
Who can tell where danger's lurking?
Do not forget this tune: be back soon.
BOYS: How could we forget
How could we let
Our dear old Fagin worry?
We love him so,
We'll come back home
In, oh, such a great big hurry.
DODGER: It's him that pays the piper.
BOYS: It's us that pipes his tune.
So long, fare thee well,
Pip! Pip! Cheerio!
We'll be back soon.
FAGIN: You can go but be back soon.
You can go, but bring back plenty
Of pocket handkerchieves;
And you should be clever thieves.
Whip it quick, and be back soon.
There's a sixpence here for twenty:
Ain't that a lovely tune?
Be back soon.
DODGER: Our pockets'll hold
A watch of gold
That chimes upon the hour.
BOYS: A wallet fat
An old man's hat
The crown jewels from the tower.
We know the Bow Street Runners,
DODGER: But they don't know this tune:
ALL: So long, fare thee well.
Pip! Pip! Cheerio!
We'll be back soon.
FAGIN: Cheerio, but be back soon.
I dunno, somehow I'll miss you.
I love you, that's why I
Say, "Cheerio"
Not goodbye.
Don't be gone long
Be back soon.
Give me one long last look, bless you.
Remember our old tune: be back soon!
BOYS: We must disappear,
We'll be back here,
Today, perhaps tomorrow.
We'll miss you too
It's sad but true
That parting is such sweet sorrow.
And when we're in the distance
You'll hear this whispered tune:
So long, fare thee well
Pip! Pip! Cheerio!
We'll be back soon.
FAGIN: BOYS :
Cheerio, but be back soon.
I dunno, somehow I'll miss you
I love you, that why I
Say, "Cheerio"
Not goodbye.
Don't be gone long
Be back soon.
Give me one long, last look, bless you.
Remember our old tune:
Be back soon!
We must disappear,
We'll be back here,
Today, perhaps tomorrow.
We'll miss you too;
It's sad but true
That parting is such sweet sorrow.
And when we're in the distance
You'll hear this whispered tune:
So long, fare thee well
Pip! Pip! Cheerio!
We'll be back soon.
And when we're in the distance
You'll hear this whispered tune:
So long, fare thee well,
Pip! Pip! Cheerio!
BOYS and FAGIN: We'll be back soon.
DODGER: So long, fare thee well,
Pip! Pip! Cheerio!
We'll be back soon.
BOYS: So long, fare thee well,
Pip! Pip! Cheerio!
BOYS and FAGIN We'll be back soon
DODGER: So long, Fagin.
FAGIN: Dodger, if you happen to pass the Tower of London,
have a look at the Crown Jewels, won't you, boy?
DODGER: Alright, ta ra!
Out on the street, Mr. Brownlow's pocket is picked by one of the boys
and Oliver is mistakenly accused, chased and captured for the Act I
cliffhanger.
OOM-PAH-PAH
At the Three Cripples public house that evening, as the customers
drink and have a raucous good time, the landlord calls upon Nancy to
sing the "old school song":
NANCY: All right! All right! 'Ere we go then!
There's a little ditty
They're singin' in the city,
Especially when they've been
On the gin or the beer.
If you've got the patience,
Your own imaginations
'll tell you just exactly what you want to hear:
ALL: Oom-pah-pah! Oom-pah-pah!
That's how it goes,
Oom-pah-pah! Oom-pah-pah!
Ev'ryone knows:
NANCY: They all suppose what they want to suppose
When they hear oom-pah-pah!
Mister Percy Snodgrass
Would often have the odd glass --
But never when he thought anybody could see.
Secretly he'd buy it,
And drink it on the quiet,
And dream he was an Earl
Wiv' a girl on each knee!
ALL: Oom-pah-pah! Oom-pah-pah!
That's how it goes.
Oom-pah-pah! Oom-pah-pah!
Ev'ryone knows:
NANCY: What is the cause of his red shiny nose?
Could it be oom-pah-pah?
Pretty little Sally
Goes walkin' down the alley,
Displays a pretty ankle to all of the men.
They could see her garters,
But not for free and gratis --
An inch or two, and then
She knows when to say when!
ALL: Oom-pah-pah! Oom-pah-pah!
That's how it goes.
Oom-pah-pah! Oom-pah-pah!
Ev'ryone knows:
NANCY: Whether it's hidden, or whether it shows --
It's the same, oom-pah-pah!
She was from the country,
But now she's up a gum-tree --
She let a feller feed 'er, and lead 'er along.
What's the use o' cryin'?
She's made a bed to lie in.
She's glad to bring a coin in,
And join in this song!
ALL: Oom-pah-pah! Oom-pah-pah!
That's how it goes!
Oom-pah-pah! Oom-pah-pah!
Ev'ryone knows:
NANCY: She is no longer the same blushin' rose
Ever since oom-pah-pah!
There's a little ditty
They're singing in the city
Especially when they've been
On the gin or the beer.
If you've got the patience,
Your own imaginations
'll tell you just exactly what you want to hear:
ALL: Oom-pah-pah! Oom-pah-pah!
That's how it goes,
Oom-pah-pah! Oom-pah-pah!
Ev'ryone knows:
They all suppose what they want to suppose
When they hear oom-pah-pah!
MY NAME
At the end of Nancy's song, Bill Sikes, her boyfriend enters. The
place grows quiet, as he carries with him a strong air of menace.
SIKES:
Strong men tremble when they hear it!
They've got cause enough to fear it!
It's much blacker than they smear it!
Nobody mentions my name!
Rich men hold their five-pound notes out;
Saves me emptying their coats out.
They know I could tear their throats out
Just to live up to my name!
Wiv' me jimmy in me hand,
Let me see the man who dares
Stop me taking what I may;
He can start to say his prayers!
Biceps like an iron girder,
Fit for doing of a murder,
If I just so much as heard a
Bloke even whisper my name!
Bill Sikes!
Strong men tremble when they hear it!
They've got cause enough to fear it!
It's much blacker than they smear it!
Nobody mentions my name!
Some gent, slumming wiv' his valet,
Bumped into me in an alley.
Now is eyes'll never tally;
He'd never heard of my name!
One bloke used to boast a claim
He could take my name in vain.
Poor bloke, shame 'e was so green;
Never was 'e seen again!
Once bad -- what's the good of turning?
In hell, I'll be there a-burning;
Meanwhile, think of what I'm earning
All on account of my name!
What is it? What is it? What is it? My name!
AS LONG AS HE NEEDS ME
Dodger and the boys rush into the pub to explain how Oliver was
nicked but absolved in court and taken to the Bloomsbury home of the
gentleman whose pocket was picked. Fagin and Sikes are worried that
Oliver might talk, Sikes threatens Nancy until she agrees to retrieve
Oliver.
NANCY:
As long as he needs me -
Oh, yes, he does need me -
In spite of what you see,
I'm sure that he needs me.
Who else would love him still
When they've been used so ill?
He knows I always will
As long as he needs me.
I miss him so much
When he is gone,
But when he's near me
I don't let on
The way I feel inside,
The love I've got to hide.
The hell! I've got my pride
As long as he needs me.
He doesn't say the things he should.
He acts the way he thinks he should.
But all the same, I'll play
This game his way.
As long as he needs me,
I know where I must be;
I'll cling on steadfastly
As long as he needs me.
As long as life is long,
I'll love him right or wrong,
And somehow, I'll be strong
As long as he needs me.
If you've been lonely
Then you will know
When someone needs you,
You love them so.
I won't betray his trust
Though people say I must.
I've got to stay true just
As long as he needs me.
WHO WILL BUY?
At Mr. Brownlow's house, Oliver, cleaned up amid unaccustomed luxury,
looks out of the window to see street sellers.
ROSE-SELLER: Who will buy my sweet red roses?
Two blooms for a penny.
Who will buy my sweet red roses?
Two blooms for a penny.
MILKMAID: Will you buy any milk today, mistress?
Any milk today, mistress?
ROSE-SELLER: Who will buy my sweet red roses?
MILKMAID: Any milk today, mistress?
ROSE-SELLER: Two blooms for a penny.
STRAWBERRY-SELLER: Ripe strawberries, ripe!
Ripe strawberries, ripe!
STRAWBERRY-SELLER
MILKMAID:
ROSE-SELLER:
KNIFE GRINDER:
Ripe strawberries, ripe! Any milk today, mistress? Who will buy my
sweet red roses? Knives, knives to grind!
Any knives to grind?
Knives, knives to grind!
Any knives to grind?
Who will buy?
STRAWBERRY-SELLER: Who will buy?
MILKMAID: Who will buy?
ROSE-SELLER: Who will buy?
OLIVER: Who will buy this wonderful morning?
Such a sky you never did see!
ROSE-SELLER: Who will buy my sweet red roses?
OLIVER: Who will tie it up with a ribbon
And put it in a box for me?
STRAWBERRY-SELLER: Ripe strawberries, ripe!
OLIVER: So I could see it at my leisure,
Whenever things go wrong,
And I would keep it as a treasure
To last my whole life long.
MILKMAID: Any milk today?
OLIVER: Who will buy this wonderful feeling?
I'm so high I swear I could fly.
KNIFE GRINDER: Knives! Knives to grind!
STRAWBERRY-SELLER: Ripe strawberries, ripe!
OLIVER: Me, oh my! I don't want to lose it
So what am I to do
To keep the sky so blue?
There must be someone who will buy...
LONG SONG SELLER: Who will buy?
KNIFE GRINDER: Who will buy?
MILKMAID: Who will buy?
ROSE-SELLER: Who will buy?
ALL: Who will buy this wonderful morning?
Such a sky you never did see!
Who will tie it up with a ribbon
And put it in a box for me?
There'll never be a day so sunny,
It could not happen twice.
Where is the man with all the money?
It's cheap at half the price!
Who will buy this wonderful feeling?
I'm so high I swear I could fly.
Me, oh my! I don't want to lose it
So what am I to do
To keep the sky so blue?
OLIVER: There must be someone who will buy
ROSE-SELLER: Who will buy my sweet red roses?
Two blooms for a penny!
Brownlow has noticed a likeness between Oliver and his daughter Agnes.
Brownlow has some books to be returned to a bookseller and decides to
send Oliver on this errand. When Oliver emerges from the house, Nancy
pretends he's her little brother. Oliver doesn't want to go with her,
but Sikes appears, grabs him and takes him back to Fagin's.
REVIEWING THE SITUATION
Things don't seem to be going well, with Nancy finally standing up to
Bill, and the threat that Oliver might have told Brownlow where Fagin
and his pickpocket gang live. Fagin stops to take stock:
A man's got a heart, hasn't he?
Joking apart -- hasn't he?
And though I'd be the first one to say that I wasn't a saint,
I'm finding it hard to be really as black as they paint.
I'm reviewing the situation:
Can a fellow be a villain all his life?
All the trials and tribulation!
Better settle down and get meself a wife.
And a wife would cook and sew for me,
And come for me, and go for me,
And go for me and nag at me,
The fingers she will wag at me.
The money she will take from me.
A misery, she'll make from me...
I think I'd better think it out again!
A wife you can keep, anyway;
I'd rather sleep, anyway.
Left without anyone in the world,
And I'm starting from now,
So how to win friends and to influence people?
So how?
I'm reviewing the situation:
I must quickly look up ev'ryone I know:
Titled people -- with a station --
Who can help me make a real impressive show!
I will own a suite at Claridges,
And run a fleet of carriages,
And wave at all the duchesses
With friendliness, as much as is
Befitting of my new estate...
"Good morning to you, magistrate!" (beat)
I think I'd better think it out again.
So where shall I go -- somebody?
Who do I know? Nobody!
All my dearest companions
Have always been villains and thieves.
So at my time of life I should start
Turning over new leaves?
I'm reviewing the situation:
If you want to eat -- you've got to earn a bob!
Is it such a humiliation
For a robber to perform an honest job?
So a job I'm getting, possibly,
I wonder who the boss'll be?
I wonder if he'll take to me?
What bonuses he'll make to me?
I'll start at eight and finish late,
At normal rate, and all, but wait!
I think I'd better think it out again.
What happens when I'm seventy?
Must come a time, seventy.
When you're old, and it's cold
And who cares if you live or you die?
The one consolation's the money
You may have put by.
I'm reviewing the situation:
I'm a bad 'un and a bad 'un I shall stay!
You'll be seeing no transformation,
But it's wrong to be a rogue in ev'ry way.
I don't want nobody hurt for me,
Or made to do the dirt for me.
This rotten life is not for me.
It's getting far too hot for me.
Don't want no one to rob for me.
But who will find a job for me.
There is no in between for me,
But who will change the scene for me?
I think I'd better think it out again!
At the end of this wonderful comic/poignant number, when Fagin sings
"but who will change the scene for me", the terrific Sean Kenny stage
begins to revolve into the setting for the next scene.
Widow Corney has married Mr. Bumble to his everlasting regret. Old
Sally wishes to make a dying confession to the workhouse Matron.
Sally admits she robbed Oliver's mother on her deathbed of a golden
locket. Learning that Oliver comes from a rich family, the Bumbles
set out to find him. Bumble winds up at the home of Mr. Brownlow who
has advertised for Oliver's return; Bumble gives him the locket which
turns out to be a likeness of Brownlow's daughter, Agnes.
Nancy shows up at Brownlow's and confesses her part in kidnapping
Oliver, letting slip she had taken him to Fagin's. Brownlow promises
not to have Nancy watched or followed and she promises to bring Oliver
to him that night at midnight on London Bridge.
AS LONG AS HE NEEDS ME (REPRISE)
NANCY:
He doesn't act as though he cares,
But deep inside I know he cares,
And that is why I'm tied
Right by his side.
As long as he needs me
I know where I must be
But, will he never see
That someone else needs me?
As long as life is long,
I'll love him - right or wrong,
But he's so big and strong
And someone else needs me:
A child with no one to take his part.
I'll take his part, Bill,
But cross my heart
I won't betray your trust
Though people say I must.
My heart will stay true just
As long as Bill needs me.
That night Nancy sets out with Oliver but runs into Sikes He kills
her (discreetly out of view of the audience) and her body falls from
London Bridge. Brownlow appears in time to see Sikes disappearing
with Oliver. He discovers Nancy's body and calls for help. Sikes
takes Oliver to Fagin's just as Brownlow is describing him to the
police, who identify him as Bill Sikes. Someone in the crowd spots
Bill's dog and, angry at the death of the popular Nancy, they set off
after it. Sikes appears on the roof with Oliver bound in a rope,
threatening to kill the boy. A policeman shoots Sikes, who falls.
Oliver is rescued and taken to Mr. Brownlow. The police nab Dodger,
who loudly protests. Another policeman carts off Fagin's loot.
REVIEWING THE SITUATION (REPRISE)
Penniless and homeless, Fagin emerges from under the bridge and sings:
Can somebody change?
It's possible.
Maybe it's strange,
But it's possible.
All my bosom companions and treasures --
I've left them behind.
I'll turn a leaf over, and who can tell what I may find?
The curtain comes down on Act II to raise again for the Finale, which
is a reprise of FOOD, GLORIOUS FOOD. At the end of this, Mr.
Brownlow, Bet and Oliver come out with a huge hamper of food. Oliver
says, "Help yourself, lads!" as the boys all cheer.
There follows a reprise of CONSIDER YOURSELF and I'D DO ANYTHING.
I hope you make use of the whole film of oliver.
A whole chapter of Oliver! The proper book!
Chapter I
Treats of the place where Oliver Twist was born, and of the circumstances attending his birth.
Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is one anciently common to most towns, great or small: to wit, a workhouse; and in this workhouse was born; on a day and date which I need not trouble myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events; the item of mortality whose name is prefixed to the head of this chapter.
For a long time after it was ushered into this world of sorrow and trouble, by the parish surgeon, it remained a matter of considerable doubt whether the child would survive to bear any name at all; in which case it is somewhat more than probable that these memoirs would never have appeared; or, if they had, that being comprised within a couple of pages, they would have possessed the inestimable merit of being the most concise and faithful specimen of biography, extant in the literature of any age or country.
Although I am not disposed to maintain that the being born in a workhouse, is in itself the most fortunate and enviable circumstance that can possibly befall a human being, I do mean to say that in this particular instance, it was the best thing for Oliver Twist that could by possibility have occurred. The fact is, that there was considerable difficulty in inducing Oliver to take upon himself the office of respiration,- a troublesome practice, but one which custom has rendered necessary to our easy existence; and for some time he lay gasping on a little flock mattress, rather unequally poised between this world and the next: the balance being decidedly in favour of the latter. Now, if, during this brief period, Oliver had been surrounded by careful grandmothers, anxious aunts, experienced nurses, and doctors of profound wisdom, he would most inevitably and indubitably have been killed in no time. There being nobody by, however, but a pauper old woman, who was rendered rather misty by an unwonted allowance of beer; and a parish surgeon who did such matters by contract; Oliver and Nature fought out the point between them. The result was, that, after a few struggles, Oliver breathed, sneezed, and proceeded to advertise to the inmates of the workhouse the fact of a new burden having been imposed upon the parish, by setting up as loud a cry as could reasonably have been expected from a male infant who had not been possessed of that very useful appendage, a voice, for a much longer space of time than three minutes and a quarter.
As Oliver gave this first proof of the free and proper action of his lungs, the patchwork coverlet which was carelessly flung over the iron bedstead, rustled; the pale face of a young woman was raised feebly from the pillow; and a faint voice imperfectly articulated the words, "Let me see the child, and die."
The surgeon had been sitting with his face turned towards the fire: giving the palms of his hands a warm and a rub alternately. As the young woman spoke, he rose, and advancing to the bed's head, said, with more kindness than might have been expected of him:
"Oh, you must not talk about dying yet."
"Lor bless her heart, no!" interposed the nurse, hastily depositing in her pocket a green glass bottle, the contents of which she had been tasting in a corner with evident satisfaction. "Lor bless her dear heart, when she has lived as long as I have, sir, and had thirteen children of her own, and all on 'em dead except two, and them in the wurkus with me, she'll know better than to take on in that way, bless her dear heart! Think what it is to be a mother, there's a dear young lamb, do."
Apparently this consolatory perspective of a mother's prospects failed in producing its due effect. The patient shook her head, and stretched out her hand towards the child.
The surgeon deposited it in her arms. She imprinted her cold white lips passionately on its forehead; passed her hands over her face; gazed wildly round; shuddered; fell back- and died. They chafed her breast, hands, and temples; but the blood had stopped for ever. They talked of hope and comfort. They had been strangers too long.
"It's all over, Mrs. Thingummy!" said the surgeon at last.
"Ah, poor dear, so it is!" said the nurse, picking up the cork of the green bottle, which had fallen out on the pillow, as she stooped to take up the child. "Poor dear!"
"You needn't mind sending up to me, if the child cries, nurse," said the surgeon, putting on his gloves with great deliberation. "It's very likely it (r)will¯ * be troublesome. Give it a little gruel if it is." He put on his hat, and, pausing by the bed-side on his way to the door, added, "She was a good-looking girl, too; where did she come from?"
"She was brought here last night," replied the old woman, "by the overseer's order. She was found lying in the street. She had walked some distance, for her shoes were worn to pieces; but where she came from, or where she was going to, nobody knows."
The surgeon leaned over the body, and raised the left hand. "The old story," he said, shaking his head: "no wedding ring, I see. Ah! Good night!"
The medical gentleman walked away to dinner; and the nurse, having once more applied herself to the green bottle, sat down on a low chair before the fire, and proceeded to dress the infant.
What an excellent example of the power of dress, young Oliver Twist was! Wrapped in the blanket which had hitherto formed his only covering, he might have been the child of a nobleman or a beggar; it would have been hard for the haughtiest stranger to have assigned him his proper station in society. But now that he was enveloped in the old calico robes which had grown yellow in the same service, he was badged and ticketed, and fell into his place at once- a parish child- the orphan of a workhouse- the humble, half-starved drudge- to be cuffed and buffeted through the world- despised by all, and pitied by none.
Oliver cried lustily. If he could have known that he was an orphan, left to the tender mercies of churchwardens and overseers, perhaps he would have cried the louder.
Stuff about oliver from wikipedia.
Oliver Twist (1838) is Charles Dickens' second novel. The book was originally published in Bentley's Miscellany as a serial, in monthly installments that began appearing in the month of February 1837 and continued through April 1839. George Cruikshank provided one steel etching per month to illustrate each installment.[1]
Oliver Twist is the first novel in the English language to center throughout on a child protagonist [2] and is also notable for Dickens' unromantic portrayal of criminals and their sordid lives.[3] The book's subtitle, The Parish Boy's Progress alludes to Bunyan's The Pilgrim's Progress and also to a pair of popular 18th-century caricature series by William Hogarth, "A Rake's Progress" and "A Harlot's Progress."[4]
An early example of the social novel, the book calls the public's attention to various contemporary social evils, including the workhouse, child labour and the recruitment of children as criminals. Dickens mocks the hypocrisies of the time by surrounding the novel's serious themes with sarcasm and dark humour. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of his hardships as a child laborer in a cotton mill was widely read in the 1830s.
Oliver Twist has been the subject of numerous film and television adaptations, and is the basis for a highly successful British musical, Oliver!.
Contents [hide]
1 Plot summary
2 Characters in "Oliver Twist"
3 Major themes and symbols
4 Film, TV or theatrical adaptations
5 Notes
6 External links
[edit] Plot summary
"Please, sir, I want some more." Illustration by George CruikshankOliver Twist was born into a life of poverty and misfortune in the workhouse in Mudfog, a town within a 75 mile radius of London. Orphaned almost from his first breath by his mother’s death in childbirth and his father’s unexplained absence, Oliver is meagerly provided for under the terms of the Poor Law, and spends the first nine years of his life at a "baby farm" in the 'care' of a woman named Mrs. Mann. Along with other juvenile offenders against the poor-laws, Oliver is brought up with little food and few comforts.
Around the time of the orphan’s ninth birthday, Mr Bumble, a parish beadle, removes Oliver from the baby farm and puts him to work picking oakum at the main branch-workhouse. Oliver, who toils with very little food, remains in the workhouse for six months, until the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal tremblingly comes forward, bowl in hand, and makes his famous request: "Please, sir, I want some more."
A great uproar ensues. The board of well-fed gentlemen who administer the workhouse, while eating a meal fit for a king, are outraged by Oliver's 'ingratitude'. Wanting to be rid of this troublemaker, they offer five pounds to any person wishing to take on the boy as an apprentice. A brutal chimney sweep almost claims Oliver, but, when he begs despairingly not to be sent away with "that dreadful man" a kindly old magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver well, and, because of the boy's sorrowful countenance, uses him as a "mute", or mourner, at children's funerals. His wife, however, takes an immediate dislike to Oliver – primarily because her husband seems to like him – and loses few opportunities to underfeed and mistreat him. He also suffers torments at the hands of Noah Claypole, a bullying and none-too-bright fellow apprentice who is jealous of Oliver's promotion to mute.
One day, in an attempt to bait Oliver, Noah insults the orphan’s late mother, calling her "a regular right-down bad 'un". Oliver flies into an unexpected passion, attacking and even besting the much bigger boy. Mrs. Sowerberry takes Noah's side, helps him subdue Oliver, and later goads her husband and the Beadle into again beating the young orphan. Alone that night, Oliver finally decides to run away. He wanders aimlessly for a time, until a well-placed tableau sets his wandering feet towards London.
During his journey to London, Oliver encounters one Jack Dawkins, who is also affectionately known as the Artful Dodger, although young Oliver is oblivious to the hint. Dawkins provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dawkins to the gentleman’s residence. In this way, Oliver unwittingly falls in with an infamous criminal known as Fagin, the "old gentleman" of whom Dawkins spoke. Ensnared, Oliver lives with Fagin and his criminal associates in their lair at Saffron Hill for some time, naively unaware of their criminal occupations.
Later, Oliver innocently goes out to "make handkerchiefs" with two of Fagin’s underlings: Dawkins and a boy of a humorous nature named Charley Bates. Oliver realizes too late that their real mission is to pick pockets, and, although he doesn't participate, he is hunted down and arrested. To the judge's evident disappointment, a witness clears Oliver, who, by now acutely ill, faints in the courtroom. A wealthy old gentleman named Mr. Brownlow, whom he was previously thought to have robbed, takes Oliver home and cares for him.
Oliver stays with Mr. Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss, however, is interrupted when Fagin, fearing Oliver might "peach" on his criminal gang, orchestrates Oliver's kidnapping. When Mr. Brownlow sends Oliver to pay for some books, one of the gang, Nancy, although reluctantly, accosts him with help from a brutal robber named Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five pound note Mr. Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver expresses dismay at his abduction, he flees and attempts to call for police assistance, but is ruthlessly dragged back by the Dodger, Charlie and Fagin. Nancy, however, is sympathetic toward Oliver and saves him from beatings by Fagin and Sikes, who is Nancy's abusive lover.
In an attempt to again bring him into a life of crime, Oliver is forced by Fagin to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not cooperate, sends Oliver through a small window and orders him to unlock the front door. The robbery goes wrong, however, and Oliver is shot. After being abandoned by Sikes, a wounded Oliver ends up under the care of the people he was supposed to rob: Rose Maylie and the elderly Mrs. Maylie. Convinced of Oliver’s innocence, Rose takes the boy in and nurses him, once again, back to health.
Meanwhile, a mysterious man named Monks has found Fagin and is plotting with him to destroy Oliver's reputation. Nancy, by this time ashamed of her role in Oliver's kidnapping, and fearful for the boy's safety, goes to Rose Maylie and Mr. Brownlow to warn them. She knows that Monks and Fagin are plotting to get their hands on the boy again. She manages to keep her meetings secret until Noah Claypole (who has fallen out with the undertaker and moved to London to seek his fortune), using the name "Morris Bolter," joins Fagin's gang for protection. During Noah's stay with Fagin, the Artful Dodger is caught with a stolen silver snuff box, convicted and transported to Australia. Later, Noah is sent by Fagin to "dodge" (spy on) Nancy, and discovers her secret. Fagin angrily passes the information on to Sikes, twisting the story just enough to make it sound as if Nancy had informed on him (in actuality, she had shielded Sikes, whom she loves despite his brutal character). Believing her to be a traitor, Sikes murders Nancy in a fit of rage, and is himself killed when he accidentally hangs himself while fleeing an angry mob.
Monks is forced by Mr. Brownlow (an old friend of Oliver's father) to divulge his secrets: he is Oliver's paternal half-brother and, although he is legitimate, he was born of a loveless marriage. Oliver's mother, Agnes, was their father's true love. Monks has spent many years searching for his father's bastard child - not to befriend him, but to destroy him (see Henry Fielding's Tom Jones for similar circumstances). Brownlow asks Oliver to give half his inheritance (which proves to be meager) to Monks because he wants to give him a second chance; and Oliver, to please Brownlow, complies. Monks then moves to America, where he squanders his money, reverts to crime, and ultimately dies in prison. Fagin is arrested and condemned to the gallows; in an emotional scene, Oliver goes to Newgate Gaol to visit the old reprobate on the eve of his hanging.
On a happier note, Rose Maylie turns out to be the long-lost sister of Oliver's mother Agnes; she is therefore Oliver's aunt. She marries her long-time sweetheart Harry, and Oliver lives happily with his saviour, Mr. Brownlow. Noah becomes a paid informant; Mr. Bumble loses his job and is reduced to great poverty; and Charley Bates, horrified by Sikes' murder of Nancy, becomes an honest citizen, moves to the country, and works his way up to prosperity.
[edit] Characters in "Oliver Twist"
Cover page of Oliver Twist, this the first novelization which appeared in 1838, six months before the serialization was completed.Oliver Twist – the title character, an orphan boy born in a workhouse
Fagin – a man who recruits and trains boys for thievery
Bill Sikes – a violent thief and eventual murderer
The Artful Dodger aka Jack Dawkins – one of Fagin's boy pickpockets
Charley Bates – another of Fagin's boy pickpockets
Nancy – Bill's girl; a thief trained by Fagin who longs for a better life
Betsy – (nearly always called simply Bet) a thief of Fagin's and friend of Nancy
Noah Claypole – untalented apprentice to Mr Sowerberry, and something of a bully
Mr. Brownlow – Oliver's saviour, a kindly old gentleman
Monks, aka Edward Leeford – Oliver's half-brother, a criminal type bent on destroying Oliver.
Rose Maylie– A kindly young woman, Oliver's second saviour, who turns out to be his aunt.
Mr Bumble – the parish Beadle and leader of the orphanage. He's officious, corrupt, a chronic mangler of the King's English, and a great source of comic relief.
Mr. Sowerberry – an Undertaker who takes Oliver into his service. He's not a bad sort, and rather likes Oliver.
Mrs. Sowerberry – Mr. Sowerberry's shrewish wife, who dislikes Oliver and treats him cruelly.
Charlotte – servant to Mrs Sowerberry; in love with Noah Claypole
Gamfield – a vicious chimney-sweep who nearly claims Oliver as apprentice
Fang – a harsh, unjust magistrate who almost sentences Oliver to three month's hard labour. Dickens based him on a real magistrate named Laing.
Mrs Bedwin – Motherly housekeeper to Mr Brownlow who nurses Oliver back to health
Mr Grimwig – an old friend of Mr Brownlow's who pretends to be a great cynic, but is really a sentimental softy.
[edit] Major themes and symbols
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Oliver Twist, one of Dickens's best-known novels, is a grimly comic indictment of the effects of industrialism upon 19th century England. Oliver, an innocent child, is trapped in an unforgiving society where, thanks in part to the harsh new Poor Laws, his only practical alternatives seem to be the workhouse, Fagin's den of thieves, a prison sentence, or an early grave. From this grim industrial/institutional setting, however, a fairy tale also emerges: In the midst of corruption and degradation, the essentially passive Oliver remains pure-hearted; he refrains from evil when those around him succumb; and, in proper fairy-tale fashion, he eventually receives his reward - just as his chief tormenters receive theirs. On the way to this happy ending, Dickens takes the opportunity to explore the kind of life an orphan, outcast boy could expect to lead in the London of the 1830s.[5]
Charity and love - and the lack thereof - are important motifs in Oliver Twist.[6] Although mistreated by almost everyone who has any authority over him, Oliver receives love and kindness from a few people – the old magistrate who saves him from Mr. Gamfield, the bookseller who gives evidence to clear him, and, of course, Mr. Brownlow, Rose Maylie, and Nancy. These unaccustomed acts of kindness make a great impression on Oliver, and save him from a variety of bad ends. In contrast to the false charity offered by Fagin, and the grudging pittance afforded him at the workhouse, Mr. Brownlow and Rose Maylie open their homes and hearts to Oliver, and Nancy loses her life when she defies her criminal "family" and helps him escape the life they've planned for him.
Ambivalence is a notable theme in the novel, and is most discernible in Nancy. Although she is a full-fledged criminal, indoctrinated and trained by Fagin since childhood, she retains enough empathy to repent her role in Oliver's kidnapping, and to take steps to try to atone. As one of Fagin's victims, corrupted but not yet morally dead, she gives eloquent voice to the horrors of the old man's little criminal empire. She wants to save Oliver from a similar fate; at the same time, she recoils from the idea of turning traitor, especially to Bill Sikes, whom she loves. When he was later criticised for giving a "thieving, whoring slut of the streets" such an unaccountable reversal of character, Dickens ascribed her change of heart to "the last fair drop of water at the bottom of a weed-choked well."[7] With Nancy, Dickens shows how the forces of corruption can distort a person's impulses toward the good (Nancy's "good character", by Fagin's lights, consists in being a clever thief who won't "peach") without extinguishing those impulses altogether.
England's class system is another important part of the novel's dynamics. Dickens shows how the Poor Law Amendment of 1834 influenced society: a middle class developed and began to exploit the lower classes[citation needed]. Mrs. Mann, Mr. Bumble and Mrs. Sowerberry are examples of middle class people who abuse members of the lower class. Oliver, an orphan without friends, means, or known relatives, is routinely despised and mistreated on that basis alone - often by people such as Noah Claypole who are only slightly above him on the social scale. When salvation arrives for Oliver, it comes primarily from the upper classes.
If Dickens intends to criticise the class system, however, he delivers a rather mixed message. Noah Claypole, a charity boy like Oliver, is idle, mean, and cowardly; Sikes is a thug; Fagin lives by corrupting children; and the Artful Dodger seems born for a life of crime. Most of the middle-class people Oliver encounters, such as the savagely hypocritical "gentlemen" of the workhouse board, are, if anything, worse.[8] Oliver, on the other hand, who has an air of refinement remarkable for a workhouse boy, proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimizing anyone else. This apparently hereditary gentlemanliness makes Oliver Twist something of a changeling tale, not just an indictment of social injustice. Oliver, born for better things, struggles to survive in the savage world of the underclass before finally being rescued by his family and returned to his proper place.
In a style that would become characteristic, Dickens makes considerable use of symbolism. The "merry old gentleman" Fagin, for example, has satanic characteristics - he is a veteran corrupter of young boys who first appears standing over a fire holding a toasting-fork in lieu of a pitchfork, and the underworld he presides over has an infernal aspect.[9] Food, too, has symbolic value; Oliver's odyssey begins with a simple request for more gruel, and Mr. Bumble's shocked exclamation "Oliver Twist has asked for more!" indicates that the "more" Oliver hungers for is not just gruel.[10] Chapter 8--which contains the last noteworthy mention of food in the form of Fagin's dinner--marks the first time Oliver "ate his share" and represents the transformation in his life that occurs after he joined Fagin's gang.
Names are a rich source of comic symbolism in Dickens' writing, often marking their owners as semi-monstrous caricatures. Mrs. Mann, who has charge of the infant Oliver, is not the most motherly of women; Mr. Bumble, despite his impressive sense of his own dignity, continually mangles the official language he tries to use; and Mr. Fang, the magistrate who adjudicates Oliver's alleged theft of a handkerchief, is such a sadist that he nearly consigns the ailing boy to three month's hard labour - a sentence that would surely have killed him. The Sowerberry's are, of course, "sour berries", a reference to Mrs. Sowerberry's perpetual scowl, and, possibly, to Mr. Sowerberry's profession (burying) and to the poor provender Oliver receives from them. The "good" characters are also named according to their type; Mr. Grimwig, for example, is so called because his seemingly "grim", pessimistic outlook is actually a protective cover for his kind, sentimental soul. Oliver Twist's name, chosen according to an alphabetical system, at first reflects nothing more than his lowly status as just another "item of mortality" in a long list of others. The surname "Twist", however - although bestowed by the eminently prosaic Mr Bumble - foreshadows the strange turns of fortune which await its bearer.
The world of Oliver Twist is indeed a grim one. Dickens manages to contrive happy endings for most of the deserving characters, however; and although Oliver's escape from the slums is more or less miraculous, he clearly hopes to improve the chances of orphans like Oliver by opening the public's eyes to their vulnerability and suffering. In Oliver Twist, the gaze of knowing eyes can be a powerful force. Fagin, who for decades manages to conceal his criminal activities, ends up squirming in the "living light" of too many eyes as he stands in the dock, awaiting sentence. When Sikes kills Nancy, the memory of her eyes continues to accuse him even after he has fled the scene. Charlie Bates turns his back on crime when he sees the murderous cruelty of the man who has been held up to him as a model. With Oliver Twist, Dickens invites the public to become similarly enlightened.
[edit] Film, TV or theatrical adaptations
There have been many theatrical, film and television adaptations of Dickens' novel:
Beginning in 1868, Dickens himself frequently performed a dramatic reading called "Sikes and Nancy" from Oliver Twist. His family begged him to desist because he flung himself into the performance with such energy that he undermined his by-then precarious health.[11]
Several stage versions of the novel played England and the U.S. during the nineteenth century, often to Dickens's dismay and outrage; copyright laws were not enforced strictly then, and Dickens seldom received royalties from the stage versions.
The earliest film adaptation is a silent film made in 1909.
A 1912 version starring Nat Goodwin as Fagin.
A 1916 version with Tully Marshall as Fagin, Hobart Bosworth as Bill Sikes, and Marie Doro in a trouser role as Oliver.
The 1922 film, the most famous silent version of the classic ever made, starring Jackie Coogan as Oliver and Lon Chaney as Fagin. The film was lost for almost 50 years, until a print was rediscovered in Europe in the 1970s.[citation needed]
A low-budget 1933 version of the novel (the first with sound), starring Irving Pichel as Fagin, Dickie Moore as Oliver Twist, and Doris Lloyd as Nancy.
Oliver Twist, a feature film from 1948 by David Lean, starring Alec Guinness in one of his most defining roles as Fagin, is still considered the classic film version.
In 1960, Lionel Bart's musical play Oliver! opened to rave reviews in London. It became the longest-running musical there up to that time, playing six years. Producer David Merrick brought the show to the United States. The show toured nationally in cities including Los Angeles, San Francisco and Detroit before opening at the Imperial Theatre on Broadway on January 6, 1963, where it received less ecstatic reviews and did not run nearly as long as it did in London.
Lionel Bart's musical was adapted for the big screen in Oliver! (1968), it received eleven nominations and won six including the Academy Award for Best Picture in 1969. It featured Mark Lester as Oliver, Ron Moody as Fagin, Oliver Reed as Sikes, Shani Wallis as Nancy, and Jack Wild as the Artful Dodger. It received better reviews than the show had. The film also won an Oscar for its director, Sir Carol Reed. Moody and Wild were also Oscar-nominated, but did not win. This is still the only film version of the novel to receive Oscar nominations.
George C. Scott played Fagin in a 1982 television version.
A 1985 BBC television drama adaptation in their Classic Serial strand, produced by Terrance Dicks and starring Eric Porter as Fagin.
An animated interpretation by Disney called Oliver & Company (1988), loosely based on Dickens, about an orphaned cat named Oliver who meets a dog called Dodger. It takes place in New York City instead of England.
A television movie, Oliver Twist, was released in 1997.
An ITV/PBS production, Oliver Twist, from 1999, adapted by Alan Bleasdale and starring Robert Lindsay as Fagin, and Andy Serkis as Bill Sikes.
In 2001, Oliver!, A theatrical adaptation, was done at the Centaur theatre in Montreal Starring James Mariotti-Lapointe as Oliver.
The 2003 movie Twist by director Jacob Tierney is loosely based on the novel but set in modern-day Toronto with male prostitution and drugs, rather than pickpocketing.
Boy called Twist by director Timothy Greene (2004) is set in Cape Town, South Africa, in the street-kid scene. With its unglamorous but sympathetic account of city poverty, the film is true to Dickens' story.
In 2005 director Roman Polanski released a new big-budget version of Oliver Twist.
In December 2006, "Twist", a new musical (with no connection to the 2003 film), with book and lyrics by Gila Sand and music by Scissor Sisters composer and collaborator Paul Leschen with Gila Sand (additional music by Garrit Guadan), opened at the Kraine Theatre in New York. The Score was nominated for a 2007 Drama Desk Award to Outstanding Music (Paul Leschen with Gila Sand). [1]
In May 2007, German student film makers published an English subtitled parody on "Oliver Twist", titled "Twisted Olivier", on their web site.
In autumn of 2007, the BBC will show a new Oliver Twist, written by Sarah Phelps and directed by Coky Giedroyc.[12]
Adaptations of the novel tend to simplify the original story. The way the book is normally interpreted on screen causes modern readers to focus on Bill Sikes as the villain. They thus fail to recognise how Fagin has trained Sikes and made him what he is; part of Dickens' message is that he might have done the same with Oliver had chance not intervened.
The renowned comic book creator, Will Eisner, disturbed by the anti-semitism in the typical depiction of Fagin, created a graphic novel in 2003 titled Fagin the Jew. In this book, the back story of the character and events of Oliver Twist are depicted from his point of view.
[edit] Notes
^ Oxford Reader's Companion to Dickens (Paul Schlicke, Editor). Oxford: Oxford University Press, 1999, p. 141.
^ According to many Dickens scholars such as Peter Ackroyd (in Dickens. New York: HarperCollins, 1990, pp. 216-7), although the early part of Fielding's Tom Jones features its protagonist as a child.
^ Donovan, Frank. The Children of Charles Dickens. London: Leslie Frewin, 1968, pp. 61-62
^ Dunn, Richard J.. Oliver Twist: Whole Heart and Soul (Twayne's Masterwork Series No. 118). New York: Macmillan, p. 37.
^ Miller, J. Hillis. "The Dark World of Oliver Twist" in Charles Dickens (Harold Bloom, editor), New York: Chelsea House Publishers, 1987, p. 35
^ Walder, Dennis, "Oliver Twist and Charity" in Oliver Twist: a Norton Critical Edition (Fred Kaplan, Editor). New York: W.W. Norton, 1993, pp. 515-525
^ Donovan, Frank, ibid, p. 79.
^ Oxford Reader's Companion to Dickens, ibid., p. 459.
^ Miller, ibid, p. 48
^ Miller, ibid, p. 31
^ Oxford Reader's Companion to Dickens, ibid., p. 479.
^ http://www.thestage.co.uk/news/newsstory.php/17401/drop-the-dead-donkey-duo-creates-new-bbc1
[edit] External links
Wikisource has original text related to this article:
Oliver TwistOnline Text
Oliver Twist, available at Project Gutenberg.
Oliver Twist - complete book in HTML
Oliver Twist - easy to read HTML version
Oliver Twist - searchable HTML version
Critical analysis
When Is a Book Not a Book? Oliver Twist in Context, a seminar by Robert Patten from the New York Public Library
Background information and plot summary for Oliver Twist, with links to other Dickens resources.
[hide]v • d • eOliver Twist
Characters Fagin | Bill Sikes | The Artful Dodger | Nancy Sikes | Rose Maylie
Film adaptions Oliver Twist (1948) | Oliver! | Oliver & Company | Oliver Twist (1997) | Twist | Boy called Twist | Oliver Twist (2005)
Other adaptions Oliver! | Fagin the Jew | Oliver Twist (TV miniseries)
Retrieved from "http://en.wikipedia.org/wiki/Oliver_Twist"
Categories: Articles lacking reliable references from December 2006 | Pages needing expert attention | Articles with unsourced statements since February 2007 | All articles with unsourced statements | Articles with unsourced statements since July 2007 | 1838 novels | Novels by Charles Dickens | Serialized novels | London in fiction | Black and white films | 1909 films | Charles Dickens characters | Fictional orphans | Fictional thieves
Chapters of oliver twist: the book:
Oliver Twist
or The Parish Boy’s Progress
by
Charles Dickens
eBooks@Adelaide
2004
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Table of Contents
CHAPTER I
TREATS OF THE PLACE WHERE OLIVER TWIST WAS BORN AND OF THE CIRCUMSTANCES ATTENDING HIS BIRTH
CHAPTER II
TREATS OF OLIVER TWIST’S GROWTH, EDUCATION, AND BOARD
CHAPTER III
RELATES HOW OLIVER TWIST WAS VERY NEAR GETTING A PLACE WHICH WOULD NOT HAVE BEEN A SINECURE
CHAPTER IV
OLIVER, BEING OFFERED ANOTHER PLACE, MAKES HIS FIRST ENTRY INTO PUBLIC LIFE
CHAPTER V
OLIVER MINGLES WITH NEW ASSOCIATES. GOING TO A FUNERAL FOR THE FIRST TIME, HE FORMS AN UNFAVOURABLE NOTION OF HIS MASTER’S BUSINESS
CHAPTER VI
OLIVER, BEING GOADED BY THE TAUNTS OF NOAH, ROUSES INTO ACTION, AND RATHER ASTONISHES HIM
CHAPTER VII
OLIVER CONTINUES REFRACTORY
CHAPTER VIII
OLIVER WALKS TO LONDON. HE ENCOUNTERS ON THE ROAD A STRANGE SORT OF YOUNG GENTLEMAN
CHAPTER IX
CONTAINING FURTHER PARTICULARS CONCERNING THE PLEASANT OLD GENTLEMAN, AND HIS HOPEFUL PUPILS
CHAPTER X
OLIVER BECOMES BETTER ACQUAINTED WITH THE CHARACTERS OF HIS NEW ASSOCIATES; AND PURCHASES EXPERIENCE AT A HIGH PRICE. BEING A SHORT, BUT VERY IMPORTANT CHAPTER, IN THIS HISTORY
CHAPTER XI
TREATS OF MR. FANG THE POLICE MAGISTRATE; AND FURNISHES A SLIGHT SPECIMEN OF HIS MODE OF ADMINISTERING JUSTICE
CHAPTER XII
IN WHICH OLIVER IS TAKEN BETTER CARE OF THAN HE EVER WAS BEFORE. AND IN WHICH THE NARRATIVE REVERTS TO THE MERRY OLD GENTLEMAN AND HIS YOUTHFUL FRIENDS.
CHAPTER XIII
SOME NEW ACQUAINTANCES ARE INTRODUCED TO THE INTELLIGENT READER, CONNECTED WITH WHOM VARIOUS PLEASANT MATTERS ARE RELATED, APPERTAINING TO THIS HISTORY
CHAPTER XIV
COMPRISING FURTHER PARTICULARS OF OLIVER’S STAY AT MR. BROWNLOW’S, WITH THE REMARKABLE PREDICTION WHICH ONE MR. GRIMWIG UTTERED CONCERNING HIM, WHEN HE WENT OUT ON AN ERRAND
CHAPTER XV
SHOWING HOW VERY FOND OF OLIVER TWIST, THE MERRY OLD JEW AND MISS NANCY WERE
CHAPTER XVI
RELATES WHAT BECAME OF OLIVER TWIST, AFTER HE HAD BEEN CLAIMED BY NANCY
CHAPTER XVII
OLIVER’S DESTINY CONTINUING UNPROPITIOUS, BRINGS A GREAT MAN TO LONDON TO INJURE HIS REPUTATION
CHAPTER XVIII
HOW OLIVER PASSED HIS TIME IN THE IMPROVING SOCIETY OF HIS REPUTABLE FRIENDS
CHAPTER XIX
IN WHICH A NOTABLE PLAN IS DISCUSSED AND DETERMINED ON
CHAPTER XX
WHEREIN OLVER IS DELIVERED OVER TO MR. WILLIAM SIKES
CHAPTER XXI
THE EXPEDITION
CHAPTER XXII
THE BURGLARY
CHAPTER XXIII
WHICH CONTAINS THE SUBSTANCE OF A PLEASANT CONVERSATION BETWEEN MR. BUMBLE AND A LADY; AND SHOWS THAT EVEN A BEADLE MAY BE SUSCEPTIBLE ON SOME POINTS
CHAPTER XXIV
TREATS ON A VERY POOR SUBJECT. BUT IS A SHORT ONE, AND MAY BE FOUND OF IMPORTANCE IN THIS HISTORY
CHAPTER XXV
WHEREIN THIS HISTORY REVERTS TO MR. FAGIN AND COMPANY
CHAPTER XXVI
IN WHICH A MYSTERIOUS CHARACTER APPEARS UPON THE SCENE; AND MANY THINGS, INSEPARABLE FROM THIS HISTORY, ARE DONE AND PERFORMED
CHAPTER XXVII
ATONES FOR THE UNPOLITENESS OF A FORMER CHAPTER; WHICH DESERTED A LADY, MOST UNCEREMONIOUSLY
CHAPTER XXVIII
LOOKS AFTER OLIVER, AND PROCEEDS WITH HIS ADVENTURES
CHAPTER XXIX
HAS AN INTRODUCTORY ACCOUNT OF THE INMATES OF THE HOUSE, TO WHICH OLIVER RESORTED
CHAPTER XXX
RELATES WHAT OLIVER’S NEW VISITORS THOUGHT OF HIM
CHAPTER XXXI
INVOLVES A CRITICAL POSITION
CHAPTER XXXII
OF THE HAPPY LIFE OLIVER BEGAN TO LEAD WITH HIS KIND FRIENDS
CHAPTER XXXIII
WHEREIN THE HAPPINESS OF OLIVER AND HIS FRIENDS, EXPERIENCES A SUDDEN CHECK
CHAPTER XXIV
CONTAINS SOME INTRODUCTORY PARTICULARS RELATIVE TO A YOUNG GENTLEMAN WHO NOW ARRIVES UPON THE SCENE; AND A NEW ADVENTURE WHICH HAPPENED TO OLIVER
CHAPTER XXXV
CONTAINING THE UNSATISFACTORY RESULT OF OLIVER’S ADVENTURE; AND A CONVERSATION OF SOME IMPORTANCE BETWEEN HARRY MAYLIE AND ROSE
CHAPTER XXXVI
IS A VERY SHORT ONE, AND MAY APPEAR OF NO GREAT IMPORTANCE IN ITS PLACE, BUT IT SHOULD BE READ NOTWITHSTANDING, AS A SEQUEL TO THE LAST, AND A KEY TO ONE THAT WILL FOLLOW WHEN ITS TIME ARRIVES
CHAPTER XXXVII
IN WHICH THE READER MAY PERCEIVE A CONTRAST, NOT UNCOMMON IN MATRIMONIAL CASES
CHAPTER XXXVIII
CONTAINING AN ACCOUNT OF WHAT PASSED BETWEEN MR. AND MRS. BUMBLE, AND MR. MONKS, AT THEIR NOCTURNAL INTERVIEW
CHAPTER XXXIX
INTRODUCES SOME RESPECTABLE CHARACTERS WITH WHOM THE READER IS ALREADY ACQUAINTED, AND SHOWS HOW MONKS AND THE JEW LAID THEIR WORTHY HEADS TOGETHER
CHAPTER XL
A STRANGE INTERVIEW, WHICH IS A SEQUEL TO THE LAST CHAMBER
CHAPTER XLI
CONTAINING FRESH DISCOVERIES, AND SHOWING THAT SUPRISES, LIKE MISFORTUNES, SELDOM COME ALONE
CHAPTER XLII
AN OLD ACQUAINTANCE OF OLIVER’S, EXHIBITING DECIDED MARKS OF GENIUS, BECOMES A PUBLIC CHARACTER IN THE METROPOLIS
CHAPTER XLIII
WHEREIN IS SHOWN HOW THE ARTFUL DODGER GOT INTO TROUBLE
CHAPTER XLIV
THE TIME ARRIVES FOR NANCY TO REDEEM HER PLEDGE TO ROSE MAYLIE. SHE FAILS.
CHAPTER XLV
NOAH CLAYPOLE IS EMPLOYED BY FAGIN ON A SECRET MISSION
CHAPTER XLVI
THE APPOINTMENT KEPT
CHAPTER XLVII
FATAL CONSEQUENCES
CHAPTER XLVIII
THE FLIGHT OF SIKES
CHAPTER XLIX
MONKS AND MR. BROWNLOW AT LENGTH MEET. THEIR CONVERSATION, AND THE INTELLIGENCE THAT INTERRUPTS IT
CHAPTER L
THE PURSUIT AND ESCAPE
CHAPTER LI
AFFORDING AN EXPLANATION OF MORE MYSTERIES THAN ONE, AND COMPREHENDING A PROPOSAL OF MARRIAGE WITH NO WORD OF SETTLEMENT OR PIN–MONEY
CHAPTER LII
FAGIN’S LAST NIGHT ALIVE
CHAPTER LIII
AND LAST
Maybe what happens daethly hallows:
Snape dies on pg. 658 Burbage dies on pg. 12 Hedwig dies on pg. 56 Mad-Eye dies on pg. 78 Scrimgeour dies on pg. 159 Wormtail dies on pg. 471 Dobby dies on pg. 476 Fred Weasley dies on pg. 637 Harry gets fucked up by Voldemort on pg. 704 but comes back to life on pg. 724 Tonks, Lupin, and Colin Creevy have their deaths confirmed on pg. 743
19 years after the events in the book:
Ron has married Hermione, their two children are named Rose and Hugo Harry has married Ginny, their three children are named Lily, James, and Albus Severus. Draco Malfoy has a son named Scorpius
Retrieved from "http://en.wikipedia.org/wiki/Harry_Potter_and_the_Deathly_Hallows"
Info on harry potter 7 rumors
Dumbledore is really dead. He is not in hiding and is not coming back.
There will be no character named "Icicle," and JKR said she didn't recall saying there ever would be.
Dumbledore is not related to Harry.
Harry is not related to Voldemort, and he is not related to Salazar Slytherin.
Lily Potter is not alive.
Lily was not a Death Eater
Crookshanks is not an Animagus.
Neville is not Peter Pettigrew's son.
Remus Lupin does not have a twin brother.
Petunia is not a Squib.
Dumbledore is not Harry/Ron from the future.
Mrs. Norris/Crookshanks is not an Animagus.
More rumors
Harry will not become Minister of Magic.
Peter Pettigrew’s silver hand will not kill Lupin.
Lupin will not return as a DADA professor.
The prophecy refers to Harry, and not in any way to Neville.
The final part of the prophecy does not mean Harry has to kill Neville, or vice versa
Harry potter 6 stuff
Voldemort and his Death Eaters openly wreak chaos throughout Britain. Following public outcry over Cornelius Fudge's mishandling of the Voldemort situation, he is forced to resign, and is succeeded by Rufus Scrimgeour as the new Minister for Magic. As a result, Arthur Weasley receives a promotion.
At his home in Spinner's End, Severus Snape receives a visit from Draco Malfoy's mother Narcissa and her sister, Bellatrix Lestrange. Narcissa swears Snape to an Unbreakable Vow, ensuring he will protect Draco and, should her son fail, complete his mission for the Dark Lord.
Albus Dumbledore arrives at the Dursley's and asks Harry Potter to accompany him to see retired professor Horace Slughorn. With unwitting help from Harry, Dumbledore persuades Slughorn to resume his old teaching post at Hogwarts. Harry then spends the remaining summer months at The Burrow with the Weasleys and Hermione, who is also visiting. To his family's dismay (mainly Ginny, Mrs. Weasley, and Fred and George), Bill Weasley has become engaged to Fleur Delacour, the Beauxbatons champion in the Triwizard Tournament. Harry, Ron, and Hermione receive their O.W.L. results. Hermione receives high marks in all her subjects, but Ron and Harry fail Divination and History of Magic. They are also unable to take N.E.W.T.-level Potions because Snape only accepts "O" (Outstanding) grades. The course is a requirement to Harry's ambition of becoming an Auror.
As school begins, Snape is surprisingly announced as the new Defense Against the Dark Arts instructor while Slughorn takes his place as the Potions teacher. Since Slughorn only requires a minimum "E" grade (Exceeds Expectations) at O.W.L. to take his N.E.W.T.-level Potion classes, Harry and Ron are now able to sign up. Slughorn lends Harry and Ron old Potions textbooks. Harry's copy is marked as the property of "The Half-Blood Prince". The talented former owner's handwritten notes help Harry excel in the class. As a reward, Slughorn gives him a small vial of Felix Felicis, a good luck potion.
As the year progresses, more Death Eater attacks occur that may be linked to events happening at Hogwarts. On the first Hogsmeade visit, Katie Bell, a Gryffindor student, is seriously injured when she is forced to carry a cursed necklace while under the Imperius Curse. Harry suspects Malfoy or another Death Eater is involved. In another incident, Ron is accidentally poisoned when he drinks mead that was intended for Dumbledore - Harry's quick thinking saves his life when he forces a bezoar, a poison antidote, into his mouth. Hermione is so distraught over Ron's near death, that the two end their ongoing feud, and Ron breaks up with Lavender Brown, whom he was dating mostly to annoy Hermione because she had kissed Viktor Krum. Ron and Hermione's continual bickering had caused Harry to fear they would never reconcile. In the meantime, Harry realizes that he has feelings for Ginny when he jealously observes her kissing her boyfriend, Dean Thomas.
Dumbledore gives Harry private lessons using his Pensieve to view collected memories about Voldemort's past. A memory belonging to Slughorn is partially missing. Aided by the Felix Felicis potion, Harry retrieves it from him. Dumbledore speculates that Voldemort has split his soul into seven fragments, storing six pieces in Horcruxes to grant himself immortality, while leaving the seventh in his own body. Two Horcruxes have been destroyed (Tom Riddle's diary by Harry[HP2] and Marvolo Gaunt's ring by Dumbledore).
When Harry finds Malfoy sobbing in Moaning Myrtle's bathroom, they begin hurling curses at each other. Harry casts Sectumsempra (a spell gleaned from the Half-Blood Prince's annotations), causing blood to gush from Malfoy's body. Snape arrives and tends to Malfoy. Recognizing the spell, he orders Harry to hand over his Potions book. Harry instead gives him Ron's copy. Snape assigns Harry detention for the same day as the Quidditch finals. After detention, Harry learns that Gryffindor won the finals, with Ginny Weasley as their substitute Seeker. During the victory celebration, Harry's suppressed feelings for Ginny are revealed when he spontaneously kisses her; Ginny had broken up with Dean Thomas several days before, and she and Harry begin dating.
Just before Harry and Dumbledore leave to find another Horcrux (Salazar Slytherin's locket), Harry gives the remaining Felix Felicis to Ron, Hermione and Ginny. He has suspected all year that Malfoy may be a Death Eater and has confided his suspicions to Dumbledore, who seemed unconcerned. He learns later that Dumbledore had Snape investigate Malfoy. One day, Harry learns from Professor Trelawney that it was Snape who had passed information to Voldemort about Harry's parents fifteen years before; enraged, Harry confronts Dumbledore about trusting Snape after what he had done. Dumbledore reveals that he has learned the location of one of the Horcruxes, and invites Harry to accompany him in retrieving it. Believing Malfoy and Snape are involved in something sinister, Harry asks Ron, Hermione, Luna Lovegood, Neville Longbottom, and Ginny to patrol the halls while he and Dumbledore are gone. Harry then Disapparates with Dumbledore to a secret cave. Upon retrieving the Horcrux, Dumbledore is seriously weakened by a potion he drank in order to uncover the locket inside a basin.
Returning to Hogsmeade, Harry and Dumbledore see Lord Voldemort's Dark Mark hovering over Hogwarts. They borrow broomsticks from Madam Rosmerta, whom they later discover to be under the Imperius Curse. They fly to the Astronomy Tower where they are ambushed by Draco Malfoy. Dumbledore paralyses Harry, who is under his Invisibility Cloak, just before Draco disarms Dumbledore. Draco reveals that he helped the Death Eaters enter Hogwarts, although Dumbledore discerns that the obviously frightened boy was coerced into aiding Voldemort's followers. In the meantime, members of the Order of the Phoenix (including Remus Lupin, Nymphadora Tonks, Professor McGonagall and Bill Weasley) battle the Death Eaters.
Death Eaters appear on the Astronomy Tower and urge Draco to fulfill his mission—killing Dumbledore—but Draco is reluctant and apparently scared. Snape arrives; still weak from the potion, Dumbledore entreats Snape with an ambiguous plea. Without hesitation, Snape kills Dumbledore with the Avada Kedavra killing curse. The spell's force hurls Dumbledore's body over the tower wall. Upon Dumbledore's death, Harry is freed from the paralysing spell. The Death Eaters flee, and Harry pursues Snape, who identifies himself as the Half-Blood Prince in a short-lived duel before escaping with Malfoy. Snape states how Harry doesn't have the strength to defeat him and he is weak just like his father, only enraging Harry even more, but they still escape leaving Harry angry and very upset.
Harry recovers the locket from Dumbledore's body only to discover that it is a fake. Inside is a note from someone with the initials "R.A.B." who has stolen the real Horcrux and has vowed that it will be destroyed with the hope that when Voldemort meets his match he "will be mortal once more".
The school year ends abruptly with Dumbledore's funeral, which is attended by hundreds of people, including the students, teachers, and magical creatures that live in the Forbidden Forest. Professor McGonagall is appointed Hogwarts' interim headmistress, although the school may not reopen. Professor Slughorn replaces Snape as the head of Slytherin house. Regardless, Harry decides to leave Hogwarts to search for the remaining Horcruxes. Ron and Hermione vow to accompany him, while Harry ends his relationship with Ginny to protect her from Voldemort. The book concludes as Harry looks forward to Bill and Fleur's wedding and being comforted that "...there was still one last golden day of peace left to enjoy with Ron and Hermione".
[edit] Controversies
The record-breaking publication of Half-Blood Prince was accompanied by controversy. In May 2005 bookmakers in the UK suspended bets on which main character would die in the book amid fears of insider knowledge. A number of high value bets were made on the death of Albus Dumbledore, many coming from the town of Bungay where, it was believed, the books were being printed at the time. Betting was later reopened.[2] Other controversies included the "right to read" Potter books inadvertently sold before the release date, environmental concerns over the source of the paper used in the printing of millions of books, and fan reactions to the plot developments and revelations of the novel.
[edit] Right to read
More stuff about the halfblood prince below:
Back to blog | Harry Potter and the Order of the Phoenix chapter summaries
Harry Potter and the Half-Blood Prince chapter summaries
The following index provides links to the chapter summaries of Harry Potter and the Half-Blood Prince. The summaries are mainly intended for people who want to remember what happened earlier while they are reading the book, to find where something happened, or for parents who can't get the book away from their kids to find out what the fuss is all about. Enjoy!
Chapter 1: The Other Minister
Chapter 2: Spinner's End
Chapter 3: Will and Won't
Chapter 4: Horace Slughorn
Chapter 5: An Excess of Phlegm
Chapter 6: Draco's Detour
Chapter 7: The Slug Club
Chapter 8: Snape Victorious
Chapter 9: The Half-Blood Prince
Chapter 10: The House of Gaunt
*Chapter 11: Hermione’s Helping Hand
*Chapter 12: Silver and Opals
*Chapter 13: The Secret Riddle
*Chapter 14: Felix Felicis
*Chapter 15: The Unbreakable Vow
*Chapter 16: A Very Frosty Christmas
*Chapter 17: A Sluggish Memory
*Chapter 18: Birthday Surprises
*Chapter 19: Elf Tails
*Chapter 20: Lord Voldemort’s Request
*Chapter 21: The Unknowable Room
*Chapter 22: After the Burial
*Chapter 23: Horcruxes
*Chapter 24: Sectumsempera
*Chapter 25: The Seer Overhead
*Chapter 26: The Cave
*Chapter 27: The Lightning-Struck Tower
*Chapter 28: Flight of the Prince
*Chapter 29: The Phoenix Lament
*Chapter 30: The White Tomb
*=summary still to come
This is only a list of chapters- but more are still to come.
A beeter book summary than ever!
War has broken out between the magical community and Voldemort's Death Eaters, in plain sight of the non-magical Muggle community. The Prime Minister of England receives a surprise visit from Cornelius Fudge, Minister of Magic. Fudge explains the violence and murders are a result of the magical war.
Acknowledging that the Ministry was wrong about Sirius Black being on Voldemort's side, Fudge has stepped down from the Ministry, to be replaced by Rufus Scrimgeour. We discover that many high-level Muggle government officials are Ministry of Magic staff undercover and keeping an eye on things. However, a significant number of them have been killed or injured in the attacks and the Ministry is informing the Muggle government of the circumstances.
Bellatrix Lestrange and her sister Narcissa pay a visit to Severus Snape. They tell Snape they do not trust him because he has been at Hogwarts for years under the orders of Voldemort but hasn't gotten rid of Albus Dumbledore nor Harry Potter. Snape reveals his job for the Dark Lord is spying on Dumbledore and the Order of the Phoenix and providing information about their activities.
Narcissa is the wife of Lucius Malfoy, now imprisoned in Azkaban, and mother of Draco. She has come to Snape to ask his help in looking after Draco who has been enlisted to help Voldemort on a dangerous and secret mission. Snape makes an Unbreakable Vow to do all he can to protect Draco on his mission, and to complete the mission if Draco fails.
Harry Potter is asleep at the window of his bedroom in Privet Drive. Strewn about his table are newspapers reporting that many think the prophecy stolen from the Ministry at the end of Book 5 reveals Harry as "the Chosen One" destined to fight Voldemort to the death. The papers also reveal that security is much tighter in the magical community, including at Hogwarts. One of the new dangers is that Voldemort is using Inferi, corpses that have been commanded to do the Dark Lord's bidding.
A letter from Dumbledore reveals that Harry is waiting for Dumbledore to arrive at 11 p.m., to be taken to the Burrow, the Weasley's house. When Dumbledore arrives promptly at 11 p.m., the Dursleys are very surprised—Harry hadn't told them about the plan.
Dumbledore reveals that Harry has inherited all of Sirius' possessions, including the house at Number 12 Grimmauld Place. However, Dumbledore is not sure that there isn't an enchantment protecting the house from moving outside the pureblood Black family. Dumbledore has a tricky plan to find out if Harry is now the rightful owner. He asks Harry to summon Kreacher, the house elf, who would now be beholden to Harry if the house belongs to him. Kreacher does not want to serve Harry but discovers he must, and all know that Grimmauld Place, and the secrets it contains, are now Harry's and will not end up in the hands of Voldemort's allies. Harry also inherits Buckbeak, the hippogriff, but who has been renamed Witherwings to protect him from the Ministry.
Dumbledore shows his anger at the Dursleys for mistreating Harry all these years, but asks only that Harry be allowed to visit once more before his 17th birthday, to keep up the magical protection. At age 17, Harry will have come of age in the magical community.
Dumbledore and Harry travel not to the Burrow but by apparating to the village Budleigh Babberton where they find, hiding and disguised as a sofa, Horace Slughorn. Slughorn used to be head of Slytherin House at Hogwarts many years ago but has been reclusive in recent years. Harry helps Dumbledore convince Slughorn to come back to Hogwarts as a teacher. Slughorn is known for having favorite students, mainly those who come from powerful families and who might be able to help him out in the future.
Dumbledore and Harry apparate to outside the Burrow, where Dumbledore tells Harry that it is good he hasn't revealed the contents of the prophecy to anybody but that he should share more of his secrets with his close friends—after all, they might be able to help him. Dumbledore also suggest that Harry carry his invisibility cloak with him at all times, including in Hogwarts.
Harry and Dumbledore go into the Burrow to see Mrs Weasley, who is talking with Nymphadora Tonks. While Mrs Weasley is feeding Harry, Mr Weasley comes home after working very late confiscating counterfeit spells and objects.
Harry goes to bed, only to be woken quite soon by Ron and Hermione. Ginny, Ron's younger sister, comes in shortly after, annoyed and frustrated at Fleur Delacour, who is staying with them and is engaged to marry Bill Weasley, Ron's older brother. Ginny and the rest of the Weasleys would rather Bill marry Tonks.
At breakfast, Harry reveals that he is going to be having private lessons with Dumbledore this year at school. A little later, owls arrive carrying Harry, Ron, and Hermione's grades from the previous school year, the O.W.L.s. Harry does pretty well but doesn't get an "Outstanding" in Potions, which Snape had said would mean he can't continue, and therefore, not become an Auror. Ron also does well and Hermione is slightly disappointed to only get an "Exceeds Expectations" at Defense Against the Dark Arts, despite an "Outstanding" for every other subject.
They spend a few more weeks at the Burrow before school is due to start again. During that time, there are more reports of deaths and injuries. The whole magical community is living in a state of fear, and even some shops at Diagon Alley have closed down, including Ollivander's wand shop. Better news is that Harry has been made Gryffindor Quidditch captain.
The trip to Diagon Aleey involves a security escort for Harry and much supervision by the Weasley parents and Hagrid. In the robe shop, they run into Draco Malfoy and his mother, Narcissa. Draco is being obnoxious as usual and the Malfoy's end up leaving the store in annoyance, and after an argument with Harry.
The students visit Weasleys' Wizard Wheezes, Fred and George's joke shop, and are impressed by the range of wares. The Ministry is even buying some defensive items from the store, a sideline beyond the jokes the store usually sells. Fred and George tease Ginny about having a boyfriend, Dean Thomas.
Harry, Ron, and Hermione see Draco walk past outside without his mother and decide to follow him. He goes down Knockturn Alley into Borgin and Burkes, known for its dark magic supplies. Using extendable ears, they eavesdrop and discover that Malfoy has something put aside for him there and is asking the shop owner to try to fix it for him. Draco threatens the owner that he knows Fenrir Greyback, who will check that everything goes according to Malfoy's wishes. Hermione goes into the shop to try to find out what Draco was asking about but the shop owner won't let on.
Harry is becoming obsessed with what Malfoy was doing and decides that the incident in the robe store was because he had become a Death Eater and was hiding the Dark Mark on his arm. Harry convinces Mr Weasley to investigate Malfoy further before getting on the train to Hogwarts.
Harry travels to school with Neville and Luna but is constantly harrassed by younger girls who admire him. Professor Slughorn invites Harry and Neville to have lunch with him in the teacher's compartment along with other students connected to important families. One of them is Gryffindor student Cormac McLaggen. During questions from Slughorn, Harry refuses to reveal anything about the prophecy, but it is clear that the whole lunch is about Slughorn trying to suck up to the students and prove himself as important. Malfoy is upset that he wasn't invited to lunch, but tries to dismiss it as unimportant.
Harry sneaks into Malfoy's carriage under his invisibility cloak and hides up in a luggage rack to eavesdrop. Malfoy is lying with his head in Pansy Parkinson's lap. Draco lets on that he is one some sort of job for the Dark Lord and that he might not even go back to school the following year. When the others leave, Malfoy stays behind. He had seen Harry's foot under the cloak, and then paralyzes him with a spell, punches and kicks him in the face, and covers him with the invisibility cloak so that Harry will be trapped and hidden, probably to be transported back to London on the train with nobody finding him.
Tonks discovers Harry was missing and rescues him from the paralysis. They walk up to the school, later than all the others. Snape meets them at the gate, to Harry's distress, walks him to the feast, where he has missed the sorting. After dinner, Dumbledore tells the school that Slughorn will be the new Potions master and that Snape will be teaching Defense Against the Dark Arts. Dumbledore reminds them of the extra security and that they aren't allowed to walk around after dark. Hagrid is teaching Care of Magical Creatures again, and is now looking after Grawp in a cave up in the mountains nearby. Harry, Ron, and Hermione realize Hagrid will be upset that none of them are taking his class this year.
Harry finds out he is allowed to take Potions because Slughorn doesn't require an "Outstanding" from the previous year, just an "Exceeds Expectations." That means Harry could still try to become an Auror.
In the first Defense Against the Dark Arts class, Snape is hard on Harry and his friends, as usual, but starts to teach them nonverbal spells (ways of casting spells without having to speak.) Harry earns himself a detention by being rude to Snape, but find out that Dumbledore wants to teach him at the same time—Saturday night at 8 p.m.
In the first Potions class, Harry doesn't have the textbooks and ingredients because he didn't think he could do the course. He borrows them from the classroom cupboard, and finds his textbook is filled with annotations. Slughorn shows them a few potions he has already made and Hermione can identify them all. One of them is called Felix Felicis, which gives good luck for a time. A vial of the potion is offered as a reward for the student in the class who can best make a Draught of Living Death. Harry follows the instructions in his annotated borrowed textbook and finds they are far superior to the printed instructions. His potion is the best, and he wins the vial of Felix Felicis.
Looking through the book further, Harry discovers the inscription, "This Book is the Property of the Half-Blood Prince."
Harry goes to Dumbledore's office for his first private lesson to find out that Dumbledore arranged for him to do Snape's detention the next weekend. Harry learns that his lessons will consist of finding more about Voldemort's past, and trying to help Dumbledore fill in some missing pieces. Dumbledore uses the Pensieve in his office to explore memories he has obtained from others, and takes Harry with him to see the memories unfold.
The first memory belonged to Bob Ogden, an employee of the Department of Magical Law Enforcement. Dumbledore convinced Ogden to give up some of his memories before he died some years earlier. The memory begins. Ogden is trying to talk to some people in a cottage but they don't want to let him in or talk. The people living inside speak Parseltongue, the language of snakes, but Ogden can't understand it. Ogden is there to talk to Mr. Gaunt about his son, Morfin, using magic in front of a Muggle. Gaunt's daughter, Merope, is also present in the house. Gaunt is very cruel to his children, especially Merope, who is not very good at magic. It makes her seem too much like a Muggle and he hates Muggles more than anything.
Gaunt reveals his family members are the last remaining descendents of Salazar Slytherin, and shows him one of Slytherin's gold lockets to prove it. While Ogden is questioning the Gaunts, some Muggles go by in a cart, and Merope watches the man in the cart closely because she is interested in him, to her father's disgust. It is that man in the cart who Morfin had attacked with magic and the reason for Ogden's investigation. Gaunt goes crazy at his daughter looking at the man, and Ogden flees the house.
The son, Morfin, and the father, Marvolo Gaunt, are later convicted of crimes by the Wizengamot and sentenced to serve time in Azkaban. Harry recognizes the name Marvolo, and Dumbledore confirms that Mr. Gaunt was the grandfather of Tom Marvolo Riddle, or Lord Voldemort. Marvolo's daughter Merope had enchanted the man in the cart, Tom Riddle, and tricked him into marrying her. When she released the enchantment, Riddle left her immediately, but she was pregnant with the boy who would become Voldemort.
Once Harry has heard these stories, he is ready to leave but spots a ring in Dumbledore's office that he recognized from the memory they watched. It had belonged to Marvolo Gaunt.
The rest will come soon! just reade the other reviews i have put down for you!
We've got more info on the posts than the actually blog i made!
Haiku stuff that i just put in here for the sake of it:
waiting to visit,
wrapped in strange poetic smells--
a wintry sun
Permalink 3:46:56 PM Your views [1]
I.66
at great aunt's house.
aunt confined by grief, illness,
obsession, piety
Permalink 3:46:27 PM Your views [0]
I.65
houses huddled by
the darkened church of Combray,
unreal in my mind
Permalink 3:45:57 PM Your views [0]
Wednesday, January 25, 2006
I.64
house, town, morning, night
flooded back by madeleine
from my cup of tea
Permalink 9:31:27 PM Your views [0]
I.63
and suddenly the
memory revealed itself--
Sundays at Combray
Permalink 9:31:00 PM Your views [0]
I.62
palpitating
in the depths of my being--
memory evades
Permalink 9:30:40 PM Your views [0]
I.61
called into being,
abyss of uncertainty,
mind overtaken
Permalink 9:30:18 PM Your views [0]
I.60
many years later
filled with a precious essence--
petites madeleines
Permalink 9:29:57 PM Your views [0]
I.59
worthwhile memories
are involuntary,
defeated by death
Permalink 9:29:28 PM Your views [0]
I.58
for long afterwards
old memories of Combray
clouded
Permalink 9:29:01 PM Your views [0]
I.57
aching heart soothed--
a rare and artificial
exception
Permalink 9:28:08 PM Your views [0]
I.56
daydreaming away
from the text, for pages--
Champi's mystery
Permalink 9:27:48 PM Your views [0]
I.55
in search of
time's impossible journeys
eager for George Sand
Permalink 9:27:12 PM Your views [0]
I.54
gifts of armchairs
collapse under newlyweds
but it's art
Permalink 9:26:43 PM Your views [0]
I.53
all life's things must have
intellectual profit--
grandmother's presents
Permalink 7:26:58 PM Your views [0]
I.52
premature gifts
of grandmother's quelled the tears--
four short, wide books
Permalink 7:26:33 PM Your views [0]
I.51
I could weep with her
but our relationship changed--
sorrow's puberty
Permalink 7:26:00 PM Your views [0]
First 50 Proustku
It's a beginning... the first 50 "Proustku" are posted on the Haiku of Lost Time blog.
Permalink 7:25:13 PM Your views [5]
I.50
unhappiness now
seen as involuntary--
my tears flow
Permalink 7:24:05 PM Your views [0]
I.49
Memories return,
an irretrievable time--
Mamma spent that night
Permalink 7:23:33 PM Your views [0]
I.48
father surprises,
devoid of principles--
Mamma in my room
Permalink 7:23:00 PM Your views [0]
I.47
Denied with silence,
scared by father's imminence--
father's candle
Permalink 7:22:34 PM Your views [0]
I.46
Coming upstairs,
I throw myself on her--
Mamma's candle
Permalink 7:22:01 PM Your views [0]
I.45
gossip of Swann's
age, wife, loves, and happiness--
a so-so ice
Permalink 7:21:19 PM Your views [0]
I.44
nervous impulses
bring on faults atop my list--
the visit ends
Permalink 7:20:40 PM Your views [0]
Welcome ProustianWay co-travelers
Adventures are more fun in company (he declares with nary a reference nor justification). After enjoying discussion groups for other books (Finnegans Wake esp., given its complexity), I dug around until I found the ProustianWay, a yahoo group for people reading Proust.
A few of those members are dropping in here, so welcome co-travelers, fellow adventurers!
Permalink 4:09:55 PM Your views [0]
Sunday, January 22, 2006
I.43
still moonlight--
seeming to be elsewhere,
precise muted strings
Permalink 8:47:01 PM Your views [0]
I.42
sitting on the foot
of my bed waiting for her--
silence
Permalink 8:46:38 PM Your views [0]
I.41
but the messenger
might be the sole ally--
"There is no answer."
Permalink 8:46:05 PM Your views [0]
I.40
I did not yet know
Swann would understand my pain--
love the messenger
Permalink 8:45:42 PM Your views [0]
I.39
finger bowls put round
note soon to be delivered--
Mamma not lost
Permalink 8:45:11 PM Your views [0]
I.38
lying to Françoise
to deliver my message--
the sealed envelope
Permalink 8:44:49 PM Your views [0]
I.37
Would Françoise carry
a message to my mother?
complex etiquette
Permalink 8:44:17 PM Your views [0]
I.36
missing my kiss,
I leave my heart with mother--
the stairs' varnished smell
Permalink 8:43:37 PM Your views [0]
Thursday, January 19, 2006
I.35
eyes glued to mother--
finding the exact spot
to place my kiss
Permalink 1:13:43 PM Your views [0]
I.34
Maulévrier's handshake,
ignorance or cozenage?
Swann notes Saint-Simon
Permalink 1:13:18 PM Your views [0]
I.33
but three or four books
give importance this life--
newspaper's wrapper
Permalink 1:12:16 PM Your views [0]
I.32
"nice neighbours"
Celine's thanks to Swann--
case of Asti
Permalink 1:11:52 PM Your views [0]
I.31
forthcoming anguish
insulated from feeling--
iron table
Permalink 1:11:21 PM Your views [0]
I.30
Mother corners Swann
to ask of his daughter--
I follow
Permalink 1:10:53 PM Your views [0]
I.29
Swann's the topic
of all thought and action--
I'll miss my kiss
Permalink 1:10:18 PM Your views [0]
I.28
grand-generation
ruled by contrariness--
a bribe of Asti
Permalink 1:09:38 PM Your views [0]
I.27
old biddies
avoiding worldy matters--
atrophied hearing
Permalink 1:09:00 PM Your views [0]
Tuesday, January 17, 2006
I.26
Swann in attendance
at Duc de X----'s luncheon
caught grandfather's ear
Permalink 10:17:26 AM Your views [0]
I.25
Swann's friends were common
by association,
revealed grandmother
Permalink 10:17:13 AM Your views [0]
I.24
early Swann of my mind
charming mistakes of my youth--
his aquiline nose
Permalink 10:17:02 AM Your views [0]
I.23
Swann plays piano--
our Combray garden not
high clubs and salons
Permalink 10:16:51 AM Your views [0]
I.22
in evening clothes
from dining "with a princess"--
aunt's sarcasm, knits
Permalink 10:16:41 AM Your views [0]
I.21
peeping over glasses,
she queries Swann on his
common lodgings
Permalink 10:16:28 AM Your views [0]
I.20
amusing stories
and a dull preciseness--
my great aunt doubts Swann
Permalink 10:16:18 AM Your views [0]
I.19
Swann's secret
of a brilliant social life
kept him in our caste
Permalink 10:16:05 AM Your views [0]
I.18
hand across forehead,
eyes rubbed and glasses wiped--
dead wife remembered
Permalink 10:15:52 AM Your views [0]
I.17
fetching the liquers
to appear ordinary--
Swann's voice
Permalink 10:15:36 AM Your views [0]
I.16
double tinkle
heralds Swann's late visit--
no kiss tonight
Permalink 10:15:15 AM Your views [0]
I.15
too short a kiss
was Mamma's painful goodnight--
that look!
Permalink 10:14:59 AM Your views [0]
I.14
in cowardice
crying in the attic--
orris-root scent
Permalink 10:12:14 AM Your views [0]
I.13
scolding grandfather's
forbidden taste of brandy,
she smiled
Permalink 10:11:59 AM Your views [0]
I.12
after dinner
grandmother walks in the rain
on too-straight paths
Permalink 10:11:49 AM Your views [0]
I.11
mystery, beauty
intrude on well-fit habits--
my doorknob
Permalink 9:48:42 AM Your views [0]
I.10
out of the forest
Golo rode for Geneviève--
shone on the wall
Permalink 9:48:32 AM Your views [0]
I.9
recalling
Balbec, Paris, and the rest--
lying awake
Permalink 9:48:21 AM Your views [0]
I.8
little room
high ceiling getting lower--
clock ticks
Permalink 9:48:11 AM Your views [0]
I.7
a winter nest--
snapshots of a horse
break into trot
Permalink 9:44:44 AM Your views [0]
I.6
Siena marble
in my Combray bedroom--
sunset's reflection
Permalink 9:44:32 AM Your views [0]
I.5
immobile,
the world is as I make it--
I face a wall
Permalink 9:44:22 AM Your views [0]
I.4
divergent dozing
losing sense of space and time--
rope down from heaven
Permalink 9:44:05 AM Your views [0]
I.3
cheek warm from her kiss--
Eve born from Adam's rib,
not the woman I seek
Permalink 9:43:54 AM Your views [0]
I.2
comfortable pillow--
dreaming of false morning,
nearly midnight
Permalink 9:43:39 AM Your views [0]
I.1
living in my book--
dissolved into the darkness,
I'm falling asleep
Permalink 9:43:26 AM Your views [0]
Haiku of Lost Time: "Proustku"
Haiku is a very old form of Japanese poetry that has traditionally followed fairly stringent guidelines. I was fortunate to be involved in a 3 month-long haiku workshop with the World Haiku Club where I learned a lot about the form from some very accomplished haijin (haiku poets).
Associating the word "haiku" with what I will be writing here will be plain wrong in most cases. for this project I'll be doing something a little different: the "Proustku". The form I will be writing will be closer to senryu, which are structurally identical to haiku but much more flexible in content. Occasionally there will be haiku among the senryu but that will occur only when the pages of the text happen to evoke some particularly strong image of an appropriate type that I can capture with the form. Basically, I will try to capture something of the memories that Proust reconstructs in his book, but attempting to capture both the events and/or the feelings Proust's narrator describes. I'm sure that my idea of this invented form will develop as I go and become more concrete in time.
Any time I have put haiku-like forms on the web, somebody comes along and complains that what I am writing is not haiku because it doesn't follow the 5-7-5 syllable form. However, most haijin writing in English acknowledge that the 5-7-5 form does not come cloest to representing the Japanese original form. For example, the amount of information contained in 5-7-5 Japanese "syllables" is much less than in that many English syllables. Therefore, many English haijin espouse a smaller number of syllables (3-4-3, for example) to more closely approximate the quantity of information in a Japanese haiku, but they also do not believe in holding too strictly to these counts. In these Proustku, I'll typically use a loose form consisting of a longer line between two shorter ones, with the syllable count not exceeding 5-7-5, but often being less.
Permalink 9:41:38 AM Your views [0]
Haiku of Lost Time: The Choice of Translation
Not having French, a serious decision must be made before embarking on Proust: which translation? There are a number of major translations in English, including the original by C. K. Scott Moncrieff, the revision by Terence Kilmartin, a further revision by D. J. Enright, and a new translation by a group of translators, each to a volume.
Typically, modern translations are better than older ones and revised translations better than the originals, but not always. A few aspects work against the latest translation. Perhaps the most important is the style of the translation, but also significant is that only the first four volumes are available in the United States, where I am currently based, due to the extension of copyright protection of the original text, as dictated by the Sonny Bono Copyright Act. So leaving aside the new translation, I have chosen to use what is generally regarded as the best English translation of Proust, the Enright revision of the Scott Moncrieff and Kilmartin text.
To read more about choosing a translation, you should read a two-part series in the New York Review of Books by André Aciman. The first part is currently freely available on the NYRB website but the second part requires a subscription or one-off article purchase.
The specific edition I am using is The Modern Library Classics paperback edition. Links to the books at Amazon are:
Volume 1: Swann's Way (606 text pages)
Volume 2: Within a Budding Grove
Volume 3: The Guermantes Way
Volume 4: Sodom and Gomorrah
Volume 5: The Captive & The Fugitive
Volume 6: Time Regained
Permalink 9:40:38 AM Your views [0]
More harry potter stuff- the fourth movie
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Harry Potter and the Goblet of Fire (2005)
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Directed by
Mike Newell
Writing credits
(WGA)
Steve Kloves (screenplay)
J.K. Rowling (novel)
Cast (in credits order) verified as complete
Eric Sykes ... Frank Bryce
Timothy Spall ... Wormtail (Peter Pettigrew)
David Tennant ... Barty Crouch Junior
Daniel Radcliffe ... Harry Potter
Emma Watson ... Hermione Granger
Rupert Grint ... Ron Weasley
Mark Williams ... Arthur Weasley
James Phelps ... Fred Weasley
Oliver Phelps ... George Weasley
Bonnie Wright ... Ginny Weasley
Jeff Rawle ... Amos Diggory
Robert Pattinson ... Cedric Diggory
Jason Isaacs ... Lucius Malfoy
Tom Felton ... Draco Malfoy
Stanislav Ianevski ... Viktor Krum
Robert Hardy ... Cornelius Fudge
Philip Rham ... Death Eater
Olivia Higginbottom ... Death Eater
Ashley Artus ... Death Eater
Alex Palmer ... Death Eater
Paschal Friel ... Death Eater
Richard Rosson ... Death Eater (as Richard Rosson 'Rubber Ritchie')
Roger Lloyd-Pack ... Barty Crouch (as Roger Lloyd Pack)
Sheila Allen ... Ministry Witch
Su Elliot ... Ministry Witch
Anne Lacy ... Ministry Witch
Flip Webster ... Ministry Witch
David Sterne ... Ministry Wizard
Christopher Whittingham ... Ministry Wizard
Liam McKenna ... Ministry Wizard
Campbell Graham ... Ministry Wizard
Margery Mason ... Food Trolley Lady
Katie Leung ... Cho Chang
Matthew Lewis ... Neville Longbottom
Robbie Coltrane ... Rubeus Hagrid
William Melling ... Nigel
Michael Gambon ... Albus Dumbledore
David Bradley ... Argus Filch
Devon Murray ... Seamus Finnigan
Afshan Azad ... Padma Patil
Warwick Davis ... Filius Flitwick
Frances de la Tour ... Madame Olympe Maxime
Shefali Chowdhury ... Parvati Patil
Angelica Mandy ... Gabrielle Delacour
Clémence Poésy ... Fleur Delacour
Maggie Smith ... Minerva McGonagall
Alan Rickman ... Severus Snape
Predrag Bjelac ... Igor Karkaroff (as Pedja Bjelac)
Tolga Safer ... Karkaroff's Aide
Brendan Gleeson ... Professor Alastor 'MadEye' Moody
Alfie Enoch ... Dean Thomas
Louis Doyle ... Ernie MacMillan
Jamie Waylett ... Vincent Crabbe
Josh Herdman ... Gregory Goyle
Charlotte Skeoch ... Hannah Abbott
Miranda Richardson ... Rita Skeeter
Robert Wilfort ... Photographer
Gary Oldman ... Sirius Black
Tiana Benjamin ... Angelina Johnson
Henry Lloyd-Hughes ... Roger Davies (as Henry Lloyd Hughes)
Jarvis Cocker ... Band Lead Singer
Jonny Greenwood ... Band Lead Guitar
Phil Selway ... Band Drums (as Philip Selway)
Steve Mackey ... Band Bass Guitar
Jason Buckle ... Band Rhythm Guitar
Steve Claydon ... Band Keyboards
Shirley Henderson ... Moaning Myrtle
Alan Watts ... Assistant Judge
Ralph Fiennes ... Lord Voldemort
Adrian Rawlins ... James Potter
Geraldine Somerville ... Lily Potter
rest of cast listed alphabetically:
Jack Bagley ... Class Member/Ballroom Dancer (uncredited)
Natalie Hallam ... Wizard Teacher (uncredited)
Ian Whyte ... Madame Olympe Maxime (uncredited)
Produced by
David Barron .... executive producer
Chris Carreras .... associate producer
David Heyman .... producer
Peter MacDonald .... co-producer
Lorne Orleans .... producer (IMAX version)
Tanya Seghatchian .... executive producer
John Trehy .... associate producer
Original Music by
Patrick Doyle
Cinematography by
Roger Pratt (director of photography)
Film Editing by
Mick Audsley
Casting by
Mary Selway
Fiona Weir
Production Design by
Stuart Craig
Art Direction by
Mark Bartholomew
Alastair Bullock (as Al Bullock)
Alan Gilmore
Gary Tomkins
Alexandra Walker
Set Decoration by
Stephanie McMillan
Costume Design by
Jany Temime
Makeup Department
Mark Coulier .... key prosthetic makeup artist
Nick Dudman .... creature & makeup effects designer
Eithne Fennel .... chief hair designer (as Eithne Fennell)
Eithne Fennel .... chief hair stylist (as Eithne Fennell)
Andrea Finch .... hair stylist: second unit
Betty Glasow .... hair stylist
Jenny Harling .... hair stylist
Shaune Harrison .... key prosthetic makeup artist
Teresa Hinton .... hairdresser
Belinda Hodson .... makeup artist
Jan Jamison .... hair stylist
Amanda Knight .... makeup designer
John Lambert .... makeup effects buyer
Clare Le Vesconte .... chief makeup artist
Elizabeth Lewis .... makeup and hair coordinator
Sharon Nicholas .... makeup artist
Lyn Nicholson .... creature effects coordinator
Lyn Nicholson .... makeup effects coordinator
Alex Rouse .... wig maker
Norma Webb .... makeup artist: second unit
Amy Byrne .... hair trainee (uncredited)
Sarah Downes .... makeup artist (uncredited)
Sarah Downes .... makeup dailies (uncredited)
Michael Krehl .... makeup artist (uncredited)
Adrian Rigby .... prosthetic makeup assistant (uncredited)
Production Management
David Carrigan .... production manager
Tim Lewis .... unit production manager
Russell Lodge .... production manager: second unit
Jessie Thiele .... post-production supervisor
Second Unit Director or Assistant Director
Janette Boyle .... additional third assistant director
Tom Brewster .... additional third assistant director
Lyndsay Bullock .... third assistant director: second unit
Jane Burgess .... co-second assistant director
Rob Burgess .... additional third assistant director
Chris Carreras .... first assistant director
Jamie Christopher .... first assistant director: second unit
William Dodds .... second assistant director (as Will Dodds)
Robert Grayson .... key second assistant director (as Robert P. Grayson)
Stewart Hamilton .... additional third assistant director
Sallie Anne Hard .... second assistant director: second unit (as Sallie Hard)
Phillippa Hunt .... third assistant director (as Philippa Hunt)
Natasha Llewelyn .... additional third assistant director
Peter MacDonald .... second unit director (as Peter Macdonald)
Michael Michael .... third assistant director
Ali Morris .... third assistant director
Fiona Richards .... second assistant director (as Fiona Perry)
Adam Jenkins .... additional third assistant director: dailies (uncredited)
Nick Shuttleworth .... additional second assistant director (uncredited)
Kevin Westley .... additional first assistant director: second unit (uncredited)
Art Department
Andrew Ackland-Snow .... senior art director
Wayne D. Barlowe .... conceptual artist (as Wayne Barlowe)
Celia Barnett .... specialist researcher
Jim Barr .... prop modeller
Andrew Bennett .... art department assistant
Hannah Biggs .... prop modeller
Graham Blinco .... hod stagehand
Pierre Bohanna .... supervising modeller
Adam Brockbank .... creature designer
Paul Burgess .... dressing propman
Oliver Carroll .... art department assistant
Miraphora Caruso .... props concept artist
Paul Catling .... creature designer
Bruce Cheesman .... chargehand standby propman: second unit
Paul Cheesman .... property storeman
Jane Clark .... storyboard artist
Matt Cooke .... dressing propman
Stan Cook .... dressing propman
Bryn Court .... h.o.d. sculptor
Julia Dehoff .... draughtsman
Ben Dennett .... conceptual artist
Andy Evans .... h.o.d. construction electrician
Martin Foley .... stand-by art director
John Fox .... chargehand dressing propman
Pip Fox .... stand-by propman: second unit
Paul Freeth .... construction stand-by
Daniel Handley .... drapesman
Gary Handley .... drapesmaster
Rosie Hardwick .... assistant art director
Brian Hartnoll .... construction stand-by
Gary Hayes .... construction buyer (as Garry Hayes)
Paul J. Hayes .... construction manager (as Paul Hayes)
Steve Hedinger .... h.o.d. decor and lettering artist
Kevin Herbert .... dressing propman
Sean Higgins .... construction stand-by
Christian Huband .... assistant art director
Geoffrey Huband .... conceptual artist
Molly Hughes .... draughtsman
Peter Hunt .... props driver
Gary Ixer .... stand-by propman
Jodie Jackman .... art department coordinator
Jonathan Jackson .... prop modeller
Jessie Jones .... drapery supervisor
Gary Jopling .... junior draughtsman
Nicky Kaill .... scenic artist
Matthew Kerly .... art department assistant
John Kirsop .... hod carpenter
Paul 'Spike' Knight .... prop modeller
Neil Lamont .... supervising art director
Eduardo Lima .... graphic artist
Steve Lowen .... construction stand-by
Tom Lowen .... construction stand-by (as Tommy Lowen)
Chris Lunney .... archivist
Catriona Maccann .... junior modeler
Peter Mann .... construction stand-by
Francis Martin .... decor & lettering artist
Iain McCaig .... conceptual artist
Ginger McCarthy .... hod rigger
Christian McDonald .... chargehand dressing propman
Stuart Meridew .... prop manufacturing buyer
Mickie Mills .... chargehand dressing propman (as Micky Mills)
Ian Murphy .... construction stand-by
Kevin Nugent .... h.o.d. metal worker
Gerry O'Connor .... dressing propman
Nick Pelham .... storyboard artist
Amanda Pettett .... construction coordinator
Denis Rich .... storyboard artist
Oliver Roberts .... art department assistant
Steven Sallybanks .... scenic artist (as Steve Sallybanks)
Lee Sandales .... co-set decorator
Robin Schoonraad .... prop modeller (as Robin Schoonaraad)
Christian Short .... chargehand dressing propman
Nicola Short .... construction coordinator
Tamazin Simmonds .... assistant production buyer
Andy Skipsey .... dressing propman
James Skipsey .... dressing propman (as Jim Skipsey)
William Stickley .... construction stand-by (as Will Stickley)
Tom Still .... assistant art director
Deborah Stokely .... production buyer
Hattie Storey .... junior draughtsman
Stephen Swain .... stand-by art director
Paul Taggart .... hod plasterer
Claudine Thomas .... junior draughtsman
Emma Vane .... draughstman
Matt Walker .... scenic artist
John Weller .... modelling coordinator
Robert Weller .... construction stand-by (as Rob Weller)
David Wescott .... assistant construction manager
Paul Wescott .... hod painter
Michael Westcott .... construction stand-by
Barry Wilkinson .... property master
Ben Wilkinson .... chargehand dressing propman
Jamie Wilkinson .... assistant property master
Simon Wilkinson .... supervising chargehand standby propman
Marcus Williams .... h.o.d. scenic artist
Andrew Williamson .... conceptual artist
Ruth Winick .... junior draughtsman
Tiffany Woods .... prop modeller
Steve Wotherspoon .... junior modeler
Tony Wright .... storyboard artist
Simon Aronson .... prop maker (uncredited)
Will Ayres .... props (uncredited)
Sylvain Despretz .... storyboard artist (uncredited)
Shane Harford .... dressing props (uncredited)
Dennis Murray .... plasterer (uncredited)
Ethan J. Platt .... assistant property master (uncredited)
Dermot Power .... conceptual artist (uncredited)
Simon Wilkinson .... stand-by property master (uncredited)
Sound Department
Sam Auguste .... additional dialogue editor
Nicolas Becker .... foley artist
Tim Blackham .... sound mixer: second unit
Peter Burgis .... foley artist
John Casali .... boom operator
Doug Cooper .... sound mix technician
Vincent Cosson .... sound mix technician
David Crozier .... production sound mixer
Andie Derrick .... foley artist
Phillip Mark Freudenfeld .... sound studio technician (as Phil Freudenfeld)
Steve Hancock .... sound studio technician
Nigel Heath .... foley mixer
Tom Johnson .... sound re-recording mixer
Alex Joseph .... foley editor
Andy Kennedy .... sound effects editor
Daniel Laurie .... adr editor (as Dan Laurie)
Dennis Leonard .... supervising sound editor
Gerard McCann .... music editor
Jerome McCann .... sound assistant
Chris Murphy .... sound assistant
Douglas Murray .... sound effects editor
Jon Olive .... additional sound effects editor
Barney Pratt .... assistant sound editor
Mike Prestwood Smith .... sound re-recording mixer
Robin Quinn .... music editor (as Robin Whittaker)
John Samworth .... boom operator: second unit
Bjorn Ole Schroeder .... dialogue editor (as Bjørn Ole Schroeder)
Gemma Stansfield .... assistant sound editor
Daniel Stevens .... sound assistant (as Dan Stevens)
Graham Sutton .... supervising music editor
Randy Thom .... sound designer
Randy Thom .... supervising sound editor
Nick Wollage .... music recordist and music mixer
Chris Barrett .... assistant music engineer (uncredited)
Colin Cooper .... adr mixer (uncredited)
Robert Edwards .... adr recordist (uncredited)
Will Files .... assistant sound designer (uncredited)
Olga FitzRoy .... assistant music engineer (uncredited)
Nick Foley .... adr recordist (uncredited)
Philip Jenkins .... studio assistant (uncredited)
Jon Olive .... adr recordist (uncredited)
Jamie Roden .... adr mixer (uncredited)
Ted Swanscott .... adr mixer (uncredited)
Michael Wabro .... foreign mix supervision (uncredited)
Poppy Watson .... sound trainee (uncredited)
Special Effects by
Adam Aldridge .... special effects technician
Phil Ashton .... animatronic model designer
Peter Aston .... special effects buyer
Ritchie Baker .... special effects technician
Chris Barton .... supervising animatronic designer
James Bernardinis .... mold maker (as Jimmy Bernardinis)
Ian Biggs .... special effects senior technician: second unit
Nigel Brackley .... special effects supervising engineer
Terry Bridle .... special effects senior technician
Mark Bullimore .... special effects supervising engineer
Jan Burns .... animatronic model designer (as Janet Burns)
Trevor Butterfield .... special effects senior technician
Mel Coleman .... mold maker
John Cramman .... special effects technician
Tracey Curtis .... senior modeller
Demi Demetriou .... special effects technician
Bill Dennis .... mold maker
Matthew Denton .... performance systems supervisor (as Matt Denton)
Nick Dudman .... creature effects designer
Michael Durkan .... special effects supervising engineer (as Mike Durkan)
Ronnie Durkan .... special effects technician
Malcolm Evans .... animatronic model designer
Luke Fisher .... sculptor
Chris Fitzgerald .... sculptor (as Christopher Fitzgerald)
Catherine Flemming .... animatronic model designer
Barry Fowler .... mold making supervisor
Martin Fowler .... mold maker (as Martyn Fowler)
Adrian Getley .... senior modeller
Chris Giles .... special effects technician
Barrie Gower .... animatronic model designer
Chris Greenwood .... mold maker
Frank Guiney .... special effects senior technician
Lotta Haggqvist .... fabricator
Tamzine Hanks .... animatronic model designer
Matt Harlow .... special effects technician
Simon Hewitt .... special effects senior technician
Kate Hill .... sculptor
Andrea Hochgatterer-Kowland .... animatronic model designer (as Andrea Hochgatterer)
Andy Hunt .... sculptor
David Hunter .... special effects supervising engineer
Jamie Iovino .... mold maker (as Jamie Lovino)
Colin Jackman .... sculptor
Martin Jago .... animatronic model designer
Abbie Jones .... animatronic model designer
Mark Jones .... animatronic model designer
Valerie Jones .... key animatronic designer
Nick Joscylene .... special effects technician: second unit (as Nick Joscelyne)
Chris Kearney .... mold maker
Tacy Kneale .... key animatronic designer
John Lambert .... creature effects buyer
Joshua Lee .... animatronic model designer
Jeremy Lovett .... special effects senior technician (as Jem Lovett)
Stephen Lowen .... mold maker (as Steven Lowen)
Kristyan Mallett .... foam & silicon technician (as Krystian Mallett)
Raj Mariathason .... mold maker (as Raj Mariathasan)
Waldo Mason .... sculptor
Holly McNabb .... foam & silicon technician
Noah Meddings .... special effects technician: second unit
Digby Milner .... special effects senior technician
Brian Morrison .... special effects supervising engineer
Luke Murphy .... special effects senior technician: second unit
Stephen Murphy .... animatronic model designer
Elizabeth Murray .... fabrication supervisor
Julian Murray .... supervising sculptor
Martin Neill .... special effects floor supervisor: second unit
John Nolan .... animatronic model designer
Richard Northcroft .... sculptor (as Rick Northcroft)
Tracy O'Brien .... animatronic model designer
Alan Perez .... wire effects technician
Lee Phelan .... special effects technician
Ben Philips .... special effects technician (as Ben Phillips)
Peter Pickering .... special effects senior technician (as Pete Pickering)
John Pilgrim .... special effects technician
Anton Prickett .... special effects senior technician
John Richardson .... special effects supervisor
Marcus Richardson .... special effects technician
Rosie Richardson .... special effects coordinator
Andy Roberts .... animatronic model designer
Phil Ross .... animatronic model designer
Jim Sandys .... animatronic model designer (as James Sandys)
Charlene Sant .... fabricator
Dan Scott .... sculptor
Joe Scott .... animatronic model designer
Terry Sibley .... mold maker
Tamzin Smythe .... mold maker (as Tamzin Smyth)
Diane Staniforth .... animatronic model designer (as Diane Nicholson)
Paul Stephenson .... special effects workshop supervisor
Paul Stephenson .... special effects workshop supervisor
Guy Stevens .... supervising animatronic designer
Phoebe Tait .... special effects technician
Paul Taylor .... special effects senior technician
Dominic Tuohy .... special effects first floor supervisor
Livia Turco .... sculptor
Jennifer Walker .... key animatronic designer
David Watson .... special effects senior technician (as Dave Watson)
Kevin Welch .... wire effects coordinator
Andy Weller .... wire effects technician
Kevin Westcott .... special effects technician (as Kevin Wescott)
Paul Whybrow .... special effects senior technician
Simon Williams .... animatronic model designer
Helen Wilson .... mold maker
Keith O. Wilson .... mold maker (as Keith Wilson)
Dan Woodley .... sculptor
Matt Wood .... special effects technician
Steve Wright .... animatronic model designer
Benjamin M. Esterson .... special effects technician (uncredited)
Martin Jago .... puppeteer (uncredited)
Visual Effects by
Aurelia Abate .... visual effects: BUF (as Aurélia Abate)
Steve Adamson .... miniature crew: Cinesite
Alia Agha .... matchmove lead: ILM
Ben Aickin .... compositor: Framestore-CFC
Andrew Ainscow .... miniature crew: Cinesite
Nicolas Aithadi .... supervisor: MPC
Tim Alexander .... visual effects supervisor: ILM
Paul Alexiou .... visual effects producer: MPC
Rob Allman .... CG sequence supervisor: Framestore-CFC
Shadi Almassizadeh .... visual effects: The Orphanage (as Farshad Shadi Almassizadeh)
Johnny Alves .... visual effects: BUF
Christoph Ammann .... CG lighting artist: Framestore-CFC
Nicholas Anastassiou .... visual effects editor: ILM (as Nic Anastassiou)
Florent Andorra .... visual effects: BUF
Stephen Aplin .... animator: ILM (as Steve Aplin)
David Armitage .... animator: effects and lighting artist, MPC
Joakim Arnesson .... lead digital artist: ILM
Joe Arnold .... 3D digital artist: Cinesite
Jaume Arteman .... 2D digital artist: Cinesite
Rosie Ashforth .... animator: Framestore CFC
Oliver Atherton .... visual effects: Double Negative
David Aulds .... rotoscope artist: Framestore-CFC
Sergio Ayrosa .... compositor: MPC (as Sergio Aryosa)
Trang Bach .... rotoscope artist: ILM
Henry Badgett .... compositor: MPC
Lance Baetkey .... rotoscoping lead: ILM
Kevin Baillie .... visual effects: The Orphanage
Richard Baker .... compositor: Framestore-CFC
Felix Balbas .... character rigging supervisor: Framestore-CFC
Chris Balog .... technical support: ILM (as Christopher Balog)
Michael Balog .... digital artist: ILM
Margaret Barber .... compositor: MPC
Craig Bardsley .... animator: Framestore CFC
Giacomo Bargellesi .... compositor: Framestore-CFC
Reuben Barkataki .... roto/prep artist
Daniel Barrow .... visual effects production manager (as Dan Barrow)
Sebastien Beaulieu .... 3D digital artist: Cinesite
Pete Bebb .... visual effects: Double Negative
Xavier Bec .... visual effects: BUF
Lizi Bedford .... visual effects coordinator: Framestore CFC
Paul Beilby .... CG lighting artist: Framestore-CFC
Matthew Bell .... character rigger: Framestore-CFC
Michael Bell .... visual effects: Double Negative
Laurent Benhamo .... animator: Framestore CFC
Sara Bennett .... compositor: Framestore-CFC
Stephen Bennett .... rotoscope artist: Framestore-CFC
James Benson .... visual effects: Double Negative
Hege Berg .... visual effects: Double Negative
Eric Bermender .... technical support: ILM
Nicolas Bernard .... visual effects: BUF
Rodrigo Bernardo .... technical support: Framestore-CFC
Christophe Bernaud .... CG lighting artist: Framestore-CFC
Niki Bern .... compositor: Framestore-CFC
Carl Bianco .... CG lighting artist: Framestore-CFC
Nic Birmingham .... animator: effects and lighting artist, MPC
Ari Blenkhorn .... software development: ILM
Brendan Body .... animator: Framestore CFC
Roger Bolton .... compositor: MPC
Jon Bowen .... visual effects: Double Negative (as Jonathan Bowen)
Vanessa Boyce .... visual effects: Double Negative
Dameon Boyle .... visual effects: Double Negative
Timothy Brakensiek .... digital artist: ILM
Paul Brannan .... animator: effects and lighting artist, MPC
Jessica Braun .... animator: effects and lighting artist, MPC
Nicola Brodie .... visual effects: Double Negative
Steve Brooke Smith .... miniature crew: Cinesite
Jill Brooks .... visual effects producer: ILM
Jason Brown .... digital artist: ILM
Tripp Brown .... digital artist: ILM
Ken Bryan .... CG modelling supervisor: ILM
Daire Bryne .... technical support: Framestore-CFC (as Daire Byrne)
Andrew Bull .... miniature crew: Cinesite (as Andy Bull)
David Bullock .... software development: ILM
Simon Bunker .... 3D digital artist: Cinesite
Simon Burchell .... previsualization editor
Tim Burke .... additional visual effects supervisor
Kevin Campbell .... 3D digital artist: Cinesite
Paul Campbell .... technical support: ILM
Mario Capellari .... digital artist: ILM
Jordi Cardus .... animator: effects and lighting artist, MPC
Simon Carlile .... technical support: Framestore-CFC
Tami Carter .... digital artist: ILM
Federico Cascinelli .... animator: Framestore CFC
Joe Ceballos .... matte painter: ILM
Stephane Ceretti .... visual effects: BUF (as Stéphane Ceretti)
Lawrence Chandler .... previsualization artist: ILM (as Larry Chandler)
Kai Chang .... technical support: ILM
Fred Chapman .... CG modeller & character rigging: MPC
Simon Cheung .... CG modeller: ILM
Ian Christie .... digital artist: ILM
Evangelos Christopoulos .... animator: effects and lighting artist, MPC (as Evan Christopoulos)
Paul Churchill .... digital artist: ILM
Richard Clarke .... visual effects: Double Negative
Tony Clark .... visual effects: Rising Sun Pictures
Emily Cobb .... visual effects: Double Negative
Isabel Cody .... animator: effects and lighting artist, MPC
Debra Coleman .... visual effects: Double Negative
Hayley Collins .... matchmove and rotoscoping: MPC
Ian Comley .... technical support: Framestore-CFC
Ryan Cook .... visual effects: Double Negative
Dennis Cooper .... visual effects: The Orphanage
Ian Cope .... visual effects: Rising Sun Pictures
Theresa Corrao .... visual effects producer (as Theresa R. Corrao)
Alexandra Coxon .... miniature crew: Cinesite
Brenda Coxon .... model unit producer: Cinesite
Catherine Craig .... texture artist: ILM
Alastair Crawford .... visual effects: Double Negative
Julie Creighton .... visual effects coordinator: ILM
Tim Crosbie .... visual effects: Rising Sun Pictures
Ciaran Crowley .... visual effects: Double Negative
Darren Cullis .... previsualization artist
Tiffany Cullum .... technical support: Cinesite
Alex Cumming .... technical support: Framestore-CFC
Mark Curtis .... compositor: MPC
Mike Cusack .... animator: effects and lighting artist, MPC
Matthew D'Angibau .... miniature crew: Cinesite (as Matthew d'Angibau)
Sean Danischevsky .... visual effects: Double Negative
Philipp Danner .... compositor: MPC
Emanuele D'Arrigo .... animator: effects and lighting artist, MPC
Haslina Dasley .... animator: effects and lighting artist, MPC
Lorelei David .... technical support: ILM
Scott David .... digital artist: ILM
Giles Davies .... matchmove and rotoscoping: MPC
Nicholas J. Davis .... miniature crew: Cinesite
Virginie Degorgue .... texture artist: Framestore-CFC
Max Dennison .... 2D digital artist: Cinesite
Natasha Devaud .... digital artist: ILM
Stephane Deverly .... CG lighting artist: Framestore-CFC (as Stéphane Deverly)
Keith Devlin .... 2D digital artist: Cinesite
Adrian De Wet .... compositing supervisor: FrameStore-CFC (as Adrian de Wet)
Caine Dickinson .... supervisor: MPC
Candace Di Talamo .... animator: effects and lighting artist, MPC
Richard Diver .... visual effects: Double Negative
Ferran Domenech .... supervisor: MPC
Sarah Dowland .... visual effects producer: Framestore-CFC
Peter Doyle .... supervising digital colourist
Lecia Drysdale .... technical support: Framestore-CFC
Laura Dubsky .... digital scanning and recording: Cinesite
Richard Ducker .... digital artist: ILM
Bob Dunbar .... miniature crew: Cinesite
Robert Duncan .... compositor: Framestore-CFC (as Rob Duncan)
Robert Duncan .... miniature crew: Cinesite (as Rob Duncan)
Wayde Duncan-Smith .... character rigger: Framestore-CFC
Jody Echegaray .... visual effects: The Orphanage
Areito Echevarria .... compositing supervisor: FrameStore-CFC
Selwyn Eddy .... matchmover: ILM (as Selwyn Eddy III)
Clwyd Edwards .... supervisor: MPC
Laurens Ehrmann .... visual effects: BUF
Michael Bruce Ellis .... visual effects: Double Negative (as Mike Ellis)
Stuart M. Ellis .... animator: Framestore CFC (as Stuart Ellis)
Nick Epstein .... CG lighting artist: Framestore-CFC
James D. Etherington .... visual effects: Double Negative (as James Etherington)
Joe Eveleigh .... animator: effects and lighting artist, MPC
Michele Fabbro .... CG lighting artist: Framestore-CFC
Oliver Faldo .... 2D digital artist: Cinesite
Nathan Fariss .... visual effects: The Orphanage
James Farrington .... animator: Framestore CFC
Conny Fauser .... digital artist: ILM
Jonathan Fawkner .... compositor: Framestore-CFC
Dan Feinstein .... rotoscope artist: ILM
Ian Fellows .... compositor: Framestore-CFC
Marco Fiorani Parenzi .... compositor: MPC
Nathan Fleming .... technical support: ILM
Niall Flinn .... animator: effects and lighting artist, MPC
Lianne Forbes .... matchmover: Framestore-CFC
Christian Foucher .... digital artist: ILM
Evan Fraser .... visual effects: Double Negative
Simon French .... matchmove and rotoscoping: MPC
Simon French .... matchmover: Framestore-CFC
Ian Frost .... CG lighting artist: Framestore-CFC
Pawl Fulker .... supervising previsualisation artist
Joe Fulmer .... model stage crew: ILM
Leslie Fulton .... animator: ILM
James Furlong .... visual effects: Double Negative
Martin Gabriel .... visual effects producer: Cinesite
William Gammon .... visual effects: Rising Sun Pictures
Jason Geiger .... technical support: ILM
Willi Geiger .... digital artist: ILM
Mikael Genachte-Lebail .... visual effects: BUF (as Mikael Genachte-Le Bail)
Angela Giannoni .... digital artist: ILM
Rohit Gill .... visual effects: Double Negative
Matthew Glen .... visual effects editor
Julian Gnass .... compositor: MPC
Steve Godfrey .... miniature crew: Cinesite
Sally Goldberg .... 3D digital artist: Cinesite
Ben Goldschmied .... miniature crew: Cinesite
Richard Gomes .... animator: effects and lighting artist, MPC
Lisa Gonzalez .... matchmove and rotoscoping: MPC
Maria Goodale .... matchmover: ILM
Tom Goodenough .... animator: effects and lighting artist, MPC
Kyle Goodsell .... visual effects: Rising Sun Pictures
David Gordon .... CG lighting artist: Framestore-CFC
Adrian Graham .... visual effects: Double Negative
Gavin Graham .... visual effects: Double Negative
José Granell .... model unit supervisor: Cinesite
Maria Granell .... miniature crew: Cinesite
Miguel Granell .... miniature crew: Cinesite
David M. Gray .... visual effects coordinator: ILM (as David Gray)
Elysia Greening .... matchmove and rotoscoping: MPC
Ronnie Green .... miniature crew: Cinesite
Gavin Gregory .... visual effects: Double Negative
Bryant Terrell Griffin .... matte painter: ILM (as Bryant Griffin)
Pablo Grillo .... animation supervisor: Framestore CFC
Pawel Grochola .... visual effects: Double Negative
Jessica Groom .... matchmove and rotoscoping: MPC
Branko Grujcic .... digital artist: ILM
Ummi Gudjonsson .... visual effects: Double Negative
Indira Guerrieri .... digital artist: ILM
Alex Guri .... compositor: MPC
Frederique Gyuran .... visual effects: BUF (as Frédérique Gyuran)
Giles Hancock .... matte painting supervisor: ILM
David Hanks .... matchmover: ILM (as Dave Hanks)
Nicholas Hannah .... visual effects: Rising Sun Pictures
Tony Hannington .... miniature crew: Cinesite
Qian Han .... matchmove and rotoscoping: MPC
John Hansen .... digital artist: ILM
Pete Hanson .... visual effects: Double Negative
John Hardwick .... compositor: Framestore-CFC
Bruce Harris .... compositor: MPC
Kit Harrison .... miniature crew: Cinesite
Jeremy Hattingh .... visual effects: Double Negative
Jack Haye .... co-modeller: ILM
James Healy .... animator: effects and lighting artist, MPC
Robert Hemmings .... animator: Framestore CFC
Matthew Hendershot .... visual effects: The Orphanage
Charley Henley .... supervisor: MPC
Sandro Henriques .... 2D digital artist: Cinesite
Guillaume Herent .... animator: Framestore CFC
Geoff Heron .... senior special effects technician: ILM
Alex Hessler .... technical support: Framestore-CFC
Sean Heuston .... compositor: MPC
Grant Hewlett .... 3D digital artist: Cinesite
Jeremy Hey .... matchmove and rotoscoping: MPC
Frederic Heymans .... matchmover: Framestore-CFC (as Frederic Haymans)
Shawn Hillier .... digital artist: ILM
David Hisanaga .... digital artist: ILM
Charity Hobbs-Wood .... miniature crew: Cinesite
Mark Hodgkins .... CG lighting artist: Framestore-CFC
Julian Hodgson .... CG lighting artist: Framestore-CFC
Henrik Hoffgaard .... visual effects: Double Negative
Robert Hoffmeister .... digital artist: ILM
Paul Hogbin .... visual effects: Double Negative
Robin Hollander .... compositor: MPC
Vlad Holst .... animator: effects and lighting artist, MPC
Natalie Homewood .... 3D digital artist: Cinesite
Garrett Honn .... compositor: Framestore-CFC
Jason Horley .... matte painting supervisor: Framestore-CFC
Uel Hormann .... supervisor: MPC
Greg Horswill .... miniature crew: Cinesite
Russell Horth .... compositor: MPC
Jen Howard .... digital artist: ILM
Greg Howe-Davies .... matchmove and rotoscoping: MPC
Caroline Howes .... visual effects coordinator: Framestore CFC
Roger Huang .... technical support: ILM
Benjamin Huber .... matte painter: ILM (as Ben Huber)
Matthew Hughes .... CG lighting artist: Framestore-CFC
Nathan Hughes .... texture artist: Framestore-CFC
Simon Hughes .... visual effects: Double Negative
Antony Hunt .... model unit executive producer: Cinesite
Peg Hunter .... digital artist: ILM
Michael Illingworth .... 2D digital artist: Cinesite
Claire Inglis .... visual effects: Double Negative
Alex Ireland .... visual effects: Double Negative
Graham Jack .... visual effects: Double Negative
Gemma James .... visual effects producer: MPC
Mike Jamieson .... digital artist: ILM
Merrin Jensen .... visual effects producer: MPC
Brad Jerrell .... model stage crew: ILM
Keith Johnson .... animator: ILM
Phil Johnson .... visual effects: Double Negative
Bryan Jones .... visual effects: Rising Sun Pictures
Ed Jones .... technical support: ILM
Theo Jones .... CG lighting artist: Framestore-CFC
Pete Jopling .... visual effects: Double Negative
Peter Joslin .... miniature crew: Cinesite
Zoran Kacic-Alesic .... software development: ILM
Ilyas Kaduji .... CG lighting artist: Framestore-CFC
Barry Kane .... software/technical support: MPC
Matt Kasmir .... 2D digital artist: Cinesite
Matt Kasmir .... compositor: Framestore-CFC
Dan Kelly .... 2D digital artist: Cinesite
Paddy Kelly .... visual effects matchmove technician
Archie Kennedy .... miniature crew: Cinesite
Lee Kerley .... software/technical support: MPC
John Kilshaw .... visual effects: Double Negative
Andy Kind .... CG sequence supervisor: Framestore-CFC
Chris King .... CG lighting artist: Framestore-CFC
Balazs Kiss .... animator: effects and lighting artist, MPC
Katrin Klaiber .... digital artist: ILM
Edmund Kolloen .... CG lighting artist: Framestore-CFC
Arek Komorowski .... matchmove and rotoscoping: MPC
Dean Koonjul .... compositor: MPC
Michael Koperwas .... digital artist: ILM
Dan Kripac .... visual effects: Rising Sun Pictures
Mark Kuggeleijn .... visual effects: Double Negative
Ben Lambert .... CG lighting artist: Framestore-CFC
François Lambert .... digital artist: ILM
Serena Lam .... visual effects: Double Negative
Jean-Claude Langer .... texture artist: ILM
Jeroen Lapre .... digital artist: ILM (as Jeroen Lapré)
Pedro Lara .... visual effects: Double Negative
Colin Laski .... animator: effects and lighting artist, MPC
Dan Lavender .... CG lighting artist: Framestore-CFC
Nicola Lavender .... CG lighting artist: Framestore-CFC
Chris Lawrence .... CG lighting artist: Framestore-CFC
Jeremy Lazare .... animator: effects and lighting artist, MPC
Tracey Leadbetter .... visual effects: Double Negative
Lenny Lee .... digital artist: ILM
Paul Lee .... animator: Framestore CFC
Sean Lee .... digital artist: ILM (as Seunghun Lee)
Grant Legassick .... compositor: MPC
Bruno Lesieur .... 3D digital artist: Cinesite
Joe Leveson .... matchmover: Framestore-CFC
Gavin Lewis .... texture artist: Framestore-CFC
James Lewis .... visual effects: Double Negative
Gawain Liddiard .... visual effects: Double Negative
Fredrik Limsater .... 3D digital artist: Cinesite (as Fredrik Limsäter)
Joshua Livingston .... matchmover: ILM
Patricia Llaguno .... compositor: Framestore-CFC
Shelly Lloyd-James .... visual effects model unit production assistant: Warner Bros.
Kim Loan-Do .... technical support: Framestore-CFC (as Kim Loan Do)
Andrew Lockley .... visual effects: Double Negative
Sarah Lockwood .... 2D digital artist: Cinesite
Sarah Lockwood .... visual effects: Double Negative
Thomas Loeder .... 2D digital artist: Cinesite
David Lomax .... CG supervisor: Framestore CFC
Roz Lowrie .... technical support: Framestore-CFC
Patrick Lowry .... CG lighting artist: Framestore-CFC
Sam Lucas .... 3D digital artist: Cinesite
Steve Lynn .... visual effects: Double Negative
Natalie MacDonald .... digital compositor: MPC
Sean MacKenzie .... lead digital artist: ILM
Jody Madden .... technical support: ILM
Angela Magrath .... matchmove and rotoscoping: MPC
Jay Mallet .... motion control: The VFX Co. Ltd.
David Yiu Chung Man .... compositor: MPC
Chris Mangnall .... CG lighting artist: Framestore-CFC (as Chris Magnall)
Virgil Manning .... animator: ILM
Tony Man .... compositor: MPC (as Tony Yiu Keung Man)
Christian Manz .... compositing supervisor: FrameStore-CFC
Alyson Markell .... co-modeller: ILM
Tia L. Marshall .... digital artist: ILM (as Tia Marshall)
Kevin Martel .... animator: ILM
Tom Martinek .... lead digital artist: ILM
Marcel Martinez .... digital artist: ILM
Justin Martin .... CG sequence supervisor: Framestore-CFC
Helena Masand .... visual effects: Double Negative
Barth Maunoury .... animator: Framestore CFC
David Mayhew .... matchmove and rotoscoping: MPC
Luca Mazzoleni .... animator: Framestore CFC
Phil McCabe .... visual effects: Double Negative
Oliver McCluskey .... technical support: Framestore-CFC
Ken McGaugh .... visual effects: Double Negative
Les McGee .... miniature crew: Cinesite
Steve McGee .... compositor: MPC
Steve McGillen .... roto and paint artist
Nakia McGlynn .... animator: effects and lighting artist, MPC (as Nakia Mcglynn)
Nakia McGlynn .... lighting technical director: MPC
Adam McInnes .... 2D digital artist: Cinesite
James McKeown .... miniature crew: Cinesite
Alasdair McNeill .... matchmove and rotoscoping: MPC
Gurel Mehmet .... texture artist: Framestore-CFC
Rebecca Melander .... texture artist: Framestore-CFC
Ivan Mena .... visual effects: Double Negative (as Ivan Mena Tinoco)
Rob Menzer .... miniature crew: Cinesite
Craig Mepham .... animator: effects and lighting artist, MPC
Tory Mercer .... digital artist: ILM
Evonne Merlicek .... visual effects: Double Negative
Christophe Meslin .... technical support: Framestore-CFC
Stuart Messinger .... visual effects producer: MPC
Adrian Metzelaar .... compositor: Framestore-CFC
Ellie Meure .... compositor: Framestore-CFC
Mark Michaels .... visual effects: Double Negative
Ivor Middleton .... CG supervisor: Cinesite
Nathan Middleton .... miniature crew: Cinesite
Jon Miller .... 3D digital artist: Cinesite
Alice Mitchell .... visual effects: Double Negative
Jim Mitchell .... visual effects supervisor
John Moffatt .... visual effects: Double Negative
Terry Molatore .... lead texture artist: ILM
Jack Mongovan .... rotoscope artist: ILM
Ivan Moran .... compositing supervisor: FrameStore-CFC
Rafael Morant .... animator: effects and lighting artist, MPC
Fernanda Moreno .... 3D digital artist: Cinesite
Karl Morgan .... miniature crew: Cinesite
Saybian Morgan .... animator: effects and lighting artist, MPC
Richard Morris .... animator: effects and lighting artist, MPC
Michelle Motta .... rotoscope artist: ILM
Duncan Mude .... miniature crew: Cinesite
Catherine Mullan .... animator: Framestore CFC
Colette Mullenhoff .... software development: ILM
Melissa Mullin .... matchmover: ILM
Norah Mulroney .... visual effects: Rising Sun Pictures
John Murphy .... miniature crew: Cinesite
Stephen Murphy .... CG lighting artist: Framestore-CFC
Stephen Murphy .... animator: effects and lighting artist, MPC
Alex Muth .... assistant visual effects editor: Framestore-CFC
Tristan Myles .... visual effects: Double Negative
Stephane Naze .... visual effects: BUF (as Stéphane Nazé)
Dan Neal .... animator: effects and lighting artist, MPC
Helen Nesbitt .... compositor: Framestore-CFC
Roxanne Newsham .... animator: effects and lighting artist, MPC
Geoff Newton .... miniature crew: Cinesite
Steve Nichols .... animator: ILM
Digna Nigoumi .... motion control: The VFX Co. Ltd.
Clare Norman .... visual effects producer: Cinesite
Paul Norris .... visual effects: Double Negative
Emma Norton .... visual effects producer
Rich Nosworthy .... animator: effects and lighting artist, MPC
Tabitha O'Connell .... animator: Framestore CFC
Kevin O'Connor .... matchmove and rotoscoping: MPC
Cenay Oekmen .... animator: effects and lighting artist, MPC
Artemis Oikonomopoulou .... 3D digital artist: Cinesite
Alfie Olivier .... CG lighting artist: Framestore-CFC (as Alfred Olivier)
Mike O'Neill .... CG lighting artist: Framestore-CFC
Robert O'Neill .... CG lighting artist: Framestore-CFC
Mark Osborne .... CG lighting artist: Framestore-CFC
Kevin O'Sullivan .... visual effects: Double Negative
James Ousley .... digital artist: IMAX DMR version
Gruff Owen .... visual effects: Double Negative
Matthew Packham .... compositor: MPC (as Matt Packham)
Kevin Page .... matte painter: ILM
Sona Pak .... visual effects: Double Negative Editorial
Erik Pampel .... technical support: ILM
Michael Parkin .... miniature crew: Cinesite
Thaddeus Parkinson .... technical support: ILM
Jim Parsons .... 2D digital artist: Cinesite
Martin Parsons .... visual effects: Double Negative
Tom Partridge .... assistant visual effects editor: Framestore-CFC
David Pearson .... model unit first assistant: Cinesite
Tony Peck .... rotoscope artist: Framestore-CFC
Arnaud Pecqueur .... digital matte painter: MPC
Arnaud Pecqueur .... texture painter: MPC
Claire Pegorier .... animator: effects and lighting artist, MPC
Benoit Pelchat .... matte painter: ILM
Craig Penn .... animator: Framestore CFC
Porl Perrott .... animator: Framestore CFC
Dan Perry .... technical support: Framestore-CFC
Richard Perry .... previsualization artist
Daniel Pettipher .... technical support: Cinesite (as Dan Pettipher)
David Phillips .... compositor: MPC (as Dave Phillips)
Adrian Pinder .... animator: effects and lighting artist, MPC
Dan Piponi .... software development: ILM
Jakub Pistecky .... animator: ILM
Fred Place .... visual effects: Double Negative
Ed Plant .... 2D digital artist: Cinesite
Matthieu Poirey .... animator: Framestore CFC (as Mattieu Poiry)
Melvin Polayah .... matchmover: Framestore-CFC
Mike Pope .... 2D digital artist: Cinesite
Travis Porter .... compositor: Framestore-CFC
Tim Pounds-Cornish .... visual effects producer: MPC
Glen Pratt .... compositor: MPC
Alex Prichard .... visual effects: The Orphanage
Andrew Proctor .... miniature crew: Cinesite (as Andy Proctor)
Olivier Pron .... visual effects: BUF
Cristina Puente .... compositor: Framestore-CFC
Stefan Putz .... technical support: Framestore-CFC
Sirio Quintavalle .... compositor: Framestore-CFC
Farhan Qureshi .... matchmove and rotoscoping: MPC
Samy Ben Rabah .... CG lighting artist: Framestore-CFC
Charlotte Raffi .... visual effects: BUF
Guillaume Raffi .... visual effects: BUF
Anthony Randolph .... technical support: ILM
Nick Rasmussen .... software development: ILM
Andrew Rawling .... CG sequence supervisor: Framestore-CFC
Steve Rawlins .... animation supervisor: Dragon, Ship and World Cup, ILM
Tom Reed .... CG modeller & character rigging: MPC
Max Rees .... visual effects: Double Negative
Sandra Reis .... visual effects: Double Negative
Mark Richardson .... compositor: MPC
Paul Riddle .... visual effects: Double Negative
Laurent-Paul Robert .... visual effects: Double Negative
John Roberts-Cox .... 3D digital artist: Cinesite
James Roberts .... visual effects: Double Negative
Katherine Roberts .... visual effects: Double Negative
Andy Robinson .... senior compositor: Cinesite
Dave Robinson .... technical support: Framestore-CFC
Guillaume Rocheron .... animator: effects and lighting artist, MPC
Darren Rodriguez .... animator: Framestore CFC
Elsa Rodriguez .... rotoscope artist: ILM
In-Ah Roediger .... animator: Framestore CFC
Adam Rogers .... miniature crew: Cinesite
John Rogers .... gaffer: Cinesite
Amanda Ronai-Dahle .... digital artist: ILM (as Amanda Ronai)
Patric Roos .... animator: effects and lighting artist, MPC
Susan Ross .... texture artist: ILM
Jonathan Rothbart .... visual effects: The Orphanage
Andrew Russell .... technical support: ILM
Jesse Russell .... visual effects: The Orphanage
Alex Rutherford .... miniature crew: Cinesite
Pedro Sabrosa .... compositing supervisor: FrameStore-CFC
Marc Sadeghi .... visual effects: The Orphanage
Lucas Salton .... visual effects: BUF
Gustavo Sanchez-Perez .... 3D digital artist: Cinesite (as Gustavo Sánchez-Pérez)
Steve J. Sanchez .... compositor: MPC (as Steve J Sanchez)
Mike Sanders .... technical support: ILM
Bob Santos .... technical support: ILM
Elsa Santos .... texture artist: Framestore-CFC
Steve Sauers .... digital artist: ILM
Alexander Savenko .... 3D digital artist: Cinesite
Cal Sawyer .... technical support: Framestore-CFC
Jeremy Sawyer .... rotoscope artist: Framestore-CFC
Robin Saxen .... CG producer: Framestore-CFC
Carlo Scaduto .... 2D digital artist: Cinesite
Claude Schitter .... animator: effects and lighting artist, MPC
Eduardo 'Lalo' Schmidek .... animator: effects and lighting artist, MPC (as Eduardo Schmidek)
Frederic Schmidt .... digital artist: ILM
Jakob Schmidt .... visual effects: Double Negative
Philip Schneider .... software development: ILM
Alex Schott .... animator: effects and lighting artist, MPC
Michele Sciolette .... 2D digital artist: Cinesite
Denis Scolan .... 2D digital artist: Cinesite
David Scott .... visual effects: Double Negative
Alexander Seaman .... animator: effects and lighting artist, MPC (as Alex Seaman)
Jerry Sells .... digital artist: ILM
Foad Shah .... visual effects: Double Negative
John Sharp .... compositor: Framestore-CFC
Chris Shaw .... motion control supervisor
Matthew Shaw .... visual effects: Double Negative
David Short .... CG lighting artist: Framestore-CFC
Benson Shum .... animator: effects and lighting artist, MPC
Dominic Sidoli .... visual effects: Double Negative
John Sigurdson .... digital artist: ILM
Serdar Simga .... digital matte painter: MPC
Serdar Simga .... texture painter: MPC
John Slattery .... compositor: Framestore-CFC
Alex Smith .... 2D digital artist: Cinesite
Colin Smith .... miniature crew: Cinesite
Jason Smith .... digital artist: ILM
Ryan Smith .... technical support: ILM
Wayne Smith .... assistant visual effects editor
Douglas Smythe .... CG supervisor: ILM (as Doug Smythe)
Sharonne Solk .... animator: ILM
Max Solomon .... animation supervisor: Framestore-CFC
Cameron Sonerson .... visual effects: Rising Sun Pictures
Jamshed Soori .... animator: effects and lighting artist, MPC
Sarah Soulsby .... compositor: MPC
Kevin Sprout .... digital artist: ILM
Richard Stammers .... additional visual effects supervisor
Simon Stanley-Clamp .... visual effects supervisor: Cinesite
Jon Stanley .... technical support: Framestore-CFC
Jim Steel .... visual effects: Double Negative
Marc Stevenson .... 3D digital artist: Cinesite
Penn Stevens .... animator: effects and lighting artist, MPC
Nigel Stone .... director of photography: Cinesite
Barny Stoppard .... 2D digital artist: Cinesite
Julien Stuart-Smith .... animator: effects and lighting artist, MPC
David Sudd .... matchmove and rotoscoping: MPC
Robert Sullivan .... video operations supervisor: Animal Logic
Jennifer Suter .... software development: ILM
Pat Sweeney .... director of photography: model unit, ILM (as Patrick Sweeney)
Christopher Sweet .... visual effects: Double Negative (as Chris Sweet)
David Swift .... digital matte painter: MPC
David Swift .... texture painter: MPC
Nick Symons .... visual effects: Double Negative
Giuseppe Tagliavini .... matchmove and rotoscoping: MPC
Henri Tan .... technical support: ILM
Masahiko Tani .... matte painter: ILM
Ben Taylor .... visual effects: Double Negative
Mike Terpstra .... visual effects: The Orphanage
Bill Thomas .... miniature crew: Cinesite
Christopher Thomas .... animator: effects and lighting artist, MPC (as Chris Thomas)
Gemma Thompson .... visual effects producer: MPC
Zelda Tinska .... visual effects: Double Negative
Steve Tizzard .... compositor: MPC
Jan Toensmann .... compositor: Framestore-CFC
Mathilde Tollec .... visual effects: BUF
Jisook Tomokoshan .... compositor: MPC (as Jisook Tomoko Shin)
Gavin Toomey .... compositor: Framestore-CFC
Sanju Travis .... 2D digital artist: Cinesite
Nigel Trevessey .... model workshop supervisor: Cinesite
Pat Tubach .... compositing supervisor: ILM (as Patrick Tubach)
Mark Tudor-Williams .... matchmove supervisor: Framestore-CFC
Liam Tully .... visual effects: Double Negative
James Turner .... software/technical support: MPC
Matthew Twyford .... compositor: Framestore-CFC
Yusei Uesugi .... matte painter: ILM
Johan Van Den Dorpe .... technical support: Framestore-CFC
Gert Van Dermeersch .... 2D digital artist: Cinesite (as Gert Van Der Meersch)
Todd Vaziri .... digital artist: ILM
David Vickery .... visual effects: Double Negative
Lars Vinther .... visual effects editor: Framestore-CFC
Tim Waddy .... animator: ILM
Victor Wade .... visual effects: Double Negative
Niki Wakefield .... visual effects: Double Negative
John Walker .... digital artist: ILM
Jo Walls .... animator: effects and lighting artist, MPC
Karen Wand .... 2D digital artist: Cinesite
Ian Ward .... animator: effects and lighting artist, MPC
Sharon Warmington .... visual effects: Double Negative (as Sharon Peng)
Neil Weatherley .... CG lighting artist: Framestore-CFC
Robert Weaver .... computer graphics supervisor: ILM
Timothy Webber .... visual effects supervisor: Framestore CFC (as Tim Webber)
Danny Webster .... hod rigger: Cinesite
Toby White .... visual effects matchmove technician
James Whitlam .... visual effects: Rising Sun Pictures
Julia Wigginton .... visual effects producer: MPC
Andrew Wilkin .... previsualisation artist
Royston Willcocks .... 3D digital artist: Cinesite
Stephen Willey .... technical support: Framestore-CFC
Barry Williams .... lead matte artist: ILM
Guy Williams .... visual effects: Double Negative
Guy Williams .... visual effects: Double Negative
Jason Williams .... animator: effects and lighting artist, MPC
Ronnie E. Williams Jr. .... digital artist: ILM (as Ronnie Williams Jr.)
Mark Williams .... animator: effects and lighting artist, MPC
Dan Wills .... visual effects: Rising Sun Pictures
Jonathan Wills .... animator: effects and lighting artist, MPC
Corrina Wilson .... compositor: Framestore-CFC
Kate Windibank .... compositor: Framestore-CFC
Carrie Wolberg .... technical support: ILM
Christine Wong .... compositor: Framestore-CFC
Christine Wong .... compositor: MPC
Eric Wong .... character rigging: ILM
Daniel Wood .... visual effects: Double Negative (as Dan Wood)
Melody Woodford .... matchmove and rotoscoping: MPC
Helen Wood .... visual effects: Double Negative
Jennifer Wood .... visual effects: Double Negative
Lisa Woodland .... visual effects: Double Negative
Max Wood .... CG modeller & character rigging: MPC
Malcolm Woolridge .... motion control: The VFX Co. Ltd. (as Malcolm Wooldridge)
Ged Wright .... visual effects: Double Negative
Kristopher Wright .... technical support: ILM
Tiffany Wu .... visual effects: The Orphanage
Richard Yeomans .... visual effects coordinator
Jeffrey Yost .... software development: ILM
Robin D. Young .... technical support: ILM (as Robin Young)
Trevor Young .... visual effects: Double Negative
Scott Younkin .... digital artist: ILM
Christian Zeh .... compositor: Framestore-CFC
Matthias Zeller .... CG lighting artist: Framestore-CFC
Patrick Zentis .... digital matte painter: Cinesite
Anthony Zwartouw .... previsualization assistant editor
Christopher Abeyta .... production accountant: The Orphanage (uncredited)
Andreas Adamek .... matte painter (uncredited)
Deepa Agarwal .... rotoscope artist: The Orphanage (uncredited)
Jance Allen .... compositor: The Orphanage (uncredited)
Jerry Andrews .... motion control operator (uncredited)
Chris Armsden .... render wrangler: MPC (uncredited)
Vaughn Arnup .... digital compositor (uncredited)
Andrew Baggarley .... data wrangler (uncredited)
Mauricio Baiocchi .... animation supervisor: The Orphanage (uncredited)
Mark Barber .... digital compositor (uncredited)
Robert Barker .... systems engineer: The Orphanage (uncredited)
Judy Barr .... roto/prep artist (uncredited)
Keith Barton .... production support: Cinesite (uncredited)
Oliver Shyal Beardsley .... research & development (uncredited)
Kieran Belshaw .... digital film recordist (uncredited)
Paul Birkett .... digital rotoscope artist (uncredited)
Robert Bloom .... IMAX DMR supervisor (uncredited)
Robert Bloom .... senior digital artist (uncredited)
Katherine Bouglai .... digital artist: The Orphanage (uncredited)
Jon R. Brown .... shoot matchmover: dailies (uncredited)
Nik Brownlee .... digital artist: Double Negative (uncredited)
Andrew Bunday .... render wrangler: MPC (uncredited)
Delphine Buratti .... compositor (uncredited)
Mario Capellari .... sequence supervisor (uncredited)
Jon Capleton .... matchmove artist (uncredited)
Carrie Cassada .... visual effects editor: The Orphanage (uncredited)
Scott Chambers .... digital compositor (uncredited)
Lee Chidwick .... digital I/O (uncredited)
Jeremy Cho .... rotoscope artist (uncredited)
YouJin Choung .... compositor: The Orphanage (uncredited)
Brendan Coffey .... systems engineer: The Orphanage (uncredited)
Chryssa Cooke .... resource manager: The Orphanage (uncredited)
Alfonso Cottier .... matchmove artist (uncredited)
Charles Darby .... matte paintings (uncredited)
Luan Davis .... roto/prep artist: MPC (uncredited)
Martin R. Davison .... digital compositor (uncredited)
Peter Demarest .... paint/rotoscope artist (uncredited)
Tim Dobbert .... matchmove supervisor: The Orphanage (uncredited)
Martyn Drake .... systems: MPC (uncredited)
David S. Dranitzke .... visual effects producer: The Orphanage (uncredited)
Paul Driver .... data operative (uncredited)
Rama Dunayevich .... publicist: The Orphanage (uncredited)
Greg Dunn .... systems engineer: The Orphanage (uncredited)
Jonathan East .... render wrangler: Cinesite (uncredited)
James Eggleton .... digital I/O: Cinesite (uncredited)
Michael Elson .... head of production: MPC (uncredited)
Trina Espinoza .... digital operations coordinator: The Orphanage (uncredited)
Raul Essig .... digital effects artist (uncredited)
Daniel Evans .... shader writer: Double Negative (uncredited)
Simon Eves .... head of software: The Orphanage (uncredited)
Anna Ford .... bidding coordinator: Cinesite (uncredited)
Steven Forrester .... additional visual effects editor: Framestore CFC (uncredited)
Grant Freckelton .... visual effects designer: Animal Logic (uncredited)
David Gladstein .... resource technical assistant: The Orphanage (uncredited)
Daniel Gloates .... senior staff: The Orphanage (uncredited)
Peter Godden .... digital artist: Cinesite (uncredited)
Julien Goldsbrough .... compositor (uncredited)
Rainer Gombos .... digital artist: The Orphanage (uncredited)
Lewis Guarniere .... data wrangler: MPC (uncredited)
Andy Hague .... visual effects editorial (uncredited)
Anne Hall .... lighting technical director (uncredited)
Jonathan Harman .... compositor: The Orphanage (uncredited)
Michael Harrison .... digital compositor (uncredited)
Trevor Hazel .... rotoscope artist: The Orphanage (uncredited)
Lionel Heath .... roto/prep: MPC (uncredited)
Marcus Hindborg .... digital artist: MPC (uncredited)
Kay Hoddy .... roto/prep artist (uncredited)
Andrew Hogden .... data operator (uncredited)
Robert Holder .... technical director: Framestore CFC (uncredited)
Pete Howlett .... roto/prep artist (uncredited)
Jessica Hsieh .... rotoscope artist: The Orphanage (uncredited)
Tony Hurd .... production operations manager: The Orphanage (uncredited)
Zoe Izzard .... data operator (uncredited)
Zoe Izzard .... digital film recordist (uncredited)
Suzanne Jandu .... digital compositor (uncredited)
Sarahjane Javelo .... rotoscope artist: The Orphanage (uncredited)
Steve Jaworski .... compositor: The Orphanage (uncredited)
Kevin Jenkins .... creature texture painter (uncredited)
Joshua H. Johnson .... rotoscope artist: The Orphanage (uncredited)
Lorraine Johnson .... scanning and recording supervisor: Cinesite (uncredited)
Simon Johnson .... scanning and recording operator: Cinesite (uncredited)
Theo Jones .... technical director (uncredited)
Rafal Kaniewski .... digital compositor: Motion Graphics (uncredited)
Dan Kelly .... Inferno artist (uncredited)
Simon David Kenny .... visual effects production assistant: Warner Brothers (uncredited)
Christopher Kerr .... data operator (uncredited)
Mina Kim .... rotoscope artist: The Orphanage (uncredited)
Perry M. Kimura .... digital film scanning and recording: EFILM (uncredited)
Ryan Knowles .... data operator (uncredited)
Heath Kraynak .... visual effects production assistant: The Orphanage (uncredited)
SangHun Kwon .... digital artist: The Orphanage (uncredited)
David Huynh Lam .... resource technical assistant: The Orphanage (uncredited)
Ivan Landau .... visual effects editor: The Orphanage (uncredited)
Debbie Langford .... matchmove artist: MPC (uncredited)
Dan Lavender .... technical director: Framestore CFC (uncredited)
Christopher Learmonth .... visual effects editor: Cinesite (uncredited)
Woei Lee .... compositor: The Orphanage (uncredited)
Sebastien Le Neve .... digital artist: BUF (uncredited)
Phillip Leonhardt .... digital compositor (uncredited)
Luke Letkey .... digital compositor (uncredited)
Simon Lewis .... digital artist (uncredited)
Bryan Litson .... match move technician: MPC (uncredited)
David Lloyd .... render engineer: MPC (uncredited)
Ting Lo .... matchmove artist: The Orphanage (uncredited)
Hugh Macdonald .... digital compositor: MPC (uncredited)
Sean MacKenzie .... compositor: ILM (uncredited)
Kevin Mains .... resource technical assistant: The Orphanage (uncredited)
Stuart T. Maschwitz .... senior staff: The Orphanage (uncredited)
Elizabeth Matthews .... rotoscope artist: The Orphanage (uncredited)
Jolene McCaffrey .... digital compositor: MPC (uncredited)
Jan Meade .... projectionist: Cinesite (uncredited)
Justin Mettam .... digital artist: The Orphanage (uncredited)
Kirsty Millar .... visual effects supervisor: Animal Logic (uncredited)
Ray Moody .... motion control operator (uncredited)
Danielle Nadal .... digital I/O (uncredited)
Stuart Nelhams .... visual effects film editorial: MPC (uncredited)
Elliot Newman .... digital artist (uncredited)
Natalie Nolan .... compositor: The Orphanage (uncredited)
Luke O'Byrne .... visual effects executive producer: The Orphanage (uncredited)
Michael Oregon .... systems engineer: The Orphanage (uncredited)
Ellery Ortiz .... matchmove artist: The Orphanage (uncredited)
Michael Pangrazio .... matte painter: The Orphanage (uncredited)
Ingrid Parkes .... creature effects trainee (uncredited)
Stuart Partridge .... senior compositor (uncredited)
Eric Pascarelli .... visual effects set supervisor: second unit, Scotland (uncredited)
Simon Payne .... technical director (uncredited)
Peter Pelisek .... senior DMR artist: IMAX (uncredited)
Venetia Penna .... scanning and recording operator: Cinesite (uncredited)
David Petry .... matchmove artist: The Orphanage (uncredited)
Daniel Pettipher .... production manager: Cinesite (uncredited)
Stuart Pitcher .... visual effects supervisor (uncredited)
Henriette Plum .... animation/matchmove artist (uncredited)
Murray Pope .... visual effects executive producer (uncredited)
Tristan Porter .... roto/prep artist: MPC (uncredited)
Paul Raeburn .... digital compositor: Rising Sun Pictures (uncredited)
Pavani Rao .... matchmove artist: The Orphanage (uncredited)
Farhez Rayani .... visual effects technical director: Rising Sun Pictures (uncredited)
Aaron Rhodes .... rotoscope supervisor: The Orphanage (uncredited)
Rob Richardson .... render support (uncredited)
Michael Ridgwell .... digital artist (uncredited)
Martin Riedel .... digital compositor: MPC (uncredited)
Tim Riley .... digital effects artist: MPC (uncredited)
D. Eric Robinson .... DMR artist: Imax (uncredited)
Guillaume Rocheron .... pre-production computer graphics supervisor: BUF (uncredited)
Dennis Rogers .... first assistant cameraman: ILM (uncredited)
Rajat Roy .... digital compositor (uncredited)
James Russell .... digital compositor: MPC (uncredited)
David Scott .... concept artist: Rising Sun Pictures (uncredited)
Stan Seo .... digital artist: The Orphanage (uncredited)
Gaël Seydoux .... digital artist: Double Negative (uncredited)
Ben Shepherd .... visual effects supervisor: MPC (uncredited)
Dong Yeop Shin .... digital artist: The Orphanage (uncredited)
Emmanuel Shiu .... matte painter: The Orphanage (uncredited)
Mark Siew .... matchmove artist: The Orphanage (uncredited)
Marc Smith .... laser scanning (uncredited)
Sarah Louise Smith .... visual effects production assistant: Warner Brothers (uncredited)
Carsten Sørensen .... senior staff: The Orphanage (uncredited)
David Stern-Gottfried .... resource technical assistant: The Orphanage (uncredited)
Scott Charles Stewart .... senior staff: The Orphanage (uncredited)
Rangi Sutton .... visual effects (uncredited)
Geordie Swainbank .... compositor: The Orphanage (uncredited)
Martin Tardif .... lighting technical director (uncredited)
Scott Taylor .... digital artist: MPC (uncredited)
Tim Teramoto .... digital artist: The Orphanage (uncredited)
Dino Tomelden .... systems engineer: The Orphanage (uncredited)
Trevor Tuttle .... rotoscope artist: The Orphanage (uncredited)
Miquel Ubeda .... digtial compositor: MPC London (uncredited)
Kristi Valk .... matte painter: The Orphanage (uncredited)
Brent Villalobos .... resource technical assistant: The Orphanage (uncredited)
Eugénie von Tunzelmann .... effects animator: Double Negative (uncredited)
Tara Walker .... digital artist (uncredited)
Carl Walters .... editorial supervisor: The Orphanage (uncredited)
Ian Watson .... matchmover (uncredited)
Roland Watson .... digital resources manager: MPC (uncredited)
Ollie Weigall .... film assistant (uncredited)
Rus Wetherell .... visual effects coordinator: CFX (uncredited)
Andrew Whitehurst .... technical director: Framestore-CFC (uncredited)
Jeff Willette .... digital artist: The Orphanage (uncredited)
Chris Wilson .... render wrangler: MPC (uncredited)
Oliver Winwood .... data wrangler: MPC (uncredited)
Kathy Wise .... digital systems manager (uncredited)
Jeremy Yabrow .... ATD manager: The Orphanage (uncredited)
Anna Yamazoe .... render wrangler: Cinesite (uncredited)
Matthias Zeller .... technical director (uncredited)
Stunts
Lucy Allen .... stunts
Tom Barry .... stunts
Martin Bayfield .... stunts
Bruce Cain .... stunts
Nick Chopping .... stunts
Sophie Clarke .... stunts
George Cottle .... stunts
Kelly Dent .... stunts
Jack Duhig .... stunts
Poppy Emuss .... stunts
Bradley Farmer .... stunts
Dave Fisher .... stunts
Paul Herbert .... stunts
David Holmes .... stunts
Rickie Hubbucks .... stunts
Rowley Irlam .... stunts
Tolga Kenan .... stunts
Paul Kennington .... stunts
Anthony Knight .... stunts
Ellen Lister .... stunts
Guy List .... stunts
Marc Mailley .... stunts
Ryan Newberry .... stunts
Greg Powell .... stunt coordinator
Dominic Precce .... stunts (as Dominic Preece)
Gordon Seed .... stunts
Ian Whyte .... stunts
Len Woodcock .... stunts (as Lenny Woodcock)
Rick English .... stunt performer (uncredited)
Dean Forster .... stunts (uncredited)
James O'Donnell .... stunts (uncredited)
Peter Pedrero .... stunt performer (uncredited)
Kevin Welch .... stunt rigger (uncredited)
Joanna Whitney .... stunt double (uncredited)
Camera and Electrical Department
David Appleby .... key grip (as Dave Appleby)
Marc Atherfold .... second assistant camera: second unit
Lawrence Bewsher .... underwater camera technician: second unit
Sam Bloor .... grip electrician
Dan Blundy .... crane technician: second unit
Dave Brennan .... grip electrician
Mike Brewster .... director of photography: second unit
Bob Bridges .... video assist coordinator
Stuart Bridges .... video operator
Bob Brock .... grip electrician (as Rob Brock)
Jason Bulley .... grip electrician: second unit
Jason Bulley .... underwater camera operator: second unit
Andy Challis .... grip electrician
Murray Close .... still photographer
Ken Coles .... camera operator: "c" camera, second unit
Trevor Coop .... camera operator: "b" camera
Joel Corby .... second assistant camera: second unit
Luke Coulter .... second assistant camera: second unit
Jim Crowther .... grip
Adam Dale .... aerial camera operator: second unit
Ted Deason .... first assistant camera: second unit
Graham Driscoll .... lighting programmer (as Graham Driscol)
Andy Duncan .... grip electrician: second unit
Paul Edwards .... steadicam operator: second unit
Mark Evans .... grip electrician
John Ferguson .... first assistant camera: second unit
Stephen Finch .... lighting coordinator
Sascha Garcia .... grip electrician
Peter Goddard .... gaffer: second unit
Wayne Goddard .... grip electrician: second unit
Dan Hartley .... video operator: second unit
Colin Hazell .... crane technician: second unit
Alice Hobden .... underwater camera operator: second unit
Darren Holland .... key grip: "a" camera, second unit
Lewis Hume .... second assistant camera
Simon Hume .... first assistant camera
Bob Johnson .... grip electrician: second unit
Sacha Jones .... second assistant camera
Mark Keeling .... grip electrician: second unit
Pip Keeling .... grip electrician: second unit
Lee Kemble .... crane technician: second unit
Ben Knight .... grip electrician: second unit
Jamie Knight .... grip electrician: second unit
Lee Knight .... grip electrician: second unit
Jim Knox .... grip electrician
Mark Laidlaw .... grip electrician
Martin Lewis .... second assistant camera: second unit
Jim Lloyd .... grip electrician
Danny Madden .... grip electrician: second unit
Graham Martyr .... first assistant camera
Matt McDonald .... assistant video operator: second unit
Billy Merrell .... best boy (as Bill Merrell)
Nic Milner .... camera operator: "a" camera, second unit
Dean Morris .... camera grip: "c" camera, second unit
Phil Murray .... grip
Patrick O'Flynn .... grip electrician (as Pat O'Flynn)
Robert Palmer .... first assistant camera
Scott Parker .... grip electrician
Steve Petrie .... underwater video assist: second unit
Tim Phillips .... second assistant camera
Bernie Prentice .... grip electrician: second unit (as Bernie Prentice Sr.)
Geoff Reid .... grip electrician
Sam Renton .... second assistant camera
Dave Ridout .... rigging gaffer
David Rist .... camera grip: "b" camera, second unit (as Dave Rist)
Adam Samuelson .... crane technician grip
Danny Shelmerdine .... first assistant camera: second unit
Tony Skinner .... grip electrician
Ross Slater .... grip electrician
Mario Spanna .... crane technician: second unit
Gary Spratling .... camera operator: "b" camera
Stefan Stankowski .... camera operator: "b" camera, second unit
Peter Taylor .... camera operator: "a" camera
Elliot Thomas .... grip electrician (as Elliott Thomas)
Alf Tramontin .... steadicam operator
Dan Travers .... grip electrician: second unit
John Turner .... grip electrician: second unit
Derek Walker .... steadicam operator: second unit
Al Watson .... grip electrician
Michael White .... grip electrician
Tom Wilkinson .... second assistant camera: second unit
Lawrence Winter .... crane technician: second unit
Paul Wood .... grip electrician
Steve Wood .... grip electrician
Sarah Woodward .... second assistant camera
Tim Wooster .... underwater camera operator: second unit
David Armstrong .... trainee grip (uncredited)
Chris Clarke .... additional second assistant camera: second unit (uncredited)
Jason Coop .... daily second assistant camera (uncredited)
Andy Edridge .... additional grip: second unit (uncredited)
Danny Espey .... electrician (uncredited)
Mike Evans .... additional first assistant camera: second unit (uncredited)
Chuck Finch .... gaffer (uncredited)
Clement Gharini .... camera operator: flying camera (uncredited)
Kenny Groom .... additional first assistant camera: second unit (uncredited)
Alan Hall .... additional second assistant camera: second unit (uncredited)
Oliver Loncraine .... additional first assistant camera: second unit (uncredited)
Richard Merrell .... electrician (uncredited)
Jamie Mills .... electrician (uncredited)
Gareth Munden .... still photographer (uncredited)
Ben Pendrey .... camera trainee (uncredited)
Richard B. Shean .... video assistant (uncredited)
David Taylor .... electrician (uncredited)
J. Glyn Williams .... first assistant camera: aerial unit (uncredited)
Charlie Woodburn .... first assistant camera: aerial unit (uncredited)
Casting Department
Shaheen Baig .... regional casting
Tammy Kempinski .... casting assistant
Victor Bojinov .... casting: Bulgaria (uncredited)
Catrin Cooper .... casting assistant (uncredited)
Brendan Donnison .... adr voice casting (uncredited)
Stéphane Foenkinos .... casting: France (uncredited)
Costume and Wardrobe Department
Chloe Aubry .... assistant costume designer (as Chloe Aubrey)
Sue Bradbear .... costumer
Mauricio Carneiro .... costume illustrator
Rosy Coppola .... costumer
Charlie Copson .... costumer
David Crossman .... costume supervisor
Victoria Crossman .... wardrobe mistress
Richard Davies .... costume buyer
David J. Evans .... costumes (as Dave Evans)
Charlotte Finlay .... costume supervisor
Magot Forster .... costumer
Michelle Gisonda .... costume buyer
Laurent Guinci .... wardrobe master: second unit
Georgina Gunner .... wardrobe supervisor
Andrew Hunt .... costume assistant
Helen Jerome .... crowd wardrobe mistress
Stephen Kill .... costumer
Heather Leat .... wardrobe mistress: second unit
Stephanie Little .... costumer
Cavita Luchman .... costumer
Mary Matthesion .... costumer
Sara Meek .... assistant costume designer
Neil Murphy .... wardrobe master
Yvonne Otzen .... assistant costume designer
Gary Page .... costumer
Timothy Shanahan .... costumer (as Tim Shanahan)
Frank Simon .... costumer
Rupert Steggle .... wardrobe assistant
William Steggle .... costumes
Esther St. John Gray .... wardrobe assistant
Jo Van Schuppen .... costumer
Louise Walshaw .... costumer
Maggie Walsh .... costume coordinator
Dave Croucher .... costumes (uncredited)
Vidya Krishnamurthy .... daily costume assistant (uncredited)
Nicholas Roche-Gordon .... wardrobe assistant (uncredited)
William Steggle .... personal dresser: Dan Radcliffe and Rupert Grint (uncredited)
Editorial Department
Niklas Aldergren .... digital intermediate systems administrator
Todd Baillere .... post-production consultant (IMAX version)
Nigel Bunyan .... assistant editor
Ian Cunningham .... assistant editor
Jo Dale .... assistant editor
Maxine Gervais .... lead colorist
Tom Kemplen .... assistant editor
Ben Renton .... assistant editor
Katie Reynolds .... post-production coordinator
Dan Roberts .... additional editor
Dan Roberts .... first assistant editor
Mark Sale .... assistant editor
Holly Thornton .... assistant post-production coordinator
Jane Winkles .... assistant editor
Bill Daly .... post-production executive (uncredited)
Eoin McGuirk .... assistant editor: Technicolor (uncredited)
Transportation Department
Jim Adams .... unit driver
Oliver Best .... unit driver
Nigel Birtchnell .... unit driver
Jimmy Carruthers .... unit driver
Derrick Clark .... driver: costume (as Derek Clark)
Eddie Coleman .... transportation co-captain
Warren Deluce .... unit driver
Mick Downs .... unit driver (as Mick Downes)
Brian Estabrook .... transportation captain
Peter Harvey .... unit driver
Mark Hill .... unit driver
John Hollywood .... unit driver
Frank Hughes .... driver: makeup truck, second unit
Jim Magill .... unit driver
Jason Mortlock .... unit driver
Bruce Neighbour .... unit driver
David Norman .... unit driver
David Rosenbaum .... transportation coordinator (as Dave Rosenbaum)
Colin Sheffield .... unit driver
Mike Smith .... unit driver
Chris Streeter .... transportation: second unit
Bill Walker .... unit driver
Alan Watts .... unit driver
Kitch Young .... unit driver
Other crew
Nguyen Ngoc Anh .... dance assistant
Lawrence Ashmore .... orchestrator
Libbie Barr .... script supervisor
Jayne Barton .... assistant accountant
John Bell .... orchestrator
Jim Bentley .... diver: second unit
Matt Biffa .... music supervisor
Vicky Bishop .... assistant production coordinator
Ben Blanco .... production assistant: second unit
Anthony Bloom .... animal trainer
Cate Brackpool .... dance assistant
Dave Brown .... pilot: second unit
Jason Buckle .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works"
Phillipa Bullock .... production assistant: second unit
Amanda Burns .... production assistant
Ken Burry .... security: second unit
Daniel Burton .... unit nurse: second unit
Felicity Burton .... production assistant
Adam Byles .... production runner: second unit
Amy Byrne .... production assistant
Rebecca Cain .... production assistant
Leah Chalk .... safety advisor
Mark Clark .... surface best boy: second unit
Steve Claydon .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works"
Nicky Coats .... assistant accountant
Jarvis Cocker .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works"
David Collier .... production assistant (as Dave Collier)
Clare Collingridge .... production assistant
Sean Connor .... underwater focus puller: second unit
Jon Croker .... assistant: Mr. Newell
Claire Cunningham .... dance assistant
Jason Curtis .... safety advisor
Sean Dabbs .... production assistant
Niki Dally .... unit publicist
Daniel Dark .... production administrator (as Dan Dark)
Aled Davies .... diver: second unit
Vanessa Davies .... key unit publicist
Tony Davis .... assistant production coordinator
Emily Dawson .... chaperone
Louise Day .... production assistant
Stanley A. Dellimore .... senior technical imaging artist (IMAX DMR version)
Robin Demetriou .... catering manager
Tony Denham .... location security
Laila Diallo .... dance assistant
Stephen Dibben .... production assistant: second unit
Abigail Doyle .... vocal tutor
Patrick Doyle .... orchestrator
Guy Drayton .... lead diver: second unit
Shelly Drury .... assistant: Mr. Heyman
Paula Eden .... production assistant
Jake Edmonds .... safety coordinator
Martin Enckell .... diver: second unit
Sue Enoch .... department of education
John Ensby .... laboratory timer
Reshad Esmail .... set security
Ceri Evans .... script supervisor: second unit (as Ceri Evans Cooper)
Lucy Evans .... assistant music supervisor
Karen Fayerty .... unit nurse
Sophie Finch .... set production assistant: dailies
Jasmine Fitter .... assistant choreographer
Jane Flowers .... production assistant (as Jayne Flowers)
Grant Fowler .... production assistant
Vic Fraser .... music copying
Vic Fraser .... music librarian
Sandra Frieze .... dialogue coach
Nicola Frost .... production assistant
Dr. Ian Furbank .... unit doctor
Mark Gallagher .... production assistant
Kate Garbett .... production coordinator: second unit
Georgie Gardner .... production assistant
Brian Gascoigne .... musician: keyboards and synthesizer
Mark Gent .... production administrator
Gary Gero .... animals supervisor
Ben Goode .... production assistant: second unit
Gisella Goodwin .... department of education
Natasha Gormley .... production coordinator: second unit
Guillaume Grange .... assistant trainer
Claire Green .... production assistant
Jonny Greenwood .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works"
Oliver Greetham .... production administrator
Gill Griggs .... sports massage therapist
Nigel Grint .... chaperone
Anna Hall .... producer coordinator
Khamlane Halsackda .... dance assistant
Kenaston Hardy .... department of education
Michael Harm .... unit location manager
Steve Harvey .... unit location manager
Mike Hedges .... song producer: "Do the Hippogriff", "This is the Night" & "Magic Works"
Robin Higgs .... unit location manager: second unit
James Hobson .... production assistant
Jacky Holding .... assistant accountant
Sarah Hood .... set assistant
Ian Hoskin .... head of crowd tuition
Odette Hughes .... assistant choreographer
Steve Irvine .... diver: second unit
Joseph Jayawardena .... unit location manager
Bob Johnson .... underwater spark
Frankie Johnson .... production assistant
Geraint Jones .... assistant accountant
Eloise Kay .... unit publicist
Sean Kelly .... production assistant
Simon David Kenny .... production assistant
Nichola Kerr .... assistant accountant
Alex Klien .... production studio coordinator
Grace Lan .... technical operations supervisor
Leo Lerus .... dance assistant
Sara Levy .... set assistant
Matthew Luscombe .... stills assistant
Steve Mackey .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works"
Andy Madden .... set assistant
Vince Madden .... floor best boy: second unit
Jenny Mark .... department of education
Zoe Marsden .... production assistant
Peter McClue .... diving supervisor: second unit
Donna McCormick-Smith .... assistant trainer
Wayne McGregor .... choreographer
Mae McKenna .... vocal tutor
Alastair McNeil .... assistant accountant
Sonny Merchant .... production assistant
Richard Merrill .... floor chargehand (as Richard Merrell)
Simon Mills .... underwater focus puller: second unit
Ali Morris .... licence coordinator
Simon Neville .... animal trainer: owl
Jes Nicholls .... lead diver: second unit (as Jes Nichols)
Bertil Nilsson .... set assistant (as Bertil Nilson)
Gary Nixon .... production accountant
Dr. Francis Nolan .... parseltongue
Ingrid Parkes .... production assistant
Matthew Patching .... assistant trainer
Dilip Patel .... assistant accountant
Nigel Permane .... underwater focus puller: second unit
David Pinkus .... set assistant
Mary Price .... unit nurse
Lesley Quinn .... unit nurse
Sue Quinn .... location manager
Rebecca Rae .... stunt secretary
Jane Ralley .... department of education
Bill Ratty .... leading firefighter
Adrian Rigby .... production assistant
Megan Roberts .... production assistant: second unit
Amy Robertson .... unit publicist
Patrick Roddam .... set assistant
Maggie Rodford .... music supervisor
Maggie Rodford .... score producer
Yolanda Rodowicz .... production assistant
Jay Rosenwink .... assistant accountant
Angela Rowden .... assistant accountant
Pete Rutledge .... diver: second unit
Jane Ryan .... set production assistant: second unit
Sam Sale .... production assistant: second unit
Paula Sargeant .... assistant accountant
Alex Sayer .... unit publicist
Steven Scrace .... leading firefighter
Phil Selway .... musician: "Do the Hippogriff", "This is the Night" and "Magic Works"
Dave Shaw .... diving coordinator: second unit
Richard B. Shean .... production assistant (as Richard Sheen)
James Shearman .... conductor
James Shearman .... orchestrator
Matt Simpson .... production assistant
Adam Slatter .... department of education
Sarah Louise Smith .... production assistant (as Sarah L. Smith)
Mark Somner .... unit location manager
David Sousa .... head animal trainer (as Dave Sousa)
Matthias Sperling .... dance assistant
Hilary Stainsby .... dance assistant
Andy Surry .... assistant: Mr. Barron (as Andrew T. Surry)
Linda Taylor .... assistant accountant
Anna Tennant .... animal maintenance
Aurelia Thomas .... assistant location manager
Julie Tottman .... head animal trainer
Joshua Tuersley .... diver: second unit
Taylor Tulip-Close .... production assistant (as Taylor Tulip Close)
Gary Turnbull .... diver: second unit
John Twigg .... department of education
John Udall .... assistant accountant
Sue Unsworth .... department of education
Louise Van Hamme .... assistant accountant
Antoine Vereecken .... dance assistant
Poppy Watson .... production assistant
Amanda Weaver .... dance assistant
Jenny Weight .... production assistant
Natasha Westlake .... production assistant
Janet Willis .... head of education
Winnie Wishart .... production coordinator
Marc Wolff .... aerial coordinator: second unit
Carmelina Wright .... department of education
Peter Wright .... department of education
Youki Yamamoto .... keyboard programmer
Youki Yamamoto .... synthesizer programmer
Holly Bates .... accounts trainee (uncredited)
Karen Betteridge .... location assistant (uncredited)
Matt Betteridge .... location assistant (uncredited)
Morne Botes .... double (uncredited)
Tom Browne .... daily runner: second unit (uncredited)
Ian Creed .... marine safety (uncredited)
Lara Davis .... production assistant (uncredited)
David Decio .... stand-in: Rupert Grint (uncredited)
Enfys Dickinson .... manager (uncredited)
Abigail Doyle .... personal assistant: Patrick Doyle (uncredited)
Abigail Doyle .... production assistant (uncredited)
Jennifer Evans .... animal administrator (uncredited)
Gordon Gram .... double: Durmstrang Student (uncredited)
Chris Hopkins .... audio/video systems engineer (uncredited)
David House .... double: Roger Davies (uncredited)
Lynne Kemp .... production assistant (uncredited)
Allin Kempthorne .... stand-in (uncredited)
Perry M. Kimura .... scanning and recording: EFilm (uncredited)
Angela R. Knight .... double: Miranda Richardson and Rita Skeeter (uncredited)
Angela R. Knight .... stand-in: Miranda Richardson (uncredited)
Gareth Lewis .... additional set assistant (uncredited)
Ray Lloyd .... wire rigger (uncredited)
Sandrine Loisy .... set production assistant: dailies (uncredited)
Sandrine Loisy .... stand-in: Emma Watson (uncredited)
James McWilliam .... additional orchestrator (uncredited)
Kelly Messias .... assistant: Ralph Fiennes (uncredited)
Laura Miles .... script supervisor daily (uncredited)
Sharon Milton .... crowd tutor (uncredited)
Lewis Morison .... assistant to composer (uncredited)
Andrea Payne .... runner: model unit (uncredited)
Charlie Reed .... additional floor runner (uncredited)
Peter Rnic .... stand-in: Alastor 'MadEye' Moody (uncredited)
Christian Simpson .... stand-in: "Weasley Twins" (uncredited)
Chantelle Stoffel .... daily floor runner (uncredited)
Ed Symon .... production assistant (uncredited)
Lucy Thomas .... production assistant (uncredited)
Maurice Weller .... wire rigger (uncredited)
David Wilcock .... accounts trainee (uncredited)
John Williams .... composer: theme "Harry Potter" (uncredited)
Thanks
Ann Koska .... thanks: Sally King Ltd.
Mary Selway .... dedicatee: 1936-2004
Crew believed to be complete
--------------------------------------------------------------------------------
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Soundtrack listing Crazy credits Main details
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Jk rowling stuff:
Biography for
J.K. Rowling
advertisement photos board contact details
Date of Birth
31 July 1965, Yate, nr. Bristol, England, UK
Birth Name
Joanne Rowling
Nickname
Jo
JKR
Height
5' 5" (1.65 m)
Mini Biography
Joanne Rowling was born in Yate, near Bristol, a few miles south of a town called Dursley ("Harry Potter"'s Muggle-family). Her father Peter Rowling was an engineer for Rolls Royce in Bristol at this time. Her mother, Anne, was half-French and half-Scottish. They met on a train as it left King's Cross Station in London. Her sister Diana is about 2 years younger than Joanne. In 1971, Peter Rowling moved his family to the nearby village of Winterbourne (still in the Bristol vicinity). During the family's residence in Winterbourne, Jo and Di Rowling were friends with neighborhood children, Ian and Vikki Potter. In 1974, the Rowling family moved yet again, this time to Tutshill, near the Welsh border-town of Chepstow in the Forest of Dean and across the Severn River from the greater Bristol area. Rowling admits to having been a bit of a daydreamer as a child and began writing stories at the age of six. After leaving Exeter University, where she read French and Classics, she started work as a teacher but daydreamed about becoming a writer. One day, stuck on a delayed train for four hours between Manchester and London, she dreamed up a boy called "Harry Potter". That was in 1990. It took her six years to write the book. In the meantime, she went to teach in Portugal, married a Portuguese television journalist, had her daughter, Jessica, divorced her husband and returned to Britain when Jessica was just three months old. She went to live in Edinburgh to be near her sister, Di. Her sudden penury made her realize that it was "back-against-the-wall time" and she decided to finish her "Harry Potter" book. She sent the manuscript to two agents and one publisher, looking up likely prospects in the library. One of these agents that she picked at random based on the fact that she liked his name, Christopher Little, was immediately captivated by the manuscript and signed her on as his client within three days. During the 1995-1996 time-frame, while hoping to get the manuscript for "Harry Potter & The Philosopher's Stone" published, Rowling worked as a French teacher in Edinburgh. Several publishers turned down the manuscript before Bloomsbury agreed to purchase it in 1996.
IMDb Mini Biography By: van_whistler@hotmail.co.uk
Spouse
Neil Murray (26 December 2001 - present) 2 children
Jorge Arantes (16 October 1992 - 30 November 1993) (divorced) 1 child
Trivia
Graduated from Exeter University.
Is a former English teacher.
She writes all of her books in longhand, rather than with a computer.
Daughter, Jessica Rowling Arantes was born on July 27, 1993.
Her book, "Harry Potter and the Goblet of Fire", was the top-selling book of 2000, with 7 million hardcovers sold.
When the first "Harry Potter" novel was published, the publisher asked her to use initials rather than her first name, because boys would be biased against a book written a woman. Since she only had one given name, they then asked her to make up another initial; she took "K." from her favorite grandmother, Kathleen.
She was awarded the O.B.E. (Officer of the Order of the British Empire) in the 2000 Queen Elizabeth II's Birthday Honors List for her services to literature and received it from one of her fans, Prince Charles, the Prince of Wales.
Son, David Gordon Rowling, born March 24, 2003 in Edinburgh.
In 2002, she was sued for plagiarism in the District Court of the Southern District of New York by Pennsylvania-based author Nancy Stouffer, who claimed that J.K. Rowling had lifted ideas from her 1984 book "The Legend of Rah and Muggles", which includes a character called "Larry Potter". However, the case against J.K. Rowling was dismissed on 19 September 2002, when the judged ruled that Ms. Stouffer had lied to the court and doctored evidence to support her claims.
Is one of only two contemporary authors to have a novel spend more than a year on both the New York Times hardcover and paperback best-seller lists, the other author being Nicholas Sparks.
As of November 2002, the year and month of the second "Harry Potter" movie (Harry Potter and the Chamber of Secrets (2002)) being released, her franchise of books have currently sold over 175,000,000 copies and printed in over 200 languages to become the biggest and fastest selling novels ever.
On 3 April 2003, she and Time Warner successfully sued Dutch publishing company Byblos in the Amsterdam High Court. This prevents Byblos publishing Russian author Dmitry Yemets' novel "The Magic Double Bass", which features a girl wizard "Tanya Grotter". It was deemed to plagiarize Rowling's novel "Harry Potter and the Philosopher's Stone" and to infringe her copyright.
The fifth book in the Harry Potter series, entitled "Harry Potter and the Order of the Phoenix", was published on June 21 2003. It was approximately 896 pages long, containing 38 chapters and over 255,000 words, making it her longest "Harry Potter" book yet. The first U.S. printing was 8.5 million copies, an American publishing record.
In 2003, unauthorized Chinese-language "sequels" to the "Harry Potter" series appeared for sale in the People's Republic of China. These poorly-written books, written by Chinese ghost writers, contain characters from the works of other authors, including Gandalf from J.R.R. Tolkien's "Lord of the Rings", and the title character from L. Frank Baum's "The Wizard of Oz". Rowling's lawyers successfully took legal action against the publishers who were forced to pay damages.
She is a big fan of the rock band The Smiths and in 2003, she appeared on the Channel Four documentary The Importance of Being Morrissey (2002) (TV).
Is a huge fan of "Monty Python" and claims to put some of their humor into her books. Two apparent references to the "Monty Python" sketch "Crunchy Frog" can be found in her "Harry Potter" books: two of the sweets are a chocolate frog, and a cockroach cluster. "Monty Python" member John Cleese appears in the films.
One of her favorite movies is The Fabulous Baker Boys (1989), which was written and directed by "Harry Potter" screenwriter Steve Kloves.
She received an honorary degree from Edinburgh University in recognition of the Potter books and her outstanding contribution to children's literature. [7 July 2004]
Her 3rd child, Mackenzie Jean Rowling, was born on January 23, 2005 in Edinburgh.
Character names in her books are often clues to their identities or secrets. For example, Professor Remus Lupin is a werewolf. According to myth, Romulus and Remus were the founders of Rome and were raised by wolves. His last name, Lupin, is derived from the Latin lupus, for wolf, and the English adjective lupine, meaning wolf-like. Lupin was converted into a werewolf by Fenrir Greyback, whose name is taken from Fenrir, the monstrous wolf son of Loki in Norse mythology. (His alias, Fenrisulfr, was the basis for Fenris Ulf, the American name for Maugrim in C.S. Lewis's "Chronciles of Narnia".) Sirius Black, who turns into a black dog, is named for the star Sirius, which can be found in the constellation Canis Major - the big dog.
Whilst at University she had little money so, for friends' birthdays, she wrote them personal little stories.
Shares the same birthday with Michael Klesic, Wesley Snipes, Ben Chaplin, Barry Van Dyke, Emilia Fox and Loren Dean.
After spending six years writing the first installment of her "Harry Potter" novels, Rowling was rejected by 9 publishers before London's Bloomsbury Publishing signed her on.
The day she signed her contract for the first "Harry Potter" novel, the publishing representative told her she would not make any money selling children's books.
Originally wrote "Harry Potter" to pay off her gas bills while living in a tiny flat with her then, baby daughter.
Although she incorporates characteristics of people she knows into "Harry Potter" characters, she says that the character "Gilderoy Lockhart" is the only character she purposely based on someone she knew. She would not say who she based the character on, only that it was not her ex-husband, and that whoever it was is probably so ignorant and so narcissistic, that he is probably claiming either to be the basis for "Albus Dumbledore", or the real author of the "Harry Potter" books.
Claims her first audience for "Harry Potter" was her daughter, to whom she would read parts of the story that she wrote as a bedtime story.
Is a huge fan of "Monty Python", and claims to put some of their humor into her books.
Owns two properties in the Perthshire and Edinburgh areas of Scotland. In 2003, she hired a former SAS officer as her bodyguard to patrol her Perth home and protect her family.
Doesn't actually have a middle name. She chose the "K" for her initials because she thought it sounded good in conjunction with her surname, and alphabetically it was the next letter after "J".
Was almost barred from boarding a plane from the U.S. to the U.K. when airport security personnel demanded that her manuscript for her final book be screened or placed in her checked luggage. Rowling refused to give up the manuscript, which was bound with rubber bands.
December 21, 2006: Announced that the last "Harry Potter" book will be titled "Harry Potter and the Deathly Hallows".
Finished writing the final book in the fantasy franchise three weeks ago - and marked the occasion by leaving graffiti in a Scottish hotel. Eagle-eyed guests at the five-star Balmoral Hotel spotted a line from the best-selling author scrawled in black pen on the back of a marble bust in a room Rowling occupied. She wrote, "J.K. Rowling finished writing Harry Potter And The Deathly Hallows in this room (652) on Jan 11th 2007."
One of her biggest fans is Stephen King.
Is an avid train buff.
Like her hero, she now lives in a castle.
Based Hermione on herself.
Personal Quotes
[Asked by an interviewer about the next "Harry Potter" book]: Well, it will be a papery object with pages inside.
[Discussing her daughter, Jessica]: Kids at her school will sidle up to me and say, "Does Jessica know what happens in book 4? Does Jessica know the title of book 4?" And I keep saying, "No! There is no point kidnapping her, taking her around back of the bike shed, and torturing her for information."
Bigotry is probably the thing I detest most.
I had an American journalist say to me, "Is it true you wrote the whole of the first novel on napkins?" I was tempted to say, "On teabags, I used to save them."
I gave my hero a talent I'd love to have. Who wouldn't want to fly?
The spells are made up. I have met people who assure me, very seriously, that they are trying to do them, and I can assure them, just as seriously, that they don't work.
[When asked what the title would be for book six]: It will be called 'Harry Potter and...' something. Catchy, don't you think? And I think I'll follow the same model for seven.
People ask me if there are going to be stories of Harry Potter as an adult. Frankly, if I wanted to, I could keep writing stories until Harry is a senior citizen, but I don't know how many people would actually want to read about a 65 year old Harry still at Hogwarts playing bingo with Ron and Hermione.
[Family Circle, 4-1-06]: Anything's possible if you've got enough nerve.
[About being held up at an airport for refusing to be parted from the manuscript of her seventh "Harry Potter" book]: The heightened security restrictions on the airlines made the journey back from New York interesting, as I refused to be parted from the manuscript of book seven. A large part of it is handwritten and there was no copy of anything I had done while in the U.S. They let me take it on thankfully, bound up in elastic bands. I don't know what I would have done if they hadn't -- sailed home probably.
Where Are They Now
(2004) Working on the last two books of her popular worldwide masterpiece, "Harry Potter".
(July 2004) Currently putting the finishing touches on "Harry Potter and the Half-Blood Prince", the sixth book in the series. It will get a worldwide release at midnight on July 16th, 2005.
(July 2004) Announced she is expecting 3rd child next year.
(2005) Her third child was born on January 23, 2005 in Edinburgh.
(July 2005) Wrote and released "Harry Potter and the Half Blood Prince", the sixth installment of the Harry Potter series.
(November 2005) Currently at work on the final installment of the "Harry Potter" series. It should be released sometime in 2007.
(December 2005) Working on a new book aimed at younger readers.
(May 2007) Preparing for the release of her latest and last book in the Harry Potter series, Harry Potter and the Deathly Hallows
Lyrics to my fave song:
Rag Doll lyrics
[Chorus:]
Rag Doll livin' in a movie
Hot tramp Daddy's little cutie
You're so fine they'll never see ya leavin' by the back door, mam
Hot time get it while it's easy
Don't mind come on up and see me
Rag Doll baby won't you do me like you done before
I'm feelin' like a bad boy
Mm just a like a bad boy
I'm rippin' up a Rag Doll
Like throwin' away an old toy
Some babe's talkin' real loud
Talkin' all about the new crowd
Try and tell me of an old dream
A new version of the old scene
Speak easy on the grape vine
Keep shufflin' in a shoe shine
Old tin lizzy do it till you're dizzy
Give it all ya got until you're put out of your misery
[Chorus]
Yes I'm movin'
Yes I'm movin'
Get ready for the big time
Tap dancing on a land mine
Yes I'm movin'
Yes I'm movin'
Old tin lizzy do it till you're dizzy
Give it all ya got until you're put out of your misery
Rag Doll livin' in a movie
Hot tramp Daddy's little cutie
You're so fine they'll never see ya leavin' by the back door, mam
Hot time get it while it's easy
Don't mind come on up and see me
Rag Doll, baby won't ya do me, baby won't ya do me,
baby won't ya do me like you done before
Yes I'm movin'
Yes I'm movin'
Get ready for the big time
Get crazy on the moon shine
Yes I'm movin'
I'm really movin'
Sloe Gin Fizzy, do it till you're dizzy
Give it all ya got until you're put out of your misery
Cool!
I am deciding to write more.
Well, my posts are finished(well, just for the welcome!) but i have more scattered across the site. look out for little orange things saying comment.
I have more warfield for you coming soon!
Star wars game stuff
In the PS2 Star Wars: Episode III video game, players will control all the Jedi abilities of both Anakin Skywalker and Obi-Wan Kenobi, including devastating Force powers and advanced lightsaber techniques involving robust combo attacks and defensive maneuvers. As Anakin, players will unleash the power of the dark side in ruthless lightsaber and Force attacks. As Obi-Wan, players will struggle to save the galaxy from darkness by focusing the power of the light side into swift and precise lightsaber attacks and using the Force to control enemy actions.
That is enough postts for now!
Teeny weeny- but more words
E O T F D G C B A H Z Q X C L W S L M U G K G Y N L L K G D X S P P M H C P E H Y D Q Y U H N K E D
C Q F I Y W D U Z A J F M G K Y E A F V W X U R X I A O M A V U K Z G T X N D G J G D V V C I K B T
P D P K Z F S E O V B U X N Z D U H S N A P E R L E P U L J S J Y N Q T O I E P R D U W O W E Z H N
Z R G U T S K A N Q G N W C L Q T B E T W T G M V A K D L F P L B E S L L E M N A O Z Y F W T D R U
I O V I F C F H V G E M I P U U D I K X K C W O Z G U U R P R O M D K R K A E E I C E D G B I M L Y
C A R D J L V K L B L C I Z G C D K P J O Q L R F H X U G Z L M F T N D T A N J R X J G K Z F W R A
W W U G M K E J I E X O Y W H F A A E X Z D E N M P K W P G U D S D P P Z V T K S P A T S T P B A I
P G Z H M M Z U E K J M L H R E Y L O P E T B Y A Y K F S K C I T A X K C L O H T Q Q K V Z A I J S
A Z R I S P A W L J Z N L Z M D L P E R L O P X C S W U N E I I A F S D L N R H T G F K H K N A N O
W Y H B I A S B O N W A W P B M P I M X U W Z G E J M Z R X U M P U F V F O I U O C L O F P C T N H
G Q W F Y K Z W B Z B O J A C E V O E K P L P F N A R O N X S F H V W X X E N F G D O R R U M T M K
O A O B K D J L C V I Q L F S E R I U S I H S T E U D N B A L G Z E J O C C F F N O W V Y T Z U K G
Z J C F H H H D J U V S F U K T P E T U N I A S G E Z O Z F G H K H F G N I F L I Z R G W V U S Q R
T V T C J O I M H X I O V E V F X B Z L U N A M L Z N Z V F G P Q A M L Z Q Q E R D E T G Q A Q Z F
Z Z Q O J I A I P N G O L X U E Z X W U V V H B E D S J E M U Z Y N X G Q D F P G C W V R K F S S T
H L Q R N Y Y Q E P L A Q N W L R Y R H R S M G E K P K W E U H Y W F V E Y X U Y B B O D F Z A Q J
S T Z Y H E K X A F S A S J X U W W W P J U R D V X C H U X X B M D I O X I R F Y M Q R I R J W X R
K U G M K W B D U B Q E K G J O A H R N D A R N B Z X U Z D T M N W X O D U C F G K F I H M W E I O
A T T T P M J N Z F R E L Z I T M S R A M A S I N Z X T C Q V Q C F Q S H J T F D V U G J M C U T L
U B I E Y R I N L N M R T P D D E C T I C Y F K S K T X G P E N V T H B B R T K K B U L Y M J F K D
V B U O R Y R Z E D L Z L L J P C P V O A T B L D I V W A W M N I S X N A G A N Q B I G N H D G L C
G M O B R X A A Q W U D R U I R E L W O H C Y H C W R R E K F I J O Z G R T I O U E V T D P M J X N
Z R G E A G M X A Y Z L T M F A M S U I N T E M C G M I U W W X T O G L T U W N L B F A E L G E A N
S G Y V H C F L V E V B N Z Q H T H O J U T K J H D U U U U U X S O O B P K K W N D U C I K I A P Z
U D Y F A U C E H I T E M W N X T N U U T M D Q W L O O V S R S B Y L S L M W R X Y A K P S H F W F
E J Y M I N R Z H N C H E A S J M Z R M U I J O T Y F K O V X K M K L M J L J V H E C X J I Q R G M
F F G T E N C E D R I C E L K J U R Y O Q Q S B L C C X W Z Z O C X Q V Z L X P H E Y B N S T R U Z
Q J Z V O S N U A U V D S R U M L Y T P H I T L O Y U S P R B X S U B T H G I N K K D C S S R O J N
W U A N C M H D I Q A M X E G K L G A I R H I N B L E F Q D A I N X H Q W Y V K B E A Q E M H L I R
F R I O P K M N O N R G H I R P A G I W D E H F W M D C C M D H K C R E C U Q F J T U D Q X Q C B V
M V G R J P L Y A R T W E G V M R M C G O N N I C A L Q D P I E S S N V R R C Q P J O Z R S X O Q E
K L J H R G H V Y I H G L S F E B N I H S T E J P Y L N T B R R D Y N I K M S Q Y Y I L O Y Q C S T
W C B D Q E U T Z O U A H S O Q M S C Y D L L J X J C G Y R G H O P H B T U I L N Z M L N L N E X Z
L U I W S R L A N W R D N B U C E N O X B X O N R G M D T D A E M D Z A O I M O T X Z T C I I A Y J
T K Y W B V Y N C J N J P I P N M D W W M F B H L Y C Q U A H J K B A A C O K O N P X W W V W E E O
E L B A K T E Q D F O Q X U N U E R P Q P A O R Q K D D E W X P D A R V E B M S P E U O E U X G E T
H M I W O C E H C Q U W F B N Z R J O B F F C B B H L C O D G C W A V T B G Y A K W K A U B E X N O
O I B B E M I Q M R Z M Z D S D X H X T X X O N W E Q A X E K Y B W J Y W I M B K M I F C W R P V E
P O X K T T O L Y V S O P H M C U O X J C X E T Y F Q P X R L C C E S E N B T K X X H M Q Y B D F T
B Z J S I W Z I F O L U R I U Z P I P D Q I C H M K O R G F L K O P W G F P I X W X D T P S R H Q V
T Y F X O B U U J K N I U B Y E B E A V O M V F G P R Z H R E O R Q F T D I D H V K T H X K E T M D
Y S S D F M F P D W S L X B X O M P B R O D K I I Q M L K D K J O D F F L H O B M V G D E E B Q H H
T R S J N O C U F A F X I E F S A U J K C D I W Y A R B A D N P Q J B X Q Z W B V L L U N C M R E N
I D V U K S E O M K P C R L O L C E Q N R K K J S Q D I E H F A K Z L X Q F J Q G C Q G M H L X K A
D M Z O Y A S V E M E H L U B K E H E L R Z N C V S I F E R N M W B Y W E B C L Q J J K Z Z W Z B R
L T Q K D F W N M A C Z H J B C F H L S C Q L O V Q B D E V G T B E N E K L A F F G X Y G W I Z I C
H O S B S U U V N Z K O T E H Z O T L B T C Y C J J G K Z C M N Q O E P H B J H R Y Z S Y W I R E Y
S L Y T H E R I N Z H S A O W Q T F O W O R V J K I N J E S S Z E U T F L H U T M Q K E P E J V G N
O O H F K V J J C M M K E L L I V V E N Z P E A B Q J S J W Q F B L C O Z U A H V P V H T E I L H T
G D I M R F M J G Z R L I W X L K T L M R C B Z H Y Q E I J Z J H D Y W W O S Y U O K B F G V M Y K
ARTHUR
BOGGART
BUCKBEAK
CEDRIC
DEAN
DEMENTOR
DOBBY
DRACO
DUDLEY
DUMBLEDORE
FLEU
FLICKWICK
FRED
GEORGE
GINNY
GRINGOTTS
GRYFINNDOR
HAGRID
HARRY
HEDWIG
HERMIONE
HORNTAIL
HOWLER
HUFFLEPUFF
KNIGHTBUS
LUCIUS
LUNA
LUPIN
MARGE
MCGONNICAL
NEVVILLE
PETUNIA
QUIRREL
RAVENCLAW
REMEMBRALL
RON
SEAMUS
SIRIUS
SLYTHERIN
SNAPE
VERNON
VICTOR
VOLDERMORT
WAND
WERWOLF
45 of 45 words were placed into the puzzle.
Created by Puzzlemaker at DiscoverySchool.com
That puzzle is too hard!
"Harry Potter,
Harry Potter,
How is you?"
Said Dobby.
"I have come to warn you,
Do not go to Hogwarts
This year,
This year."
"It's too dangerous,
It's too dangerous,
For you."
Said Dobby.
"A Basilisk will eat you,
You-Know-Who will rise,
From the dead.
From the dead."
Harry Potter song-made-up
Hermione:
I'm a Hogwarts girl, in my Hogwarts world
I do magic, it's fantastic
Ghosts fly everywhere, pixies in my hair
A vacation from Muggle situations
Ron:
Wizards, witches, snakes, and snitches
Hermione:
I'm a hard-working girl
In this non-Muggle world
I do spells, I save Ron, I save Harry
Ron:
You're a know-it-all girl
And I almost could scream
Your obsession with homework is scary
Hermione:
You can laugh
At my wa-ays
But my O.W.L.S
Are better than yours
Oo-oo-oo
I'm a Hogwarts girl, in my Hogwarts world
I do magic, it's fantastic
Ghosts fly everywhere, pixies in my hair
A vacation from Muggle situations
Ron:
Wizards, witches, snakes, and snitches
Hermione:
And the homework!
Ron:
Spells and flying, Snape defying
Hermione:
S.P.E.W.! S.P.E.W.!
The two friends,their two wands at hands;
I got too much respect 'cuz I'm "da man";
Got my wand and Firebolt at hand;
Just ask my friends,the name's Harry.
(da da da da da-da-da-da da da da da oh)
H-E-R-M-O-I-N-E
Who's that you're studyin' with?
Doll,that's me.
I don't take showers and I don't brush my teeth (NOT!!!!!!)
'Cuz all I do is study,study, and study!
(You got to go play Quidditch!)
Wake up in the mornin', before the sun, keeps riding his broom
'til the day is done
(You got to crack open those books!)
Wake up in the mornin', before the sun, keeps studyin'
'til the day is done
What kind of sorcerer are you?
How do you do the things you do?
Share with me your secrets deep inside.
What kind of sorcerer are you?
Are you loyal through and through?
And do you have a heart that's true?
What kind of sorcerer are you?
If you're the loyal kind you're a Hufflepuff,
Here you won't find people who are too tough.
The badger's the symbol of the house,
and in Hufflepuff Tower there's nary a mouse!
What kind of sorcerer are you?
How do you do the things you do?
If you're sneaky you're in Slytherin,
They'll do whatever it takes to win!
Good luck with Snape and his Potions class,
Make one wrong move and you won't pass!
What kind of sorcerer are you?
How do you do the things you do?
Share with me your secrets deep inside.
What kind of sorcerer are you?
Are you loyal through and through?
And do you have a heart that's true?
What kind of sorcerer are you?
If you're brave as a lion, go Gryffindor!
When they win they let out a mighty roar!
You'll be like Harry Potter and his friends,
and your Hogwarts adventure will not soon end!
What kind of sorcerer are you?
How do you do the things you do?
Last but not least there's Ravenclaw,
and they're the smartest people I ever saw.
Those are the houses at Hogwarts School,
so put me on, don't be a fool!
What kind of sorcerer are you?
How do you do the things you do?
Share with me your secrets deep inside.
What kind of sorcerer are you?
Are you loyal through and through?
And do you have a heart that's true?
What kind of sorcerer are you?
All who are here will be a wizard or witch
Try to win at Quidditch!
Our plan is this: gotta teach 'em all!
The Hogwarts spirit never falls...
What kind of sorcerer are you?
How do you do the things you do?
Share with me your secrets deep inside.
What kind of sorcerer are you?
Are you loyal through and through?
And do you have a heart that's true?
What kind of sorcerer are you?
What kind of sorcerer are you?
How do you do the things you do?
Share with me your secrets deep inside.
What kind of sorcerer are you?
Are you loyal through and through?
And do you have a heart that's true?
What kind of sorcerer are you?
Bye Bye from me! Gone on King Arthurs Disartesters dot com.
We just watched incredibles in class. It is okay, the most funny part was when jackjack found his powers.
Eliza's on bob.com right now. I don't reccomend it. It hasn't got much. Well, i think she's gonna put more on. Hopefully it's good stuff.
Click on Cameron Returns...Againi! for my profile, and click on my new name.. Cameron-Exicted! For more!
Ahh, read my profile by clicking on me name.
I have two profiles.
Well, two with profiles to look at.
http://www.thepcmanwebsite.com/aff_game_list.shtml
type in this for free games!
Well, look at me next profile.
School computers are rubbish. Because- they have pornography filters and you can't go on any games websites. Don't get RM's filter.
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