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Mad Max
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Mad Max
Australian theatrical release poster
Directed by
George Miller
Produced by
Byron Kennedy
Screenplay by
James McCausland
George Miller
Story by
George Miller
Byron Kennedy
Starring
Mel Gibson
Joanne Samuel
Hugh Keays-Byrne
Geoff Parry
Steve Bisley
Tim Burns
Roger Ward
Music by
Brian May
Cinematography
David Eggby
Edited by
Tony Paterson
Cliff Hayes
Production
company
Kennedy Miller Productions
Crossroads
Mad Max Films
Distributed by
Roadshow Film Distributors
Release date
12 April 1979 (1979-04-12)
Running time
93 minutes[1]
Country
Australia
Language
English
Budget
A$350,000–400,000[2]
Box office
US$100 million[3]
Mad Max is a 1979 Australian dystopian action film directed by George Miller, produced by Byron Kennedy, and starring Mel Gibson as "Mad" Max Rockatansky, Joanne Samuel, Hugh Keays-Byrne, Steve Bisley, Tim Burns, and Roger Ward. James McCausland and Miller wrote the screenplay from a story by Miller and Kennedy. The film presents a tale of societal collapse, murder, and revenge set in a future Australia, in which an unhinged policeman becomes embroiled in a violent feud with a savage motorcycle gang. Principal photography took place in and around Melbourne, Australia, and lasted six weeks.
The film initially received a polarized reception upon its release in April 1979, although it won three AACTA Awards and attracted a cult following, while its critical reputation has grown since. The film earned more than US$100 million worldwide in gross revenue. It held the Guinness record for most profitable film and has been credited for further opening up the global market to Australian New Wave films. The film became the first in the Mad Max series, giving rise to three sequels, Mad Max 2 (1981), Beyond Thunderdome (1985), and Fury Road (2015).
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Casting
3.3 Vehicles
3.4 Filming
3.5 Post-production
3.6 Music
4 Release
5 Reception
5.1 Accolades
5.2 Legacy
6 References
7 External links
Plot[edit]
"A few years from now", when society is teetering upon the brink of collapse, berserk motorbike gang member Crawford "Nightrider" Montazano (Vincent Gil) steals a Pursuit Special, which he uses to escape from police custody after killing a rookie officer of an Australian highway patrol called the Main Force Patrol (MFP). Even though he manages to elude other MFP officers, the MFP's top pursuit man Max Rockatansky (Mel Gibson) then engages the less-skilled Nightrider in a high-speed chase. Crawford breaks off first, but then is unable to recover his concentration before he and his girlfriend are killed in a fiery crash.
At the MFP garage, Max is shown what one of the MFP mechanics has been working on: a supercharged black Pursuit Special, the last of the V8 Interceptors.
Meanwhile, Nightrider's motorbike gang, led by Toecutter (Hugh Keays-Byrne) and Bubba Zanetti (Geoff Parry), run roughshod over a town, vandalising property, stealing fuel, and terrorising the population. They trap a young couple in a car, destroy the car, and it is implied that they rape the couple. Max and fellow officer Jim Goose (Steve Bisley) arrest Toecutter's young protégé Johnny the Boy (Tim Burns) at the scene. When neither the rape victims nor any of the townspeople show for Johnny's trial, the federal courts close the case, Johnny's attorneys releasing him into Bubba's custody over Goose's furious objections.
While Goose visits a nightclub in the city the next day, Johnny sabotages his police motorbike in the parking lot. After being thrown into a field at high speed uninjured during a ride, Goose borrows a ute to haul his damaged bike back to the MFP. However, Johnny ambushes Goose off the road by throwing a brake drum through his windshield, and, at Toecutter's insistence, throws a match into the wreck of the ute, igniting the gasoline and burning Goose alive. After seeing Goose's charred body in a hospital intensive-care unit, Max becomes disillusioned with the MFP, and informs his superior Fifi Macaffee (Roger Ward) that he will resign. Fifi convinces Max to take a vacation first before he submits his final letter of resignation.
Max takes his wife Jessie (Joanne Samuel) and their infant son Sprog (Brendan Heath) on vacation in a panel van. When they stop to fix the spare tyre, Jessie takes Sprog to buy ice cream. They encounter Toecutter and his gang, who attempt to molest Jessie, but Jessie kicks Toecutter in the crotch, picks up Sprog and escapes with him in the car. They flee to a remote farm owned by an elderly friend named May Swaisey (Sheila Florance). Toecutter's gang follows them there and ambushes Jessie in the woods. With May's help, Jessie and Sprog escape, but when they try to drive away, the van overheats and they are run over by the gang while trying to escape on foot. Sprog is killed and Jessie is badly injured. Max arrives too late to do anything.
Jessie is near death in a hospital ICU, and the loss of his family ultimately drives Max into a mad rage. He dons his police uniform and takes the black Pursuit Special from the MFP garage to pursue and eliminate the gang. He rams several gang members off a bridge at high speed, kills Bubba during an ambush, and forces Toecutter into the path of a speeding semi-trailer truck. Finally, Max locates Johnny at a car wreck stealing the boots of its dead driver. Max handcuffs Johnny's ankle to the wrecked vehicle, and sets a crude time-delay fuse involving a slow petrol leak and Johnny's lighter. Max throws Johnny a hacksaw, leaving him the choice of sawing through either the handcuffs or his ankle in order to escape within the given time limit. As Max drives away from the bridge, the vehicle explodes. Now a shell of his former self, Max drives on to points unknown.
Cast[edit]
Mel Gibson as Max Rockatansky
Joanne Samuel as Jessie Rockatansky
Hugh Keays-Byrne as Toecutter
Steve Bisley as Jim "Goose" Rains
Tim Burns as Johnny the Boy
Roger Ward as Fred "Fifi" Macaffee
Geoff Parry as Bubba Zanetti
Jonathan Hardy as Police Commissioner Labatouche
Brendan Heath as Sprog Rockatansky
Sheila Florence as May Swaisey
Vincent Gil as Crawford "The Nightrider" Montazano
Production[edit]
Development[edit]
George Miller was a medical doctor in Sydney, working in a hospital emergency room where he saw many injuries and deaths of the types depicted in the film. He also witnessed many car accidents growing up in rural Queensland and lost at least three friends to accidents as a teenager.[4]
While in residency at a Sydney hospital, Miller met amateur filmmaker Byron Kennedy at a summer film school in 1971. The duo produced a short film, Violence in the Cinema, Part 1, which was screened at a number of film festivals and won several awards. Eight years later, the duo produced Mad Max, working with first-time screenwriter James McCausland (who appears in the film as the bearded man in an apron in front of the diner).
According to Miller, his interest while writing Mad Max was "a silent movie with sound", employing highly kinetic images reminiscent of Buster Keaton and Harold Lloyd while the narrative itself was basic and simple. Miller believed that audiences would find his violent story more believable if set in a bleak dystopian future.[5] Screenwriter McCausland drew heavily from his observations of the 1973 oil crisis' effects on Australian motorists:
Yet there were further signs of the desperate measures individuals would take to ensure mobility. A couple of oil strikes that hit many pumps revealed the ferocity with which Australians would defend their right to fill a tank. Long queues formed at the stations with petrol—and anyone who tried to sneak ahead in the queue met raw violence. ... George and I wrote the [Mad Max] script based on the thesis that people would do almost anything to keep vehicles moving and the assumption that nations would not consider the huge costs of providing infrastructure for alternative energy until it was too late.
—  James McCausland, writing on peak oil in The Courier-Mail, 2006[6]
Kennedy and Miller first took the film to Graham Burke of Roadshow, who was enthusiastic. The producers felt they would be unable to raise money from the government bodies "because Australian producers were making art films, and the corporations and commissions seemed to endorse them whole-heartedly", according to Kennedy.[7]
They designed a 40-page presentation, circulated it widely, and eventually raised the money. Kennedy and Miller also contributed funds themselves by doing three months of emergency medical calls, with Kennedy driving the car while Miller did the doctoring.[7] Miller claimed the final budget was between $350,000 and $400,000.[8] His brother Bill Miller was an associate producer on the film.[9]
Casting[edit]
George Miller had considered an American actor to "get the film seen as widely as possible" and even travelled to Los Angeles, but eventually opted to not do so as "the whole budget would be taken up by a so-called American name."[5] So instead the cast would deliberately feature lesser known actors so they did not carry past associations with them.[4] Miller's first choice for the role of Max was the Irish-born James Healey, who at the time worked at a Melbourne abattoir and was seeking a new acting job. Upon reading the script Healey declined, finding the meager, terse dialogue too unappealing.[10]
Casting director Mitch Mathews invited for Mad Max a class of recent National Institute of Dramatic Art graduates, specifically asking a NIDA teacher for "spunky young guys". Among these actors was Mel Gibson, whose audition impressed Miller and Matthews and earned him the role of Max. An apocryphal tale stated that Gibson went to auditions in poor shape following a fight, but this has been denied by both Matthews and Miller. Gibson's friend and classmate Steve Bisley, who worked with him in his only screen role, 1976's Summer City, became Max's partner Jim Goose. A classmate of both, Judy Davis, was said to have auditioned and passed over,[10] but Miller has declared she was only in Matthews' studio to accompany Gibson and Bisley.[5]
Most of the biker gang extras were members of actual Australian outlaw motorcycle clubs and rode their own motorcycles in the film. They were even forced to ride the motorcycles from their residence in Sydney to the shooting locations in Melbourne because the budget did not allow for aerial transport.[5] Three of the main cast members (Hugh Keays-Byrne, Roger Ward and Vincent Gil) had previously appeared in Stone, a 1974 film about biker gangs that is said to have inspired Miller.[11]
Vehicles[edit]
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Max's yellow Interceptor was a 1974 Ford Falcon XB sedan (previously a Victoria police car) with a 351 c.i.d. Cleveland V8 engine.[12]
Mad Max Interceptor replica outside the Boston, Massachusetts area
The Big Bopper, driven by Roop and Charlie, was also a 1974 Ford Falcon XB sedan and a former Victoria police car, but was powered by a 302 c.i.d. V8.[13] The March Hare, driven by Sarse and Scuttle, was an in-line-six-powered 1972 Ford Falcon XA sedan (this car was formerly a Melbourne taxi cab).[14]
The most memorable car, Max's black Pursuit Special was a 1973 Ford XB Falcon GT351, a limited edition hardtop (sold in Australia from December 1973 to August 1976), which was primarily modified by Murray Smith, Peter Arcadipane, and Ray Beckerley. The main modifications are the Concorde front end and the supercharger protruding through the bonnet (for looks only; it was not functional). The Concorde front was a fairly new accessory at the time, designed by Peter Arcadipane at Ford Australia as a showpiece, and later became available to the general public because of its popularity.[15] After filming of the first movie was completed, the car went up for sale, but no buyers were found; eventually it was given to Smith.
When production of Mad Max 2 began, Miller brought the car back for use in the sequel. Once filming was over the car was left at a wrecking yard in Adelaide since it again found no buyers, and was bought and restored by Bob Forsenko. Eventually it was sold again and was put on display in the Cars of the Stars Motor Museum in Cumbria, England. When the museum closed, the car went to a collection in the Dezer Museum in Miami, Florida.[16]
Replica Mad Max Pursuit Special vehicle outside the Silverton Hotel
The Nightrider's vehicle, another Pursuit Special, was a 1972 Holden HQ Monaro LS coupe, also tuned but deliberately damaged to look like it had been involved in crashes.[17]
The car driven by the young couple that is vandalised and then finally destroyed by the bikers is a 1959 Chevrolet Bel Air Sedan, also modified to look like a hot-rod car with fake fuel injection stacks, fat tires, and a flame red paint job.
Of the motorcycles that appear in the film, 14 were Kawasaki Kz1000 donated by a local Kawasaki dealer. All were modified in appearance by Melbourne business La Parisienne — one as the MFP bike ridden by 'The Goose' and the balance for members of the Toecutter's gang, played in the film by members of a local Victorian motorcycle club, the Vigilantes.[18]
By the end of filming, fourteen vehicles had been destroyed in the chase and crash scenes, including the director's personal Mazda Bongo (the small, blue van that spins uncontrollably after being struck by the Big Bopper in the film's opening chase).[19]
Filming[edit]
Originally, filming was scheduled to take ten weeks—six weeks of first unit, and four weeks on stunt and chase sequences. However, four days into shooting, Rosie Bailey, who was originally cast as Max's wife, was injured in a bike accident. Production was halted, and Bailey was replaced by Joanne Samuel, causing a two-week delay.
In the end, the shoot took six weeks over November and December 1977, with a further six-week second unit. The unit reconvened two months later, in May 1978, and spent another two weeks doing second unit shots and re-staging some stunts.[7] Miller described the whole experience as "guerrilla filmmaking", where the crew would close roads without filming permits, not use walkie-talkies because their frequency coincided with the police radio, and after filming was done Miller and Kennedy would even sweep down the roads. Still, as filming progressed the Victoria Police became interested in the production, helping the crew by closing down roads and escorting the vehicles.[5] Because of the film's low budget, all but one of the police uniforms in the film were made of vinyl leather, with only one genuine leather uniform made for stunt sequences involving Bisley and Gibson.
Shooting took place in and around Melbourne. Many of the car chase scenes for Mad Max were filmed near the town of Little River, northeast of Geelong. The early town scenes with the Toe Cutter Gang were filmed in the main street of Clunes, north of Ballarat. Much of the streetscape remains unchanged. Some scenes were filmed at Tin City at Stockton Beach.[20][21] The "execution of the mannequin" scene was filmed at Seaford Beach in Seaford, Victoria.
Mad Max was one of the first Australian films to be shot with a widescreen anamorphic lens,[8] although Peter Weir's The Cars That Ate Paris (1974) was shot in anamorphic four years earlier.[22] Miller's desire to shoot in anamorphic made him seek a set of Todd-AO wide angle lenses used by Sam Peckinpah to film The Getaway (1972), which were damaged enough in that shoot to get discarded in Australia. The only one which worked properly was a 35mm lens which was employed in the whole of Mad Max.[5]
Post-production[edit]
The film's post-production was done at a friend's apartment in North Melbourne, with Wilson and Kennedy editing the film in the small lounge room on a home-built editing machine that Kennedy's father, an engineer, had designed for them. Wilson and Kennedy also performed sound editing there.
Tony Patterson edited the film for four months, then had to leave because he was contracted to make Dimboola (1979). George Miller took over editing with Cliff Hayes, and they worked on it for three months. Kennedy and Miller did the final cut,[7] in a process Miller described as "he would cut sound in the lounge room and I’d cut picture in the kitchen." Professional sound engineer Roger Savage would perform the sound mixing in the studio he worked after finishing his work with Little River Band, and employed timecoding techniques that were unseen in Australian cinema.[5]
Music[edit]
Main article: Mad Max (soundtrack)
The musical score for Mad Max was composed and conducted by Australian composer Brian May (not to be confused with the guitarist of the English rock band Queen). Miller wanted a Gothic, Bernard Herrmann–type score and hired May after hearing his work for Patrick (1978).[4] "With the little budget that we had we went ahead and did it, and spent a lot of time on it," said May. "George was marvelous to work with; he had a lot of ideas about what he wanted although he wasn’t a musician."[23] A soundtrack album was released in 1980 by Varèse Sarabande.[24]
Release[edit]
Mad Max was first released in Australia through Roadshow Film Distributors (now Village Roadshow Pictures) in 1979.[25] The movie was sold overseas for $1.8 million, with American International Pictures releasing in the United States and Warner Bros. handling the rest of the world.[8] The film was banned in New Zealand and Sweden, in the former because of the scene where Goose is burned alive inside his vehicle: it unintentionally mirrored an incident with a real gang shortly before the film's release. It was later shown in New Zealand in 1983 after the success of the sequel, with an 18 certificate.[26] The ban in Sweden was removed in 2005, and it has since been shown on television and sold on home media there.[27]
When shown in the United States during 1980, the original Australian dialogue was redubbed by an American crew.[28] American International Pictures distributed this dub after it underwent a management re-organisation.[29] Much of the Australian slang and terminology was also replaced with American usages (examples: "Oi!" became "Hey!", "See looks!" became "See what I see?", "windscreen" became "windshield", "very toey" became "super hot", and "proby"—probationary officer—became "rookie"). AIP also altered the operator's duty call on Jim Goose's bike in the beginning of the film (it ended with "Come on, Goose, where are you?"). The only dubbing exceptions were the voice of the singer in the Sugartown Cabaret (played by Robina Chaffey), the voice of Charlie (played by John Ley) through the mechanical voice box, and Officer Jim Goose (Steve Bisley), singing as he drives a truck before being ambushed. Since Mel Gibson was not well known to American audiences at the time, trailers and television spots in the United States emphasised the film's action content. The original Australian dialogue track was finally released in North America in 2000 in a limited theatrical reissue by MGM, the film's current rights holders. It has since been released in the US on DVD with the US and Australian soundtracks on separate tracks.[30][31]
Reception[edit]
Upon its release, the film polarized critics. In a 1979 review, the Australian social commentator and film producer Phillip Adams condemned Mad Max, saying that it had "all the emotional uplift of Mein Kampf" and would be "a special favourite of rapists, sadists, child murderers and incipient [Charles] Mansons".[32] After its United States release, Tom Buckley of The New York Times called the film "ugly and incoherent".[33] Stephen King, writing in Danse Macabre, called the film a "turkey." However, Variety magazine praised the directorial debut by Miller.[34]
Mad Max grossed A$5,355,490 at the box office in Australia and over US$100 million worldwide.[35][3] It was the most profitable film ever made at the time, holding the Guinness World Record for the highest box office to budget ratio of any motion picture.[36] The film was awarded three Australian Film Institute Awards in 1979 (for editing, sound, and musical score). It was also nominated for Best Film, Best Director, Best Original Screenplay, and Best Supporting Actor (Hugh Keays-Byrne) by the Australian Film Institute. The film also won the Special Jury Award at the Avoriaz Fantastic Film Festival.[37]
Mad Max holds a 90% "Fresh" rating on review aggregator site Rotten Tomatoes, based on 54 positive critic reviews, with consensus being "Staging the improbable car stunts and crashes to perfection, director George Miller succeeds completely in bringing the violent, post-apocalyptic world of Mad Max to visceral life."[38] The film has been included in "best films of all time" lists by The New York Times[39] and The Guardian.[40]
Accolades[edit]
List of awards and nominations
Award
Category
Winner/Nominee
Result
AACTA Award
(1979 AFI Awards) Best Film Byron Kennedy Nominated
Best Direction George Miller Nominated
Best Original Screenplay Nominated
James McCausland Nominated
Best Supporting Actor Hugh Keays-Byrne Nominated
Best Editing Cliff Hayes Won
Tony Paterson Won
Best Original Music Score Brian May Won
Best Sound Ned Dawson Won
Byron Kennedy Won
Roger Savage Won
Gary Wilkins Won
Avoriaz Fantastic Film Festival Special Jury Award George Miller Won
Legacy[edit]
Main article: Mad Max series legacy and influence in popular culture
References[edit]
Jump up ^ "MAD MAX (15)". British Board of Film Classification. 21 April 2015. Retrieved 28 January 2016.
Jump up ^ Robinson, Joanna (15 May 2015). "8 Reasons Why Mad Max Is the Most Improbable Franchise of All Time". Vanity Fair. Retrieved 15 March 2018.
^ Jump up to: a b Haenni, Sabine; Barrow, Sarah; White, John, eds. (2014). "Mad Max (1979)". The Routledge Encyclopedia of Films. Routledge. pp. 323–326. ISBN 9781317682615.
^ Jump up to: a b c Scott Murray & Peter Beilby, "George Miller: Director", Cinema Papers, May–June 1979 p369-371
^ Jump up to: a b c d e f g Filmmaker Interview: George Miller
Jump up ^ James McCausland (4 December 2006). "Scientists' warnings unheeded". The Courier-Mail. News.com.au. Retrieved 2010-04-26.
^ Jump up to: a b c d Peter Beilby & Scott Murray, "Byron Kennedy", Cinema Papers, May–June 1979 p366
^ Jump up to: a b c David Stratton, The Last New Wave: The Australian Film Revival, Angus & Robertson, 1980 p241-243
Jump up ^ "Mad Max Tail Credits" (PDF). Ozmovies. Archived from the original (PDF) on 15 May 2015. Retrieved 15 May 2015.
^ Jump up to: a b Clarkson, Wensley (2005). "6". Mel Gibson - Man on a Mission. John Blake Publishing. ISBN 1784184756.
Jump up ^ Stone rewatched: the Australian bikie movie that inspired Mad Max
Jump up ^ "Mad Max Cars – Max's Yellow Interceptor (4 Door XB Sedan)". Madmaxmovies.com. Retrieved 2010-07-14.
Jump up ^ "''Mad Max'' Cars – Big Boppa/Big Bopper". Madmaxmovies.com. Retrieved 2010-07-14.
Jump up ^ "''Mad Max'' Cars – March Hare". Madmaxmovies.com. Retrieved 2010-07-14.
Jump up ^ "''Mad Max'' Movies – The History of the ''Interceptor'', Part 1". Madmaxmovies.com. Retrieved 2010-07-14.
Jump up ^ "Cars of the Stars Motor Museum". Carsofthestars.com. Retrieved 2009-03-07.
Jump up ^ "''Mad Max'' Cars – The Nightrider's Monaro". Madmaxmovies.com. Retrieved 2010-07-14.
Jump up ^ "''Mad Max'' Cars – Toecutter's Gang (Bikers)". Madmaxmovies.com. Retrieved 2010-07-14.
Jump up ^ Lyttelton, Oliver (12 April 2012). "5 Things You Might Not Know About 'Mad Max'". Indiewire. Snagfilms. Retrieved 14 May 2015.
Jump up ^ Elliot, Tim (9 January 2014). "Welcome to Tin City, Stockton". The Newcastle Herald. Fairfax Media. Archived from the original on 10 November 2014. Retrieved 15 May 2015.
Jump up ^ "Tin City, Stockton Beach". Parliament of New South Wales. 27 August 2013. Retrieved 15 May 2015.
Jump up ^ Harland Smith, Richard. "The Cars That Ate Paris". Turner Classic Movies. Turner Broadcasting System. Archived from the original on 14 May 2015. Retrieved 14 May 2015.
Jump up ^ Flanagan, Graeme (14 May 2015). "A Conversation with Brian May". CinemaScore (published 1983) (11/12). Archived from the original on 23 October 2013. Retrieved 15 May 2015.
Jump up ^ Osborne, Jerry (2010). Movie/TV Soundtracks and Original Cast Recordings Price and Reference Guide. Port Townsend, Washington: Osborne Enterprises Publishing. p. 353. ISBN 0932117376.
Jump up ^ Moran, Albert; Vieth, Errol (2005). "Kennedy Miller Productions". Historical Dictionary of Australian and New Zealand Cinema. Scarecrow Press (Rowman & Littlefield). p. 174. ISBN 0-8108-5459-7. Retrieved 3 August 2011.
Jump up ^ Carroll, Larry (3 February 2009). "Greatest Movie Badasses Of All Time: Mad Max – Movie News Story | MTV Movie News". Mtv.com. Retrieved 2010-07-04.
Jump up ^ http://www.indiewire.com/2012/04/5-things-you-might-not-know-about-mad-max-252553/
Jump up ^ Herx, Henry (1988). "Mad Max". The Family Guide to Movies on Video. The Crossroad Publishing Company. p. 163 (pre-release version). ISBN 0-8245-0816-5.
Jump up ^ McFarlane, Brian (1988). Australian Cinema. Columbia University Press. p. 30. ISBN 0-231-06728-3. Retrieved 3 August 2011.
Jump up ^ Zad, Martie (29 December 2001). "Gibson's Voice Returns on New 'Mad Max' DVD". Los Angeles Times. Tribune Publishing. Archived from the original on 20 December 2012. Retrieved 14 May 2015.
Jump up ^ "Mad Max (1979)". The New York Times. Retrieved 17 July 2011.
Jump up ^ Phillip Adams, The Bulletin, 1 May 1979; cited by urban cinefile, 2010, "Mad Max". Adams has since remained a prominent opponent of screen violence. He has also been consistent in his criticism of Mel Gibson's political and social opinions.
Jump up ^ Buckley, Tom (14 June 1980). "Mad Max". The New York Times. Archived from the original on 21 May 2011. Retrieved 2010-04-26.
Jump up ^ "Mad Max Review – Read Variety's Analysis Of The Movie Mad Max". Variety.com. 1979-01-01. Retrieved 2009-03-07.
Jump up ^ "Film Victoria - Australian Films at the Australian Box Office" (PDF). Archived from the original (PDF) on 9 February 2014. Retrieved 1 December 2010.
Jump up ^ Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats. Abbeville Press. p. 34. ISBN 9781558592360.
Jump up ^ Awards for Mad Max on IMDb
Jump up ^ "Mad Max (1979)". Rotten Tomatoes. Flixster. Retrieved 14 May 2015.
Jump up ^ "The Best 1,000 Movies Ever Made". The New York Times. 29 April 2003. Retrieved 21 May 2010.
Jump up ^ "1000 films to see before you die". The Guardian. 4 July 2007.
External links[edit]
Wikiquote has quotations related to: Mad Max
Official website—home to the original Mad Max film, maintained by members of the cast and crew.
Mad Max on IMDb
Mad Max at the TCM Movie Database
Mad Max at Rotten Tomatoes
Mad Max at Box Office Mojo
Mad Max at Oz Movies
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AACTA Award for Best Original Music Score
1975–2000
The Cars That Ate Paris and The Great McCarthy – Bruce Smeaton (1975)
Not awarded (1976)
The Picture Show Man – Peter Best (1977)
The Chant of Jimmie Blacksmith – Bruce Smeaton (1978)
Mad Max – Brian May (1979)
Manganinnie – Peter Sculthorpe (1980)
Fatty Finn – Rory O'Donoghue and Grahame Bond (1981)
The Man from Snowy River – Bruce Rowland (1982)
Phar Lap – Bruce Rowland (1983)
Street Hero – Garth Porter and Bruce Smeaton (1984)
Rebel – Ray Cook, Chris Neal, Peter Best, Billy Byers, Bruce Rowland (1985)
Young Einstein – William Motzing and Martin Armiger (1986)
The Tale of Ruby Rose – Paul Schütze (1987)
The Lighthorsemen – Mario Millo (1988)
Dead Calm – Graeme Revell (1989)
The Big Steal – Phil Judd (1990)
Dingo – Michel Legrand and Miles Davis (1991)
Romper Stomper – John Clifford White (1992)
The Piano – Michael Nyman (1993)
Traps – Douglas Stephen Rae (1994)
Hotel Sorrento – Nerida Tyson-Chew (1995)
Shine – David Hirschfelder (1996)
Doing Time for Patsy Cline – Peter Best (1997)
Oscar and Lucinda – Thomas Newman (1998)
In a Savage Land – David Bridie (1999)
Bootmen – Cezary Skubiszewski (2000)
2001–present
The Dish – Edmund Choi (2001)
Rabbit-Proof Fence – Peter Gabriel (2002)
Japanese Story – Elizabeth Drake (2003)
Somersault – Decoder Ring (2004)
The Proposition – Nick Cave and Warren Ellis (2005)
Suburban Mayhem – Mick Harvey (2006)
The Home Song Stories – Antony Partos (2007)
Unfinished Sky – Antony Partos (2008)
Mao's Last Dancer – Christopher Gordon (2009)
Animal Kingdom – Antony Partos and Sam Petty (2010)
The Hunter – Andrew Lancaster, Michael Lira and Matteo Zingales (2011)
Not Suitable for Children – Matteo Zingales and Jono Ma (2012)
The Great Gatsby – Craig Armstrong (2013)
The Railwayman – David Hirschfelder (2014)
Mad Max: Fury Road – Tom Holkenborg (2015)
Tanna – Antony Partos (2016)
Lion – Volker Bertelmann and Dustin O’Halloran (2017)
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Mad Max (1990 video game)
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40,000 Years of Dreaming (1997)
Babe: Pig in the City (1998)
Happy Feet (2006)
Happy Feet Two (2011)
Mad Max: Fury Road (2015)
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text:
Body composition
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about fat, bone, water and muscle content of the human body. For the body's chemical composition, see Composition of the human body. For the general composition of all organisms, see Biological organisation.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)
In physical fitness, body composition is used to describe the percentages of fat, bone, water and muscle in human bodies.[1] Because muscular tissue takes up less space in our body than fat tissue, our body composition, as well as our weight, determines leanness. Two people of same sex and body weight may look completely different from each other because they have a different body composition.[2]
Contents
[hide]
1 Body density
2 DEXA
3 Air displacement plethysmography
4 From conductivity
5 Skin folds
6 Ultrasound
7 Circumferences and other measurements
8 Validity
9 Types of exercises
10 See also
11 References
Body density[edit]
The most accurate estimation of body composition is derived from body density by means of the equation of fractional densities which states that the overall density of a mixture containing more than one substance (each with a different density) can be calculated if the proportion and density of each component substance is known. For determination of body composition the body is often assumed to be composed of 4 basic substances ("four compartment model") with composition of the body |journal=Advances in Biological and Medical Physics |volume=4|pages=239–280|year=1956|pmid=13354513}}</ref>:262
Where: D b {\displaystyle Db} = overall body density, w {\displaystyle w} = proportion of water, f {\displaystyle f} = proportion of fat, p {\displaystyle p} = proportion of protein, m {\displaystyle m} = proportion of mineral, D w {\displaystyle Dw} = density of water, D f {\displaystyle Df} = density of fat, D p {\displaystyle Dp} = density of protein, D m {\displaystyle Dm} = density of mineral
In a research laboratory setting, the overall density of the body (Db) is calculated from its mass and volume (Db = mass/volume). The mass of the body is found by simply weighing a person on a scale. The volume of the body is most easily and accurately determined by completely immersing a person in water and calculating the volume of water from the weight of water that is displaced (via "underwater weighing"). The proportions of water, protein and mineral in the body are found by various chemical and radiometric tests.[3]:239–278 The densities of water, fat, protein and mineral are either measured or estimated. The equation is then rearranged to solve for the proportion of fat (f) from the other quantities.
A reasonably accurate estimation of body fat can be obtained by means of a "two compartment model" of the human body which is based upon two simplifying assumptions: 1. Human fat has a density of 0.9 grams/ml, and 2. The lean (non-fat) components of the human body have an overall density of 1.1 grams/ml.
The two compartment model allows for an estimation of the proportions of fat and lean components of the body to be made from the overall body density. And, as explained above, the overall body density (Db) is easily calculated from body mass and body volume. Rearranging the equation of fractional densities to solve for the proportion of fat (f) will yield the following equation:
f = 495 / D b − 450 {\displaystyle f=495/Db-450} [4]
The density of human fat is remarkably constant across all sub-groups studied but variations have been reported in the density of the fat free mass (i.e. lean or non-fat components). To address these differences, unique equations for the two compartment model have been proposed for specific populations.[5]
DEXA[edit]
Body composition measurement with dual energy X-ray absorptiometry (DEXA) is used increasingly for a variety of clinical and research applications. A DEXA scan requires medical supervision by a radiologist and some consider it to be the new "Gold Standard" in body composition testing. Total body scans using DEXA give accurate and precise measurements of body composition, including bone mineral content (BMC), bone mineral density (BMD), lean tissue mass, fat tissue mass, and fractional contribution of fat.[6]
The estimation of body fatness from body density (by means of underwater weighing) was accepted as the "gold standard" for many decades. Some researchers now claim that whole body scanning techniques (e.g. "DEXA") are the new "gold standard". But these claims are somewhat dubious since the scanning algorithms are validated against body composition assessments based on fractional density from underwater weighing.
DEXA measurements are highly reproducible if the same type of machine is used (citation needed), making them excellent for monitoring pharmaceutical therapy, nutritional or exercise intervention, sports training and or other body composition altering programs. They are also fast, simple, non-invasive, and expose the subject to a level of x-rays less than that of a cross-country flight. DEXA exams provide both total body and up to 14 regional (trunk, individual arms & legs, android, gynoid, etc.) results. However, the role of DEXA in clinical evaluations and research studies has been questioned by Wang et al.[7] who stated that "the errors of the DXA [DEXA] method are still of concern if it were to be used as the criterion."
Air displacement plethysmography[edit]
Body composition measurement with air displacement plethysmography or whole-body air displacement plethysmography (ADP) technology
Another technique for measuring body composition has been developed for measuring body volume using a different method than underwater weighing. The technique uses air as opposed to water and is known as air displacement plethysmography (ADP). Subjects enter a sealed chamber that measures their body volume through the displacement of air in the chamber. Body volume is combined with body weight (mass) in order to determine body density. The technique then estimates the percentage of body fat and lean body mass (LBM) through empirically derived equations similar to those used with underwater weighing (for the density of fat and fat free mass).
From conductivity[edit]
Another method is bioelectrical impedance analysis (BIA), which uses the resistance of electrical flow through the body to estimate body fat. Unfortunately, BIA is highly sensitive to hydration status and water intake. Drinking water dilutes the electrolytes in the body making it less conductive as does increasing body fat.
Skin folds[edit]
Body composition can also be measured using the skin fold test, which is performed using a tool called a caliper. It can be done in nine steps:
Take measurements on the right side of the body.
Mark client up.
Pinch skin (KM) above mark
Pull fat away from muscles
Place caliper halfway between top and bottom of mark
Allow caliper to settle (1–2 seconds)
Take reading – repeat 15 seconds
Add up total (4) – average
Calculate body fat %
A common skin fold method is by using gun style calipers to measure the thickness of subcutaneous fat in multiple places on the body. This includes the abdominal area, the subscapular region, arms, buttocks and thighs. These measurements are then used to estimate total body fat.
Ultrasound[edit]
Ultrasound has also been used to measure subcutaneous fat thickness, and by using multiple points an estimation of body composition can be made. Ultrasound has the advantage of being able to also directly measure muscle thickness and quantify intramuscular fat.[citation needed]
Circumferences and other measurements[edit]
Assessment of somatic (skeletal) protein is typically determined by simple measurements and calculations including mid arm circumference (MAC), mid arm muscle circumference (MAMC), and creatinine height ratio (CHI). Creatinine height ratio is calculated as 24-hour urine creatinine multiplied by 100 over the expected 24-hour urine creatinine for height. This calculation results in a percentage which can indicate protein depletion.[citation needed]
Validity[edit]
The methods above are each valid and notable in providing a reasonably accurate range of the "true body composition" of the tested individual. However, each method does possess its own individual limitations, indeed precluding to the existence of so many variable methods available for an individual to use. Therefore, the actual method of testing body composition is not as important as the consistency of measurement in between each test. (See internal consistency for merits on testing in this manner.) If an individual is to be tested from one period to the next, all factors should ideally remain as similar as possible to reflect the best indicator of true change in composition.[8]
Types of exercises[edit]
The exercises needed to maintain optimal body composition differ from man to woman to child, but the ideal types of fitness remain the same.[9]
The primary exercises needed to improve body composition involve fat burning and cardiovascular exercises.[10]
See also[edit]
Body volume index
Body mass index
References[edit]
Jump up ^ "composition of the body – FREE composition of the body information | Encyclopedia.com: Find composition of the body research". www.encyclopedia.com. Retrieved 2016-01-10.
Jump up ^ "Body Composition Tests". www.heart.org. Retrieved 2015-11-25.
Jump up ^ Siri William E (1956). "The gross composition of the body". Advances in Biological and Medical Physics. 4: 239–280. PMID 13354513.
Jump up ^ Siri William E (1956). "Body composition from fluid spaces and density: analysis of methods". Donner laboratory of biophysics and medical physics. UCRL 3349: 14.
Jump up ^ Wagner DR, Heyward VH (2000). "Measures of body composition in blacks and whites: a comparative review". J Clin Nutr. 71 (6): 1392–1402.
Jump up ^ Kiebzak GM, Leamy LJ, Pierson LM, Nord RH, Zhang ZY (2000). "Measurement precision of body composition variables using the lunar DPX-L densitometer". J Clin Densitom. 3 (1): 35–41. PMID 10745300. doi:10.1385/jcd:3:1:035.
Jump up ^ Wang ZM, Deurenberg P, Guo SS, Pietrobelli A, Wang J, Pierson RN Jr, Heymsfield SB (1998). "Six-compartment body composition model: inter-method comparisons of total body fat measurement". Int J Obes Relat Metab Disord. 22: 329–337.
Jump up ^ Wells, J. C.; Fewtrell, M. S. (2006). "Measuring body composition". Archives of Disease in Childhood. 91 (7): 612–617. PMC 2082845  . PMID 16790722. doi:10.1136/adc.2005.085522.
Jump up ^ "Normal ranges of body weight and body fat". human-kinetics. Retrieved 2015-11-25.
Jump up ^ "Examples of Body Composition Exercises". Healthy Living - azcentral.com. Retrieved 2015-11-25.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Body_composition&oldid=805978006"
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text:
New Zealand bank account number
From Wikipedia, the free encyclopedia
Jump to: navigation, search
New Zealand bank account numbers in NZD follow a standardised format of 16 digits:
a prefix representing the bank and branch (six digits), otherwise known as the Bank code;
the body (seven digits); and
the suffix representing the product/account type (two or three digits).
While the New Zealand format is similar to Australia's Bank State Branch, the two systems are not interchangeable.
New Zealand bank account numbers in foreign currencies vary by bank.
Contents
[hide]
1 Background
2 Format of account numbers
3 Account number prefix
4 Account number body
5 Account number suffix
6 See also
7 References
Background[edit]
The origins of the format lay in the establishment of the Databank Systems Limited, a company set up by a consortium of competing banks New Zealand, to provide computing resources (development and operational) for the consortium members.[1]
Bank codes are coordinated by Payments NZ who administer the Bulk Electronic Clearing System (BECS). The scope of BECS includes direct debits, automatic payments, bill payments, and direct credits.[2] Payments NZ also administer the following payment systems in New Zealand:[3]
Paper Clearing System
High Value Clearing System
Consumer Electronic Clearing System
Format of account numbers[edit]
Account numbers are generally presented in the format:
BBbbbb-AAAAAAA-SSS
where B is the bank number (2 digits), b is the branch number (4 digits), A is the account number (7 digits) and S are digits of the suffix (2 or 3 digits). Where a bank displays the suffix as two digits, a leading zero is added to pad the suffix to three digits; i.e. BBbbbb-AAAAAAA-SS becomes BBbbbb-AAAAAAA-0SS.
This format allows customers to have a single account number with differing suffixes for multiple accounts of differing types. This does not include credit card and loan products.
Account number prefix[edit]
Bank accounts are prefixed with six digits, two indicating the bank and four which indicate the branch. The table below shows which banks are allocated which bank prefix. A current list of branches as their associated bank/branch numbers is available for download from the Payments NZ website.
Bank name
Bank prefix
Branch range
ANZ 01, 06 and 11 (see below) 0001–5699
BNZ 02 0001–1299
The Co-operative Bank 02 1242, 1246, 1248 (agency arrangement via BNZ)
Westpac 03 0001–1999
NZCU 03 Agency arrangement via Westpac
Rabobank New Zealand 03 0001–1999
National Bank of New Zealand[a] 06 0001–1499
National Australia Bank 08 0000–9999
Industrial and Commercial Bank of China 10 5165—5169
PostBank[a] 11 5000–8999
ASB 12 3000–3499
Trust Bank Southland[a] 13 4900–4999
Trust Bank Otago[a] 14 4700–4799
TSB 15 3900–3999
Trust Bank Canterbury[a] 16 4400–4499
Trust Bank Waikato[a] 17 3300–3399
Trust Bank Bay of Plenty[a] 18 3500–3599
Trust Bank South Canterbury[a] 19 4600–4649
Trust Bank Auckland[a] 21 4800–4899
Trust Bank Central[a] 20 4100–4199
Trust Bank Wanganui[a] 22 4000–4049
Westland Bank[a] 24 4300–4349
Trust Bank Wellington[a] 23 3700–3799
Countrywide[a] 25 2500–2599
United Bank[a] 29 0000–9999
HSBC 30 2900–2956
Citibank 31 2800–2849
Kiwibank 38 9000–9499
^ Jump up to: a b c d e f g h i j k l m n o This bank no longer trades under this name or is defunct.
Account number body[edit]
The account body consists of seven digits, right adjusted and padded with zeroes if necessary. The last digit of the body is a check digit which can be validated using a modulus algorithm.[4]
Account number suffix[edit]
The table below shows the account number suffixes as introduced by Databank Systems Limited from 1969.[1]
Type of account
Suffix
Cheque Account 00
Number 2 Account 02
Fixed Account 03
Savings Account 30
Credit Card Account 40
Thrift Club Account 50
Term Deposit Account 81
Some banks (such as BNZ) include three digits of the suffix in their presentation of the number to the end customer. Other banks only show the last two digits of the suffix to the end customer. Technically, all banks have three digit suffixes, it's just that the first digit of the suffix is always 0 so it's usually ignored.
See also[edit]
Bank code
Bank State Branch, the bank code format used in Australia
Databank Systems Limited
ISO 9362, the standard for SWIFT codes, international bank identifiers
ABA routing transit number, the bank code format used in the United States
Routing number (Canada), the bank code format used in Canada
Sort code, a number used in the United Kingdom
References[edit]
^ Jump up to: a b Databank Systems Limited, Computing a Nation, c1988, 16 page booklet
Jump up ^ Payments NZ website, description of Bulk Electronic Clearing System, accessed 30/05/2013
Jump up ^ Payments NZ website, list of all payment systems, accessed 30/05/2013
Jump up ^ "Non-Resident Withholding Tax And Resident Withholding Tax Specification Document For the year ending 31 March 2016" (PDF). Inland Revenue / Te Tari Taake. 9 October 2015. Retrieved 4 June 2016.
[hide]
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Bank codes and identification
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Bank clearing number (Switzerland and Liechtenstein)
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Sort code (United Kingdom and Ireland)
Oceania
New Zealand bank account number (New Zealand)
Bank state branch (Australia)
International
International Bank Account Number
ISO 9362
Society for Worldwide Interbank Financial Telecommunication (SWIFT)
Retrieved from "https://en.wikipedia.org/w/index.php?title=New_Zealand_bank_account_number&oldid=832663320"
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Don't Tell Mom the Babysitter's Dead
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Don't Tell Mom The Babysitter's Dead
Theatrical release poster
Directed by
Stephen Herek
Produced by
Robert F. Newmyer
Brian Reilly
Jeffery Silver
Written by
Neil Landau
Tara Ison
Starring
Christina Applegate
Joanna Cassidy
Keith Coogan
John Getz
Josh Charles
Music by
David Newman
Cinematography
Tim Suhrstedt
Edited by
Larry Bock
Production
company
HBO Pictures (Time Warner)
Outlaw Productions
Distributed by
Warner Bros.
(Time Warner)
Release date
June 7, 1991
Running time
102 minutes
Country
United States
Language
English
Budget
$10 million
Box office
$25,196,249[1]
Don't Tell Mom the Babysitter's Dead is a 1991 American comedy film directed by Stephen Herek and starring Christina Applegate, Joanna Cassidy, Josh Charles, and David Duchovny.
The plot focuses on seventeen-year-old Sue Ellen Crandell, whose mother leaves for a two-month summer vacation in Australia, putting all five siblings in the care of an evil tyrannical elderly babysitter. When the babysitter suddenly dies in her sleep, Sue Ellen assumes the role as head of the household to prevent her mother from returning home early. She fakes a resume to get a job in the fashion industry, but proves capable and lucky enough to succeed.
Contents
[hide]
1 Plot
2 Filming
3 Cast
4 Soundtrack
5 Reception
6 Remake
7 References
8 External links
Plot[edit]
Sue Ellen Crandell (Christina Applegate) is a 17-year-old high school graduate who, due to a lack of funds, cannot go to Europe for the summer with her friends. She is about to head to college in the fall. However, when her mother goes on a vacation to Australia with her boyfriend, Sue Ellen looks forward to an entire summer of freedom with her siblings: slacker/drug addict Kenny (Keith Coogan), 14-year-old ladies' man Zach (Christopher Pettiet), 13-year-old tomboy Melissa (Danielle Harris), and 11-year-old TV fanatic Walter (Robert Hy Gorman).[2] Much to Sue Ellen's dismay, her mother hires a live-in babysitter, Mrs. Sturak, a seemingly sweet, humble old woman who assures Mrs. Crandell that she can take care of all five children. As soon as Mrs. Crandell leaves, Mrs. Sturak shows her true colors as an evil tyrant, quickly drawing the ire of the children. However, she later dies of a heart attack. When her body is discovered by Sue Ellen, the children agree to stuff the babysitter in a trunk and drop her off at a local funeral home and keep her car. They discover that the envelope given to Mrs. Sturak by their mother with their summer money is empty; she had it on her when they delivered her body to the funeral home.
With no money to pay the family's bills, Sue Ellen finds work at a fast food restaurant called Clown Dog. Despite a budding relationship with her co-worker named Bryan, she quits because of the obnoxious manager. Sue Ellen then forges a résumé under the guise of a young fashion designer and applies at General Apparel West (GAW), hoping to secure a job as a receptionist. However, Rose Lindsey (Joanna Cassidy), a company executive, finds her résumé so impressive that she offers Sue Ellen a job as an administrative assistant, much to the chagrin of Carolyn, a receptionist on Rose's floor who was initially in line for the job. While having dinner at a restaurant that night, Mrs. Sturak's car is stolen by drag queens, forcing Sue Ellen to call in a favor from Bryan to bring them home. Sue Ellen then obtains the keys to her mother's Volvo, and begins stealing from petty cash at GAW to support the family, intending to return it when she receives her paycheck.
At work, Sue Ellen has to balance the adult responsibilities thrust upon her while still trying to enjoy herself as a teenager. The double life strains her relationship with Bryan when she discovers that he and Carolyn are brother and sister. Sue Ellen then finds herself tested when she learns that GAW is in danger of going out of business. She takes it upon herself to create a new clothing line and Rose suggests holding a fashion show to exhibit their new designs. Sue Ellen offers to host the party, convincing her siblings to help clean up the house, beautify the yard, and act as caterers. Although she manages to pull off the party, it comes to an end when Mrs. Crandell comes home early and catches Sue Ellen in the act, forcing her to confess her lie in front of everyone. While apologizing to Rose after the party, Sue Ellen learns that her unique designs had saved GAW. Rose then offers the real Sue Ellen the job as her personal assistant, which she respectfully declines in favor of going to college first. Rose tells Sue Ellen that she can "pull some strings" to get her in to Vassar and they make plans to get together for dinner.
In the end, Sue Ellen and Bryan make up, but are soon interrupted by Mrs. Crandell, who inquires about Mrs. Sturak's whereabouts. As the credits roll, the scene cuts away to the cemetery, where two morticians look over a gravestone that reads "Nice Old Lady Inside, Died of Natural Causes."
Filming[edit]
The house that was used in this movie is located in Canyon Country, California.
Cast[edit]
Christina Applegate as Sue Ellen "Swell" Crandell
Joanna Cassidy as Rose Lindsey
John Getz as Gus Brandon
Keith Coogan as Kenneth "Kenny" Crandell
Josh Charles as Bryan
Concetta Tomei as Mrs. Crandell
David Duchovny as Bruce
Kimmy Robertson as Cathy Henderson
Jayne Brook as Carolyn
Eda Reiss Merin as Mrs. Sturak
Robert Hy Gorman as Walter Crandell
Danielle Harris as Melissa Crandell
Christopher Pettiet as Zach Crandell
Jeff Bollow as Mole
Michael Kopelow as Hellhound
Dan Castellaneta (voice) as Animated Mrs. Sturak
Soundtrack[edit]
"Draggin' the Line", performed by Beat Goes Bang
"Perfect World", performed by Alias
"What She Don't Know", performed by Flame
"Keep the Faith", performed by Valentine
"Chains", performed by Lorraine Lewis
"I Only Have Eyes For You", performed by Timothy B. Schmit
"The Best Thing", performed by Boom Crash Opera
"Viva La Vogue", performed by Army of Lovers
"Stampede", performed by Brad Gillis
"Bitter", performed by Terrell
"Life's Rich Tapestry", performed by Modern English
"Children of the Fire", performed by Mike Reeves
"Runnin' on Luck Again", performed by Valentine
"Gimme Some Money", performed by Spinal Tap
"As Time Goes By", written by Herman Hupfield
"(Love Is) The Tender Trap", lyrics and music Sammy Cahn and Jimmy Van Heussen
"Twilight Zone Theme", written by Marius Constant
Reception[edit]
Review aggregation website Rotten Tomatoes gives the film a score of 31% based on reviews from 26 critics, with an average score of 4/10.[3] The New York Post called Don't Tell Mom the Babysitter's Dead the best teen hit of 1991.[citation needed]
Remake[edit]
In June 2010, reports surfaced that a remake of the film, produced by The Mark Gordon Company, is currently in the works. As of December 2017, further details are unknown.[4]
References[edit]
Jump up ^ Don't Tell Mom the Babysitter's Dead at Box Office Mojo
Jump up ^ "How "Don't Tell Mom The Babysitter's Dead" Went from D.O.A. to Beloved Cult Classic". BuzzFeed. Retrieved 3 April 2017.
Jump up ^ "Don't Tell Mom the Babysitter's Dead Movie Reviews, Pictures". Rotten Tomatoes. Flixster. Retrieved 4 March 2011.
Jump up ^ ""Don't Tell Mom the Babysitter's Dead" Remake is Coming". Retrieved 26 October 2014.
External links[edit]
Wikiquote has quotations related to: Don't Tell Mom the Babysitter's Dead
Don't Tell Mom the Babysitter's Dead on IMDb
Don't Tell Mom the Babysitter's Dead at AllMovie
Don't Tell Mom the Babysitter's Dead at Box Office Mojo
[hide]
v
t
e
Films directed by Stephen Herek
Critters (1986)
Bill & Ted's Excellent Adventure (1989)
Don't Tell Mom the Babysitter's Dead (1991)
The Mighty Ducks (1992)
The Three Musketeers (1993)
Mr. Holland's Opus (1995)
101 Dalmatians (1996)
Holy Man (1998)
Rock Star (2001)
Life or Something Like It (2002)
Man of the House (2005)
Picture This (2008)
Dead like Me: Life After Death (2009)
Into the Blue 2: The Reef (2009)
The Cutting Edge: Fire and Ice (2010)
The Chaperone (2011)
Jinxed (2013)
Dolly Parton's Coat of Many Colors (2015)
The Great Gilly Hopkins (2015)
Dolly Parton's Christmas of Many Colors: Circle of Love (2016)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Don%27t_Tell_Mom_the_Babysitter%27s_Dead&oldid=814771639"
Categories:
English-language films
1991 films
1990s comedy films
American black comedy films
American films
American teen comedy films
Films directed by Stephen Herek
Warner Bros. films
Films produced by Julia Phillips
Films scored by David Newman
Films with live action and animation
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This page was last edited on 10 December 2017, at 21:13.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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value: Don't Tell Mom the Babysitter's Dead – Spanish

value: ...Non dite a mamma che la babysitter è morta! – Italian

value: Don't Tell Mom the Babysitter's Dead – Dutch

value: Nie mów mamie, że niania nie żyje – Polish

value: Don't Tell Mom the Babysitter's Dead – Portuguese

value: Не говори маме, что няня умерла – Russian

value: Ні слова мамі про смерть няні – Ukrainian

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