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Independence Day (1996 film)
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Independence Day
Theatrical release poster
Directed by
Roland Emmerich
Produced by
Dean Devlin
Written by
Dean Devlin
Roland Emmerich
Starring
Will Smith
Bill Pullman
Jeff Goldblum
Mary McDonnell
Judd Hirsch
Margaret Colin
Randy Quaid
Robert Loggia
James Rebhorn
Harvey Fierstein
Music by
David Arnold
Cinematography
Karl Walter Lindenlaub
Edited by
David Brenner
Production
company
Centropolis Entertainment
Distributed by
20th Century Fox
Release date
July 2, 1996 (1996-07-02) (Limited)
July 3, 1996 (1996-07-03) (United States)
Running time
145 minutes[1]
Country
United States
Language
English
Budget
$75 million[2][3]
Box office
$817.4 million[2]
Independence Day is a 1996 American science fiction action film directed and co-written by Roland Emmerich. The film focuses on disparate groups of people who converge in the Nevada desert in the aftermath of a worldwide attack by an extraterrestrial race of unknown origin. With the other people of the world, they launch a last-ditch counterattack on July 4—Independence Day in the United States.
While promoting Stargate in Europe, Emmerich came up with the idea for the film when fielding a question about his own belief in the existence of alien life. He and Dean Devlin decided to incorporate a large-scale attack having noticed that aliens in most invasion films travel long distances in outer space only to remain hidden when reaching Earth. Shooting began in July 1995 in New York City, and the film was officially completed on June 20, 1996.
Now considered to be a significant turning point in the history of the Hollywood blockbuster, the film was released worldwide on July 3, 1996, but began showing on July 2 (the same day the film's story begins) on limited release as a result of a high level of anticipation among moviegoers. The film grossed over $817.4 million worldwide,[2] becoming the highest-grossing film of 1996 and, briefly, the second-highest-grossing film worldwide of all time behind 1993's Jurassic Park. Currently, it ranks 69th on the list of highest-grossing films, and was at the forefront of the large-scale disaster film and sci-fi resurgence of the mid-late 1990s. The film won the Academy Award for Best Visual Effects and was nominated for the Academy Award for Best Sound Mixing. A sequel, Independence Day: Resurgence, was released 20 years later on June 24, 2016.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Music
4 Release
4.1 Censorship
4.2 Twentieth anniversary release
5 Reception
5.1 Box office
5.2 Critical response
5.3 Accolades
5.4 Legacy
6 In other media
6.1 Books
6.2 Radio
6.3 Multimedia
6.4 Video games
6.5 Toys
7 Sequel
8 See also
9 References
10 External links
Plot[edit]
On July 2, 1996, an enormous alien mothership, that has one fourth the mass of the Moon, enters orbit around Earth, deploying gargantuan assault fortress saucers, each fifteen miles wide, that take positions over some of Earth's major cities and military bases. David Levinson, an MIT-trained satellite technician, decodes a signal embedded in the global satellite transmissions that he determines is a timer counting down to a coordinated attack. With the help of his former wife, White House Communications Director Constance Spano, David, and his father Julius, gain access to the Oval Office and warn President Thomas J. Whitmore that the aliens are hostile. Whitmore orders large-scale evacuations of New York City, Los Angeles, and Washington, D.C., but it is too late; the timer reaches zero and the saucers activate devastating directed-energy weapons, killing millions. Whitmore, the Levinsons, and a few others narrowly escape aboard Air Force One as the capital is destroyed, along with other locations over which the saucers are positioned.
On July 3, international leaders begin ordering individual counterattacks. Their aviation forces attack the saucers positioned above the ruins of the cities, but the saucers are protected by force fields. Each saucer launches a swarm of attack fighters, each with its own shield as well, which wipe out the human fighter squadrons. Captain Steven Hiller, a F/A-18 jet pilot with the USMC squadron VMFA-314 based out of Marine Corps Air Station El Toro, survives by luring his attacker to the enclosed spaces of the Grand Canyon and sacrificing his plane, forcing the alien to crash-land. He subdues the injured alien pilot and flags down a convoy of refugees, hitching a ride with former combat pilot Russell Casse. They transport the unconscious alien to Area 51, where Thomas' group has landed. Through Secretary of Defense Albert Nimzicki, they learn that a faction of the government has been involved in a UFO conspiracy since 1947, when one of the invaders' attack fighters crashed in Roswell. Area 51 houses the refurbished alien fighter, and three alien corpses recovered from the crash.
When eccentric scientist Dr. Brackish Okun examines the alien captured by Steven, it regains consciousness and attacks. It telepathically invades Dr. Okun's mind and uses his vocal cords to communicate with Thomas before launching a psychic attack against him. Thomas sees visions of the aliens' plans: their entire civilization travels from planet to planet, exterminating all indigenous life and harvesting the planet of all natural resources. After Secret Service agents and military personnel kill the alien, Thomas reluctantly authorizes a nuclear attack; a B-2 Spirit fires a nuclear warhead tipped cruise missile at a saucer positioned above Houston, but the saucer remains intact.
On July 4, David demonstrates that the key to defeating the aliens lies in deactivating their force fields, and devises a way to do so by uploading a computer virus into the mothership. He proposes using the refurbished alien fighter to implement the plan, which Steven volunteers to pilot. The two are able to upload the virus and deploy a nuclear weapon on board the mothership. With military pilots in short supply, Thomas enlists the help of volunteers with flight experience, including Russell, to fly the remaining F/A-18s at Area 51; and leads an attack on a saucer bearing down on the base. With the aliens' shields deactivated, the fighter jets are able to inflict damage, but their supply of missiles is quickly exhausted. As the saucer prepares to fire on the base, Russell has one last missile to spare, but his attempt of firing it jams, leaving him no choice but to sacrifice his own life. He flies his jet kamikaze-style into the directed-energy weapon port, which results in an explosion that destroys the saucer. Human resistance forces around the world successfully destroy the other saucers using this vulnerability. As humankind is rejoicing in victory, Steven and David return to Area 51 unharmed and reunite with their families. They and military officers nearby accompany Thomas and his daughter in watching the wreckage from the mothership burn up, resembling a fireworks display as it enters Earth's atmosphere.
Cast[edit]
Will Smith as Captain Steven Hiller, a Marine F/A-18 pilot. Devlin and Emmerich had always envisioned an African-American for the role,[4] and specifically wanted Smith after seeing his performance in Six Degrees of Separation.[5]
Bill Pullman as President Thomas J. Whitmore, a former fighter pilot and Gulf War veteran. To prepare for the role, Pullman read Bob Woodward's The Commanders and watched the documentary film The War Room.[6]
Jeff Goldblum as David Levinson, an MIT-educated technological expert.
Mary McDonnell as First Lady Marilyn Whitmore.
Judd Hirsch as Julius Levinson, David Levinson's father. The character was based on one of Dean Devlin's uncles.[7]
Robert Loggia as General William Grey, USMC, the head of the United States Space Command. Loggia modeled the character after World War II generals, particularly George S. Patton.[8]
Randy Quaid as Russell Casse, an eccentric, alcoholic former fighter pilot and Vietnam War veteran.
Margaret Colin as Constance Spano, Whitmore's White House Communications Director and David Levinson's former wife.
Vivica A. Fox as Jasmine Dubrow.
James Rebhorn as Albert Nimzicki, the Secretary of Defense and, as former CIA Director, one of the few aware of the aliens' existence due to the ship recovered at Roswell. Rebhorn described the character as being much like Oliver North.[9] The character's eventual firing lampoons Joe Nimziki,[10] MGM's head of advertising, who made life unpleasant for Devlin and Emmerich when studio executives forced recuts of Stargate.[11]
Harvey Fierstein as Marty Gilbert.
Adam Baldwin as Major Mitchell, USAF, Area 51's commanding officer.
Brent Spiner as Dr. Brackish Okun, the unkempt and highly excitable scientist in charge of research at Area 51. Dr. Okun appeared to have been killed by an alien but returned in the sequel, where it was revealed that the character had merely been in a coma.[12] The character's appearance and verbal style are based upon those of visual effects supervisor Jeffrey A. Okun, with whom Emmerich had worked on Stargate.[13]
James Duval as Miguel Casse.
Bill Smitrovich as Lt. Col. Watson.
Harry Connick Jr. as Marine Captain Jimmy Wilder. Connick took over the part from Matthew Perry, originally cast in the role.
Mae Whitman as Patricia Whitmore, the daughter of President Thomas J. Whitmore and First Lady Marilyn Whitmore.[14]
Production[edit]
Development[edit]
CGI F/A-18 Hornets attack
F/A-18 Hornets of VMFA-314, "Black Knights"
The idea for the film came when Emmerich and Devlin were in Europe promoting their film Stargate. A reporter asked Emmerich why he made a film with content like Stargate if he did not believe in aliens. Emmerich stated he was still fascinated by the idea of an alien arrival, and further explained his response by asking the reporter to imagine what it would be like to wake up one morning and to discover 15 mile-wide spaceships were hovering over the world's largest cities. Emmerich then turned to Devlin and said, "I think I have an idea for our next film."[7][15][16]
Emmerich and Devlin decided to expand on the idea by incorporating a large-scale attack, with Devlin saying he was bothered by the fact that "for the most part, in alien invasion movies, they come down to Earth and they're hidden in some back field …[o]r they arrive in little spores and inject themselves into the back of someone's head."[17] Emmerich agreed by asking Devlin if arriving from across the galaxy, "would you hide on a farm or would you make a big entrance?"[17] The two wrote the script during a month-long vacation in Mexico,[15] and just one day after they sent it out for consideration, 20th Century Fox chairman Peter Chernin greenlit the screenplay.[11] Pre-production began just three days later in February 1995.[7][15] The U.S. military originally intended to provide personnel, vehicles, and costumes for the film; however, they backed out when the producers refused to remove the script's Area 51 references.[7]
A then-record 3,000-plus special effects shots would ultimately be required for the film.[16] The shoot utilized on-set, in-camera special effects more often than computer-generated effects in an effort to save money and get more authentic pyrotechnic results.[7] Many of these shots were accomplished at Hughes Aircraft in Culver City, California, where the film's art department, motion control photography teams, pyrotechnics team, and model shop were headquartered. The production's model-making department built more than twice as many miniatures for the production than had ever been built for any film before by creating miniatures for buildings, city streets, aircraft, landmarks, and monuments.[18] The crew also built miniatures for several of the spaceships featured in the film, including a 30-foot (9.1 m) destroyer model[19] and a version of the mother ship spanning 12 feet (3.7 m).[20] City streets were recreated, then tilted upright beneath a high-speed camera mounted on a scaffolding filming downwards. An explosion would be ignited below the model, and flames would rise towards the camera, engulfing the tilted model and creating the rolling "wall of destruction" look seen in the film.[21] A model of the White House was also created, covering 10 feet (3.0 m) by 5 feet (1.5 m), and was used in forced-perspective shots before being destroyed in a similar fashion for its destruction scene.[22] The detonation took a week to plan[11] and required 40 explosive charges.[22]
A World War II training aircraft with a camera mounted on its front navigated through the walls of the Little Colorado River canyon, and the footage was used as pilot point-of-view shots.[23]
The film's aliens were designed by production designer Patrick Tatopoulos. The actual aliens in the film are diminutive and based on a design Tatopoulos drew when tasked by Emmerich to create an alien that was "both familiar and completely original".[24] These creatures wear "bio-mechanical" suits that are based on another design Tatopoulos pitched to Emmerich. These suits were 8 feet (2.4 m) tall, equipped with 25 tentacles, and purposely designed to show it could not sustain a person inside so it would not appear to be a "man in a suit".[25]
Filming[edit]
Principal photography began in July 1995 in New York City. A second unit gathered plate shots and establishing shots of Manhattan, Washington, D.C., an RV community in Flagstaff, Arizona, and the Very Large Array on the Plains of San Agustin, New Mexico.[25] The main crew also filmed in nearby Cliffside Park, New Jersey before moving to the former Kaiser Steel mill in Fontana, California to film the post-attack Los Angeles sequences.[26] The production then moved to Wendover, Utah, and West Wendover, Nevada,[27] where the deserts doubled for Imperial Valley, and the Wendover Airport doubled for the El Toro and Area 51 exteriors.[28] It was here where Pullman filmed his pre-battle speech. Immediately before filming the scene, Devlin and Pullman decided to add "Today, we celebrate our Independence Day!" to the end of the speech. At the time, the production was nicknamed "ID4" because Warner Bros. owned the rights to the title Independence Day, and Devlin had hoped that if Fox executives noticed the addition in dailies, the impact of the new dialogue would help them to win the rights to the title.[7] The right to use the title was eventually won two weeks later.[11]
The production team moved to the Bonneville Salt Flats to film three scenes, then returned to California to film in various places around Los Angeles, including Hughes Aircraft where sets for the cable company and Area 51 interiors were constructed at a former aircraft plant. Sets for the latter included corridors containing windows that were covered with blue material. The filmmakers originally intended to use the chroma key technique to make it appear as if activity was happening on the other side of the glass; but the composited images were not added to the final print because production designers decided the blue panels gave the sets a "clinical look".[29] The attacker hangar set contained an attacker mockup 65 feet (20 m) wide[18] that took four months to build.[11] The White House interior sets used had already been built for The American President and had previously been used for Nixon.[22] Principal photography completed on November 3, 1995.[11]
The film originally depicted Russell Casse being rejected as a volunteer for the July 4 aerial counteroffensive because of his alcoholism. He then uses a stolen missile tied to his red biplane to carry out his suicide mission. According to Dean Devlin, test audiences responded well to the scene's irony and comedic value.[7] However, the scene was re-shot to include Russell's acceptance as a volunteer, his crash course on flying modern fighter aircraft, and him flying an F/A-18 instead of the biplane. Devlin preferred the alteration because the viewer now witnesses Russell ultimately making the decision to sacrifice his life,[7] and seeing the biplane keeping pace and flying amongst F/A-18s was "just not believable".[30] The film was officially completed on June 20, 1996.[11]
Music[edit]
The Grammy Award-winning[31] score for the film was composed by David Arnold and recorded with an orchestra of 90, a choir of 46, "and every last ounce of stereotypical Americana he could muster for the occasion".[32] The film's producer Dean Devlin commented that "you can leave it up to a Brit to write some of the most rousing and patriotic music in the history of American cinema."[32] The soundtrack has received two official CD releases. RCA released a 50-minute album at the time of the film's release, then in 2010, La-La Land Records released a limited-edition, two-disc CD set that comprised the complete score plus 12 alternate cues.[33] The premiere of Independence Day live[34] took place at the Royal Albert Hall in September 2016, with the film's score was performed live to a screening of the film.[35] This celebrated the twentieth anniversary of the film's release, and the event also featured a pre-film talk by David Arnold.
Release[edit]
While the film was still in post-production, Fox began a massive marketing campaign to help promote the film, beginning with the airing of a dramatic commercial during Super Bowl XXX, for which it paid $1.3 million.[36] The film's subsequent success at the box office resulted in the trend of using Super Bowl air time to kick off the advertising campaign for potential blockbusters.[37][38]
Fox's Licensing and Merchandising division also entered into co-promotional deals with Apple Inc. The co-marketing project was dubbed "The Power to Save the World" campaign, in which the company used footage of David using his PowerBook laptop in their print and television advertisements.[39] Trendmasters entered a merchandising deal with the film's producers to create a line of tie-in toys.[40] In exchange for product placement, Fox also entered into co-promotional deals with Molson Coors Brewing Company and Coca-Cola.[41]
The film was marketed with several taglines, including: "We've always believed we weren't alone. On July 4, we'll wish we were", "Earth. Take a good look. It could be your last", and "Don't make plans for August". The weekend before the film's release, the Fox Network aired a half-hour special on the film, the first third of which was a spoof news report on the events that happen in the film. Roger Ebert attributed most of the film's early success to its teaser trailers and marketing campaigns, acknowledging them as "truly brilliant".[42]
The shot of the White House's destruction was the focus of the film's marketing campaign. A fleeing helicopter was added to the shot in the final print.
The film had its official premiere held at Los Angeles' now-defunct Mann Plaza Theater on June 25, 1996.[43] It was then screened privately at the White House for President Bill Clinton and his family[44] before receiving a nationwide release in the United States on July 2, 1996, a day earlier than its previously scheduled opening.[45]
After a six-week, $30 million marketing campaign, Independence Day was released on VHS on November 22, 1996.[46] A LaserDisc release came out at roughly the same time, and included audio commentary, theatrical trailers, deleted scenes, and a bundled soundtrack CD,.[47] It became available on DVD on June 27, 2000, and has since been re-released, in several different versions of this format, with varying supplemental material, including one instance where it was packaged with a lenticular cover.[48] Often accessible on these versions is a special edition of the film, which features nine minutes of additional footage not seen in the original theatrical release.[49] Independence Day became available on Blu-ray in the United Kingdom on December 24, 2007,[50] and in North America on March 11, 2008[51] and in Australia on March 5, 2008.[52] The initial single-disc releases only feature the theatrical cut and a few extras, as per the single-disc DVDs. For its 2016 twentieth anniversary, the film was re-released on two-disc Blu-ray and DVD, 4K Ultra HD Blu-ray, and Digital HD.[53][54] The 20th-anniversary editions feature both the theatrical and extended versions, all the extras of the previous 2-disc DVDs and more besides.[55]
Censorship[edit]
In Lebanon, certain Jewish- and Israel-related content in the film was censored. One cut scene involved Judd Hirsch's character donning a kippah, and leading soldiers and White House officials in a Jewish prayer. Other removed footage showed Israeli and Arab troops working together in preparation for countering the alien invasion. The Lebanese Shi'a Islamist militant group Hezbollah called for Muslims to boycott the film, describing it as "propaganda for the so-called genius of the Jews and their concern for humanity." In response, Jewish actor Jeff Goldblum said: "I think Hezbollah has missed the point: the film is not about American Jews saving the world; it's about teamwork among people of different religions and nationalities to defeat a common enemy."[56][57]
Twentieth anniversary release[edit]
The film had both its twentieth anniversary and premiere at a special live-orchestral screening performance at the Royal Albert Hall on September 22, 2016. The Royal Philharmonic Orchestra, conducted by the original orchestrator Nicholas Dodd, performed the score live[58] during the film, and the film's composer, David Arnold, was a presenter at the event.
Reception[edit]
Box office[edit]
One of the film's creatures on the cover of the July 8, 1996 issue of Time.
Independence Day was the highest-grossing film of 1996, beating Twister and Mission: Impossible.[2] In the United States, it earned $104.3 million in its opening week,[59] including $96.1 million during its five-day holiday opening, and $50.2 million during its opening weekend.[60] All three figures broke records set by Jurassic Park three years earlier.[59] That film's sequel, The Lost World: Jurassic Park, claimed all three records when it was released the following year. Independence Day stayed in the number-one spot for three consecutive weeks, and grossed $306,169,268 in North America[2] and $511,231,623 in other territories during its theatrical run.[2] The combined total of $817,400,891 once trailed only the worldwide earnings of Jurassic Park as the highest of all time.[61] Box Office Mojo estimates that the film sold over 69.26 million tickets in the US.[62] It has been surpassed by multiple 21st-century films since, and currently holds the 51st-highest-worldwide-grossing film of all time. Hoping to capitalize on the film's success, several studios released large-scale disaster films,[63] and the already rising interest in science fiction-related media was further increased by the film's popularity.[44]
A month after the film's release, jewelry designers and marketing consultants reported an increased interest in dolphin-themed jewelry, as the character Jasmine (Vivica A. Fox) wears dolphin earrings, and is presented with a wedding ring featuring a gold dolphin.[64]
Critical response[edit]
Rotten Tomatoes, a review aggregator, reports that 62% of 66 surveyed critics gave the film a positive review; the average rating is 6.4/10. The site's critical consensus reads, "The plot is thin and so is character development, but as a thrilling, spectacle-filled summer movie, Independence Day delivers."[65] On Metacritic, the film has a score of 59 out of 100 based on 19 critics, indicating "mixed or average reviews".[66] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[67]
Critics wrote that the film has "cardboard" and "stereotypical" characters,[4][45][68][69][70] and weak dialogue.[63][70][71][72] Yet the shot of the White House's destruction has been declared a milestone in visual effects, and one of the most memorable scenes of the 1990s.[73][74] In a 2010 poll, readers of Entertainment Weekly rated it the second-greatest summer film of the previous 20 years, ranking only behind Jurassic Park.[75]
Mick LaSalle of the San Francisco Chronicle gave the film his highest rating, declaring it the "apotheosis" of Star Wars.[45] Lisa Schwarzbaum of Entertainment Weekly gave it a B+ for living up to its massive hype, adding "charm is the foremost of this epic's contemporary characteristics. The script is witty, knowing, cool."[69] Eight years later, Entertainment Weekly would rate the film as one of the best disaster films of all time.[63] Kenneth Turan of the Los Angeles Times felt that the film did an "excellent job conveying the boggling immensity of [the] extraterrestrial vehicles […] and panic in the streets" and the scenes of the alien attack were "disturbing, unsettling and completely convincing".[4]
However, the film's nationalistic overtones were widely criticized by reviewers outside the U.S. Movie Review UK described the film as "a mish-mash of elements from a wide variety of alien invasion movies and gung-ho American jingoism."[76] The speech during which Whitmore states that victory in the coming war would see the entire world henceforth describe July 4 as its Independence Day, was described in a BBC review as "the most jaw-droppingly pompous soliloquy ever delivered in a mainstream Hollywood movie."[77] In 2003, readers of Empire, voted the scene that contained this speech as the "Cheesiest Movie Moment of All-Time".[78] Conversely, Empire critic Kim Newman gave the film a five-star rating in the magazine's original review of the film.[66]
Several critics expressed disappointment with the quality of the film's special effects. Newsweek's David Ansen claimed the special effects were of no better caliber than those seen nineteen years earlier in Star Wars.[70] Todd McCarthy of Variety felt the production's budget-conscious approach resulted in "cheesy" shots that lacked in quality relative to the effects present in films directed by James Cameron and Steven Spielberg.[43] In his review, Roger Ebert took note of a lack of imagination in the spaceship and creature designs.[79] Gene Siskel expressed the same sentiments in his At the Movies review of the film.[42][dead link]
American Film Institute lists
AFI's 100 Years...100 Thrills – Nominated[80]
AFI's 10 Top 10 – Nominated Science Fiction Film[81]
Accolades[edit]
Award
Subject
Nominee
Result
CAS Awards[82] Best Sound Chris Carpenter, Bob Beemer, Bill W. Benton and Jeff Wexler Nominated
Academy Awards[82] Nominated
Best Visual Effects Volker Engel, Douglas Smith, Clay Pinney and Joe Viskocil Won
Czech Lion Awards[83][84] The most successful movie in Cinemas. Roland Emmerich Won
Saturn Awards[82] Best Special Effects Won
Best Science Fiction Film Won
Best Director Roland Emmerich Won
Best Writer Roland Emmerich and Dean Devlin Nominated
Best Costumes Joseph A. Porro Nominated
Best Supporting Actor Brent Spiner Nominated
Best Supporting Actress Vivica A. Fox Nominated
Best Young Actor James Duval Nominated
Best Music David Arnold Nominated
Best Actor Jeff Goldblum Nominated
Will Smith Nominated
Kids' Choice Awards[82] Favorite Movie Actor Nominated
Favorite Movie Won
Hugo Awards[82] Best Dramatic Presentation Nominated
Young Artist Awards[82] Best Young Actor – Age 10 or Under Ross Bagley Nominated
People's Choice Awards[82] Favorite Dramatic Motion Picture Won
MTV Movie Awards[82] Best Action Sequence Aliens blow up cities Nominated
Best Movie Nominated
Best Male Performance Will Smith Nominated
Best Breakthrough Performance Vivica A. Fox Nominated
Best Kiss Will Smith and Vivica A. Fox Won
Grammy Awards[82] Best Instrumental Composition Written for a Motion Picture or for Television David Arnold Won
Satellite Awards[82] Outstanding Visual Effects Volker Engel, Douglas Smith, Clay Pinney and Joe Viskocil Won
Outstanding Film Editing David Brenner Won
Mainichi Film Awards[82] Best Foreign Language Film Won
Japanese Academy Awards[82] Nominated
Amanda Awards[82] Nominated
Blockbuster Entertainment Awards[82] Favorite Actor – Sci-Fi Will Smith Won
Universe Reader's Choice Awards[82] Best Actor Won
Best Supporting Actress Vivica A. Fox Won
Best Science Fiction Film Won
Best Special Effects Volker Engel, Douglas Smith, Clay Pinney and Joe Viskocil Won
Best Director Roland Emmerich Won
Best Score David Arnold Won
Best Cinematography Karl Walter Lindenlaub Won
Best Writing Roland Emmerich and Dean Devlin Won
Golden Raspberry Awards[82] Worst Written Film Grossing Over $100 Million Nominated
Legacy[edit]
Disaster elements portrayed in Independence Day represented a significant turning point for Hollywood blockbuster films. With advancements in CGI special effects, events depicting mass destruction became commonplace in films that soon followed, such as 1998's Armageddon and Deep Impact. The trend continued throughout the 2000s and 2010s, evident in films like 2004's The Day After Tomorrow and 2012's The Avengers.[85]
In other media[edit]
Books[edit]
Main article: Independence Day (book series)
Author Stephen Molstad wrote a tie-in novel to help promote the film shortly before its release. The novel goes into further detail on the characters, situations, and overall concepts not explored in the film. The novel presents the film's finale as originally scripted, with the character played by Randy Quaid stealing a missile and roping it to his cropduster biplane.
Following the film's success, a prequel novel entitled Independence Day: Silent Zone was written by Molstad in February 1998.[86] The novel is set in the late 1960s and early 1970s, and details the early career of Dr. Brackish Okun.[87]
Molstad wrote a third novel, Independence Day: War in the Desert in July 1999. Set in Saudi Arabia on July 3, it centers around Captain Cummins and Colonel Thompson, the two Royal Air Force officers seen receiving the Morse code message in the film.
A Marvel comic book was also written based on the first two novelizations.
Radio[edit]
On August 4, 1996, BBC Radio 1 broadcast the one-hour play Independence Day UK, written, produced, and directed by Dirk Maggs, a spin-off depicting the alien invasion from a British perspective.[88] None of the original cast was present. Dean Devlin gave Maggs permission to produce an original version, on the condition that he did not reveal certain details of the movie's plot, and that the British were not depicted as saving the day.[88] Independence Day UK was set up to be similar to the 1938 radio broadcast of The War of the Worlds—the first 20 minutes were live.[88]
Multimedia[edit]
In 1996 a "behind-the-scenes" multimedia CD-ROM titled Inside Independence Day was released for Microsoft Windows and Macintosh; it includes storyboards for the film, sketches, movie clips, and a preview of the Independence Day video game.[89]
Video games[edit]
An Independence Day video game was released in February 1997 for the PlayStation, Sega Saturn, and PC, each version receiving mostly tepid reviews.[90][91] The multi-view shooter game contains various missions to perform, with the ultimate goal of destroying the aliens' primary weapon. A wireless mobile version was released in 2005. A computer game entitled ID4 Online was released in 2000.[citation needed]
Toys[edit]
Trendmasters released a toy line for the film in 1996.[92] Each action figure, vehicle or playset came with a 3½" floppy disk that contained an interactive computer game.[93]
Sequel[edit]
Main article: Independence Day: Resurgence
In June 2011, Devlin confirmed that he and Emmerich had written a treatment for two sequels to form a trilogy; both expressed the desire for Will Smith to return.[94] In October 2011, however, discussions over Smith returning were halted, due to Fox's refusal to provide the $50 million salary demanded by Smith for the two sequels. Emmerich, however, made assurances that the films would be shot back-to-back, regardless of Smith's involvement.[95]
In March 2013, Emmerich stated that the titles of the new films would be ID Forever Part I and ID Forever Part II.[96] In November 2014, the sequel was given the green light by 20th Century Fox, with a release date of June 24, 2016. This would be a stand-alone sequel, that would not split into two parts as originally planned, with filming beginning in May 2015 and casting being done after the studio locked down Emmerich as the director of the film.[97] In December 2014, Devlin confirmed that Emmerich would indeed be directing the sequel.[98] On June 22, 2015, Emmerich announced the official title, Independence Day: Resurgence.[99]
With respect to Smith's decision not to return to film a sequel, Emmerich told Screen Crush that: "In the very beginning, I wanted to work with him and he was excited to be in it but then after a while he was tired of sequels, and he did another science fiction film, which was his father-son story After Earth, so he opted out."[100]
Independence Day: Resurgence was released on June 24, 2016.[101]
See also[edit]
Independence Day (book series)
List of films featuring extraterrestrials
References[edit]
Jump up ^ "INDEPENDENCE DAY (12)". British Board of Film Classification. July 21, 1996. Retrieved March 10, 2016.
^ Jump up to: a b c d e f "Independence Day (1996)". Box Office Mojo. Retrieved February 5, 2009.
Jump up ^ Independence Day (1996) Synopsis Rotten tomatoes. Retrieved September 25, 2007.
"With a $71 million budget and mind-blowing special effects..."
^ Jump up to: a b c Kenneth Turan (July 2, 1996). "Independence Day review". Los Angeles Times. Archived from the original on June 19, 2008. Retrieved July 8, 2008.
Jump up ^ Aberly and Engel 1996, p. 36.
Jump up ^ Aberly and Engel 1996, p. 32.
^ Jump up to: a b c d e f g h DVD commentary
Jump up ^ Aberly and Engel 1996, p. 42.
Jump up ^ Aberly and Engel 1996, p. 44.
Jump up ^ Stephen Galloway (July 4, 2001). "Affleck's Schedule Busies After 'Harbor'". bnet.com. Archived from the original on March 20, 2006. Retrieved September 6, 2008.
^ Jump up to: a b c d e f g Rebecca Ascher-Walsh (July 12, 1996). "SPACE UNDER FIRE". Entertainment Weekly. Retrieved July 8, 2008.
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^ Jump up to: a b Ebert & Roeper. atthemovies.tv. Retrieved July 8, 2008.
^ Jump up to: a b Todd McCarthy (July 1, 1996). "Independence Day Review". Variety. Retrieved July 8, 2008.
^ Jump up to: a b Richard Corliss (July 8, 1996). "THE INVASION HAS BEGUN!". TIME. Retrieved July 8, 2008.
^ Jump up to: a b c Mick LaSalle (July 2, 1996). "Declaration of "Independence"". San Francisco Chronicle. Retrieved March 4, 2008.
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Aberly, Rachel and Volker Engel. The Making of Independence Day. New York: HarperPaperbacks, 1996. ISBN 0-06-105359-7.
External links[edit]
Wikimedia Commons has media related to Independence Day (1996 film).
Wikiquote has quotations related to: Independence Day (film)
Independence Day at 20th Century Fox
Independence Day on IMDb
Independence Day at Box Office Mojo
Independence Day at Rotten Tomatoes
Independence Day at Metacritic
Independence Day at the TCM Movie Database
Independence Day at the Wayback Machine (archived December 10, 1997)
"Independence Day". Archived from the original on October 18, 1996. Retrieved November 14, 2013. CS1 maint: Unfit url (link)
Awards and achievements
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1996 Succeeded by
Men in Black
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The Noah's Ark Principle (1984)
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10,000 BC (2008)
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text:
Manner of articulation
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (April 2013)
Manners of articulation
Obstruent
Stop
Affricate
Fricative
Strident
Sibilant
Sonorant
Nasal
Approximant
Semivowel
Vowel
Vibrant
Flap/Tap
Trill
Liquid
Rhotic
Lateral
Occlusive
Continuant
Airstreams
Egressive
Ingressive
Ejective
Implosive
Nonexplosive
Lingual (clicks)
Linguo-pulmonic
Linguo-ejective
Percussive
See also
Articulatory phonetics
Aspirated consonant
No audible release
Phonation
Place of articulation
Voice
Voicelessness
v
t
e
Human vocal tract
Play media
Articulation visualized by real-time MRI.
In articulatory phonetics, the manner of articulation is the configuration and interaction of the articulators (speech organs such as the tongue, lips, and palate) when making a speech sound. One parameter of manner is stricture, that is, how closely the speech organs approach one another. Others include those involved in the r-like sounds (taps and trills), and the sibilancy of fricatives.
The concept of manner is mainly used in the discussion of consonants, although the movement of the articulators will also greatly alter the resonant properties of the vocal tract, thereby changing the formant structure of speech sounds that is crucial for the identification of vowels. For consonants, the place of articulation and the degree of phonation of voicing are considered separately from manner, as being independent parameters. Homorganic consonants, which have the same place of articulation, may have different manners of articulation. Often nasality and laterality are included in manner, but some phoneticians, such as Peter Ladefoged, consider them to be independent.
Contents
[hide]
1 Closure (stricture)
2 Other parameters
3 Individual manners
4 Broader classifications
5 Other airstream initiations
6 See also
7 Bibliography
8 External links
Closure (stricture)[edit]
From greatest to least stricture, speech sounds may be classified along a cline as stop consonants (with occlusion, or blocked airflow), fricative consonants (with partially blocked and therefore strongly turbulent airflow), approximants (with only slight turbulence), and vowels (with full unimpeded airflow). Affricates often behave as if they were intermediate between stops and fricatives, but phonetically they are sequences of a stop and fricative.
Over time, sounds in a language may move along this cline toward less stricture in a process called lenition, or towards more stricture in a process called fortition.
Other parameters[edit]
Sibilants are distinguished from other fricatives by the shape of the tongue and how the airflow is directed over the teeth. Fricatives at coronal places of articulation may be sibilant or non-sibilant, sibilants being the more common.
Flaps (also called taps) are similar to very brief stops. However, their articulation and behavior are distinct enough to be considered a separate manner, rather than just length. The main articulatory difference between flaps and stops is that, due to the greater length of stops compared to flaps, a build-up of air pressure occurs behind a stop which does not occur behind a flap. This means that when the stop is released, there is a burst of air as the pressure is relieved, while for flaps there is no such burst.
Trills involve the vibration of one of the speech organs. Since trilling is a separate parameter from stricture, the two may be combined. Increasing the stricture of a typical trill results in a trilled fricative. Trilled affricates are also known.
Nasal airflow may be added as an independent parameter to any speech sound. It is most commonly found in nasal occlusives and nasal vowels, but nasalized fricatives, taps, and approximants are also found. When a sound is not nasal, it is called oral.
Laterality is the release of airflow at the side of the tongue. This can be combined with other manners, resulting in lateral approximants (such as the pronunciation of the letter L in the English word "let"), lateral flaps, and lateral fricatives and affricates.
Individual manners[edit]
Stop, an oral occlusive, where there is occlusion (blocking) of the oral vocal tract, and no nasal air flow, so the air flow stops completely. Examples include English /p t k/ (voiceless) and /b d ɡ/ (voiced). If the consonant is voiced, the voicing is the only sound made during occlusion; if it is voiceless, a stop is completely silent. What we hear as a /p/ or /k/ is the effect that the onset of the occlusion has on the preceding vowel, as well as the release burst and its effect on the following vowel. The shape and position of the tongue (the place of articulation) determine the resonant cavity that gives different stops their characteristic sounds. All languages have stops.
Nasal, a nasal occlusive, where there is occlusion of the oral tract, but air passes through the nose. The shape and position of the tongue determine the resonant cavity that gives different nasals their characteristic sounds. Examples include English /m, n/. Nearly all languages have nasals, the only exceptions being in the area of Puget Sound and a single language on Bougainville Island.
Fricative, sometimes called spirant, where there is continuous frication (turbulent and noisy airflow) at the place of articulation. Examples include English /f, s/ (voiceless), /v, z/ (voiced), etc. Most languages have fricatives, though many have only an /s/. However, the Indigenous Australian languages are almost completely devoid of fricatives of any kind.
Sibilants are a type of fricative where the airflow is guided by a groove in the tongue toward the teeth, creating a high-pitched and very distinctive sound. These are by far the most common fricatives. Fricatives at coronal (front of tongue) places of articulation are usually, though not always, sibilants. English sibilants include /s/ and /z/.
Lateral fricatives are a rare type of fricative, where the frication occurs on one or both sides of the edge of the tongue. The "ll" of Welsh and the "hl" of Zulu are lateral fricatives.
Affricate, which begins like a stop, but this releases into a fricative rather than having a separate release of its own. The English letters "ch" [t͡ʃ] and "j" [d͡ʒ] represent affricates. Affricates are quite common around the world, though less common than fricatives.
Flap, often called a tap, is a momentary closure of the oral cavity. The "tt" of "utter" and the "dd" of "udder" are pronounced as a flap [ɾ] in North American and Australian English. Many linguists distinguish taps from flaps, but there is no consensus on what the difference might be. No language relies on such a difference. There are also lateral flaps.
Trill, in which the articulator (usually the tip of the tongue) is held in place, and the airstream causes it to vibrate. The double "r" of Spanish "perro" is a trill. Trills and flaps, where there are one or more brief occlusions, constitute a class of consonant called rhotics.
Approximant, where there is very little obstruction. Examples include English /w/ and /r/. In some languages, such as Spanish, there are sounds that seem to fall between fricative and approximant.
One use of the word semivowel, sometimes called a glide, is a type of approximant, pronounced like a vowel but with the tongue closer to the roof of the mouth, so that there is slight turbulence. In English, /w/ is the semivowel equivalent of the vowel /u/, and /j/ (spelled "y") is the semivowel equivalent of the vowel /i/ in this usage. Other descriptions use semivowel for vowel-like sounds that are not syllabic, but do not have the increased stricture of approximants. These are found as elements in diphthongs. The word may also be used to cover both concepts. The term glide is newer than semivowel, being used to indicate an essential quality of sounds such as /w/ and /j/, which is the movement (or glide) from their initial position (/u/ and /i/, respectively) to a following vowel.
Lateral approximants, usually shortened to lateral, are a type of approximant pronounced with the side of the tongue. English /l/ is a lateral. Together with the rhotics, which have similar behavior in many languages, these form a class of consonant called liquids.
Broader classifications[edit]
Euler diagram showing a typical classification of sounds (in IPA) and their manners of articulation and phonological features
Manners of articulation with substantial obstruction of the airflow (stops, fricatives, affricates) are called obstruents. These are prototypically voiceless, but voiced obstruents are extremely common as well. Manners without such obstruction (nasals, liquids, approximants, and also vowels) are called sonorants because they are nearly always voiced. Voiceless sonorants are uncommon, but are found in Welsh and Classical Greek (the spelling "rh"), in Standard Tibetan (the "lh" of Lhasa), and the "wh" in those dialects of English that distinguish "which" from "witch".
Sonorants may also be called resonants, and some linguists prefer that term, restricting the word 'sonorant' to non-vocoid resonants (that is, nasals and liquids, but not vowels or semi-vowels). Another common distinction is between occlusives (stops, nasals and affricates) and continuants (all else).
Other airstream initiations[edit]
All of these manners of articulation are pronounced with an airstream mechanism called pulmonic egressive, meaning that the air flows outward, and is powered by the lungs (actually the ribs and diaphragm). Other airstream mechanisms are possible. Sounds that rely on some of these include:
Ejectives, which are glottalic egressive. That is, the airstream is powered by an upward movement of the glottis rather than by the lungs or diaphragm. Stops, affricates, and occasionally fricatives may occur as ejectives. All ejectives are voiceless, or at least transition from voiced to voiceless.
Implosives, which are glottalic ingressive. Here the glottis moves downward, but the lungs may be used simultaneously (to provide voicing), and in some languages no air may actually flow into the mouth. Implosive stops are not uncommon, but implosive affricates and fricatives are rare. Voiceless implosives are also rare.
Clicks, which are lingual ingressive. Here the back of the tongue is used to create a vacuum in the mouth, causing air to rush in when the forward occlusion (tongue or lips) is released. Clicks may be oral or nasal, stop or affricate, central or lateral, voiced or voiceless. They are extremely rare in normal words outside Southern Africa. However, English has a click in its "tsk tsk" (or "tut tut") sound, and another is often used to say "giddy up" to a horse.
Combinations of these, in some analyses, in a single consonsant: linguo-pulmonic and linguo-glottalic (ejective) consonants, which are clicks released into either a pulmonic or ejective stop/fricative.
See also[edit]
Index of phonetics articles
Articulatory phonetics
Place of articulation
Basis of articulation
Diction
Phonation
Airstream mechanism
Relative articulation
Nonexplosive stop
Vocal tract
Human voice
Source-filter model of speech production
Bibliography[edit]
Ladefoged, Peter; Maddieson, Ian (1996). The Sounds of the World's Languages. Oxford: Blackwell. ISBN 0-631-19814-8.
External links[edit]
Movie clip showing the human articulators in action
Interactive place and manner of articulation
Interactive Flash website for American English, Spanish and German sounds
v
t
e
International Phonetic Alphabet (chart)
[show]
IPA topics
IPA
International Phonetic Association
History of the IPA
Extensions to the IPA (extIPA)
Voice Quality Symbols (VoQS)
Journal of the IPA (JIPA)
Phonetics
Diacritics
Segments
Tone letter
Place of articulation
Manner of articulation
Special topics
Cursive forms
Case variants
Obsolete and nonstandard symbols
Naming conventions
IPA chart for English dialects
World Orthography
Encodings
SAMPA
X-SAMPA
Kirshenbaum
TIPA
Phonetic symbols in Unicode
WorldBet
IPA Braille
[show]
Consonants
[hide]
Pulmonic consonants
Place →
Labial
Coronal
Dorsal
Laryngeal
Manner ↓
Bilabial
Labiodental
Linguolabial
Dental
Alveolar
Postalveolar
Retroflex
Palatal
Velar
Uvular
Pharyngeal/Epiglottal
Glottal
Nasal
m̥ m ɱ n̼ n̥ n ɳ̊ ɳ ɲ̊ ɲ ŋ̊ ŋ ɴ
Stop
p b p̪ b̪ t̼ d̼ t d ʈ ɖ c ɟ k ɡ q ɢ ʡ ʔ
Sibilant affricate
ts dz t̠ʃ d̠ʒ ʈʂ ɖʐ t̠ɕ d̠ʑ
Non-sibilant affricate
pɸ bβ p̪f b̪v t̪θ d̪ð tɹ̝̊ dɹ̝ t̠ɹ̠̊˔ d̠ɹ̠˔ cç ɟʝ kx ɡɣ qχ ʡʢ ʔh
Sibilant fricative
s z ʃ ʒ ʂ ʐ ɕ ʑ
Non-sibilant fricative
ɸ β f v θ̼ ð̼ θ ð θ̠ ð̠ ɹ̠̊˔ ɹ̠˔ ɻ˔ ç ʝ x ɣ χ ʁ ħ ʕ h ɦ
Approximant
ʋ̥ ʋ ɹ̥ ɹ ɻ̊ ɻ j̊ j ɰ̊ ɰ ʔ̞
Flap/tap
ⱱ̟ ⱱ ɾ̼ ɾ̥ ɾ ɽ̊ ɽ ɢ̆ ʡ̆
Trill
ʙ̥ ʙ r̥ r ɽ̊ɽ̊ ɽɽ ʀ̥ ʀ ʜ ʢ
Lateral affricate
tɬ dɮ ʈɭ̊˔ cʎ̝̊ kʟ̝̊ ɡʟ̝
Lateral fricative
ɬ ɮ ɭ̊˔ ʎ̝̊ ʎ̝ ʟ̝̊ ʟ̝
Lateral approximant
l̥ l ɭ̊ ɭ ʎ̥ ʎ ʟ̥ ʟ ʟ̠
Lateral flap/tap
ɺ ɭ̆ ʎ̆ ʟ̆
help
full chart
template
Symbols to the right in a cell are voiced, to the left are voiceless. Shaded areas denote articulations judged to be impossible.
[show]
Non-pulmonic consonants
Bilabial
Labiodental
Dental
Alveolar
Postalveolar
Retroflex
Palatal
Velar
Uvular
Epiglottal
Glottal
Ejectives
Stop
pʼ tʼ ʈʼ cʼ kʼ qʼ ʡʼ
Affricate
t̪θʼ tsʼ t̠ʃʼ ʈʂʼ kxʼ qχʼ
Lateral affricate
tɬʼ cʎ̝̊ʼ kʟ̝̊ʼ
Fricative
fʼ θʼ sʼ ʃʼ ʂʼ ɕʼ xʼ χʼ
Lateral fricative
ɬʼ
Clicks
Nasal
ʘ̃ ǀ̃ ǃ̃ ǃ̃˞ ǂ̃ ◌̃ˀ
Stop
ʘ ʘ̬ ǀ ǀ̬ ǃ ǃ̬ ǃ˞ ǃ̬˞ ǂ ǂ̬ ʞ ◌ˀ
Lateral nasal
ǁ̃
Lateral fricative
ǁ ǁ̬
Implosive
ɓ̥ ɓ ɗ̥ ɗ ᶑ̥ ᶑ ʄ̊ ʄ ɠ̊ ɠ ʛ̥ ʛ
help
full chart
template
[show]
Co-articulated consonants
Nasals
n͡m Labial–alveolar
ŋ͡m Labial–velar
Stops
t͡p Labial–alveolar (voiceless)
d͡b Labial–alveolar (voiced)
k͡p Labial–velar (voiceless)
ɡ͡b Labial–velar (voiced)
q͡ʡ Uvular–epiglottal
Fricatives
ɧ Sj-sound
Approximants
ʍ Labialized velar (voiceless)
w Labialized velar (voiced)
ɫ Velarized alveolar (lateral)
ɥ̊ Labialized palatal (voiceless)
ɥ Labialized palatal (voiced)
help
full chart
template
[show]
Vowels
Front Near-front Central Near-back Back
Close
i
y
ɨ
ʉ
ɯ
u
ɪ
ʏ
ɪ̈
ʊ̈
ɯ̽
ʊ
e
ø
ɘ
ɵ
ɤ
o
e̞
ø̞
ə
ɵ̞
ɤ̞
o̞
ɛ
œ
ɜ
ɞ
ʌ
ɔ
æ
ɐ
ɞ̞
a
ɶ
ä
ɒ̈
ɑ
ɒ
Near-close
Close-mid
Mid
Open-mid
Near-open
Open
help
full chart
template
Paired vowels are: unrounded • rounded
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Kerris Dorsey
From Wikipedia, the free encyclopedia
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Kerris Dorsey
Born
Kerris Lilla Dorsey
(1998-01-09) January 9, 1998 (age 19)
Los Angeles, California, U.S.
Occupation
Actress, singer
Years active
2005–present
Website
kerrisdorsey.com
Kerris Lilla Dorsey (born January 9, 1998) is an American actress and singer. She is known for her roles as Paige Whedon in the television series Brothers & Sisters,[1] Casey Beane, Billy Beane's (Brad Pitt) daughter, in the 2011 film Moneyball, and as Emily Cooper in the 2014 film Alexander and the Terrible, Horrible, No Good, Very Bad Day. Dorsey plays Bridget Donovan, the daughter of the title character, in the television series Ray Donovan.[2]
Contents
[hide]
1 Career
2 Filmography
3 Personal life
4 References
5 External links
Career[edit]
In Moneyball she performs a cover of Lenka's song "The Show", which is included on the soundtrack to the film.[3]
In 2012, Dorsey guest starred on the Disney Channel series Shake it Up as Kat, a girl who elaborates a plan to get on Shake It Up Chicago by befriending Cece Jones. Kat pressures them to tell Gary to hire her as an intern on the show. Kat is successful in getting on the show but at the end of the episode, she moves to New York to join Shake It Up New York, although the email she had received was a fake email sent by CeCe in the episode "Copy Kat It Up!"
Dorsey has also appeared in the films Walk the Line and Just Like Heaven. She played a supporting role in the American Girl film McKenna Shoots For the Stars as McKenna Brooks's reading tutor, Josie.
Dorsey guest starred as Molly in one episode in Don't Trust the B---- in Apartment 23, and had a small role in Sons of Anarchy as Ellie Winston. In 2012, she gained a supporting role as Sadie in the Disney Channel Original Movie Girl vs. Monster. Dorsey stars as Bridget Donovan on the Showtime crime drama series Ray Donovan.[4]
Filmography[edit]
Film
Year
Title
Role
Notes
2005 Walk the Line Kathy Cash
2005 Just Like Heaven Zoe Brody
2009 Fuel Young Sandy
2011 Moneyball Casey Beane
2011 JumpRopeSprint Alex Ruggle
2012 American Girl: McKenna Shoots for the Stars, AnAn American Girl: McKenna Shoots for the Stars Josie Myers
2014 Alexander and the Terrible, Horrible, No Good, Very Bad Day Emily Cooper
2016 Don't Tell Kim Alex Ruggle
2017 Totem Kellie
Television
Year
Title
Role
Notes
2006 Scrubs Kid #3 Episode: "My Day at the Races"
2006 Monk Little Girl Episode: "Mr. Monk and the Captain's Marriage"
2006 So Notorious Little Drew Barrymore Episode: "Charitable"
2006 Vanished Becky Javit 2 episodes
2006–2011 Brothers & Sisters Paige Whedon 52 episodes
2007 Medium Young Jennie Heffernan Episode: "No One to Watch Over Me"
2008 Carpoolers Phone Girl 2 episodes
2009 Flower Girl Flower Girl Television film
2011 Sons of Anarchy Ellie Winston Episode: "Out"
2011 R. L. Stine's The Haunting Hour Lisa Episode: "Dreamcatcher"
2012 Shake It Up Kat Episode: "Copy Kat It Up"
2012 Don't Trust the B---- in Apartment 23 Molly Episode: "Parent Trap..."
2012 Girl vs. Monster Sadie Television film
2013 Mad Men Sandy Episode: "The Doorway, Part 1"
2013–present Ray Donovan Bridget Donovan Main cast
Personal life[edit]
Since 2014, Dorsey has been in a relationship with Dylan Minnette, after meeting on the set of Alexander and the Terrible, Horrible, No Good, Very Bad Day.[5]
References[edit]
Jump up ^ "Brothers & Sisters, Light the lights". CBS Interactive. Retrieved 24 December 2011.
Jump up ^ Ferreiro, Laura (16 December 2011). "Lyrics bring pix to life". Variety. Retrieved 24 December 2011.
Jump up ^ Starcasm Staff (September 25, 2011). "Curious about the song the girl sings in Moneyball?". Starcasm.
Jump up ^ Stanley, Alessandra (June 27, 2013). "Family Ties, Boston Style, in Los Angeles". The New York Times.
Jump up ^ Hacker, Caitlin. "19 Photos of Dylan Minnette and His Girlfriend That Will Make You Say, "Ah, Young Love"".
External links[edit]
Kerris Dorsey on IMDb
Authority control
WorldCat Identities
VIAF: 220706411
LCCN: no2011189085
MusicBrainz: 05e274be-7146-4872-bf0d-0ed2473cdc8c
Retrieved from "https://en.wikipedia.org/w/index.php?title=Kerris_Dorsey&oldid=817169147"
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This page was last edited on 26 December 2017, at 17:04.
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