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https://www.linkedin.com/pulse/global-super-computers-market-growth-2024-regional-tispf
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Global Super Computers Market Growth [2024] | Regional Insights
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2024-06-20T08:17:35+00:00
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The Super Computers Market has experienced significant growth, increasing from USD XX million in 2019 to USD XX million in 2024. With a CAGR of X.
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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/pulse/global-super-computers-market-growth-2024-regional-tispf
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The Super Computers Market has experienced significant growth, increasing from USD XX million in 2019 to USD XX million in 2024. With a CAGR of X.X%, the market is projected to reach USD XX million by 2032.
Global Super Computers Market Size [2024-2032] research file outlines the improvement status, competitive panorama, and evolving developments in special regions global. This Super Computers Market file is aimed at imparting insights into area of interest markets, ability dangers, and comprehensive competitive method analysis across diverse sectors. It delves into the competitive blessings of different products and services, the improvement possibilities, intake traits, and the structural evaluation of downstream software fields. To beautify boom during the pandemic, this Super Computers Market report cautiously examines potential dangers and opportunities.
Get a Sample PDF of the Report at - https://www.businessgrowthreports.com/enquiry/request-sample/20719611?utm_source=Alem_Linkd
List of Top Super Computers Companies in the Market -
Lenovo
Dell
HPE
NEC
Sugon Information Industry (Dawning)
IBM
Silicon Graphics International (SGI)
FUJITSU
Cray
Bull Atos
Ask for a Sample Report
About Super Computers Market and Insights:
The Super Computers market has witnessed growth from USD XX million to USD XX million from 2019 to 2024. With the CAGR of X.X%, this market is estimated to reach USD XX million in 2032.
The report focuses on the Super Computers market size, segment size (mainly covering product type, application, and geography), competitor landscape, recent status, and development trends. Furthermore, the report provides detailed cost analysis, supply chain.
Technological innovation and advancement will further optimize the performance of the product, making it more widely used in downstream applications. Moreover, Consumer behavior analysis and market dynamics (drivers, restraints, opportunities) provides crucial information for knowing the Super Computers market.
Chapter 1: Global Super Computers Market Overview
This chapter provides a comprehensive overview of the global Super Computers market, highlighting total revenue and compound annual growth rate (CAGR). It also includes detailed forecasts and analyses segmented by type, application, and region, offering a holistic view of the market's future trajectory.
Chapter 2: Super Computers Market Landscape and Major Players
In this chapter, we delve into the competitive landscape of the Super Computers market, examining market concentration and the status of major players. Basic information about these key competitors is provided, alongside an analysis of their competitive positioning and market share.
Chapter 3: Industrial Chain Analysis
Chapter 3 introduces the industrial chain of the Super Computers market. It covers an in-depth analysis of the supply chain, including raw material suppliers, pricing, supply and demand dynamics, and market concentration rates. The chapter also examines downstream buyers, providing a full picture of the market's value chain.
Chapter 4: Manufacturing Analysis
This chapter focuses on the manufacturing processes within the Super Computers industry. It includes a detailed analysis of the cost structure, breaking down the various components that contribute to manufacturing costs. Process analysis is also covered, providing a thorough understanding of production efficiencies and cost drivers.
Chapter 5: Market Dynamics and Impact of COVID-19
Chapter 5 provides critical insights into the market dynamics affecting the Super Computers industry. It examines the influence of the COVID-19 pandemic on market trends and consumer behavior, offering an analysis of how the industry has adapted to these unprecedented challenges.
Get a Sample Copy of the Super Computers Market Report 2024-2032
Chapter 6: Major Players Analysis
In Chapter 6, we present an extensive analysis of the major players within the Super Computers industry. This includes basic information and detailed profiles, product specifications, applications, and market performance. A comprehensive business overview of each major player is also provided.
Chapter 7: Regional Market Analysis
This chapter offers a detailed examination of sales, revenue, pricing, and gross margins for the Super Computers market across various regions. It provides a regional breakdown of these metrics, offering insights into the geographical variations in market performance.
Chapter 8: Global Market Perspective
Chapter 8 presents a global perspective on the Super Computers market, focusing on sales, revenue, pricing, market share, and growth rates segmented by type. This chapter provides a macro-level view of the market, identifying key global trends and patterns.
Chapter 9: Application Analysis
In this chapter, we analyze the application of Super Computerss across different sectors. It examines the consumption patterns and growth rates for each application, providing insights into the demand dynamics and potential growth areas within the market.
Chapter 10: Market Forecast
The final chapter offers a forward-looking perspective on the Super Computers market. It includes global sales and revenue forecasts, along with regional projections. The chapter also provides a detailed forecast segmented by type and application, highlighting the anticipated trends and growth opportunities in the market.
Global Super Computers Market Segmentation:
The Global Super Computers Market Share is categorized based on different product types and applications. The market's growth, measured in both value and volume, is projected through a Compound Annual Growth Rate (CAGR) for the forecast period from 2024 to 2032.
Global Super Computers Market Segmentation, By Types -
Linux
Unix
Global Super Computers Market Segmentation, By Applications -
Commercial & Industries
Research Institutions
Government Entities
Enquire Before Purchasing this Report - https://www.businessgrowthreports.com/enquiry/pre-order-enquiry/20719611?utm_source=Alem_Linkd
Key Questions Covered in this Super Computers Market Report -
What are the main segments and sub-segments of the global Super Computers Market?
How is the market expected to grow in terms of value and volume during the forecast period of 2024 to 2032?
What is the Compound Annual Growth Rate (CAGR) of the Super Computers Market during the forecast period?
What are the key drivers and challenges influencing the growth of the Super Computers Market?
Which product types and applications are expected to witness the highest growth?
What are the emerging trends in the Super Computers Market?
How is the competitive landscape of the Super Computers Market shaping up?
Who are the major players operating in the Super Computers Market and what are their market shares?
What are the strategies adopted by key market players to stay competitive?
How do regional markets differ in terms of growth and market share?
What are the opportunities for new entrants in the Super Computers Market?
How are regulatory frameworks impacting the Super Computers Market?
What are the potential risks and uncertainties associated with the Super Computers Market?
How is technology advancement expected to impact the Super Computers Market?
What is the impact of economic and political factors on the Super Computers Market?
What are the future prospects and growth potential of the Super Computers Market?
How does consumer behavior influence the demand for various product types in the Super Computers Market?
What are the investment opportunities in the Super Computers Market?
How is the supply chain evolving in the Super Computers Market?
What are the environmental and sustainability factors affecting the Super Computers Market?
. . . And Many More
Regions and Countries Level Analysis on Super Computers Market -
Regional and country-level analysis offers treasured insights into the nuances of the Super Computers market traits panorama, permitting corporations to tailor their techniques to particular geographic areas. This phase delves into the important thing findings and tendencies found at regional and country tiers, highlighting possibilities, demanding situations, and boom possibilities throughout specific markets.
North America (United States, Canada, and Mexico)
Europe (Germany, UK, France, Italy, Russia, and Turkey, etc.)
Asia-Pacific (China, Japan, Korea, India, Australia, Indonesia, Thailand, Philippines, Malaysia, and Vietnam)
South America (Brazil, Argentina, Columbia, etc.)
Middle East and Africa (MEA) (Saudi Arabia, UAE, Egypt, Nigeria, and South Africa)
Other Region
Get a Sample Copy of the Super Computers Market Report 2024-2032
Reasons to Buy this Super Computers Market Research Report -
Comprehensive Analysis: Gain access to detailed and thorough analysis of the Super Computers market, including trends, drivers, challenges, and opportunities.
Informed Decision Making: Make well-informed business decisions with accurate and up-to-date data on Super Computers market dynamics.
Competitive Advantage: Understand the competitive landscape and identify key players, strategies, and market positioning to stay ahead of the competition.
Strategic Planning: Utilize the Super Computers Market insights for strategic planning and business development, ensuring alignment with market trends and forecasts.
Investment Insights: Receive critical information for investment decisions, including Super Computers market size, growth potential, and risk factors.
Target Market Identification: Identify and understand your target Super Computers market segments, their needs, and preferences to tailor your marketing and product strategies.
Future Trends: Stay ahead of emerging trends and anticipate changes in the Super Computers market to adapt and innovate proactively.
Market Opportunities: Discover new Super Computers market opportunities and niche segments with high growth potential.
Risk Mitigation: Assess potential risks and uncertainties in the market to develop robust risk management strategies.
Customized Insights: Gain access to customized insights and recommendations based on specific business needs and objectives.
. . . And Many More
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Table of Content:
1 Super Computers Market Overview
1.1 Product Overview and Scope of Super Computers
1.2 Super Computers Segment by Type
1.2.1 Global Super Computers Sales and CAGR (%) Comparison by Type (2017-2029)
1.2.2 The Market Profile of Linux
1.2.3 The Market Profile of Unix
1.3 Global Super Computers Segment by Application
1.3.1 Super Computers Consumption (Sales) Comparison by Application (2017-2029)
1.3.2 The Market Profile of Commercial & Industries
1.3.3 The Market Profile of Research Institutions
1.3.4 The Market Profile of Government Entities
1.4 Global Super Computers Market, Region Wise (2017-2022)
1.4.1 Global Super Computers Market Size (Revenue) and CAGR (%) Comparison by Region (2017-2022)
1.4.2 United States Super Computers Market Status and Prospect (2017-2022)
1.4.3 Europe Super Computers Market Status and Prospect (2017-2022)
1.4.3.1 Germany Super Computers Market Status and Prospect (2017-2022)
1.4.3.2 UK Super Computers Market Status and Prospect (2017-2022)
1.4.3.3 France Super Computers Market Status and Prospect (2017-2022)
1.4.3.4 Italy Super Computers Market Status and Prospect (2017-2022)
1.4.3.5 Spain Super Computers Market Status and Prospect (2017-2022)
1.4.3.6 Russia Super Computers Market Status and Prospect (2017-2022)
1.4.3.7 Poland Super Computers Market Status and Prospect (2017-2022)
1.4.4 China Super Computers Market Status and Prospect (2017-2022)
1.4.5 Japan Super Computers Market Status and Prospect (2017-2022)
1.4.6 India Super Computers Market Status and Prospect (2017-2022)
1.4.7 Southeast Asia Super Computers Market Status and Prospect (2017-2022)
1.4.7.1 Malaysia Super Computers Market Status and Prospect (2017-2022)
1.4.7.2 Singapore Super Computers Market Status and Prospect (2017-2022)
1.4.7.3 Philippines Super Computers Market Status and Prospect (2017-2022)
1.4.7.4 Indonesia Super Computers Market Status and Prospect (2017-2022)
1.4.7.5 Thailand Super Computers Market Status and Prospect (2017-2022)
1.4.7.6 Vietnam Super Computers Market Status and Prospect (2017-2022)
1.4.8 Latin America Super Computers Market Status and Prospect (2017-2022)
1.4.8.1 Brazil Super Computers Market Status and Prospect (2017-2022)
1.4.8.2 Mexico Super Computers Market Status and Prospect (2017-2022)
1.4.8.3 Colombia Super Computers Market Status and Prospect (2017-2022)
1.4.9 Middle East and Africa Super Computers Market Status and Prospect (2017-2022)
1.4.9.1 Saudi Arabia Super Computers Market Status and Prospect (2017-2022)
1.4.9.2 United Arab Emirates Super Computers Market Status and Prospect (2017-2022)
1.4.9.3 Turkey Super Computers Market Status and Prospect (2017-2022)
1.4.9.4 Egypt Super Computers Market Status and Prospect (2017-2022)
1.4.9.5 South Africa Super Computers Market Status and Prospect (2017-2022)
1.4.9.6 Nigeria Super Computers Market Status and Prospect (2017-2022)
1.5 Global Market Size of Super Computers (2017-2029)
1.5.1 Global Super Computers Revenue Status and Outlook (2017-2029)
1.5.2 Global Super Computers Sales Status and Outlook (2017-2029)
2 Global Super Computers Market Landscape by Player
2.1 Global Super Computers Sales and Share by Player (2017-2022)
2.2 Global Super Computers Revenue and Market Share by Player (2017-2022)
2.3 Global Super Computers Average Price by Player (2017-2022)
2.4 Global Super Computers Gross Margin by Player (2017-2022)
2.5 Super Computers Manufacturing Base Distribution, Sales Area and Product Type by Player
2.6 Super Computers Market Competitive Situation and Trends
2.6.1 Super Computers Market Concentration Rate
2.6.2 Super Computers Market Share of Top 3 and Top 6 Players
2.6.3 Mergers & Acquisitions, Expansion
3 Super Computers Upstream and Downstream Analysis
3.1 Super Computers Industrial Chain Analysis
3.2 Key Raw Materials Suppliers and Price Analysis
3.3 Key Raw Materials Supply and Demand Analysis
3.4 Manufacturing Process Analysis
3.5 Market Concentration Rate of Raw Materials
3.6 Downstream Buyers
3.7 Value Chain Status Under COVID-19
4 Super Computers Manufacturing Cost Analysis
4.1 Manufacturing Cost Structure Analysis
4.2 Super Computers Key Raw Materials Cost Analysis
4.2.1 Key Raw Materials Introduction
4.2.2 Price Trend of Key Raw Materials
4.3 Labor Cost Analysis
4.3.1 Labor Cost of Super Computers Under COVID-19
4.4 Energy Costs Analysis
4.5 R&D Costs Analysis
5 Market Dynamics
5.1 Drivers
5.2 Restraints and Challenges
5.3 Opportunities
5.3.1 Advances in Innovation and Technology for Super Computers
5.3.2 Increased Demand in Emerging Markets
5.4 Super Computers Industry Development Trends under COVID-19 Outbreak
5.4.1 Global COVID-19 Status Overview
5.4.2 Influence of COVID-19 Outbreak on Super Computers Industry Development
5.5 Consumer Behavior Analysis
6 Players Profiles
6.1 Lenovo
6.1.1 Lenovo Basic Information, Manufacturing Base, Sales Area and Competitors
6.1.2 Super Computers Product Profiles, Application and Specification
6.1.3 Lenovo Super Computers Market Performance (2017-2022)
6.1.4 Lenovo Business Overview
6.2 Dell
6.2.1 Dell Basic Information, Manufacturing Base, Sales Area and Competitors
6.2.2 Super Computers Product Profiles, Application and Specification
6.2.3 Dell Super Computers Market Performance (2017-2022)
6.2.4 Dell Business Overview
6.3 HPE
6.3.1 HPE Basic Information, Manufacturing Base, Sales Area and Competitors
6.3.2 Super Computers Product Profiles, Application and Specification
6.3.3 HPE Super Computers Market Performance (2017-2022)
6.3.4 HPE Business Overview
6.4 NEC
6.4.1 NEC Basic Information, Manufacturing Base, Sales Area and Competitors
6.4.2 Super Computers Product Profiles, Application and Specification
6.4.3 NEC Super Computers Market Performance (2017-2022)
6.4.4 NEC Business Overview
6.5 Sugon Information Industry (Dawning)
6.5.1 Sugon Information Industry (Dawning) Basic Information, Manufacturing Base, Sales Area and Competitors
6.5.2 Super Computers Product Profiles, Application and Specification
6.5.3 Sugon Information Industry (Dawning) Super Computers Market Performance (2017-2022)
6.5.4 Sugon Information Industry (Dawning) Business Overview
6.6 IBM
6.6.1 IBM Basic Information, Manufacturing Base, Sales Area and Competitors
6.6.2 Super Computers Product Profiles, Application and Specification
6.6.3 IBM Super Computers Market Performance (2017-2022)
6.6.4 IBM Business Overview
6.7 Silicon Graphics International (SGI)
6.7.1 Silicon Graphics International (SGI) Basic Information, Manufacturing Base, Sales Area and Competitors
6.7.2 Super Computers Product Profiles, Application and Specification
6.7.3 Silicon Graphics International (SGI) Super Computers Market Performance (2017-2022)
6.7.4 Silicon Graphics International (SGI) Business Overview
6.8 FUJITSU
6.8.1 FUJITSU Basic Information, Manufacturing Base, Sales Area and Competitors
6.8.2 Super Computers Product Profiles, Application and Specification
6.8.3 FUJITSU Super Computers Market Performance (2017-2022)
6.8.4 FUJITSU Business Overview
6.9 Cray
6.9.1 Cray Basic Information, Manufacturing Base, Sales Area and Competitors
6.9.2 Super Computers Product Profiles, Application and Specification
6.9.3 Cray Super Computers Market Performance (2017-2022)
6.9.4 Cray Business Overview
6.10 Bull Atos
6.10.1 Bull Atos Basic Information, Manufacturing Base, Sales Area and Competitors
6.10.2 Super Computers Product Profiles, Application and Specification
6.10.3 Bull Atos Super Computers Market Performance (2017-2022)
6.10.4 Bull Atos Business Overview
7 Global Super Computers Sales and Revenue Region Wise (2017-2022)
7.1 Global Super Computers Sales and Market Share, Region Wise (2017-2022)
7.2 Global Super Computers Revenue (Revenue) and Market Share, Region Wise (2017-2022)
7.3 Global Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.4 United States Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.4.1 United States Super Computers Market Under COVID-19
7.5 Europe Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.5.1 Europe Super Computers Market Under COVID-19
7.6 China Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.6.1 China Super Computers Market Under COVID-19
7.7 Japan Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.7.1 Japan Super Computers Market Under COVID-19
7.8 India Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.8.1 India Super Computers Market Under COVID-19
7.9 Southeast Asia Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.9.1 Southeast Asia Super Computers Market Under COVID-19
7.10 Latin America Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.10.1 Latin America Super Computers Market Under COVID-19
7.11 Middle East and Africa Super Computers Sales, Revenue, Price and Gross Margin (2017-2022)
7.11.1 Middle East and Africa Super Computers Market Under COVID-19
8 Global Super Computers Sales, Revenue (Revenue), Price Trend by Type
8.1 Global Super Computers Sales and Market Share by Type (2017-2022)
8.2 Global Super Computers Revenue and Market Share by Type (2017-2022)
8.3 Global Super Computers Price by Type (2017-2022)
8.4 Global Super Computers Sales Growth Rate by Type (2017-2022)
8.4.1 Global Super Computers Sales Growth Rate of Linux (2017-2022)
8.4.2 Global Super Computers Sales Growth Rate of Unix (2017-2022)
9 Global Super Computers Market Analysis by Application
9.1 Global Super Computers Consumption and Market Share by Application (2017-2022)
9.2 Global Super Computers Consumption Growth Rate by Application (2017-2022)
9.2.1 Global Super Computers Consumption Growth Rate of Commercial & Industries (2017-2022)
9.2.2 Global Super Computers Consumption Growth Rate of Research Institutions (2017-2022)
9.2.3 Global Super Computers Consumption Growth Rate of Government Entities (2017-2022)
10 Global Super Computers Market Forecast (2022-2029)
10.1 Global Super Computers Sales, Revenue Forecast (2022-2029)
10.1.1 Global Super Computers Sales and Growth Rate Forecast (2022-2029)
10.1.2 Global Super Computers Revenue and Growth Rate Forecast (2022-2029)
10.1.3 Global Super Computers Price and Trend Forecast (2022-2029)
10.2 Global Super Computers Sales and Revenue Forecast, Region Wise (2022-2029)
10.2.1 United States Super Computers Sales and Revenue Forecast (2022-2029)
10.2.2 Europe Super Computers Sales and Revenue Forecast (2022-2029)
10.2.3 China Super Computers Sales and Revenue Forecast (2022-2029)
10.2.4 Japan Super Computers Sales and Revenue Forecast (2022-2029)
10.2.5 India Super Computers Sales and Revenue Forecast (2022-2029)
10.2.6 Southeast Asia Super Computers Sales and Revenue Forecast (2022-2029)
10.2.7 Latin America Super Computers Sales and Revenue Forecast (2022-2029)
10.2.8 Middle East and Africa Super Computers Sales and Revenue Forecast (2022-2029)
10.3 Global Super Computers Sales, Revenue and Price Forecast by Type (2022-2029)
10.4 Global Super Computers Consumption Forecast by Application (2022-2029)
10.5 Super Computers Market Forecast Under COVID-19
11 Research Findings and Conclusion
12 Appendix
12.1 Methodology
12.2 Research Data Source
Continued. . .
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https://hscie.com/transaktion/sgi-japan-sold-david-systems-to-the-management-and-private-investors/
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SGI Japan sold David Systems to the management and private investors
|
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2020-12-30T07:40:26+00:00
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We advised SGI Japan HSCie Customer SGI Japan Ltd., Tokyo, Japan SGI Japan Ltd. was founded in 1987 as a subsidiary of Silicon Graphics, Inc. which revolutionized the Hollywood film ... Read moreSGI Japan sold David Systems to the management and private investors
|
en
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HSCie GmbH • Hübner Schlösser & Cie
|
https://hscie.com/transaktion/sgi-japan-sold-david-systems-to-the-management-and-private-investors/
|
We advised SGI Japan
HSCie Customer
SGI Japan Ltd., Tokyo, Japan
SGI Japan Ltd. was founded in 1987 as a subsidiary of Silicon Graphics, Inc. which revolutionized the Hollywood film industry. Since then, SGI-J has developed highly advanced solutions in the field of computer graphics and high-performance computing technologies as a world-leading, innovative company.
www.sgi.co.jp
Companies involved
DAVID Systems
DAVID Systems has been developing software products and technology for the broadcast market since 1991, with a focus on radio, TV, and associated Internet services. DAVID stands for Digital Audio & Video Integration & Development. The broad product portfolio represents all fields in a typical broadcast workflow from multimedia production to data ex-change and file transfer through to play-out and broadcast process control.
www.davidsystems.com
Transaction
SGI Japan Ltd., Tokyo, Japan, has sold its international IT broadcast operations headquartered in Germany to the DAVID management and a private investor as part of its strategy to further strengthen its core business of high performance computing.
Task
HSCie advised on the valuation and conducted the negotiations.
Year: 2009
Transaction value: Not published
Industry: Media
Business field: Mergers & Acquisitions
Further Transactions
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https://www.wired.com/2004/11/whatever-happened-to-sgi/
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Whatever Happened to SGI?
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[
"WIRED Staff",
"Rhett Allain",
"Andy Greenberg",
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"Matt Burgess",
"Emily Mullin",
"Mara Magistroni",
"Rachel Connolly",
"David Cox",
"Isabel Fraser"
] |
2004-11-26T02:00:00-05:00
|
What high-powered, high-design, graphics-oriented, Unix-based computers are beloved by their fanatical users? Clue: It's not what you think. By Jason Walsh.
|
en
|
https://www.wired.com/verso/static/wired/assets/favicon.ico
|
WIRED
|
https://www.wired.com/2004/11/whatever-happened-to-sgi/
|
In California there's a computer manufacturer that makes powerful machines beloved by a tiny niche of creative users, featuring a media-oriented Unix operating system and stunning industrial design. But it's not Apple Computer.
The company is Silicon Graphics Incorporated, or SGI, which once was famous for its high-powered graphics and 3-D workstations but has fallen on hard times of late.
SGI now focuses on supercomputers, but there's a tiny coterie of fans dedicated to keeping the company's aging but high-powered workstations alive.
Sites like Nekochan, Silicon Bunny and the SGI Zone offer hardware and software tips, news, discussion and secondhand trading facilities to the small clique of true believers. Nekochan's bulletin board has 700 members -- impressive for machines were never sold directly to the public.
There's a thriving trade in old SGI hardware. The market is so hot that Ian Mapleson quit his job in academia to sell workstations full time to hobbyist animators and videographers.
"The majority (of customers) are learning 3-D and video -- getting a foothold in an industry that's hard to get into," he explained.
Playing around with an old SGI Indy workstation, novices can learn Hollywood techniques at Peoria prices. An Indy, which in the early 1990s cost around $14,000, can be picked up on eBay these days for maybe $40, plus another $200 for a monitor.
But it's not just the lure of learning. In the small world of SGI, there's the real possibility of making actual Hollywood contacts.
"In the SGI hobbyist world it's not six degrees of separation, it's three, often less," Mapleson said. "I recently met one of the industrial light and magic guys who worked on Star Wars: Episode II."
Another used-SGI dealer, Ian Butler, sells a selection of machines through eBay auctions and his web store. Butler peddles mostly to videographers in poorer countries, who are making use of advanced hardware cast off by users in the United States and the United Kingdom.
"A lot of design, animation and video shops in Eastern Europe buy kit," he said. "They can get more out of older SGI machines than they would from PCs or Macs.... When it comes to video, a $2,000 Mac still doesn't have the same capabilities as an SGI machine."
The Indy is the quintessential SGI machine. First released in 1993, the Indy was an object of desire, with industrial design worthy of Apple. (In fact, it's arguably better than Apple's lackluster design of the time).
The distinctive bright-blue computer was intended as the answer to designers' prayers -- all-powerful, internet-oriented and with a wide selection of creative software running on Unix.
Like the iMac, the Indy was used for video editing, graphics and web design. The machine included support for video input, and SGI supplied a high-quality webcam suitable for video conferencing.
Networking was simple, and the machine came with a built-in adapter for then-popular ISDN communications.
The operating system was a friendly version of Unix -- one of the first to feature a graphical user interface rather than a command line.
All in all, the Indy was the iMac four years too early -- and $4,000 too expensive.
Not surprisingly, the SGI community is much like its Mac equivalent. But in its alienation, the concerns of SGI fans are far more urgent than those of Mac users. Is their beloved platform heading for obsolescence? Will their machines keep up with developments on the net? Can they get software for the machines? What will they do if the SGIs break down?
The editor of the Nekochan site, Pete Plank, draws direct parallels with the Mac web.
"The online Mac community is much larger due to the target audience of the platform, but as a community they are similar in many ways," he said. "Sites such as Accelerate Your Mac have always been an inspiration. I wanted something like that for SGI users."
Unlike Apple, SGI never intended its machines to be sold to the public. Instead, SGI machines were sold at the corporate level.
At one point, SGI attempted to force hobbyist websites into running a legal disclaimer that they were in no way connected with the company. Some closed down rather than agree to the lawyers' conditions.
Now, the company at best tolerates the hobby community, turning a blind eye to sales of secondhand software, which is forbidden by user agreements.
But the numbers are small. If the Mac community is dwarfed by the Microsoft horde, the number of SGI users amounts to a rounding error. Mac users may form a cult, but the SGI community is the tech equivalent of the pre-Reformation Moravian church -- unknown, tiny and years ahead of its time.
In spite of SGI's lack of interest and the difficult task of swimming outside the computing mainstream, fans of the platform say they will never give it up.
"All things come to an end but I don't see a reason to move away from SGI," said Plank.
See related slideshow
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https://medium.com/art-marketing/20-years-ago-the-early-web-product-line-that-almost-wasn-t-47bb35cee909
|
en
|
20 Years Ago: The Early Web Product Line that Almost Wasn’t
|
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2015-11-28T21:18:14.260000+00:00
|
It was the month of November 1994, and my mission was clear: create and launch the first hardware + software web product line, putting Silicon Graphics (SGI) into the leadership position of a market…
|
en
|
Medium
|
https://medium.com/art-marketing/20-years-ago-the-early-web-product-line-that-almost-wasn-t-47bb35cee909
|
It was the month of November 1994, and my mission was clear: create and launch the first hardware + software web product line, putting Silicon Graphics (SGI) into the leadership position of a market about to explode. Based on what I learned in Chicago, I believed that if we launched by end of January, we had a very good chance of beating key rivals Sun and Apple to market with solutions for the most valuable “picks and shovels” segments: web authoring and web serving. To get there, I had a two-part plan, focused on forging internal parternships with two other divisions within the company.
The first part was to partner with NSD (Networked Systems Division), a business unit that had been formed within the last year to expand the company’s footprint beyond 3D workstations into the market for high-performance servers. If our two divisions worked together, we could create a product line with the Indy workstation as one entry point (a multimedia monster for both web authoring and web serving) and the Challenge S as the other entry point (NSD’s Indy-based entry-level offering, an ideal web server). The rest of the Challenge server line (see image below) would provide a path for massive scalability.
The second part was to partner with one of our two software divisions to create an awesome, SGI-native, graphics- and media-centric, drag-and-drop, “WYSIWYG” web authoring tool that we could bundle with our workstations.
To Author
Since it was more than a little ambitious to dream of creating such a tool in less than three months, I started with the authoring software. My first stop was Silicon Studio, a division recently formed to create authoring software for interactive content. Heading up product management there was none other than Scott Bonham, who had hired me into the company and then given me a big break by moving on and an allowing me to become his backfill. Despite my clarity, conviction, and passion, nothing I said could convince him that the web should be anything other than a secondary focus for Silicon Studio. Their plate was already full, working on an authoring system for video games.
Oh, well. At least I had one other software division I could partner with, VMD (Visual Magic Division), the group responsible for SGI’s “Indigo Magic” desktop environment (see image below) and a bunch of cool software tools highlighting unique capabilities of our systems. They even had a team focused on publishing. But conversations there fared no better. My logical champion to take on the project was dismissive of HTML, seeing it as an inferior derivative of SGML. He would happily lead an effort to build an SGML editor. I thanked him, but suggested the web was unlikely to switch to SGML, even if we built the best damn SGML authoring system in the world!
Suddenly, SoftQuad’s HotMeTaL Pro started to look much better to me, despite its unlovable interface. I set to work negotiating the terms of a deal to get it ported to IRIX, so that we could bundle it with the workstation part of the web product line I planned to launch in January.
And To Serve
I hoped I’d fare better with the server division. After all, the plan there required no software development, just a simple bundling of existing hardware units with third-party web server software (to be licensed from Mosaic Communications). SGI would be first to market with a “turnkey web server” for very little effort. Lenny Rosenthal, who headed up marketing for NSD, was conflicted. He saw the great potential of the market, but knew that convincing his boss, Ross Bott, the GM of the division, would not be easy. He arranged a meeting on a Thursday afternoon for us to make the case. Ross was a seasoned hardware exec, very technical, and methodical. I, on the other hand, was inexperienced, learning Computer Science on the job, and given to a passion that might be called “evangelical”. The meeting clearly did not go well, but no decision was made on the spot. The next day, however, Lenny told me that NSD would not be jumping with me into the web server market. Instead, they would stay focused on the market for high-scale database servers.
Dead in the Water
My bold plan could survive without homegrown web authoring software. But trying to make SGI the leader in the web server market without the participation of our server division? That was laughable. Our first-to-market web product line was dead in the water.
And that was simply not acceptable.
It was a Friday afternoon. I went to see my boss, Jim White. Readers of this series may recall that Jim had taken over the head of marketing role for the division behind Indy, DSS (Digital Sight and Sound), and immediately empowered me to focus my energy on finding new markets. I shared with him my frustration with the disastrous results of my internal partnering efforts, concluding with, “SGI is in the perfect spot to take advantage of the biggest new market in computing, and we’re going to totally blow it. We’re going to just let it slip through our fingers.”
Jim’s a pretty intense guy. Smart, confident, and passionate. He didn’t hesitate in his response, as if what to do should have been completely obvious to me. He asked, “Why don’t you just do it?”
The light bulb went off. It hadn’t occurred to me that such an option existed. But as soon as he said it, I realized that there was a pathway forward, if I could grab full leadership of a company-wide effort. “I’m in,” I said.
Minutes later, we were in the cubicle of Tom Furlong, General Manager of DSS, pitching the idea of creating a new product line by bundling software for web authoring and web serving. Tom, who embodied the epitome of the the can-do spirit of mid-’90’s Silicon Graphics, was immediately supportive, saying that he had been advocating for “solution bundles” for a while. “Let’s do it,” he said. “What do you need from me?”
“I need to be knighted,” I said.
Tom smiled, and without missing a beat, pretended to pick up a sword. “You are hereby knighted,” he said, dropping the virtual blade to my shoulder.
“That’s awesome, and I really appreciate it, but I think this knighting will have to come from higher up,” I said. “This is a mission that requires product changes in multiple divisions.”
Still smiling, Tom stepped toward his desk and picked up the phone. “Can you be ready to present at TJ’s business ops meeting on Monday?” (“TJ” was Tom Jurmoluk, the company’s COO.)
Without hesitation, my mouth said, “Yes,” but my mind thought, “Whoa, that’s crazy. I don’t even have a draft presentation!”
A minute later, Tom hung up the phone. “Okay, Monday’s totally booked, but you’re now on the agenda for the exec team meeting on Wednesday.”
I thanked Tom, and as we headed out of his cubicle, he said, “One thing, though. I don’t want you to go hat in hand, asking for money.”
I nodded and quickly left, eager to start working on what might be the most important presentation of my Silicon Valley career.
Finalizing the Most Important Presentation of my Career
It could be said, as I prepared for my big exec team presentation, that I didn’t quite know what I was getting myself into. You see, I was pretty green — in more ways than one. I’d been at SGI less than a year, and aside from a summer internship at Tandem, this was my first job in Silicon Valley, my first job in tech. Heck, it was even my first job in the for-profit sector! And unlike all the other product manager types at SGI, I did not have an engineering background, so I was essentially learning Computer Science on the job. Oh, and although I was 32 at the time, I looked way younger.
And now I was stepping forward, asking to be put in charge of an effort to launch the company into the web authoring and web serving markets with a whole new product line that would span multiple divisions.
The people I was about to present to, on the other hand, were leaders of the hottest company in Silicon Valley, and they were all incredibly technical, with real depth in domains like 3D graphics, chip design, systems architecture, networking, and so on. In attendance would be the GMs of four hardware divisions and two software divisions, a VP of manufacturing, as well as other execs (finance, legal, and marketing, I think). Running the meeting would be Tom “TJ” Jermoluk, the hotshot technical leader who had rocketed up from engineer to President and COO in less than eight years.
In other words, I probably should have been more than a little nervous. (And it might have been a good idea to do some homework on my audience.) Instead, I stayed calm, cool, and keenly focused on building up an SGI-quality presentation.
Fortunately, my colleagues on the Indy marketing team had my back.
For example, on Monday, two days before my presentation, Sanford Russell, who had done the Hotwired site sponsorship deal that planted our flag in the web market, asked me, “Have you ever presented to TJ before?” I didn’t realize it at the time, but in hindsight, he surely already knew the answer.
“No,” I said. “Honestly, I haven’t even met him yet.”
“Hmmm,” he replied. “Would you like a tip?”
I nodded.
“TJ is very tactile,” he said. “You may want to bring a prop or two to make your pitch more tangible.”
I thanked him and ran off to look at my draft presentation through a whole new lens.
How to enhance it with “props”? The first thing that came to mind was the part of the presentation on the web authoring market opportunity. In that, I had planned to make an impassioned plea for creating an SGI-quality, drag-and-drop, WYSIWYG HTML editor, and to only make brief mention of “Plan B” (just getting SoftQuad to port HoTMetaL Pro). Suddenly, I recalled the shrink-wrapped box of HoTMetaL Pro that I brought back from Chicago. I had my first prop. (Photo below is pretty much what it looked like, although this is actually version 2.0 and for the Mac.)
To find a second prop, I pondered how I could make more tangible the new product line I was proposing to create. And so I headed over to Manufacturing. On foot. (Yes, we were not manufacturing in China.) I walked across the driveway of our office park in Mountain View (the same one that today is headquarters for LinkedIn), and entered Building 1, where our workstations were assembled and packed for shipping.
Within minutes something caught my eye. Indy had a very distinctive bright turquoise shell. But sitting on a shelf a bit to the side of the assembly line was something that looked just like an Indy shell, but it was pitch black. I asked what it was for and was told that it was for the Indys sent to Tandem via our OEM partnership.
(BTW, the one that my friends in Manufacturing lent me did not have a Tandem badge on it; it was just the shell, not the whole system in the picture above.)
Now, I had two props, but I also had a new puzzle. To make the proposed product line truly tangible, I’d need something more that a distinctive black shell. Suddenly it was clear that I was missing something vitally important to the pitch — a name for the product line!
As any of you who have ever named a product or company can attest, coming up with a great name can take days, weeks, or even months. I had less that 48 hours. Fortunately, the pitch black shell yielded some inspiration. If this were to be the first product line for the builders of the web, and it were to be all black, then it should be called, “Spider”. And the name gave rise to a tagline, “For some, making a Web comes naturally.” (Okay, kinda hokey and a bit tortured in hindsight, but certainly good enough for creating a slide that would make this product line truly tangible!) And based on this image I found in my notebook, it looks like I may have ended up creating a mock print ad as the primary image for one of the slides in the deck:
By Tuesday evening, I was ready. My presentation was done, and I had my props. My plan was for a quick dinner, a few hours of rehearsing, then heading home at a decent hour for a good night of sleep. My presentation was at 9:00am.
I was in a great mood as I headed down to Café Iris with Sanford Russell and another deeply experienced member of the Indy Marketing team, Peter Hubbard. Peter had taught me a lot about how the workstation business works. Originally from the U.K., he had a quick wit and the remnants of a British accent. As we ate our free dinner (a now-common perk that SGI helped to pioneer), Peter asked me if I was “all ready” for my big presentation. Indeed, I was, I assured him. Then he asked with a smile, “So, how much are you asking for?”
“Um,” I said, a word that I rarely use. “I’m not actually asking for any money. Tom asked me to not go hat in hand.”
Sanford, as if on cue, jumped in. “So, let me get this straight. You’re going to take 20 or 30 minutes on the agenda of the COO and exec team to get them excited about the company’s biggest market opportunity, and then you’re not going to ask for any investment?”
Without missing a beat, Peter added, “Sounds like you’re wasting their time.”
Suddenly, I wasn’t hungry any more. This evening would no longer be about rehearsing and going to bed early. Now, I had one more slide to create: the business case for a multi-million dollar investment request.
The Big Pitch toTJ and the Exec Team
The big day was finally here. I’d made it down from the city ahead of the rush hour, and arrived at SGI well before the start of the exec team meeting.
I headed down to the Building 6, where the execs had their offices, and found the Board Room. Meeting me there was David Ciemiewicz, a.k.a. “Ciemo,” an engineer as passionate about the web as I was, who had in recent weeks gone from being a friend and occasional technical advisor to becoming essentially the technical co-founder for the new business we hoped to get green-lit. And this morning, he would also be handling an important, if not glamorous task — hitting Page Down to advance the slides of the Showcase presentation, so I could focus on speaking.
The Board Room was enormous and brightly lit, with a long table running most of its length. Ciemo went about getting the presentation on the Indy, while I stashed my props in the belly of the lectern at the head of the table. After a quick run-through of the deck, we exited the room and camped out in small waiting area outside.
We’d end up being there for a while, as our presentation wasn’t scheduled until after the weekly conference call with country managers. Soon, the execs started showing up for the meeting. Though almost none of them recognized me (and vice versa), most of them knew Ciemo, who had been at the company for eight years, so there were a lot of smiles, greetings, and small talk as they headed in.
I was on the lookout for one of the few execs that I actually did know, our division’s GM, Tom Furlong. You see, I hadn’t had a chance to let him know about my last-minute addition to the presentation. By the time Tom arrived, the Board Room was more than half full, as the meeting was only a few minutes away. “All set?” he asked.
“Yep,” I replied, “But I need to tell you something.”
“Shoot,” he said.
“I’m sorry I didn’t get to discuss it with you in advance,” I said. “But last night I decided to end the presentation with a request for investment.”
“How much?” he asked.
“Three million.”
“Okay,” said Tom, with a bit of a chuckle. “Good luck with that!”
He headed into the Board Room, leaving us to ponder whether he thought I was smart or crazy.
After all the execs made it in, the doors closed, and the long wait began. The country manager call took something like 30 minutes, but it felt like an eternity. Finally, the door opened, and Ciemo and I entered a room that now looked dramatically different. What had been bright, empty, and roomy, was now mostly dark and jam packed with people. The long table was full, with five execs on each side and another two on the end. And the back of the room was crowded with another dozen or so folks, including each division’s director of marketing.
Ciemo got the presentation up on the big screen, and I took my place at the lectern, which was now in the only brightly lit part of the room. A few small lights above the table provided just enough illumination for me to see the faces of the execs. Everything else, including all the folks at the back of the room, was in near total darkness.
I looked around the table, and made eye contact for the first time with the company’s President and COO, Tom “TJ” Jermoluk. He sat halfway down the left side of the table. His blond hair and relaxed confidence gave him a surfer vibe. He gave a big smile and said, “Let’s go.”
No recording was made of this presentation, and the digital copies of the Showcase file have long since been lost. All that remains, aside from memories, is one color photo that I used to illustrate one of the slides. But here’s what I remember of the pitch…
After introducing myself, I started with a slide introducing the World Wide Web, illustrated with example web pages.
“The Internet has been around for 25 years,” I said. “But recently it has entered a new phase of explosive growth. Why? Because the Web makes the Internet visual, media-rich, and interactive. And that makes it both compelling and easy and to use. In the process, it is now creating one of the fastest growing new markets for visual computing…”
I should probably point out that I did not have a script or notes, and that this was a true SGI-quality presentation, which is to say that there were no words on the slides other than titles. But my pitch flowed like water that morning 20 years ago, as I was delivering a narrative I felt deep in my bones.
“Let’s take a look at what I mean by fast growth,” I said, and Ciemo brought up the next slide, showing a graph that looked something like this:
“By every important measure, the World Wide Web is growing exponentially. The number of websites is now doubling every three months! And here’s why that growth will not slow any time soon…”
From there, I showed and talked about a virtuous cycle. (More people getting online, inspiring more websites to be created, leading to more compelling content, leading to more people downloading the browser and getting online, and on and on.)
“As that cycle continues,” I said, as we advanced to the next slide. “It’s giving rise to two ‘picks and shovels’ market segments, that we should not only enter, but that we should, in fact, lead. Those segments are web authoring and web serving.”
“On the authoring front, I should say that I’ve been incredibly frustrated by our experiences in the multimedia authoring market. With Macromedia unwilling to port to IRIX, we’re frozen out of the main action. But with the web authoring market, we have no such disadvantage. In fact, we can (and should) jump in, feet first, and create a visual, media-rich HTML authoring system that highlights the differentiation of our workstations. But even if we don’t do that, we don’t have to stand on the sidelines. SoftQuad, a small software company in Toronto, has created the very first HTML editor and is open to a deal to port it to IRIX.” I paused, reached down into the belly of the lectern, and pulled out my first prop, a shrink-wrapped box of software. “It’s called HoTMetaL Pro, and it’s currently available for Solaris.”
“Can I see that?” asked TJ.
Attention quickly shifted, first to TJ, then back to the box in my hands. I leaned forward and handed it to the exec seated closest to me on the left. It was quickly passed along to TJ. The room was silent as he slowly examined all sides of the box. “Why don’t we make something like this?” he asked, looking around the table, and then handing the box not back toward me, but to the exec to his left. For the next couple minutes, each VP repeated the little ritual of accepting the box, examining it carefully, then handing it to the guy to his left.
As the box made its way around the room, I returned to my pitch, shifting over to the web server market. Here, I would have emphasized the central role of Netscape (the company having just renamed itself the prior week), and the incredible good fortune of having our recently departed founder, Jim Clark, at the helm there; and them using Indys as their development environment and as the server hosting the downloads of the browser. It was a hot new server market being born on our platform; we just needed to license their server software and bundle it.
I laid out my proposal, at high level, to enter these two market segments with a new product line, comprised of workstations and servers, bundled with all the right tools for kick-ass, media-rich web authoring and serving. To make it more tangible, I teed up a product line slide by saying, “Introducing Spider from Silicon Graphics.” The slide made it look like the product line already existed and was already supported by print advertising. And then I reached into the lectern to get my second prop, the black plastic Indy shell. Holding it up, I said, “And the entire product line will come in black.”
I paused, hoping TJ would chime in, but instead, someone from the other side of the table piped up. (I would later find out that it was the company’s VP of Manufacturing.) He said, “I have to draw the line there. We don’t want that kind of inventory headache.”
TJ added, “Agreed.”
“Okay, not a problem,” I said, as I quickly disappeared my prop. “A different color shell is not a critical success factor.”
My pitch would go on to show how we were already had a warm welcome from the market, with prominent sites already “Powered by Silicon Graphics,” including HotWired and the Internet Underground Music Archive (IUMA)3.
“The web is bringing Silicon Graphics to a whole new set of customers.” I said, as we hit our second-to-last slide. “And these first-time buyers are blown away by our products. For example, the team at Sound Print Media Center were so happy with their purchase of an Indy for web authoring and serving that they mailed us this photo!”
And then came the final slide, entitled “To Become The Market Leader”. This was the one I added the prior evening, and did not look like any other slide in the deck. Instead of one main image and no words, it was really just a spreadsheet with pretty small font. It detailed what I thought we should spend money on to create and launch the product line — and how much incremental revenue I projected we would deliver in the first two quarters.
I wasn’t sure what detail to go into in my pitch, but at some point TJ stopped me, having absorbed the level of detail he wanted.
“Okay,” he said. “Let me get this straight. If I give you two to three million dollars, you’ll get us into the market in January and take up your outlook for the next two quarters by 15 million?”
All eyes were now on me. It was pretty clear that the right answer was “Yes.” But a few things prevented me from speaking. First, I had never been in a conversation about quarterly “outlooks”. Second, since I didn’t personally have one hanging over my head, I wasn’t sure what it would mean for me to modify one over someone else’s head.
With the extended silence starting to get awkward, my boss, Jim White, stepped forward from the darkness of the back of the room into the dim light near the table’s end. “That’s right,” he said.
TJ turned in his chair, and all eyes followed.
“We will take up our outlook for Q3 and Q4,” said Jim.
TJ nodded and turned his chair and gaze back to me. Then he said the best five word sentence of my career, “Make it so, Number One.”
After a moment, he said, “Okay, let’s take a 10 minute break.”
Someone turned on the lights. Ciemo and I shook hands. Jim White came up close to me, put his hand on my shoulder, and whispered, “Your top priority now is hiring.”
To be continued…
Originally published as a series of posts on TheRealMcCrea.com in November, 2014.
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https://logos.fandom.com/wiki/Silicon_Graphics_Inc.
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Silicon Graphics Inc.
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You always wondered: The Silicon Graphics Logo - Adafruit Industries - March 8, 2019 (with Wayback Machine link) On April 1, 2009, SGI filed for Chapter 11 bankruptcy for the second time (after filing earlier in 2006), and announced that it would substantially sell all of its assets to Rackable...
|
en
|
https://static.wikia.nocookie.net/logopedia/images/4/4a/Site-favicon.ico/revision/latest?cb=20210629045729
|
Logopedia
|
https://logos.fandom.com/wiki/Silicon_Graphics_Inc.
|
1981–1999[]
Designer: Scott Kim
Typography: Univers Condensed Bold Italic
Launched: November 9, 1981
You always wondered: The Silicon Graphics Logo - Adafruit Industries - March 8, 2019 (with Wayback Machine link)
1999–2009[]
Designer: Landor Associates
Joseph Stitzlein
Typography: SGI Type
Based on Monolein
Launched: April 13, 1999
On April 1, 2009, SGI filed for Chapter 11 bankruptcy for the second time (after filing earlier in 2006), and announced that it would substantially sell all of its assets to Rackable Systems for $25 million. The sale, ultimately for $42.5 million, was finalized on May 11, 2009. At the same time, Rackable announced its rebranding to Silicon Graphics International.
|
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5018
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3
| 72
|
https://www.computer.org/publications/tech-news/nintendo-64/
|
en
|
Famous Graphics Chips: Nintendo 64
|
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2020-02-29T00:26:36+00:00
|
Silicon Graphics founder Jim Clark met with Nintendo CEO Hiroshi Yamauchi to discuss squeezing an SGI graphics system into a console. This gave birth to the N64
|
en
|
IEEE Computer Society
|
https://www.computer.org/publications/tech-news/nintendo-64/
|
Breakthrough design, genuinely disruptive
Silicon Graphics had been a leader and highly respected workstation developer that rose to fame and fortune based on its introduction of a VLSI geometry processor in 1981. In the ensuing years, it developed leading graphics technologies at the high end. A high-end super high-performance workstation could cost over $100,000. Therefore, the idea of adapting such state-of-the-art technology to a consumer product like a game console that sold for a few hundred dollars was considered bold, challenging, and crazy.
Nonetheless, in 1992 and early 1993, Silicon Graphics (SGI) founder and CEO Jim Clark met with Nintendo CEO Hiroshi Yamauchi to discuss just that—squeezing an SGI graphics system into a console. And thus, was born the idea of the Nintendo 64.
Even the number, 64, was outrageous. Most consoles of the time were struggling to get from 8-bits to 32-bit; 64-bits was considered science fiction.
Even so, they did it and on November 24, 1995, at Nintendo’s 7th Annual Shoshinkai trade show, the company unveiled the Nintendo 64 console. Later in May 1996, at the E3 conference in L.A., Nintendo showed the Nintendo 64 and announced it would be available in the U.S. in September.
It was an amazing amount of technology crammed into a ridiculously small package, and at a crazy low price of $250 ($420 today).
Figure 1: Nintendo 64 motherboard, CPU, and Reality Coprocessor, with RMEM below the processors. (Source: Nintendo)
The little super-computer would be considered feature rich today, and other than the clock speeds, would be a competitive device.
Nintendo 64 features:
64-bit custom MIPS R4300 CPU, clock speed of 93.75 MHz
Rambus DRAM (4 Mbytes) with a maximum bandwidth of 4,500 Mbits/s
Sound and graphics, and pixel drawing coprocessors, clock speed of 62.5 MHz
Resolutions range from 256 × 224 to 640 × Normal resolution is 320 × 240, 24bpp
32-bit RGBA frame buffer, with 21-bit color video output
Graphics processor (RPC) includes:
Z-buffer
Anti-aliasing
Texture mapping: tri-linear interpolated with mip maps, environmental mapping, and perspective correction
Size: 10.23 inch ×48 inch × 2.87 inch; weight: 2.42 pounds
The system came with a multifunction 2D and 3D game controller, including digital and analog joysticks, many buttons
MIPS and RPC processors were 0.35µ silicon manufactured by NEC for Nintendo.
The organization of the system consisted of two major chips, the main CPU and the Reality Coprocessor (RCP) designed by SGI. The following diagram shows the overall arrangement.
Figure 2: Nintendo 64 block diagram
The VR4300 main CPU was a 64-bit microprocessor that ran at 93.75 MHz with 64-bit registers, data paths, and buffers to insure high-speed data movement within the chip. The wide data paths were particularly important for operations such as bit-stream decoding and matrix manipulation, core features in video and graphics processing. The VR4300 device also supported double-precision floating-point operation for high-performance graphics. Large on-chip caches (16 Kbytes instruction and 8 Kbytes data) provided higher performance for interactive applications by reducing the need for frequent memory accesses. It was built using 0.35-micron drawn (0.27-micron effective) NEC process technology.
Within the RCP were two major sub-systems, the Reality Signal Processor (RSP) and the Reality Display Processor (RDP).
Figure 3: Nintendo 64 Reality Signal Processor block diagram
As pointed out in Rodrigo Copetti’s excellent review, also known as RSP, it contained:
The Scalar Unit: A MIPS R400-based CPU which implemented a subset of the R400 instruction set.
The Vector Unit: A co-processor that performed vector operations with thirty-two 128-bit registers. Each register was sliced in eight parts to operate eight 16-bit vectors at once (just like SIMD instructions on conventional GPUs).
The System Control: Another co-processor that provided DMA functionality and controls the neighbor display processor module.
In order to operate the RSP, the CPU stored in RAM a series of commands called a display list along with the data that would be manipulated. The RSP would read the list and apply the required operations on it. The available features included:
Geometry transformations.
Clipping & Culling (removing unnecessary & unseen polygons).
The RSP fed the Reality Display processor (RDP), which is illustrated in the following block diagram.
Figure 4: Nintendo 64 Reality Display Processor (RDP) block diagram
After the RSP finished processing polygon data, it sent rasterization commands to the RDP. These commands are either sent using a dedicated bus called XBUS or through main RAM.
The RDP was just another processor with fixed functionality that included multiple engines used to apply textures over polygons and project them on a 2D bitmap. It could process either triangles or rectangles as primitives, the latter is useful for drawing sprites. The RDP’s rasterization pipeline contained the following blocks:
A rasterizer that allocated the initial bitmap that served as a frame-buffer.
A texture unit which applied textures to polygons using 4 KB of dedicated memory (called ‘TMEM’) allowing up to eight tiles to be used for texturing. It could also perform the following operations on them:
4-to-1 bilinear filtering for smoothing out textures.
Perspective correction to improve the coordinate precision of the textures.
A color combiner which mixed and interpolated multiples layers of colors (for instance, to apply shaders).
A blender that mixed pixels against the current frame-buffer in order to apply translucency, anti-aliasing, fog, dithering and z-buffering, the latter being critical to efficiently cull unseen polygons from the camera viewpoint (replacing software-based polygon sorting methods which could drain a lot of CPU resources).
A memory interface used by multiple blocks to read and write the current frame-buffer in RAM and/or fill the TMEM.
The RDP provided four modes of functioning; each mode combined these blocks differently in order to optimize specific operations.
The RDP supported 16.8 million colors. The system could display resolutions from 320 × 240 up to 640 × 480 pixels. Most games that made use of the system’s higher resolution 640 × 480 mode required use of the Expansion Pak RAM upgrade.
The system had several advanced, high-end graphics capabilities such as:
Real-time anti-aliasing—removes jagged edges from the objects, creating a smooth and realistic view as the player moves through a scene.
Advanced texture mapping techniques—generate high-quality textures and retain the natural texture of every object in the scene, independent of how close the player is to the object.
Real-time depth buffering—removes hidden surfaces during the real-time rendering process of a scene, allowing game developers to efficiently create 3D environments.
Automatic load management—enables the objects in the scene to move smoothly and realistically, by automatically tuning the graphics processing.
The console came with a new three-grip controller that allowed 360-degree precision movement. A “3D stick” enabled players to identify any angle in 360 degrees, as well as control the speed of a character’s movement. Other new additions include “C Buttons,” which changed a player’s perspective, and a “Z Trigger,” for shooting games. In addition, the controller featured a memory pack accessory which allowed players to use a special memory card to save game play information on their controller. This enabled players to take their game play data with them and play on other Nintendo 64 systems. Over 350,000 Nintendo 64s sold within days of its release.
Console wars. The console market was highly contested then (as now), and new companies were entering the market as older ones were being driven out. As a result, the suppliers started a price war that almost ruined them all.
In August 1996, Nintendo announced plans to drop the price to $199.50 just before it launched in the U.S. That was done to match the 32-bit systems from Sony and Sega head to head. Sony, in turn, reacted by reducing prices on many of its titles to $39.99. Sega said it didn’t plan to reduce its console price.
Then six months later, in March 1997, Nintendo announced a new, lower price of $149.95 for Nintendo 64. At the time, the company cited production efficiencies resulting from the planned global sales increase to 12 million units for the 12-month period starting April 1, 1997, and favorable foreign exchange rates. With Sony, Sega, and Nintendo all at below $150, it was not unreasonable to expect a sub-$100 sales bonanza for Christmas 1997.
By May 1998, there were only two players in the console market, the Sony PlayStation and the Nintendo 64. The Saturn system could still be found, but not for long.
Then in August 1999 Nintendo did drop the price of the Nintendo 64 to under $100 as fall and holiday market heated up.
Conclusion
A lot of advanced techniques and solutions were incorporated into the Nintendo 64 which have become the basis for modern 3D gaming. The hardware itself had a list of major features:
Here are some things developers made use of with the software end that paved the way for modern game engines.
Trilinear mipmapping, the one most often touted
Edge based anti-aliasing (which we have today as FXAA and MLAA)
Basic real-time lighting (which implies the N64’s GPU is a hardware T&L GPU)
The one thing that stands out in my mind though when it comes to the Reality Coprocessor (RCP) is that it’s probably one of the first, if not the first, GPUs that was fully programmable. The processor ran on microcode which developers could tweak to suit their needs. The problem was Nintendo didn’t release the tools on tweaking those codes until late in the N64’s life span. But once they did, a few companies (notably Rare and Factor5) pushed the system to its limits.
Other features that were exploited by game studios included:
Smart use of clipping. Nintendo had at least some merit when using cartridges for their speed. This allowed sections of the game world that are not visible to not be rendered until the player gets very close to them. This YouTube video (you’ll have to skip ahead a bit) shows this off.
Banjo Kazooie had a novel way to push out large textures for detailed environments. One of the issues was that it caused memory fragmentation, which would mean that even though technically enough memory was around, there wasn’t enough contiguous memory to store something in. So they had a real-time memory de-fragger run during the game.
Texture streaming. This was done by game developer Factor5 (though I’m sure others did something similar) for Indiana Jones and the Infernal Machine. This allowed them to stream textures being rendered, thus overcoming the 4KB texture memory limit.
Frame-buffer effects. This is used for effects like motion blur, shadow mapping, “cloaking,” and something that still amazes me: render to texture (Textures that are created and updated at run time).
Level of detail (LoD). This is a trick where if a model is sufficiently far away, it gets swapped for a low-poly model.
The Nintendo 64 was truly ahead of its time, but unlike other pioneers the company didn’t suffer for being so advanced. The Nintendo 64 did very well and drove the industry forward toward more realistic and high-performance computer graphics.
Epilog
Nintendo may have spurred the creation of the PlayStation. In the early 1990s, Nintendo partnered with Sony to develop a new CD-ROM console and attachment for the Super Nintendo system, resulting in a prototype fans called the Nintendo PlayStation.
However, Sony’s deal with Nintendo fell through. Sony ultimately decided to ditch Nintendo and launch the PlayStation on its own — a decision that would completely change the course of the video game industry. That ultimately lead to the birth of Sony’s massive PlayStation brand, and a major and long-term competitor to Nintendo.
In May 1999, Nintendo decided to use IBM’s 400 MHz, 128-bit PowerPC chip called Gekko in Nintendo’s new Dolphin game console
Nintendo also announced that the new system would be using a new graphics chip designed by ArtX Inc. ArtX was formed in 1998 by ex-SGI/MIPS employees who developed the Nintendo 64 graphics processor.
|
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https://www.hp.com/my-en/shop/tech-takes/post/most-important-computer-components
|
en
|
5 Most Important Components of a Computer
|
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2022-10-06T04:53:00+00:00
|
Your computer houses many delicate components that are crucial for it to function. These are the 5 most important PC parts you need to pay attention to.
|
en
|
https://www.hp.com/my-en/shop/tech-takes/post/most-important-computer-components
|
Like us, a computer’s health needs to be taken care of to ensure peak performance and longevity. PCs don’t require much sustenance - except a consistent power supply. They’re made up of durable and tough components that can become damaged and could lead to many problems once compromised.
Responsible desktop and laptop users should take the time to learn about the internal hardware that runs their computers’ processes. With sufficient knowledge, you can easily identify the probable reasons why your PC is slowing down, so you can repair it without having to go to a nearby computer store, saving money and time.
Imagine yourself as the computer and its internal components as your functioning organs. Each part plays a different role in running your PC effectively. Each component is crucial to your PC in its own way.
In this article, we’ll explore the 5 most important of these. Then, we’ll go through some of HP’s best desktops with top-quality features.
5 most important components of your computer
Regular servicing and timely upgrades are necessary to maintain your PC in its prime condition, so you can keep enjoying it without interruption. Electrical items break down eventually after constant use, and this is also true for computer hardware.
PCs can slow down for many different reasons, and most of the time, you can solve it without touching delicate computer components. That said, for more critical issues, an upgrade often is the best solution. These are the 5 major components of a computer that you need to know about:
1. Motherboard
A complete computer components list always starts with the motherboard, the primary circuit board that holds all the hardware in place. Every PC has one, from dedicated workstations to personal notebooks. A robust motherboard offers many slots for installing multiple computer components (e.g. RAM, graphics card, etc.).
Motherboards offer different form factors (general specs encompassing circuitry arrangement, overall size, number of ports, etc.), and only specific motherboard models can fit into certain computer cases/chassis, especially for customisable desktops.
For laptops, specialised motherboards are used instead, with much of their built-in hardware already soldered onto their respective circuits permanently. This is done due to the laptop’s smaller frame and lighter build, with only certain parts like the RAM and storage that can be upgraded.
When a motherboard is damaged, PCs cease to function fully. Noting the complexity of the circuitry and wiring in place, a faulty motherboard can instantly stop your computer from working and potentially harm other parts. While motherboards are easily replaced for desktops, the same can’t be said for laptops, forcing you to buy a brand new one.
2. Central Processing Unit (CPU)
The central processing unit (CPU) - commonly referred to as the processor - is the ‘brain’ of your computer. The CPU solves all the sophisticated algorithms and programming your computer does while running programs or applications.
Nowadays, almost all processors possess multiple CPUs to achieve quicker processing speeds, ensuring faster response times when using software or browsing the web. These special processors are called multi-core processors, with each CPU designated as 1 processing core.
For example, the high-end Intel® Core™ i7-12850HX processor has 16 independent cores that work together to handle computing tasks, allowing you to do program-intensive work without stressing your computer too much.
You can squeeze more power from your CPUs to get slight performance boosts by overclocking them. However, this comes with risks that might damage your processor, so keep that in mind. Remember, a PC cannot work properly with an impaired processor, even if other components function normally.
3. Graphical Processing Unit (GPU)
When handling graphical operations and advanced imagery, the graphical processing unit (GPU) is the computer hardware responsible for it. A GPU is required for your computer to read and reproduce graphical representations and effects, which are almost present in every form of media today.
Certain top-spec CPUs can also have basic GPUs embedded in them, especially premium laptops that focus on lightweight mobility and use. However, the finest GPUs are primarily used for video gaming, capable of handling immense 3D-graphics loads to maintain smooth frame rates and lag-free experiences.
When gaming, the CPU and GPU work in tandem. The GPU manages the heavy lifting in terms of the on-screen graphics and fidelity, while the CPU runs the programming that works behind the scenes, such as data and in-game statistics.
A broken-down GPU can lead to many problems, including the feared black screen of death. The current crisis of GPU chips shortages causes another headache, making losing your GPU a nightmare.
4. Random Access Memory (RAM)
Computers have different forms of memory that store information and data, and the more prominently discussed is random-access memory (RAM). A RAM device keeps important currently-used data and codes on standby, loading them instantly when respective programs or apps are opened.
RAM is a volatile type of memory, meaning all stored memory is refreshed after turning off the PC. This allows the device to quickly absorb new data immediately during the next session, prompting quicker loading processes.
Almost all mainstream computers can be upgraded with more RAM by buying a better RAM device - or RAM stick - that offers bigger storage capacity, including mini laptops. Nevertheless, depending on your computing activities, you might not use all RAM, so you need to understand how much RAM is ideal for your PC according to its primary use (work, gaming, etc.).
Although a damaged RAM stick might not necessarily disrupt your computer from working properly, it will hinder its performance over time, resulting in program crashes, unexpected decrease in RAM, and failure to boot, among others.
5. Storage device
A storage device provides the memory for installing programs and saving files. Unlike RAM, a storage device’s content is secured in non-volatile memory, meaning that data is saved permanently inside its memory bank, preserving them even after you turn off the PC (unless manually deleted or uninstalled).
PCs use 2 common types of internal storage devices: hard disk drives (HDDs) and solid-state drives (SDDs). HDDs are the cheaper option but suffer from slower transfer speeds, while SDDs are their superior counterparts but are more expensive. These devices are attached to your computer using dedicated SATA cables, replaced by SAS cables for big servers and workstations.
Other secondary storage devices exist, such as USB flash drives and portable HDDs. However, these peripherals are not installed inside computers. Instead, they are connected to the PC via alternative channels like USB ports or external disk drives, depending on the specs.
Even though storage devices do not impact your computer’s boot-up process, start-up programs like Google Chrome or Microsoft Word are loaded directly from your HDD or SDD. So a damaged storage device can interrupt the whole process, potentially corrupting your files. If so, you will need to replace your hard drive immediately, sometimes requiring a complete system reformat or Windows reinstall, which is a hassle.
HP desktops with excellent benchmarks
Understanding the major components of your computer helps gauge your expectations of what your PC is capable of doing. It’s telling that an office notebook is not the right choice for you to play games with due to its unsuitable specs. This notion is true for every computer as they are all built for different purposes, with distinct specifications.
Premium PCs are designed for everything: work, streaming, gaming, and more. If you’re looking for exclusive PCs that offer first-rate specs and unbeatable performances, here are some extraordinary HP desktops to consider:
HP Pavilion 27-ca1006d All-in-One PC
A classy, sleek, and modern desktop - the HP Pavilion 27-ca1006d All-in-One PC is perfect for professionals, offering top specs. Boasting the complete package, the HP Pavilion 27 AiO might look unimpressive from the outside, consisting of a basic setup.
Its powerful hardware lies hidden inside the monitor itself, maximising your desk space for optimum comfort and tidiness. Its magnificent 12th Generation Intel® Core™ i7 processor is the latest of its kind, providing unbelievably fast processing speeds for you to work without suffering on-screen lags or stutters.
You can play hard with HP Pavilion 27 AiO, using its ground-breaking NVIDIA®️ GeForce® RTX™️ 3050 graphics card, one of NVIDIA’s best entries from its state-of-the-art RTX line. Game on the highest settings at 60 FPS with no problem at all.
Memory-wise, 16GB of RAM allows you to load your favourite apps or software with ease. If that isn’t enough, 1TB of an M.2 SSD is more than enough for you to save big projects on a whim, besides fast transfer speeds and quick program start-ups.
Specification
Details
Processor
12th Generation Intel® Core™ i7
GPU
NVIDIA®️ GeForce®️ RTX™️ 3050 (4GB)
RAM
16GB (DDR4)
Storage
1TB M.2 SSD
HP Workstation Z4 G4 Tower
The HP Workstation Z4 G4 Tower is another great setup that comes with its own sturdy chassis and a multitude of respectable hardware. Primarily built for seamless management of 3D projects and workflows, this HP Workstation offers a good foundation for you to start working on intensive assignments and programs.
Changing the internal components is also easy, especially when it’s time to upgrade your specs. Still, the default hardware composition is already exceptional, starting with the Intel® Xeon® W processor, which performs well compared to its Intel Core siblings.
In terms of the GPU, a 4GB NVIDIA® T600 graphics card takes the mantle, which performs similarly to another proven graphics card, the NVIDIA® GeForce® GTX 1650. Most triple-A (AAA) games can be played on high settings with minimal fuss, let alone handling software like Autodesk® AutoCAD® or Maya®.
An 8GB RAM slot is provided here, which is perfect for light-to-medium workloads. A 1TB HDD is the final piece of the puzzle, giving ample memory to secure your completed projects once done. Remember, you can always upgrade any of these components when necessary, so these initial specs are just the starting point.
When it comes to price per value proposition, the HP Workstation Z4 G4 Tower is practical and reasonably valued, especially when you can customise it anytime.
Specification
Details
Processor
Intel® Xeon® W
GPU
NVIDIA® T600 (4GB)
RAM
8GB (DDR4)
Storage
1TB HDD
OMEN by HP 45L Gaming Desktop GT22-0002d PC
For hardcore gamers, the OMEN by HP 45L Gaming Desktop GT22-0002d PC is the ultimate gaming rig to enjoy unlimited in-game framerates and breathtaking cinematic graphics. Featuring top-of-the-line specs, you can’t go wrong when you have an AMD Ryzen™ 7 processor helming your setup, running clock speeds of up to 4.7 GHz.
Its rare NVIDIA® GeForce® RTX™ 3080 graphics card is also a gem, able to handle ray tracing without a hitch. Additionally, the graphics card comes equipped with 10GB of the latest, phenomenal GDDR6X memory.
With this beast of a PC, 16GB RAM will suffice and can even be upgraded due to 2 upgradeable slots provided. 1TB of an M.2 SSD is also a nice touch, letting you install numerous games while recording consistent gameplay.
With the Omen by HP 45L Gaming Desktop, you’re looking at more than 10 years of AAA gaming, which is a worthy investment.
Specification
Details
Processor
AMD Ryzen™ 7
GPU
NVIDIA® GeForce® RTX™ 3080 (10GB)
RAM
16GB (DDR4)
Storage
1TB M.2 SSD
Summary
Computer components are made from high-grade materials that can withstand extreme heat and are durable enough to last years. However, they are still susceptible to damages from both external and internal sources, such as rough handling or malware attacks.
Learning about the 5 major components of a computer means you’re more aware of how your PC functions, making it easier to identify issues that might be affecting your computer.
If your computer starts to slow down after a few years, a hardware change might be needed, unless you know of certain hacks to improve your PC’s performance without dipping your hands inside your pockets. Regular computer maintenance is not always cheap, so it’s best to care for your PC properly before the repair bills start piling up.
For more useful advice like tips on how to free up your hard drive quickly, stick around with HP® Tech Takes!
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Silicon Graphics
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2024-01-05T16:29:56-05:00
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Posts about Silicon Graphics written by xsisupport
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en
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https://secure.gravatar.com/blavatar/684e24bcb289054e362c26f2f6d3995688dd8f8232b4d4575d5279abcabfea3a?s=32
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eX-SI
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https://xsisupport.com/tag/silicon-graphics/
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GAME DEVELOPER • JUNE/JULY 1995 Microsoft’s Softimage is suddenly challenged by Silicon Graphics’s merger with Alias and Wavefront. What can game developers expect from these two?
3D Graphics Goliaths Square Off
Yesterday, as I was cleaning out a bookshelf in our office, I came upon an issue of Byte magazine from Aug., 1987. Although I was throwing everything away, I had an urge to flip through its pages—there’s something compelling about a computer magazine that’s over seven years old. Volume 12, number 9 of Byte may only have been 49 in dog-years, but it was much older in computer-years. I couldn’t believe it—ads for 386 16Mhz computers selling for $4,400, 9600-baud modems for $1,000, and articles about EGA graphics. It’s amazing we got through those rough times. (Some know-it-all will read this in 2002 and say the same thing about 1995, no doubt.)
One article that caught my eye focused on the technique of transferring cartoon-quality film (a clip from Disney’s Snow White and the Seven Dwarves) into digitized EGA display. Yeeeesshhh, the final result looked horrible. So, maybe the time wasn’t right back then for creating digital media from live footage. But, like a rolling snowball picking up size and speed, the graphics industry is maturing to the point where there’s not too much anyone can’t do at an affordable price. Microsoft and Silicon Graphics (SGI), thanks to recent acquisitions and mergers, are helping to fuel this momentum.
Competitive Partners
The relationship between Microsoft and Silicon Graphics has changed enormously over the past 12 months. Silicon Graphics is the dominant player in the graphics
workstation market, and Microsoft is the giant in the PC software market.
However, when Microsoft acquired Softimage last summer, Microsoft gained a powerful suite of IRIX-based animation, editing, compositing, and cel animation tools. It instantly became a key partner of SGI. Eight months later—last February—SGI merged with Alias and Wavefront, two companies that compete against Softimage on the SGI platform. How have these developments changed the relationship between Silicon Graphics and Microsoft? More importantly, how does it affect their customers?
I spoke with Andrew Wright, group product manager of advanced authoring tools for Microsoft/Softimage, and Dave Larson, director of marketing for Silicon Studios, a wholly owned subsidiary of Silicon Graphics, about the actions their companies have taken recently in the digital entertainment industry.
The most recent event, Silicon Graphics’ merger with Alias and Wavefront, achieved two objectives for SGI, according to Larson.
“We felt that by merging with Alias and Wavefront,” Larson explained, “we could get two of the most important groups of engineers together with our engineers and accomplish two things. [The first objective] is to drive the development of our 3D software environment… [Second,] we don’t have expertise in entertainment and industrial [software] markets at the customer level like we do with hardware. We’re getting a sales force that knows the customers really well at the application level, a sales force that has a much greater depth of knowledge.”
What was Wright’s reaction to the SGI merger?
“Surprise,” he said. “From [Microsoft’s] perspective, it actually puts us in a stronger position because we feel that for our customers a cross-platform solution is important. Where they want the performance of SGI, we provide it, where they want the price-to-performance ratio and openness of a Windows NT system we’ll provide that to them. We’ll be the only high-end 3D animation vendor that’s effectively able to execute a crossplatform strategy.”
I sensed no edginess from either Wright or Larson about the relationship between Microsoft and SGI, and both played up the positive aspects of their new product lines. Wright stressed the fact that many of SGI’s partners, not just Microsoft, were now competitors, but that it wouldn’t make sense for SGI to consider them as such: “Yes, we are a competitor to [Silicon Graphics], but they’re also a competitor to a number of their other ISVs [independent software vendors]. Companies like Side Effects, Discreet Logic, Avid… One thing I can say absolutely outright is that if SGI loses their third-party applications as a result of this merger, they’re dead in the water. I think they’ve almost got to overcompensate to make sure that their third party ISVs are treated fairly,” Wright commented.
Dave Larson adamantly agreed.
“We’re going to treat [Microsoft] as we do a whole category of partners who will get early access information, and it’s based on business parameters. These guys, as well as other 3D vendors, are still selling SGI software and we’re going to do whatever we can to make sure they continue to do so. That’s our business.”
Softimage off the SGI Platform?
Upon acquiring Softimage last year, Microsoft stated its intention to port the Softimage tools over to Windows NT. I asked Wright whether Microsoft had plans to pull Softimage products off the SGI platform at a later date and focus exclusively on its own operating system implementation.
“No. One of the key reasons Microsoft bought Softimage is that Softimage had a tremendous presence in the community that was producing the world’s best content. ILM [Industrial Light and Magic]. Greenberg. Rocket Science. For those companies, the SGI platform is absolutely critical because they need that level of performance… We think Windows NT and the associated hardware developments are going to provide a very price-attractive alternative. But in no way is that going to put SGI out of business. They are going to continue to do very well and we need to be there.”
Microsoft looks at its partner/competitor relationship with SGI in the same light as its association with Apple.
“We’ll continue to invest in SGI,” Wright stated. “It’s very similar to our situation on the Macintosh. Microsoft makes a lot of money on the Macintosh and it’s a very vital platform for us at the application level, even though we don’t own the operating system. The fact that we’ve got applications on Windows 95 as well does not in any way affect our investment in the Macintosh platform.”
Wright sees Silicon Graphics remaining the superior platform for highend digital video and three-dimensional animation over Windows NT, just as the Macintosh held its position as the superior platform for graphic design when Windows 3.0 was introduced.
“Macintosh had a very strong position in graphic design. Windows came in and everybody thought that it was going to completely take over the market. As a result, companies like Aldus and Adobe developed their applications first on Windows and second on Macintosh. But they realized over time that the Mac wasn’t going to go away… We think a similar thing is going to happen in the SGI world,” Wright said.
Porting Softimage Products to Windows NT
Upon acquiring Softimage, Microsoft announced that it would port the company’s toolset to Windows NT. Wright indicated that Softimage products would be available on Windows NT this year, but he declined to be more specific, fearing that divulging an estimated date could raise false hopes.
I wanted to know what strengths Windows NT could offer over the SGI platform to game developers. After all, SGI has been targeting this market for years and has optimized its hardware for high-end graphics and animation. Wright responded: “We think that the Windows NT platform will offer very attractive price-to-performance ratio in the range of performance that it delivers. We also feel that for people who have PC-based networks, for example developers who are using [Autodesk’s] 3D Studio, it will be important for them to run a high-quality 3D product in the same environment that they’re running their other tools. I think that’s going to be key to the games development area.”
Downward Pressure on Prices
In addition to announcing the porting of Softimage tools over to Windows NT, Microsoft announced in January that it was slashing the price of all Softimage software by up to 50%. What was behind this aggressive move? Wright explained:
“Over the last couple of years, interactive developers [have begun to] require [highend] tools as games have become more sophisticated. We looked at our pricing structure and said, ‘Well, those prices make sense if we continue to maintain our high-end feature set for our traditional market.’ But if [Microsoft] really wants to penetrate the market for game developers as well as other emerging interactive media, it’s important to have more aggressive price points and maintain that leadership position.”
A large number of graphics and animation products have been launched for the Windows, DOS, and Macintosh platforms recently by companies like Caligari and Strata. Although these products aren’t in the same class of function or performance as either the Microsoft or SGI tools on IRIX, they seem to be exerting pressure on software prices for the entire market, regardless of platform. I asked Dave Larson how Silicon Graphics viewed these lower-priced products, and how his company would respond.
“We’re moving down in terms of markets,” declared Larson. “As our price points come down, we’re cutting deeper into various markets… Historically, SGI has been perceived as vastly more expensive and out of reach, a boutique kind of machine. We think we’re rapidly expanding beyond that, and that we’re within reach for a lot of people [developing digital entertainment] for a living. It’s all about how much time you have to get your work done. For instance, a friend of mine just came up who’s been doing a lot of audio work on the Mac, and he just started using a new audio application on our platform. He says it’s dramatically affected his work just after a few days of working with it. What he used to think ahead to do he now does in real time. He can test his decisions as he goes. That’s the metaphor for performance change. Everything happens so much more quickly [on the SGI platform], and your creativity can increase.”
Sega and Nintendo Choose Sides
There’s an interesting sidebar concerning SGI and Microsoft. The two archrivals in the game cartridge market, Nintendo and Sega, have gone to separate corners for their respective development tools, and you can probably guess whom each has enlisted. In 1994, Nintendo selected Alias (whose software was used to create the Super NES blockbuster Donkey Kong Country) as the authorized graphics development system for both current games and next-generation 64-bit games. Last January, Sega chose Softimage 3D as the official three-dimensional development tool for the new SegaSaturn game platform. I’m not saying that this is an instance of “any enemy of my enemy is my friend,” but it is predictable political maneuvering.
As long as the Softimage tools on IRIX don’t take a distant second priority to their Windows NT version, users stand to gain from a price war between two resource-rich companies like Silicon Graphics and Microsoft. Feature sets and performance should evolve more rapidly, and it undoubtedly will spur other SGI platform competitors to keep up.
You’d better get used to seeing more companies merging or acquired as the digital entertainment market expands—it’s a natural consolidation that should continue for the next couple of years.
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CG Historical Timeline – Computer Graphics and Computer Animation: A Retrospective Overview
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[
""
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[
"Wayne E. Carlson"
] |
2017-06-20T00:00:00
|
en
|
https://ohiostate.pressbooks.pub/graphicshistory/back-matter/cg-historical-timeline/
|
CG Historical Timeline
This timeline depicts key events in the evolution of the CGI discipline.
Click below to jump to the decade:
Pre-1950s
1950s
1960s
1970s
1980s
1990s
2000s
The following timeline depicts key events in the evolution of the CGI discipline. It is not exhaustive, and some of the dates are controversial, as some references give one date and others give a different date. Some dates refer to when a contribution began, and others when a contribution was made public. We have tried to determine which is the appropriate date, but for some events the records are minimal.
Pre-1950s
1200
Chinese Abacus
1617
Napier’s bones
1450
Gutenberg press
1687
Principia Mathematica – Isaac Newton
1801
Jacquard loom
1811
Luddites riot
1826
Photography (Niepce)
1830
Babbage Analytical Engine designed
1842
FAX (Alexander Bain)
1843
Morse’s telegraph installed between Philadelphia and Washington
1864
Maxwell electromagnetic wave theory becomes basis for radio wave propagation
1877
Edison invents phonograph
1884
Nipkow (Germany) devises scanner for scanning and transmitting images
1885
CRT (Cathode Ray Tube)
1887
Edison patents motion picture camera
1888
Edison and Dickson design Kinetoscope – (motion pictures from successive photos on a cylinder)
Berliner invents gramophone
Oberlin Smith publishes basics of magnetic recording
1890
Hollerith introduces an automated punch-card driven tabulation device for the Census Bureau
1891
Dickson uses Edison’s kinetograph to record motion pictures
1898
Poulsen invents the Telegraphone, the first magnetic recording device
1905
Fleming electron tube
Einstein’s Theory of Relativity
1906
de Forest develops Audion vacuum tube amplifier
1923
Zworykin develops Iconoscope at Westinghouse
1926
First television (J.L. Baird) • 1st teleconference – between Washington and New York
1927
Philo Farnsworth invents fully electronic TV (First all-electronic TV is made by RCA in 1932) • Motion picture film standardized at 24 fps
1928
Hollerith introduces the 80-column “punch card”
1929
BBC begins broadcasting
1930
Philo Farnsworth receives patents for transmitting images by electronic means
1931
1st stereo recordings
1936
The Magnetophone is 1st true magnetic tape recorder
1938
Valensi proposes color TV
1939
Bill Hewlett and Dave Packard design the Audio Oscillator
1941
First U.S. regular TV broadcast • 1st TV commercial (for Bulova watches)
1945
Whirlwind computer project starts at MIT
1946
ENIAC computer built at University of Pennsylvania
1947
Shockley, Bardeen and Brattain of Bell Labs invent transistors (“transfer resistance”)
1948
Cable TV is installed
1949
John Whitney enters first International Experimental Film Competition in Belgium
Williams tube (CRT storage tube);
Whirlwind computer built;
Core memory developed by Wang of Harvard
1950s
1950
Cybernetics and Society – Norbert Weiner (MIT)
Ben Laposky uses oscilloscope to display waveforms which were photographed as artwork
1951
Graphics display on vectorscope on Whirlwind computer in first public demonstration
1952
Mr. Potato Head invented; later starred in Toy Story
Air Force Project Blue Book organized to categorize UFO sightings
1953
NTSC broadcast code
1954
FCC authorizes color TV broadcast
FORTRAN – John Backus
1955
Disneyland opens
SAGE system at Lincoln Lab uses first light pen (Bert Sutherland)
1956
Lawrence Livermore National Labs connects graphics display to IBM 704; use film recorder for color images
Ray Dolby, Charles Ginsberg and Charles Anderson of Ampex develop the first videotape recorder
Alex Poniatoff (Ampex) introduces the VR1000 videotape recorder (2″tape) – the first practical broadcast quality VTR
1957
1st image-processed photo at National Bureau of Standards
Max Mathews demonstrates first computer (IBM 704) synthesis of music (Music I) at Bell Labs
Digital Equipment Corporation founded
1958
Numerical controlled digital drafting machines, APT II (Automated Programming Tools)- MIT
CalComp 565 drum plotter
Saul Bass creates titles for Hitchcock’s Vertigo
Integrated circuit (IC, or Chip) invented by Jack St. Clair Kilby of Texas Instruments and Robert Noyce of Fairchild Electronics
John Whitney Sr. uses analog computer to make art
1959
First film recorder – General Dynamics Stromberg Carlson 4020 (uses Charactron tube)
TX-2 computer at MIT uses graphics console
Béla Julesz creates random-dot stereogram
GM begins DAC program
1960s
1960
William Fetter of Boeing coins the term “computer graphics” for his human factors cockpit drawings
John Whitney Sr. founds Motion Graphics, Inc.
LISP developed by John McCarthy
DEC PDP-1 introduced
1961
Spacewars, 1st video game, developed by Steve Russell at MIT for the PDP-1
Catalogue (John Whitney)
1962
Information International Inc. (Triple I) founded
Itek begins Electronic Drafting Machine project
Mr. Computer Image ABC produced on Scanimate by Lee Harrison
1963
1st computer art competition, sponsored by Computers and Automation
Sketchpad developed beginning in 1961 by Ivan Sutherland at MIT is unveiled (Ref: Sutherland, Ivan E. Sketchpad: A Man-Machine Graphical Communication System. Proceedings of the AFIPS Spring Joint Computer Conference Washington, D.C.: 1963, p. 329-346.)
Mouse invented by Doug Englebart of SRI
Coons’ patches
Early computer generated film by Edward Zajac (Bell Labs)
BEFLIX developed at Bell Labs by Ken Knowlton
Charles Csuri makes his first computer generated artwork
DAC-1, first commercial CAD system, developed in 1959 by IBM for General Motors is shown at JCC
Lockheed Georgia starts graphics activity (Chase Chasen)
Michael Noll (Bell Labs) starts his Gaussian Quadratic series of artwork
Roberts hidden line algorithm (MIT)
The Society for Information Display established
Fetter of Boeing creates the “First Man” digital human for cockpit studies
1964
Project MAC (MIT)
IBM 2250 console ($125,000) introduced with IBM 360 computer
Poem Field by Stan Vanderbeek and Ken Knowlton
Itek Digigraphic Program (later Control Data graphics system)
The BASIC programming language developed by Kurtz and Kemeny
Ruth Weiss introduces drawing software that performs hidden line elimination (Ref: Weiss, Ruth E. BE VISION, a Package of IBM 7090 FORTRAN Programs to Drive Views of Combinations of Plane and Quadric Surfaces. Journal of the ACM 13(4) April 1966, p. 194-204. )
RAND tablet input device (commercially known as Grafacon)
Compact cassette tape (Phillips)
New York World’s Fair
Electronic character generator
1965
1st computer art exhibition, at Technische Hochschule in Stuttgart
1st U.S. computer art exhibition, at Howard Wise Gallery in New York
Dolby Laboratories founded by Ray Dolby, inventor of the first videotape recorder (1956)
Adage founded
Roberts introduces homogeneous coordinates (Ref: Roberts, Lawrence G. 1965. Homogenous Matrix Representation and Manipulation of N-Dimensional Constructs, MS-1505. MIT Lincoln Laboratory, Lexington, Mass. )
Utah computer science department founded
Bresenham Algorithm for plotting lines (Ref: Bresenham, J. E. Algorithm for Computer Control of a Digital Plotter. IBM Systems Journal 4(1) 1965, p. 25-30.)
Tektronix Direct View Storage Tube (DVST)
CADAM developed at Lockheed; CADD developed at McDonnell Douglas
Project DEMAND consortium (IBM, Lockheed, McDonnell Douglas, Rockwell, TRW, Rolls Royce)
BBN Teleputer uses Tektronix CRT
1966
Odyssey, home video game developed by Ralph Baer of Sanders Assoc., is 1st consumer CG product
Group 1 FAX machines (using CCITT compression)
Lincoln Wand developed
Plasma Panel introduced (first developed at Illinois in 1964 as part of the PLATO project)
Studies in Perception I by Ken Knowlton and Leon Harmon (Bell Labs)
MAGI founded by Phil Mittleman
Joint Defense Department / Industry symposium on CAD/NC held in Oklahoma City
Experiments in Art and Technology (E.A.T.) started in New York by artist Robert Rauschenberg and Bell Labs engineer Billy Klüver
IBM awards Artist-in-Residence to John Whitney, Sr.
Loutrel hidden line algorithm
1967
Appel hidden line algorithm (Ref: Appel, Arthur. The Notion of Quantitative Invisibility and the Machine Rendering of Solids. Proceedings of the
ACM National Conference 1967, p. 387-393.)
Steven Coons publishes his surface patch “little red book” (Ref: Coons, Steven A. 1967. Surfaces for Computer-aided Design of Space Forms , Project MAC Report MAC-TR-41. Massachusetts Institute of Technology, Cambridge, Mass.)
Sine Curve Man and Hummingbird created by Chuck Csuri
Adage real time 3D line drawing system
Lee Harrison’s ANIMAC graphic device
GE introduces first full color real time interactive flight simulator for NASA – Rod Rougelet
MIT’s Center for Advanced Visual Studies founded by Gyorgy Kepes
Instant replay and Slo-Mo introduced using Ampex HS-100 disc recorder
Cornell’s program started in Architecture by Don Greenberg
1/2 inch open reel video tape recorder
1968
DEC 338 intelligent graphics terminal
Tektronix 4010
Intel founded
University of Utah asks Dave Evans to form a CG department in computer science
Warnock algorithm
Watkins algorithm
Edsger Dijkstra writes article Go To Statement Considered Harmful which signals beginning of structured programming
Cybernetic Serendipity: The Computer and the Arts exhibition at London Institute of Contemporary Arts
Csuri’s Hummingbird purchased by Museum of Modern Art for permanent collection
Permutations – John Whitney, Sr.
Sutherland Head Mounted Display (Sword of Damocles), developed in 1966, shown (AFIPS Conference) (Ref: Sutherland, Ivan E. A Head-Mounted Three-Dimensional Display. Proceedings of the AFIPS Fall Joint Computer Conference Washington, D.C.: Thompson Books, 1968, p. 757-764. )
Evans & Sutherland Calma, Computek, Houston Instrument, Imlac founded
ARDS terminal, Computek 400 terminal
LDS-1 ($250,000) from E&S introduces line clipping
1969
Computer Image Corporation founded
UNIX developed by Thompson and Ritchie at Bell Labs (in PDP-7 assembly code)
SCANIMATE commercialized – Lee Harrison
Genesys animation system – Ron Baecker
GRAIL (Graphics Input Language) developed at Rand
Computer Space arcade game built by Nolan Bushnell
Xerox PARC founded
Lee Harrison’s CAESAR animation system
Bell Labs builds first framebuffer (3 bits)
Sony U-Matic 3/4″ video cassette
Intel introduces the 1 KB RAM chip
1st use of CGI for commercials – MAGI for IBM
Graphical User Interface (GUI) developed by Xerox (Alan Kay)
SIGGRAPH formed (began as special interest committee in 1967 by Sam Matsa and Andy vanDam)
ComputerVision, Applicon, Vector General founded
ARPANET is born
1970s
1970
Sonic Pen 3-D input device
ISSCO (Integrated Software Systems Corporation ) founded (marketed DISSPLA software) by Peter Preuss
Watkins algorithm for visible surfaces
Lillian Schwartz produces Pixellation at Bell Labs
Pascal programming language developed by Wirth
Imlac PDS-1 programmable graphics computer marketed
John Staudhammer starts NCSU Graphics Lab at NC State
Pierre Bezier from Renault develops Bezier freeform curve representation
1971
Gouraud shading (Ref: Gouraud, Henri. Continuous Shading of Curved Surfaces. IEEE Transactions on Computers C-20(6), June 1971, p. 623-29. )
Ramtek founded
GINO (graphics input output specification) – Cambridge University
Intel 4004 4-bit processor
Interactive Graphics for Computer-Aided Design (Prince) published
MCS (Manufacturing and Consulting Services) founded by Patrick Hanratty, considered the “father” of mechanical CAD/CAM – introduces ADAM
CAD software, which is the heart of many modern software systems
Robert Abel and Associates founded
Floppy disk (8″) – IBM
1972
MAGI Synthevision started
CGRG founded at Ohio State
NASA IPAD (Integrated Program for Aerospace Vehicle Design) initiative started
Graphics Standards Planning Committee organized by ACM-SIGGRAPH
The @ symbol selected for email addresses by BBN
C language developed by Ritchie
Emmy awarded to Lee Harrison for SCANIMATE
Alto computer introduced by Xerox PARC (Alan Kay)
Intel 8008 8-bit processor
Megatek, Summagraphics, Computervision, Applicon founded
Utah hand (Catmull) and face (Parke) animations produced (Ref: Catmull, Edwin. A System for Computer Generated Movies. Proceedings of the ACM National Conference August 1972, p. 422-431. and Parke, Frederic I. Computer Generated Animation of Faces. Proceedings of the ACM National Conference 1972, p. 451-457.)
Computer Graphics and Image Processing journal begins publication
8-bit frame buffer developed by Dick Shoup at Xerox PARC
Sandin Image Processor – Dan Sandin, Univ. Illinois-Chicago Circle
Atari formed (Nolan Bushnell)
Newell, Newell and Sancha visible surface algorithm (Ref: Newell, M. E., R. G. Newell and T. L. Sancha. A Solution to the Hidden Surface Problem. Proceedings of the ACM National Conference 1972, p. 443-450)
Video game Pong developed for Atari
Graphics Symbiosis System (GRASS) developed at Ohio State by Tom DeFanti
1973
E&S begins marketing first commercial frame buffer
Ethernet – Bob Metcalf (Harvard)
Quantel founded
Westworld – uses 2D graphics
Circle Graphics Habitat founded at Univ. Illinois Chicago (Tom DeFanti & Dan Sandin)
Moore’s Law (the number of transistors on a microchip will double every year and a half) by Intel’s chairman, Mr. Gordon Moore
Nolan Bushnell’s video game Computer Space appears in movie Soylent Green
First SIGGRAPH conference (Boulder)
3/4 inch Portapack replaces 16mm film for news gathering
Richard Shoup develops PARC raster display
Rich Riesenfeld (Syracuse) introduces b-splines for geometric design (Ref: R.F. Riesenfeld. Applications of B-Spline Approximation to Geometric Problems of Computer Aided Design. PhD Dissertation, Syracuse University , 1973. )
Principles of Interactive Computer Graphics (Newman and Sproull) first comprehensive graphics textbook is published
1974
Motion Pictures Product Group formed at III by John Whitney, Jr. and Gary Demos
Alex Schure opens CGL at NYIT, with Ed Catmull as Director
Barnhill and Riesenfeld introduce the name “Computer-Aided Geometric Design” (CAGD)
SuperPaint developed by Dick Shoup and Alvy Ray Smith
TCP protocol (Vint Cerf, Bob Kahn)
DEC VT52 incorporated the first addressable cursor in a graphics display terminal
Intel (Zilog) 8080
Z-buffer developed by Ed Catmull (University of Utah) (Ref: E. Catmull. A Subdivision Algorithm for Computer Display of Curved Surfaces, Ph.D. Thesis, Report UTEC-CSc-74-133, Computer Science Department, University of Utah, Salt Lake City, UT, 1974)
Futureworld (sequel to Westworld) uses 3D CGI (III)
Hunger/La Faim produced by Peter Foldes at National Research Council of Canada; wins Cannes Film Festival Prix de Jury award for animation
1975
Phong shading – Bui-Toung Phong (University of Utah) (Ref: Bui-Tuong, Phong. Illumination for Computer Generated Pictures. Communications of the ACM 18(6) June 1975, p. 311-317.)
Sony Betamax recorder
USAF ICAM (Integrated Computer Aided Manufacturing) initiative started
Cray 1 introduced
Altair 8800 computer
fractals – Benoit Mandelbrot (IBM)
Winged edge polyhedra representation (Bruce Baumgart)
Catmull curved surface rendering algorithm (Ref: Catmull, Edwin. Computer Display of Curved Surfaces. Proceedings of the IEEE Conference on Computer Graphics, Pattern Recognition and Data Structures (IEEE Cat. No. 75CH0981-1C) 1975, p. 11-17. )
Bill Gates starts Microsoft
Quantel (QUANtized TELevision) introduces the DFS3000 Digital Framestore
Martin Newell (Utah) develops CGI teapot (physical teapot now in the Computer Museum in Boston)
JPL Graphics Lab developed (Bob Holzman)
Arabesque completed (John Whitney)
Anima animation system developed at CGRG at Ohio State (Csuri)
1976
MITs Visible Language Workshop founded by Muriel Cooper
Ed Catmull develops “tweening” software (NYIT)
Jim Clark’s Hierarchical model for visible surface detection [Ref: J. H. Clark. Hierarchical geometric models for visible surface algorithms. Communications of the ACM, 19(10):547– 554, 1976.)
N. Burtnyk , M. Wein, Interactive skeleton techniques for enhancing motion dynamics in key frame animation, CACM, V19, #10, Oct 1976, 564-569
Dolby sound
Jim Blinn develops reflectance and environment mapping (University of Utah)
Nelson Max’s sphere inversion film
Ukrainian Pysanka Egg erected in Vegraville, Canada by Ron Resch (University of Utah) to commemorate the RCMP
Sony Beta home video
Floppy disk (5 1/4″)
Apple 1 (Wozniak)
IFIP (The International Federation of Information Processing) conference at Seillac in France on “The Methodology of Computer Graphics” begins standardization process
Computer Graphics Newsletter started by Joel Orr; becomes Computer Graphics World in 1978
Peter Fonda’s head digitized and rendered by III for Futureworld
Ampex VPR-1 Type C 1″ video recorder
Wang word processing
Artist and Computer, by Ruth Leavitt
Mathematical Elements for Computer Graphics (David Rogers) published
Steve Jobs and Steve Wozniak start Apple computer.
1977
Apple Computer incorporated
VHS (Video Home System) format – Matsushita
JVC VHS home video
Apple II released
TRS-80 introduced
Frank Crow introduces antialiasing (Ref: Franklin C. Crow, The aliasing problem in computer-generated shaded images, Communications of the ACM, v.20 n.11, p.799-805, Nov. 1977 )
Jim Blinn introduces a new illumination model that considers surface “facets” (Ref: Models of light reflection for computer synthesized pictures, James F. Blinn , Proceedings of the 4th annual conference on Computer graphics and interactive techniques July 1977, V11, #2, pp192-198)
Computer Graphics World begins publication (started by Joel and N’omi Orr as Computer Graphics Newsletter)
Academy of Motion Pictures Arts and Sciences introduces Visual Effects category for Oscars
Nelson Max joins LLL
Jim Blinn joins JPL
R/Greenberg founded (Richard and Robert Greenberg)
SIGGRAPH CORE Graphics standard
Ampex ESSTM (Electronic Still Store) system introduced for network sports slo-mo;adapted for use as animation sequential storage device
GKS (Graphical Kernal System) graphics standard introduced
Fuchs multiprocessor visible surface algorithm (Ref: Fuchs, Henry. Distributing A Visible Surface Algorithm Over Multiple Processors. Proceedings of the ACM National Conference 1977, p. 449-451. )
Larry Cuba produces Death Star simulation for Star Wars using Grass at UICC developed by Tom DeFanti at Ohio State
1978
Tom DeFanti’s GRASS system rewritten for Bally home computer (Zgrass)
E&S goes public
AT&T and Canadian Telidon introduce videotex graphics standard (NAPLPS)
Digital Effects founded (Judson Rosebush, Jeff Kleiser, et al)
Lance Williams curved shadows paper (Ref: Lance Williams, Casting curved shadows on curved surfaces, Proceedings of the 5th annual conference on Computer graphics and interactive techniques, p.270-274, August 23-25, 1978 )
Ikonas frame buffer – England/Whitton
Leroy Neiman uses Ampex AVA-1TM video art system to draw (on air) football players in Super Bowl XII
1st CGI film title – Superman (R. Greenberg)
Computer Graphics World begins publication
James Blinn produces the first of a series of animations titled The Mechanical Universe
DEC VAX 11/780 introduced
Video laser disc
Bump mapping introduced (Blinn) (Ref: Simulation of wrinkled surfaces, James F. Blinn, Proceedings of the 5th annual conference on Computer graphics and interactive techniques August 1978, V12, #3, pp 286-292.)
1979
National Computer Graphics Association (NCGA) organized by Peter Preuss of ISSCO and Joel Orr
IGES graphics file format specified
IBM 3279 color terminal
E&S PS-300
Motorola 68000 32-bit processor
Atari 8-bit computers introduced
Disney produces The Black Hole using CGI for the opening
Sunstone – Ed Emshwiller (NYIT)
George Lucas hires Ed Catmull, Ralph Guggenheim and Alvy Ray Smith to form Lucasfilm
1980s
1980
Vol Libre – Loren Carpenter of Boeing
Apollo Computer founded – introduces the 68000 based DN100 workstation
Turner Whitted of Bell Labs publishes ray tracing paper (Ref: Turner Whitted, An improved illumination model for shaded display, Communications of the ACM, v.23 n.6, p.343-349, June 1980 )
First NCGA conference – Arlington, Virginia – Steven Levine, President
Donkey Kong introduced by Nintendo (Mario named in US release)
IBM licenses DOS from Microsoft
Apple Computer IPO – 4.6M shares @ $22
Aurora Systems founded by Richard Shoup
SIGGRAPH Core standard reorganized as ANSC X3H3.1 (PHIGS)
EUROGRAPHICS (The European Association for Computer Graphics) formed; first conference at Geneva
Disney contracts Abel, III, MAGI and DE for computer graphics for the movie Tron
MIT Media Lab founded by Nicholas Negroponte
Pacific Data Images founded by Carl Rosendahl
Computer hard disk drive – Seagate
Hanna-Barbera, largest producer of animation in the U.S., begins implementation of computer automation of animation process
Sony Walkman
Quantel introduces Paintbox
1981
Sony Betacam
Tom DeFanti expands GRASS to Bally Z-50 machine (ZGRASS) – University Illinois – Chicago Circle
IBM introduces the first IBM PC (16 bit 8088 chip)
DEC introduces VT100
IEEE Computer Graphics and Applications published by IEEE Computer Society and NCGA
Ampex ADO® system introduced; garners an Emmy award in 1983
Digital Productions formed by Whitney and Demos
Cranston/Csuri Productions founded by Chuck Csuri, Robert Kanuth and Jim Kristoff.
R/Greenberg opens CGI division (Chris Woods)
MITI Fifth Generation Computer Project announced by Japanese Ministry of International Trade and Industry
REYES renderer written at LucasFilm
Penguin Software (now Polarware) introduces the Complete Graphics System
Looker includes the virtual human character Cindy (Susan Dey) – 1st film with shaded graphics(III)
Adam Powers, the Juggler produced by III
Carla’s Island – Nelson Max
1982
The Last Starfighter (Digital Productions) begins production
Tron released
The Geometry Engine (Clark) (Ref: Clark, James H. The Geometry Engine: A VLSI Geometry System for Graphics. Computer Graphics (SIGGRAPH 82 Proceedings) 16(3) July 1982, p. 127-133.)
Jim Clark founds Silicon Graphics Inc.
Sun Microsystems founded (sun := Stanford University Network)
Alain Fournier , Don Fussell , Loren Carpenter, Computer Rendering of Stochastic Models. Communications of the ACM, v.25 n.6, p.371-384, June 1982 (Fractal Rendering paper)
Skeleton Animation System (SAS) developed at CGRG at Ohio State (Dave Zeltzer)
Sony still frame video camera (Mavica)
ACM begins publication of TOG (Transactions on Graphics)
Tom Brighham develops morphing (NYIT)
Adobe founded by John Warnock
Toyo Links established in Tokyo
Quantel Mirage
Symbolics Graphics Division founded
EPCOT Center opens
Atari develops the data glove.
Where the Wild Things Are test (MAGI) – digital compositing used to combine CG backgrounds and traditional animation
AutoDesk founded; AutoCAD released
ILM computer graphics division develops “Genesis effect” for Star Trek II – The Wrath of Khan
1983
Particle systems (Reeves – Lucasfilm) (Ref: Reeves, William T. Particle Systems: A Technique for Modeling a Class of Fuzzy Objects. Computer Graphics (SIGGRAPH 83 Proceedings) 17(3) July 1983, p. 359-376. )
SGI IRIS 1000 graphics workstation
Non-Uniform Rational B-Splines (NURBS) introduced by Tiller (Note: this date is somewhat misleading, since the concept built on the work of Vesprille (1975), Riesenfeld (1973), Knapp (1979), Coons (1968) and Forrest (1972))
Road to Point Reyes created – Lucasfilm
The Last Starfighter released
Jim Blinn receives the first (1983) ACM SIGGRAPH CG Achievement Award
Ivan Sutherland receives the first (1983) ACM SIGGRAPH Steven A. Coons Award
Steve Dompier’s “Micro Illustrator”
UNIX System V
Utah Raster Toolkit introduced (Spencer Thomas)
Autodesk introduces first PC-based CAD software
Alias founded in Toronto by Stephen Bingham, Nigel McGrath, Susan McKenna and David Springer
mip-mapping introduced for efficient texture mapping (Williams – NYIT) (Ref: Williams, Lance. Pyramidal Parametrics. Computer Graphics (SIGGRAPH 83 Proceedings) 17(3) July 1983, p. 1-11.
Sony and Philips introduce 1st CD player
Wacom Co., Ltd started in Japan
1984
Robert Abel & Associates produces the 1st computer generated 30 second commercial used for Super Bowl (Brilliance)
Wavefront Technologies is the first commercially available 3D software package (founded by Mark Sylvester, Larry Barels and Bill Kovacs )
Thomson Digital Image (TDI) founded
Jim Clark receives the 1984 ACM SIGGRAPH CG Achievement Award
International Resource Development report predicts the extinction of the keyboard in the next decade
A-buffer (or alpha-buffer) introduced by Carpenter of Lucasfilm
Distributed ray tracing introduced by Lucasfilm (Ref: Cook, Robert L., Thomas Porter and Loren Carpenter. Distributed Raytracing. Computer Graphics (SIGGRAPH 84 Proceedings) 18(3) July 1984, p. 137-145. )
Cook shading model (Lucasfilm) (Ref: Cook, Robert L. Shade Trees. Computer Graphics (SIGGRAPH 84 Proceedings) 18(3) July 1984, p. 223-231. )
14.5 minute computer generated IMAX film (The Magic Egg) shown at SIGGRAPH 84 – 18 teams; 20 segments
Universal Studios opens CG department
First Macintosh computer is sold; introduced with Clio award winning commercial 1984 during Super Bowl
McDonnel Douglas introduces the Polhemus 3Space digitizer and body Tracker
The Cornell Box invented by Cohen
Radiosity born – Cornell University (Ref: Goral, Cindy M., Kenneth E. Torrence, Donald P. Greenberg and Bennett Battaile. Modeling the Interaction of Light Between Diffuse Surfaces. Computer Graphics (SIGGRAPH 84 Proceedings) 18(3) July 1984, p. 213-222. )
John Lasseter joins Lucasfilm
Motorola 68020
Digital Productions (Whitney and Demos) get Academy Technical Achievement Award for CGI simulation of motion picture photography
Lucasfilms introduces motion blur effects
Porter and Duff compositing algorithm (Lucasfilm) (Ref: Porter, Thomas and Tom Duff. Compositing Digital Images. Computer Graphics (SIGGRAPH 84 Proceedings) 18(3) July 1984, p. 253-259.)
The Adventures of Andre and Wally B. (Lucasfilm)
1985
Commodore launches the new Amiga
Loren Carpenter receives the 1985 ACM SIGGRAPH CG Achievement Award
Pierre Bezier receives the 1985 ACM SIGGRAPH Steven A. Coons Award
Sogitec founded (Xavier Nicolas)
Max Headroom – computer-mediated live action figure
Judson Rosebush Co. started
Abel Image Research takes Robert Abel & Associates to shaded graphics business
Tony de Peltrie airs
stereo TV
Biosensor (Toyo Links)
Cray 2
GKS standard
Quantel Harry is first non-linear editor
UNIX X10R1
CGW predicts 90s graphics workstation
Targa 16 board (AT&T) goes to market
Pixar Image Computer goes to market
NeXT Incorporated founded by Steve Jobs and five former Apple senior managers
Perlin’s noise functions introduced (Ref: Perlin, Ken. An Image Synthesizer. Computer Graphics (SIGGRAPH 85 Proceedings) 19(3) July 1985, p. 287-296.)
CD-ROMs High Sierra (ISO9660) standard introduced
PostScript (Adobe – John Warnock)
PODA creature animation system developed by Girard and Maciejewski at Ohio State (Ref: Girard, Michael and A. A. Maciejewski. Computational Modeling for the Computer Animation of Legged Figures. Computer Graphics (SIGGRAPH 85 Proceedings) 19(3) July 1985, p. 263-270.)
Boss Films founded by Richard Edlund
MIT Media Lab moves to new home
Young Sherlock Holmes stained glass knight (Lucasfilm), 2010 (Boss Films)and Looker (DP)
1986
The Great Mouse Detective was the first animated film to be aided by CG.
Pixar purchased from Lucasfilm by Steve Jobs
X-Window System (MIT Project Athena)
Trancept Systems founded by Nick England and Mary Whitton – graphics board for Sun
CGI group starts at Industrial Light and Magic (Doug Kay and George Joblove)
Softimage founded by Daniel Langlois in Montreal
Sun Microsystems goes public
mental images founded in Berlin
Computer Associates acquires ISSCO
Microsoft goes public (IPO raises $61M; share prices go from $21 to $28)
Apple IIgs introduced
Silicon Graphics Incorporated IPO
SGI IRIS 3000 (MIPS processor)
Turner Whitted receives the 1986 ACM SIGGRAPH CG Achievement Award
Jim Henson Waldo project introduces motion capture (Digital Productions)
Kajiya’s Rendering Equation (Ref: Kajiya, James T. The Rendering Equation. Computer Graphics (SIGGRAPH 86 Proceedings) 20(4) August 1986, p. 143-150.)
Omnibus assumes Robert Able & Associates and Digital Productions in hostile takeovers by John Pennie and investors
Whitney/Demos Productions founded
Intel introduces 82786 graphics coprocessor chip ; Texas Instruments introduces TMS34010 Graphics System Processor
NSFNet
Luxo Jr. nominated for Oscar (first CGI film to be nominated – Pixar)
TIFF (Aldus)
Scitex founded for prepress
1987
GIF format (CompuServe), JPEG format (Joint Photographic Experts Group)
Willow (Lucasfilm) popularizes morphing
Max Headroom debuts
LucasArts formed
Adobe Illustrator
CGM (Computer Graphics Metafile) standard
Side Effects Software established
VGA (Video Graphivs Array) invented by IBM
Windows 2.0, MS/OS 2, Excel
Sun 4 SPARC workstation
Reynolds’ flocking behavior algorithm (Symbolics) (Ref: Reynolds, Craig W. Flocks, Herds and Schools: A Distributed Behavior Model. Computer Graphics (SIGGRAPH 87 Proceedings) 21(4) July 1987, p. 25-34.)
Stanley and Stella in: Breaking the Ice
Rob Cook receives the 1987 ACM SIGGRAPH CG Achievement Award
Don Greenberg receives the 1987 ACM SIGGRAPH Steven A. Coons Award
Advanced Computing Center for the Arts and Design (ACCAD) founded at Ohio State (formerly CGRG)
Omnibus closes, eliminating DP and Abel
Cranston/Csuri Productions closes
Marching Cubes algorithm (Lorensen and Cline – GE) (Ref: Lorensen, William and Harvey E. Cline. Marching Cubes: A High Resolution 3D Surface Construction Algorithm. Computer Graphics (SIGGRAPH 87 Proceedings) 21(4) July 1987, p. 163-170. )
Metrolight Studios, RezN8 Productions, Kleiser/Walczak Construction Co., DeGraf/Wahrman founded
1988
PICT format (Apple)
Apple sues Microsoft for copyright infringement for GUI
GKS, PHIGS standards
Prime Computer acquires Computervision
Solid Texturing introduced (Perlin Noise Functions) (Ref: K. Perlin. An image synthesizer. Computer Graphics, 19(3):287–296, 1985)
Al Barr receives the 1988 ACM SIGGRAPH CG Achievement Award
Internet Worm infects servers all over the world
Gary Demos founds DemoGraFX
Open Software Foundation (OSF)
NeXT Cube – For $6500, it features: 25-MHz 68030 processor and 68882 math coprocessor, 8 MB RAM, 17-inch monochrome monitor, 256 MB read/write magneto-optical drive, and object-oriented NexTSTEP operating system.
JCGL purchased by NAMCO
US Patent awarded to Pixar for RenderMan
Who Framed Roger Rabbit mixes live action and animation
Willow (Lucasfilm) uses morphing in a feature film
D-2 composite video format introduced by Ampex
Disney and Pixar develop CAPS (Computer Animation Paint System) (academy technical award in 1992)
PIXAR wins Academy award for Tin Toy
1989
John Warnock receives the 1989 ACM SIGGRAPH CG Achievement Award
David Evans receives the 1989 ACM SIGGRAPH Steven A. Coons Award
8MM videotape introduced by Sony
Adobe Photoshop
PHIGS+
OSF Motif V1.0 released
Intel 80486
mental ray renderer released (integrated with Wavefront (1992), Softimage (1993), Maya (2002)) – awarded AMPAS Technical Achievement Award in 2002
HP buys Apollo
Computervision acquires Calma
ILM creates the Abyss
PIXAR starts marketing RenderMan
1990s
1990
Microsoft ships Windows 3.0
NewTek Video Toaster
First edition of Graphics Gems published by Academic Press (Andrew Glassner, editor)
US Patent awarded to Pixar for point sampling
Richard Shoup and Alvy Ray Smith receive the 1990 ACM SIGGRAPH CG Achievement Award
3D Studio (AutoDesk)
Windows 3.0
IBM RS6000 workstation
John Wiley & Sons begins publishing The Journal of Visualization and Computer Animation
1991
World Wide Web (CERN)
Jim Kajiya receives the 1991 ACM SIGGRAPH CG Achievement Award
Andy van Dam receives the 1991 ACM SIGGRAPH Steven A. Coons Award
Disney and PIXAR agree to create 3 films, including the first computer animated full-length film Toy Story
ILM produces Terminator 2
The Academy of Motion Pictures Arts and Sciences Special Achievement Award for Visual Effects for Total Recall (Metrolight Studios)
Beauty and the Beast (Disney)
Symbolics Graphics Division sold to Nichimen Graphics
Motorola 68040
Kodak PhotoCD
JPEG/MPEG
SunSoft – software subsidiary of Sun Microsystems
SGI Indigo workstation
Disney (Randy Cartwright, David Coons, Lem Davis, Tom Hahn, Jim Houston, Mark Kimball, Dylan Kohler, Peter Nye, Mike Shaantzis, David Wolf) get Academy Scientific and Engineering Award for CAPS production system.
Ray Feeney, Richard Keeney and Richard Lundell get Academy Scientific and Engineering Award for the Solitair Film Recorder .
1992
QuickTime introduced (Apple)
Henry Fuchs receives the 1992 ACM SIGGRAPH CG Achievement Award
Softimage goes public
SGI acquires MIPS
OpenGL (SGI) released
University of Illinois debuts CAVE virtual reality technology at SIGGRAPH 92
Lawnmower Man (Effects by Angel Studios and Xaos)
US Patent awarded to Pixar for Non-Affine Image Warping
VIFX uses flock animation with Prism software to create large groups of animals
Jim Hourihan of Santa Barbara Studios develops willy into Dynamation, which will become a part of the Wavefront software system.
Tom Brigham and Doug Smythe and ILM get Academy Technical Achievement Award for morphing technique (MORF)
Loren Carpenter, Rob Cook, Ed Catmull, Tom Porter, Pat Hanrahan, Tony Apodaca and Darwyn Peachey get the Academy Scientific and Engineering Award for Renderman
Novell buys UNIX from AT&T – $150M (transfers UNIX trademark to X/Open standards organization in 1993)
1993
February (premiere) issue of DV magazine advises “[to be able to do digital video, get] the most souped up system you can get your hands on. A fast processor (68040 on Amiga or Mac, 80486 on PC) and lots of RAM (8-64 MB) are in order. So is a large hard drive (200 MB – 1 GB) if you want to take on serious production.”
Disk array and compression codecs allow for nonlinear editing and full motion video
Academy Scientific and Engineering Award is given to Les Dittart, Mark Leather, Doug Smythe and George Joblove for the development of the Digital Motion Picture Retouching System (rig removal and dirt cleanup)
GPS system
Adobe Acrobat
Pat Hanrahan receives the 1993 ACM SIGGRAPH CG Achievement Award
Ed Catmull receives the 1993 ACM SIGGRAPH Steven A. Coons Award
Jurassic Park – ILM and Steven Spielberg
Wavefront buys TDI
Wired Magazine launched
Windows NT
Babylon 5 uses Amiga and Macintosh generated CGI
Mosaic browser (NCSA)
Xaos Tools Pandemonium image processor for the SGI
Doom released
Myst released (Cyan) – in 1998, it became the top selling game of all time
Digital Domain founded by James Cameron, Stan Winston, and Scott Ross
1994
SGI and Nintendo team up for Nintendo 64 product
ILM earns Oscar for special effects for Jurassic Park
Microsoft acquires Softimage – announces Windows 95
Iomaga Zip drive
Linux 1.0 released
Reboot (CG cartoon) uses 3D characters (Mainframe Entertainment)
Direct Broadcast Satellite service
SGI founder Jim Clark resigns, forms Mosaic Communications
Netscape browser
VRML introduced (Mark Pesce)
HDTV standard for transmission adopted in US
The AMPAS Academy Award of Merit goes to Peter and Paul Vlahos for Ultimatte electronic blue screen compositing.
Academy Scientific and Engineering Awards go to Gary Demos and Dan Cameron of III, David Difrancesco and Gary Starkweather of Pixar, and Scott Squires of ILM for pioneering work in film scanning; Lincoln Hu and Mike Mackenzie of ILM and Glenn Kennel and Mike Davis of Kodak for development work on a linear array CCD film input scanning system; and Ray Feeney, Will McCown and Bill Bishop of RFX and Les Dittert of PDI for their development work on an area array CCD film input scanning system
Academy Technical Achievement Awards go to Mike Boudry of the Computer Film Company for pioneering work in film input scanning; and David and Lloyd Addleman for their inventions in digital image compositing.
US Patent awarded to Pixar for creating, manipulating and displaying images
Facetracker used by SimmGraphics to animate facial expressions for Super Mario
Ken Torrance receives the 1994 ACM SIGGRAPH CG Achievement Award
1995
Toy Story (Pixar)
DreamWorks SKG founded (Steven Spielberg, Jeffrey Katzenberg and David Geffen)
DreamWorks SKG and Microsoft form DreamWorks Interactive
Internet Explorer 2.0
amazon.com established
Academy Scientific and Engineering Award goes to Alvy Ray Smith, Ed Catmull, Tom Porter and Tom Duff (Pixar) for pioneering inventions in digital compositing.
Academy Technical Achievement Awards go to Gary Demos, David Ruhoff, Dan Cameron and Michelle Feraud for creation of the Digital Productions digital film compositing system; the Computer Film Company for the CFC Digital Film Compositor; and Doug Smythe, Lincoln Hu,, Doug Kay and ILM for the ILM digital film compositing system.
US Patent awarded to Pixar for image volume data
John Lasseter of Pixar gets Academy Award for development and application of techniques used in Toy Story
Kurt Akeley (SGI) receives the 1995 ACM SIGGRAPH CG Achievement Award
Jose Encarnacao receives the 1995 ACM SIGGRAPH Steven A. Coons Award
Wavefront and Alias merge
Pixar goes public with 6.9M share offering
Netscape IPO ($58.25/share)
Sony Playstation introduced
Sun introduces Java
Internet 2 unveiled
MP3 standard format developed
MSNBC debuts
1996
John Whitney passes away (1922-1996)
Quake hits game market
Macromedia buys FutureSplash Animator from FutureWave Technologies… it will become Flash.
Marc Levoy receives the 1996 ACM SIGGRAPH CG Achievement Award
Academy Scientific and Engineering Awards go to Jim Hourihan for particle systems in Dynamation; Brian Knep, Zoran Kacic-Alesic and Tom
Williams of ILM for the Viewpaint 3D Paint system; and Bill Reeves for the original development and concept of particle systems.
Academy Technical Achievement Awards go to Jim Kajiya of Cal Tech and Tim Kay for pioneering work in the creation of CGI hair and fur; Nestor Burtnyk and Marceli Wein of the National Research Center of Canada for computer assisted key framing for animation; Garth Dickie for shape-driven warping and morphing in the Elastic Reality Special Effects System; Jeff Yost, Christian Rouet, David Benson and Florian Kainz for the development of a system to create and control hair and fur in CGI; Brian Knep, Craig Hayes, Rick Sayre and Tom Williams of ILM for the creation and development of the direct input device; and Ken Perlin for the development of the Perlin Noise technique.
Colossal Pictures files Chapter 11 bankruptcy
Yahoo! IPO ($43/share)
eBay launched
SGI buys Cray Research – $764M
SGI introduces O2 workstation
Disney purchases DreamQuest Images; Dreamworks buys interest in PDI
PalmPilot introduced
Windows 95 ships
1997
VIFX joins with Blue Sky
Flash 1.0 released
Bryce 3D
Riven
DVD technology unveiled
SGI Octane
IBM Deep Blue wins at chess
Przemyslaw Prusinkiewicz receives the 1997 ACM SIGGRAPH CG Achievement Award
James Foley receives the 1997 ACM SIGGRAPH Steven A. Coons Award
Academy Scientific and Engineering Awards go to Bill Kovacs and Roy Hall for the engineering efforts that result in the Wavefront Advanced Visualizer software; Richard Shoup, Alvy Ray Smith and Tom Porter for the development of digital paint systems; John Gibson, Rob Kreiger, Milan Novacek, Glen Ozymok, and Dave Springer for the development of geometric modeling in Alias PowerAnimator; Craig Reynolds for pioneering contributions to 3D computer animation; Eben Ostby, Bill Reeves, Sam Leffler and Tom Duff for the Pixar Marionette animation system; and Dominique Boisvert, Rejean Gagne, Daniel Langlois, and Richard Lapierriere for the Actor component of the Softimage animation system.
Academy Technical Achievement Awards go to Jim Keating, Michael Wahrman and Richard Hollander for the Wavefront Advanced Visualizer software development; Greg Hermanovic, Kim Davidson, Mark Elendt and Paul Breslin for the development of PRISMS software; and Richard Chuang, Glenn Entis and Carl Rosendahl for the PDI animation system.
Pixar interactive division dissolved
Microsoft sued by Justice Department
Apple Computer acquires NeXT
1998
Titanic becomes the largest grossing motion picture in US history
Alias Maya released
Quicktime 3.0 released
Google launched
Boss Films closes
Riven released
Sun gets back into graphics with the Darwin Ultra series of workstations
MPEG-4 standard announced
XML standard
CGI cartoon Voltron produced in US
SGI and Microsoft form partnership to develop APIs; SGI will develop NT-based PCs
Geri’s Game (Pixar) – awarded the Academy Award for Animated Short
Colossal Pictures emerges from Chapter 11 bankruptcy
Avid purchases SoftImage from Microsoft
The SIGGRAPH Conference celebrates its 25th Anniversary in Orlando. The Siggraph 98 History Project was established to review the history to that point.
Carl Machover envisions a book that would be a compilation of significant papers in the history of CG. Edited by Rosalee Wolfe and titled Seminal Graphics: Pioneering Efforts that Shaped the Field, it started with a jury (Jim Blinn, Michael Cohen, Jim Foley, Don Greenberg, Machover, Stephen Spencer, and Turner Whitted) to select the “seminal” papers that would be included. The book was published in December.
Jim Blinn delivers the SIGGRAPH 98 Keynote address
Michael Cohen (Microsoft) receives the 1998 ACM SIGGRAPH CG Achievement Award
Maxine Brown receives the first SIGGRAPH Outstanding Service Award
Academy Technical Achievement Awards go to Doug Roble (Digital Domain) and Thad Beier (Hammerhead) for Tracking Technology; Nick Foster (PDI) for water simulation systems; David Difrancesco, Bala Manian and Tom Noggle for laser film recording and Cary Philips for the ILM Caricature animation system
Academy Scientific and Engineering Awards go to Gary Tregaski for the primary design and Dominique Boisvert, Philipe Panzini and Andre Leblanc for the development of the Flame and Inferno software; Roy Ference, Steve Schmidt, Richard Federico, Rockwell Yarid and Mike McCrackan for the design and development of the Kodak Lightning laser recorder.
1999
The graphics world loses David Evans at age 74
Bunny (Chris Wedge – Blue Sky) – awarded the Academy Award for Animated Short
Star Wars Episode One – The Phantom Menace uses 66 digital characters composited with live action
VIFX and Rhythm & Hues merge
The graphics world loses Pierre Bezier
Silicon Graphics Incorporated changes its name to SGI
Fred Brooks receives the Turing Award
NewTek ports Toaster to NT
melissa computer virus
SIGGRAPH celebrates its 30th Anniversary as an organization at SIGGRAPH 99 in Los Angeles
Tony DeRose (Pixar) receives the 1999 ACM SIGGRAPH CG Achievement Award
Jim Blinn receives the 1999 ACM SIGGRAPH Steven A. Coons Award
SGI cuts Cray, NT production and High end graphic design
Side Effects Houdini ported to Linux
Napster created
Toy Story 2 produced by Pixar
Stuart Little produced by Sony Pictures Imageworks
Fantasia 2000 produced by Disney
Disney’s DreamQuest and Feature Animation join to form The Secret Lab (TSL)
2000s
2000
Playstation 2
SGI sells Cray to Tera Computer
Human genome mapped by Celera
Microsoft X-Box prototype shown at SIGGRAPH 2000
Dinosaur produced by Disney
The graphics world loses Phil Mittleman (MAGI)
Walking with Dinosaurs – Framestore (UK)
Mission to Mars effects produced by ILM and The Secret Lab
Academy of Motion Pictures Arts and Sciences Award of Merit awarded to Rob Cook, Loren Carpenter and Ed Catmull for the significant advancements to the field of motion picture rendering as exemplified in Pixar’s Renderman
Academy Technical Achievement Awards go to Venkat Krishnamurthy for the Paraform software for digital form development; and George Burshukov, Kim Libreri and Dan Piponi for image based rendering
SIGGRAPH 2000 held in New Orleans
Tom DeFanti and Copper Giloth receive the 2000 SIGGRAPH Outstanding Service Award
David Salesin receives the 2000 ACM SIGGRAPH CG Achievement Award
Hollow Man produced by Sony Pictures Imageworks
How the Grinch Stole Christmas (Centropolis)
Maya ported to Macintosh
Mac OS-X introduced
2001
SIGGRAPH 2001 held in Los Angeles
Lance Williams receives the 2001 ACM SIGGRAPH Steven A. Coons Award
Andrew Witkin receives the 2001 ACM SIGGRAPH CG Achievement Award
Paul Debevec receives the 2001 ACM SIGGRAPH Significant New Researcher Award
The graphics world loses Bob Abel (Sept 23)
Disney’s Secret Lab closes
Apple iPod
Side Effects Houdini ported to Sun
AOL/TimeWarner merger
Autodesk acquires Media100 software product line
Advanced Audio Coding (AAC) format introduced by Dolby Labs and Fraunhofer Institute
Windows XP
Academy Technical Achievement Awards go to Garland Stern for the Cel Paint software system; Uwe Sassenberg and Rolf Schneider for the 3D Equalizer matchmove system; Lance Williams for pioneering influence in animation and effects; Bill Spitzak, Paul Van Camp, Jonathan Egstad and Price Pethal for the NUKE-2D compositing software; Steve Sullivan and Eric Shafer for the ILM Motion and Structure Recovery System (MARS); and John Anderson, Jim Hourihan, Cary Philips and Sebastion Marino for the ILM Creature Dynamics System
The Academy of Motion Pictures Arts and Sciences approve a new category for the Oscars titled Best Animated Feature Film Award. Nine films were declared eligible: Final Fantasy: The Spirits Within, Jimmy Neutron: Boy Genius, Marco Polo: Return to Xanadu, Monsters, Inc., Osmosis Jones, The Prince of Light, Shrek, The Trumpet of the Swan, and Waking Life.
Significant FX movies – Final Fantasy (Square), Monsters Inc.(Pixar), Harry Potter, A.I., Lord of the Rings, Shrek (PDI), The Mummy Returns (ILM), Tomb Raider (Cinesite), Jurassic Park III, Pearl Harbor (ILM), Planet of the Apes (Asylum)
Microsoft xBox and Nintendo Gamecube released
2002
SIGGRAPH 2002 held in San Antonio, Texas
Bert Hertzog (Fraunhofer Center for Research in Computer Graphics) receives the 2002 Outstanding Service Award for extraordinary service to ACM SIGGRAPH by a volunteer
David Kirk (NVIDIA) receives the 2002 ACM SIGGRAPH CG Achievement Award
HP / Compaq merger
William Fetter (Boeing) passes away.
Steven Gortler (Harvard Univ) receives the 2002 ACM SIGGRAPH Significant New Researcher Award
Alias|Wavefront, an SGI company, was awarded an Academy Award of Merit Oscar at the Scientific and Technical Awards ceremony of the Academy of Motion Picture Arts and Sciences for its development of Maya software.
Mark Elendt, Paul Breslin, Greg Hermanovic and Kim Davidson receive a Scientific and Engineering Award for their continued development of the procedural modeling and animation components of their Prisms program, as exemplified in the Houdini software package.
Academy Technical Achievement Awards To Dick Walsh for the development of the PDI/ Dreamworks Facial Animation System. To Thomas Driemeyer and to the mathematicians, physicists and software engineers of Mental Images for their contributions to the Mental Ray rendering software for motion pictures. To Eric Daniels ,George Katanics ,Tasso Lappas and Chris Springfield for the development of the Deep Canvas rendering software.
2003
Atari Games Corporation (Midway Games West) out of business.
Oscar nominees for Best animated short film: The Cathedral, Platige Image, Tomek Baginski; The Chubb Chubbs!, Sony Pictures Imageworks,Eric Armstrong; Das Rad, Filmakademie Baden-Württemberg GmbH, Chris Stenner and Heidi Wittlinger; Mike’s New Car, Pixar Animation Studios,Pete Docter and Roger Gould; Mt. Head, Yamamura Animation Production, Koji Yamamura; for Achievement in visual effects: The Lord of the Rings: The Two Towers, Jim Rygiel, Joe Letteri, Randall William Cook and Alex Funke; Spider-Man, John Dykstra, Scott Stokdyk, Anthony LaMolinara and John Frazier, Star Wars Episode II: Attack of the Clones, Rob Coleman, Pablo Helman, John Knoll and Ben Snow;Ice Age nominated for Best Animated Feature Film
Dolby Labs acquires DemoGraFX, Gary Demos’ company
SIGGRAPH 2003 held in San Diego
David Brown (founder – Blue Sky and ex of MAGI) passes away
Pat Hanrahan (Stanford) receives the 2003 ACM SIGGRAPH Steven A. Coons Award
Peter Schrøder (Cal Tech) receives the 2003 ACM SIGGRAPH CG Achievement Award
Mathieu Desbrun (USC) receives the 2003 ACM SIGGRAPH Significant New Researcher Award
The Cathedral selected as Best Short Film in SIGGRAPH Electronic Theatre
Apple introduces the Power Mac G5
Alias/Wavefront becomes Alias
2004
Jim Clark elected to Fellow in Academy of Arts and Sciences
Oscar nominees for Best animated short film: Harvie Krumpet – Adam Elliot; Boundin’ – Bud Luckey; Destino – Dominique Monfery, Roy Edward Disney; Gone Nutty – Carlos Saldanha, John C. Donkin; Nibbles – Christopher Hinton; for Best animated feature : Finding Nemo – Andrew Stanton; Brother Bear – Aaron Blaise, Robert Walker; Triplettes de Belleville, Les – Sylvain Chomet; for Achievement in Visual Effects: Lord of the Rings: The Return of the King – Jim Rygiel, Joe Letteri, Randall William Cook, Alex Funke; Master and Commander: The Far Side of the World – Daniel Sudick, Stefen Fangmeier, Nathan McGuinness, Robert Stromberg; Pirates of the Caribbean: The Curse of the Black Pearl – John Knoll, Hal T. Hickel, Charles Gibson, Terry D. Frazee
Academy Scientific and Engineering Awards go to Stephen Regelous for the design and development of Massive, the autonomous agent animation system used for the battle sequences in “The Lord of the Rings” trilogy. Academy Technical Achievement Awards go to Christophe Hery, Ken McGaugh, and Joe Letteri for their groundbreaking implementations of practical methods for rendering skin and other translucent materials using subsurface scattering techniques; Henrik Wann Jensen, Stephen R. Marschner, and Pat Hanrahan for their pioneering research in simulating subsurface scattering of light in translucent materials as presented in their paper “A Practical Model for Subsurface Light Transport.”
SIGGRAPH 2004 held in Los Angeles
Steve Cunningham and Judith Brown receive the 2004 Outstanding Service Award for extraordinary service to ACM SIGGRAPH by a volunteer
Hugues Hoppe (Microsoft) receives the 2004 ACM SIGGRAPH CG Achievement Award
Zoran Popovic (Univ. Washington) receives the 2004 ACM SIGGRAPH Significant New Researcher Award
Chris Landreth’s Ryan selected for Jury Award in SIGGRAPH Electronic Theatre; Sejong Park’s Birthday Boy selected Best Animated Short
Ub Iwerks Award given to Ed Catmull for creative work at Pixar
Alias acquired from SGI by Accel-KKR and the Ontario Teachers’ Pension Plan.
2005
Oscar nominees for Best animated short film: Sejong Park & Andrew Gegory – Birthday Boy; Jeff Fowler & Tim Miller – Gopher Broke; Bill Plympton – Guard Dog; Mike Gabriel & Baker Bloodworth – Lorenzo; Chris Landreth – Ryan; for Best animated feature : Brad Bird – The Incredibles; Bill Damasschka – Shark Tale; Andrew Adamson – Shrek 2; for Achievement in Visual Effects: Roger Guyett, Tim Burke, John Richardson and Bill George – Harry Potter and the Prisoner of Azkaban; John Nelson, Andrew R. Jones, Erik Nash and Joe Letteri – I, Robot; John Dykstra, Scott Stokdyk, Anthony LaMolinara and John Frazier – Spider-Man 2
Academy Scientific and Technical Awards go to Dr. Julian Morris, Michael Birch, Dr. Paul Smyth and Paul Tate for the development of the Vicon motion capture technology; Dr. John O. B. Greaves, Ned Phipps, Antonie J. van den Bogert and William Hayes for the development of the Motion Analysis motion capture technology; Dr. Nels Madsen, Vaughn Cato, Matthew Madden and Bill Lorton for the development of the Giant Studios motion capture technology; Alan Kapler for the design and development of Storm , a software toolkit for artistic control of volumetric effects.
SIGGRAPH 2005 held in Los Angeles
Steve Cunningham and Judith Brown receive the 2004 Outstanding Service Award for extraordinary service to ACM SIGGRAPH by a volunteer
Tomoyuki Nishita (Tokyo University) receives the 2005 ACM SIGGRAPH Steven Anson Coons Award
Jos Stam (Alias) receives the 2005 ACM SIGGRAPH CG Achievement Award
Ron Fedkiw (Stanford) receives the 2005 ACM SIGGRAPH Significant New Researcher Award
Shane Acker’s 9 selected for Best of Show in SIGGRAPH Electronic Theatre; Fallen Art and La Migration Bigoudenn selected for Jury Honors
Adobe purchases Macromedia for US$3.4B.
2006
Oscar nominees for Best animated short film: “Badgered” – A National Film and Television School Production, Sharon Colman; “The Moon and the Son: An Imagined Conversation” – A John Canemaker Production, John Canemaker and Peggy Stern; “The Mysterious Geographic Explorations of Jasper Morello” (Monster Distributes) – A 3D Films Production, Anthony Lucas; “9” – A Shane Acker Production, Shane Acker; “One Man Band” – A Pixar Animation Studios Production, Andrew Jimenez and Mark Andrews. for Best animated feature : “Howl’s Moving Castle” (Buena Vista) – Hayao Miyazaki; “Tim Burton’s Corpse Bride” (Warner Bros.) – Mike Johnson and Tim Burton; “Wallace & Gromit in the Curse of the Were-Rabbit” (DreamWorks Animation SKG) – Nick Park and Steve Box. for Achievement in Visual Effects: “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe” (Buena Vista) – Dean Wright, Bill Westenhofer, Jim Berney and Scott Farrar; “King Kong” (Universal) – Joe Letteri, Brian Van’t Hul, Christian Rivers and Richard Taylor; “War of the Worlds” (Paramount and DreamWorks) – Dennis Muren, Pablo Helman, Randal M. Dutra and Daniel Sudick
Academy Scientific and Technical Awards go to David Baraff, Michael Kass and Andrew Witkin for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures.; to John Platt and Demetri Terzopoulos for their pioneering work in physically-based computer-generated techniques used to simulate realistic cloth in motion pictures; to Ed Catmull, for the original concept, and Tony DeRose and Jos Stam for their scientific and practical implementation of subdivision surfaces as a modeling technique in motion picture production. Gary Demos was honored with the 19th Gordon E. Sawyer Award, presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry.
Disney acquires Pixar for $7.4B; Ed Catmull named President; Steve Jobs joins Disney Board
Apple Computer adopts the Intel chip, introduces Bootcamp to run Windows.
SGI files Chapter 11 protection
Richard “Doc” Bailey, the “Jimi Hendrix of CG” passes away
Michael Bay and Wyndcrest Holdings buy Digital Domain, replace Scott Ross
SIGGRAPH 2006 held in Boston. SIGGRAPH awards are as follows:
Computer Graphics Achievement Award Thomas W. Sederberg, Brigham Young University
Significant New Researcher Award Takeo Igarashi, The University of Tokyo
ACM SIGGRAPH Outstanding Service Award John M. Fujii, Hewlett Packard Company
One Rat Short – Best of Show, Computer Animation Festival Alex Weil, Charlex Inc.
CGI pioneer Bill Kovacs passes away.
AMD purchases ATI Technologies for $5.4B
Autodesk acquires Alias for US$197M.
2007
SIGGRAPH 2007 held in San Diego. SIGGRAPH awards are as follows:
Computer Graphics Achievement Award – Greg Ward (Radiance)
Significant New Researcher Award – Ravi Ramamoorthi
Steven Coons Award – Nelson Max
Ark – Best of Show, Computer Animation Festival; Dreammaker – Jury Honors; En Tus Brazos – Award of Excellence
Academy Award nominations for Animated feature: Ratatouille (Disney/Pixar) – Brad Bird, Persepolis (Sony Pictures Classics) – Marjane Satrapi and Vincent Paronnaud, Surf’s Up (Columbia/Sony Pictures Animation) – Ash Brannon and Chris Buck. For Animated Short: Peter & the Wolf – Se-ma-for, BreakThru Films – Suzie Templeton, Even Pigeons Go To Heaven – BUF – Samuel Tourneux and Simon Vanesse, I Met the Walrus – Josh Raskin, Madame Tutli-Putli – National Film Board of Canada – Chris Lavis and Maciek Szczerbowski, My Love – Aleksandr Petrov. For Visual Effects: The Golden Compass – Michael Fink, Bill Westenhofer, Ben Morris, and Trevor Wood, Pirates of the Caribbean: At World’s End – John Knoll, Hal Hickel, Charles Gibson, and John Frazier, Transformers – Scott Farrar, Scott Benza, Russell Earl, and John Frazier.
2008
SIGGRAPH 2008 held in Los Angeles. SIGGRAPH awards are as follows:
Computer Graphics Achievement Award – Ken Perlin
Significant New Researcher Award – Maneesh Agrawala
ACM SIGGRAPH Outstanding Service Award – Stephen Spencer, University of Washington
Oktapodi – Best of Show; 893 – Best Student Piece; Mauvais Role – Jury Award; Our Wonderful Nature – Best Told Fable; Oktapodi – Audience Prize Computer Animation Festival
Academy Award nominations for Animated feature: WALL-E (Disney/Pixar) – Andrew Stanton, Bolt (Disney) – Chris Williams and Byron Howard, Kung Fu Panda (DreamWorks/Pacific Data Images) – John Wayne Stevenson and Mark Osborne. For Animated Short: La Maison en petits cubes – Robot & Oh! Production – Kunio Katō, Lavatory – Lovestory – Melnitsa Animation Studio – Konstantin Bronzit, Oktapodi – Gobelins L’Ecole de L’Image – Emud Mokhberi and Thierry Marchand, Presto – Pixar – Doug Sweetland, This Way Up – Nexus Productions – Alan Smith and Adam Foulkes. For Visual Effects: The Curious Case of Benjamin Button – Eric Barba, Steve Preeg, Burt Dalton, and Craig Barron, The Dark Knight – Nick Davis, Chris Corbould, Tim Webber, and Paul Franklin, Iron Man – John Nelson, Ben Snow, Dan Sudick, and Shane Mahan
2009
SIGGRAPH 2009 held in New Orleans. SIGGRAPH awards are as follows:
Computer Graphics Achievement Award – Michael Kass
Significant New Researcher Award – Wojciech Matusik
Stephen A. Coons Award – Robert Cook
Distinguished Artist Award for Lifetime Achievement in Digital Art – Lynne Hershman Leeson, Roman Verostko
French Roast – Best of Show; Project: Alpha – Best Student Piece; Dix – Jury Award; Unbelievable Four – Best Told Fable, Computer Animation Festival
Academy Award nominations for Animated feature: Up (Disney/Pixar) – Pete Docter, Coraline (Focus Features/LAIKA) – Henry Selick, Fantastic Mr. Fox (20th Century Fox/Regency) – Wes Anderson, The Princess and the Frog (Disney) – John Musker and Ron Clements, The Secret of Kells (Cartoon Saloon) – Tomm Moore and Nora Twomey. For Animated Short: Logorama – H5, Autour de Minuit Productions – Nicolas Schmerkin, Granny O’Grimm’s Sleeping Beauty – Brown Bag Films – Nicky Phelan and Darragh O’Connell, French Roast – Fabrice Joubert, The Lady and the Reaper – Kandor Graphics – Javier Recio Gracia, A Matter of Loaf and Death – Aardman Animations – Nick Park. For Visual Effects: Avatar – Joe Letteri, Stephen Rosenbaum, Richard Baneham, and Andrew R. Jones, District 9 – Dan Kaufman, Peter Muyzers, Robert Habros, and Matt Aitken, Star Trek – Roger Guyett, Russell Earl, Paul Kavanagh, and Burt Dalton
Significant animated movies: 9 (USA), A Christmas Carol (USA), Afro Samurai: Resurrection (USA and Japan), Alvin and the Chipmunks: The Squeakquel (USA), Astro Boy (USA and Japan), Cloudy with a Chance of Meatballs (USA), Coraline (USA), Fantastic Mr. Fox (USA), Garfield’s Pet Force (USA and South Korea), Ice Age 3: Dawn of the Dinosaurs (USA), Monsters vs. Aliens (USA), Up (USA)
2010
SIGGRAPH 2010 held in Los Angeles. SIGGRAPH awards are as follows:
Computer Graphics Achievement Award Jessica Hodgins
Significant New Researcher Award – Alexei Efros
ACM SIGGRAPH Outstanding Service Award Kellogg S. Booth
Distinguished Artist Award for Lifetime Achievement in Digital Art – Yoichiro Kawaguchi
Loom – Best of Show; Best Student Piece – The Wonder Hospital; Jury Award – Poppy, Computer Animation Festival
Academy Award nominations for Animated feature: Toy Story 3 (Disney/Pixar) – Lee Unkrich, How to Train Your Dragon (DreamWorks/Pacific Data Images) – Chris Sanders and Dean DeBlois, The Illusionist (Pathé Pictures/Sony Pictures Classics) – Sylvain Chomet. For Animated Short: The Lost Thing – Shaun Tan and Andrew Ruhemann, Day & Night – Pixar – Teddy Newton, The Gruffalo – Magic Light Pictures, Studio Soi – Jakob Schuh and Max Lang, Let’s Pollute – Geefwee Boedoe, Madagascar, a Journey Diary – Bastien Dubois.
For Visual Effects: Inception – Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb, Alice in Wonderland – Ken Ralston, David Schaub, Carey Villegas and Sean Phillips, Harry Potter and the Deathly Hallows: Part 1 – Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi, Hereafter – Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell, Iron Man 2 – Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick
Significant animated movies: Alpha and Omega (USA), Despicable Me (USA), MegaMind (USA), Shrek Forever After (USA), Tangled (USA), Tinker Bell And The Great Fairy Rescue (USA), Toy Story 3 (USA).
2011
SIGGRAPH 2011 held in Vancouver. SIGGRAPH awards are as follows:
Computer Graphics Achievement Award – Richard Szeliski
Significant New Researcher Award – Olga Sorkine
Stephen A. Coons Award – Jim Kajiya
Distinguished Artist Award for Lifetime Achievement in Digital Art – Charles Csuri
The Fantastic Flying Books of Mr. Morris Lessmore – Best of Show; Flamingo Pride – Best Student Piece; Paths of Hate – Jury Award, Computer Animation Festival
Academy Award nominations for Animated feature: Rango (Paramount Pictures/Nickelodeon Movies/Blind Wink/GK Films) – Gore Verbinski, A Cat in Paris (Folimage with Digit Anima, France 3 Cinéma, Lumière, Lunanime, Radio Télévision Belge Francophone) – Alain Gagnol and Jean-Loup Felicioli, Chico & Rita (Isle of Man Film/Magic Light Pictures/Disney/CinemaNX) – Fernando Trueba and Javier Mariscal, Kung Fu Panda 2 (DreamWorks Animation/Paramount Pictures) – Jennifer Yuh Nelson, Puss in Boots (DreamWorks Animation/Paramount Pictures) – Chris Miller.
For Animated Short: The Fantastic Flying Books of Mr. Morris Lessmore – Moonbot Studios – William Joyce and Brandon Oldenburg, Dimanche – National Film Board of Canada – Patrick Doyon, La Luna – Pixar – Enrico Casarosa, A Morning Stroll – Studio AKA – Grant Orchard and Sue Goffe, Wild Life – National Film Board of Canada – Wendy Tilby and Amanda Forbis.
For Visual Effects: Hugo – Rob Legato, Joss Williams, Ben Grossmann and Alex Henning, Harry Potter and the Deathly Hallows: Part 2 – Tim Burke, David Vickery, Greg Butler, and John Richardson, Real Steel – Erik Nash, John Rosengrant, Danny Gordon Taylor, and Swen Gillberg, Rise of the Planet of the Apes – Joe Letteri, Dan Lemmon, R. Christopher White, and Daniel Barrett, Transformers: Dark of the Moon – Scott Farrar, Scott Benza, Matthew E. Butler, and John Frazier
Significant animated movies: Arthur Christmas (USA), Cars 2 (USA), Gnomeo and Juliet (USA/UK), Happy Feet 2 (USA/Australia), Hop (USA), Kung Fu Panda 2 (USA), Puss in Boots (USA), Rango (USA, Rio (Brazil and USA), The Adventures of Tintin: Secret of the Unicorn (USA, The Smurfs (USA).
Ed Catmull’s CG Hand added to National Film Registry
2012
Carl Machover, computer graphics pioneer and graphics “evangelist”, dies at 84.
Buzz Potamkin, legendary animation producer (“I Want My MTV”) and head of Buzzco Productions dies at 66.
Digital Domain files for Chapter 11 and closes all Florida studios; emerges from bankruptcy after selling to Galloping Horse America, a division of a Beijing media company, and Reliance MediaWorks, part of the Indian conglomerate Reliance Group in late September for $30.2M
SIGGRAPH 2012 held in Los Angeles. SIGGRAPH awards are as follows:
Computer Graphics Achievement Award – Greg Turk
Significant New Researcher Award – Karen Liu
Outstanding Service Award – David Kasik
Distinguished Artist Award for Lifetime Achievement in Digital Art – Jean-Pierre Hébert
Réflexion – Best in Show; Estefan – Best Student Piece; How To Eat Your Apple – Jury Award,, Rosette – Well Told Fable Award – Computer Animation Festival
2013
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Is Silicon Graphics International Earning Its Keep?
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"Riverbed Technology",
"gross margin",
"Operating margin",
"operating margins",
"S&P Capital IQ"
] | null |
[
"Seth Jayson, The Motley Fool",
"AOL Staff"
] |
2011-10-18T00:00:00
|
Margins matter. The more Silicon Graphics International (NAS: SGI) keeps of each buck it earns in revenue, the more money it has to invest in growth, fund new strategic plans, or (gasp!) distribute to shareholders. Healthy margins often separate
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https://www.aol.com/news/2011-10-18-is-silicon-graphics-international-earning-its-keep.html
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Margins matter. The more Silicon Graphics International (NAS: SGI) keeps of each buck it earns in revenue, the more money it has to invest in growth, fund new strategic plans, or (gasp!) distribute to shareholders. Healthy margins often separate pretenders from the best stocks in the market. That's why we check up on margins at least once a quarter in this series. I'm looking for the absolute numbers, comparisons to sector peers and competitors, and any trend that may tell me how strong Silicon Graphics International's competitive position could be.
Here's the current margin snapshot for Silicon Graphics International and some of its sector and industry peers and direct competitors.
Source: S&P Capital IQ. TTM = trailing 12 months.
Unfortunately, that table doesn't tell us much about where Silicon Graphics International has been, or where it's going. A company with rising gross and operating margins often fuels its growth by increasing demand for its products. If it sells more units while keeping costs in check, its profitability increases. Conversely, a company with gross margins that inch downward over time is often losing out to competition, and possibly engaging in a race to the bottom on prices. If it can't make up for this problem by cutting costs -- and most companies can't -- then both the business and its shares face a decidedly bleak outlook.
Of course, over the short term, the kind of economic shocks we recently experienced can drastically affect a company's profitability. That's why I like to look at five fiscal years' worth of margins, along with the results for the trailing 12 months, the last fiscal year, and last fiscal quarter. You can't always reach a hard conclusion about your company's health, but you can better understand what to expect, and what to watch.
Here's the margin picture for Silicon Graphics International over the past few years.
Source: S&P Capital IQ. Dollar amounts in millions. FY = fiscal year. TTM = trailing 12 months.
Because of seasonality in some businesses, the numbers for the last period on the right -- the TTM figures -- aren't always comparable to the FY results preceding them. To compare quarterly margins to their prior-year levels, consult this chart.
Source: S&P Capital IQ. Dollar amounts in millions. FQ = fiscal quarter.
Here's how the stats break down:
Over the past five years, gross margin peaked at 27% and averaged 16.4%. Operating margin peaked at -2% and averaged -15.5%. Net margin peaked at -3.4% and averaged -16.2%.
TTM gross margin is 27%, 1,060 basis points better than the five-year average. TTM operating margin is -2%, 1,350 basis points better than the five-year average. TTM net margin is -3.4%, 1,280 basis points better than the five-year average.
With recent TTM operating margins exceeding historical averages, but still negative, Silicon Graphics International looks like it still has a lot of work to do.
If you take the time to read past the headlines and crack a filing now and then, you're probably ahead of 95% of the market's individual investors. To stay ahead, learn more about how I use analysis like this to help me uncover the best returns in the stock market. Got an opinion on the margins at Silicon Graphics International? Let us know in the comments below.
Add Silicon Graphics International to My Watchlist.
Add NetApp to My Watchlist.
Add EMC to My Watchlist.
Add Riverbed Technology to My Watchlist.
At the time thisarticle was published Seth Jayson had no position in any company mentioned here at the time of publication. You can view his stock holdings here. He is co-advisor ofMotley Fool Hidden Gems, which provides new small-cap ideas every month, backed by a real-money portfolio. The Motley Fool owns shares of EMC. Motley Fool newsletter services have recommended buying shares of Riverbed Technology. Motley Fool newsletter services have recommended writing puts in Riverbed Technology. Try any of our Foolish newsletter services free for 30 days. We Fools may not all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.
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In Re Silicon Graphics, Inc. Securities Litigation, 970 F. Supp. 746 (N.D. Cal. 1997)
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In Re Silicon Graphics, Inc. Securities Litigation, 970 F. Supp. 746 (N.D. Cal. 1997) case opinion from the US District Court for the Northern District of California
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970 F. Supp. 746 (1997) In re SILICON GRAPHICS, INC. SECURITIES LITIGATION. No. C 96-0393 FMS.
United States District Court, N.D. California.
May 23, 1997.
*747 *748 *749 Patrick J. Coughlin, William S. Lerach, Milberg Weiss Bershad Hynes & Lerach LLP, San Diego, CA, Richard Bemporad, William J. Ban, Lowey Dannenberg Bemporad & Selinger, P.C., White Plains, NY, for plaintiffs.
Bruce G. Vanyo, Lloyd Winawer, Jerome F. Birn, Jr., Wilson Sonsini, Goodrich & Rosati, Palo Alto, CA, for defendants.
ORDER GRANTING IN PART DEFENDANTS' MOTION TO DISMISS; GRANTING DEFENDANTS' MOTION FOR PARTIAL SUMMARY JUDGMENT; SCHEDULING ORDER
FERN M. SMITH, District Judge.
INTRODUCTION
In September 1996, the Court dismissed plaintiffs' class and derivative securities fraud actions against defendants with leave to amend. In October 1996, plaintiffs filed an amended class action complaint. Defendants now renew their motion to dismiss, arguing that plaintiffs' allegations against *750 them are insufficient as a matter of law. Certain individual defendants also move for summary judgment, arguing that they did not undertake the conduct alleged by plaintiffs. These motions require the Court to discern the proper pleading standards under the Private Securities Litigation Reform Act of 1995, to apply them to plaintiffs' complaint, and to determine whether defendants' motion for summary judgment is procedurally proper.
BACKGROUND
Defendant Silicon Graphics, Inc. ("SGI") is a Delaware corporation that designs and sells desktop graphics workstations, multi-processor servers, advanced computing platforms, and application software. The company's stock is traded on the New York Stock Exchange. Plaintiffs' complaint arises out of fluctuations in SGI's stock price during the fall of 1995.
On August 21, 1995, SGI stock reached an all-time high of $44-7/8 before declining into the high $20s due to investor concern that SGI would be unable to maintain its historic high growth rates in the face of increased competition. On October 19, 1995, SGI announced the results for the first quarter of fiscal year 1996. The market viewed these results as disappointing, although they showed a thirty-three percent growth in revenue. SGI reassured analysts and investors that it still expected to meet its growth targets. In a press release, and also in a conference call with analysts, SGI provided explanations for the shortfall and suggested reasons why the second quarter results would be better. SGI issued periodic updates throughout the fall, reasserting its confidence about second quarter results. As a result, the stock price rebounded into the high $30 range.
In December 1995, on rumors that the second quarter results might also be lower than anticipated, the stock fell again, this time dipping into the mid-$20 range. When SGI confirmed the rumors in early January 1996, the stock fell to a low of approximately $22 per share. In response, plaintiffs filed their first class action complaint on January 29, 1996. A derivative action was filed on March 22, 1996. Both complaints related to the December 1995/January 1996 drop in SGI's stock price.
In September 1996, the Court dismissed the class action complaint for failure to plead scienter adequately under the Private Securities Reform Act of 1995 ("SRA"). At the same time, the Court dismissed the derivative complaint because plaintiffs had failed to make the required demand that the company's board take action. The Court gave plaintiffs leave to amend both complaints; however, plaintiffs chose to amend only the class action complaint.
In their First Amended Complaint ("FAC"), plaintiffs again allege that SGI and the individual defendants[1] violated federal securities law by issuing false and misleading information about the company in an effort to inflate the price of SGI stock for the purpose of selling their own stock at a substantial profit. Plaintiffs have brought this case on behalf of themselves and all persons who purchased SGI stock during the period between September 13, 1995 and December 29, 1995.
I. Plaintiffs' Allegations
The following section is based on plaintiffs' allegations, which are taken as true for purposes of the motion to dismiss. During September 1995, SGI executives became concerned that the company would not meet its growth and revenue targets because of production problems with its most important new product, the Indigo2 IMPACT workstation. Out of fear that SGI's sales and stock price would decline if this information became public, defendants agreed to conceal the problems from the public. When revenues and stock prices declined anyway in September and October 1995, defendants devised *751 a scheme to boost stock prices to protect the company's interests and their individual stakes.
As a part of their scheme, defendants made material misrepresentations about SGI's growth prospects and general financial condition, and failed to disclose adverse facts about SGI's products, management, and competitors. For example, defendants asserted a high sales volume, when in fact sales where materially below SGI's internal targets. SGI also failed to disclose that it had insufficient component parts to produce the Indigo2 IMPACT workstations required to meet demand, instead maintaining that the shortage of workstations was due to unanticipated heavy demand for the product. Defendants disseminated this false and misleading information to the market through SGI's report to shareholders, numerous press reports, and meetings with securities analysts.
Defendants' efforts to boost stock prices were a success. As a result of the misrepresentations, SGI's stock price rose to $38-3/4. Meanwhile, aided by an SGI one million share stock repurchase plan, defendants cumulatively sold nearly 400,000 shares of their own SGI stock, reaping combined profits of approximately $14 million. After defendants had collected their profits, they announced "disastrous" second quarter results, which sent the stock plummeting to $21-1/8. As a result, plaintiffs and potential class members suffered financial damages. Plaintiffs seek to impose direct liability on defendants for their individual misrepresentations, insider trading, participation in the fraudulent scheme, and under a theory of control person liability.
II. Defendants' Rebuttal
Defendants contend that SGI has experienced rapid growth in recent years, and continued to grow even during the class period. During the fall of 1995, defendants conducted business as usual, making normal statements to shareholders, the press, and industry analysts about the company's performance and anticipated performance. In hindsight, SGI's forecasts may have been optimistic, but there was no fraud involved.
Defendants argue that plaintiffs have not adequately pled their case under the Private Securities Litigation Reform Act. They point out that the FAC is pled on information and belief, and fails to provide any foundational statement of facts, as required by the Second Circuit law on which the SRA arguably is based. Moreover, they contend that even if the "facts" in the FAC are accepted as true, they do not create a strong inference of fraud. Certain individual defendants also seek summary judgment, because they did not make any allegedly false or misleading statements, and did not trade contemporaneously with plaintiffs.
DISCUSSION
I. Legal Standard
A. Federal Rule of civil Procedure 12(b) (6)
A motion to dismiss pursuant to Rule 12(b) (6) tests the sufficiency of the complaint. See North Star Int'l v. Arizona Corp. Comm'n, 720 F.2d 578, 581 (9th Cir. 1983). Dismissal of an action pursuant to Rule 12(b) (6) is appropriate only where it "`appears beyond doubt that the plaintiff can prove no set of facts in support of his claim which would entitle him to relief.'" See Levine v. Diamanthuset, Inc., 950 F.2d 1478, 1482 (9th Cir.1991) (quoting Conley v. Gibson, 355 U.S. 41, 45-46, 78 S. Ct. 99, 102, 2 L. Ed. 2d 80 (1957)).
In reviewing a motion to dismiss pursuant to Rule 12(b) (6), the Court must assume all factual allegations to be true and must construe them in the light most favorable to the nonmoving party. See North Star, 720 F.2d at 580. Legal conclusions need not be taken as true merely because they are cast in the form of factual allegations, however. Western Mining Council v. Watt, 643 F.2d 618, 624 (9th Cir.1981). Further, the Court need not accept as true allegations that contradict facts that have been judicially noticed. See Employers Ins. v. Musick, Peeler, & Garrett, 871 F. Supp. 381, 385 (S.D.Cal.1994).
The Court may consider documents outside of the pleadings in support of a Rule *752 12(b) (6) motion to dismiss if the document is referenced in plaintiff's complaint and the document is "central" to plaintiff's claim. See Venture Assoc. Corp. v. Zenith Data Sys. Corp., 987 F.2d 429, 431 (9th Cir.1993); Glenbrook Homeowners Ass'n v. Scottsdale Ins. Co., 858 F. Supp. 986, 987 (N.D.Cal.1994). The Court may also take judicial notice of facts records outside the pleadings. See MGIC Indem. Corp. v. Weisman, 803 F.2d 500, 504 (9th Cir.1986) (taking judicial notice of public records); Mack v. South Bay Beer Distribs., Inc., 798 F.2d 1279, 1282 (9th Cir. 1986).
B. Federal Rule of Civil Procedure 9(b)
Allegations of fraud must satisfy the requirements of Rule 9(b) to survive a motion to dismiss. Rule 9(b) provides: "In all averments of fraud or mistake, the circumstances constituting fraud or mistake shall be stated with particularity. Malice, intent, knowledge, and other condition of mind of a person may be averred generally." The purpose of Rule 9(b) is to prevent the filing of a complaint as a pretext for the discovery of unknown wrongs. See Semegen v. Weidner, 780 F.2d 727, 731 (9th Cir.1985).
To satisfy Rule 9(b), securities class action plaintiffs must allege fraud with enough particularity to give defendants notice of the specific charges against them so that defendants may respond to the charges. See Kaplan v. Rose, 49 F.3d 1363, 1369 (9th Cir.1994); Neubronner v. Milken, 6 F.3d 666, 671-72 (9th Cir.1993). A complaint satisfies this standard if it "state[s] precisely the time, place, and nature of the misleading statements, misrepresentations, and specific acts of fraud." Kaplan, 49 F.3d at 1370; see a Neubronner, 6 F.3d at 672.
Rule 9(b) also requires that a plaintiff plead with sufficient particularity attribution of the alleged misrepresentations or omissions to each defendant; the plaintiff is obligated to "distinguish among those they sue and enlighten each defendant as to his or her part in the alleged fraud." Erickson v. Kiddie, 1986 WL 544, *7 (N.D.Cal.1986) (quoting Bruns v. Ledbetter, 583 F. Supp. 1050, 1052 (S.D.Cal.1984)); see also Lubin v. Sybedon Corp., 688 F. Supp. 1425, 1443 (N.D.Cal.1988) (finding plaintiff's "`dragnet' tactic of indiscriminately grouping all of the individual defendants into one wrongdoing monolith" failed to fulfill requirements of Rule 9(b)).
In most fraud actions, the requirements of Rule 9(b) may be "relaxed as to matters peculiarly within the opposing party's knowledge," if the plaintiffs cannot be expected to have personal knowledge of the facts prior to discovery. See Wool v. Tandem Computers, Inc., 818 F.2d 1433, 1439 (9th Cir.1987) (citations omitted). In securities actions, however, Congress has provided that "if an allegation ... is made on information and belief, the complaint shall state with particularity all facts on which that belief is formed." 15 U.S.C. § 78u-4(b) (1). In so providing, Congress intended to assure that the requirements of Rule 9(b) were met in all securities fraud cases, including those pled on information and belief. See H.R.Conf. Rep. No. 104-369, at 41 (1995) ("Conf.Rep.").
C. Federal Rule of Civil Procedure 56
To withstand a motion for summary judgment, the opposing party must set forth specific facts showing that there is a genuine issue of material fact in dispute. See Fed. R.Civ.P. 56(e). A dispute about a material fact is genuine "if the evidence is such that a reasonable jury could return a verdict for the non-moving party." Anderson v. Liberty Lobby, Inc., 477 U.S. 242, 248, 106 S. Ct. 2505, 2510, 91 L. Ed. 2d 202 (1986). If the nonmoving party fails to make a showing sufficient to establish the existence of an element essential to that party's case, and on which that party will bear the burden of proof at trial, the moving party is entitled to a judgment as a matter of law. See Celotex Corp. v. Catrett, 477 U.S. 317, 323, 106 S. Ct. 2548, 2552-53, 91 L. Ed. 2d 265 (1986).
In opposing summary judgment, plaintiff is not entitled to rely on the allegations of his complaint. He "must produce at least some `significant probative evidence tending to support the complaint.'" T.W. Elec. Serv., Inc. v. Pacific Elec. Contractors Ass'n, 809 F.2d 626, 630 (9th Cir.1987) (quoting First Nat'l Bank v. Cities Serv. Co., 391 U.S. 253, *753 290, 88 S. Ct. 1575, 1593, 20 L. Ed. 2d 569 (1968)).
The Court does not make credibility determinations with respect to evidence offered, and is required to draw all inferences in the light most favorable to the non-moving party. See T.W. Elec. Serv., Inc., 809 F.2d at 630-31 (citing Matsushita Elec. Indus. Co. v. Zenith Radio Corp., 475 U.S. 574, 587, 106 S. Ct. 1348, 1356, 89 L. Ed. 2d 538 (1986)). Summary judgment is therefore not appropriate "where contradictory inferences may reasonably be drawn from undisputed evidentiary facts...." Hollingsworth Solderless Terminal Co. v. Turley, 622 F.2d 1324, 1335 (9th Cir.1980).
D. Section 10(b)
Section 10(b) of the Securities and Exchange Act of 1934, 15 U.S.C. § 78j(b), makes it unlawful for any person "[t]o use or employ, in connection with the purchase or sale of any security ... any manipulative or deceptive device or contrivance in contravention of such rules and regulations as the [Securities and Exchange Commission] may prescribe." 15 U.S.C. § 78j(b). One such rule is Rule 10b-5, which makes it unlawful "[t]o make any untrue statement of a material fact or to omit to state a material fact necessary in order to make the statements made, in the light of the circumstances under which they were made, not misleading." 17 C.F.R. § 240.10b-5 (1995). To allege securities fraud under Rule 10b-5 successfully, plaintiffs must allege both reliance on a material misstatement and scienter. See Hanon v. Dataproducts Corp., 976 F.2d 497, 506-07 (9th Cir.1992).
Plaintiffs may allege reliance using the "fraud on the market" theory. "In the usual claim under Section 10(b), the plaintiff must show individual reliance on a material misstatement. Under the fraud on the market theory, the plaintiff has the benefit of a presumption that he has indirectly relied on the alleged misstatement, by relying on the integrity of the stock price established by the market." In re Apple Computer Secs. Litig., 886 F.2d 1109, 1113-14 (9th Cir.1989). Defendants may respond to a claim of fraud on the market by asserting that the information allegedly withheld from the market had in fact entered the market. See Id. at 1114.
In Central Bank of Denver, N.A. v. First Interstate Bank of Denver, N.A., 511 U.S. 164, 114 S. Ct. 1439, 128 L. Ed. 2d 119 (1994), the Supreme Court held that "§ 10(b) ... prohibits only the making of a material misstatement (or omission) or the commission of a manipulative act.... The proscription does not include giving aid to a person who commits a manipulative or deceptive act." Id. at 177, 114 S. Ct. at 1448. The Supreme Court therefore found that section 10(b) did not create liability for aiding and abetting the securities violations of others. Such secondary participation is beyond the scope of the statute.
II. Analysis
A. The Private Securities Litigation Reform Act of 1995
In December 1995, Congress enacted the Private Securities Litigation Reform Act of 1995 ("SRA"), Pub.L. No. 104-67, which amends the Securities Exchange Acts of 1933, 15 U.S.C. §§ 77a-77bbbb, and 1934, 15 U.S.C. §§ 78a-78lll. The SRA applies to private class actions, such as this one, brought pursuant to the Federal Rules of Civil Procedure. See 15 U.S.C. § 77z-1(a) (1). The SRA prescribes new procedures and substantive standards for private securities litigation. For purposes of this motion, the most important of these changes is the new law's heightened pleading standard.
1. Retroactivity
Although they neglected to raise the argument in opposing the earlier motion to dismiss, plaintiffs now contend that the Court should not apply the SRA to this case because the effect of doing so would be impermissibly retroactive.
In determining whether a statute should be applied retroactively, "the court's first task is to determine whether Congress has expressly prescribed the statute's proper reach." Landgraf v. USI Film Products, 511 U.S. 244, 280, 114 S. Ct. 1483, 1505, 128 L. Ed. 2d 229 (1994). If the statute contains *754 no express direction from Congress, the Court must determine whether applying the statute to pending cases would have an impermissible retroactive effect; however, if the intended scope of the statute is clear from its text, the Court need look no further. See Id. at 280-81, 114 S. Ct. at 1505. Although prospectivity is the default rule, courts must give a statute its intended scope. See Id. at 272-74, 114 S. Ct. at 1501.
Section 108 of the SRA reads, "[t]he amendments made by this title shall not affect or apply to any private action arising under title I of the Securities Exchange Act of 1934 or title I of the Securities Act of 1933, commenced before and pending on the date of enactment of this Act." P.L. No. 104-67, 109 Stat. 737, 758 (1995). This language makes clear that Congress intended the SRA to apply to all cases filed after its enactment.
Plaintiffs argue that because the applicability clause is silent as to pre-enactment conduct, the Court must perform a retroactivity analysis. In support of their argument, plaintiffs cite a number of cases in which courts considered the retroactivity of laws that were totally silent about applicability. See, e.g., Alvarez-Machain v. United States, 96 F.3d 1246, 1252 (9th Cir.1996) (Torture Victim Protection Act); United States ex rel. Schumer v. Hughes Aircraft Co., 63 F.3d 1512, 1517 (9th Cir.1995), cert. granted in part, ___ U.S. ___, 117 S. Ct. 293, 136 L. Ed. 2d 212 (1996) (False Claims Act). These cases are inapposite; Congress set a specific limit on the SRA's applicability in § 108.
The legislative history confirms that Congress intended the SRA to apply to any claim filed after the law's enactment. During the debate on the predecessor bill to the SRA, the House of Representatives considered and rejected an amendment that would have permitted some plaintiffs to sue under existing law for a period of three years after enactment. See 141 Cong.Rec. H2831 (Mar. 8, 1995) (introducing the "Dingell Amendment"). Both the proponents and opponents of the proposed amendment appear to have understood that lawsuits filed after securities reform was enacted would be subject to the new law. See, e.g., 141 Cong.Rec. H3834 (Mar. 8, 1995) (statements of Rep. Bryant and Rep. Cox).
Because Congress prescribed the scope of the SRA, and because the legislative history reflects Congress's intent to do so, the Court need not consider whether the Act's is impermissibly retroactive. See United States v. $814,254.76, 51 F.3d 207, 209, 212 (9th Cir. 1995). The SRA is appropriately applied to this case.
2. Pleading Standard
Prior to enactment of the SRA, the pleading standard for private securities cases was well-established in this Circuit. Plaintiffs were required to plead the allegedly false or misleading statements and why they were false or misleading. See, e.g., In re GlenFed, Inc. Secs. Litig., 42 F.3d 1541, 1547-48 (9th Cir.1994), cert. denied 116 S. Ct. 1020 (1996). Plaintiffs were permitted to aver scienter generally. See. e.g., id.
In enacting the SRA, Congress adopted a more stringent pleading standard. In addition to requiring plaintiffs to specify the allegedly false or misleading statements and describe how they are false or misleading, 15 U.S.C. § 78u-4(b) (1), the SRA now requires plaintiffs to "state with particularity facts giving rise to a strong inference that the defendant acted with the required state of mind." 15 U.S.C. § 78u-4(b) (2). The interpretation of this portion of the standard has been the subject of considerable debate in the courts and in the community at large.
This Court addressed the pleading standard for the first time in its September 25, 1996 order dismissing plaintiffs' complaint with leave to amend. After a comprehensive review of the legislative history of the SRA, the Court found that the strengthened standard requires plaintiffs to plead particularized facts that give rise to a strong inference of knowing misrepresentation on the part of defendants. In briefing the motions now before the Court, plaintiffs and amicus curiae the Securities and Exchange Commission ("SEC") have asked the Court to reconsider that finding. After reviewing the arguments and the legal authorities, the Court believes that its original interpretation was correct.
*755 Since the Supreme Court decisions in Ernst & Ernst v. Hochfelder, 425 U.S. 185, 193, 96 S. Ct. 1375, 1380-81, 47 L. Ed. 2d 668 (1976), Santa Fe Industries v. Green, 430 U.S. 462, 473, 97 S. Ct. 1292, 1300-01, 51 L. Ed. 2d 480 (1977), and Central Bank v. First Interstate Bank, 511 U.S. 164, 172-73, 114 S. Ct. 1439, 1446, 128 L. Ed. 2d 119 (1994), there has been little question that liability under Section 10(b) requires a finding of intent to deceive, manipulate, or defraud. In those cases, the Supreme Court refused to find Section 10(b) liability based on allegations of negligence or aiding and abetting. Although the Supreme Court has never directly addressed whether Section 10(b) liability may be grounded in recklessness, it has noted that "[i]n certain areas of the law recklessness is considered to be a form of intentional conduct for purposes of imposing liability for some act." Hochfelder, 425 U.S. at 194 n. 12, 96 S. Ct. at 1381 n. 12. This notation is consistent with the holdings in Hochfelder, Green, and Central Bank in suggesting that only intentional recklessness would support Section 10(b) liability.
Despite the Supreme Court's clear message that Section 10(b) does not reach unintentional conduct, many circuit courts imposed Section 10(b) liability for recklessness both subjective and objective prior to enactment of the SRA. See, e.g., Hollinger v. Titan Capital Corp., 914 F.2d 1564, 1568 n. 6 (9th Cir.1990) (reviewing cases from ten circuits). Many courts define reckless conduct as:
a highly unreasonable omission, involving not merely simple, or even inexcusable negligence, but an extreme departure from the standards of ordinary care, and which presents a danger of misleading buyers or sellers that is either known to the defendant or so obvious that the actor must have been aware of it.
Id. at 1569 (quoting Sundstrand Corp. v. Sun Chem. Corp., 553 F.2d 1033, 1045 (7th Cir. 1977)). This definition appears compatible with the Supreme Court cases. Unfortunately, it is neither universally accepted, nor uniformly applied. See H.R.Rep. No. 104-50, 104th Cong., 1st Sess. 39 (1995); see also Hoffman v. Estabrook & Co., 587 F.2d 509, 516 (1st Cir.1978) (approving definition of recklessness as "carelessness approaching indifference"); Wells v. Monarch Capital Corp., 1996 WL 728125, at * 16 (D.Mass. Oct.22, 1996) (citing Hoffman definition as First Circuit standard).
The parties and amicus Securities and Exchange Commission agree that the SRA is based in large part on Second Circuit law interpreting Section 10(b). See Memorandum of Points and Authorities in Support of Defendants' Motion to Dismiss the Amended Class Action Complaint at 8; Memorandum of Points and Authorities in Opposition to the Separately-Moving Defendants' Motion to Dismiss or for Summary Judgment at 20; Brief of the Securities and Exchange Commission, Amicus Curiae, Concerning Defendants' Motion to Dismiss the Amended Complaint at 9. Even within the Second Circuit, however, there is conflicting authority about what constitutes scienter for purposes of Section 10(b).
In the Second Circuit, three lines of cases address the scienter requirement of Section 10(b). Under the Lanza line of cases, unqualified allegations of recklessness suffice to establish scienter. See Lanza v. Drexel & Co., 479 F.2d 1277, 1306 (2d Cir.1973) (en banc). The Rolf line of cases allows recklessness to support scienter only if the defendant also had a fiduciary duty to the plaintiff. See Rolf v. Blyth, Eastman Dillon & Co., Inc., 570 F.2d 38, 44 (2d Cir.), amended, 1978 WL 4098 (2d Cir. May 22, 1978). Finally, the more recent Wechsler line of cases is the strictest, requiring actual intent or circumstances implying actual intent before finding scienter. See Wechsler v. Steinberg, 733 F.2d 1054, 1058 (2d Cir.1984). Although the most recent cases require a strong inference of fraudulent intent, the Lanza and Rolf cases have not been expressly overruled. See, e.g., San Leandro Emergency Medical Plan v. Philip Morris, 75 F.3d 801, 812-13 (2d Cir.1996); Acito v. IMCERA Group, Inc., 47 F.3d 47, 53 (2d Cir.1995); Shields v. City-trust Bancorp, Inc., 25 F.3d 1124, 1129 (2d Cir.1994); In re Time Warner Inc. Secs. Litig., 9 F.3d 259, 271 (2d Cir.1993).
In enacting the SRA, Congress emphasized the "need to establish uniform and *756 more stringent pleading requirements to curtail the filing of meritless lawsuits." Conf. Rep. at 41. In its search for the right standard, Congress considered and rejected a number of scienter standards. For example, the original House bill would have imposed liability for unqualified recklessness, see H.R. 1058 (as passed on Mar. 8, 1995) and a Senate amendment would have codified the line of Second Circuit law creating liability for unqualified recklessness. See 141 Cong. Rec. S9170 (June 17, 1995) (introducing the Specter Amendment). Instead, Congress adopted language requiring plaintiffs to "state with particularity facts giving rise to a strong inference that the defendant acted with the required state of mind." 15 U.S.C. § 78u-4(b) (2).
Although the "strong inference" portion of this standard reflects Second Circuit law, the Conference Committee stopped short of adopting Second Circuit law outright:
Because the Conference Committee intends to strengthen existing pleading requirements, it does not intend to codify the Second Circuit's case law interpreting this pleading standard. FN 23/
FN 23/For this reason, the Conference Report chose not to include in the pleading standard certain language relating to motive, opportunity, or recklessness.
Conf.Rep. at 41 & n. 23. In excluding from the SRA's pleading standard language relating to motive, opportunity, or recklessness, Congress appears to have rejected the Lanza and Rolf lines of cases in favor of the Wechsler approach that is more consistent with Supreme Court precedent regarding Section 10(b) scienter.
The Court and the parties have looked for confirmation of this interpretation in the legislative history of the SRA. In its decision on the earlier motion to dismiss, the Court found Congress's override of the President's veto of the SRA persuasive. In his veto message, the President expressed concern that Congress had made "crystal clear" its intent to raise the pleading standard beyond that of the Second Circuit. The President feared that the proposed standard would limit plaintiffs' ability to bring securities fraud claims. See 141 Cong.Rec. S19,035 (Dec. 21, 1995). Further emphasizing its crystal clear intent to do just that, Congress overrode the President's veto without comment on his veto message.
Plaintiffs counter that the statements of individual legislators suggest that the SRA approves of liability for recklessness. As the Court noted in its earlier opinion, many of the statements cited by plaintiffs were made prior to the President's veto message and the subsequent override, and are therefore irrelevant.[2] Moreover, many of the statements made after the veto but before the override generally support the Court's interpretation. See. e.g., 141 Cong.Rec. H15,219 (Dec. 20, 1995) (statement of Rep. Lofgren) ("These are very technical issues, and I think the sounder course is to override this veto."); 141 Cong.Rec. S19,149 (Dec. 22, 1995) (statement of Sen. Bradley) ("In fact, the language of the bill does codify the second circuit standard in part and the statement of managers says so.").[3]
The Court acknowledges that the legislative history of the SRA is not entirely consistent at first glance. Some legislators have insisted that the SRA adopted the Second Circuit standard from the Lanza line of cases. See. e.g., 141 Cong.Rec. S17,984 (Dec. 20, 1995) (Sen. Mosely-Braun) (prevailing Senate bill included liability for recklessness). Considered in the context of the Supreme Court's prior rulings on Section 10(b) scienter and the Second Circuit's three lines of cases, however, the apparent inconsistencies are less glaring. Because legislators disagreed about the contours of the Second Circuit standard, they necessarily disagreed about what codifying the standard would mean.
*757 In light of the confusion revealed in individual legislators' statements, the Court finds the Conference Committee Report and the ultimate adoption of the Conference's version of the bill even more persuasive. The Supreme Court's jurisprudence on statutory interpretation supports the Court's reliance on these aspects of the legislative history. "[T]he authoritative source for finding the Legislature's intent lies in the Committee Reports on the bill, which `represen[t] the considered and collective understanding of those Congressmen involved in drafting and studying proposed legislation.'" Garcia v. United States, 469 U.S. 70, 76, 105 S. Ct. 479, 483, 83 L. Ed. 2d 472 (1984) (quoting Zuber v. Allen, 396 U.S. 168, 186, 90 S. Ct. 314, 324, 24 L. Ed. 2d 345 (1969)); see also Resolution Trust Corp. v. Gallagher, 10 F.3d 416, 421 (7th Cir.1993) (conference report "is the most persuasive evidence of congressional intent besides the statute itself"); In re Kelly, 841 F.2d 908, 912 n. 3 (9th Cir.1988) (Committee reports, not "[s]tray comments by individual legislators," provide the best expression of legislative intent.).
This context also counters plaintiffs' argument that the text and structure of the SRA suggest that Congress did not eliminate motive, opportunity, and subjective recklessness as means of establishing scienter.[4] Although Congress could have avoided the confusion surrounding the SRA pleading standard by defining scienter in § 78u-4(b) (2), further definition may have appeared unnecessary given the Supreme Court precedent and the discussion in the Conference Report. In the Conference Committee's view, the general standard for liability under Section 10(b) remained substantially the same, see 15 U.S.C. § 78u-4(g) (1) ("Nothing in this subsection shall be construed to create, affect, or in any manner modify, the standard for liability associated with any action arising under the securities laws."); however, the standard in some cases changed dramatically, and therefore required clarification. See, e.g., 15 U.S.C. § 78u-5 (forward-looking statements).
Based on the foregoing discussion, the Court finds that in order to state a private securities fraud claim, plaintiffs must create a strong inference of knowing or intentional misconduct. See Hochfelder, 425 U.S. at 197, 96 S. Ct. at 1382-83. Knowing or intentional misconduct includes deliberate recklessness, as described in Hollinger and alluded to in Hochfelder. Motive, opportunity, and non-deliberate recklessness may provide some evidence of intentional wrongdoing, but are not alone sufficient to support scienter unless the totality of the evidence creates a strong inference of fraud.
B. Evidentiary Motions
Before reaching the merits of defendants' motion to dismiss, the Court must clarify what is included in the record on which the motion is to be decided. Both sides have submitted evidence for the Court's consideration, and both sides have objected to the evidence submitted by their opponents. There are three submissions of special concern to the parties: (1) the declaration of Mr. Patrick J. Coughlin, submitted in camera in support of plaintiffs' opposition to the motion to dismiss; (2) the declaration of Ms. Deborah Sparkman, which contains a series of SGI "stop ship" reports, submitted in support of defendants' motion to dismiss; and (3) the declaration of Mr. Lloyd Winawer, which contains defendants' SEC forms, submitted in support of defendants' motion to dismiss.
*758 The declaration of Mr. Coughlin presents the least difficult question. "Generally, a district court may not consider any material beyond the pleadings in ruling on a Rule 12(b) (6) motion." Hal Roach Studios, Inc. v. Richard Feiner & Co., Inc., 896 F.2d 1542, 1555 n. 19 (9th Cir.1990). There are some narrow exceptions to this rule. See, e.g., Venture Assocs. Corp., 987 F.2d at 431 (defining the incorporation by reference doctrine); MGIC Indem. Corp., 803 F.2d at 504 (noting courts' ability to take judicial notice). Plaintiffs' submission, which they state includes "portions of [their] investigative file," (Plaintiffs' Memorandum of Points and Authorities in Opposition to Defendants, Main Motion to Dismiss at 5),[5] does not fit within any exception known to the Court. Moreover, Ninth Circuit authority makes clear that the Court should not tolerate such ex parte submissions, in the interests of justice. See Guenther v. Commissioner of Internal Revenue, 889 F.2d 882, 884 (9th Cir.1989). For these reasons, the declaration of Mr. Patrick J. Coughlin is stricken.
The declarations of Ms. Sparkman and Mr. Winawer present more complicated questions. In the earlier motion to dismiss, the Court took judicial notice of the SEC forms contained in Mr. Winawer's declaration, and considered them in evaluating whether defendants' stock trades were unusual or suspicious. Although plaintiffs did not question the authenticity or accuracy of these filings at that time, they now express concern because of nine instances of reporting violations by SGI officers in the early 1990s. Plaintiffs also protest that the SEC forms are hearsay.
A court may take judicial notice of a fact that is not "subject to reasonable dispute in that it is either (1) generally known within the jurisdiction of the trial court or (2) capable of accurate and ready determination by resort to sources whose accuracy cannot reasonably be questioned." Fed.R.Evid. 201(b). "[A] district court may take judicial notice of the contents of relevant public disclosure documents required to be filed with the SEC as facts capable of accurate and ready determination by resort to sources whose accuracy cannot reasonably be questioned." Kramer v. Time Warner, Inc., 937 F.2d 767, 774 (2d Cir.1991) (taking judicial notice of offer to purchase and joint proxy statement on which complaint was based) (internal quotation marks and citation omitted).
Plaintiffs' challenge to the veracity of the SEC forms submitted by defendants is weak. The evidence proffered shows that nine SGI officers, three of whom are defendants in this action, were required to make corrections to their 1992 SEC forms. Plaintiffs neither present evidence that these are continuing violations, nor that they were serious enough to cast doubt on the filings now before the Court. Plaintiffs' challenge is also disingenuous because plaintiffs rely on the information contained in these filings in pleading their allegations. Paragraph 96 of the complaint states that plaintiffs' allegations are based on, among other things, "a review of SGI's SEC filings." Moreover, paragraph 68, which details defendants' stock sales during the class period, is derived from information contained in these filings. Although plaintiffs referred at oral argument to other sources of this information, these "other sources" rely on the SEC filings for their information as well.
Even if the Court cannot properly take judicial notice of defendants' SEC forms, given plaintiffs' reliance on the documents, the Court may consider them under the incorporation by reference doctrine. This doctrine provides that "[d]ocuments that a defendant attaches to a motion to dismiss are considered part of the pleadings if they are referred to in the plaintiff's complaint and are central to her claim." Venture Assoc., 987 F.2d at 431; see also Branch v. Tunnell, 14 F.3d 449, 454 (9th Cir.1994). If courts were prohibited from considering such documents, "complaints that quoted only selected and misleading portions of [them] could not be dismissed ... even though they would be doomed to failure. Foreclosing resort to such documents might lead to complaints filed solely to extract nuisance settlements." *759 See Kramer, 937 F.2d at 774. Although plaintiffs do not cite to defendants' SEC forms in framing their insider trading allegations, the allegations can be derived only from those publicly-filed documents. Plaintiffs cannot preclude consideration of defendants' SEC forms by artful pleading.
Plaintiffs' attempt to exclude the SEC forms as hearsay is disingenuous for the same reason. Having raised questions about defendants' stock sales, based their allegations on defendants' SEC filings, and submitted expert declarations that rely on the SEC forms at issue, plaintiffs can hardly complain when defendants refer to the same information in their defense. See United States v. Anderson, 532 F.2d 1218, 1229 (9th Cir.1976) (holding that defendant who introduced hearsay statement waived objection to admission of another part of same statement).[6] For these reasons, the Court denies plaintiffs' motion to strike the declaration of Lloyd Winawer.
Defendants invoke the same arguments in defense of Ms. Sparkman's declaration. They argue that because plaintiffs' complaint refers to "stop ship" reports relating to the Indigo2 IMPACT workstation, (FAC ¶ 15(d)), defendants are entitled to produce all the stop ship reports issued during the class period in an effort to prove that the alleged Indigo2 Impact stop ship reports do not exist. This argument stretches the incorporation by reference doctrine too far. Although they are relevant to plaintiffs' allegations, the stop ship reports submitted by defendants are arguably outside the scope of the pleadings and should not be considered in evaluating a Rule 12(b) (6) motion to dismiss.[7]
C. Motion to Dismiss
1. Liability of Individual Defendants
a. False and Misleading Statements
As discussed above, under Central Bank, only primary participants in a section 10(b) violation may be held liable. Thus, with regard to allegedly false and misleading statements, only speakers may properly be held liable. See Central Bank, 511 U.S. at 176-78, 114 S. Ct. at 1448. Further, only statements made after the alleged fraud began that is, during the class period are actionable. Plaintiffs' complaint identifies defendant McCracken as a primary speaker, and suggests that the other defendants helped develop certain public documents and participated in a conference during which false and misleading statements were made.
Under the group pleading doctrine, in drafting a complaint, plaintiffs may rely on a presumption that statements in "prospectuses, registration statements, annual reports, press releases, or other `group-published information,'" are the collective work of those individuals with direct involvement in the day-to-day affairs of the company. GlenFed, 60 F.3d at 593; Wool, 818 F.2d at 1440. This presumption is rebuttable, however. See In re Interactive Network, Inc. Secs. Litig., 948 F. Supp. 917, 921-22 (N.D.Cal. 1996). On summary judgment, a defendant may rebut the group pleading presumption by producing evidence that he had no involvement in creating the challenged document. See In re 3Com Secs. Litig., 761 F. Supp. 1411, 1414 (N.D.Cal.1990). Defendants Baskett, Burgess, Ramsay, and Sekimoto have attempted to make such a showing *760 through their motion for summary judgment and the accompanying declarations.[8]
All four defendants aver that they were not involved in preparing or disseminating any of the class period documents. (Baskett Decl. ¶ 2; Burgess Decl. ¶ 3; Ramsay Decl. ¶ 4; Sekimoto Decl. ¶ 3.) All four defendants also aver that they did not make any of the alleged false and misleading statements of October 19, 1995 and November 2, 1995. Defendant Ramsay was on sabbatical and vacation on those dates, (Ramsay Decl. ¶ 2), and defendant Sekimoto, who resides in Japan, was not present either. (Sekimoto Decl. ¶ 4.) Defendants Baskett and Burgess did not participate in the October 19th conference call, (Baskett Decl. ¶ 3, Burgess Decl. ¶ 4), and although they were present at the November 2nd meeting with analysts, their presentations did not involve financial forecasting, sales, or the Indigo2 IMPACT workstations. (Baskett Decl. ¶ 5, Burgess Decl. ¶ 5.)
Plaintiffs complain that defendants' motion for summary judgment is procedurally improper given the automatic stay of discovery imposed under the SRA. See 15 U.S.C. § 78u-4(b) (3) (B) ("[A]ll discovery and other proceedings shall be stayed during the pendency of any motion to dismiss ..."). Because they have not been permitted any discovery thus far, plaintiffs argue, they cannot rebut defendants' evidence. The Federal Rules of Civil Procedure have long provided a solution to this problem. Under Rule 56(f), if a "party cannot for reasons stated present by affidavit facts essential to justify the party's opposition, the court ... may order a continuance to permit affidavits to be obtained or depositions to be taken or discovery to be had...."
Neither the SRA nor its legislative history suggest that Congress intended to alter summary judgment practice under Rule 56. Indeed, the discovery stay provision provides courts with some discretion to permit necessary discovery in advance of a ruling on dismissal. See 15 U.S.C. § 78u-4(b) (3) (B) (granting courts authority to permit discovery if necessary "to preserve evidence or to prevent undue prejudice to" a party). In enacting the discovery stay, Congress intended to limit abusive discovery, or "fishing expeditions," which can impose such high costs on defendants that it is often more economical to settle a defensible case than to litigate it. See Conf.Rep. at 37. It cannot have intended to insulate plaintiffs from non-frivolous motions for summary judgment.
The Supreme Court has held that Rule 56(f) adequately protects plaintiffs from being "railroaded" by premature motions for summary judgment. See Celotex Corp., 477 U.S. at 326, 106 S. Ct. at 2554. Indeed, courts have approved resort to Rule 56(f) in cases in which discovery has been stayed by court order. See. e.g., Greensboro Lumber Co. v. Georgia Power Co., 844 F.2d 1538, 1545-46 (11th Cir.1988). The Court does not find the circumstances of this case to be so different as to require a departure from the established law of Rule 56, and plaintiffs have not made that argument.
Plaintiffs did not file a Rule 56(f) affidavit before the hearing on these motions as required by Ninth Circuit law. See Ashton-Tate Corp. v. Ross, 916 F.2d 516, 520 (9th Cir.1990). Nor did plaintiffs raise any excuse for that omission during oral argument. The Court concludes that plaintiffs are unable to make the requisite showing of (1) facts establishing a likelihood that controverting evidence may exist as to a material fact; (2) specific reasons why such evidence cannot be presented at this time; and (3) steps or procedures to be used to obtain such evidence. See Fed.R.Civ.P. 56(f); VISA Int'l Serv. Ass'n v. Bankcard Holders of Am., 784 F.2d 1472, 1475-76 (9th Cir.1986). For this reason, the individual defendants' motion for summary judgment is granted.
b. Insider Trading
Plaintiffs also allege that, as insiders, defendants had a duty to disclose material negative information prior to selling their stock. In failing to do so, plaintiffs allege that defendants violated federal securities law. The *761 Supreme Court acknowledged this type of claim in Chiarella v. United States, 445 U.S. 222, 227-30, 100 S. Ct. 1108, 1114-13, 63 L. Ed. 2d 348 (1980). Such claims are brought under section 20A of the Securities Exchange Act of 1934, 15 U.S.C. § 78t-1, which expressly provides for private suits against insiders who trade contemporaneously with plaintiffs, and under section 10(b) and Rule 10b-5, which create implied private causes of action for insider trading. See Neubronner v. Milken, 6 F.3d 666, 669 & n. 5 (9th Cir. 1993).
In its earlier ruling, the Court noted that plaintiffs cannot state a claim against defendants for insider trading unless they can allege that plaintiffs traded contemporaneously with defendants. This rule assures that only parties who have traded with someone who had an unfair advantage will be able to maintain insider trading claims; those who did not trade contemporaneously could not have suffered a disadvantage from the insider's failure to disclose. Courts agree that a plaintiff's trade must have occurred after the wrongful insider transaction. See Alfus v. Pyramid Tech. Corp., 745 F. Supp. 1511, 1522 (N.D.Cal.1990).
The exact contours of contemporaneous trading have not been defined. See Neubronner, 6 F.3d at 670. In establishing the contemporaneousness requirement, however, the Ninth Circuit adopted the Second Circuit's reasoning in a case holding that trades occurring approximately a month apart were not contemporaneous. See id. at 669-70. Since Neubronner, at least one court in this District has held that plaintiffs must show trades within fourteen days of each other to plead contemporaneousness. See In re Veri-Fone Secs. Litig., 784 F. Supp. 1471, 1489 (N.D.Cal.1992), aff'd, 11 F.3d 865 (9th Cir. 1993).
In its earlier ruling, the Court interpreted the requirement even more strictly. Given that stock trades settle within three days, and allowing for the possibility of an intervening three-day weekend, only purchases within six days of insider sales are truly contemporaneous. Once an insider's sale settles, other traders are no longer in the market with that insider and risk no relative disadvantage from that insider's failure to disclose.
In response to the Court's order, plaintiffs have amended their complaint to assert that defendants Burgess and Kelly sold stock contemporaneously with plaintiffs Buck, Donald, and Beke's purchases on November 6, 7, 8, 9, and 10, 1995. Plaintiffs do not allege that defendants Baskett, McCracken, Ramsay, and Sekimoto traded contemporaneously with them. For this reason, plaintiffs' claims of insider trading by Baskett, McCracken, Ramsay, and Sekimoto are dismissed with prejudice.
c. Fraudulent Scheme
Plaintiffs argue that all defendants can be held liable under section 10(b) for their "scheme to defraud." The text of section 10(b) prohibits the use of "any manipulative or deceptive device or contrivance in contravention of such rules and regulations as the [Securities and Exchange Commission] may prescribe." 15 U.S.C. § 78j. Rule 10b-5 uses similar terms, prohibiting the employment of "any device, scheme, or artifice to defraud." 17 C.F.R. § 240.10b-5. This prohibition goes beyond the liability for isolated misrepresentations or omissions discussed above. See Blackie v. Barrack, 524 F.2d 891, 903 n. 19 (9th Cir.1975) ("Rule 10b-5 liability is not restricted solely to isolated misrepresentations or omissions; it may also be predicated on a `practice or course of business which operates ... as a fraud.'"). Participants may, for example, be liable for their involvement in a pyramid scheme. See Webster v. Omnitrition Int'l Inc., 79 F.3d 776, 785 & n. 6 (9th Cir.), cert. denied, ___ U.S. ___, 117 S. Ct. 174, 136 L. Ed. 2d 115 (1996).
The word "manipulative" in section 10(b) has a very narrow meaning. It is a "term of art" that refers to practices intended to mislead investors by artificially inflating market activity, such as wash sales, matched orders, or rigged prices. See Santa Fe Indus., Inc. v. Green, 430 U.S. 462, 473, 97 S. Ct. 1292, 1300, 51 L. Ed. 2d 480 (1977) (quoting Ernst & Ernst v. Hochfelder, 425 U.S. 185, 199, 96 S. Ct. 1375, 1383-84, 47 *762 L.Ed.2d 668 (1976)). Plaintiffs do not allege manipulation in the FAC.
Plaintiffs allege that when SGI executives recognized the problems the company was encountering in the fall of 1995, defendants pursued a "conspiracy of silence" to prevent any negative information from reaching the marketplace. Plaintiffs contend that, through this conspiracy, defendants propped up SGI stock prices long enough to enable defendants to sell off their shares at high prices. Plaintiffs accuse defendants of affirmatively misleading the public by false and misleading statements and of violating the abstain or disclose doctrine prohibiting insider trading.
Although plaintiffs need not allege that every defendant participated in every aspect of a fraudulent scheme to state a claim, section 10 liability requires a finding that each individual took some action in furtherance of the scheme. See Azrielli v. Cohen Law Offices, 21 F.3d 512, 517 (2d Cir. 1994) (holding that primary liability may be imposed only on those committing a fraud or assisting in its perpetration). The cases cited by plaintiffs support this proposition. In Securities & Exchange Comm'n v. First Jersey Secs., Inc., for example, the Second Circuit found the president of the company primarily liable under a fraudulent scheme theory because he coordinated the market deception. See First Jersey, 101 F.3d 1450, 1471-72 (2d Cir.1996) (finding sole ownership of company and participation in underwriting, pricing, and policy sufficient to create primary liability).
Plaintiffs describe three aspects of the fraudulent scheme allegedly devised by defendants. Two of these making false statements and insider trades are discussed above. Aside from the group pleading theory also discussed above, plaintiffs do not allege any other facts that form a basis for holding non-speakers and non-traders primarily liable.
The third aspect of the scheme alleged by plaintiffs is the "conspiracy of silence" among the defendants. (¶¶ 6, 37-38, 49.) Plaintiffs, however, are unable to cite any post-Central Bank cases in which courts have imposed liability for mere silence without trading, participation in making false or misleading statements, or other participation in the scheme.[9] Plaintiffs' effort to describe various schemes are unavailing because plaintiffs fail to explain each individual defendant's participation in them. Plaintiffs' scheme allegations appear to be "no more than a thinly disguised attempt to avoid the impact of the Central Bank decision." Stack v. Lobo, 903 F. Supp. 1361, 1374 (N.D.Cal. 1995). In accordance with Central Bank, the Court finds that each defendant is liable for perpetrating a fraudulent scheme only to the extent that he is also found liable for insider trading or making false or misleading statements or as a control person.
d. Control Person Liability
Section 20A of the 1934 Act imposes joint and several liability on any "person who, *763 directly or indirectly, controls any person liable" for securities fraud under the Act, "unless the controlling person acted in good faith and did not directly or indirectly induce" the violations. The SEC defines "control" as "the possession, direct or indirect, of the power to direct or cause the direction of the management and policies of a person, whether through ownership of voting securities, by contract, or otherwise." 17 C.F.R. § 230.405 (1995).
Plaintiffs need not show day-to-day control of the defendant company in order to establish control person liability. See O'Sullivan v. Trident Microsystems, Inc., [1994-1995 Transfer Binder] Fed.Sec.L.Rep. (CCH) ¶ 98,116, 98,917 (N.D.Cal.1994); In re XOMA Corp. Sec. Litig., [1991-1992 Transfer Binder] Fed.Sec.L.Rep. (CCH) ¶ 96,491, 92,163 (N.D.Cal.1991). Plaintiffs must, however, demonstrate "actual power or influence over" the company. See Gray v. First Winthrop Corp., 776 F. Supp. 504, 510 (N.D.Cal.1991). Following these principles, plaintiffs must assert that the individual defendants had the power to control or influence SGI in order to state a cognizable claim under Section 20(a).
Plaintiffs allege control person liability against defendants McCracken and SGI. Defendants do not dispute this allegation. Plaintiffs therefore may state a claim against defendants McCracken and SGI for control persons' liability to the extent that they state a claim for securities law violations by any other defendant.
2. Analysis of Remaining Claims
Prior to enactment of the SRA, the Ninth Circuit required plaintiffs pleading on information and belief to include in the complaint a statement of the facts on which the belief is founded. See Wool, 818 F.2d at 1439. In an effort to minimize discovery abuse, see Conf. Rep. at 31, and unwarranted fraud claims, see Conf.Rep. at 41, Congress strengthened this requirement in the SRA. Under the SRA, if a plaintiff's complaint is based on "information and belief," the plaintiff must "state with particularity all facts on which that belief is formed." 15 U.S.C. § 78u-4(b) (1) (B). Defendants contend that plaintiffs have failed to meet this standard.
Plaintiffs assert that their complaint is not pled on information and belief; however, the language of plaintiffs' complaint belies this assertion. Paragraph 96 of plaintiffs' complaint reads,
[p]laintiffs have alleged the foregoing based upon the investigation of their counsel, which included a review of SGI's SEC filings, securities analysts reports and advisories about the Company, press releases issued by the Company, media reports about the Company and discussions with consultants, and believe that substantial evidentiary support will exist for the allegations set forth in ¶¶ 1, 4-15, 19, 27-43, 46, 49-50, 53, 56, 58-70, 72-82, 84, and 87 after a reasonable opportunity for discovery.
Because the sources set forth in paragraph 96 do not provide plaintiffs with personal knowledge, the complaint must be based on information and belief that is the only alternative. See Wool, 818 F.2d at 1439 (holding that plaintiffs may plead on information and belief if matters are not within their personal knowledge).
The degree of specificity required by the SRA in cases pled on information of belief was the subject of some debate in Congress. Arguing against requirement that plaintiffs state with particularity all facts on which their beliefs are formed, Representative Bryant expressed concern that
at the beginning of the case plaintiff would have to set forth "with specificity all information," they have to give all the information in advance that forms the basis for the allegations of the plaintiff, meaning any whistle-blower within a securities firm involved would have to be uncovered in the pleadings in the very, very beginning.
141 Cong.Rec. H2848 (Mar. 8, 1995). Representative Dingell agreed, noting that "you must literally, in your pleadings, include the names of confidential informants, employees, competitors, Government employees, members of the media, and others who have provided information leading to the filing of the case." 141 Cong.Rec. H2849 (Mar. 8, 1995). Despite these concerns, Congress rejected Rep. Bryant's proposed amendment, *764 which would have permitted plaintiffs to plead simply facts that support their beliefs. See 141 Cong.Rec. H2848 (Mar. 8, 1995).
Because "Congress does not intend sub silentio to enact statutory language that it has earlier discarded in favor of other language," Immigration & Naturalization Serv. v. Cardoza-Fonseca, 480 U.S. 421, 442-43, 107 S. Ct. 1207, 1219, 94 L. Ed. 2d 434 (1987) (internal quotation marks and citation omitted), the Court concludes that plaintiffs must plead the sort of information described by Reps. Bryant and Dingell to meet the requirements of the SRA as enacted.
a. False and Misleading Statements
The Court first evaluates whether plaintiffs' complaint meets the lower threshold of Federal Rule of Civil Procedure 9(b) and the SRA's mandate to specify each statement alleged to have been misleading and the reason or reasons why the statement is misleading. Plaintiffs allege eleven false or misleading statements by defendants between September 13, 1995 and December 19, 1995. (FAC ¶¶ 50-60.) The content of these statements included (1) projections of SGI's growth rates, (FAC ¶¶ 51, 54, 55, 57); (2) optimism and assurances about demand for, and supply of, the Indigo2 IMPACT workstation, (FAC ¶¶ 50, 52, 53, 54, 57, 58); and (3) explanations and assurances about SGI's performance, (FAC ¶¶ 54, 57, 59, 60).
To meet the requirements of Rule 9(b) and the SRA, the FAC must "state precisely the time, place, and nature of the misleading statements, misrepresentation, and specific acts of fraud." Kaplan, 49 F.3d at 1370. The FAC meets this burden with regard to McCracken's statements of September 13, 1995, September 21, 1995, September 22, 1995, October 19, 1995, and November 2, 1995, because it identifies the speaker, the content, the audience, and the dates of the misleading statements. The FAC also meets this burden with respect to statements by SGI in its October 19, 1995 press release, with respect to statements by SGI "executives" in the October 19, 1995 conference call and the November 2, 1995 analyst conference, and with respect to statements in the November 1995 Report to Shareholders, because the complaint gives the defendants sufficient notice. Based on the information pled regarding the time, location, and content of these statements, SGI and its executives can identify who is being charged, and with what. For example, plaintiffs' allegations regarding statements by SGI executives at the analyst conference arise out of presentations given by "a dozen officers, including McCracken, Baskett, Burgess, Stephen Goggiano (Director of Marketing), Ramsey [sic], Oswald, and Sekimoto." (FAC ¶ 57.) Defendants can identify which executives participated in the conference, gave presentations, and what those presentations covered.
In its earlier ruling, the Court held that plaintiffs' claims with respect to statements by SGI executives to Dean Witter on December 15, 1995, (Complaint ¶ 50, FAC ¶ 59), and Smith Barney "in the few days prior to December 19, 1995," (Complaint ¶ 51, FAC ¶ 60), did not meet this burden, because plaintiffs had not alleged with sufficient particularity the speaker, time, or place of these conversations. Because, as described in the original complaint, these statements were not given in an official capacity or in a formal context, they were not as identifiable as other unattributed statements alleged by plaintiffs. In the FAC, plaintiffs clarify that these statements were given by defendant McCracken and company treasurer Thomas J. Oswald. (FAC ¶¶ 59, 60.) The Court finds that this clarification sufficiently particularizes plaintiffs allegations for purposes of Rule 9(b) and the SRA.
In addition to alleging the time, place, and nature of the allegedly false and misleading statements, plaintiffs must explain why the statements were false or misleading when made. GlenFed, 42 F.3d at 1549. Plaintiffs allege eight reasons why defendants' statements were false and misleading:
SGI's North American sales reorganization had been unsuccessful, resulting in diminished sales, below SGI's targets;
SGI was unable to produce sufficient Indigo2 IMPACT workstations to meet consumer demand or internal growth targets because it was not receiving sufficient components from Toshiba;
*765 SGI used an "end of component `acceptance test,'" resulting in a low yield of usable parts;[10]
SGI failed to qualify Toshiba to provide a sufficient quantity of component parts, resulting in low volume production;[11]
SGI was having problems ramping up the manufacturing of the R10000 chip for use in the upgraded Indigo2 IMPACT workstations;
SGI sales in Germany and the United Kingdom were materially below expectations;
SGI sales in France were much worse than expected; and
SGI's OEM sales were trending downward.
(¶ 60.) Plaintiffs' belief that defendants' statements were false is based on defendants' announcements in 1996 that the company's poor showing resulted from the combined negative effects of these factors. (¶¶ 63-64.) Plaintiffs allege that these conditions existed during the class period when defendants were making their optimistic statements. (¶¶ 36-40.) Plaintiffs thus meet their burden of demonstrating why the statements were allegedly false and misleading. See GlenFed, 42 F.3d at 1548-49 (holding that contemporary condition contrary to defendant's optimistic statements adequately pleads falsity); Fecht v. Price Co., 70 F.3d 1078, 1083 (9th Cir.1995), cert. denied, ___ U.S. ___, 116 S. Ct. 1422, 134 L. Ed. 2d 547 (1996) (finding that allegations of specific problems undermining defendant's claims suffice to explain how they are false).[12]
Defendants argue that plaintiffs have failed to establish that all of the alleged omissions are material. The materiality of an omission is a fact-specific determination that should ordinarily be assessed by a jury. See Fecht, 70 F.3d at 1080-81. Only if the immateriality of the statement is so obvious that reasonable minds could not differ should the Court resolve this question as a matter of law. Id. at 1081.
As the Court held in it's earlier order, defendants' statements, as pled in the original complaint, suggest that the omissions were material. For example, in its July 1995 conference call with analysts, SGI stated that the Indigo2 IMPACT would play a major part in meeting the forty percent growth target. (FAC ¶ 47.) In its October 1995 conference call, SGI assured analysts that it would achieve forty percent growth because, among other things, its European business was strong, its sales force reorganization was successful, and the Indigo2 IMPACT was selling well. (¶ 54.) The Court found that such allegations of internal, production, or market conditions resulting in diminished sales or sales under target are not immaterial as a matter of law; those claims, therefore, cannot be dismissed. Plaintiffs' new claims relating to Toshiba's manufacturing difficulties and problems with the R10000 chip fall within this category.
Plaintiffs also present a new claim about SGI's first quarter shortfall. Plaintiffs have pushed the start of the class period back from October 19, 1995, to September 13, 1995, and now contend that defendants knew of the problems described above early enough that they should have disclosed them prior to announcing the first quarter shortfall in October. Plaintiffs concede, however, that SGI's first quarter results were "at the low end of expectations." (FAC ¶ 8.) The company's *766 first quarter revenues of $595 million were only five percent below market expectations of forty to forty-five percent growth (revenues in the range of $628-650 million). This shortfall is immaterial as a matter of law. See In re Convergent Techs. Secs. Litig., 948 F.2d 507, 514 (9th Cir.1991) (holding that revenues ten percent below target are not actionable). For this reason, plaintiffs claims regarding the first quarter are dismissed with prejudice.
Having concluded that plaintiffs' claims generally meet the preliminary standard set by Federal Rule of Civil Procedure 9(b) and the SRA, the Court must determine whether plaintiffs have pled with particularity all facts on which their beliefs about the falsity of defendants statements are formed. At this point in the analysis, the line between pleading falsity and pleading fraud becomes blurred. As defendants note, in the Second Circuit, the information and belief pleading requirement appears to be an integral part of the strong inference standard for pleading scienter. See Philip Morris, 75 F.3d at 812-813 (finding that plaintiffs' allegations of negative internal reports failed to support claims of falsity and scienter); Wexner v. First Manhattan Co., 902 F.2d 169, 172-73 (2d Cir.1990) (holding that conclusory allegation of leak of confidential information without more failed to create inference of fraudulent intent); Crystal v. Foy, 562 F. Supp. 422, 424-25 (S.D.N.Y.1983) (rejecting general allegations of fraud). Because plaintiffs' claims regarding the negative internal reports are also central to their allegations of scienter, the Court further analyzes this issue below.
b. Scienter
To adequately plead scienter under SRA, plaintiffs must establish a strong inference of knowing or intentional misconduct. In doing so, plaintiffs must do more than speculate as to defendants' motives or make conclusory allegations of scienter; plaintiffs must allege specific facts. See Wexner, 902 F.2d at 172-73; Denny v. Barber, 576 F.2d 465, 470 (2d Cir.1978). In this case, plaintiffs seek to couple allegations of defendants' awareness of negative internal reports with their false and misleading statements and stock sales to create a strong inference of fraud.
In dismissing plaintiffs' original complaint, the Court found that plaintiffs' general allegations of "negative internal reports" were too vague to raise a strong inference of fraud. Because every sophisticated corporation uses some kind of internal reporting system reflecting earlier forecasts, allowing plaintiffs to go forward with a case based on general allegations of "negative internal reports" would expose all those companies to securities litigation whenever their stock prices dropped.
The Second Circuit has recognized this problem, holding that unsupported general claims of the existence of internal reports are insufficient to survive a motion to dismiss. The Second Circuit requires plaintiffs to identify alleged internal reports specifically, providing names and dates. See Philip Morris, 75 F.3d at 812-13. The Court adopted this rule, believing that because the pleading standard under the SRA is at least as strict as the Second Circuit's, the Court could not require anything less of plaintiffs. The Court's finding is further supported by Congress's adoption of the strict information and belief standard described above.
In the FAC, plaintiffs have attempted to bolster their internal reports allegations. Plaintiffs describe a series of reports, including a "Fiscal Year 1996 Plan/Budget," (FAC ¶¶ 32-33), and monthly financial reports such as "Flash" reports, (FAC 35), "Stop Ship" reports, (FAC ¶ 37), and follow-up reports. (FAC ¶ 37).
According to plaintiffs, the Fiscal Year 1996 Plan/Budget was completed in the spring of 1995, and detailed the corporation's projected operations and financials by product line and geographical area. (FAC ¶ 32-35.) The plan allegedly discussed all of the areas that plaintiffs claim eventually became problems for SGI. Id. Plaintiffs contend that all defendants received regular daily and monthly reports about the company's performance, covering finances, orders, shipments, and inventories. (FAC ¶ 34.) In addition to these reports, plaintiffs allege that defendants received flash reports regarding SGI's sales and Indigo2 IMPACT problems in early *767 October, November, and December 1995, (FAC ¶ 36, 39-40), and a stop ship report further explaining the Indigo2 IMPACT problem in late September. (FAC ¶¶ 37-38.) Subsequently, SGI employees allegedly advised defendants of the steps they were taking to remedy the Indigo2 IMPACT problem via another report. (FAC ¶ 37.)
Although these allegations are more elaborate than the ones dismissed in September 1996, they remain too generic to create a strong inference of fraud under the SRA. As defendants point out, any well-managed, billion dollar company with international operations and multiple products will generate a variety of reports at regular time intervals. Consequently, any company that has announced low earnings would be vulnerable to allegations that such reports exist and that they show "very poor" results "well below forecasted and budgeted levels." See FAC ¶¶ 39-40. Indeed, the Second Circuit rejected more specific allegations that confidential company sales reports showed that retail sales were declining at a rate of 8.3 percent finding them insufficient to create a strong inference of fraud because they appeared to have been cobbled together in hindsight. See Philip Morris, 75 F.3d at 813.
To establish a strong inference of fraud, plaintiffs must provide more details about the alleged negative internal reports. The allegations should include the titles of the reports, when they were prepared, who prepared them, to whom they were directed, their content, and the sources from which plaintiffs obtained this information. See Id.; Moll v. U.S. Life Title Ins., Co. of N.Y., 654 F. Supp. 1012, 1034-35 (S.D.N.Y.1987); Morgan v. Prudential Group, Inc., 81 F.R.D. 418, 423-24 (S.D.N.Y.1979); Decker v. Massey-Ferguson, Ltd., 534 F. Supp. 873, 878 (S.D.N.Y.1981), aff'd in part, rev'd on other grounds, 681 F.2d 111 (2d Cir.1982). This requirement is consistent with the SRA's information and belief standard, which requires plaintiffs to plead all facts on which their allegations are based.
Although plaintiffs have complied with the letter of the standard alleging, for example, that all defendants received a "flash" report generated by the finance department on October 3-4, 1996, showing that sales were below forecasted levels their allegations fail to conform to the spirit of the standard. If the Court allowed plaintiffs to go forward with such general allegations, the strengthened standard of the SRA would lose its meaning. Plaintiffs' in camera submission to the Court, which the Court has declined to review, suggests that plaintiffs may possess sources or specific facts that would improve their allegations about the negative internal reports. In the interest of justice, the Court will allow plaintiffs to supplement these allegations one time further. Plaintiffs are cautioned, however, that the Court expects any supplement to include all facts that form the basis of plaintiffs' allegations, as required by the SRA information and belief standard.
Plaintiffs also rely on defendants' stock sales in attempting to create a strong inference of fraud. All six defendants sold stock during the class period. (FAC ¶ 68.) Defendant Burgess sold 250,588 shares for a total of $8,781,294; defendant Ramsay sold 20,000 shares for a total of $746,071; defendant McCracken sold 60,000 shares for a total of $2,186,000; defendant Sekimoto sold 7,600 shares for a total of $266,988; defendant Baskett sold 30,000 shares for a total of $1,097,500; and defendant Kelly sold 20,000 shares for a total of $743,200. (FAC ¶ 68.) Defendants made their sales in the twenty-three trading days between October 30, 1995 and November 30, 1995. (FAC ¶ 13.)
In evaluating defendants' scienter, the SRA requires the Court to consider each defendant's sales separately. See 15 U.S.C. § 78u-4(b) (2). Defendants' stock trading will not support a strong inference of fraud unless the sales are unusual or suspicious. See Acito, 47 F.3d at 54. In the Ninth Circuit, courts typically have not considered the amount and timing of stock sales on a motion to dismiss, see, e.g., In re Worlds of Wonder Secs. Litig., 35 F.3d 1407, 1427 (9th Cir.1994); In re Apple Computer Secs. Litig., 886 F.2d 1109, 1117 (9th Cir.1989); however, under the strong inference standard, courts in the Second Circuit do consider this information. See, e.g., Acito, 47 F.3d at 54.
*768 In dismissing the original complaint, the Court noted that defendants' SEC Forms 3 and 4, and SGI's 1995 proxy statement, show that defendants sold only a fraction of their total SGI holdings. Defendants collectively had available millions of options that could have been exercised and sold during the class period.[13] Considered in that context, defendants' actual sales were relatively small. The sales at issue also appeared generally consistent in amount with sales made in previous quarters. In its earlier ruling, however, the Court declined to examine each individual defendant's trading because it had already found that plaintiffs' allegations of negative internal reports were insufficient. The Court now conducts the required individual analyses.
Defendant McCracken, who sold 60,000 shares, had 2,305,382 shares and options available during the class period. His sales constituted sixteen percent of his stock holdings, and 2.6% of his available stock and options. Since 1994, defendant McCracken has frequently sold 30-50,000 shares of stock at a time. For these reasons, defendant McCracken's sales do not raise a strong inference of fraudulent intent, as a matter of law. See Acito, 47 F.3d at 54 (finding sales representing less than eleven percent of holdings unsuspicious).
Defendants Baskett's, Ramsay's, and Sekimoto's sales are similarly unsuspicious. Defendant Baskett, who sold 30,000 shares, had 390,577 shares and options available during the class period. His sales constituted 7.7% of his available stocks and options. Since 1994, he has frequently sold 25-60,000 shares of stock at a time. Defendant Ramsay, who sold 20,000 shares, had 489,978 shares and options available during the class period. His sales constituted 4.1% of his available stocks and options. Since 1994, he has frequently sold 10-40,000 shares of stock at a time. Defendant Sekimoto, who sold 7,600 shares, had 110,811 shares and options available during the class period. His sales constituted 6.9% of his available stocks and options. During the previous two quarters, which represent the extent of his trading history, defendant Sekimoto sold 4,800 shares and no shares respectively.
Defendants Kelly's and Burgess's sales are less easily explained. Defendant Kelly, who sold 20,000 shares, had 45,790 shares and options available during the class period. His sales constituted 43.6% of his available stocks and options. Defendant Burgess, who sold 250,588 shares, had 332,746 shares and options available during the class period. His sales constituted 75.3% of his available stocks and options.
Because these sales represent such a high percentage of each defendant's holdings, the Court cannot say that they are unactionable as a matter of law. Moreover, neither defendant has a significant trading history to which the Court can compare his class period sales. Defendants Kelly and Burgess raise a number of plausible explanations for the apparent unusual and suspicious nature of their trading; however, these explanations are not properly before the Court on a motion to dismiss. For these reasons, the Court finds that defendants Burgess's and Kelly's stock sales, while not alone sufficient to raise a strong inference of fraud, may be considered as evidence of fraud if plaintiffs are able to buttress their claims regarding negative internal reports.
CONCLUSION
For the foregoing reasons, the following claims are DISMISSED WITH PREJUDICE: (1) plaintiffs' claims of false and misleading statements relating to the first quarter; (2) plaintiffs' claims of insider trading against defendants McCracken, Baskett, Ramsay, and Sekimoto; and (3) plaintiffs' claims relating to the alleged fraudulent scheme against those defendants not also directly liable for making false or misleading statements or for insider trading.
*769 The individual defendants' (Baskett, Burgess, Ramsay, and Sekimoto) motion for partial summary judgment on plaintiffs' false and misleading statement claims is GRANTED.
Plaintiffs' remaining claims against defendants shall remain under submission. Plaintiffs may file a supplement to strengthen the allegations of negative internal reports not to exceed five (5) pages within ten (10) days of this order. Defendants may file a supplemental brief of five (5) pages within ten (10) days of plaintiffs' submission. Plaintiffs are ORDERED to refrain from making additional legal argument in their submission.
The Court will issue a ruling on plaintiffs' motion for certification of its decision for interlocutory appeal at the same time that it issues an order regarding the claims that it has given plaintiffs leave to supplement.
SO ORDERED.
NOTES
[1] In addition to SGI, plaintiffs name six SGI officers and directors as defendants: Edward R. McCracken, Chairman of the Board and Chief Executive Officer; Forest Baskett, Senior Vice President; Robert K. Burgess, Senior Vice President; Michael Ramsay, Senior Vice President; Teruyasu Sekimoto, Senior Vice President; and William M. Kelly, Senior Vice President, General Counsel, and Secretary.
[2] See, e.g., 141 Cong.Rec. H14,040 (Dec. 20, 1995) (Rep. Bliley); 141 Cong.Rec. S17,983 (Dec. 20, 1995) (Sen. Mosely-Braun).
[3] Indeed, some of the legislators quoted by plaintiffs also made statements that contradict plaintiffs' position. See, e.g., 141 Cong.Rec. § 19,071 (Dec. 21, 1995) (Sen. Dodd) (The Specter Amendment was rejected because "it was an effort to get recklessness in, which would have changed the standard from the second circuit.").
[4] As discussed in the Court's ruling on the earlier motion to dismiss, the Court does not find the text and structure of the SRA inconsistent with the Court's interpretation of the pleading standard. For example, plaintiffs refer to the proportionate liability provisions of the SRA, 15 U.S.C. § 78u-4(g), to support their position that liability for non-knowing behavior still exists under the new law. Section 78u-4(g) (2) (A) states, "[a]ny covered person against whom a final judgment is entered in a private action shall be liable for damages jointly and severally only if the trier of fact specifically determines that such covered person knowingly committed a violation of the securities laws." This provision, however, applies generally to the Securities Exchange Act of 1934, and not just the SRA amendments. See § 201(a) (section 201 amends 21D); § 27(b) (section 21D amends "Title I of the Securities Exchange Act of 1934 (78a et seq.)"). Thus, Congress was making the distinction between knowing violators under section 21D of the SRA, and, for example, non-knowing control persons under section 78t of the original Act.
[5] Although the Court initially accepted plaintiffs' submission and authorized the Clerk to file it under seal, the Court has not reviewed its contents. At plaintiffs' discretion, the submission shall be returned to them or kept under seal for appellate purposes.
[6] The forms also may be admissible under the business and/or government records exceptions to the hearsay rule. See United States v. Bland, 961 F.2d 123, 127 (9th Cir.1992) (holding that gun shop records kept pursuant to government requirements are admissible business records); United States v. Central Gulf Lines, Inc., 747 F.2d 315, 319 (5th Cir.1984) (holding that shipping reports prepared by private citizen and submitted to the government pursuant to law fell within government records exception to hearsay rule). Alternatively, they may be admissible not to prove the truth of the information contained in them, but to show the lack of scienter on the part of the defendants. See Gray v. First Winthrop Corp., 82 F.3d 877, 885 n. 10 (9th Cir.1996).
[7] The argument over the stop ship reports exemplifies the problem with the generalized allegations in plaintiffs' complaint. If plaintiffs had fully described the stop ship report in question, and had indicated the source of their information about it, there would be no need for defendants to attempt to file extraneous documents in an effort to defend themselves. As discussed infra Part C.2.b., the SRA requires more complete disclosures than plaintiffs have made in the FAC.
[8] Defendants McCracken and Kelly do not contest that plaintiffs would state a claim against them for making false and misleading statements if the Court finds that plaintiffs have pled their allegations with sufficient particularity, and have adequately pled scienter.
[9] The cases cited by plaintiffs hold liable only those defendants who directly participated in the scheme. See Securities & Exchange Comm'n v. First Jersey Secs., Inc., 101 F.3d 1450, 1458-60 (2d Cir.1996) (finding sole ownership of company and participation in underwriting, pricing, and policy sufficient to create primary liability); Webster v. Omnitrition Int'l, Inc., 79 F.3d 776, 784, 785 n. 6 (finding primary liability based on participation in pyramid scheme which was fraudulent as a matter of law), cert. denied, ___ U.S. ___, 117 S. Ct. 174, 136 L. Ed. 2d 115 (1996); In re Software Toolworks, Inc. Secs. Litig., 50 F.3d 615, 628 n. 3 (9th Cir.) (holding auditor primarily liable due to role in drafting and editing letters to SEC), cert. denied, Montgomery Secs. v. Dannenberg, ___ U.S. ___, 116 S. Ct. 274, 133 L. Ed. 2d 195 (1995); Adam v. Silicon Valley Bancshares, 884 F. Supp. 1398, 1401 (N.D.Cal. 1995) (finding auditor primarily liable for representing that proper accounting procedures had been followed in drafting financial statements); In re ZZZZ Best Secs. Litig., 864 F. Supp. 960, 968-72 (C.D.Cal.1994) (holding auditor liable for reviewing public statements). The pre-Central Bank cases cited by plaintiffs also require direct involvement. See Affiliated Ute Citizens of Utah v. United States, 406 U.S. 128, 152, 92 S. Ct. 1456, 1471, 31 L. Ed. 2d 741 (1972) (approving of primary liability of bank employees who made a market in securities despite bank representations that its duty was to individual clients); Shores v. Sklar, 647 F.2d 462, 464 n. 2 (5th Cir.1981) (holding defendants liable for their various roles in fraudulent marketing of bonds); Competitive Assoc., Inc. v. Laventhol, Krekstein, Horwath & Horwath, 516 F.2d 811, 814 (2d Cir.1975) (finding primary liability of auditor who certified false financial statements).
[10] These claims are distinguishable from the ones dismissed by the Ninth Circuit in In re Syntex Corp. Secs. Litig., 95 F.3d 922 (9th Cir. 1996). Syntex was merely making optimistic statements about the potential success of new products, Syntex, 95 F.3d at 932, whereas SGI is alleged to have withheld information about continuing operations in the United States and abroad.
[11] The Toshiba allegations are also distinguishable from the allegations dismissed by the Ninth Circuit in In re Syntex Corp. The inadequate testing claim in Syntex was dismissed because Syntex was making its prediction two years in advance, leaving ample time for the company to remedy any problems. Syntex, 95 F.3d at 930-31.
[12] This finding does not establish that defendants' conduct was fraudulent. See GlenFed, 42 F.3d at 1549. Plaintiffs must also plead sufficient facts to create a strong inference that defendants knew the falsity of their statements when they gave them. Plaintiffs' allegations of fraudulent intent are analyzed below.
[13] As the Court noted in its earlier order, it is important to consider available options in evaluating stock sales. Exercisable options, not actual stock holdings, represent the owner's trading potential; by limiting their allegations to stock shares, plaintiffs artificially inflate defendants' activities. The differences between vested options and stock shares noted by plaintiffs transfer and voting rights and dividends are irrelevant for purposes of this analysis.
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https://www.cnbc.com/2024/06/02/nvidia-dominates-the-ai-chip-market-but-theres-rising-competition-.html
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Nvidia dominates the AI chip market, but there's more competition than ever
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Companies are fighting for a piece of the AI chip market, which could reach $400 billion in annual revenue within five years.
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https://www.cnbc.com/2024/06/02/nvidia-dominates-the-ai-chip-market-but-theres-rising-competition-.html
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Nvidia's 27% rally in May pushed its market cap to $2.7 trillion, behind only Microsoft and Apple among the most-valuable public companies in the world. The chipmaker reported a tripling in year-over-year sales for the third straight quarter driven by soaring demand for its artificial intelligence processors.
Mizuho Securities estimates that Nvidia controls between 70% and 95% of the market for AI chips used for training and deploying models like OpenAI's GPT. Underscoring Nvidia's pricing power is a 78% gross margin, a stunningly high number for a hardware company that has to manufacture and ship physical products.
Rival chipmakers Intel and Advanced Micro Devices reported gross margins in the latest quarter of 41% and 47%, respectively.
Nvidia's position in the AI chip market has been described as a moat by some experts. Its flagship AI graphics processing units (GPUs), such as the H100, coupled with the company's CUDA software led to such a head start on the competition that switching to an alternative can seem almost unthinkable.
Still, Nvidia CEO Jensen Huang, whose net worth has swelled from $3 billion to about $90 billion in the past five years, has said he's "worried and concerned" about his 31-year-old company losing its edge. He acknowledged at a conference late last year that there are many powerful competitors on the rise.
"I don't think people are trying to put me out of business," Huang said in November. "I probably know they're trying to, so that's different."
Nvidia has committed to releasing a new AI chip architecture every year, rather than every other year as was the case historically, and to putting out new software that could more deeply entrench its chips in AI software.
But Nvidia's GPU isn't alone in being able to run the complex math that underpins generative AI. If less powerful chips can do the same work, Huang might be justifiably paranoid.
The transition from training AI models to what's called inference — or deploying the models — could also give companies an opportunity to replace Nvidia's GPUs, especially if they're less expensive to buy and run. Nvidia's flagship chip costs roughly $30,000 or more, giving customers plenty of incentive to seek alternatives.
"Nvidia would love to have 100% of it, but customers would not love for Nvidia to have 100% of it," said Sid Sheth, co-founder of aspiring rival D-Matrix. "It's just too big of an opportunity. It would be too unhealthy if any one company took all of it."
Founded in 2019, D-Matrix plans to release a semiconductor card for servers later this year that aims to reduce the cost and latency of running AI models. The company raised $110 million in September.
In addition to D-Matrix, companies ranging from multinational corporations to nascent startups are fighting for a slice of the AI chip market that could reach $400 billion in annual sales in the next five years, according to market analysts and AMD. Nvidia has generated about $80 billion in revenue over the past four quarters, and Bank of America estimates the company sold $34.5 billion in AI chips last year.
Many companies taking on Nvidia's GPUs are betting that a different architecture or certain trade-offs could produce a better chip for particular tasks. Device makers are also developing technology that could end up doing a lot of the computing for AI that's currently taking place in large GPU-based clusters in the cloud.
"Nobody can deny that today Nvidia is the hardware you want to train and run AI models," Fernando Vidal, co-founder of 3Fourteen Research, told CNBC. "But there's been incremental progress in leveling the playing field, from hyperscalers working on their own chips, to even little startups, designing their own silicon."
AMD CEO Lisa Su wants investors to believe there's plenty of room for many successful companies in the space.
"The key is that there are a lot of options there," Su told reporters in December, when her company launched its most recent AI chip. "I think we're going to see a situation where there's not only one solution, there will be multiple solutions."
One potential challenge for Nvidia is that it's competing against some of its biggest customers. Cloud providers including Google, Microsoft and Amazon are all building processors for internal use. The Big Tech three, plus Oracle , make up over 40% of Nvidia's revenue.
Amazon introduced its own AI-oriented chips in 2018, under the Inferentia brand name. Inferentia is now on its second version. In 2021, Amazon Web Services debuted Tranium targeted to training. Customers can't buy the chips but they can rent systems through AWS, which markets the chips as more cost efficient than Nvidia's.
Google is perhaps the cloud provider most committed to its own silicon. The company has been using what it calls Tensor Processing Units (TPUs) since 2015 to train and deploy AI models. In May, Google announced the sixth version of its chip, Trillium, which the company said was used to develop its models, including Gemini and Imagen.
Google also uses Nvidia chips and offers them through its cloud.
Microsoft isn't as far along. The company said last year that it was building its own AI accelerator and processor, called Maia and Cobalt.
Meta isn't a cloud provider, but the company needs massive amounts of computing power to run its software and website and to serve ads. While the Facebook parent company is buying billions of dollars worth of Nvidia processors, it said in April that some of its homegrown chips were already in data centers and enabled "greater efficiency" compared to GPUs.
JPMorgan analysts estimated in May that the market for building custom chips for big cloud providers could be worth as much as $30 billion, with potential growth of 20% per year.
Venture capitalists see opportunities for emerging companies to jump into the game. They invested $6 billion in AI semiconductor companies in 2023, up slightly from $5.7 billion a year earlier, according to data from PitchBook.
It's a tough area for startups as semiconductors are expensive to design, develop and manufacture. But there are opportunities for differentiation.
For Cerebras Systems, an AI chipmaker in Silicon Valley, the focus is on basic operations and bottlenecks for AI, versus the more general purpose nature of a GPU. The company was founded in 2015 and was valued at $4 billion during its most recent fundraising, according to Bloomberg.
The Cerebras chip, WSE-2, puts GPU capabilities as well as central processing and additional memory into a single device, which is better for training large models, said CEO Andrew Feldman.
"We use a giant chip, they use a lot of little chips," Feldman said. "They've got challenges of moving data around, we don't."
Feldman said his company, which counts Mayo Clinic, GlaxoSmithKline , and the U.S. Military as clients, is winning business for its supercomputing systems even going up against Nvidia.
"There's ample competition and I think that's healthy for the ecosystem," Feldman said.
Sheth from D-Matrix said his company plans to release a card with its chiplet later this year that will allow for more computation in memory, as opposed to on a chip like a GPU. D-Matrix's product can be slotted into an AI server along existing GPUs, but it takes work off of Nvidia chips, and helps to lower the cost of generative AI.
Customers "are very receptive and very incentivized to enable a new solution to come to market," Sheth said.
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Computer Graphics
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Ideas and People from America's Universities Fuel a Multi-Billion-Dollar Industry
Edward R. McCracken
Chairman and Chief Executive Officer
Silicon Graphics, Inc.
Overview
Advances in computer graphics have transformed how we use computers. Computer graphics has given us the "mouse" input device, "what-you-see-is-what-you-get" document preparation systems, the computer-aided design system used to create the Boeing 777, the ability to visualize molecular dynamics and other scientific phenomena, the animation used in educational software and the advertising and entertainment industries, and virtual reality systems whose applications range from architectural prototyping to surgical training to entertainment. Today, every user of a computer benefits from computer graphics, even in applications such as word processors, spreadsheets, databases, and project planners. Because of user-friendly graphical user interfaces, pre-schoolers now routinely use computers, a revolution undreamt of even a few years ago.
While everyone is familiar with the mouse, multiple "windows" on computer screens, and stunningly realistic images of everything from animated logos in television advertisements to NASA animations of spacecraft flying past Saturn, few people realize that these innovations were spawned by federally sponsored university research. Without far-sighted support from agencies such as the Department of Defense Advanced Research Projects Agency and the National Science Foundation, computer graphics and the multi-billion-dollar industry it makes possible would have developed much more slowly, and perhaps not predominantly in the U.S.
Historical Perspective
From its beginnings in the late 1960s, when a few DARPA- and NSF-sponsored research laboratories were working on relatively obscure graphics-related projects, the computer graphics community has grown to more than a hundred thousand software and hardware engineers and application developers. Early thrusts included graphics support software and rendering algorithms, graphics hardware architectures, graphical user interfaces, and hypermedia. The availability of graphical tools and systems has vastly influenced developments in computer-aided design and manufacturing, including the automotive and aerospace industries, molecular modeling and drug design, medical imaging, architectural design, and the entertainment industry. Today, many scientific and engineering disciplines that were once distinct from computer graphics are inextricably interwoven with it. In these disciplines, visualization is no longer an optional tool but a critical enabling technology.
By far the largest segments of today's computing industry are the personal computer and workstation markets. All major vendors (IBM, HP, Sun, DEC, SGI, Intel, Apple) participate in these segments, which total roughly $50 billion and $15 billion, respectively. And note that these dollar volumes only represent the hardware and system-software portions of these markets; system software is a small share of the total software market, which is dominated by applications, almost all of which make use of computer graphics.
Case Studies
The nation should look back with great pride on its research investments in all major areas of computer graphics. Six of the most significant of these areas are discussed below.
User Interfaces
The power of computers cannot be harnessed without a way to access and control that power; the interface between the user and the machine can determine the success or failure of both hardware and software. Apple's graphical desktop interface for the Macintosh computer (and the Microsoft Windows equivalent for PCs), and more recently the introduction of NCSA Mosaic, a graphical browser for the Internet (which was rapidly followed by Netscape Navigator, Microsoft Internet Explorer, etc.), are excellent examples of how applications of computer graphics research can create new markets and broaden old ones.
Both of these applications of graphics technology -- the desktop metaphor and the Mosaic browser -- had their origins in federally sponsored efforts. DARPA-sponsored research at the University of Utah was built on by Alan Kay in the 1970s at Xerox PARC to create the Smalltalk programming environment on the pioneering Alto bitmapped graphics workstation. This environment and PARC's Bravo document editor stimulated the development of the Apple Macintosh (1984) and bitmapped graphically based windowing systems and graphical user interfaces. NSF funding made possible the development of the Mosaic browser at the National Center for Supercomputing Applications. Now, K-12 students throughout America use computers as information access devices -- they treat the Internet as a digital library and truly have information "at their fingertips." Mosaic and its derivatives have not only exponentially increased the number of Internet users, but is also spawning many new companies and enterprises and arousing intense corporate interest.
Computer Graphics Hardware
The hardware used in interactive computer graphics has its genesis in federally sponsored university research. The industry leader in rendering hardware is Silicon Graphics, Inc., founded by Jim Clark. Clark received his Ph.D. from the University of Utah where he and his advisor, Ivan Sutherland, pursued a federally funded program of research in 3D graphics hardware. Joining the faculty at Stanford, Clark received support from the DARPA VLSI Program for his Geometry Engine project, whose goal was to harness modern custom integrated-circuit technology to create cost-effective high-performance graphics systems. It was this Geometry Engine that formed the basis of SGI.
In 1968, Douglas Engelbart of Stanford Research Institute demonstrated his hypertext system, NLS, which was funded by DARPA. Among other things, this system included the first mouse -- now a standard fixture of computer systems everywhere.
Hypertext/Hypermedia
Hypertext and hypermedia have their roots in Vannevar Bush's famous 1945 Atlantic Monthly article, "As We May Think." Bush described how documents might be interlinked in the fashion of human associative memory. These ideas inspired Doug Engelbart at SRI (funded by DARPA) and Andries van Dam of Brown University (funded by NSF) to develop the first hypertext systems in the 1960s. These systems were the forerunners of today's word-processing programs, including simple what-you-see-is-what-you-get capabilities that were further refined in the Xerox Bravo editor. The ideas and concepts were fundamental to such developments as Apple's popular Hypercard and NCSA Mosaic.
Rendering
High-quality rendering has caught the public's eye and is having a vast impact on the entertainment and advertising industries. From Jurassic Park to simulator rides at Disney World and dancing soda cans in TV commercials, the world has been seduced by computer animation, special effects, and photorealistic imagery of virtual environments. How are these pictures created and where did the techniques for creating them come from?
DARPA and NSF deserve the lion's share of the credit. Before there was a market and a demand, they supported research activities at the University of Utah, North Carolina State, Ohio State, Caltech, and Cornell. For example, Gouraud shading, which allowed substantially more realistic images than the previous wire-frame images, was developed in 1970 by Henri Gouraud, a graduate student at the University of Utah. Coupled with work at the New York Institute of Technology, these results provided the foundation for the sophisticated software commonly available today. The industry still uses the basic algorithms developed at Utah in the 1970s for simple lighting calculations, both in software and increasingly in commodity hardware. More sophisticated rendering packages exploiting university-developed algorithms, such as Pixar's Renderman, are used by the film and animation industries, as well as in flight simulators and automotive design.
Graphics Software Systems
The combination of the above advances led to many commercial graphics software systems. Rather than develop new systems for each application area -- be it advertising, animation, molecular modeling, or scientific visualization -- it began to make make sense to utilize general-purpose systems. Offerings from Wavefront, AVS, SGI (Iris Explorer), and IBM (Data Explorer) were developed with strong influence by former Cornell and Brown students, educated in NSF-sponsored graphics laboratories. PostScript, the de facto standard in page-description languages for laser printers, was developed by Adobe, founded by Utah Ph.D. John Warnock. That graduates of federally sponsored university graphics research laboratories move on to lead industrial projects demonstrates the most effective means of technology transfer between universities and industry.
Virtual Reality
The popular idea of virtual reality saw its first implementation in Ivan Sutherland's ground-breaking work at Harvard in 1968. With funding from both commercial and government sources, including ONR, Bell Laboratories, the US Air Force and the CIA, Sutherland's work included the first head-mounted display as well as stereo and see-through displays, head tracking, and a hand-held 3D cursor. Such devices have now become widespread and are used in areas as diverse as video game systems, rapid prototyping for industrial design and architecture, and scientific visualization. Boeing's new 777 airplane was designed electronically throughout, including CAD/CAM 3D models, windtunnel simulation, and virtual-reality-based accessibility studies. This digital design enabled Boeing to avoid $100 million mockups, and the plane came together with far fewer changes and far greater accuracy than any previous design, enabling Boeing to maintain its competitive edge. Sutherland's early VR work also had influence on flight simulators, and his company, Evans and Sutherland, Inc., pioneered the visual simulation market, now a major business for many companies.
The Future
One could continue with many more examples, but the message is clear: federal sponsorship of university research in computer graphics stimulated a major segment of the computing industry, allowing the United States to establish and maintain a competitive edge.
We now are facing the next hurdle. As we move into the next century with ubiquitous computing, parallel processing, almost infinite bandwidth, a vastly broader community of users, telepresence, and collaborative computing, things will change drastically. We need to investigate and develop new parallel architectures, new pixel-based display architectures, better and faster rendering algorithms, easier-to-use 3D user interfaces, and physically based models and simulations. This research depends not only on computer science issues but also on physics, optics, thermodynamics, digital sampling theory, perception, human factors, graphical design, and other areas too numerous to list. In addition, the results are intertwined with application needs in manufacturing, medical imaging, molecular modeling, scientific visualization, pilot training, aircraft and automotive design, and education.
America's leadership in computer graphics, and in information technology as a whole, is the result of a remarkable long-term partnership among government, industry, and academia, in which federally sponsored university research plays a critical role. Now, more than ever, we must invest to maintain this leadership.
The Author
Edward R. McCracken is Chairman and Chief Executive Officer of Silicon Graphics, Inc., the leading manufacturer of high-performance visual computing systems. The company delivers interactive three-dimensional graphics, digital media, and multiprocessing supercomputing technologies to technical, scientific, and creative professionals, and is actively involved in bringing these same technologies to the home market through its relationships with AT&T, Nintendo, NTT, and Time Warner. The company's products have been used to create special effects in a number of recent movies, including Jurassic Park and Forrest Gump. Its subsidiary MIPS Technologies, Inc., designs and licenses RISC processor technology for the computer systems and consumer electronics markets. Its subsidiary Cray Research is focused on supercomputing technologies.
SGI has offices worldwide and headquarters in Mountain View, California. In the fiscal year ending in June 1996, SGI reported net revenues of $2.9 billion. The 15-year-old company employs 7,800 people in the United States, 10,500 worldwide.
McCracken has an MBA from Stanford University and a BSEE from Iowa State University. He serves on the Board of Directors of Tularik, Inc., a privately held biotechnology company. He also serves as co-chairman of Joint Venture: Silicon Valley Network, Inc., and co-chairman of the United States Advisory Council on the National Information Infrastructure.
Back to Computing Research: Driving Information Technology and the Information Industry Forward (http://cra.org/research.impact) Copyright 1995, 1996, 1997 by Edward R. McCracken and the Computing Research Association. Contributions to this document by Forest Baskett, Henry Fuchs, Donald P. Greenberg, and Andries van Dam are appreciated.
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Silicon Graphics: Gone But Not Forgotten
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2022-11-10T09:19:00-05:00
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At its peak in the 1990s, Silicon Graphics had legendary status among 3D and graphic designers who leveraged the unique power of these workstations that were at...
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en
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https://www.techspot.com/images/favicon30.ico
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TechSpot
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https://www.techspot.com/article/2142-silicon-graphics/
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You may have heard of SiliconGraphics, later known as Silicon Graphics, Inc, and then simply SGI, but few home users outside of an enthusiastic hobbyist community ever used its computers. That's because SGI was dedicated to manufacturing high-performance workstations, software design, and supercomputers for professionals specializing in 3D graphics.
At its peak in the 1990s, Silicon Graphics had legendary status among 3D and graphic designers who leveraged the unique power of these workstations that were at cutting edge of visual computing.
The legacy of Silicon Graphics can still be seen in the Nintendo 64, which they helped develop, and several Hollywood movies, including Jurassic Park, Twister, Congo, Toy Story, and many others, but let's not get ahead of ourselves...
Early Days
Silicon Graphics got its start in a day when most people did not even have a home computer. The year was 1982. James Clark left his job at Stanford University, where he was an associate professor of electrical engineering with the vision of creating powerful computers that could perform the complex computations required in 3D animation.
On his departure from Stanford, Clark took seven talented graduate students with him. Among them was Kurt Akeley, who engineered the frame buffers and processor subsystems in the first SGI IRIS terminals and the CAD systems used to develop them.
He also created the RealityEngine for the Crimson and Onyx "visualization supercomputers" and was integral in the development of the OpenGL graphics specification.
David Brown, another Stanford alumnus and co-founder of SGI, had previously helped develop the SUN workstation over 10 years prior to the founding of Sun Microsystems. Brown created the "PM1" processor boards for the first SGI workstations. He later moved on to work for Digital Equipment (DEC) and then Sun Microsystems.
Another key player in the founding of Silicon Graphics was Charles Kuta. Having achieved his Masters in electronics and software engineering, Kuta joined Clark and helped design the Geometry Engine. The Geometry Engine managed 3D modeling primitives at the hardware level – the geometry pipelines that handled model space to screen space viewing transformations.
SGI released its first-generation IRIS systems (models 1000 and 1200) in 1984. These were not standalone workstations, but rather raster display units intended to be connected to more general-purpose machines like the DEC VAX. The early IRIS models used a PM1 CPU board, a variant of the one used by Stanford's SUN workstation that David Brown had helped develop. These systems came equipped with 8 MHz Motorola 68000 processors and 768kB of RAM but no disk drive.
Later that same year, SGI would launch the 1400 and 1500. Each machine got a bump up to 10 MHz and 1.5 MB RAM. They also each had disk drives. The 1400 had a 72MB ST-506, and the 1500 sported a gigantic 474 MB SMD-based drive with a Xylogics disk controller.
SGI's 2000 and 3000 series would emerge starting between 1985 and 1989. The various systems, including a "Turbo" line, were still using Motorola processors, albeit faster ones, and used the same graphics hardware. However, Brown had re-engineered the PM1 CPU module (now the PM2) to handle the higher frequency silicon. They had more RAM, and ST-506 and SMD disk drives became standard. They also sported Weitek Floating Point Accelerator boards.
By the time SGI discontinued the line in 1989, it had sold around 3,500 systems in total. Such a small number of units shipped may seem insignificant, but they were costly machines ranging from $45,000 to $100,000 each. By 1988, SGI's revenue had steadily climbed to $153 million.
SGI RISC Era
In the early 1990s, SGI introduced its first RISC systems. In 1991, the company produced its first 64-bit Crimson workstations powered by MIPS R4000 microprocessors. In a bid to secure a steady supply of MIPS processors, SGI bought the company, renaming it MIPS Technologies, Inc. in 1992.
The acquisition of MIPS opened the door to other business ventures outside of SGI's traditional wheelhouse.
In 1993, Nintendo approached SGI with the proposition of designing the company's next GPU. The two companies penned the deal that summer, and SGI went to work developing the "Reality Coprocessor" (RCP). Three years later, Nintendo released its first 64-bit gaming console, the Nintendo 64.
Silicon Graphics' most significant client during its RISC phase was Hollywood.
Silicon Graphics' most significant client during its RISC phase was Hollywood. Multiple studios bought up SGI machines to do post-production CG work and 3D animation in movies like Jurassic Park (1993), Johnny Mnemonic (1995), Jerry Maguire (1996), Anastasia (1997), and Lost in Space (1998).
According to IMDb, various studios used Silicon Graphics workstations in more than 40 productions between 1993 and 2003.
But Hollywood was not the only beneficiary of SGI's innovative technologies. Its early workstations allowed users access to 3D graphics subsystems via its proprietary API known as IRIS Graphics Language. IRIS GL evolved over the years, and with each new feature, it became more bloated, harder to maintain, and complicated to use.
Movies Made with SGI
Source: Gerhard Lenerz
Movie Year Equipment Abyss 1989 early IRIS 4D (supposedly including 4D/120) Antz 1998 O2 (166), Origin 2000 (270) Casper unknown Cats & Dogs 2001 O2, Octane 2, Origin 200, VW 230, VW 320 Disclosure 1994 Indy Evolution 2001 O2, Octane 2, Origin 200, VW 230, VW 320 Final Fantasy 2001 unknown Forrest Gump unknown Frighteners 1996 Indy, Indigo 2 Gladiator O2, Indigo 2 Extreme, Origin 200, Octane, Onyx, Dual Pentium Hollow Man O2, Octane, Onyx, Origin 2000, Power Challenge Ice Age Octane, Octane 2 Lord of the Rings 2000 Octane, Origin 2000, VW 230, VW 320 Jumanji unknown Jurassic Park 1993 PowerSeries Twin Tower Jurassic Park 2 1997 unknown Jurassic Park 3 2001 unknown (O2 workstations) Shrek 2001 unknown Star Wars Episode 1 Indy, Indigo 2 (possibly O2, Origin 2000) Starship Troopers unknown Terminator 2 1991 unknown (4D-era) The Adventures of Rocky and Bullwinkle Onyx 2 The Crow unknown The Hunt for Red October unknown The Mask unknown The Matrix 1999 Octane, Onyx 2, Origin 200 The Mummy unknown The Perfect Storm O2, Origin 2000 The Rugrats Movie 1998 O2, Origin 200 Titanic unknown Toy Story unknown Twister 1996 Challenge, Power Challenge What Dreams May Come Octane
OpenGL is Born
In 1992, SGI decided that IRIS GL had become too complex, but it did not want to abandon it and start from scratch. Instead, developers re-engineered the API and began licensing it at little cost to its competitors. And OpenGL was born. The move allowed programmers to write cross-platform 3D graphics programs that were just as fast and efficient as IRIS systems had been.
SGI organized the OpenGL Architecture Review Board to oversee further developments contributed by the industry. The OpenGL standard remains the only cross-platform 3D-graphics API and has even been ported to cell phones and other portable devices. Its main competitor is Microsoft's Direct3D, a DirectX API that only runs on Windows-based systems.
Management was of the opinion that the company should begin using its clout to seek growth by way of acquisition and exploration of secondary branches of the business.
This did not sit well with founder Clark, who wanted to continue focusing on developing high-end hardware. The stalemate prompted Clark to leave SGI in January 1994. The following month he co-founded the internet browser startup Mosaic Communications Corporation, which later became known as Netscape. After Clark's departure, a series of bad investments in the late 1990s and early 2000s foreshadowed SGI's decline.
In 1995, the company acquired three firms – Alias Research, Kroyer Films, and Wavefront Technologies – for about $500 million total. It merged the companies to form Alias/Wavefront, a high-end 3D graphics software development arm. Nine years later, SGI wrote it off as a loss, selling the division for about $57 million to equity investment firm Accel-KKR.
A Short-Lived Supercomputer Venture
In February 1996, SGI decided to dabble in the supercomputer business with the purchase of Cray Research for $740 million. It renamed the company "Cray Business Systems Division," and began working to develop technology (branded CrayLink) that could be integrated into SGI's high-end server line.
This venture turned out to be very short-lived. SGI turned around and sold the division to Sun Microsystems that May, only three months after the acquisition, but retained the Cray branding. Although the details of the deal remain undisclosed, a Sun executive who helped broker the deal admitted that the acquisition was "significantly less than $100 million."
"SGI was desperate," Sun Executive Vice President John Shoemaker told Forbes. "They were running out of cash, and they needed to get the assets off its books. [We paid] less than you would imagine."
In March 2000, SGI finally sold off the Cray brand and its Cray product line to Tera Computer Company for $35 million and a million shares. In September of that year, the floundering 3D graphics firm purchased Intergraph Computer Systems' Zx10 line of Windows-based workstations for around $100 million. It rebranded the systems under the SGI name but discontinued them less than a year later in June 2001.
Trouble in Graphics-Land, Demise
June 2001 also marked the beginning of the end of SGI. In 2003, the company vacated its headquarters in Mountain View, California and leased the building to Google. The following year, it sold off Alias/Wavefront, and by November 2005, SGI was delisted from the New York Stock Exchange after six consecutive years of declining sales.
SGI filed for Chapter 11 bankruptcy protection in May 2006. The proceedings concluded that October. A year later, major shareholder Southpaw Asset management encouraged its clients to sell off their SGI stock due to declining value.
In August 2008, SGI posted $354.1 million in revenue, a 24-percent decline from the previous year and the last earnings report it would file. Come December of that year, Nasdaq warned SGI that it was considering delisting the company because of its financial struggling, but it never came to that.
On April 2009, SGI filed for Chapter 11 again and was sold to Fremont's Rackable Systems for $25 million. Rackable changed the name to Silicon Graphics International, kept the SGI trademark, and changed its Nasdaq ticker from RACK to SGI shortly after the purchase. SGI primarily dealt in high-end Linux servers rather than 3D graphics systems until 2016, when it was announced that Hewlett Packard Enterprise (HPE) would acquire SGI for approximately $275 million.
The SGI name also lives on through a hardcore hobbyist community. Budding filmmakers used to purchase legacy workstations through a "thriving" second-hand market. For example, a hobbyist can pick up an Indy, which went for around $14,000 in the 1990s, for about $40 now.
Note: This feature was originally published on December 2020. We have revised it and bumped it due to its historical significance and old school computing nature, as part of our #ThrowbackThursday initiative.
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Silicon Graphics Declares Chapter 11
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[
""
] | null |
[
"From",
"L.A. Times Archives"
] |
2006-05-09T00:00:00
|
Silicon Graphics Inc., known for computers that create special effects for Hollywood movies, filed for Chapter 11 bankruptcy protection.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/la-xpm-2006-may-09-fi-briefs9.5-story.html
|
Silicon Graphics Inc., known for computers that create special effects for Hollywood movies, filed for Chapter 11 bankruptcy protection.
SGI said it expected to exit from Chapter 11 within six months. In its court filing, SGI said its business had been challenged by delays in introducing technology, a focus on more specialized markets and more intense competition.
The Mountain View, Calif.-based company said it reached an accord with lenders on the reorganization plan that would reduce its debt by about $250 million.
|
||
5018
|
dbpedia
|
2
| 78
|
http://www.sgistuff.net/funstuff/hollywood/jpark.html
|
en
|
sgistuff.net : Fun Stuff : Hollywood : Jurassic Park
|
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[] |
[] |
[
""
] | null |
[
"Gerhard Lenerz"
] | null | null |
Movie
Dinosaurs
These first pictures show what the movie has become famous for: Computer generated animations of dinosaurs. For the time the graphics were really impressing and even today they still look very good.
Computers
The movie shows several rooms of the facility on the island, including a laboratory and a "Control Room" that is stuffed with computer equipment.
This image (follow the link for a big version) makes a good overview of the control room. Very obvious are the CM-5 systems made by Thinking Machines that build the background with their black cases and red lights. This most likely are only empty shells with some logic to control the blinking lights and not real computers. The first Silicon graphics system is fairly easy to spot. It is an IRIS Indigo (Elan) and it is standing just behind the back of the guy that is sitting in the foreground. To it's left is a monitor that supposedly belongs to the Apple computer that stands even more to the left. The famous Crimson is located on the right edge of the picture and is only partially visible. On the desk beside it where the guy is sitting and staring at a monitor there is another Apple system. The Silicon Graphics systems may just be empty cases - at least they aren't switched on. This is easy to tell because the LEDs are off although they should be recognizable like the ones on the monitors or keyboards. All other equipment is unknown, the pizzaboxes could be Suns but I don't recognize the model. Most of the monitors shown in this room have an Silicon Graphics logo on them.
he next set of screenshots show the Crimson. This is as close as the camera gets to the system and as mentioned earlier the status LED is off indicating that the system is not running or not a real one at all.
This screenshot is quite interesting. It shows the monitor that is located next to the Crimson while the guys are trying to figure out what is wrong with the security system. Aside from the cube logo there are 2 interesting things to note:
In the shell window it says "Jurassic Park, System Security Interface Version 4.0.5, Alpha E". The version number is probably based on IRIX 4.0.5 which was the current version at the time of the movie. The window below is from gr_osview and this shows 4 CPU activity bars which means that it is definetly not running on the Crimson.
The picture on the left side is not part of the display, it is on the monitor as you could see on previous images.
Towards the end of the movie the kids use the computer to lock the doors. This is the great moment of fsn ("fusion") the File System Navigator which is a real demo application and was not written for the movie. A binary was available from the official Silicon Graphics website for a long time.
The ending credits of the movie show the following in a list of "thank yous":
IRIS INDIGO ELANS AND 4D/480 VGXT COMPUTER SYSTEMS
PROVIDIED BY SILICON GRAPHICS
Press Release
The following piece is a press release from Silicon Graphics relating to the SGI / Jurassic Park connection. It was also published in IRIS OnLine Volume 1, Issue 2:
On June 9, Silicon Graphics, Inc. announced that director Steven Spielberg's film "Jurassic Park" marks the first time 3D graphics computers are an integral part of a major motion picture. Released June 11, 1993, "Jurassic Park" is based on Michael Crichton's best selling novel about dinosaurs that are genetically recreated for the ultimate theme park. Both on-screen and behind the scenes, Silicon Graphics' computer systems are used extensively to add scientific realism to the film.
Silicon Graphics workstations are a critical element of Jurassic Park's computer control room, the "eyes and ears" of the technologically advanced theme park. Traditionally, computer graphics have been used in films only as pre-recorded video on computer monitors. In "Jurassic Park" the control room is a live, working computing environment featuring real applications that visually enhance the story line. Computer systems are used in the film for everything from monitoring security systems and activity around the island to visualizing DNA in the laboratory.
"Because Silicon Graphics workstations are used by scientists and engineers to visualize and interpret complex data, existing software applications were easily modified for use in the film," said Harry Pforzheimer, director of corporate communications at Silicon Graphics. "Programs like EarthWatch Communications' EarthWatch(tm), which interprets weather data, and a 3D information navigator from Silicon Graphics, which lets users graphically fly through computer file system representations, provided perfect solutions to enhance the story line." Silicon Graphics provided 3D graphics workstations with a value of nearly one million dollars to Amblin Entertainment, and technical assistance over a four-month period. These systems included four Indigo(tm) RISC PCs, seven Indigo Elan(tm) workstations, two IRIS(r) 4D/440 VGXT graphics workstations and four IRIS Crimson(tm) workstations. Silicon Graphics technical support provided immediate solutions for typical challenges that occur with filming computer graphics displays, such as frame rate synchronization and color correction.
"In addition to creating this realistic environment in the computer control room, the Silicon Graphics systems are integral to the plot, enabling graphic interpretation of information rather than forced dialogue," said Michael Backes, Display Graphics Supervisor on "Jurassic Park" and Co-chair of the American Film Institute Computer Center. "Silicon Graphics' extensive support enabled the control room scenes to be completed three days ahead of schedule and well under budget."
In addition to using systems on-screen, Industrial Light & Magic created Jurassic Park's full motion dinosaurs on Silicon Graphics workstations. ILM and Silicon Graphics have been working together since 1987 and recently announced JEDI, the largest and most advanced production environment for digital imagery creation in the entertainment industry. More than 70 Silicon Graphics workstations are being used for computer graphics at the ILM facility, ranging from the desktop IRIS Indigo family to the Onyx(tm) graphics supercomputer, which provides the world's fastest computer graphics.
|
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5018
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dbpedia
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3
| 75
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https://www.osnews.com/story/14553/silicon-graphics-files-for-chapter-11-bankruptcy/
|
en
|
Silicon Graphics Files for Chapter 11 Bankruptcy – OSnews
|
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https://www.pbs.org/nerds/part2.html
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Triumph of the Nerds: The Transcripts, Part II
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THE TELEVISION PROGRAM TRANSCRIPTS: PART II
The story so far.... In 1975, Ed Roberts invented the Altair personal computer. It was a pain to use until 19 year-old pre-billionaire Bill Gates wrote the first personal computer language. Still, the public didn't care. Then two young hackers -- Steve Jobs and Steve Wozniak -- built the Apple computer to impress their friends. We were all impressed and Apple was a stunning success. By 1980, the PC market was worth a billion dollars. Now, view on.....
Christine Comaford
We are nerds.
Vern Raburn
Most of the people in the industry were young because the guys who had any real experience were too smart to get involved in all these crazy little machines.
Gordon Eubanks
It really wasn't that we were going to build billion dollar businesses. We were having a good time.
Vern Raburn
I thought this was the most fun you could possibly have with your clothes on.
When the personal computer was invented twenty years it was just that - an invention - it wasn't a business. These were hobbyists who built these machines and wrote this software to have fun but that has really changed and now this is a business this is a big business. It just goes to show you that people can be bought. How the personal computer industry grew from zero to 100 million units is an amazing story. And it wasn't just those early funky companies of nerds and hackers, like Apple, that made it happen. It took the intervention of a company that was trusted by the corporate world. Big business wasn't interested in the personal computer. In the boardrooms of corporate America a computer still meant something the size of a room that cost at least a hundred thousand dollars. Executives would brag that my mainframe is bigger than your mainframe. The idea of a $2,000 computer that sat on your desk in a plastic box was laughable that is until that plastic box had three letters stamped on it - IBM. IBM was, and is, an American business phenomenon. Over 60 years, Tom Watson and his son, Tom Jr., built what their workers called Big Blue into the top computer company in the world. But IBM made mainframe computers for large companies, not personal computers -- at least not yet. For the PC to be taken seriously by big business, the nerds of Silicon Valley had to meet the suits of corporate America. IBM never fired anyone, requiring only that undying loyalty to the company and a strict dress code. IBM hired conservative hard-workers straight from school. Few IBM'ers were at the summer of love. Their turn-ons were giant mainframes and corporate responsibility. They worked nine to five and on Saturdays washed the car. This is intergalactic HQ for IBM - the largest computer company in the world...but in many ways IBM is really more a country than it is a company. It has hundreds of thousands of citizens, it has a bureaucracy, it has an entire culture everything in fact but an army. OK Sam we're ready to visit IBM country, obviously we're dressed for the part. Now when you were in sales training in 1959 for IBM did you sing company songs?
Sam Albert
Former IBM Executive
Absolutely.
BOB: Well just to get us in the mood let's sing one right here.
SAM: You're kidding.
BOB: I have the IBM - the songs of the IBM and we're going to try for number 74, our IBM salesmen sung to the tune of Jingle Bells.
Bob & Sam singing
'IBM, happy men, smiling all the way, oh what fun it is to sell our products our pruducts night and day. IBM Watson men, partners of TJ. In his service to mankind - that's why we are so gay.'
Sam Albert
Now gay didn't mean what it means today then remember that OK?
BOB: Right ok let's go.
SAM: I guess that was OK.
BOB: Perfect.
Sam Albert
When I started at IBM there was a dress code, that was an informal oral code of white shirts. You couldn't wear anything but a white shirt, generally with a starched collar. I remember attending my first class, and a gentleman said to me as we were entering the building, are you an IBMer, and I said yes. He had a three piece suit on, vests were of the vogue, and he said could you just lift your pants leg please. I said what, and before I knew it he had lifted my pants leg and he said you're not wearing any garters. I said what?! He said your socks, they're not pulled tight to the top, you need garters. And sure enough I had to go get garters.
IBM is like Switzerland -- conservative, a little dull, yet prosperous. It has committees to verify each decision. The safety net is so big that it is hard to make a bad decision - or any decision at all. Rich Seidner, computer programmer and wannabe Paul Simon, spent twenty-five years marching in lockstep at IBM. He feels better now.
Rich Seidner
Former IBM Programmer
I mean it's like getting four hundred thousand people to agree what they want to have for lunch. You know, I mean it's just not going to happen - it's going to be lowest common denominator you know, it's going to be you know hot dogs and beans. So ahm so what are you going to do? So IBM had created this process and it absolutely made sure that quality would be preserved throughout the process, that you actually were doing what you set out to do and what you thought the customer wanted. At one point somebody kind of looked at the process to see well, you know, what's it doing and what's the overhead built into it, what they found is that it would take at least nine months to ship an empty box.
By the late seventies, even IBM had begun to notice the explosive growth of personal computer companies like Apple.
Commercial
The Apple 2 - small inexpensive and simple to use the first computer.....
What's more, it was a computer business they didn't control. In 1980, IBM decided they wanted a piece of this action.
Jack Sams
Former IBM Executive
There were suddenly tens of thousands of people buying machines of that class and they loved them. They were very happy with them and they were showing up in the engineering departments of our clients as machines that were brought in because you can't do the job on your mainframe kind of thing.
Commercial
JB wanted to know why I'm doing better than all the other managers...it's no secret...I have an Apple - sure there's a big computer three flights down but it won't test my options, do my charts or edit my reports like my Apple.
Jack Sams
The people who had gotten it were religious fanatics about them. So the concern was we were losing the hearts and minds and give me a machine to win back the hearts and minds.
In business, as in comedy, timing is everything, and time looked like it might be running out for an IBM PC. I'm visiting an IBMer who took up the challenge. In August 1979, as IBM's top management met to discuss their PC crisis, Bill Lowe ran a small lab in Boca Raton Florida.
Bill Lowe
Hello Bob nice to see you.
BOB: Nice to see you again. I tried to match the IBM dress code how did I do?
BILL: That's terrific, that's terrific.
He knew the company was in a quandary. Wait another year and the PC industry would be too big even for IBM to take on. Chairman Frank Carey turned to the department heads and said HELP!!!
Bill Lowe
Head, IBM IBM PC Development Team 1980
He kind of said well, what should we do, and I said well, we think we know what we would like to do if we were going to proceed with our own product and he said no, he said at IBM it would take four years and three hundred people to do anything, I mean it's just a fact of life. And I said no sir, we can provide with product in a year. And he abruptly ended the meeting, he said you're on Lowe, come back in two weeks and tell me what you need.
An IBM product in a year! Ridiculous! Down in the basement Bill still has the plan. To save time, instead of building a computer from scratch, they would buy components off the shelf and assemble them -- what in IBM speak was called 'open architecture.' IBM never did this. Two weeks later Bill proposed his heresy to the Chairman.
Bill Lowe
And frankly this is it. The key decisions were to go with an open architecture, non IBM technology, non IBM software, non IBM sales and non IBM service. And we probably spent a full half of the presentation carrying the corporate management committee into this concept. Because this was a new concept for IBM at that point.
BOB: Was it a hard sell?
BILL: Mr. Carey bought it. And as result of him buying it, we got through it.
With the backing of the chairman, Bill and his team then set out to break all the IBM rules and go for a record.
Bill Lowe
We'll put it in the IBM section.
Once IBM decided to do a personal computer and to do it in a year - they couldn't really design anything, they just had to slap it together, so that's what we'll do. You have a central processing unit and eh let's see you need a monitor or display and a keyboard. OK a PC, except it's not, there's something missing. Time for the Cringely crash course in elementary computing. A PC is a boxful of electronic switches, a piece of hardware. It's useless until you tell it what to do. It requires a program of instructions...that's software. Every PC requires at least two essential bits of software in order to work at all. First it requires a computer language. That's what you type in to give instructions to the computer. To tell it what to do. Remember it was a computer language called BASIC that Paul Allen and Bill Gates adapted to the Altair...the first PC. The other bit of software that's required is called an operating system and that's the internal traffic cop that tells the computer itself how the keyboard is connected to the screen or how to store files on a floppy disk instead of just losing them when you turn off the PC at the end of the day. Operating systems tend to have boring unfriendly names like UNIX and CPM and MS-DOS but though they may be boring it's an operating system that made Bill Gates the richest man in the world. And the story of how that came about is, well, pretty interesting. So the contest begins. Who would IBM buy their software from? Let's meet the two contenders -- the late Gary Kildall, then aged 39, a computer Ph.D., and a 24 year old Harvard drop-out - Bill Gates. By the time IBM came calling in 1980, Bill Gates and his small company Microsoft was the biggest supplier of computer languages in the fledgling PC industry.
Commercial
'Many different computer manufacturers are making the CPM Operating System standard on most models.'
For their operating system, though, the logical guy for the IBMers to see was Gary Kildall. He ran a company modestly called Interglactic Digital Research. Gary had invented the PC's first operating system called CP/M. He had already sold 600,000 of them, so he was the big cheese of operating systems.
Gary Kildall
Founder Digital Research
Speaking in 1983
In the early 70s I had a need for an operating system myself and eh it was a very natural thing to write and it turns out other people had a need for an operating system like that and so eh it was a very natural thing I wrote it for my own use and then started selling it.
Gordon Eubanks
In Gary's mind it was the dominant thing and it would always be the dominant of course Bill did languages and Gary did operating systems and he really honestly believed that would never change.
But what would change the balance of power in this young industry was the characters of the two protagonists.
Jim Warren
Founder West Coast Computer Faire 1978
So I knew Gary back when he was an assistant professor at Monterrey Post Grad School and I was simply a grad student. And went down, sat in his hot tub, smoked dope with him and thoroughly enjoyed it all, and commiserated and talked nerd stuff. He liked playing with gadgets, just like Woz did and does, just like I did and do.
Gordon Eubanks
He wasn't really interested in how you drive the business, he worked on projects, things that interested him.
Jim Warren
He didn't go rushing off to the patent office and patent CPM and patent every line of code he could, he didn't try to just squeeze the last dollar out of it.
Gordon Eubanks
Gary was not a fighter, Gary avoided conflict, Gary hated conflict. Bill I don't think anyone could say backed away from conflict.
Nobody said future billionaires have to be nice guys. Here, at the Microsoft Museum, is a shrine to Bill's legacy. Bill Gates hardly fought his way up from the gutter. Raised in a prosperous Seattle household, his mother a homemaker who did charity work, his father was a successful lawyer. But beneath the affluence and comfort of a perfect American family, a competitive spirit ran deep.
Vern Raburn
President, The Paul Allen Group
I ended up spending Memorial Day Weekend with him out at his grandmother's house on Hood Canal. She turned everything in to a game. It was a very very very competitive environment, and if you spent the weekend there, you were part of the competition, and it didn't matter whether it was hearts or pickleball or swimming to the dock. And you know and there was always a reward for winning and there was always a penalty for losing.
Christine Comaford
CEO Corporate Computing Intl.
One time, it was funny. I went to Bill's house and he really wanted to show me his jigsaw puzzle that he was working on, and he really wanted to talk about how he did this jigsaw puzzle in like four minutes, and like on the box it said, if you're a genius you will do the jigsaw puzzle in like seven. And he was into it. He was like I can do it. And I said don't, you know, I believe you. You don't need to break it up and do it for me. You know.
Bill Gates can be so focused that the small things in life get overlooked.
Jean Richardson
Former VP, Corporate Comms, Microsoft
If he was busy he didn't bathe, he didn't change clothes. We were in New York and the demo that we had crashed the evening before the announcement, and Bill worked all night with some other engineers to fix it. Well it didn't occur to him to take ten minutes for a shower after that, it just didn't occur to him that that was important, and he badly needed a shower that day.
The scene is set in California...laid back Gary Kildall already making the best selling PC operating system CPM. In Seattle Bill Gates maker of BASIC the best selling PC language but always prepared to seize an opportunity. So IBM had to choose one of these guys to write the operating system for its new personal computer. One would hit the jackpot the other would be forgotten...a footnote in the history of the personal computer and it all starts with a telephone call to an eighth floor office in that building the headquarters of Microsoft in 1980.
Jack Sams
At about noon I guess I called Bill Gates on Monday and said I would like to come out and talk with him about his products.
Steve Ballmer
Vice-President Microsoft
Bill said well, how's next week, and they said we're on an airplane, we're leaving in an hour, we'd like to be there tomorrow. Well, hallelujah. Right oh.
Steve Ballmer was a Harvard roommate of Gates. He'd just joined Microsoft and would end up its third billionaire. Back then he was the only guy in the company with business training. Both Ballmer and Gates instantly saw the importance of the IBM visit.
Bill Gates
You know IBM was the dominant force in computing. A lot of these computer fairs discussions would get around to, you know, I.. most people thought the big computer companies wouldn't recognise the small computers, and it might be their downfall. But now to have one of the big computer companies coming in and saying at least the - the people who were visiting with us that they were going to invest in it, that - that was er, amazing.
Steve Ballmer
And Bill said Steve, you'd better come to the meeting, you're the only other guy here who can wear a suit. So we figure the two of us will put on suits, we'll put on suits and we'll go to this meeting.
Jack Sams
We got there at roughly two o'clock and we were waiting in the front, and this young fella came out to take us back to Mr. Gates office. I thought he was the office boy, and of course it was Bill. He was quite decisive, we popped out the non-disclosure agreement - the letter that said he wouldn't tell anybody we were there and that we wouldn't hear any secrets and so forth. He signed it immediately.
Bill Gates
IBM didn't make it easy. You had to sign all these funny agreements that sort of said I...IBM could do whatever they wanted, whenever they wanted, and use your secrets however they - they felt. But so it took a little bit of faith.
Jack Sams was looking for a package from Microsoft containing both the BASIC computer language and an Operating System. But IBM hadn't done their homework.
Steve Ballmer
They thought we had an operating system. Because we had this Soft Card product that had CPM on it, they thought we could licence them CPM for this new personal computer they told us they wanted to do, and we said well, no, we're not in that business.
Jack Sams
When we discovered we didn't have - he didn't have the rights to do that and that it was not...he said but I think it's ready, I think that Gary's got it ready to go. So I said well, there's no time like the present, call up Gary.
Steve Ballmer
And so Bill right there with them in the room called Gary Kildall at Digital Research and said Gary, I'm sending some guys down. They're going to be on the phone. Treat them right, they're important guys.
The men from IBM came to this Victorian House in Pacific Grove California, headquarters of Digital Research, headed by Gary and Dorothy Kildall. Just imagine what its like having IBM come to visit - its like having the Queen drop by for tea, its like having the Pope come by looking for advice, its like a visit from God himself. And what did Gary and Dorothy do? They sent them away.
Jack Sams
Gary had some other plans and so he said well, Dorothy will see you. So we went down the three of us...
Gordon Eubanks
Former Head of Language Division, Digital Research
IBM showed up with an IBM non-disclosure and Dorothy made what I...a decision which I think it's easy in retrospect to say was dumb.
Jack Sams
We popped out our letter that said please don't tell anybody we're here, and we don't want to hear anything confidential. And she read it and said and I can't sign this.
Gordon Eubanks
She did what her job was, she got the lawyer to look at the nondisclosure. The lawyer, Gerry Davis who's still in Monterey threw up on this non-disclosure. It was uncomfortable for IBM, they weren't used to waiting. And it was unfortunate situation - here you are in a tiny Victorian House, its overrun with people, chaotic.
Jack Sams
So we spent the whole day in Pacific Grove debating with them and with our attorneys and her attorneys and everybody else about whether or not she could even talk to us about talking to us, and we left.
This is the moment Digital Research dropped the ball. IBM, distinctly unimpressed with their reception, went back to Microsoft.
BOB: It seems to me that Digital Research really screwed up.
STEVE BALLMER: I think so - I think that's spot on. They made a big mistake. We referred IBM to them and they failed to execute.
Bill Gates isn't the man to give a rival a second chance. He saw the opportunity of a lifetime.
Bill Gates
Digital research didn't seize that, and we knew it was essential, if somebody didn't do it, the project was going to fall apart.
Steve Ballmer
We just got carried away and said look, we can't afford to lose the language business. That was the initial thought - we can't afford to have IBM not go forward. This is the most exciting thing that's going to happen in PCs.
Bill Gates
And we were already out on a limb, because we had licensed them not only Basic, but Fortran, Cobol Assembler er, typing tutor and Venture. And basically every - every product the company had we had committed to do for IBM in a very short time frame.
But there was a problem. IBM needed an operating system fast and Microsoft didn't have one. What they had was a stroke of luck - the ingredient everyone needs to be a billionaire. Unbelievably, the solution was just across town. Paul Allen, Gates's programming partner since high school, had found another operating system.
Paul Allen
There's a local company here in CL called CL Computer Products by a guy named Tim Patterson and he had done an operating system a very rudimentary operating system that was kind of like CPM.
Steve Ballmer
And we just told IBM look, we'll go and get this operating system from this small local company, we'll take care of it, we'll fix it up, and you can still do a PC.
Tim Patterson's operating system, which saved the deal with IBM, was, well, adapted from Gary Kildall's CPM.
Tim Patterson
Programmer
So I took a CPM manual that I'd gotten from the Retail Computer Store five dollars in 1976 or something, and used that as the basis for what would be the application program interface, the API for my operating system. And so using these ideas that came from different places I started in April and it was about half time for four months before I had my first working version.
This is it, the operating system Tim Patterson wrote. He called in QDOS the quick and dirty operating system. Microsoft and IBM called it PC DOS 1.0 and under any name it looks an awful lot like CPM. On this computer here I have running a PC DOS and CPM 86 and frankly itÍs very hard to tell the difference between the two. The command structures are the same, so are the directories, in fact the only obvious external difference is the floppy dirive is labelled A in PC DOS and and C in CPM. Some difference and yet one generated billions in revenue and the other disappeared. As usual in the PC business the prize didn't go to the inventor but to the exploiter of the invention. In this case that wasn't Gary Kildall it wasn't even Tim Paterson.
There was still one problem. Tim Patterson worked for Seattle Computer Products, or SCP. They still owned the rights to QDOS - rights that Microsoft had to have.
Vern Raburn
Former Vice-President Microsoft
But then we went back and said to them look, you know, we want to buy this thing, and SCP was like most little companies, you know. They always needed cash and so that was when they went in to the negotiation.
Paul Allen
And so ended up working out a deal to buy the operating system from him for whatever usage we wanted for fifty thousand dollars.
Hey, let's pause there. To savour an historic moment.
Paul Allen
For whatever usage we wanted for fifty thousand dollars.
It had to be the deal of the century if not the millenium it was certainly the deal that made Bill Gates and Paul Allen multi billionaires and allowed Paul Allen to buy toys like these, his own NBA basketball team and arena. Microsoft bought outright for fifty thousand dollars the operating system they needed and they turned around and licensed it to the world for up to fifty dollars per PC. Think of it - one hundred million personal computers running MS DOS software funnelling billions into Microsoft - a company that back then was fifty kids managed by a twenty-five year old who needed to wash his hair. Nice work if you can get it and Microsoft got it. There are no two places further apart in the USA than south eastern Florida and Washington State where Microsoft is based. This - this is Florida, Boca Raton and this building right here is where the IBM PC was developed. Here the nerds from Seattle joined forces with the suits of corporate and in that first honeymoon year they pulled off a fantastic achievement.
Dan Bricklin
After we got a package in the mail from the people down in Florida...
As August 1981 approached, the deadline for the launch of the IBM Acorn, the PC industry held its breath.
Dan Bricklin
Supposedly, maybe at this very moment eh, IBM is announcing the personal computer. We don't know that yet.
Software writers like Dan Bricklin, the creator of the first spreadsheet VisiCalc waited by the phones for news of the announcement. This is a moment of PC history. IBM secrecy had codenamed the PC 'The Floridian Project.' Everyone in the PC business knew IBM would change their world forever. They also knew that if their software was on the IBM PC, they would make fortunes.
Dan Bricklin
Please note that the attached information is not to be disclosed prior to any public announcement. (It's on the ticker) It's on the ticker OK so now you can tell people.
What we're watching are the first few seconds of a $100 billion industry.
Promo
After years of thinking big today IBM came up with something small. Big Blue is looking for a slice of Apple's market share. Bits and Bytes mean nothing try this one. Now they're going to sell $1,000 computers to millions of customers. I have seen the future said one analyst and it computes.
Commercial
Today an IBM computer has reached a personal......
Nobody was ever fired for buying IBM. Now companies could put PCs with the name they trusted on desks from Wisconsin to Wall Street.
Bob Metcalfe
Founder 3COM
When the IBM PC came and the PC became a serious business tool, a lot of them, the first of them went into those buildings over there and that was the real ehm when the PC industry started taking off, it happened there too.
Commercial
Can learn to use it with ease...
Sparky Sparks
Former IBM Executive
What IBM said was it's okay corporate America for you to now start buying and using PCs. And if it's okay for corporate America, it's got to be okay for everybody.
For all the hype, the IBM PC wasn't much better than what came before. So while the IBM name could create immense demand, it took a killer application to sustain it. The killer app for the IBM PC was yet another spreadsheet. Based on Visicalc, but called Lotus 1-2-3, its creators were the first of many to get rich on IBM's success. Within a year Lotus was worth $150 million bucks. Wham! Bam! Thank you IBM!
Commercial
Time to rock time for code...
IBM had forecast sales of half a million computers by 1984. In those 3 years, they sold 2 million.
Jack Sams
Euphoric I guess is the right word. Everybody was believed that they were not going to... At that point two million or three million, you know, they were now thinking in terms of a hundred million and they were probably off the scale in the other direction.
What did all this mean to Bill Gates, whose operating system, DOS, was at the heart of every IBM PC sold? Initially, not much, because of the deal with IBM. But it did give him a vital bridgehead to other players in the PC marketplace, which meant trouble in the long run for Big Blue.
Bill Gates
The key to our...the structure of our deal was that IBM had no control over...over our licensing to other people. In a lesson on the computer industry in mainframes was that er, over time, people built compatible machines or clones, whatever term you want to use, and so really, the primary upside on the deal we had with IBM, because they had a fixed fee er, we got about $80,000 - we got some other money for some special work we did er, but no royalty from them. And that's the DOS and Basic as well. And so we were hoping a lot of other people would come along and do compatible machines. We were expecting that that would happen because we knew Intel wanted to vend the chip to a lot more than just than just IBM and so it was great when people did start showing up and ehm having an interest in the licence.
IBM now had fifty per cent market share and was defining what a PC meant. There were other PCs that were sorta like the IBM PC, kinda like it. But what the public wanted was IBM PCs. So to be successful other manufacturers would have to build computers exactly like the IBM. They wanted to copy the IBM PC, to clone it. How could they do that legally, well welcome to the world of reverse engineering. This is what reverse engineering can get you if you do it right. It's the modest Aspen, Colorado ski shack of Rod Canion, one of the founders of Compaq, the company set up to compete head-on with the IBM PC. Back in 1982, Rod and three fellow engineers from Texas Instruments sketched out a computer design on a place mat at the House of Pies restaurant in Houston, Texas. They decided to manufacture and market a portable version of the IBM PC using the curious technique of reverse engineering.
Rod Canion
Co-founder Compaq
Reverse engineering is figuring out after something has already been created how it ticks, what makes it work, usually for the purpose of creating something that works the same way or at least does something like the thing you're trying to reverse engineer.
Here's how you clone a PC. IBM had made it easy to copy. The microprocessor was available off the shelf from Intel and the other parts came from many sources. Only one part was IBM's alone, a vital chip that connected the hardware with the software. Called the ROM-BIOS, this was IBM's own design, protected by copyright and Big Blue's army of lawyers. Compaq had to somehow copy the chip without breaking the law.
Rod Canion
First you have to decide how the ROM works, so what we had to do was have an engineer sit down with that code and through trial and error write a specification that said here's how the BIOS ROM needs to work. It couldn't be close it had to be exact so there was a lot of detailed testing that went on.
You test how that all-important chip behaves, and make a list of what it has to do - now it's time to meet my lawyer, Claude.
Claude Stern
Silicon Valley Attorney
BOB: I've examined the internals of the ROM BIOS and written this book of specifications now I need some help because I've done as much as I can do, and you need to explain what's next.
CLAUDE: Well,the first thing I'm going to do is I'm going to go through the book of specifications myself, but the first thing I can tell you Robert is that you're out of it now. You are contaminated, you are dirty. You've seen the product that's the original work of authorship, you've seen the target product, so now from here on in we're going to be working with people who are not dirty. We're going to be working with so called virgins, who are going to be operating in the clean room.
BOB: I certainly don't qualify there.
CLAUDE: I imagine you don't. So what we're going to do is this. We're going to hire a group of engineers who have never seen the IBM ROM BIOS. They have never seen it, they have never operated it, they know nothing about it.
Claude interrogates Mark
CLAUDE: Have you ever before attempted to disassemble decompile or to in any way shape or form reverse engineer any IBM equipment?
MARK: Oh no.
CLAUDE: And have you ever tried to disassemble....
This is the Silicon Valley virginity test. And good virgins are hard to find.
CLAUDE: You understand that in the event that we discover that the information you are providing us is inaccurate you are subject to discipline by the company and that can include but not limited to termination immediately do you understand that?
MARK: Yes I do.
CLAUDE: OK.
After the virgins are deemed intact, they are forbidden contact with the outside world while they build a new chip -- one that behaves exactly like the one in the specifications. In Compaq's case, it took l5 senior programmers several months and cost $1 million to do the reverse engineering. In November 1982, Rod Canion unveiled the result.
Bill Murto
What IÍve brought today is a Compaq portable computer.
When Bill Murto, another Compaq founder got a plug on a cable TV show their selling point was clear 100 percent IBM compatibility.
Bill Murto
It turns out that all major popular software runs on the IBM personal computer or the Compaq portable computer.
Q: That extends through all software written for IBM?
A: Eh Yes.
Q: It all works on the Compaq?
The Compaq was an instant hit. In their first year, on the strength of being exactly like IBM but a little cheaper, they sold 47,000 PCs.
Rod Canion
In our first year of sales we set an American business record. I guess maybe a world business record. Largest first year sales in history. It was a hundred and eleven million dollars.
So Rod Canion ends up in Aspen, famous for having the most expensive real estate in America and I try not to look envious while Rod tells me which executive jet he plans to buy next.
ROD: And finally I picked the Lear 31.
BOB: Oh really?
ROD: Now thart was a fun airplane.
BOB: Oh yeh.
Poor Big Blue! Suddenly everybody was cashing in on IBM's success. The most obvious winner at first was Intel, maker of the PCs microprocessor chip. Intel was selling chips like hotcakes to clonemakers -- and making them smaller, quicker and cheaper. This was unheard of! What kind of an industry had Big Blue gotten themselves into?
Jim Cannavino
Former Head, IBM PC Division
Things get less expensive every year. People aren't used to that in general. I mean, you buy a new car, you buy one now and four years later you go and buy one it costs more than the one you bought before. Here is this magical piece of an industry - you go buy one later it costs less and it does more. What a wonderful thing. But it causes some funny things to occur when you think about an industry. An industry where prices are coming down, where you have to sell it and use it right now, because if you wait later it's worth less.
Where Compaq led, others soon followed. IBM was now facing dozens of rivals - soon to be familiar names began to appear, like AST, Northgate and Dell. It was getting spectacularly easy to build a clone. You could get everything off the shelf, including a guaranteed-virgin ROM BIOS chip. Every Tom, Dick & Bob could now make an IBM compatible PC and take another bite out of Big Blue's business. OK we're at Dominos Computers at Los Altos California, Silicon Valley and this is Yukio and we're going to set up the Bob and Yukio Personal Computer Company making IBM PC clones. You're the expert, I of course brought all the money so what is it that we're going to do.
Yukio
OK first of all we need a motherboard.
BOB: What's a motherboard?
YUKIO: That's where the CPU is set in...that's the central processor unit.
BOB: OK.
YUKIO: In fact I have one right here. OK so this is the video board...
BOB: That drives the monitor.
YUKIO: Right.
BOB: Terror?
BILL LOWE: Oh, of course. I mean we were able to sell a lot of products but it was getting difficult to make money.
YUKIO: And this is the controller card which would control the hard drive and the floppy drive.
BOB: OK.
Rod Canion
And the way we did it was by having low overhead. IBM had low cost of product but a lot of overhead - they were a very big company.
YUKIO: Right this is a high density recorder.
BOB: So this is a hard disk drive.
Rod Canion
And by keeping our overhead low even though our margins were low we were able to make a profit.
YUKIO: OK I have one right here.
BOB: Hey...OK we have a keyboard which plugs in right over here.
YUKIO: Right...
BOB: People build them themselves - how long does it take?
YUKIO: About an hour.
BOB: About an hour.
And where did every two-bit clone-maker buy his operating system? Microsoft, of course. IBM never iniagined Bill Gates would sell DOS to anyone else. Who was there? But by the mid 80's it was boom time for Bill. The teenage entrepreneur had predicted a PC on every desk and in every home, running Microsoft software. It was actually coming true. As Microsoft mushroomed there was no way that Bill Gates could personally dominate thousands of employees but that didn't stop him. He still had a need to be both industry titan and top programmer. So he had to come up with a whole new corporate culture for Microsoft. He had to find a way to satisfy both his adolescent need to dominate and his adult need to inspire. The average Microsoftee is male and about 25. When he's not working, well he's always working. All his friends are Microsoft programmers too. He has no life outside the office but all the sodas are free. From the beginning, Microsoft recruited straight out of college. They chose people who had no experience of life in other companies. In time they'd be called Microserfs.
Charles Simonyi
Chief Programmer, Microsoft
It was easier to to to create a new culture with people who are fresh out of school rather than people who came from, from from eh other companies and and and other cultures. You can rely on it you can predict it you can measure it you can optimise it you can make a machine out of it.
Christine Comaford
I mean everyone like lived together, ate together dated each other you know. Went to the movies together it was just you know very much a it was like a frat or a dorm.
Steve Ballmer
Everybody's just push push push - is it right, is it right, do we have it right keep on it - no that's not right ugh and you're very frank about that - you loved it and it wasn't very formal and hierarchical because you were just so desirous to do the right thing and get it right. Why - it reflects Bill's personality.
Jean Richardson
And so a lot of young, I say people, but mostly it was young men, who just were out of school saw him as this incredible role model or leader, almost a guru I guess. And they could spend hours with him and he valued their contributions and there was just a wonderful camaraderie that seemed to exist between all these young men and Bill, and this strength that he has and his will and his desire to be the best and to be the winner - he is just like a cult leader, really.
As the frenzied 80's came to a close IBM reached a watershed - they had created an open PC architecture that anyone could copy. This was intentional but IBM always thought their inside track would keep them ahead - wrong. IBM's glacial pace and high overhead put them at a disadvantage to the leaner clone makers - everything was turning into a nightmare as IBM lost its dominant market share. So in a big gamble they staked their PC future to a new system a new line of computers with proprietary closed hardware and their very own operating system. It was war.
Presentation
Start planning for operating system 2 today.
IBM planned to steal the market from Gates with a brand new operating system, called - drum roll please - OS/2. IBM would design OS/2. Yet they asked Microsoft to write the code. Why would Microsoft help create what was intended to be the instrument of their own destruction? Because Microsoft knew IBM was was the source of their success and they would tolerate almost anything to stay close to Big Blue.
Steve Ballmer
It was just part of, as we used to call it, the time riding the bear. You just had to try to stay on the bear's back and the bear would twist and turn and try to buck you and throw you, but darn, we were going to ride the bear because the bear was the biggest, the most important you just had to be with the bear, otherwise you would be under the bear in the computer industry, and IBM was the bear, and we were going to ride the back of the bear.
Bill Gates
It's easy for people to forget how pervasive IBM's influence over this industry was. When you talked to people who've come in to the industry recently there's no way you can get that in to their - in to their head, that was the environment.
The relationship between IBM and Microsoft was always a culture clash. IBMers were buttoned-up organization men. Microsoftees were obsessive hackers. With the development of OS/2 the strains really began to show.
Steve Ballmer
In IBM there's a religion in software that says you have to count K-LOCs, and a K-LOC is a thousand line of code. How big a project is it? Oh, it's sort of a 10K-LOC project. This is a 20K-LOCer. And this is 5OK-LOCs. And IBM wanted to sort of make it the religion about how we got paid. How much money we made off OS 2, how much they did. How many K-LOCs did you do? And we kept trying to convince them - hey, if we have - a developer's got a good idea and he can get something done in 4K-LOCs instead of 20K-LOCs, should we make less money? Because he's made something smaller and faster, less KLOC. K-LOCs, K-LOCs, that's the methodology. Ugh anyway, that always makes my back just crinkle up at the thought of the whole thing.
Jim Cannavino
When I took over in '89 there was an enormous amount of resources working on OS 2, both in Microsoft and the IBM company. Bill Gates and I met on that several times. And we pretty quickly came to the conclusion together that that was not going to be a success, the way it was being managed. It was also pretty clear that the negotiating and the contracts had given most of that control to Microsoft.
It was no longer just a question of styles. There was now a clear conflict of business interest. OS/2 was planned to undermine the clone market, where DOS was still Microsoft's major money-maker. Microsoft was DOS. But Microsoft was helping develop the opposition? Bad idea. To keep DOS competitive, Gates had been pouring resources into a new programme called Windows. It was designed to provide a nice user-friendly facade to boring old DOS. Selling it was another job for shy, retiring Steve Ballmer.
Steve Ballmer (Commercial)
How much do you think this advanced operating environment is worth - wait just one minute before you answer - watch as Windows integrates Lotus 1, 2, 3 with Miami Vice. Now we can take this...
Just as Bill Gates saw OS/2 as a threat, IBM regarded Windows as another attempt by Microsoft to hold on to the operating system business.
Bill Gates
We created Windows in parallel. We kept saying to IBM, hey, Windows is the way to go, graphics is the way to go, and we got virtually everyone else, enthused about Windows. So that was a divergence that we kept thinking we could get IBM to - to come around on.
Jim Cannavino
It was clear that IBM had a different vision of its relationship with Microsoft than Microsoft had of its vision with IBM. Was that Microsoft's fault? You know, maybe some, but IBM's not blameless there either. So I don't view any of that as anything but just poor business on IBM's part.
Bill Gates is a very disciplined guy. He puts aside everything he wants to read and twice a year goes away for secluded reading weeks - the decisive moment in the Microsoft/IBM relationship came during just such a retreat. In front of a log fire Bill concluded that it was no longer in Microsoft's long term interests to blindly follow IBM. If Bill had to choose between OS2, IBM's new operating system and Windows, he'd choose Windows.
Steve Ballmer
We said ooh, IBM's probably not going to like this. This is going to threaten OS 2. Now we told them about it, right away we told them about it, but we still did it. They didn't like it, we told em about it, we told em about it, we offered to licence it to em.
Bill Gates
We always thought the best thing to do is to try and combine IBM promoting the software with us doing the engineering. And so it was only when they broke off communication and decided to go their own way that we thought, okay, we're on our own, and that was definitely very, very scary.
Steve Ballmer
We were in a major negotiation in early 1990, right before the Windows launch. We wanted to have IBM on stage with us to launch Windows 3.0, but they wouldn't do the kind of deal that would allow us to profit it would allow them essentially to take over Windows from us, and we walked away from the deal.
Jack Sams, who started IBM's relationship with Microsoft with that first call to Bill Gates in 1980, could only look on as the partnership disintegrated.
Jack Sams
Then they at that point I think they agreed to disagree on the future progress of OS 2 and Windows. And internally we were told thou shalt not ship any more products on Windows. And about that time I got the opportunity to take early retirement so I did.
Bill's decison by the fireplace ended the ten year IBM/Microsoft partnership and turned IBM into an also-ran in the PC business. Did David beat Goliath? The Boca Raton, Florida birthplace of the IBM's PC is deserted - a casualty of diminishing market share. Today, IBM is again what it was before - a profitable, dominant mainframe computer company. For awhile IBM dominated the PC market. They legitimised the PC business, created the standards most of us now use, and introduced the PC to the corporate world. But in the end they lost out. Maybe it was to a faster, more flexible business culture. Or maybe they just threw it away. That's the view of a guy who's been competing with IBM for 20 years, Silicon Valley's most outspoken software billionaire, Larry Ellison.
Larry Ellison
Founder, Oracle
I think IBM made the single worst mistake in the history of enterprise on earth.
Q: Which was?
LARRY: Which was the manufacture - being the first manufacturer and distributor of the Microsoft/Intel PC which they mistakenly called the IBM PC. I mean they were the first manufacturer and distributor of that technology I mean it's just simply astounding that they could ah basically give a third of their market value to Intel and a third of their market value to Microsoft by accident - I mean no-one, no-one I mean those two companies today are worth close to you know approaching a hundred billion dollars I mean not many of us get a chance to make a $100 billion mistake.
As fast as IBM abandons its buildings, Microsoft builds new ones. In 1980 IBM was 3000 times the size of Microsoft. Though still a smaller company, today Wall Street says Microsoft is worth more. Both have faced anti-trust investigations about their monopoly positions. For years IBM defined successful American corporate culture - as a machine of ordered bureaucracy. Here in the corridors of Microsoft it's a different style, it's personal. This company - in its drive, its hunger to succeed - is a reflection of one man, its founder, Bill Gates.
Jean Richardson
Bill wanted to win. Incredible desire to win and to beat other people. At Microsoft we, the whole idea was that we would put people under, you know. Unfortunately that's happened a lot.
Esther Dyson
Computer Industry Analyst
Bill Gates is special. You wouldn't have had a Microsoft with take a random other person like Gary Kildall. On the other hand, Bill Gates was also lucky. But Bill Gates knows that, unlike a lot of other people in the industry, and he's paranoid. Every morning he gets up and he doesn't feel secure, he feels nervous about this. They're trying hard, they're not relaxing, and that's why they're so successful.
Christine Comaford
And I remember, I was talking to Bill once and I asked him what he feared, and he said that he feared growing old because you know, once you're beyond thirty, this was his belief at the time, you know once you're beyond thirty, you know, you don't have as many good ideas anymore. You're not as smart anymore.
Bill Gates
If you just slow down a little bit who knows who it'll be, probably some company that may not even exist yet, but eh someone else can come in and take the lead.
Christine Comaford
And I said well, you know, you're going to age, it's going to happen, it's kind of inevitable, what are you going to do about it? And he said I'm just going to hire the smartest people and I'm going to surround myself with all these smart people, you know. And I thought that was kind of interesting. It was almost - it was like he was like oh, I can't be immortal, but like maybe this is the second best and I can buy that, you know.
Bill Gates
If you miss what's happening then the same kind of thing that happened to IBM or many other companies could happen to Microsoft very easily. So no-one's got a guaranteed position in the high technology business, and the more you think about, you know, how could we move faster, what could we do better, are there good ideas out there that we should be going beyond, it's important. And I wouldn't trade places with anyone, but the reason I like my job so much is that we have to constantly stay on top of those things.
The Windows software system that ended the alliance between Microsoft and IBM pushed Gates past all his rivals. Microsoft had been working on the software for years, but it wasn't until 1990 that they finally came up with a version that not only worked properly, it blew their rivals away and where did the idea for this software come from? Well not from Microsoft, of course. It came from the hippies at Apple. Lights! Camera! Boot up! In 1984, they made a famous TV commercial. Apple had set out to create the first user friendly PC just as IBM and Microsoft were starting to make a machine for businesses. When the TV commercial aired, Apple launched the Macintosh.
Commercial
Glorious anniversary of the information...
The computer and the commercial were aimed directly at IBM - which the kids in Cupertino thought of as Big Brother. But Apple had targeted the wrong people. It wasn't Big Brother they should have been worrying about, it was big Bill Gates.
Commercial
We are one people....
To find out why, join me for the concluding episode of Triumph of the Nerds.
Commercial
...........we shall prevail.
On to Part 3...
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Bull of the Day: Silicon Graphics (SGI)
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"Brian Bolan"
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2016-03-09T13:44:01+00:00
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Bull of the Day: Silicon Graphics (SGI)
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Yahoo Finance
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https://finance.yahoo.com/news/bull-day-silicon-graphics-sgi-134401284.html
|
Sillicon Graphics (SGI) just reported earnings and beat the Zacks Consensus Estimate of $0.02 by $0.04 for a 200% positive earnings surprise. The big thing about this report is that it was the first time since the June 2013 quarter that saw the company report a gain. All the quarters between that time frame were money losers. Despite the big beat, shares tumbled 27% in the session following the release. The stock is a Zacks Rank #1 (Strong Buy) and today it is the Bull of the Day.
The Numbers
SGI beat the Zacks Consensus Estimate of $0.02 by $0.04 for a 200% positive earnings surprise. Revenues came in a little above expectations at $152 million for a 1.2% positive revenue surprise.
SGI guided to FY16 non-GAAP EPS of $0.25-0.35, but at the mid point it was below Wall Street expectations. Revenues guidance for the year of between $600-$625M was market expectations at the midpoint.
The company also guided gross margin to be between 26% and 27%.
The next morning the company announced an agreement with Hewlett Packard Enterprise (HPE)
Description
Silicon Graphics makes and sells various servers, enterprise-class storage hardware, differentiating software around the world. Silicon Graphics International Corp. was incorporated in 2002 and is headquartered in Milpitas, California.
Earnings History
The recent earnings history for SGI is rather solid with four of the last five reports topping the Zacks Consensus Estimate.
The recent beat of 200% is one of the bigger beats, as the company has posted positive earnings surprises of 16%, 4.5% and 40% throughout the last five quarters.
The topline has been more of a mixed bag. The company posted positive revenue surprises in each of the last two quarters, but that was preceded by two misses on the topline. The largest dollar amount surprise was posted in the December 2014 quarter when revenues came in at $138M, $18M more than the $120M Zacks Consensus Estimate. Over the last three quarters the analysts have been on target, with the largest difference between the consensus and actual coming in at $3M for the September 2015 quarter.
Estimates
The FY16 Zacks Consensus Estimate has been moving higher. The number stood at a loss of $0.17 in December of last year. Following the most recent report, the number jumped higher by a dime to a loss of $0.07. That is a huge percentage move, but investors should be looking more at the move in FY17 numbers.
The FY2017 Zacks Consensus Estimate was at a low point in September of last year, as it sat at $0.01. An earnings report and more clarity on future sales and earnings helped bush the number to $0.06 in October. The most recent quarter, reported in January corresponds to another big move in estimates, as the number launched higher by more than 100% to $0.13.
Getting Aggressive
There have been indications that the market is ready to rally, and the chip segment is one that investors should be paying more attention to.
SGI is in the 62nd rated industry according to the Zacks Industry Rank. That puts the industry in the top 23%, and among its peers, SGI is the only Zacks Rank #1 (Strong Buy) stock. There are four other stocks in the industry that carry a Zacks Rank of #2 (Buy) and five others that have a #3 (Hold). .
Valuation
With negative trailing earnings and the next year expected to be negative the valuation metrics that investors normally look to are not meaningful. Forward PE and trailing PE are negative, but the industry average multiples are relatively low at 11x and 10x respectively. SGI trades at a premium in terms of price to book, with a 4.7x multiple compared to a 2.5x industry average. The price to sales multiple of 0.4x shows SGI trading at a discount to the industry average of 1.5x.
SGI is expected to see revenue growth of 15% in FY16 and FY17 while the industry average is looking at a contraction of 4.5% and then a gain of 5%. This could result in an even bigger disparity in the price to sales multiples.
Earnings growth of 91% in FY16, which ends in June, is much bigger than the -11.5% contraction that the industry is expected to show.
Chart
Zacks has developed a chart that helps investors see how earnings estimates have impacted the price of the stock over the last several years. We call this chart the price and consensus chart, and each color coded lines represents analyst estimates over a designated year. As estimates increase, the stock tends to follow. The Zacks Rank is impacted by earnings estimate increases, beats and incorporates the idea of analyst agreement and magnitude. As a Zacks Rank #1 (Strong Buy) we see that estimates are moving higher.
Follow Brian Bolan on twitter at @BBolan1
Brian Bolan is a Stock Strategist for Zacks.com. He is the Editor in charge of the Zacks Stocks Under $10, an investor service , where he recommends the stocks in the portfolio.
Brian also runs the brand new Zacks Game Changers where he looks for stocks that are disrupting their industries and reaping big gains.
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SILICON GRAPHICS INC /CA/
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Back to GetFilings.com
SECURITIES AND EXCHANGE COMMISSION
WASHINGTON, D.C. 20549
-------------------------
FORM 10-K
(Mark One)
[X] Annual Report pursuant to Section 13 or 15(d) of the Securities
Exchange Act of 1934.
For the fiscal year ended June 30, 1996.
[ ] Transition report pursuant to Section 13 or 15(d) of the Securities
Exchange Act of 1934. For the transition period from to .
Commission File Number 1-10441
SILICON GRAPHICS, INC.
(Exact name of registrant as specified in its charter)
DELAWARE 94-2789662
(State or Other Jurisdiction of (I.R.S. Employer
Incorporation or Organization) Identification Number)
2011 North Shoreline Boulevard, Mountain View, California 94043-1389
(Address of principal executive offices and zip code)
Registrant's telephone number, including area code: (415) 960-1980
Securities registered pursuant to Section 12(b) of the Act:
NAME OF EACH EXCHANGE
TITLE OF EACH CLASS ON WHICH REGISTERED:
------------------- --------------------
Common Stock, $0.001 par value New York Stock Exchange
Preferred Share Purchase Rights New York Stock Exchange
Indicate by check mark whether the registrant (1) has filed all reports
required to be filed by Section 13 or 15(d) of the Securities Exchange Act of
1934 during the preceding 12 months (or for such shorter period that the
registrant was required to file such reports), and (2) has been subject to such
filing requirements for the past 90 days. Yes X No
----- -----
Indicate by check mark if disclosure of delinquent filers pursuant to Item
405 of Regulation S-K is not contained herein, and will not be contained, to the
best of registrant's knowledge, in definitive proxy or information statements
incorporated by reference in Part III of this Form 10-K or any amendment to
this Form 10-K. [ ]
The aggregate market value of the registrant's voting stock held by non-
affiliates of the registrant, based upon the closing sale price of the Common
Stock on September 3, 1996 on the New York Stock Exchange as reported in The
Wall Street Journal, was approximately $3,726 million. Shares of voting stock
held by each executive officer and director and by each person who owns 5% or
more of any class of registrant's voting stock have been excluded in that such
persons may be deemed to be affiliates. This determination of affiliate status
is not necessarily a conclusive determination for other purposes.
AS OF SEPTEMBER 3, 1996, THE REGISTRANT HAD OUTSTANDING
173,158,255 SHARES OF COMMON STOCK.
DOCUMENTS INCORPORATED BY REFERENCE
Parts of the following documents are incorporated by reference to this Form
10-K Report: (1) Proxy Statement for registrant's Annual Meeting of Stockholders
to be held October 30, 1996 (Part III), and (2) registrant's Annual Report to
Stockholders for the fiscal year ended June 30, 1996 (Parts I, II and IV).
PART I
ITEM 1. BUSINESS
GENERAL
Silicon Graphics provides computing solutions that range from cost-
effective high performance desktop workstations to database and compute servers
to Cray Research supercomputers. The Company's systems enhance the productivity
of organizations engaged in technical, scientific, corporate and entertainment
applications across a wide range of industries.
Silicon Graphics' Cray Research subsidiary, acquired in fiscal 1996,
provides supercomputing tools and services to help solve customers' most
challenging problems. Another subsidiary, MIPS Technologies, designs the
industry-leading MIPS-Registered Trademark- RISC microprocessor. The Company
licenses its designs to semiconductor partners, who manufacture MIPS
microprocessors for use in the computer, embedded control and consumer
markets. The Company's Alias|Wavefront subsidiary provides innovative
animation and advanced modeling software for entertainment and industrial
applications.
CORE TECHNOLOGIES
The Company's strategy has been to identify and to invest heavily in the
key technologies that will enable it to set the pace of innovation. With
respect to these core elements, the Company's objective is to have the world's
leading technology and to be the first to deliver that technology in new
products. This approach has given Silicon Graphics a clear strategic focus and
has allowed it to obtain high productivity from its research and development
investment. With respect to the other, non-core elements required to develop
its products, the Company seeks to form strategic relationships with leading
suppliers worldwide.
The Company's core technologies are:
GRAPHICS Leading graphics performance has been a distinguishing
characteristic of Silicon Graphics' products since its inception. The
Company's systems use its proprietary dedicated graphics subsystems, which
not only provide strong graphics capability but also improve overall system
performance by freeing up the central microprocessor for other tasks. These
subsystems, such as the Onyx-TM- InfiniteReality-TM- and Indigo2 Impact-TM-
family of graphics subsystems, perform complex functions that allow the user
to render, display and manipulate realistic 3D objects and images in real
time. In addition, Silicon Graphics has developed the OpenGL-Registered
Trademark-, an application programming interface (API) that evolved from the
Company's IRIS GL-TM- API and has become an industry standard for developing
2D and 3D graphics applications. The OpenGL API is controlled by an
independent architecture review board that governs its direction and is
licensed to more than 30 leading companies, including all of the principal
UNIX-Registered Trademark- workstation manufacturers.
RISC MICROPROCESSORS The acquisition of MIPS Computer Systems in 1992 gave
the Company ownership of what it believes to be the industry's leading reduced
instruction set computing (RISC) technology, and the Company continues to devote
substantial resources to extending this technology. Since 1992, the Company and
its semiconductor partners have developed and introduced several new families of
MIPS RISC microprocessors optimized for use in products ranging from consumer
electronic products to high-performance supercomputers.
SCALABLE COMPUTING The ability to build computer systems that use more
than one processor without major changes in applications software has been an
important factor in the performance of the Company's systems, particularly for
the technical and scientific markets. This multiple CPU design optimizes the
performance of a single application or maximizes system throughput when handling
many applications or users at one time. Silicon Graphics' substantial
investments in symmetric multiprocessing since the late 1980s have enabled it to
become the leading supplier of low and midrange supercomputers. The acquisition
of Cray Research in 1996 has enhanced the Company's capability to deliver large
multiprocessing systems involving hundreds of processors.
DIGITAL MEDIA Digital media integrates 3D graphics, animation and text
with video, audio and video conferencing capabilities. The Company believes
that digital media technology delivers a fundamentally better way to work and
communicate, especially in a networked computing environment enabling
cooperative work in real-time. Examples include "collaborative engineering",
where engineers in different countries share visual information and work
concurrently on 3D models and designs.
COMPUTER SYSTEM PRODUCTS
The Company's computer systems range from desktop workstations to servers
and supercomputers. All of these systems (other than the current Cray Research
product families) are designed around MIPS RISC microprocessors developed by MTI
and the IRIX-TM- operating system, which is the Company's enhanced version of
the System V Release 4 (SVR4) UNIX operating system. The IRIX operating system
includes the Indigo Magic-TM- user environment, a complete family of tools
including desktop utilities, digital media applications and collaborative tools.
Because of their common microprocessor and operating system technology, the
Company's systems generally are binary-compatible, meaning that software
applications run without modification across the entire product line.
DESKTOP SYSTEMS
Silicon Graphics desktop workstations combine key elements of workgroup
collaboration, interactive media and computing at a range of prices and
performance. Systems in this family can be used for tasks as diverse as
manipulating 3D models for computer-aided design (CAD), crunching numbers for
chemistry and geographic information systems applications, or functioning as a
tool for video editing, animation rendering, technical publishing, World Wide
Web and intranet authoring and serving, and software development.
INDY The Indy-TM- family of entry-level desktop workstation features
advanced 3D graphics and imaging, real-time video capability and interactive and
professional quality graphics, audio and imaging capabilities. The Indy has
significant appeal in markets such as mechanical CAD, chemistry, color
publishing, film and video, software development, education and media authoring.
INDIGO(2) The Indigo(2)-TM- family of workstations is designed to
provide the strongest graphics and computational capability available in the
desktop category, for applications such as 3D solids modeling, mechanical
CAD, digital prototyping, 3D visualization, animation, architectural design
and professional audio and video production.
WEBFORCE The WebFORCE-TM- family of computer systems, one of the first
product lines for creating and serving content for the World Wide Web,
integrates hardware and software for professional Web content authoring and
commercial Web serving, and includes Indy and Indigo(2) Impact desktop systems
as well as Challenge-Registered Trademark- servers.
HIGH END SYSTEMS
-2-
ONYX This family of graphics supercomputers uses multiple microprocessors
and sophisticated graphics subsystems to handle the most demanding visual
computing tasks. Graphics subsystems available with the Onyx systems
include the InfiniteReality and Reality Engine(2)-TM- graphics subsystems. The
Onyx family is well-suited for applications such as computational chemistry, oil
and gas research, molecular modeling, global weather modeling, structural
dynamics, fluid dynamics, image processing, visual simulation, medical imaging
and chemistry, interactive entertainment and digital film and video production.
CHALLENGE The Challenge family of network resource servers includes a
range of capabilities, from single processor deskside systems used by small to
mid-size workgroups up to systems employing dozens of processors and capable of
supporting enterprise-wide distributed computing environments. Challenge
servers efficiently store, manage and move large amounts of audio, video and
graphics data as well as traditional databases and textual data for a wide range
of commercial and other applications. Key uses include data mining (to analyze
and organize database information), product data management for manufacturing,
and commercial transaction processing. Challenge servers also are used as media
servers, World Wide Web site servers and file servers.
POWER CHALLENGE The POWER Challenge-TM- family of supercomputing servers
combines low-cost, high-performance CMOS RISC technology, advanced parallel
system architecture and a simple shared-memory programming model. Key
applications in the technical and scientific markets include finite element
analysis (to determine the impact of elements like stress and temperature),
quantum chemistry calculation, seismic analysis and computational fluid
dynamics.
CRAY RESEARCH PRODUCTS
Cray Research, founded in 1973 and acquired by the Company in 1996, is the
world's leading supplier of advanced supercomputers. Cray Research has
continued as a separate division of Silicon Graphics focused on the high end of
the supercomputing market. Cray Research is working closely with the Silicon
Graphics advanced systems division to develop and introduce over the next
several years an integrated family of highly scalable systems that will
eventually cover the full range from affordable deskside servers to the world's
most powerful supercomputers.
The CRAY T90-TM- family of supercomputers deliver maximum performance for
vectorized supercomputing applications. The large memory bandwidth of T90
systems make them ideal for problems involving huge amounts of data, such as
weather and climate modeling and large-scale auto engineering.
The CRAY J90-TM- family uses low-cost CMOS technology to deliver affordable
supercomputing for vectorized applications like molecular modeling, ecosystem
simulation, medical imaging and vehicle dynamics simulation.
The CRAY T3E-TM- highly scalable supercomputing systems employ a massively
parallel architecture ranging from 16 to as many as 2,048 processors for a
broad range of scientific and industrial applications as diverse as petroleum
exploration, aerospace enginering and traffic system simulation.
MIPS RISC MICROPROCESSORS
All of the Company's system products (other than the current Cray Research
families) incorporate the MIPS RISC microprocessor architecture. The Company's
MIPS RISC microprocessor designs incorporate a general purpose architecture and
instruction set designed for high performance over a wide range of applications.
The MIPS RISC microprocessor designs make efficient use of instruction
"pipelining" techniques and proprietary compilers, allowing significant
performance gains to be realized by optimizing the tradeoff between compiler and
microprocessor functions. The versatility of the MIPS
-3-
RISC architecture makes it suitable for computer applications from entry-level
desktop systems up to supercomputers.
MIPS RISC microprocessors are also used in a wide variety of noncomputer
applications, including disk drives, printers and copiers and, increasingly,
consumer electronics products. Silicon Graphics computers represent only a
small percentage of the worldwide consumption of MIPS RISC microprocessors.
The Company does not manufacture or sell MIPS RISC microprocessors and
related devices. It licenses its designs to "semiconductor partners" who
manufacture and sell the parts. The Company's current licensees are:
Integrated Device Technology, Inc.; LSI Logic Corporation; NEC Corporation; NKK
Corporation; Philips Semiconductor; and Toshiba Corporation. Each semiconductor
partner paid an initial license fee at the beginning of the license period and
pays unit royalties based upon sales.
APPLICATIONS SOFTWARE
Because the Company has historically developed only a very limited set of
applications software, its customers must either develop or license from a third
party the software necessary to address their needs. The Company maintains
active programs to encourage independent software development for its systems,
including training, technology support and cooperative marketing. The Company
believes that there currently are over 2,000 registered application software
programs offered for use on its systems.
The Company's Alias|Wavefront division supplies modeling and animation
application software used by creative professionals in the entertainment,
industrial design and visualization and graphic design markets. Its industry-
leading products include Alias PowerAnimator-TM-, Alias Studio-TM-, and
Wavefront Composer-TM-. Alias|Wavefront has also announced the next generation
Maya-TM- product architecture, which will be incorporated in products beginning
in fiscal 1997. Alias|Wavefront is based in Toronto, Canada with sales offices
across North America, Europe and Asia and worldwide distribution.
In fiscal 1996 the Company introduced the Cosmo-TM- family of content
creation, browsing and management tools for the World Wide Web and intranet
markets. The Cosmo products are intended to facilitate the creation of media-
rich three dimensional environments and especially to take advantage of the
power of the industry standard Virtual Reality Modeling Language (VRML)
developed by Silicon Graphics.
MARKETING, SALES AND DISTRIBUTION
The Company sells its products through its own direct sales force and
through several indirect channels. In fiscal 1996 direct sales accounted for
approximately half of the Company's product revenues. The direct sales and
support organization operates throughout the United States and in all
significant international markets. The Company serves smaller international
markets through distributors.
The principal indirect channels through which the Company operates are the
following:
_ VARS, or value added resellers, are software companies that develop
or customize their proprietary software specifically for use with the
special graphics hardware of the Company's workstations. VARs
purchase workstations from the Company or its North American
distributor, incorporate their applications software and resell the
systems to end-users.
_ VADS, or value added dealers, are typically direct sales
organizations that sell primarily into a single vertical market and
incorporate appropriate specialized third-party software with the
Company's hardware for sale to their customers.
-4-
_ OEM ("original equipment manufacturer") customers generally are
computer systems vendors that customize applications software for use
on the Company's workstations and sell turnkey systems under the OEM's
product name. OEMs also provide independent marketing, service and
support programs to their customers. The Company's principal OEMs
include Tandem Computers Incorporated and Siemens Nixdorf AG.
_ SYSTEMS INTEGRATORS include Silicon Graphics systems in much larger
systems customized for use by the federal government and large
commercial clients.
Information with respect to international operations and export sales may
be found on page 60 of the 1996 Annual Report to Stockholders, which is
incorporated herein by reference. See also "Risks That Affect Our Business"
below. Although no customer accounted for 10% or more of the Company's total
revenues for fiscal 1996, 1995 or 1994, a significant reduction or delay in
sales to major customers could adversely affect the Company's operating results.
CUSTOMER SERVICE AND SUPPORT
The Company believes that the quality and reliability of its system
products and the ongoing support of such products are important elements of its
competitive strategy. The Company's customer service organization includes
field service engineers, field product and applications specialists, product
support engineers, training specialists and administrative support personnel.
In addition, the Company provides customer education through regularly scheduled
courses in system software administration, applications programming and hardware
maintenance. The Company provides local customer support from its regional
sales and service offices located in North America, Western Europe and the
Pacific Rim, with spare parts inventory stored at each location. International
distributors provide training and support for products sold by them.
The Company typically provides a standard "return to factory" hardware
warranty against defects in materials and workmanship for periods of up to
one year.
RESEARCH AND DEVELOPMENT
The Company's research and development program is directed principally
toward maintaining and enhancing the Company's competitive position through
incorporating the latest advances in microprocessor, hardware, software and
networking technologies. This effort is focused specifically on developing and
enhancing its computing architectures, MIPS RISC microprocessors, graphics
subsystems, VLSI technology, compiler software, operating system, applications
software and development tools. Simultaneously, the Company seeks to develop
new ways in which to increase product reliability, reduce manufacturing costs
and improve product development lead times.
During fiscal 1996, 1995 and 1994, the Company spent approximately $353
million, $248 million and $191 million, respectively, on research and
development. Those amounts represented 12.1%, 11.1% and 12.4%, respectively, of
revenues.
MANUFACTURING
The Company's manufacturing operations primarily involve assembling high
level subassemblies and systems and testing major purchased subassemblies. All
products are subjected to substantial environmental stress and electronic
testing prior to shipment to customers. The Company primarily manufactures and
ships its products from its main facility in Mountain View, California and the
Cray
-5-
Research facility in Chippewa Falls, Wisconsin. The Company also has a European
manufacturing and support center near Neuchatel, Switzerland.
The Company continually evaluates the allocation of manufacturing
activities among the Company's own operations and those of suppliers and
subcontractors. This allocation may be affected by fluctuations in the volume
of business, geopolitical, economic and technological developments and other
factors.
The Company attempts to utilize standard parts and components available
from multiple vendors rather than to integrate its manufacturing operations
vertically. The Company believes that there are a number of competent vendors
for most of the parts and components used in its system products. In certain
circumstances, despite the availability of multiple sources, the Company may
select a single source or a very limited number of sources in order to maintain
quality or price control or to develop a more strategic relationship with the
supplier.
Reliance on single or limited source vendors involves several risks,
including the possibility of a shortage of certain key components that meet the
Company's product specifications and reduced control over delivery schedules,
manufacturing yields, quality and costs. These issues tend to be especially
acute in the early or "ramp-up" stage as the Company attempts to reach volume
production of new products. In particular, the Company is dependent on a
limited number of semiconductor manufacturers with state of the art fabrication
facilities. During fiscal 1996, for example, the Company was dependent on a
single supplier, NEC, for the great majority of its requirements of MIPS R10000
microprocessors, a dependency that will continue through at least the first half
of fiscal 1997 until a second source begins volume production. Other components
for which the Company currently does not have multiple sources include certain
application-specific integrated circuits ("ASICs"). These are currently
obtained from IBM, LSI Logic, Motorola, VLSI Technology and Toshiba. Components
available from limited sources include floating point coprocessors and certain
memory circuits.
The Company also has single sources for certain peripherals, communications
controllers and power supplies, and the monitors and plastic cabinets used
across the Company's system products. The Company believes that, in most of
these cases, alternative sources of supply could be developed over a period of
time. However, a reduction or interruption in supply or a significant increase
in the price of one or more single or limited source components would, at least
in the short term, adversely affect the Company's operating results.
Many of the Company's suppliers are located outside the United States,
especially in Japan. The prices of parts from these suppliers have been and may
be affected significantly by such factors as protectionist measures and changes
in currency exchange rates between the United States and other countries. In
addition, changes in the availability of certain memory chips (DRAMs, SRAMs and
VRAMs) have caused, and in the future may cause, significant changes in their
prices.
COMPETITION
The computer industry is highly competitive and is characterized by rapid
technological advances in both hardware and software development. These
advances result in frequent new product introductions, short product life cycles
and increased new product capabilities, typically representing significant
price/performance improvements. The principal competitive factors in the
Company's market are product features, price/performance, networking
capabilities, product quality and reliability, ease of use, capabilities of the
system software, availability of applications software, customer support,
product availability, corporate reputation and price. The strong competition
faced throughout the Company's product line can result in significant
discounting from list price.
-6-
The Company's principal competition has historically come from other
workstation and computer system manufacturers and, to a lesser extent, from
graphics subsystem and terminal vendors and graphics integrated circuit
manufacturers. The principal workstation and computer manufacturers that
compete in the Company's markets are Digital Equipment, Hewlett Packard, IBM and
Sun Microsystems. The Company is facing increasing competition at the lowest
end of the workstation market from systems based on personal computer
technologies such as the Windows NT operating system, Intel microprocessors and
graphics acceleration cards.
In the high end of the supercomputer market, the Company faces competition
from IBM as well as from NEC, Hitachi and Fujitsu. In the applications software
market and certain other emerging markets the Company's principal competitor is
Microsoft.
The Company's MIPS RISC microprocessor architecture and technology compete
directly with microprocessor products offered by manufacturers of other
microprocessor designs, in particular those offered by IBM, Digital, HP, Intel,
Motorola and Sun. Although the Company believes its RISC architecture offers
advantages over these other designs, some of these architectures have a larger
installed base and wider availability of application software, which may
adversely affect the adoption of the Company's RISC architecture.
RISKS THAT AFFECT OUR BUSINESS
Silicon Graphics operates in a rapidly changing environment that involves a
number of risks, some of which are beyond the Company's control. The following
discussion highlights some of these risks.
PERIOD TO PERIOD FLUCTUATIONS The Company's operating results may fluctuate for
a number of reasons. Other than in the Cray Research business, the Company has
short delivery cycles and as a result generally does not have a large order
backlog, which makes the forecasting of revenue inherently uncertain. This
uncertainty is compounded because each quarter's revenue results predominantly
from orders booked and shipped during the third month, and disproportionately in
the latter half of that month. Because the Company plans its operating
expenses, many of which are relatively fixed in the short term, on the basis
that its revenue will continue to grow, even a relatively small revenue
shortfall may cause a period's results to be substantially below expectations.
Such a revenue shortfall could arise from any number of factors, including lower
than expected demand, supply constraints, delays in the availability of new
products, transit interruptions, overall economic conditions or natural
disasters. The timing of customer acceptance of large Cray systems may also
have a significant effect on periodic operating results. Margins are heavily
influenced by mix considerations, including geographical mix, the mix of service
and non-recurring engineering revenue, the mix of high-end and desktop products
and application software, as well as the mix of configurations within these
product categories.
The Company's results have followed a seasonal pattern, with stronger sequential
growth in the second and fourth fiscal quarters, reflecting the buying patterns
of the Company's customers. Sales of Cray Research systems generally reflect
sequential growth from quarter-to-quarter through the calendar year.
The Company's stock price, like that of other technology companies, is subject
to significant volatility. If revenue or earnings in any quarter fail to meet
the investment community's expectations, there could be an immediate impact on
the Company's stock price. The stock price may also be affected by broader
market trends unrelated to the Company's performance.
PRODUCT DEVELOPMENT AND INTRODUCTION The Company's continued success depends on
its ability to develop and rapidly bring to volume production highly
differentiated, technologically complex and innovative products. The Company
plans to introduce several new product families in the first half of fiscal
1997, including products that will replace virtually the entire current product
line. A number of risks are inherent in this process.
-7-
The development of new technology and products is increasingly complex and
uncertain, which increases the risk of delays. The introduction of a new
computer system requires close collaboration and continued technological
advancement involving multiple hardware and software design and manufacturing
teams within the Company as well as teams at outside suppliers of key components
such as semiconductor and storage products. The failure of any one of these
elements could cause the Company's new products to fail to meet specifications
or to miss the aggressive timetables that the Company establishes. As the
variety and complexity of the Company's product families increase, the process
of planning production and inventory levels also becomes more difficult.
Short product life cycles place a premium on the Company's ability to manage
the transition from current products to new products. In order to minimize
product transition issues, the Company often announces new products in the
early part of a quarter, while the product is in the final stages of
development, and seeks to manufacture and ship the product in volume in the
same quarter. In the case of the Cray Research product line, new products
are generally announced well in advance of availability, due to the longer
sales cycle for these systems. The Company's results could be adversely
affected by such factors as development delays, quality or yield problems
experienced by suppliers, variations in product costs, and delays in customer
purchases of existing products in anticipation of the introduction of new
products. On September 25, 1996 the Company announced that its revenues for
the first quarter of fiscal 1997 would be only slightly higher than for the
same period in the prior year and that its net income for that period would
be materially below expectations. The results for the quarter are
attributable, at least in part, to customer anticipation of new high-end and
desktop products that the Company plans to introduce in October 1996.
COMPETITION The computer industry is highly competitive, with rapid
technological advances and constantly improving price/performance. As most of
the segments in which the Company operates continue to grow faster than the
industry as a whole, the Company is experiencing an increase in competition, and
it expects this trend to continue. This competition comes not only from the
Company's traditional UNIX workstation rivals and Cray's traditional
supercomputing competitors, but also from new sources including the personal
computer industry. In particular, during fiscal 1996 the Company experienced
increasing competition at the lowest end of its business from workstations based
upon the Intel Pentium microprocessor, Microsoft's Windows NT operating system,
and a variety of 3-D graphics acceleration cards. Many of the Company's
competitors have substantially greater technical, marketing and financial
resources and, in some segments, a larger installed base of customers and a
wider range of available applications software. Competition can result in
significant discounting and lower gross margins.
VOLUME STRATEGY The Company believes that its long-term success is dependent
on achieving substantial increases in unit volumes over the next several
years. The Company has created a new business unit, the Silicon Desktop
Group, with the charter of implementing a comprehensive strategy for
increasing volumes of desktop products, including new product development,
greater emphasis on lower-cost manufacturing and the strengthening of
indirect distribution channels. Risks associated with this strategy include:
- increased direct competition with the personal computer industry,
portions of which have been seeking to move upmarket to compete with
low-end workstations (see "Competition");
- the impact of lower gross margins, to the extent not mitigated by
savings in distribution costs and other operating expenses; and
- the extent to which the Company is able to adapt its manufacturing and
service philosophies to the demands of higher volumes and lower costs.
ACQUISITION OF CRAY RESEARCH The acquisition of Cray Research will require,
among other things, integration of the Cray Research organization, business
infrastructure and product offerings with those of the Company in a way that
enhances the performance of the combined business. The challenges posed by the
acquisition include the management of a business with a different approach to
product design, manufacturing and sales and service, the development of a
consolidated product road map from a number of incompatible products and the
integration of several geographically separated research and development
centers. The success of this process will be significantly influenced by the
Company's ability to retain key management, sales, and research and development
personnel. The integration process will
-8-
also require the dedication of management resources, which may temporarily
distract attention from the day-to-day business of the Company.
There are several other aspects of Cray Research's business that are different
from the Company's current business and may affect the operations of the
combined business:
- Government agencies and research institutions represent a major
customer group for Cray Research products. As a result of the
acquisition, a greater percentage of the Company's revenue will be
derived from sales to such customers, whose purchasing decisions may
be adversely affected by reductions or changes in government spending.
- International sales of Cray Research's products are more likely to be
subject to export licensing constraints than international sales of
the Company's current products.
- Cray Research derives most of its revenue from the sale of a small
number of large systems, which generally have a longer sales cycle.
Revenue for these systems is recognized at customer acceptance rather
than upon shipment. Cray Research's results for any period are
significantly influenced by the number and mix of systems accepted and
whether a system is sold or leased. Changes affecting even a small
number of systems can have significant financial implications.
- At June 30, 1996, the combined Company's backlog was $572 million,
representing orders scheduled to ship during fiscal 1997. This
backlog primarily consists of orders for Cray Research T90 and T3E
systems, which only recently had their first commercial shipments.
IMPACT OF GOVERNMENT CUSTOMERS A significant portion of the Company's revenue
is derived from sales to the U.S. government, either directly by the Company or
through system integrators and other resellers. This proportion will increase
as the result of the Cray Research acquisition. Sales to the government present
risks in addition to those involved in sales to commercial customers, including
potential disruptions due to appropriation and spending patterns and the
government's reservation of the right to cancel contracts for its convenience.
In the second quarter of fiscal 1996, for example, the Company's results were
adversely affected by purchasing slowdowns related to the federal government
budget impasse.
GLOBAL FINANCIAL MARKET RISKS The Company's business and financial results are
affected by fluctuations in world financial markets, including foreign currency
exchange rates and interest rates. The Company's hedging policy attempts to
mitigate some of these risks, based on management's best judgment of the
appropriate tradeoffs among risk, opportunity and expense. The Company
regularly reviews its overall hedging policies, and it continually monitors its
hedging activities to ensure that they are consistent with policy and
appropriate and effective in light of changing market conditions. Management
may as part of this review determine at any time to change its hedging policies.
However, it is important to recognize that the Company's risk management
activities are not comprehensive, and that there can be no assurance that these
programs will offset more than a portion of the adverse financial impact
resulting from unfavorable movements in either foreign exchange or interest
rates.
Because more than half of the Company's revenue is from sales outside the United
States, and many key components are produced outside the United States, the
Company's results can be significantly affected by changes in foreign currency
exchange rates or weak economic conditions in the foreign markets in which the
Company distributes its products. The Company is primarily exposed to changes
in exchange rates on the Swiss franc, British pound, Japanese yen, German mark
and French franc. When the U.S. dollar strengthens against these currencies,
the value (as expressed in U.S. dollars) of non-U.S. dollar-based sales and
costs decrease. The opposite happens when the U.S. dollar weakens. Because
the Company is a net receiver of currencies other than the U.S. dollar, it
benefits from a weaker dollar and is adversely affected by a stronger dollar
relative to major currencies worldwide. Accordingly, a strengthening of the
U.S. dollar tends to affect negatively the Company's revenue and gross margins.
-9-
To mitigate the short-term impact of fluctuating currency exchange rates on the
Company's non-U.S. dollar-based sales and intercompany receivables, the Company
regularly hedges certain of these net exposures. Historically, the Company has
not sought to hedge future revenues. However, as a result of the Cray Research
acquisition, the Company is continuing Cray Research's policy of entering into
foreign exchange forward contracts that hedge firmly committed Cray Research
backlog. Currently, these hedges extend through December 1999. Beginning in
fiscal 1997, the Company also expects to hedge a portion of anticipated
quarterly revenues from international operations. The Company utilizes foreign
currency forward contracts to hedge non-U.S. dollar intercompany receivables.
The Company has generally not hedged capital expenditures, investments in
subsidiaries or inventory purchases. However, because the Company procures
inventory and its international operations incur expenses in local currencies,
the financial effects of fluctuations in the U.S. dollar values of non-U.S.
dollar-based transactions frequently mitigate or tend to offset each other on a
consolidated basis.
The Company's interest income and expense is most sensitive to fluctuations in
the general level of U.S. interest rates. In this regard, changes in U.S.
interest rates affect the interest earned on the Company's cash equivalents and
marketable investments as well as interest paid on its borrowings. To mitigate
the impact of fluctuations in U.S. interest rates, the Company has entered into
an interest rate swap transaction intended to better match the Company's fixed
rate interest expense on its zero coupon convertible subordinated debentures
with the floating-rate interest income on its cash equivalents and marketable
investments.
OTHER RISKS OF INTERNATIONAL OPERATIONS The Company's results could also be
negatively affected by such factors as changes in trade protection measures,
longer accounts receivable collection patterns, or natural disasters. The
Company's sales to foreign customers also are subject to export regulations,
with sales of some of the Company's high-end products requiring clearance and
export licenses from the U.S. Department of Commerce. The Company's export
sales would be adversely affected if such regulations were tightened, or if they
are not modified over time to reflect the increasing performance of the
Company's products.
MANAGEMENT INFORMATION SYSTEMS The Company replaced its United States
information management system in the third quarter of fiscal 1996 with a
comprehensive system used to manage the entire revenue cycle, including order
administration, billing and collection, as well as manufacturing and finance.
The Company expects that the system will provide operational efficiencies and
support future growth. However, as the system has been in operation for a
relatively short period, there remains a risk of functional or performance
difficulties, particularly if the system is extended to the Company's
international operations and to the Cray Research business.
DEVELOPMENT AND ACCEPTANCE OF MIPS RISC ARCHITECTURE Most of the Company's
system products incorporate microprocessors based upon the Company's MIPS
RISC microprocessor architecture. The Company licenses the manufacturing and
distribution rights to these microprocessors to selected semiconductor
manufacturing companies. The Company believes that the continued development
and broad acceptance of the MIPS architecture are critical to its future
success.
INTELLECTUAL PROPERTY The Company routinely receives communications from third
parties asserting patent or other rights covering the Company's products and
technologies. Based upon the Company's evaluation, it may take no action or it
may seek to obtain a license. In any given case there is a risk that a license
will not be available on terms that the Company considers reasonable, or that
litigation will ensue. The Company currently has patent infringement lawsuits
pending against it. The Company expects that, as the number of hardware and
software patents issued continues to increase, and as the Company's business
grows, the volume of these intellectual property claims will also increase.
-10-
EMPLOYEES The Company's future success depends in part on its ability to
continue to attract, retain and motivate highly qualified technical, marketing
and management personnel, who are in great demand.
BUSINESS DISRUPTION The Company's corporate headquarters, including most of its
research and development operations and manufacturing facilities, are located in
the Silicon Valley area of Northern California, a region known for seismic
activity. Operating results could be materially affected by a significant
earthquake. The Company is predominantly self-insured for losses and business
interruptions of this kind.
PROPRIETARY RIGHTS AND LICENSES
The Company has been granted or has applications pending for a significant
number of U.S. patents, and will continue to seek patent coverage for its
inventions in both the United States and foreign countries. The Company also
has applied for and holds various trademark registrations in the United States
and in selected foreign countries. The Company will continue to seek protection
for its inventions, trademarks, maskworks and copyrights where appropriate.
As is customary in its industry, the Company licenses from third parties a
wide range of software for its internal use and for the use of its customers.
The Company licenses the UNIX operating system on a non-exclusive basis from
Novell, Inc., and sublicenses it to its customers.
The Company's ability to compete may be affected by its ability to protect
proprietary information and to obtain necessary licenses on commercially
reasonable terms. The extent to which U.S. and international intellectual
property laws protect the Company's products, and the enforceability of end-user
license agreements, have not been fully determined, and the computer industry
has seen a substantial increase in litigation with respect to intellectual
property matters. Such litigation or changes in the interpretation of
intellectual property laws could expand or reduce the extent to which the
Company or its competitors are able to protect their intellectual property or
require changes in the design of products which could have an adverse impact on
the Company. There can be no assurance that the Company will not be made a
party to litigation regarding intellectual property matters in the future. See
"Legal Proceedings."
EMPLOYEES
As of June 30, 1996, the Company had approximately 10,485 full-time
employees. The Company's future success will depend, in part, on its ability to
continue to attract, retain and motivate highly qualified technical, marketing
and management personnel, who are in great demand. The Company has never had a
work stoppage, and no employees are represented by a labor union. The Company
believes that its employee relations are good.
CORPORATE DATA
The Company was originally incorporated as a California corporation in
November 1981, and reincorporated as a Delaware corporation in January 1990.
The Company acquired MIPS Computer Systems, Inc. through a merger in June 1992,
and acquired Alias Research Inc. and Wavefront Technologies, Inc. through
mergers in June 1995. The Company recently acquired Cray Research, Inc.
through a merger effective June 30, 1996.
ITEM 2. PROPERTIES
The Company believes that, while it currently has or is developing
sufficient facilities to conduct its operations during fiscal 1997, it will
continue to acquire both leased and owned facilities throughout the world as its
business requires. The Company's corporate offices and its primary research and
-11-
development and manufacturing operations are located in Mountain View,
California. The Company leases twelve adjacent buildings comprising a total of
approximately 726,500 square feet under leases terminating during 2000 through
2005. The Company owns 7.5 acres near its Mountain View headquarters, on which
a 112,000 square foot headquarters building for its sales organization was
completed in fiscal 1995. The Company also leases sixteen other buildings near
its Mountain View headquarters, comprising approximately 736,000 square feet.
The Company also has leased 22 acres of land near its other facilities in
Mountain View on which a four-building, 500,000 square foot general office
complex is being constructed to be leased to the Company for occupancy in fiscal
1997.
As a result of the acquisition of Cray Research, the Company also owns
manufacturing, research and development and service facilities comprising
approximately 747,000 square feet in Chippewa Falls, Wisconsin and
manufacturing, research and development, sales and administrative facilities
comprising 479,300 square feet in Eagan, Minnesota. The Company has vacated
and intends to sell a general and administrative and sales office comprising
approximately 118,900 square feet in Mendota Heights, Minnesota. The
Company's computing services operation leases approximately 100,100 square
feet in Minneapolis.
The Company's European manufacturing and support center near Neuchatel,
Switzerland is located in a facility owned by the Company, consisting of
approximately 75,000 square feet An additional facility comprised of
approximately 60,000 square feet is under construction and due for occupancy in
January 1997.
The Company also leases sales, service and administrative offices
worldwide.
ITEM 3. LEGAL PROCEEDINGS
The Company is defending the lawsuits described below. The Company
believes that it has good defenses to the claims in each of these lawsuits and
is defending each of them vigorously.
The Company is defending a securities class action lawsuit and a derivative
suit filed in U.S. District Court for the Northern District of California in
January and March, 1996. These suits allege that the Company and certain of its
officers and directors made material misrepresentations and omissions during the
period from October to December 1995. On September 25, 1996, the District Court
dismissed the securities class action, while allowing plaintiffs one opportunity
to amend their complaint, and dismissed the derivative action with prejudice.
The Company also is defending securities class action lawsuits involving
MIPS Computers Systems, Inc., which the Company acquired in June 1992, and Alias
Research Inc., which the Company acquired in June 1995. The MIPS case, which
was filed in the U.S. District Court for the Northern District of California in
1992, alleges that MIPS and certain of its officers and directors made material
misrepresentations and omissions during the period from January to October of
1991. On September 11, 1996, the United States Court of Appeals for the Ninth
Circuit reversed the summary judgment granted in defendants' favor in June 1994.
The Company intends to seek rehearing of the Court of Appeals' decision. The
Alias case, which was filed in the U.S. District Court for the District of
Connecticut in 1991, alleges that Alias and certain of its officers and
directors made material misrepresentations and omissions during the period from
May 1991 to April 1992. Alias' motion to dismiss the amended complaint is
pending.
The Company also is defending a patent infringement lawsuit filed by Martin
Marietta Corp. in the U.S. District Court for the Middle District of Florida in
September 1995. The Company has filed a counterclaim seeking to invalidate the
principal patent at issue in the lawsuit, and Martin Marietta has requested the
U.S. Patent and Trademark Office to re-examine the patent. The District Court
has set a trial date for the lawsuit in February 1998.
-12-
The Company routinely receives communications from third parties
asserting patent or other rights covering the Company's products and
technologies. Based upon the Company's evaluation, it may take no action or
it may seek to obtain a license. There can be no assurance in any given case
that a license will be available on terms the Company considers reasonable,
or that litigation will not ensue. Management is not aware of any pending
disputes, including those described above, that would be likely to have a
material adverse effect on the Company's financial condition, results of
operations or liquidity. However, management's evaluation of the likely
impact of these pending disputes could change in the future.
EXECUTIVE OFFICERS OF THE REGISTRANT
The executive officers of the Company and their ages as of September 20,
1996, are as follows:
Executive
Officer
Name Age Position and Principal Occupation Since
---- --- --------------------------------- -----
Edward R. McCracken 52 Chairman, Chief Executive Officer and Director 1984
Robert R. Bishop 53 Chairman, Silicon Graphics World Trade Corporation 1991
and Director, Silicon Graphics, Inc.
Gary L. Lauer 43 Executive Vice President, Worldwide Sales and Marketing, 1988
Silicon Graphics, Inc. and President, Silicon Graphics
World Trade Corporation
Javaid Aziz 44 Senior Vice President, European Field Operations 1995
Forest Baskett 53 Senior Vice President, Research and Development and 1986
Chief Technology Officer
Ross A. Bott 45 Senior Vice President, Enterprise Technologies 1996
John E. Bourgoin 50 President, MIPS Technologies, Inc. and Senior Vice 1996
President, Silicon Graphics, Inc.
Kenneth L. Coleman 53 Senior Vice President, Administration 1987
Robert H. Ewald 48 President, Cray Research, Inc. and Senior Vice President, 1996
Silicon Graphics, Inc.
Stephen Goggiano 43 Senior Vice President, Manufacturing and Customer Service 1989
William M. Kelly 43 Senior Vice President, Silicon Interactive Group, General 1994
Counsel and Secretary
Stanley J. Meresman 49 Senior Vice President, Finance and Chief Financial Officer 1989
David E. Orton 40 Senior Vice President, Scalable Systems Group 1996
Michael Ramsay 46 Senior Vice President, Silicon Desktop Group 1987
Teruyasu Sekimoto 57 Senior Vice President, East Asian Field Operations 1995
Dennis P. McBride 44 Vice President, Controller 1988
Robert W. Saltmarsh 46 Vice President, Treasurer 1996
Executive officers of the Company are elected annually by the Board of
Directors and serve at the Board's discretion. There are no family
relationships among any directors, nominees for director or executive officers
of the Company.
Except as set forth below, all of the officers have been associated with
the Company in their present positions for more than five years.
Mr. McCracken became Chairman of the Company in 1994.
-13-
Mr. Bishop, who has been an officer of the Company since 1991 and President
of Silicon Graphics World Trade Corporation since 1986, was named Chairman of
the Board of Silicon Graphics World Trade Corporation in July of 1995.
Mr. Lauer joined the Company in 1988 as Vice President, North American
Marketing, became Vice President, North American Field Operations in 1989, was
named Senior Vice President, North American Field Operations in 1991 and became
Executive Vice President, Silicon Graphics, Inc. and President of Silicon
Graphics World Trade Corporation in 1995.
Mr. Aziz joined the Company in 1995 as Senior Vice President, Europe.
Prior to joining the Company, Mr. Aziz spent 20 years at IBM Corporation in
technical, marketing and management positions, most recently as chief executive
officer of the United Kingdom operations.
Mr. Bott joined the Company in 1993 as Vice President/General Manager of
the Company's Network Systems Division. In 1996, he was named Senior Vice
President, Enterprise Technologies. Prior to joining the Company, Mr. Bott was
Vice President of Advanced Development and chief technical officer at Pyramid
Technology.
John E. Bourgoin joined the Company in 1996 as President of MIPS
Technologies, Inc. and Senior Vice President of Silicon Graphics, Inc. Prior to
joining the Company, Mr. Bourgoin served as Vice President, Computation Products
Group at Advanced Micro Devices, Inc.
Robert H. Ewald joined the Company in 1996 as a result of the Company's
acquisition of Cray Research, Inc. and now serves as President of Cray Research
and Senior Vice President of Silicon Graphics, Inc. Prior to the acquisition,
Mr. Ewald had been President and Chief Operating Officer of Cray since late
1994. Prior to that, he was Chief Operating Officer of Cray's Supercomputer
Operations and in 1993 served as Executive Vice President and General Manager,
Supercomputer Operations. During 1991 through 1993, Mr. Ewald was Cray's
Executive Vice President, Development.
Mr. Goggiano joined the Company in 1989 as Director of Operations, Advanced
Systems Division. In 1990, Mr. Goggiano was named Vice President/General
Manager, Operations and, in 1993, he was named Senior Vice President. Prior to
joining the Company, Mr. Goggiano was Vice President, Manufacturing for Altos
Computer Systems.
Mr. Kelly joined the Company in 1994 as Vice President, Business
Development, General Counsel and Secretary. In 1996, Mr. Kelly was named
Senior Vice President, Silicon Interactive Group and remains General Counsel
and Secretary of the Company. Prior to joining the Company, Mr. Kelly had
practiced law since 1978 with the firm of Shearman & Sterling, most recently
as co-managing partner of that firm's San Francisco office.
In 1990, Mr. Orton became Vice President/General Manager of the Advanced
Systems Division and in 1996 was named Senior Vice President, Scalable Systems
Group.
Mr. Ramsay was named Vice President/General Manager, Entry Systems Division
in 1988, and became Senior Vice President/General Manager, Entry Systems
Division in 1991. In 1992, Mr. Ramsay was named Senior Vice President, Visual
Systems Group, in 1994, became President of Silicon Studio, Inc. and in 1996 was
named Senior Vice President, Silicon Desktop Group.
Mr. Saltmarsh joined the Company in 1996 as Vice President, Treasurer. In
1994 and 1995, Mr. Saltmarsh served as Chief Financial Officer at Radius, Inc.
and prior to that was Vice President of Finance at Apple Computer, Inc.
-14-
PART II
With the exception of the information specifically incorporated by
reference from the Company's 1996 Annual Report to Stockholders (the "1996
Annual Report") in Parts I, II and IV of this Form 10-K, the 1996 Annual Report
is not to be deemed filed as part of this Report.
ITEM 5. MARKET FOR THE REGISTRANT'S COMMON EQUITY AND RELATED STOCKHOLDER
MATTERS
The information required by this Item is incorporated by reference to the
section entitled "Price Range of Common Stock" on page 35 of the Company's 1996
Annual Report.
ITEM 6. SELECTED FINANCIAL DATA
The information required by this Item is incorporated by reference to the
section entitled "Selected Consolidated Financial Data" on page 34 of the
Company's 1996 Annual Report.
ITEM 7. MANAGEMENT'S DISCUSSION AND ANALYSIS OF FINANCIAL CONDITION AND
RESULTS OF OPERATIONS
The information required by this Item is incorporated by reference to the
section entitled "Management's Discussion and Analysis" on pages 36 through 43
of the Company's 1996 Annual Report.
ITEM 8. FINANCIAL STATEMENTS AND SUPPLEMENTARY DATA
The information required by this Item is incorporated by reference to the
consolidated financial statements and notes thereto and to the section entitled
"Quarterly Data" on pages 35 and 44 through 61 of the Company's 1996 Annual
Report.
ITEM 9. CHANGES IN AND DISAGREEMENTS WITH ACCOUNTANTS ON ACCOUNTING AND
FINANCIAL DISCLOSURE
Not applicable.
-15-
PART III
Certain information required by Part III is omitted from this Report in
that the Company has filed its definitive proxy statement pursuant to Regulation
14A (the "1996 Proxy Statement") not later than 120 days after the end of the
fiscal year covered by this Report, and certain information included therein is
incorporated herein by reference.
ITEM 10. DIRECTORS AND EXECUTIVE OFFICERS OF THE REGISTRANT
The information concerning the Company's directors required by this Item is
incorporated by reference to pages 3 and 4 of the 1996 Proxy Statement under the
heading "Proposal No. 1 -- Election of Directors - Directors and Nominees for
Director."
The information concerning executive officers and family relationships
required by this Item is incorporated by reference to the section in Part I
hereof entitled "Executive Officers of the Registrant."
The information concerning compliance with Section 16(a) of the Securities
Exchange Act of 1934, as amended, required by this Item is incorporated by
reference to page 9 of the 1996 Proxy Statement under the heading "Executive
Officer Compensation - Compliance with Section 16(a) of the Exchange Act."
ITEM 11. EXECUTIVE COMPENSATION
The information required by this Item is incorporated by reference to page
5 under the headings "Proposal No. 1 - Election of Directors - Compensation
Committee Interlocks and Insider Participation" and " - Director Compensation",
pages 7 through 9 under the headings "Executive Officer Compensation - Summary
Compensation Table", " - Option Grants in Fiscal 1996" and " - Option Exercises
in Fiscal Year 1996 and Fiscal Year-End Option Values", pages 10 and 11 under
the heading "Report of the Compensation and Human Resources Committee of the
Board of Directors", and page 12 under the heading "Company Stock Price
Performance Graph" of the 1996 Proxy Statement.
ITEM 12. SECURITY OWNERSHIP OF CERTAIN BENEFICIAL OWNERS AND MANAGEMENT
The information required by this Item is incorporated by reference to pages
1 and 2 of the 1996 Proxy Statement under the headings "Information Concerning
Solicitation and Voting - Record Date and Principal Share Ownership" and
" - Voting and Solicitation" and page 6 of the 1996 Proxy Statement under the
heading "Other Information - Security Ownership of Management."
ITEM 13. CERTAIN RELATIONSHIPS AND RELATED TRANSACTIONS
The information required by this Item is incorporated by reference to pages
9 and 10 of the 1996 Proxy Statement under the heading "Certain Transactions."
-16-
PART IV
ITEM 14. EXHIBITS, FINANCIAL STATEMENT SCHEDULES, AND REPORTS ON FORM 8-K
(a) The following documents are filed as a part of this Report:
1. FINANCIAL STATEMENTS. The following consolidated financial
statements and supplementary information of Silicon Graphics, Inc. and Report of
Independent Auditors are incorporated by reference to pages 35 and 44 through 62
of the Registrant's 1996 Annual Report:
Consolidated Statements of Operations - Years Ended June 30, 1996,
1995 and 1994
Consolidated Balance Sheets - June 30, 1996 and 1995
Consolidated Statements of Cash Flows - Years Ended June 30, 1996,
1995 and 1994
Consolidated Statements of Stockholders' Equity - Years Ended June 30,
1996, 1995 and 1994
Notes to Consolidated Financial Statements
Report of Independent Auditors
Supplementary Information
Quarterly Data (Unaudited)
2. FINANCIAL STATEMENT SCHEDULES. The following financial statement
schedule of Silicon Graphics, Inc. is filed as part of this Report and should be
read in conjunction with the Consolidated Financial Statements of Silicon
Graphics, Inc.
Schedule Description Page
- -------- ----------- ----
II Valuation and Qualifying Accounts S-1
Schedules not listed above have been omitted because they are not
applicable or are not required or the information required to be set forth
therein is included in the consolidated financial statements or notes thereto.
-17-
3. EXHIBITS. The following Exhibits are filed as part of, or
incorporated by reference into, this Report:
2.1(14) Agreement and Plan of Merger and Reorganization,
dated as of February 6, 1995, among Silicon
Graphics, Inc., S Acquisition Corporation and
Wavefront Technologies, Inc.
2.2(14) Agreement and Plan of Acquisition and Arrangement
dated as of February 6, 1995 by and among Silicon
Graphics, Inc., 1103707 Ontario Inc., Silicon
Graphics Manufacturing S.A. and Alias Research
Inc.
2.3(20) Agreement and Plan of Merger dated as of February
25, 1996 by and among Silicon Graphics, Inc.,
C. Acquisition Corporation and Cray Research, Inc.
3.1.1(12) Restated Certificate of Incorporation of the
Company.
3.1.2(18) Certificate of Designation of the Series E
Preferred Stock filed June 13, 1995.
3.2 Bylaws of the Company, as amended.
4.1(5) Silicon Graphics, Inc. $25,000,000 8.98% Senior
Notes Due February 1, 1996, Note Agreement and
Note, dated February 1, 1991.
4.2(7) Amended and Restated Preferred Shares Rights
Agreement, dated as of May 6, 1992 between the
Company and The First National Bank of Boston,
including the Certificate of Designation of
Rights, Preferences and Privileges of Series B
Participating Preferred Stock, the form of Rights
Certificate and the Summary of Rights attached
thereto as Exhibits A, B, and C respectively.
4.3(12) Indenture dated November 1, 1993 between the
Company and The First National Bank of Boston, as
Trustee.
4.4(15) First Amendment to Rights Agreement dated as of
May 2, 1995 between the Company and The First
National Bank of Boston.
9.1(18) Voting and Exchange Trust Agreement between the
Company and Montreal Trust Company of Canada dated
June 15, 1995.
10.1(6)* 1984 Incentive Stock Option Plan, as amended, and
amended form of Incentive Stock Option Agreement.
10.2(8)* 1986 Incentive Stock Option Plan, as amended, and
amended forms of Incentive Stock Option Agreement
and Nonstatutory Stock Option Agreement.
-18-
10.3(1) Software Agreement dated as of January 4, 1986, as
supplemented June 6, 1986, and Sublicensing
Agreement dated as of June 9, 1986 between the
Company and AT&T Information Systems Inc.
10.4(4)* 1987 Stock Option Plan and form of Stock Option
Agreement.
10.5(2) Software License Agreement dated January 24, 1986,
between the Company and AT&T Information Systems
Inc.
10.6(3) Stock Purchase Agreement dated March 2, 1990 among
the Company, NKK Corporation and NKK U.S.A.
Corporation.
10.7(12)* Directors' Stock Option Plan and form of Stock
Option Agreement as amended as of October 31,
1994.
10.8(8) Form of Indemnification Agreement entered into
between the Company and its directors, executive
officers and certain other agents.
10.9(8) Form of Indemnification Agreement entered into
between the Company and its directors, executive
officers and certain other agents. (Revised)
10.10(8)* 1985 Stock Incentive Program.
10.11(8) Exchange Agreement dated August 14, 1992 among the
Company, NKK Corporation and NKK U.S.A.
Corporation.
10.12(13) Credit Agreement dated December 31, 1994 between
the Company and Bank of America, National Trust
and Savings Association.
10.13(9) Purchase and Sale Agreement, as amended, between
Richard T. Peery, John Arrillaga and Silicon
Graphics, Inc. executed on April 30, 1993.
10.14(9) Waiver and Release Agreement between Richard T.
Peery, John Arrillaga and Silicon Graphics Real
Estate, Inc. dated May 7, 1993.
10.15(10)* 1993 Long-Term Incentive Stock Plan and form of
stock option agreement.
10.16(18)* Employee Stock Purchase Plan, as amended as of
June 12, 1995.
10.17(10)* Form of Employment Continuation Agreement entered
into between the Company and its executive
officers, as amended as of October 21, 1993.
10.18(10)* Consulting Agreement dated as of October 25, 1993
between the Company and Mark W. Perry.
-19-
10.19(11)* Non-Qualified Deferred Compensation Plan dated as
of September 9, 1994.
10.20(13)* Employment Agreement dated February 1, 1995
between the Company and Thomas A. Jermoluk.
10.21(15)* Employment Agreement dated as of February 13, 1995
between the Company and Javaid Aziz.
10.22(18)* Letter agreement dated as of July 6, 1995 between
the Company and Robert K. Burgess.
10.23(18)* Convertible Debenture dated as of February 3, 1993
issued to Robert K. Burgess.
10.24(18) Ground Lease between Silicon Graphics Real Estate
Inc. and the City of Mountain View dated March 7,
1995.
10.25(18) Agreement for Lease between the Company and
Virtual Funding, Limited Partnership dated
November 18, 1993.
10.26(18) Amendment No. 1 to Agreement for Lease between the
Company and Virtual Funding, Limited Partnership
dated March 15, 1995.
10.27(18) Lease Agreement between the Company and Virtual
Funding, Limited Partnership dated November 18,
1993.
10.28(18) Amendment No. 1 to Lease Agreement between the
Company and Virtual Funding, Limited Partnership
dated March 15, 1995.
10.29(16)* Alias Research Inc.'s 1988 Employee Share
Ownership Plan Option Agreement.
10.30(16)* Alias Research Inc.'s 1989 Employee Share
Ownership Plan Option Agreement.
10.31(16)* Alias Research Inc.'s 1990 Employee Share
Ownership Plan and standard forms of Option
Agreements.
10.32(16)* Alias Research Inc.'s 1994 Stock Plan and standard
forms of Option Agreements.
10.33(17)* Wavefront Technologies, Inc. 1990 Stock Option
Plan with standard form of Option Agreement.
10.34(19)* Consulting Agreement dated as of December 21, 1995
between the Company and Tom Oswold.
10.35(19)* Addendum to the Non-Qualified Deferred
Compensation Plan (previously filed as Exhibit
10.19 to the Company's Annual Report on Form 10-K
for the year ended June 30, 1995).
-20-
10.36(21)* Consulting Agreement dated as of March 5, 1996
between the Company and Wei Yen.
10.37(21) Credit Agreement dated as of April 12, 1996.
10.38(21)* 1996 Supplemental Non-Executive Equity Incentive
Plan and form of stock option agreement.
10.39(22)* Cray Research, Inc. Amended and Restated 1989
Employee Benefit Stock Plan and form of stock
option agreement.
10.40(22)* Cray Research, Inc. 1989 Non-Employee Directors'
Stock Option Plan and form of stock option
agreement.
11.1 Statement of Computation of Per Share Earnings.
13.1 Excerpts from Annual Report for the year ended
June 30, 1996.
21.1 List of Subsidiaries.
23.1 Consent of Independent Auditors (see page 27).
27.1 Financial Data Schedule.
- -------------------------
* This exhibit is a management contract or compensatory plan required to be
filed as an exhibit to this Form 10-K pursuant to Item 14(c).
(1) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-1 (No. 33-8892), which became effective October 29,
1986.
(2) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-1 (No. 33-12863), which became effective March 31,
1987.
(3) Incorporated by reference to exhibits to the Company's Current Report on
Form 8-K dated March 16, 1990.
(4) Incorporated by reference to exhibits to the Company's Post-Effective
Amendment to Registration Statement on Form S-8 (No. 33-16529), which
became effective June 18, 1990.
(5) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended December 31, 1990.
(6) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1991.
(7) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended March 31, 1992.
(8) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1992.
-21-
(9) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1993.
(10) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended September 30, 1993.
(11) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1994.
(12) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended September 30, 1994.
(13) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended December 31, 1994.
(14) Incorporated by reference to exhibits to the Company's Current Report on
Form 8-K dated February 13, 1995.
(15) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended March 31, 1995.
(16) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-8 (No. 33-60215), which became effective June 14, 1995.
(17) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-8 (No. 33-60213), which became effective June 14, 1995.
(18) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1995.
(19) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended December 31, 1995.
(20) Incorporated by reference to exhibits to the Company's Schedule 14D-1,
Tender Offer Statement dated February 29, 1996.
(21) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended March 31, 1996.
(22) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-8 (No. 333-06403), which became effective June 20,
1996.
(b) REPORTS ON FORM 8-K.
No Current Reports on Form 8-K were filed during the quarter ended June 30,
1996.
-22-
TRADEMARKS USED IN THIS FORM 10-K
Silicon Graphics, CHALLENGE, Indigo, Onyx, OpenGL and the Silicon Graphics logo
are registered trademarks, and Cosmo, Indigo(2), Indigo(2) IMPACT, Indigo Magic,
InfiniteReality, IRIS GL, IRIX, Maya, POWER CHALLENGE, RealityEngine(2) and
WebFORCE are trademarks of Silicon Graphics, Inc. Indy is a registered
trademark used under license in the United States, and owned by Silicon
Graphics, Inc. in other countries worldwide. MIPS is a registered trademark and
R10000 are trademarks of MIPS Technologies, Inc. Cray is a registered trademark
and Cray J90, Cray T3E and Cray T90 are trademarks of Cray Research, Inc.
Alias|Wavefront, Alias Studio, Alias PowerAnimator, and Wavefront Composer are
trademarks of Alias|Wavefront, a division of Silicon Graphics Limited.
Pentium is a registed trademark of Intel Corporation. UNIX is a registered
trademark licensed exclusively through X/Open Company Limited. Windows NT is a
trademark of Microsoft Corporation.
-23-
SIGNATURES
Pursuant to the requirements of Section 13 or 15(d) of the Securities
Exchange Act of 1934, the registrant has duly caused this Report to be signed on
its behalf by the undersigned, thereunto duly authorized.
SILICON GRAPHICS, INC.
By: /s/ Edward R. McCracken
------------------------------
Edward R. McCracken
Chairman and Chief Executive
Officer
Dated: September 27, 1996
-24-
Pursuant to the requirements of the Securities Exchange Act of 1934, this
Report has been signed below by the following persons on behalf of the
Registrant and in the capacities and on the dates indicated.
Signature Title Date
- ---------------------------------------- ---------------------------------------- ------------------
/s/ Edward R. McCracken Chairman, Chief Executive Officer September 27, 1996
- ---------------------------------------- and Director (Principal Executive
Edward R. McCracken Officer)
Chairman, Silicon Graphics World
- ---------------------------------------- Trade Corporation, and Director
Robert R. Bishop
/s/ Stanley J. Meresman Senior Vice President, Finance September 27, 1996
- ---------------------------------------- and Chief Financial Officer
Stanley J. Meresman (Principal Financial Officer)
/s/ Dennis P. McBride Vice President, Controller September 27, 1996
- ---------------------------------------- (Principal Accounting Officer)
Dennis P. McBride
/s/ Allen F. Jacobson Director September 27, 1996
- ----------------------------------------
Allen F. Jacobson
/s/ C. Richard Kramlich Director September 27, 1996
- ----------------------------------------
C. Richard Kramlich
/s/Robert A. Lutz Director September 27, 1996
- ----------------------------------------
Robert A. Lutz
Director
- ----------------------------------------
James A. McDivitt
-25-
Signature Title Date
- ---------------------------------------- ---------------------------------------- ------------------
/s/ Lucille Shapiro Director September 27, 1996
- ----------------------------------------
Lucille Shapiro
/s/ Robert B. Shapiro Director September 27, 1996
- ----------------------------------------
Robert B. Shapiro
/s/ James G. Treybig Director September 27, 1996
- ----------------------------------------
James G. Treybig
-26-
Consent of Ernst & Young LLP, Independent Auditors
We consent to the incorporation by reference in this Annual Report (Form 10-K)
of Silicon Graphics, Inc. of our report dated July 19, 1996, included in the
1996 Annual Report to Stockholders of Silicon Graphics, Inc.
Our audits also included the consolidated financial statement schedule of
Silicon Graphics, Inc. listed in item 14(a)2. This schedule is the
responsibility of the Company's management. Our responsibility is to express an
opinion based on our audits. In our opinion, the financial statement schedule
referred to above, when considered in relation to the basic financial statements
taken as a whole, presents fairly in all material respects the information set
forth therein.
We also consent to the incorporation by reference in the Registration
Statements (Form S-8 File Nos. 33-11703, 33-16529, 33-18717, 33-26003,
33-34919, 33-38536, 33-40879, 33-44305, 33-44333, 33-48890, 33-59098,
33-65190, 033-50999, 033-51275, 33-58017, 33-60213, 33-60215, 333-01211,
333-06403 and 333-08651) pertaining to the Employee Stock Purchase Plan, 1987
Stock Option Plan, 1986 Incentive Stock Option Plan, 1985 Stock Incentive
Program, 1984 Incentive Stock Option Plan, 1982 Stock Option Plan, Directors'
Stock Option Plan and Subsidiary Stock Agreement, 1993 Long-Term Incentive
Stock Plan and the 1996 Supplemental Non-Executive Equity Incentive Plan of
Silicon Graphics, Inc.; the 1990 Stock Option Plan of Wavefront Technologies,
Inc.; and the 1988 Employee Share Ownership Plan, 1989 Employee Share
Ownership Plan, 1990 Employee Share Ownership Plan, and the 1994 Stock Plan
of Alias Research Inc. and the Amended and Restated 1989 Employee Benefit
Stock Plan and 1989 Non-Employee Directors' Stock Option Plan of Cray
Research, Inc. of our report dated July 19, 1996 with respect to the
consolidated financial statements of Silicon Graphics, Inc. incorporated
herein by reference, and our report included in the preceding paragraph with
respect to the financial statement schedule included in this Annual Report
(Form 10-K).
/s/ Ernst & Young LLP
Palo Alto, California
September 27, 1996
-27-
Schedule II
SILICON GRAPHICS, INC.
Valuation and Qualifying Accounts
(in thousands)
Additions
-----------------------------------
Balance at Charged to Balance at
Beginning Costs and Deductions End of
Description of Period Expenses Other Write-offs Period
----------- --------- -------- ------ ---------- ------
Year ended June 30, 1994
Accounts receivable
allowances $10,875 $3,226 $0 $(4,609) $9,492
Year ended June 30, 1995
Accounts receivable
allowances $9,492 $11,534 $0 $(7,561) $13,465
Year ended June 30, 1996
Accounts receivable
allowances $13,465 $4,292 $6,383* $(373) $23,767
* Acquired Cray Research valuation allowance.
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[] |
[
"old computers",
"vintage computers",
"video games",
"game consoles",
"computer museum",
"video game museum",
"center computer history"
] | null |
[] |
2024-08-14T17:00:37+00:00
|
Silicon Graphics, Inc. SGI was a computing manufacturer that produced highperformance computer hardware and software from 1981 through 2009. SGI’s collaboration with game studio Rare and the....
| null |
Be_part_of_our_story...
We are a registered charity. Since opening in 2013, over 160,000 people, including 18,000 school pupils, have visited the Centre. Our visitors deserve a space which is engaging and inspiring, where they can feel a sense of adventure, exploration and wonder!
We have an ongoing need for small donations to support our work, major donations to move us forward as a charity and everything in between. Corporate partnerships are also welcomed.
Small donations can be made below or to make the absolute most of your donation, please do consider making a direct bank transfer. Contact us by email using admin@computinghistory.org.uk to ask for details. If you'd like to chat about supporting us please contact our Partnerships team.
All individual donations can also be Gift Aided, allowing us to claim an extra 25p on every £1 donated. Visit our Gift Aid page to complete a Gift Aid declaration.
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https://www.techspot.com/community/topics/silicon-graphics-gone-but-not-forgotten.266586/
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Silicon Graphics: Gone But Not Forgotten
|
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[
"Cal Jeffrey",
"Gavin Greenwalt",
"C Carlie Coats",
"D decairn"
] |
2022-11-10T14:19:43+00:00
|
#ThrowbackThursday At its peak in the 1990s, Silicon Graphics had legendary status among 3D and graphic designers who leveraged the unique power of these...
|
en
|
https://www.techspot.com/images/favicon30.ico
|
TechSpot Forums
|
https://www.techspot.com/article/2142-silicon-graphics/
|
Octane, Iris....seems like someone at Intel thinks fondly of SGI
Joke aside, thanks for the „gone but not forgotten“ series. Always an interesting read.
Small suggestion: Intellivision or Coleco featured in your series would be great. Still remember the Adam being a dream computer back in the day based on the pre-release rumors. Have and Aquarius but would love to have an Adam just because....
I remember the late 90's were brutal for the high end systems. I was really into 3D modeling and animation applications at the time. By 1998 we had options like the Amiga and the Windows PC was becoming more capable. These were much less expensive alternatives for enthusiasts and professionals animators alike.
The article briefly mentions DEC who made the 64Bit DEC Alpha CPU. They eventually ventured into the NT Windows market with an emulator "FX 32". I remember seeing them at a SIGGRAPH presentation in Los Angeles. They were running Quake on these NT PC's on VooDoo graphics cards. A powerful 64Bit CPU running a 32Bit OS demonstrating a PC Game.
I didn't realize it at the time, but it was a sign that high end systems were in serious decline.
By 2002 we were running multiple inexpensive heavily overclocked PC's in our 3D renderfarms for commercial productions. Hell, I had a 6 Celeron PC renderfarm running Lightwave in my apartment in 1999.
An SGI Origin server and two Onyx servers were also used in the world's first numerical air quality forecast system, in a joint project of North Carolina Supercomputing Center and Penn State Department of Meteorology, back in the late 1990's (I wrote the modeling code that was used for that project.) The forecasts were continued at NCSC through 2002, then (on SGI Altix) by Baron Advanced Meteorological Systems, who bought the forecast group from NCSC...
Octane, Iris....seems like someone at Intel thinks fondly of SGI
Joke aside, thanks for the „gone but not forgotten“ series. Always an interesting read.
Small suggestion: Intellivision or Coleco featured in your series would be great. Still remember the Adam being a dream computer back in the day based on the pre-release rumors. Have and Aquarius but would love to have an Adam just because....
I cannot say that I did not want one myself, however, the reality of it all $$$. I always had to have the next big thing on the market... was real fond of SGI though
I remember the late 90's were brutal for the high end systems. I was really into 3D modeling and animation applications at the time. By 1998 we had options like the Amiga and the Windows PC was becoming more capable. These were much less expensive alternatives for enthusiasts and professionals animators alike.
The article briefly mentions DEC who made the 64Bit DEC Alpha CPU. They eventually ventured into the NT Windows market with an emulator "FX 32". I remember seeing them at a SIGGRAPH presentation in Los Angeles. They were running Quake on these NT PC's on VooDoo graphics cards. A powerful 64Bit CPU running a 32Bit OS demonstrating a PC Game.
I didn't realize it at the time, but it was a sign that high end systems were in serious decline.
By 2002 we were running multiple inexpensive heavily overclocked PC's in our 3D renderfarms for commercial productions. Hell, I had a 6 Celeron PC renderfarm running Lightwave in my apartment in 1999.
Really though ... as if anyone wanted to be next Bill and Paul showing their innovation and IT TOO FAIL ... imminent failure
An SGI Origin server and two Onyx servers were also used in the world's first numerical air quality forecast system, in a joint project of North Carolina Supercomputing Center and Penn State Department of Meteorology, back in the late 1990's (I wrote the modeling code that was used for that project.) The forecasts were continued at NCSC through 2002, then (on SGI Altix) by Baron Advanced Meteorological Systems, who bought the forecast group from NCSC...
was that to try to get the science down on windsheer and Am Eagle (US Air)?
I remember the late 90's were brutal for the high end systems. I was really into 3D modeling and animation applications at the time. By 1998 we had options like the Amiga and the Windows PC was becoming more capable. These were much less expensive alternatives for enthusiasts and professionals animators alike.
The article briefly mentions DEC who made the 64Bit DEC Alpha CPU. They eventually ventured into the NT Windows market with an emulator "FX 32". I remember seeing them at a SIGGRAPH presentation in Los Angeles. They were running Quake on these NT PC's on VooDoo graphics cards. A powerful 64Bit CPU running a 32Bit OS demonstrating a PC Game.
I didn't realize it at the time, but it was a sign that high end systems were in serious decline.
By 2002 we were running multiple inexpensive heavily overclocked PC's in our 3D renderfarms for commercial productions. Hell, I had a 6 Celeron PC renderfarm running Lightwave in my apartment in 1999.
Whoa.. taking me back.. Quake .. trip.. crashed the network at the job .. was it a Banshee?? sounds alot like on winbin
The company I worked at sold a lot of SGI - Crimson, Onyx, Indigo. Siemens bought 30 of them for solids modelling, CNC machine emulation, and wind tunnel emulation. We configured them before shipping then had a large LAN party with everyone before packing them up and sending to the customer. It had a great tank battle, flight simulator and dog fight game that came free.
I do remember the Onyx. wish I could forget those times though. Erase them from images burned onto brain. sad being those were the roaring 20s
IN 1995-96 was learning Discreet Logic's Flint on an indy. Later (1999) was working on an Octane workstation. These machine were never turned off but for maintence. A certified engineer was mandatory to fix a minor or major issue. IRIX was a fantastic os. what a time...
Right I suppose... much like the tick tick tick from the faucet in the bathroom. always seems to be the best jobs to have only require about a 1/4 turn
"The OpenGL standard remains the only cross-platform 3D-graphics API and has even been ported to cell phones and other portable devices. "
/* Vulkan has entered the chat */
Cross platform is the only real distinction that matters here. DirectX was ported to cell phones. Metal was ported to cell phones. I think even libgcm made it to the Vita which is a portable device. Every closed operating system tends to offer a 3D-graphics API. And there is no reason to have two mature open graphics APIs... which now is Vulkan.
"The OpenGL standard remains the only cross-platform 3D-graphics API and has even been ported to cell phones and other portable devices. "
/* Vulkan has entered the chat */
Cross platform is the only real distinction that matters here. DirectX was ported to cell phones. Metal was ported to cell phones. I think even libgcm made it to the Vita which is a portable device. Every closed operating system tends to offer a 3D-graphics API. And there is no reason to have two mature open graphics APIs... which now is Vulkan.
Vulkan is OpenGL. It's a step into low-level territory, like D3D 11 -> D3D 12, but it still is the same elements. Vulkan is governed by the same Khronos. Before the release they even called it "OpenGL next".
Also, it's irrelevant if Vulkan is "multi-platform" because that in essence means it runs on Linux. Too bad the relevant platforms are anything but Linux. Windows is doing fine with D3D, same goes for the Xbox. The PlayStation has Gnm(x) which is in fact more similar to D3D than OpenGL/Vulkan. And macOS has Metal. So yeah, there's no reason to have 2 mature APIs, so Vulkan serves no purpose whatsoever.
Vulkan is OpenGL. It's a step into low-level territory, like D3D 11 -> D3D 12, but it still is the same elements. Vulkan is governed by the same Khronos. Before the release they even called it "OpenGL next".
Also, it's irrelevant if Vulkan is "multi-platform" because that in essence means it runs on Linux. Too bad the relevant platforms are anything but Linux. Windows is doing fine with D3D, same goes for the Xbox. The PlayStation has Gnm(x) which is in fact more similar to D3D than OpenGL/Vulkan. And macOS has Metal. So yeah, there's no reason to have 2 mature APIs, so Vulkan serves no purpose whatsoever.
sorry to be the bearer of bad news but Vulkan is NOT OpenGL...
Oh the good old days.
I worked for DEC. One customer " Blue Sky Studios" had a combination of MAC, and SGI workstations.
The rendering end was 500 pizza box size Alphas. All the rendering was sent to a TRU64 Alpha cluster. I spent a lot of time there during production of "Ice Age".
I believe they are using Linux based systems now.
SGI machines were good in there time. The TRU64 clusters were also very good in there time.
I was fortunate enough to work for DEC (Then Compaq--> HP) at a time when all kinds of neat and new stuff was coming along at a pretty good pace.
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http://www.analytictech.com/mb021/bill.htm
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Bill Gates' Memo
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[
""
] | null |
[] | null | null |
Bill Gates' Memo to Apple
This is from Wired magazine issue 5.11 November 1997. I've just excerpted a small piece that includes Gate's famous memo to Apple, in which he recommends that Apple license its software to other computer companies.
... From a 1990s hindsight, the merits of licensing a technology are obvious. Instead of funding all research and development itself, Apple could have reaped the benefits of having dozens, even hundreds of imitators all adding their own unique value to the Mac. Legions of suppliers would have sprung up all around the world to furnish the manufacturers with components such as disk drives and memory. And since the software was light-years ahead of everybody else's, Macs, not Windows, might have come to dominate the personal computer market. That dominant market position would have forced software developers to devote the bulk of their resources to Apple and its compatibles, ensuring a plethora of programs that would meet almost any user's needs.
It would all have become one big corporate ecosystem centered around the Mac. Put another way, Apple would have created an industry standard, a playing field that it controlled and everyone else would have had to buy into. This standard was envisioned by Bill Gates and outlined in one of the most important documents in Silicon Valley history, a highly confidential three-page memorandum from Gates to Sculley and Gassee dated June 25, 1985. Entitled "Apple Licensing of Mac Technology"' the document read:
-----------
Background:
Apple's stated position in personal computers is innovative technology leader. This position implies that Apple must create a standard on new, advanced technology. They must establish a "revolutionary" architecture, which necessarily implies new development incompatible with existing architectures.
Apple must make Macintosh a standard. But no personal computer company, not even IBM, can create a standard without independent support. Even though Apple realized this, they have not been able to gain the independent support required to be perceived as a standard.
The significant investment (especially independent support) in a "standard personal computer" results in an incredible momentum for its architecture. Specifically, the IBM PC architecture continues to receive huge investment and gains additional momentum The investment in the IBM architecture includes development of differentiated compatibles, software and peripherals; user and sales channel education; and most importantly, attitudes and perceptions that are not easily changed.
Any deficiencies in the IBM architecture are quickly eliminated by independent support ... The closed architecture prevents similar independent investment in the Macintosh. The IBM architecture, when compared to the Macintosh, probably has more than 100 times the engineering resources applied to it when investment of compatible manufacturers is included. The ratio becomes even greater when the manufacturers of expansion cards are included.
Conclusion:
As the independent investment in a "standard" architecture grows, so does the momentum for that architecture. The industry has reached the point where it is now impossible for Apple to create a standard out of their innovative technology without support from, and the resulting credibility of, other personal computer manufacturers. Thus, Apple must open the Macintosh architecture to have the independent support required to gain momentum and establish a standard.
The Mac has not become a standard
The Macintosh has failed to attain the critical mass necessary for the technology to be considered a long term contender:
a.Since there is no "competition" to Apple from Mac-compatibl e manufacturers, corporations consider it risky to be locked into the Mac, for reasons of price AND choice.
b.Apple has reinforced the risky perception of the machine by being slow to come out with hardware and software improvements (e.g. hard disk, file server, bigger screen, better keyboard, larger memory ...)
c.Recent negative publicity about Apple hinders the credibility of the Macintosh as a long-term contender in the personal computer market.
d. Independent software and hardware manu facturers reinforced the risky perception of the machine by being slow to come out with key software and peripheral products.
e.Apple's small corporate account sales force has prevented it from having the presence, training, support, etc. that large companies would recognize and require
f.Nationalistic pressures in European countries often force foreign consumer to choose local manufacturers. Europeans have local suppliers of the IBM architecture, but not Apple. Apple will lose ground in Europe as was recently exhibited in France.
Recommendation:
Apple should license Macintosh technolog to 3-5 significant manufacturers for the development of "Mac Compatibles:"
United States manufacturers and contacts: ideal companies - in addition to credibility, they have large account sales forces that can establish the Mac architecture in larger companies:
· AT&T, James Edwards
· Wang, An Wang
· Digital Equipment Corporation, Ken Olsen
· Texas Instruments, Jerry Junkins
· Hewlett Packard, John Young
other companies (but perhaps more realistic candidates):
· Xerox, Elliott James or Bob Adams
· Motorola, Murray A. Goldman
· Harris/Lanier, Wes Cantrell
· NBI, Thomas S. Kavanagh
· Burroughs, W. Michael Blumenthal and Stephen Wei senfel d
· Kodak
European manufacturers:
· Siemens
· Bull
· Olivetti
· Phillips [sic]
Apple should license the Macintosh technology to US and European companies in a way that allows them to go to other companies for manufacturing. Sony, Kyocera ... are good candidates for OEM manufacturing of Mac compatibles.
Microsoft is very willing to help Apple implement this strategy. We are familiar with the key manufacturers, their strategies and strengths. We also have a great deal of experience in OEMing system software.
Rationale:
1.The companies that license Mac technology would add credibility to the Macintosh architecture.
2.These companies would broaden the available product offerings through their "Mac-compatible" product lines:
they would each innovate and add features to the basic system: various memory configurations, video display, and keyboard alternatives, etc.
Apple would lever the key partners' abilities to produce a wide variety of peripherals, much faster than Apple could develop the peripherals themselves.
customers would see competition and would have real price/performance choices.
3.Apple will benefit from the distribution channels of these companies.
4.The perception of a significantly increased potential installed base, will bring the independent hardware, software, and marketing support that the Macintosh needs.
5.Apple will gain significant, additional marketing support. Every time a Mac compatible manufacturer advertises, it is an advertisement for the Apple architecture.
6.Licensing Mac compatibles will enhance Apple's image as a technological innovator. Ironically, IBM is viewed as being a technological innovator. This is because compatible manufacturers are afraid to innovate too much and stray from the standard.
----------
This heretofore unpublished document essentially provided a blueprint for how Apple could save itself from longterm debilitation - a course that, had it been taken, would have put Apple into the driver's seat into the 1990s and possibly beyond.
[skip some pages]
Sculley had a gleam in his eye, especially, for Silicon Graphics and Sun Microsystems, small but thriving makers of big computer workstations, as well as Novell, a small company that was then pioneering a new form of software to link networks of computers together. Sculley saw great strategic opportunities in each of these companies, since all were focused on the big corporate market he wanted to crack. "But the engineers felt Apple didn't need anyone else," Sculley says. "Just because you had the title of anything did not mean they would do what you asked."
This attitude, which had originated in the Steve Jobs days, came to be known in Silicon Valley circles as NIH, or "not invented here:' If it wasn't invented at Apple, the smartest place in the universe, Apple's engineers wanted no part of it.
Unbeknown to many people in the company at the time, Sculley had also set up a strategic sales group to study, among other things, the possibility of putting the Mac's look and feel - the top layer of the software, which the user sees - on top of other computers, just as Digital Research had done. This was a less radical step than Eilers's plan to license the Mac technology with all its bells and whistles to clone manufacturers.
Allowing others to use just the "look and feel" was more like an outpatient alternative to open-heart surgery on the Mac. It would not be necessary to ditch Motorola altogether. Using the Trojan horse approach, the Mac interface could be sneaked into corporations on another company's computer. Once the workers saw for themselves how great it was, they would refuse to use anything else. Named to head that venture was Chuck Berger, an outdoorsman who loved to water-ski on northern California lakes. He and Eilers were kindred spirits and would become equally despised at Apple.
Berger, vice president of Apple's new strategic sales group, had been given the green light by Sculley to talk to as many manufacturers as he could about this particular scheme. Over a 12-month period beginning in 1985, Berger and Sculley's former technical aide, Mike Homer, who was named to assist Berger, crisscrossed the United States, drumming up outside interest in the plan. There was more than enough to keep them hopping. Dr. An Wang, the founder of Wang Laboratories outside Boston, wanted to put the Mac software on top of his company's wordprocessing machines. Digital Equipment, Wang's neighbor down the Massachusetts Turnpike in Maynard, planned to incorporate the Mac's look into a line of new desktop computers. AT&T was so interested in putting the Mac onto the company's Unix workstations that approvals had been made all the way up to Bob Allen, then AT&T's CEO. Silicon Graphics, which would go on to fame as creator of the digital special effects in 1990s movie blockbusters such as Jurassic Park, was also profoundly interested.
"All of these had either a handshake agreement or letters of intent," says an industry executive intimately familiar with the discussions. "John and Chuck flew to AT&T twice and had them in the bag."
Sculley, however, would go on to reject all deals on the table. Gassee was yelling and screaming again, and Sculley just could not bear to hear it. Like Eilers, Berger was left to fall on his own sword. As of late 1985, Sculley was on track with a plan that would inflate Apple's profit margins above 50 percent on forthcoming sales of the souped-up Mac Plus. In a series of executive staff meetings at which Berger present his case for licensing, Gassee railed at going through with anything that would rob those profits.
"He made a strong stand that it was stupid to give up 55 percent margins for what would be, at best, 45 percent margins," says an executive close to all the discussions. "Jean-Louis said there woul not be enough money left to fund the insanely great' technology and that the engineers would probably leave:' Berger argued that it was clear that closed, or "proprietary," standards did not work. The best example of that, he said, was Sony's failure in the early '80s to set a standard in the videocassette recording industry with its Betamax machine. While Betamax was widely regarded as technically superior to the rival VHS machines, VHS was an open standard that other manufacturers could copy. Since Betamax was not, VHS went on to take over the VCR market.
Berger, in one of the meetings, also said, "Eventually someone will catch up with the [Mac's] GUI." Rolling his eyes in disgust, Gassee snapped back, "No one will ever catch up to the GUI." Gassee could not have been more blind if he had had a blindfold on.
Gassee may have been the most outspoken person at Apple against licensing, but he was certainly not alone. Indeed, when looking back on it all, Sculley says he is not so sure the board itself would have backed any kind of licensing scheme, even if he had pursued it full tilt. "Remember, at the time the board was interested in one thing: gross margin," he said to me in our first of several discussions for this book, sipping from a cup of black coffee as he mused on the situation a decade later in his lawyer's office in Palo Alto, California. By gross margin, Sculley was referring to the gross profit margin, measured as a percentage ol sales, which serves as a key barometer of a manufacturer's profitability. "The engineers wanted innovation. You had to fuel the innovation and manage the profits. So you had to stay within this envelope:'
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https://www.abortretry.fail/p/the-rise-and-fall-of-silicon-graphics
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The Rise and Fall of Silicon Graphics
|
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] |
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[
""
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[
"Bradford Morgan White"
] |
2024-04-04T00:02:09+00:00
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or How a Rebellious Youth Briefly Conquered the World
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en
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https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2F8421cfb8-5a60-4304-8b12-47afc58be862%2Ffavicon.ico
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https://www.abortretry.fail/p/the-rise-and-fall-of-silicon-graphics
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James Henry Clark was born on the 23rd of March in 1944 in Plainview, Texas. Clark’s family was far from wealthy. His father was fond of drinking and couldn’t keep a job. His mother worked at a local doctor’s office making about $225 per month (around $2605 in 2024). Clark’s parents divorced while Clark was still young, and while that salary may seem fine if low adjusted for inflation, Clark’s mother would only have received $175.50 ($2032) after income tax and social security tax, and it was the sole income for a woman and her three children. For himself, Clark was a bit rowdy. His high school highlights include setting off a smoke bomb on the band bus, smuggling a skunk into a school dance, telling his English teacher to go to Hell, drinking, and drag racing. Given the era, I imagine that the drinking was accompanied by chain smoking.
That times were different is… inadequate verbiage. For all the unruly behavior, Clark was only suspended from school twice. On his second suspension, young Clark decided he’d not be returning to school. He chose to join the US Navy and convinced his mother to sign the permission forms. Of course, this is Jim Clark, and the initial days of his naval career didn’t exactly go well. Clark had never taken a multiple choice test. He thought that for many questions more than one of the answers were at least partially true and therefore selected them. The officers in charge of test administration thought that Clark was attempting to fool the computer that checked the answers, and he was immediately sent out to sea with other delinquent recruits where he was given poor treatment, and rough and disgusting chores. The experience of Naval life lit a fire in Clark, and he chose to advance his station in life. He began learning about electronics, taking some general educational courses, and offering loans to other sailors at up to forty percent interest.
His first step was to get his General Education Diploma, which he did. He then enrolled at Tulane. Clark did well at Tulane but transferred to the University of New Orleans from which he received his BS and MA in Physics. He then attended the University of Utah where he earned his Ph.D. in computer science in 1974. From 1974 through 1978, Clark was employed as an assistant professor at UC Santa Cruz, but he left to become an associate professor at Stanford in 1979.
Early in his time at Stanford, Clark worked on a project with Xerox PARC with support from ARPA to develop three dimensional graphics. This led to the creation of the Geometry Engine. In “The Geometry Engine: A VLSI Geometry System for Graphics,” Clark also makes specific reference to Marc Hannah and Lynn Conway as being valuable contributors to the effort. What was the Geometry Engine? It was a special purpose microprocessor that handled matrix math along with point mapping. It featured an instruction set suitable both to 2D and 3D graphics, could generate quadratic/cubic curves and conic sections, worked with both vector and raster based systems, and operated in either integer or floating point systems as needed. In fewer words, Jim Clark and his team at Stanford along with the folks of PARC invented the GPU.
Clark founded Silicon Graphics Inc on the 9th of November in 1981, and he left Stanford early in 1982 to pursue building the company full time with just $25000 in funding (around $85000 in 2024) from a friend and the contents of his own accounts. Accompanying Clark in this adventure were Kurt Akeley, Dave Brown, Tom Davis, Mark Grossman, Marc Hannah, Herb Kuta, Rocky Rhodes, and Abbey Silverstone. While SGI knew they would deal in computers outfitted with a powerful GPU, they did not know precisely what else those computers should feature. As a result, Clark asked potential customers what they’d like to see in a workstation. While at least one potential customer was interested in VMS, NASA’s new Advanced Supercomputing division was very interested in UNIX and they were willing to pay. The division’s director at the time spoke with Clark, and (verbally) committed to purchasing at least eighteen workstations in their first order.
As things began to come together around a product plan, Mayfield invested in the young company. As the development and production of workstations is rather expensive, Clark and SGI’s other founders were forced to sell more and more of the company’s ownership to keep operating. The first product to ship was the IRIS 1000, where IRIS meant Integrated Raster Imaging System, in November of 1983. This machine was intended for use as a terminal for a VAX-11 and featured a Motorola 68000 clocked at 8 MHz with 768K RAM, a Geometry Engine clocked at 6 MHz capable of over six million geometric floating point operations per second, and a 10 Mbps ethernet NIC. The cabinet of the IRIS 1000 was ten inches wide, twenty one inches tall, twenty seven inches deep, and when fully assembled weighed in at one hundred pounds with a ten slot backplane. This machine was followed by the IRIS 1200 which was the same machine but with a twenty slot backplane. These were followed by workstation models 1400 and 1500 in April of 1984 which upgraded the CPU to the Motorola 68010 clocked at 10 MHz with 1.5M of RAM. These machines were differentiated from one another in the size of HDD they featured with the 1500 having been larger. The 1400 featured a 72MB winchester disk, while the 1500 featured 474MB of SMD. Both of these ran a UNIX SVR4 variant with BSD enhancements called GL2, and they featured twenty slot backplanes. The main system boards in these four machines were licensed from Andy Bechtolsheim just before he founded Sun Microsystems. The 1000 and 1200 used the PM1 and the 1400 and 1500 used the PM2. These were not cheap systems with the IRIS 1000 having a price of $22500 (around $67200 in 2024) and the 1400 having a price of $35700 in 1984 (around $106600 in 2024). These twenty slot machines were eighteen inches wide, twenty nine inches tall, and twenty seven inches deep, and fully assembled weighed in at two hundred pounds. By the time the first of these machines sold to Carnegie-Mellon University’s Electronic Imaging Lab, the founders of SGI owned very little of their company.
From nearly the first day that SGI’s hardware was on the market, software developers began trying to exploit the machines’ graphics capabilities. A rather prominent example of this was Wavefront Technologies in Santa Barbara led by Bill Kovacs, Larry Barels, and Mark Sylvester. Their first product was called Preview and launched in 1984 on SGI’s hardware. Their customer list included Universal Studios, NBC, NASA, and Electronic Arts. Naturally, this also informs us that these companies were using SGI hardware.
Given the outline of his youth, it isn’t very surprising that Clark was a hands-off kind of manager. He would hire the brightest minds he could, set a general target, and then let people go after it however they saw fit. There are two narratives for what follows. The first and most common that I’ve read was that Mayfield didn’t much care for Clark’s management style and they brought Ed McCracken formerly of HP in as CEO. The second narrative states that Clark didn’t care for running the company and brought McCracken in on his own accord. Whatever the case, McCracken stated of Clark:
Jim's not a day-to-day person. He works in his own time frame. He takes complex things and makes it simple. It might take a month, a day, or a year. He gets in these moods for a while where he's almost unavailable. He's most effective when he's in that mood.
In August of 1985, the company introduced the IRIS 2000 series of workstations. These machines were all based upon the the PM2 system board featuring the Motorola 68010 clocked at 10 MHz with a floating point coprocessor (SKYFPM-M-03). Naturally, these all featured the graphics engine as well. The IRIS 2000 and 2200 were ten slot backplane, shipped without a disk, and were intended for use as terminals. The 2300 and 2400 were twenty slot backplane and shipped with winchester disks. The IRIS 2500 was rackmount and used SMD disks. The 2000 series used a Geometry Engine clocked at 8 MHz. A few months after the initial launch of these upgraded machines, SGI launched the turbo line. This included the 2300T, 2400T, and 2500T which featured the IP2 system board with a Motorola 68020 clocked at 16 MHz, an FP1 floating point unit, and 2MB to 16MB of RAM. The RAM of the turbo units used a newer, faster, local bus. As a result, the RAM between turbo and non-turbo systems could not be mixed. This was an important bit of information as SGI did offer turbo upgrades for non-turbo systems that would then require the purchase of expensive proprietary memory.
In January of 1986, SGI made their initial public offering raising $17.2 million (nearly $49 million in 2024) with trading having started at $3 per share and topping $30 on the day. The following month, the company introduced the IRIS 3000 line. These are very similar to the IRIS 2000 turbo machines but with Enhanced IRIS Graphics. These featured either ten or twelve Graphics Engines clocked at 10 MHz with either eight or thirty two bitplanes depending upon configuration. The 3000 line could be ordered with either winchester disk drives, ESDI drives, or SMD.
Also in 1986, Control Data Corporation and Silicon Graphics signed a deal under which CDC would resell IRIS machines under CDC’s own branding. As far as I know, no complete listing of which models sold under what naming survives today, but it is known that the IRIS 3130 was resold as the CDC Cyber 910. This would make it a machine with twelve GEs at 10 MHz and ESDI drives.
In March of 1987, Silicon Graphics announced a new machine that marked a major transition for the company. The Professional Iris was a RISC machine built around the R2000 from MIPS Computer Systems (another project started at Stanford and spun out as its own company) clocked at 8 MHz. The company’s press release read:
The first member of the Iris line is the 4D/60, a RISC superworkstation with a 32-bit 8 MHz CPU from MIPS Computer Systems. It offer performance three times that of the Silicon Graphics Iris 3100 series. The graphics performance has been enhanced with 38 custom and semicustom graphic chips. It performs 140,000 32 bit three dimensional floating point transformations per second and renders over 4,500 100-pixel polygons per second with smooth shading and hidden surface removal. It offers 24 colour bit-planes for more than 16 million colours; four user-accessible system planes for overlay or underlay, menu and windowing functions; a 24-bit Z-buffer enabling hidden surface removal with greater accuracy and realism; high-level primitives such as splines and surfaces for more accurate renderings; and a multi-mode graphics windowing environment.
Standard configuration includes 4Mb CPU, eight colour bit-planes for 256 colours); four system planes, a Weitek-based floating point accelerator board; a 170Mb ESDI disk and controller; a 19″ 1,280 by 1,024 60Hz non-interlaced colour monitor; keyboard and mouse; and a floor-standing chassis with 12 VME slots and a 1,000-watt power supply.
Software compatible with the previous generation, it runs Unix System V.3 with a base price of $74,000.
The Professional Iris line included the 4D/60 mentioned in the press release followed by the 4D/50, 4D/70, 4D/80, and 4D/85. All of these featured the R2000 CPU with a floating point coprocessor. The 50 and 60 had an R2000 clocked at 8 MHz, while the 70 was at 12.5 MHz, and the 80 and 85 were clocked at 16.7 MHz. For comparison to other architectures, the 4D/50 was capable of seven million instructions per second, the 70 was capable of ten million, and the 80 was capable of thirteen million. The 50 and 60 had memory configurations starting at 4MB and upgradeable to 12MB. The rest of the lineup started at 8MB and could be upgraded to a maximum of 144MB. The first of the 4D/60, 50, and 70 systems to ship utilized the Clover 1 graphics system. Later models shipped with Clover 2 branded as IRIS GT. IRIS GT brought hardware support for lighting, smooth shading, antialiasing, pan/zoom of images, arbitrarily shaped windows, and other rather modern capabilities. Importantly, the bus for this system was a proprietary 64 bit bus. The actual chips powering all of the graphics capabilities were still the Graphics Engines, but these were updated some and they were capable of twenty million floating point operations per second. The Professional Iris series brought an end to the disk anarchy of the previous lineup and all systems utilized SCSI hard disks, and QIC-120 tape drives were also available. These systems were resold by both Control Data Corporation and Prime Computers. The UNIX version mentioned in the press release was SGI’s 4D1 which would later be renamed IRIX.
On the 29th of March in 1988, Control Data Corporation announced that it would be acquiring twenty percent of Silicon Graphics for $68.9 million (nearly $181 million in 2024) and extending its licensing deal for reselling SGI’s machines with an agreement to purchase $150 million (around $393 million in 2024) in hardware over the next three years.
On the 16th of September in 1988, SGI announced that IBM would be purchasing graphics cards and licensing IRIS GL, the software library for SGI’s graphics, for use in the IBM RS/6000 POWERStation. McCracken commented:
We are pleased to establish a relationship with IBM and look forward to working with them. The agreement reinforces our long-time conviction that three-dimensional graphics will become a mainstream technology in the computer industry. As real-time 3D graphics is made more affordable, the rapid growth that the 3D workstation industry is experiencing will continue to escalate.
The card in question was the IrisVision, and while I refer to it as a card, it was really two cards. The primary card held the Graphics Engine and daughter cards held the framebuffer and z-buffer memories totaling 5MB for the framebuffer and 3.75MB for the z-buffer. The primary card connected to the computer via its MCA bus edge connector, and it provided a DE-15 connector for display attachment. Overall, the IrisVision MCA card’s hardware was extremely similar to the graphics system in the SGI Personal Iris series introduced in 1987. It featured SGI’s fifth generation geometry processing pipeline (referred to as GE5, or Graphics Engine five), either an eight or twenty four bit per pixel frame buffer, and twenty four bits per pixel z-buffer. Also, just as the workstations’ hardware did, the IrisVision implemented the entire IrisGL API in hardware. The primary difference in IrisVision was the presence of a VGA (DE-15) passthrough for 2D graphics. In the course of the IrisVision’s development, an IBM PS/2 running OS/2 was used for testing and development. This resulted not only in a minimal OS/2 driver, but also in an ISA version of the IrisVision being developed. Ultimately, the only major customer SGI had managed to obtain was IBM for the MCA card for the RS/6000 UNIX workstations. Their struggle may have been that the card was priced at $4995 (just over $13000 in 2024). The company ultimately spun off the entire project as a separate company, Pellucid, which didn’t fare well. The former SGI employees who started Pellucid still managed to change the world when they founded 3dfx which used similar technology as well as the passthrough for 2D graphics.
SGI held a rather firm grasp on high-end graphics workstations, but hadn’t yet made a push into the entry level market. This changed with the introduction of the Personal Iris lineup. The line started with the 4D/20 which made use of a R2000 CPU from MIPS clocked at 12.5 MHz achieving ten million instructions per second. The other three machines made use of the R3000. In the 4D/25 the R3000 was clocked at 20 MHz achieving sixteen million instructions per second. In the 4D/30, the clock speed was pushed to 30 MHz and the performance was bumped to twenty seven million instructions per second. The highest performance model was the 4D/35 at 36 MHz and thirty three million instructions per second. Maximum memory supported on these systems was 128MB. Personal Iris systems were sold by both SGI and Control Data as expected, but these systems were also offered rebadged by the somewhat newly reconstituted Groupe Bull. From what I can find, Bull’s sales of rebadged SGI machines weren’t great; they had better luck with NEC hardware. For the naming “Personal Iris” and the thought that SGI would be attacking the “low-end” of the workstation market… the pricing wasn’t all that reflective unless one were to compare to “high-end” SGI machines which could reach lofty prices of about $100000 (about $262000 in 2024). The Personal Iris line started at $20000 (roughly $52000 in 2024).
The other, much higher end and far more expensive, SGI lineup introduced at this time was the PowerSeries which were multi-processor systems (up to eight CPUs) and could be deskside or rackmount. These systems could also support higher clocks at up to 40 MHz which in combination with up to eight processors could mean performance over two hundred thirty million instructions per second. The power of these systems was put to use in the movies The Abyss, Terminator 2, and Jurassic Park among many more.
In March of 1991, Compaq acquired thirteen percent of SGI for $135 million (around $307 million in 2024) along with an agreement to invest another $50 million (about $114 million in 2024) in the development of a new workstation that would be priced at around $7500 (roughly $17100 in 2024).
The most famous and beloved SGI systems were introduced from 1991 to 1995. These models were the Indigo, Indigo 2, and the Indy. The corresponding high-end systems were the Crimson, and Challenge series. The first Indigo system released in 1991 featured a MIPS R3000 CPU clocked at 30 MHz. The Indigo (and Crimson) moved SGI’s systems to 64 bit MIPS CPUs starting with the R4000 at 100 MHz and the R4400 at 150 MHz in 1992. The 150 MHz part in an Indigo could achieve one hundred twenty million instructions per second. The Indigo 2 was first introduced in 1993 with the MIPS R4400 CPU and “Extreme” graphics. The Indy was lowest end SKU of the three, and it was introduced in July of 1993 with a 100 MHz R4000PC CPU, 24 bit graphics system, 16MB of RAM, the IRIX operating system, a fifteen inch monitor, and a price of $4995 (about $10700 in 2024).
On the 13th of March in 1992 announced that it was acquiring MIPS Computer Systems via a stock swap worth about $333 million (around $737 million in 2024). This followed MIPS having had financial problems, high employee turnover, and the exit of the company’s president, Charles Boesenberg, one month earlier. For SGI, the acquisition ensured their part supply. MIPS Computer Systems became MIPS Technologies. The combined company had revenues at around $1 billion (about $2.21 billion in 2024). However, the large acquisition did mean that SGI posted a loss on the year of about $118 million (or $261 million in 2024). This move also briefly brought SGI into the ACE alliance that aimed to build a workstation standard on the MIPS CPU and the UNIX operating system as well as the 80386/486 and NT. This group was built of Compaq, MIPS, Microsoft, DEC, SCO, Acer, CDC, Kubota, Olivetti, NKK, Prime Computer, Pyramid Technology, Siemens, Sony, Sumitomo, Tandem, Zenith, and Wang. SGI and Compaq left the alliance rather promptly. This could be due to their own arrangement not long before, but ACE fell apart completely not much later anyway. I suspect that no strong alliance of fierce competitors would last long in a market that was shrinking due to low-cost commodity hardware and software consistently improving year over year in the PC compatible market. Yet, the SGI Indigo 2, Indy, Challenge and a few more were mildly compliant with the ACE ARC (Advanced RISC Computing) standard.
On the 30th of June in 1992, Silicon Graphics released OpenGL. This was a cross-platform API for both 2D and 3D graphics allowing hardware acceleration of rendering via one or more GPUs descended directly from IRIS GL. Unlike its predecessor, OpenGL did not have windowing, and it didn’t offer a mouse or keyboard API. IRIS GL had been developed before X and other graphical environments were available, and therefore had needed those features, but OpenGL had no such requirements. Another major change in the transition to OpenGL regarded feature availability. IRIS GL presupposed the use of SGI’s hardware. OpenGL could not make such an assumption, and as a result it allowed features not supported by a GPU to be rendered in software by the CPU. One customer this would positively affect was Microsoft who’d licensed IRIS GL for inclusion in NT in 1991.
At the end of 1992, Jim Clark met with Nintendo CEO Hiroshi Yamauchi to discuss bringing 3D graphics to Nintendo’s next game console. In many ways, the Nintendo 64 was an SGI workstation in miniature with a MIPS R4300 CPU clocked at 93.75 MHz offering one hundred twenty five million instructions per second, 4MB of Rambus DRAM at 250 MHz (actually 4.5MB but 512K is visible only to the GPU) which could be doubled with a RAM expansion pack, and the Reality coprocessor clocked at 62.5 MHz which offered the SGI GraphicsEngine (though a more modest version). The system supported 16.8 million colors, a maximum resolution of 640x480, and audio sampled at up to 44.1 KHz. Unfortunately, the design of the system meant that the full capabilities would almost never be fully realized. For example, there was no dedicated sound chip, so high sample rates would tax the CPU, and while the R4300 is 64 bit, the Nintendo 64 had a 32 bit data bus. Yet, showing the nature of the hardware packed into the Nintendo 64 is the Nintendo 64DD. This offered 64MB read/write magnetic disks (similar to Zip), a real time clock, internet connectivity via a 28.8 kbps modem, keyboard, mouse, and audio/video capture effectively transforming the Nintendo 64 into a small workstation. The expansion, after significant delays and a one year two and a half month life on the market, was a commercial failure. The Nintendo 64 itself, however, was a huge success following its release in 1996.
Industrial Light and Magic had been using SGI hardware since 1987, and on the 8th of April in 1993, they announced a partnership with SGI to create the Joint Environment for Digital Imaging, or JEDI. This allowed the two companies to gain insight from each other’s work. SGI got access to much of ILM’s software expertise while ILM got access to the latest and greatest hardware at a discount.
In 1994, Jim Clark left SGI, sold his shares in the company, and went on to partner with Marc Andreessen and start Netscape.
In 1995, SGI spent about $500 million (or $1 billion in 2024) acquiring Alias Research, Kroyer Films, and Wavefront technologies. At roughly the same time, SGI worked with DreamWorks SKG to form DreamWorks Digital Studio where these newly acquired companies’ products could be put to good use.
On the 26th of February in 1996, Silicon Graphics acquired Cray Research for $740 million (or $1.47 billion in 2024). This gave SGI control of around forty percent of the high performance computing market at the time. While many industry analysts speculated about SGI’s motives, Cray was struggling to survive and they had multiple installations at NASA. While SGI had been successful in entertainment, that sector accounted only for something around ten percent of SGI’s annual revenues. The bulk of SGI’s customers were governmental, so much so that SGI created the wholly owned subsidiary Silicon Graphics Federal Inc to hold those contracts and provide service and support for governmental organizations. In this way, SGI was essentially making sure they couldn’t lose one of their largest and most valuable customers, NASA, as they’d be the provider of not only workstations but also the support and service of NASA’s supercomputers. The supercomputer relationship benefited SGI all the way to 2008 with Pleiades.
The new SGI workstations of 1996 were the O2 and O2+ series. These systems were very different from both their predecessors and successors in that they utilized a unified memory architecture via the Memory & Rendering ASIC (MRE). The MRE had direct paths to all parts of the O2 such as the CPU, memory, I/O, compression, display, and imaging. Due to this structure, graphics hardware wasn’t optional but rather integral to the system’s design. The O2 could come equipped with an R5000, RM5200SC, RM7000A, R10000, or R12000 CPU. Frequencies ranged from 180 MHz to 400 MHz, all options had on-board floating point support, and could support up to 1GB of unified memory via eight 128MB DIMMs of one hundred thirty nine pin SDRAM.
The high-end deskside and rackmount options made available at this time were the Origin 2000, Origin 200, and Onyx 2 series. These were multiple CPU systems with distributed, shared-memory architecture called S2MP. The Origin 200 was the entry level system, the Onyx 2 was a step up, and the Origin 2000 was the premium SGI branded system and was rackmount. This series also had Cray Origin at the super-premium level with up to one hundred twenty eight R10000 CPUs. The IRIX operating system shipped with these models supported SMP.
On the 14th of May in 1997, SGI announced the acquisition of ParaGraph International Inc. ParaGraph was a vendor of VRML and web graphics software, and after the acquisition the company and its assets were moved to Mountain View with the new name of Cosmo Software. McCracken commented:
One of the most important long-term growth opportunities for Silicon Graphics is to empower the designers, developers, and service providers of the Second Web. With the acquisition of the leading PC 3D Internet company and the formation of Cosmo Software, we are increasing our investment and reinforcing our leadership in the market for the software and services that will bring about this new interactive medium.
Bringing the technologies of Onyx 2 series to the midrange workstation was the Octane, released in January of 1997. This was the a desktop machine instead of deskside, but it supported dual CPUs. This line featured the crossbar switch that debuted in the high-end and server machines of the prior year. The concept was that instead of a traditional shared bus, each subsystem could communicate with any other without interference. The crossbar switch had seven ports: HEART ASIC (CPU and memory), graphics (Impact [first or second generation] or VPro), XIO B, XIO C, XIO D, built-in I/O, PCI bridge. The Octane did have a higher-end version, the Octane 2, which featured more powerful CPUs and GPUs, higher density memory support, and a beefier PSU. CPUs in the Octane ranged from the R10000 at 175 MHz to the R14000A at 600 MHz, and RAM ranged from 64MB to 2GB.
Silicon Graphics didn’t do too well in 1997 overall. For revenues of $3.6 billion (or $7 billion in 2024) the company posted a loss of $78.6 million (roughly $152 million in 2024). On the 29th of October in 1997, Ed McCracken resigned as did the executive vice president of sales and marketing, Gary Lauer. The company then laid off around nine percent of its employees (about seven hundred people). Richard Belluzzo (formerly at HP) took over as CEO and Robert H. Ewald who was already the executive vice president of computer systems (formerly president of Cray) took over Lauer’s job duties. Some sources claim that McCracken was forced out, but this isn’t accurate. At the annual shareholder meeting in Palo Alto, McCracken announced his resignation stating: “after a great deal of thought, the time is right for me and the company to make a change.” He then proceeded to find and to hire his replacement himself.
Around this time, Silicon Graphics filed a lawsuit against a startup called ArtX. ArtX was founded by Dr. Wei Yen and around nineteen other SGI employees who’d worked on the Nintendo 64. The company’s original goal was to develop a PC graphics chip that would rival 3dfx. Then, in May of 1998, the company gained a contract to develop a graphics processor for Nintendo’s next generation game console, the GameCube. At COMDEX in the autumn of 1999, the company unveiled the Aladdin 7 chipset which shipped as integrated GPUs on K6-2 and K6-3 motherboards made by Acer Labs. ArtX was bought by ATI in February of 2000. ArtX’s technology was incorporated into ATI’s GPUs from 2002 until roughly 2005. SGI’s lawsuit against ArtX was quietly dropped in 1998 without any settlement having been reached.
On the 1st of January in 1998, shortly after taking over as CEO, Belluzzo sold two of SGI’s PCB factories and restructured the company from twenty six groups to just five. SGI then setup MIPS Technologies as its own legal entity (though SGI maintained a majority ownership), terminated the Cosmo software business, and proceeded to make customers hesitant to continue investments into the MIPS architecture by announcing SGI’s intent to migrate to Itanium (and collaborating on projects Monterey and Trillian) while simultaneously launching an IA-32 series of machines running NT known as the Visual Workstation. Additionally, the company began outsourcing the manufacturing of their computers, and cut the operating budget by about $200 million (or $381 million in 2024). In Spring of 1998, the company announced a lawsuit against NVIDIA for patent infringement.
None of this helped to change the overall direction of the company. Revenues fell to $3.1 billion and the company posted a loss of $460 million for 1998. On the 20th of July in 1999, without adequate funding to continue the lawsuit against NVIDIA, SGI and NVIDIA agreed to license one another their respective patent portfolios. The company continued to lose money, and Belluzzo left on the 22nd of August in 1999 to lead Microsoft’s MSN division.
As Bob Bishop took the reigns of SGI, things looked dark. AMD announced their 64 bit architecture in October, PC graphics had made massive strides while remaining significantly less expensive than SGI’s offerings, NT was proving to be a solid and less expensive competitor to UNIX, Linux was eating away at traditional UNIX market segments, and Itanium still hadn’t launched. By this point, the company had no fall back as they’d mostly stopped investment into new MIPS CPUs.
On the 2nd of March in 2000, SGI sold Cray to Tera Computer for $22 million (or $40 million in 2024). Tera promptly renamed itself to Cray Inc as it took on an installed base of six hundred supercomputers and two hundred customers across thirty different countries.
SGI’s final MIPS workstations were the Fuel and Tezro lines. Fuel was introduced in 2002 with the R14000 clocked at 500 MHz, up to 4GB of DDR SDRAM, and SGI’s VPro graphics. Models were available with up to an R16000 CPU clocked at 900 MHz. The Tezro was launched in 2003 starting at $20500 (or $34574 in 2024). This model featured only the R16000 and could be configured at clock speeds from 600 MHz to 1 GHz with 512MB to 8GB of DDR SDRAM and SGI’s VPro graphics. Fuel workstations were single CPU, but Tezro was offered with one to four CPUs. While SGI’s IA-32, Itanium, and Xeon workstations and servers sold, they didn’t make much money. On the 10th of July in 2003, SGI vacated and leased their headquarters to Google.
As SGI’s fortunes continued to decline, the company sold Alias Systems (formerly Alias|Wavefront) for $58 million on the 16th of April in 2004 to Accel-KKR (roughly $95 million in 2024). Then, in November of 2005, SGI was delisted from the NYSE due its stock price sinking below the minimum required. In January of 2006, Dennis McKenna was hired as president and CEO, and named chairman of the board. Bishop remained on the board of directors and served as vice chairman. On the 8th of May, the company filed for bankruptcy protections. The campus leased to Google was sold to Google in June of 2006 for $319 million (or $491 million in 2024). It’s prior home in Mountain View had been sold to the Computer History Museum in 2002. The company emerged from bankruptcy and was relisted in October. The official end of SGI’s MIPS and IRIX came on the 29th of December in 2006 with the final orders being fulfilled in March of 2007. Bob Ewald replaced McKenna as CEO on the 9th of April in 2007. In December of 2008, SGI was again delisted. On the 1st of April in 2009, the company filed for bankruptcy, and was subsequently purchased by Rackable Systems for around $42 million on the 11th of May in 2009 (roughly $65 million in 2024). Rackable renamed itself Silicon Graphics International following the acquisition, and it was later bought by Hewlett Packard Enterprise.
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From Wikipedia, the free encyclopedia
Companies portal
This category is for defunct computer companies of the United States, including companies that designed or manufactured computer hardware and peripherals. For defunct software companies, see Category:Defunct software companies of the United States.
Pages in category "Defunct computer companies of the United States"
The following 200 pages are in this category, out of approximately 878 total. This list may not reflect recent changes.
(previous page) (next page) (previous page) (next page)
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#274 Jim Clark Silicon Graphics, Netscape
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In "The New New Thing: A Silicon Valley Story," Michael Lewis delves into the life of Jim Clark, a man whose character quirks catalyzed monumental ripples in th
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Structure of Jim Clark's Life
Jim Clark's life is likened to an old-fashioned adventure story, filled with unpredictability and significant impact on the world.
His actions, often unintended, caused substantial changes and upheavals in people's lives.
Despite his desire for relaxation, Clark's restless mind constantly sought out change.
Clark is most well-known for creating Netscape and triggering the Internet boom, which led to a massive surge in wealth generation.
His background of coming from poverty and dropping out of high school contrasts sharply with his later success and wealth.
"His mere presence on a scene inspired the question that propels every adventure story forward. What will happen next?"
This quote captures the essence of Jim Clark's life as a series of unpredictable events that keep one wondering about the future. It emphasizes his impact on the world and the adventure-like quality of his life's path.
"For all I
Jim Clark's Transformation
Jim Clark experienced a profound personal and professional transformation.
He was fired and went through a divorce at 38, leading to a maniacal passion for achievement.
Clark's transformation seemed to occur overnight, surprising even himself.
"I was 38 years old. I had just been fired. My second wife had just left me. I had somehow fucked up. I developed this maniacal passion for wanting to achieve something. The result of this self imposed psychology surprised even Clark."
This quote highlights the pivotal moment in Jim Clark's life that spurred a drastic change in his mindset and ambitions, leading to his relentless drive for success.
Jim Clark's Philosophy
Clark believed that engineers, as the creators of wealth, should be rewarded accordingly.
His views align with Vannevar Bush's philosophy that engineers are the engine of capitalism.
Clark's philosophy is a variation of New Growth Theory, which posits that wealth comes from human imagination and innovation.
"Jim would agree with that statement... It's like a variation of this thing called new growth theory."
The quote outlines Clark's alignment with the idea that engineers should be rewarded for their role in driving capitalism, which is a central tenet of his philosophy and indicative of his support for New Growth Theory.
Economic Context of the Era
Jim Clark's wealth was public knowledge, fluctuating significantly due to the volatile nature of the tech industry.
Example: Clark's shares in Netscape were worth $400 million on July 5, 1998, which was less than his past and future valuations.
"It was public knowledge that Jim Clark owned 16 million shares in Netscape and that Netscape at the time they're meeting on July 5, 1998, was trading at $25 a share."
This quote illustrates the economic volatility and the public nature of Clark's wealth during the tech boom, reflecting the dynamic and unpredictable nature of the industry.
Engineers in the Price System
The book "The Engineers and the Price System" by Thorstein Veblen predicted engineers would dominate the US economy.
Veblen argued that engineers would seize power from financiers due to their understanding of technology.
Clark resonated with the idea of engineers taking power from financiers, as he saw this shift occurring in Silicon Valley.
"Jim was particularly keen on the idea of the engineer grabbing power from the financier. That is happening right now, he said, right here in the valley, the power is shifting to the engineers who create the companies."
The quote captures Clark's belief in the rising dominance of engineers in the economic landscape, a shift he witnessed firsthand in Silicon Valley and strongly supported.
New Growth Theory
New Growth Theory, developed by economist Paul Romer, suggests that wealth is created by innovative combinations of existing resources.
The theory emphasizes the importance of nonconformism and the role of 'geeks' in creating wealth through technology.
"The metaphor that Roemer used was that of a well stocked kitchen waiting for a brilliant chef to exploit it... The prime mover of wealth was the geek, holed up in his basement all weekend, discovering new things to do with his computer."
This quote explains the essence of New Growth Theory, likening innovation to a chef creating new recipes, and positions technologically savvy individuals as central to economic growth.
Evolution of Silicon Valley
Jim Clark was one of the few who transitioned from the first part of Silicon Valley's history, focused on building better machines, to the second part, which involved creating new software applications.
The shift in Silicon Valley reflected a broader notion of what constituted useful work, with the internet expanding career possibilities.
"Clark had made the leap from part one to part two of the Silicon Valley story... The notion of what constituted useful work had broadened."
The quote emphasizes Clark's adaptability and foresight in moving from hardware to software, and his understanding of the changing landscape of valuable work in the tech industry.
Jim Clark's Approach to Work and Life
Clark's philosophy blurred the lines between work and leisure, with his actions driven by a pursuit of excellence.
He embraced unpredictability and change, seeing impatience as a commercial virtue that spurred the creation of new companies.
"A master in the art of living draws no sharp distinction between his work and his play... Impatience might be a social vice, but to Clark it was a commercial virtue."
This quote reflects Clark's holistic approach to life, where work and play are indistinguishable, and his belief that impatience can be a positive trait in the business world.
Clark's Impact on Silicon Valley
Clark's first company, Silicon Graphics, was founded with his Stanford graduate students and initially undervalued.
His technology, particularly the geometry engine, was revolutionary, yet the financial benefits were not equitably distributed among the engineers.
"Clark had invented the technology, bet his career on it, and he had been right... But as a group, Clark began to complain. They had precious little to show for it."
The quote captures the disparity between Clark's innovative contributions and the financial rewards, highlighting his dissatisfaction with the distribution of wealth within Silicon Graphics.
Conflict and Resolution
Clark experienced conflict with Silicon Graphics' board, leading to his departure and the creation of new ventures.
He was determined to correct the injustices he perceived in the distribution of wealth and power in his future companies.
"Jim is a misfit, a troublemaker... His solution every time, or almost every time, is all right. The solution is we need to start another company."
This quote illustrates Clark's rebellious nature and his response to conflict, which was to innovate and start new companies that aligned with his values.
Founder's Influence on Company Culture
Founders imprint their personality on their companies, shaping the organization's behavior and values.
Early Silicon Graphics reflected Jim Clark's persona: a brilliant, bullheaded engineer with a preference for innovation over immediate profit.
The company was seen as a loose collection of argumentative but brilliant engineers.
This culture was at odds with the profit-driven approach of professional management.
"By 1984, everyone understood that it would behave like Jim Clark, which is to say that it would behave as no big, successful American company had ever behaved."
The quote emphasizes how Jim Clark's personality was integral to Silicon Graphics' unique corporate culture, which diverged from traditional American business practices.
Tension Between Innovation and Profit
Traditional equity holders prioritize profitability, often at the expense of innovation and technological advancement.
Founders may lose control and influence if they give up too much equity.
Professional managers focus on selling current technology effectively, but may lack the vision or skills to create future technologies.
Silicon Graphics experienced a short-term financial success under professional management, but ultimately faced the consequences of not innovating.
"These people could never build the machines of the future. But they could sell the machines of the present."
This quote contrasts the innovative spirit of founders with the operational efficiency of professional managers, highlighting a potential conflict between building for the future and selling in the present.
The Innovator's Dilemma and Self-Cannibalization
Jim Clark recognized the need for Silicon Graphics to disrupt itself to avoid becoming obsolete.
He understood that staying high-tech required constant innovation, even if it meant undermining current profitable products.
Clark's push for self-cannibalization was met with resistance from the existing management focused on current profits.
"For a technology company to succeed, he argued, it needed always to be looking to destroy itself. If it didn't, somebody else would."
This quote encapsulates Clark's belief in proactive self-disruption as essential for long-term success in technology.
Distraction as a Catalyst for Innovation
Discontent with the direction of Silicon Graphics led Jim Clark to seek new ventures.
Similar to Walt Disney, Clark's dissatisfaction fueled his search for a new creative outlet, leading to his obsession with toy helicopters.
Clark's departure from Silicon Graphics was motivated by a desire for revenge and a determination to prove his worth independently.
"Jim Clark was gone. He'd up and left the company he created and said he was going to start another."
The quote signifies a turning point where Clark decides to leave Silicon Graphics, driven by a personal vendetta and ambition to succeed on his own terms.
Netscape and the Power of Storytelling
Jim Clark's next venture was Netscape, inspired by the potential of the internet and its rapid growth.
Netscape's success was partly due to Clark's ability to tell a compelling story, attracting investment and public interest.
Netscape's IPO made many employees wealthy, including Clark, who ensured he retained significant control and ownership.
"People started drinking my koolaid."
This quote from Jim Clark highlights the impact of his persuasive storytelling on Netscape's successful public offering.
Reflections on Recruiting and Risk
Recruiting is crucial for a company's success but is also challenging, as evidenced by Clark's experience with Netscape.
The book suggests that some engineers regretted not joining Netscape, as they missed out on the financial rewards.
The story serves as a lesson in risk-taking and opportunity recognition for potential employees and founders.
"Jim built this company with a b team. We are making 80,000 a year. These guys are making millions."
This quote reflects on missed opportunities and the importance of risk assessment when choosing to join a startup or new venture.
Difficulty in Recruiting Talent
Recruiting top talent is a significant challenge for startups.
Marc Andreessen's experience with Jim Clark highlights the rarity of individuals willing to take risks with new ventures.
Jim Clark's reputation and success with Silicon Graphics Inc. did not ease the difficulty of recruitment for Netscape.
The majority of potential recruits hesitated to join Clark, demonstrating the fear of risk prevalent even among Silicon Valley professionals.
"When Jim Clark decided to start a new company in 1994, I was one of about a dozen people at various Silicon Valley companies he was talking to about joining him in what became Netscape. I was the only one who went all the way to saying yes."
This quote illustrates the challenge faced by Jim Clark, a well-known figure in the tech industry, in convincing talented individuals to join his new venture, Netscape. Despite his status, most recruits were reluctant to take the leap.
Jim Clark's Philosophy on Work and Play
Jim Clark blurred the lines between work and play, integrating his passions and interests into his professional endeavors.
The creation of an automated and computerized sailboat reflects Clark's desire to innovate for pleasure, not just for financial gain.
Clark's approach to entrepreneurship was about designing the role he wanted and ensuring his work environment allowed him to play that role.
"There is really no distinction between work and play for Jim Clark."
This quote encapsulates Clark's philosophy that work and leisure can be one and the same. His career choices were driven by this principle, allowing him to pursue projects that were both personally fulfilling and professionally rewarding.
Jim Clark's Approach to Business and Leadership
After Netscape, Clark realized he did not fit well within large organizations and designed his future ventures accordingly.
He maintained positions such as chairman and held shares without being deeply involved in day-to-day operations.
Clark's ventures post-Netscape, like Healthion, were ambitious and aimed at revolutionizing industries using the internet.
"Having learned from silicon graphics that he did not really belong inside a large organization. He designed all future large organizations without a place for himself inside of it."
The quote explains that Clark learned from his past experiences and structured his future companies in a way that allowed him to maintain influence without being entangled in the operational complexities that did not suit his strengths or interests.
Economic Success and the Value of Talent
The tech industry, along with others like literature and film, shows a significant disparity between the average and the best talents.
Steve Jobs and Jim Clark's co-founder at Healthion both emphasized the dramatic difference a top-tier talent can make.
The book discusses the swift accumulation of wealth in the tech industry, with venture capitalists initially skeptical of Clark's demands but ultimately realizing massive returns on their investments.
"The difference between a great software guy and an okay software guy is huge. A great software guy is worth ten times an okay software guy."
This quote highlights the principle that in certain industries, such as software development, the impact of a highly skilled individual can be exponentially greater than that of an average one. This underscores the value of investing in top talent.
Risk-Taking and Financial Power
Jim Clark's willingness to take financial risks was a key factor in his success.
His confidence in his ventures was so strong that it influenced others to invest alongside him.
Clark's metaphor of "pigs and chickens" illustrated his belief in the importance of commitment over mere interest in business endeavors.
"Clark's willingness to take risks others shunned was the source of his financial power."
The quote reflects Clark's entrepreneurial spirit and his ability to use his own conviction to inspire confidence in others, thereby securing the financial backing needed for his ambitious projects.
The Evolving Ambitions of Jim Clark
Jim Clark's financial goals continually escalated as he achieved each new level of wealth.
His desire to outdo competitors like Larry Ellison was part of his motivation.
Clark's restlessness and dissatisfaction fueled his drive to keep pushing boundaries and taking on new challenges.
"I just want to make more money than Larry Ellison. Then I'll stop."
This quote reveals Clark's competitive nature and his ever-shifting benchmarks for success. It illustrates the common phenomenon of goalposts moving as one achieves their initial objectives, leading to perpetual dissatisfaction and ongoing ambition.
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How Nvidia Won the Graphics Card Industry
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In 1995, there were over thirty different companies competing with one another to build the best graphics chips for the personal computer. Six years later, there would be only three. With one clearly in the lead: Nvidia.｜Meet Global
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https://meet-global.bnext.com.tw/articles/view/47594
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In 1995, there were over thirty different companies competing with one another to build the best graphics chips for the personal computer.
Six years later, there would be only three. With one clearly in the lead: Nvidia.
As of this writing, Nvidia Corporation is the 15th biggest company in the world, worth half a trillion dollars.
Their graphics cards sell out like gangbusters the second they come onto the market.
And the company is seeking to buy ARM for $40 billion.
In this video, we are going to look back into the past and see how a little startup came up from behind everyone else to dominate the graphics card industry on route to being the world-leading tech juggernaut it is today.
Introducing Nvidia
Nvidia is very well covered in the Wikipedia article so if you want details, you can read that first. The company's founding story and journey is as charismatic as its founder. But here is an accelerated history.
Nvidia was founded in 1993 by Jensen Huang, Chris Malachowsky, and Curtis Priem. The former director of coreware at LSI Logic Corporation, Huang was the company’s President and CEO. Malachowsky and Priem served on the technical side.
I cannot help but also add that Huang was born in the city of Tainan. My family hometown and where many of my loved ones still live.
The company was founded with the intention of creating microprocessors capable of rendering high quality 3D graphics. Their name came from the Latin word "invidia", which means envy.
Graphics in the 70s and 80s
The idea of having separate hardware handle the complicated tasks of 3D graphics processing long existed before Nvidia came onto the scene. For instance, the first Atari video game consoles, shipped in the 1970s, had graphics chips inside.
But the first commercial video cards - where you have chips or boards plugged into the main computer - came about in the 1980s. The IBM Professional Graphics Controller or PGA used an on-board Intel 8088 microprocessor to do video tasks. This freed up the computer's CPU to do other things.
First released in 1984, the PGA cost too much - sticker price of $4-5,000 - and only worked with IBM PCs at the time. It did not succeed in the market. But the idea of a video card began to stick.
In the late 1980s, Silicon Graphics Inc or SGI emerged as the dominant graphics player in the market.
They were the first to refine the concept of a graphics pipeline - the conceptual model illustrating the stages through which graphics data is processed. In other words, it translates coordinates to 2D pixel space on a screen.
And then in 1992 SGI released OpenGL, a public 3D graphics standard or API. With 120 commands to draw points, lines, and polygons, OpenGL would be the first API to be widely adopted by the industry. OpenGL support became a critical factor in graphics hardware.
SGI hardware dominated the profitable graphics workstation space, but never took the consumer market all that seriously. A slew of others would soon scratch that itch.
The Growing Consumer Market
In 1990, Microsoft released Windows 3.1. And it had a graphical user interface, a GUI. And it was glorious.
The idea of being able to see and interact with things visually caught on for whatever reason. Over 2 million units were sold in the first six months after release.
But consumer interest in graphics really took off in 1993 with the release of a 3D game called Doom by game developer Id Software.
Most contemporary video games then were Nintendo-ish childish toys. Doom bucked the trend and offered a mature, action-packed first person shooter.
Three years later in 1996, Id released their followup to Doom - Quake. Quake offered brand new technical breakthroughs that Doom did not have. It offered full real-time 3D rendering and online multiplayer. Quake would also be a massive hit.
3dfx Takes the Lead
Quake sold well, but PC owners found that their computers were often unable to run the game at its full specs. Without additional help, the game looked terrible. And it was slow, which matters a big deal when you are trying to beat your friends in an online deathmatch.
To ameliorate this, main programmer John Carmack worked alongside chip designer Rendition on a version of Quake customized for their Verite chips. But after this fell through, he rewrote the game to support OpenGL. This version was later dubbed GLQuake.
This spurred new innovation in the consumer video card space. To take advantage of this game - one of the first "killer apps" - a graphics chip startup called 3Dfx quickly wrote a wrapper program that made OpenGL compatible with their own proprietary Glide graphics API. They then exploited a drop in RAM prices to launch the Voodoo video card.
Voodoo cards ran chips that were designed by 3dfx in America, manufactured in Taiwan, and sold to various board partners for resale. It was the first consumer video card capable of running GLQuake very well - 640x480 in 16 bit color at 30 frames a second. Best of all, its boards sold for about $200 at the time.
Crucially, the Voodoo only offered 3D acceleration. Users who wanted 2D acceleration needed a separate card for that. Despite that, it sold very well. At its peak, 3dfx had 80% of the 3D acceleration graphics card market.
Nvidia's Early Struggle
3Dfx now dominated the industry. Nvidia, on the other hand, was just trying to make it out of the gate. Silicon Valley in the mid-1990s was going through a downturn. To make things worse, they were just another one out of many graphics chip startups at the time.
Two VC firms eventually put in $1.25 million each for a $2.5 million round. With that, Jensen Huang then struck three crucial partnerships to give the company an early breath of air.
The first Nvidia partnership had to do with manufacturing. The startup could not afford to build their own chip manufacturing facilities.
So in 1994, a year after their founding, Nvidia partnered with SGS-Thomson Microelectronics - now Switzerland-based STMicroelectronics. Nvidia would be in charge of the design while SGS-Thomson handled the manufacturing.
The second deal was with Diamond Multimedia Systems, an American multimedia company. In this deal, Diamond agreed to buy Nvidia's chips and put them in their multimedia accelerator boards.
The third big partnership was with Sega. Sega at this time was a popular video game company, but their games were mostly for the arcade and console market. They wanted to port their games to PCs, and selected Nvidia to help with that. Critically, Sega allowed Nvidia to use their brand name to help with the launch.
Thus came Nvidia's first piece of working silicon in May 1995: the NV1. The NV1 was a multi-media PCI card with graphics, sound, and Sega game pad support capability. The goal was to converge all of these multimedia cards together into one. To be the "Soundblaster of multimedia" as Jeff Fisher, Nvidia's EVP of sales, recalled.
The NV1 was sold to a number of board OEMs. Diamond resold it as the Diamond Edge 3D. The product was technically impressive, but it tried to do too much - resulting in significant compromises. Just as importantly, the NV1 was not compatible with the leading graphics APIs at the time - OpenGL, 3Dfx's Glide, and such. They were not interested in working with Nvidia on it.
And so the NV1 was a flop. Nvidia ceased selling it in late 1996. Sega had at first wanted to work with the startup to build a more advanced NV1 for its next generation game console, the NV2, but that eventually fell through. The startup thus pivoted to back a different horse.
The Microsoft Giant
Microsoft very quickly noticed the growing trend of 3D PC video games. Just a few years ago, why would anyone need to add a video card to their computer? Now, consumers were outfitting their computers with graphics tools rivaling midrange workstations.
It was more than just video games. 3D graphics and visualization was the machine learning of its day, the hot thing that everybody had to have. Application developers deeply integrated it as a feature within their own products. For instance, business tools like spreadsheets and word processors.
This trend was real. And the Redmond giant realized that they did not have a horse in the race. OpenGL was not under their control - it was handled by an independent review board after SGI - and so they resolved to get involved.
In 1996, Microsoft acquired a British graphics company called Rendermorphics and then reworked their drivers to create their own Microsoft-backed 3D graphics API: Direct3D.
Direct3D was part of a larger bundle of drivers called DirectX. It was built into the Windows operating system, and Microsoft touted it to game developers as the best way to make their games. They repeatedly called OpenGL inherently slow, kicking off a flurry of nerd wars.
Advocates emerged out of both sides. John Carmack of Id software famously backed OpenGL. After porting Quake to OpenGL to create the aforementioned GLQuake, Carmack announced that he had tried to do the same with Direct3D but then released a letter saying:
"Well, I have learned enough about it. I'm not going to finish the port. I have better things to do with my time ... Direct-3D … is a horribly broken API. It inflicts great pain and suffering on the programmers using it, without returning any significant advantages ... There is no good technical reason for the existence of D3D."
Thus, Direct3D took some early hits. But Bill Gates himself replied to this position statement, advocating for Direct3D and promising future improvements and support over time.
Nvidia's Three Bets
Nvidia's first shipped product did not sell well, but it was not a total failure. Being able to actually ship something is definitely a promising milestone, and the chip itself like as I said was technically impressive. The NV1’s release allowed Jensen to raise another $6.5 million round from Sequoia and Sierra Ventures.
You never want to waste a crisis. In 1993, Lee Kun-hee, chairman of Samsung Group, judged that his company could not compete in the market.
Thus, Lee's famous command to his subordinates: "Change everything except your wife and kids."
After consulting with a variety of experts, Nvidia's leadership changed everything. Having abandoning the multi-media space, they will bet on three key rising trends. Two, I will talk about right now. The third, later.
First, the company would bet on Microsoft. Direct3D at the time was not in vogue, but Bill Gates himself promised that it would get better.
Nvidia bet its future on this happening - and perhaps more importantly, that its tight integration with Windows would soon make it the dominant 3D graphics API in the industry.
Second, the company bet on vertical integration by taking control of its device drivers. Device drivers are a type of software that operates or controls a type of device attached to your computer. Back in university I used to build my own PCs, and I remember having to spend a lot of time installing device drivers for my accessories. That was a pain.
At the time, most device drivers were written by the board partners. The OEMs who then resold the product to their customers. This created a situation of mismatched incentives. Drivers are extremely complicated and them working is critical to the device experience. You want to spend a lot of time on them, and that cannot be the case when a third party OEM writes them.
Nvidia opted to take that in-house, writing their own drivers for their own hardware. This aligned the proper incentives, and allowed Nvidia enough time to do it right.
Furthermore, Nvidia can now receive and respond to issues from across all of its board partners. Aggregating these experiences would eventually allow the company to produce a very high performing device driver for all of its hardware, a critical advantage. Drivers would soon turn out to be a cornerstone of the company’s future success.
The Riva
Having implemented this complete change in direction, Nvidia was ready to make its move. The company's second (or third, I guess) product, the Riva 128, launched in 1997. At the time of launch, Nvidia had less than six weeks of cash left in the bank.
The Riva had been specifically designed to accelerate Direct3D as much as possible. OpenGL support was provided through a wrapper program. Critically, it supported both 3D and 2D graphics, a functionality that the current market leader 3Dfx Voodoo could not do.
The product sold well. Diamond Multimedia was one of the bigger buyers, reselling it as the Diamond Viper 330. It retailed for about $140.
The Riva was a success, but Nvidia still had a lot to do in order to win the market. They wanted to move fast. And for that to happen, they needed a partner who can keep up with that relentless pace. Their current arrangement would not suffice.
Thus, Nvidia's third big bet on its future. The company bet on Moore's Law, the power of ever-improving manufacturing processes, and outsourced manufacturing. For that, the company would have to lean on a new rising power across the Pacific.
Going Fabless
In 1998, the company ended their partnership with SGS-Thomson and struck a new one with Taiwan Semiconductor Manufacturing Company, or TSMC.
The SGS-Thomson partnership worked fine but same as with the device drivers situation, Nvidia management was bothered that the two companies ultimately had opposing interests. Jensen Huang had been on the supplier/manufacturer side while working at LSI Logic, renting out excess fab capacity for chip equity from its customers. He knew what could happen.
SGS-Thomson ultimately looked out for itself. TSMC advocated for its partners, pledging never to compete with them. What TSMC wanted was for its partners to sell more and more chips every year.
So when he found out about TSMC, Jensen Huang got in touch with TSMC founder and CEO Morris Chang the only way he knew how. In an interview, Jensen recalls:
"I wrote him letters—the only way I had of contacting him. And one day he called me. I loved that TSMC's intentions were pure, that their success only came with our success ... Nvidia had to move fast to keep up with the competition, and TSMC kept up with our needs"
Nvidia would eventually become one of TMSC's biggest customers. And TSMC used its platform advantages to eventually chase down Intel as the best chip manufacturer in the world.
This meant that the company can focus entirely on design, rather than manufacturing. They did this in spades, optimizing for speed and rapid iteration. Nvidia organized its teams into three groups. One worked on the upcoming design, another on a refresh of last year's design, and the last on next year's design.
The company adopted the latest chip design processes, which included computer aided design verification and validation. This included extensive simulations of a chip's physical layout - where the circuits and wires between them went.
In my video about electronic design automation, I briefly mentioned the importance of such test tools. If there is a bug in a chip design when it goes to TSMC, you just wasted a whole lot of money and time. So getting this right is crucial before shipping the design.
The end result of this was a relentless six-month product cycle. Every six months like clockwork, Nvidia was able to deliver a new chip generation. This brutal march ground down the graphics card industry and companies started to drop out.
Except for one: ATI, one of the few companies able to ratchet up their own release cycle to keep up. Even so, the market situation would have probably remained extremely fluid had the market leader not made a critical error.
The Fall of 3dfx
Going into 1998, 3dfx held the market lead with their Voodoo Graphics set. But as I mentioned, the product's technical limitations meant that it could only do 3D acceleration. 2D was not supported - and that was how Nvidia's and ATI's early products managed to gain a market foothold.
The company struggled in coming up with a proper 3D/2D followup. Their first attempt, the Rush chipset, released in mid-1997 and did not perform well. It took over a year for them to finally come out with something competitive in the market - the Banshee in Sept 1998.
This struggle ended up delaying their entire product lineup. Their 3D-only Voodoo followup, the Voodoo2, came out over 17 months after the release of the first Voodoo. Regardless it sold extremely well and the company thus still held a third of the high-end market.
Then the company made a massive misstep. Up until now, they designed the chips and sold them to board partners like Diamond. But over time, management started to worry about the company's brand image. Only a few enthusiasts knew about 3dfx. Most retail buyers only saw Diamond's - the board partner’s - name.
So 3dfx wanted to do its own vertical integration expansion. Which is not bad. The bad part was the direction they ended up choosing.
In December 1998, 3dfx acquired board-maker STB for $141 million and announced that their chips would only be available in their own name-branded boards. Now 3dfx was directly competing with their old customers.
It went as well as you might have expected. Old partners defected to Nvidia. Management had never done manufacturing before and STB's Mexico-based facilities could not compete with its competitors in Asia. The division became a cash burn.
They released a few more interesting products before dissolving and selling their assets to Nvidia in 2000.
Intel Closes the Door
In 1996, Intel said that 80% of PCs would have 3D graphics by the end of the millennium and that they would dominate the space by 1998. The company was the industry's 800-pound gorilla at the time and their words were enough even to cause Microsoft to cancel their own line of graphics hardware.
As promised, Intel released the Intel 740 card to great fanfare in 1998. However the card did not sell well. It used a port format, AGP, that Intel was trying to popularize. Most everyone stuck with the current standard PCI. While the card performed well in speed tests, real world performance lagged the market. Largely for these two reasons, the product failed to take hold at launch.
The rest of the market then updated their products and Intel, more used to the 1-2 year CPU development cycle, could not keep up with the rest of the graphics market. The i740 as it was called was promptly discontinued.
But the company continued to tinker in the integrated graphics processors space - graphics chips that use a portion of system memory rather than their own dedicated pool. Because they are integrated with a CPU chipset on a motherboard, Intel was able to leverage its CPU monopoly to build out massive market share in this space.
Nobody would ever mistake these graphics products for something top of the line. And it is likely that enthusiasts will scoff at them. But Intel's entry wiped out the market for low-margin, low performance graphics needs. Once Intel created something that worked well enough for most low-end users, the rest of the industry found themselves caught in the middle. And so they promptly shriveled and died.
Conclusion
So by the early 2000s, the graphics card space had drastically consolidated from over 30 to just three: Nvidia and ATI, a clear duopoly, with Intel taking up the low end.
Nvidia and ATI would do battle over the next few years until AMD acquired the latter in 2006 for $5.6 billion. AMD soon thereafter replaced the ATI branding with their own. Today, AMD's graphics cards sell quite well and their chips are commonly used in game consoles. But the hierarchy is set.
There is a lot to digest here. But I think something that really resonated with me is the idea of vertical integration expansion. There are so many ways to do it, but not all of them make good sense. Nvidia chose an adjacent expansion - device drivers - that added enough business value to become a lasting competitive edge against ATI and the rest of the industry. 3dfx went in a direction - manufacturing - that destroyed value, burned cash, and alienated their big customers. It is a lesson to hold closely.
Nvidia has since started to look beyond just being a graphics chipset provider. In 1999, they coined the phrase General Processing Unit, or GPU. They began popularizing the concept of general purpose computing, envisioning new applications beyond that of video game graphics. Such a vision would soon come to pass in the years to follow.
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Silicon Graphics Incorporated
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Silicon Graphics Incorporated
2011 North Shoreline BoulevardMountain View, California 94039U.S.A.(415) 960-1980Fax: (415) 961-0595 Source for information on Silicon Graphics Incorporated: International Directory of Company Histories dictionary.
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https://www.encyclopedia.com/books/politics-and-business-magazines/silicon-graphics-incorporated
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2011 North Shoreline Boulevard
Mountain View, California 94039
U.S.A.
(415) 960-1980
Fax: (415) 961-0595
Public Company
Incorporated: 1982
Employees: 2,568
Sales: $866.6 million
Stock Exchanges: New York
SICs: 3577 Computer Peripheral Equipment Nee; 7372 Prepackaged Software
Silicon Graphics Incorporated is one of the leading manufacturers of graphics computer systems. Its history may be described as an exemplary, perhaps even archetypal, Silicon Valley success story. Founded by a high school dropout turned college professor, Silicon Graphics capitalized on pioneering technology in 3-D computer graphics to create products used in a wide variety of professions, including engineering, chemistry, and film production. The company combined technological prowess with shrewd management to produce explosive growth; within a decade of its founding, it had entered the Fortune 500.
The story of Silicon Graphics began in 1979, when James Clark, an electrical engineering professor at Stanford University, assembled a team of six graduate students to study the possibilities of computer graphics. Within two years, Clark’s team developed a powerful semiconductor chip, which they called the Geometry Engine, that would allow small computers to produce sophisticated three-dimensional graphics simulations previously the domain of large mainframes. Clark patented the Geometry Engine, and in 1982 he and his team left Stanford to found Silicon Graphics.
In 1983 the company released its first products: the IRIS 1000 graphics terminal and an accompanying software interface known as the IRIS Graphics Library. The next year Silicon Graphics released its first workstation, the IRIS 1400, and followed it in 1985 with the IRIS 2400, a workstation with a window manager. These early entries in the IRIS series targeted the middle range of the graphics workstations market—those selling for $45,000 to $100,000—and accounted for over 50 percent of all 3-D graphics workstations sold by 1988. Sales increased steeply and consistently, reaching $153 million in 1988. Within its first six years, Silicon Graphics had established a secure and lucrative niche for itself in the computer industry.
Silicon Graphics succeeded so brilliantly in its early years in large part because it had introduced a useful product that had drawn relatively little attention from any of its potential rivals. 3-D graphics simulations were extremely useful to mechanical engineers who wanted to assess their designs without having to build prototypes, as well as chemists who used 3-D modelling to study molecules. Workstations like the IRIS series provided power at a relatively affordable price, and major workstation manufacturers like Hewlett-Packard, Apollo Computer, and Sun Microsystems were slow to focus their energies on 3-D graphics, leaving Silicon Graphics without much direct competition.
Observers also credited James Clark’s technical skill and entrepreneurial sense for the company’s success. The path to Silicon Valley glory was a circuitous one for Clark, who dropped out of high school in Plainview, Texas, after he was suspended for setting off a smoke bomb on a school bus. After a hitch in the Navy, he went back to school, enrolling as an undergraduate at Tulane University. He went on to earn an M. S. in physics from University of New Orleans and a Ph.D. in computer science from University of Utah, where he first became interested in computer graphics. Clark then committed himself to an academic career, holding teaching posts at University of California at Santa Cruz, the New York Institute of Technology, and University of California at Berkeley before coming to Stanford. But along the way, he became disenchanted with the ways of academia. “I had always seen myself as a senior professor at a university,” he once told The Business Journal-San Jose, “but I think I learned that my strength is making things that work, rather than writing papers. Universities encourage writing a lot of papers.” Hence his departure from Stanford and the founding of Silicon Graphics in 1982.
Once he founded the company, Clark displayed the good sense to find his proper role within the operating structure and stick to it. While high-tech companies like Silicon Graphics are often founded by technologists who turn day-to-day operations over to businesspeople, in many cases the companies falter because the technologists remain too closely involved in business affairs, making poor decisions or allowing the technological edge to dull. Soon after Silicon Graphics was born, Clark brought in Edward McCracken, a veteran Hewlett-Packard executive, to run the company as president and CEO while he remained chairperson. Clark concentrated on serving as the company’s technology guru, leaving McCracken to take care of the business operations. According to McCracken, this role best suited Clark’s temperament: “Jim’s not a day-to-day person. He works in his own time frame,” he told The Business Journal — San Jose. McCracken continued, “He takes complex things and makes it simple. It might take a month, a day, or a year. He gets in these moods for a while where he’s almost unavailable. He’s most effective when he’s in that mood.” Clark also used this division of labor to devote more time to outside interests that included ballet, classical music, art, and flying a stunt plane.
A useful blend of high technology and business sense enabled Silicon Graphics to move forward from its early successes. In 1987 it became the first computer company to make use of MIPS Computer Systems’ innovative reduced instruction-set chip, or RISC, when it incorporated RISC architecture into its new IRIS 4D/60 workstation. Within several years, most workstations would use RISCs. The company received a boost the next year when IBM agreed to buy Silicon Graphics’ IRIS graphics card for use in its own RS/6000 graphics workstations and to take out a license for the IRIS Graphics Library—a big first step toward making the IRIS Graphics Library the industry standard.
Also in 1988, Silicon Graphics introduced amid much fanfare a new line of entry level graphics workstations, which it called Eclipse. Although it dominated the more expensive end of the graphics workstation market, the company needed to broaden its customer base if it expected to maintain sales growth. The Eclipse was designed to bring 3-D graphics to people who had previously regarded IRIS workstations as unaffordable. Eclipse lacked the speed and processing power of more expensive machines, but initial versions sold for less than $20,000—as little as one-fifth of the cost of higher-end machines. Eclipse scored a major success soon after its release when Chrysler announced that it would buy a large number of the machines to go with the IRIS workstations that it was already using to help design its automobiles.
Although Eclipse put Silicon Graphics into more direct competition with its rival workstation manufacturers, who began to chip in with their own low-end 3-D workstations, it also succeeded in expanding the company’s customer base. In 1990 sales volume topped $420 million. The move into the lower priced, high-volume end of the market worked well enough for Silicon Graphics that in 1991 the company released an even less expensive product line—the IRIS Indigo, a 3-D graphics workstation so compact that the company called it the first personal computer to use RISC architecture. The Indigo offered many features found on more expensive models, as well as digital audio and video processing capability, and the base model sold for less than $10,000.
During this time, Silicon Graphics scored several major coups on the business side. In 1991 the company granted a license to software giant Microsoft for the IRIS Graphics Library. Microsoft intended to use the IRIS Graphics Library in its New Technology operating system for personal computers. Also in 1991, Compaq Computer agreed to acquire a 13 percent stake in Silicon Graphics for $135 million, giving Silicon Graphics a much-desired infusion of capital. Furthermore, Compaq agreed to invest $50 million in a joint workstation development project with Silicon Graphics. Together, these moves provided software developers with greater incentive to write programs for Silicon Graphics machines and also broadened the company’s customer base even further.
In 1992 Silicon Graphics agreed to acquire MIPS Computer Systems, which had run into financial difficulties, in a stock swap valued at $230.8 million. The cost of assimilating MIPS forced Silicon Graphics to post a loss of $118.4 million that year, but it also secured the company’s long-term supply of MIPS’s RISCs, which had become a crucial piece of technology.
In January 1993 Silicon Graphics announced a new computer that would use RISC architecture to achieve supercomputer power at relatively affordable prices. The Power Challenge, as it was called, would link multiple RISCs in a single machine to provide unprecedented processing capability in a computer of that price. Whereas traditional supercomputers like those made by IBM and Cray Research typically sold for millions of dollars, the Power Challenge would sell for between $120,000 and $900,000. The new product was announced over a year in advance of its anticipated shipping date to give targeted customers, such as government agencies and universities previously unable to afford supercomputers, time to include it in their budgets. Observers pegged Power Challenge as a sudden move into the faltering field of supercomputer manufacturing, but in fact the company’s ever more powerful workstations were approaching the level of supercomputers anyway, and the company had already established contacts with customers at whom the Power Challenge would be aimed.
In April 1993 Silicon Graphics and Industrial Light and Magic, the famed special effects division of Lucasfilm, announced that they had joined forces to create a high-tech entertainment special effects laboratory. The joint venture was called Joint Environment for Digital Imaging—the acronym JEDI recalled the Jedi Knights of Lucasfilm chair George Lucas’s Star Wars trilogy—and grew out of the fact that Industrial Light and Magic had been using Silicon Graphics workstations since 1987. The liquid metal cyborg featured in the film Terminator 2, the dinosaurs in Jurassic Park, special effects in The Hunt for Red October and The Abyss, and animation in Beauty and the Beast were all created on Silicon Graphics computers. For Lucas and Industrial Light and Magic, JEDI was expected to yield both financial and aesthetic benefits: digital manipulation of images cost about one-tenth as much as models and drawings, and, according to Lucas, would “change motion pictures from a photographic process to more of a painterly process,” enabling greater authorial control over a film’s appearance. For its part, Silicon Graphics hoped that alliance with an entertainment industry partner would help push the leading edge of its technological development forward.
The entertainment industry was also a growing interest of James Clark’s at the time. On the heels of the announcement of the JEDI alliance, reports surfaced that Silicon Graphics had entered into talks with communications giant Time Warner to explore the possibilities of interactive home entertainment and other advanced cable television technologies. The company would not comment on the reports, but Clark and some of his executives had made it known publicly that Silicon Graphics was interested in developing a computer that would provide interactive services, including networked 3-D video games, for users through cable television hookups.
Silicon Graphics’ interest in entertainment-related technologies is perhaps particularly apropos since the company was founded by a man whom The Business Journal-San Jose once described as looking like “Hollywood’s idea of a successful entrepreneur”—tall, blond, and clad in “expensive Italian suits with bright Italian knit-silk ties.” While some have suggested that the move into entertainment technology represents the deliberate attempts of Clark and McCracken to lead Silicon Graphics away from academia, others have maintained that the company has simply refused to remain in the small niche in which it developed. Instead, Silicon Graphics has made a lot of money in its short history by delivering the technology that made it distinctive to as many people as need and enjoy it.
Principal Subsidiaries
Silicon Graphics International Inc. (Barbados); Silicon Graphics Ltd. (U.K.); Nihon Silicon Graphics K.K. (Japan); Silicon Graphics Pte Ltd. (Singapore); Silicon Graphics AB (Sweden); Silicon Graphics S.A. (Switzerland); Silicon Graphics Gmbh (Germany); Silicon Graphics Canada Inc.; Silicon Graphics World Trade Corp.; Silicon Graphics Ltd. (Israel); Silicon Graphics Ltd. (Hong Kong); Silicon Graphics S.A.R.L. (France); Silicon Graphics S.p.A. (Italy); Silicon Graphics B.V.(Netherlands); Silicon Graphics Pty Ltd. (Australia); Silicon Graphics Federal Sales Corp.; Silicon Graphics Computer Systems Ltd. (Israel); Silicon Graphics Manufacturing S.A. (Switzerland); Silicon Graphics Applications Systems Ltd. (U.K.); Silicon Graphics A/S (Norway); Silicon Graphics A/S (Denmark); Silicon Graphics N.V./S.A. (Belgium); Silicon Graphics OY (Finland); Silicon Graphics S.A. (Spain); Silicon Graphics Computer Systems Gmbh (Austria).
Further Reading
Hof, Robert, and Jeffrey Rothfeder. “This Machine Just Might Eclipse Apollo and Sun,” Business Week, October 10, 1988.
Hof, Robert D. “Is Silicon Graphics Busting Out of Its Niche?” Business Week, April 22, 1991.
Koland, Cordell, “Graphics Firm Leader Combines Technical, Managerial Skill,” The Business Journal—San Jose, December 14, 1987.
Yamada, Ken. “Silicon Graphics Aims to Be Supercomputer Contrarian,” The Wall Street Journal, January 27, 1993.
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Once-Mighty SGI Sold to Rackable for $25 Million
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The Sad Saga of Silicon Graphics: The Final Chapter
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There was a time when Silicon Graphics Corp. was the Apple Inc. of corporate computing. It received coverage out of all proportion to its size, certainly by BW. And for good reason: It involved larger-than-life characters such as Jim Clark, who went on to co-found Netscape. SGI was forever on the cutting edge of technology innovation, and pioneered use of powerful computing technology in the making of movies, game consoles and for early Web companies in the mid-1990s. And it was a lightning rod
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Bloomberg.com
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https://www.bloomberg.com/news/articles/2009-03-31/the-sad-saga-of-silicon-graphics-the-final-chapter
|
There was a time when Silicon Graphics Corp. was the Apple Inc. of corporate computing. It received coverage out of all proportion to its size, certainly by BWBloomberg Terminal. And for good reason: It involved larger-than-life characters such as Jim Clark, who went on to co-found Netscape. SGI was forever on the cutting edge of technology innovation, and pioneered use of powerful computing technology in the making of movies, game consoles and for early Web companies in the mid-1990s. And it was a lightning rod in the best sense, always a central player in the big debates roiling the computer industry (workstation vs minicomputer, Risc vs Cisc and UNIX vs Windows, come to mind).
Today, the company was sold for a piddly $25 million to server-maker Rackable Systems. Given evaporating sales of its proprietary machines in recent years, it was weighed down with more than $500 million in debt. This despite the fact that just two years ago it emerged from a pre-packaged bankruptcy similar to the ones being considered for GM and Chrysler right now. (Managed bankruptcy is designed to help companies quickly put their finances in order so they can continue to operate in shareholders’ best interests.)
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Silicon Graphics
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1981–2009 American computing company
This article is about Silicon Graphics, Inc. For the company that acquired its assets, see Silicon Graphics International.
Silicon Graphics, Inc. (stylized as SiliconGraphics before 1999, later rebranded SGI, historically known as Silicon Graphics Computer Systems or SGCS) was an American high-performance computing manufacturer, producing computer hardware and software. Founded in Mountain View, California, in November 1981 by James Clark, its initial market was 3D graphics computer workstations, but its products, strategies and market positions developed significantly over time.
Early systems were based on the Geometry Engine that Clark and Marc Hannah had developed at Stanford University, and were derived from Clark's broader background in computer graphics. The Geometry Engine was the first very-large-scale integration (VLSI) implementation of a geometry pipeline, specialized hardware that accelerated the "inner-loop" geometric computations needed to display three-dimensional images. For much of its history, the company focused on 3D imaging and was a major supplier of both hardware and software in this market.
Silicon Graphics reincorporated as a Delaware corporation in January 1990. Through the mid to late-1990s, the rapidly improving performance of commodity Wintel machines began to erode SGI's stronghold in the 3D market. The porting of Maya to other platforms was a major event in this process. SGI made several attempts to address this, including a disastrous move from their existing MIPS platforms to the Intel Itanium, as well as introducing their own Linux-based Intel IA-32 based workstations and servers that failed in the market. In the mid-2000s the company repositioned itself as a supercomputer vendor, a move that also failed.
On April 1, 2009, SGI filed for Chapter 11 bankruptcy protection and announced that it would sell substantially all of its assets to Rackable Systems, a deal finalized on May 11, 2009, with Rackable assuming the name Silicon Graphics International. The remnants of Silicon Graphics, Inc. became Graphics Properties Holdings, Inc.
History
[edit]
Early years
[edit]
James H. Clark left his position as an electrical engineering associate professor at Stanford University to found SGI in 1982 along with a group of seven graduate students and research staff from Stanford University: Kurt Akeley, David J. Brown, Tom Davis, Rocky Rhodes, Marc Hannah, Herb Kuta, and Mark Grossman;[2] along with Abbey Silverstone[3] and a few others.
Growth
[edit]
Ed McCracken was CEO of Silicon Graphics from 1984 to 1997.[4] During those years, SGI grew from annual revenues of $5.4 million to $3.7 billion.[4]
Decline
[edit]
The addition of 3D graphic capabilities to PCs, and the ability of clusters of Linux- and BSD-based PCs to take on many of the tasks of larger SGI servers, ate into SGI's core markets. The porting of Maya to Linux, Mac OS and Microsoft Windows further eroded the low end of SGI's product line.
In response to challenges faced in the marketplace and a falling share price Ed McCracken was fired and SGI brought in Richard Belluzzo to replace him. Under Belluzzo's leadership a number of initiatives were taken which are considered to have accelerated the corporate decline.[5]
One such initiative was trying to sell workstations running Windows NT called Visual Workstations in addition to workstations running IRIX, the company's version of UNIX. This put the company in even more direct competition with the likes of Dell, making it more difficult to justify a price premium. The product line was unsuccessful and abandoned a few years later.
SGI's premature announcement of its migration from MIPS to Itanium and its abortive ventures into IA-32 architecture systems (the Visual Workstation line, the ex-Intergraph Zx10 range and the SGI 1000-series Linux servers) damaged SGI's credibility in the market.
In 1999, in an attempt to clarify their current market position as more than a graphics company, Silicon Graphics Inc. changed its corporate identity to "SGI", although its legal name was unchanged.
At the same time, SGI announced a new logo consisting of only the letters "sgi" in a proprietary font called "SGI", created by branding and design consulting firm Landor Associates, in collaboration with designer Joe Stitzlein. SGI continued to use the "Silicon Graphics" name for its workstation product line, and later re-adopted the cube logo for some workstation models.
In November 2005, SGI announced that it had been delisted from the New York Stock Exchange because its common stock had fallen below the minimum share price for listing on the exchange. SGI's market capitalization dwindled from a peak of over seven billion dollars in 1995 to just $120 million at the time of delisting. In February 2006, SGI noted that it could run out of cash by the end of the year.[6]
Re-emergence
[edit]
In mid-2005, SGI hired Alix Partners to advise it on returning to profitability and received a new line of credit. SGI announced it was postponing its scheduled annual December stockholders meeting until March 2006. It proposed a reverse stock split to deal with the de-listing from the New York Stock Exchange.
In January 2006, SGI hired Dennis McKenna as its new CEO and chairman of the board of directors. Mr. McKenna succeeded Robert Bishop, who remained vice chairman of the board of directors.
On May 8, 2006, SGI announced that it had filed for Chapter 11 bankruptcy protection for itself and U.S. subsidiaries as part of a plan to reduce debt by $250 million.[7][8] Two days later, the U.S. Bankruptcy Court approved its first day motions and its use of a $70 million financing facility provided by a group of its bondholders. Foreign subsidiaries were unaffected.
On September 6, 2006, SGI announced the end of development for the MIPS/IRIX line and the IRIX operating system.[9] Production would end on December 29 and the last orders would be fulfilled by March 2007. Support for these products would end after December 2013.
SGI emerged from bankruptcy protection on October 17, 2006.[10] Its stock symbol at that point, SGID, was canceled, and new stock was issued on the NASDAQ exchange under the symbol SGIC.[11] This new stock was distributed to the company's creditors, and the SGID common stockholders were left with worthless shares.[12] At the end of that year, the company moved its headquarters from Mountain View to Sunnyvale.[13] Its earlier North Shoreline headquarters is now occupied by the Computer History Museum; the newer Amphitheatre Parkway headquarters was sold to Google (which had already subleased and moved into the facility in 2003). Both of these locations were award-winning designs by Studios Architecture.[14][15]
In April 2008, SGI re-entered the visualization market with the SGI Virtu range of visualization servers and workstations, which were re-badged systems from BOXX Technologies based on Intel Xeon or AMD Opteron processors and Nvidia Quadro graphics chipsets, running Red Hat Enterprise Linux, SUSE Linux Enterprise Server or Windows Compute Cluster Server.[16]
Final bankruptcy and acquisition by Rackable Systems
[edit]
In December 2008, SGI received a delisting notification from NASDAQ, as its market value had been below the minimum $35 million requirement for 10 consecutive trading days, and also did not meet NASDAQ's alternative requirements of a minimum stockholders' equity of $2.5 million or annual net income from continuing operations of $500,000 or more.[17]
On April 1, 2009, SGI filed for Chapter 11 again, and announced that it would sell substantially all of its assets to Rackable Systems for $25 million.[18] The sale, ultimately for $42.5 million, was finalized on May 11, 2009; at the same time, Rackable announced their adoption of "Silicon Graphics International" as their global name and brand.[19][20] The Bankruptcy Court scheduled continuing proceedings and hearings for June 3 and 24, 2009, and July 22, 2009.[21][22][needs update]
After the Rackable acquisition, Vizworld magazine published a series of six articles that chronicle the downfall of SGI.
Hewlett Packard Enterprise acquired Silicon Graphics International in November 2016, which allowed HPE to place the SGI Pleiades, a TOP500 supercomputer at NASA Ames Research Center, in its portfolio.
Graphics Properties Holdings, Inc. era
[edit]
During Silicon Graphics Inc.'s second bankruptcy phase, it was renamed to Graphics Properties Holdings, Inc.(GPHI) in June 2009.[23][24]
In 2010, GPHI announced it had won a significant favorable ruling in its litigation with ATI Technologies and AMD in June 2010,[25][26] following the patent lawsuit originally filed during the Silicon Graphics, Inc. era.[27] Following the 2008 appeal by ATI over the validity of U.S. patent 6,650,327 ('327) and Silicon Graphics Inc's voluntary dismissal of the U.S. patent 6,885,376 ('376) patent from the lawsuit,[28] the Federal Circuit upheld the jury verdict on the validity of GPHI's U.S. Patent No. 6,650,327, and furthermore found that AMD had lost its right to challenge patent validity in future proceedings.[29] On January 31, 2011, the District Court entered an order that permits AMD to pursue its invalidity affirmative defense at trial and does not permit SGI to accuse AMD's Radeon R700 series of graphics products of infringement in this case.[30] On April 18, 2011, GPHI and AMD had entered into a confidential Settlement and License Agreement that resolved this litigation matter for an immaterial amount and that provides immunity under all GPHI patents for alleged infringement by AMD products, including components, software and designs. On April 26, 2011, the Court entered an order granting the parties' agreed motion for dismissal and final judgment.[31]
In November 2011, GPHI filed another patent infringement lawsuit against Apple Inc. in Delaware involving more patents than their original patent infringement case against Apple last November, for alleged violation of U.S. patents 6,650,327 ('327), U.S. patent 6,816,145 ('145) and U.S. patent 5,717,881 ('881).[32]
In 2012, GPHI filed lawsuit against Apple, Sony, HTC Corp, LG Electronics Inc. and Samsung Electronics Co., Research in Motion Ltd. for allegedly violating patent relating to a computer graphics process that turns text and images into pixels to be displayed on screens. Affected devices include Apple iPhone, HTC EVO4G, LG Thrill, Research in Motion Torch, Samsung Galaxy S and Galaxy S II, and Sony Xperia Play smartphones.[33][34][35]
U.S. patent 6,650,327 - 1998 Display system having floating point rasterization and floating point ..
U.S. patent 6,885,376 - 2002 System, method, and computer program product for near-real time load ..
U.S. patent 6,816,145 - 1998 Large area wide aspect ratio flat panel monitor having high resolution for ..
U.S. patent 5,717,881 - 1995 Data processing system for processing one and two parcel instructions
Technology
[edit]
Motorola 680x0-based systems
[edit]
SGI's first generation products, starting with the IRIS (Integrated Raster Imaging System) 1000 series of high-performance graphics terminals, were based on the Motorola 68000 family of microprocessors. The later IRIS 2000 and 3000 models developed into full UNIX workstations.
IRIS 1000 series
[edit]
The first entries in the 1000 series (models 1000 and 1200, introduced in 1984) were graphics terminals, peripherals to be connected to a general-purpose computer such as a Digital Equipment Corporation VAX, to provide graphical raster display abilities. They used 8 MHz Motorola 68000 CPUs with 768 kB of RAM and had no disk drives. They booted over the network (via an Excelan EXOS/101 Ethernet card) from their controlling computer. They used the "PM1" CPU board, which was a variant of the board that was used in Stanford University's SUN workstation and later in the Sun-1 workstation from Sun Microsystems. The graphics system was composed of the GF1 frame buffer, the UC3 "Update Controller", DC3 "Display Controller", and the BP2 bitplane. The 1000-series machines were designed around the Multibus standard.
Later 1000-series machines, the 1400 and 1500, ran at 10 MHz and had 1.5 MB of RAM. The 1400 had a 72 MB ST-506 disk drive, while the 1500 had a 474 MB SMD-based disk drive with a Xylogics 450 disk controller. They may have used the PM2 CPU and PM2M1 RAM board from the 2000 series. The usual monitor for the 1000 series ran at 30 Hz interlaced. Six beta-test units of the 1400 workstation were produced, and the first production unit (SGI's first commercial computer) was shipped to Carnegie-Mellon University's Electronic Imaging Laboratory in 1984.
IRIS 2000 and 3000 series
[edit]
SGI rapidly developed its machines into workstations with its second product line — the IRIS 2000 series, first released in August 1985.[36] SGI began using the UNIX System V operating system. There were five models in two product ranges, the 2000/2200/2300/2400/2500 range which used 68010 CPUs (the PM2 CPU module), and the later "Turbo" systems, the 2300T, 2400T and 2500T, which had 68020s (the IP2 CPU module). All used the Excelan EXOS/201 Ethernet card, the same graphics hardware (GF2 Frame Buffer, UC4 Update Controller, DC4 Display Controller, BP3 Bitplane). Their main differences were the CPU, RAM, and Weitek Floating Point Accelerator boards, disk controllers and disk drives (both ST-506 and SMD were available). These could be upgraded, for example from a 2400 to a 2400T. The 2500 and 2500T had a larger chassis, a standard 6' 19" EIA rack with space at the bottom for two SMD disk drives weighing approximately 68 kg each.[37] The non-Turbo models used the Multibus for the CPU to communicate with the floating point accelerator, while the Turbos added a ribbon cable dedicated for this. 60 Hz monitors were used for the 2000 series.
The height of the machines using Motorola CPUs was reached with the IRIS 3000 series (models 3010/3020/3030 and 3110/3115/3120/3130, the 30s both being full-size rack machines). They used the same graphics subsystem and Ethernet as the 2000s, but could also use up to 12 "geometry engines", the first widespread use of hardware graphics accelerators. The standard monitor was a 19" 60 Hz non-interlaced unit with a tilt/swivel base; 19" 30 Hz interlaced and a 15" 60 Hz non-interlaced (with tilt/swivel base) were also available.
The IRIS 3130 and its smaller siblings were impressive for the time, being complete UNIX workstations. The 3130 was powerful enough to support a complete 3D animation and rendering package without mainframe support. With large capacity hard drives by standards of the day (two 300 MB drives), streaming tape and Ethernet, it could be the centerpiece of an animation operation.
The line was formally discontinued in November 1989, with about 3500 systems shipped of all 2000 and 3000 models combined.[38]
RISC era
[edit]
With the introduction of the IRIS 4D series, SGI switched to MIPS microprocessors. These machines were more powerful and came with powerful on-board floating-point capability. As 3D graphics became more popular in television and film during this time, these systems were responsible for establishing much of SGI's reputation.
SGI produced a broad range of MIPS-based workstations and servers during the 1990s, running SGI's version of UNIX System V, now called IRIX. These included the massive Onyx visualization systems, the size of refrigerators and capable of supporting up to 64 processors while managing up to three streams of high resolution, fully realized 3D graphics.
In October 1991, MIPS announced the first commercially available 64-bit microprocessor, the R4000. SGI used the R4000 in its Crimson workstation. IRIX 6.2 was the first fully 64-bit IRIX release, including 64-bit pointers.
To secure the supply of future generations of MIPS microprocessors (the 64-bit R4000), SGI acquired the company in 1992[39] for $333 million[40][41] and renamed it as MIPS Technologies Inc., a wholly owned subsidiary of SGI.[42]
In 1993, Silicon Graphics (SGI) signed a deal with Nintendo to develop the Reality Coprocessor (RCP) GPU used in the Nintendo 64 (N64) video game console. The deal was signed in early 1993, and it was later made public in August of that year.[43] The console itself was later released in 1996. The RCP was developed by SGI's Nintendo Operations department, led by engineer Dr. Wei Yen. In 1997, twenty SGI employees, led by Yen, left SGI and founded ArtX (later acquired by ATI Technologies in 2000).[44]
In 1998, SGI relinquished some ownership of MIPS Technologies, Inc in a Re-IPO, and fully divested itself in 2000.[45]
In the late 1990s, when much of the industry expected the Itanium to replace both CISC and RISC architectures in non-embedded computers, SGI announced their intent to phase out MIPS in their systems. Development of new MIPS microprocessors stopped, and the existing R12000 design was extended multiple times until 2003 to provide existing customers more time to migrate to Itanium.
In August 2006, SGI announced the end of production for MIPS/IRIX systems,[46] and by the end of the year MIPS/IRIX products were no longer generally available from SGI.
IRIS GL and OpenGL
[edit]
Until the second generation Onyx Reality Engine machines, SGI offered access to its high performance 3D graphics subsystems through a proprietary API known as IRIS Graphics Library (IRIS GL). As more features were added over the years, IRIS GL became harder to maintain and more cumbersome to use. In 1992, SGI decided to clean up and reform IRIS GL and made the bold move of allowing the resulting OpenGL API to be cheaply licensed by SGI's competitors, and set up an industry-wide consortium to maintain the OpenGL standard (the OpenGL Architecture Review Board).
This meant that for the first time, fast, efficient, cross-platform graphics programs could be written. For over 20 years – until the introduction of the Vulkan API – OpenGL remained the only real-time 3D graphics standard to be portable across a variety of operating systems.
ACE Consortium
[edit]
Main article: Advanced Computing Environment
SGI was part of the Advanced Computing Environment initiative, formed in the early 1990s with 20 other companies, including Compaq, Digital Equipment Corporation, MIPS Computer Systems, Groupe Bull, Siemens, NEC, NeTpower, Microsoft and Santa Cruz Operation. Its intent was to introduce workstations based on the MIPS architecture and able to run Windows NT and SCO UNIX. The group produced the Advanced RISC Computing (ARC) specification, but began to unravel little more than a year after its formation.
Entertainment industry
[edit]
For eight consecutive years (1995–2002), all films nominated for an Academy Award for Distinguished Achievement in Visual Effects were created on Silicon Graphics computer systems.[47] The technology was also used in commercials for a host of companies.
An SGI Crimson system with the fsn[48] three-dimensional file system navigator appeared in the 1993 movie Jurassic Park.[49]
In the movie Twister, protagonists can be seen using an SGI laptop computer; however, the unit shown was not an actual working computer, but rather a fake laptop shell built around an SGI Corona LCD flat screen display.[50]
The 1995 film Congo also features an SGI laptop computer being used by Dr. Ross (Laura Linney) to communicate via satellite to TraviCom HQ.[51]
The purple, lowercased "sgi" logo can be seen at the beginning of the opening credits of the HBO series Silicon Valley, before being taken down and replaced by the Google logo as the intro graphics progress. Google leased the former SGI buildings in 2003 for their headquarters in Mountain View, CA until they purchased the buildings outright in 2006.
Once inexpensive PCs began to have graphics performance close to the more expensive specialized graphical workstations which were SGI's core business, SGI shifted its focus to high performance servers for digital video and the Web. Many SGI graphics engineers left to work at other computer graphics companies such as ATI and Nvidia, contributing to the PC 3D graphics revolution.
Free software
[edit]
SGI was a promoter of free software,[citation needed] supporting several projects such as Linux and Samba, and opening some of its own previously proprietary code such as the XFS filesystem and the Open64 compiler.
SGI was also important in its contribution to the C++ Standard Template Library (STL) with many useful extensions in the MIT-like licensed SGI STL implementation. The extension keeps being carried by the direct descendant STLport and GNU's libstdc++.[52]
Acquisition of Alias, Wavefront, Cray and Intergraph
[edit]
In 1995, SGI purchased Alias Research, Kroyer Films, and Wavefront Technologies in a deal totaling approximately $500 million and merged the companies into Alias|Wavefront. In June 2004 SGI sold the business, later renamed to Alias/Wavefront, to the private equity investment firm Accel-KKR for $57.5 million.[53] In October 2005, Autodesk announced that it signed a definitive agreement to acquire Alias for $182 million in cash.
In February 1996, SGI purchased the well-known supercomputer manufacturer Cray Research for $740 million,[54] and began to use marketing names such as "CrayLink" for (SGI-developed) technology integrated into the SGI server line. Three months later, it sold the Cray Business Systems Division, responsible for the CS6400 SPARC/Solaris server, to Sun Microsystems for an undisclosed amount (acknowledged later by a Sun executive to be "significantly less than $100 million").[55][56] Many of the Cray T3E engineers designed and developed the SGI Altix and NUMAlink technology. SGI sold the Cray brand and product lines to Tera Computer Company on March 31, 2000, for $35 million plus one million shares.[57] SGI also distributed its remaining interest in MIPS Technologies through a spin-off effective June 20, 2000.
In September 2000, SGI acquired the Zx10 series of Windows workstations and servers from Intergraph Computer Systems (for a rumored $100 million), and rebadged them as SGI systems. The product line was discontinued in June 2001.
SGI Visual Workstations
[edit]
Another attempt by SGI in the late 1990s to introduce its own family of Intel-based workstations running Windows NT or Red Hat Linux (see also SGI Visual Workstation) proved to be a financial disaster, and shook customer confidence in SGI's commitment to its own MIPS-based line.
Switch to Itanium
[edit]
In 1998, SGI announced that future generations of its machines would be based not on their own MIPS processors, but the upcoming "super-chip" from Intel, code-named "Merced" and later called Itanium. Funding for its own high-end processors was reduced, and it was planned that the R10000 would be the last MIPS mainstream processor. MIPS Technologies would focus entirely on the embedded market, where it was having some success, and SGI would no longer have to fund development of a CPU that, since the failure of ARC, found use only in their own machines. This plan quickly went awry. As early as 1999 it was clear the Itanium was going to be delivered very late and would have nowhere near the performance originally expected. As the production delays increased, MIPS' existing R10000-based machines grew increasingly uncompetitive. Eventually it was forced to introduce faster MIPS processors, the R12000, R14000 and R16000, which were used in a series of models from 1999 through 2006.[58]
SGI's first Itanium-based system was the short-lived SGI 750 workstation, launched in 2001. SGI's MIPS-based systems were not to be superseded until the launch of the Itanium 2-based Altix servers and Prism workstations some time later. Unlike the MIPS systems, which ran IRIX, the Itanium systems used SuSE Linux Enterprise Server with SGI enhancements as their operating system. SGI used Transitive Corporation's QuickTransit software to allow their old MIPS/IRIX applications to run (in emulation) on the new Itanium/Linux platform.
In the server market the Itanium 2-based Altix eventually replaced the MIPS-based Origin product line. In the workstation market, the switch to Itanium was not completed before SGI exited the market.
The Altix was the most powerful computer in the world in 2006, assuming that a "computer" is defined as a collection of hardware running under a single instance of an operating system. The Altix had 512 Itanium processors running under a single instance of Linux. A cluster of 20 machines was then the eighth-fastest supercomputer. All faster supercomputers were clusters, but none have as many FLOPS per machine. However, more recent supercomputers are very large clusters of machines that are individually less capable. SGI acknowledged this and in 2007 moved away from the "massive NUMA" model to clusters.
Switch to Xeon
[edit]
Although SGI continued to market Itanium-based machines, its more recent machines were based on the Intel Xeon processor. The first Altix XE systems were relatively low-end machines, but by December 2006 the XE systems were more capable than the Itanium machines by some measures (e.g., power consumption in FLOPS/W, density in FLOPS/m3, cost/FLOPS). The XE1200 and XE1300 servers used a cluster architecture. This was a departure from the pure NUMA architectures of the earlier Itanium and MIPS servers.
In June 2007, SGI announced the Altix ICE 8200, a blade-based Xeon system with up to 512 Xeon cores per rack.[59] An Altix ICE 8200 installed at New Mexico Computing Applications Center (with 14336 processors) ranked at number 3 on the TOP500 list of November 2007.
User base and core market
[edit]
Conventional wisdom holds that SGI's core market has traditionally been Hollywood visual effects studios. In fact, SGI's largest revenue has always been generated by government and defense applications, energy, and scientific and technical computing.[60] In one case Silicon Graphics' largest single sale ever was to the United States Postal Service. SGI's servers powered an artificial intelligence program to mechanically read, tag and sort the mail (hand-written and block) at a number of USPS's key mail centers. The rise of cheap yet powerful commodity workstations running Linux, Windows and Mac OS X, and the availability of diverse professional software for them, effectively pushed SGI out of the visual effects industry in all but the most niche markets.
High-end server market
[edit]
SGI continued to enhance its line of servers (including some supercomputers) based on the SN architecture. SN, for Scalable Node, is a technology developed by SGI in the mid-1990s that uses cache-coherent non-uniform memory access (cc-NUMA). In an SN system, processors, memory, and a bus- and memory-controller are coupled together into an entity called a node, usually on a single circuit board. Nodes are connected by a high-speed interconnect called NUMAlink (originally marketed as CrayLink). There is no internal bus, and instead access between processors, memory, and I/O devices is done through a switched fabric of links and routers.
Thanks to the cache coherence of the distributed shared memory, SN systems scale along several axes at once: as CPU count increases, so does memory capacity, I/O capacity, and system bisection bandwidth. This allows the combined memory of all the nodes to be accessed under a single OS image using standard shared-memory synchronization methods. This makes an SN system far easier to program and able to achieve higher sustained-to-peak performance than non-cache-coherent systems like conventional clusters or massively parallel computers which require applications code to be written (or re-written) to do explicit message-passing communication between their nodes.
The first SN system, known as SN-0, was released in 1996 under the product name Origin 2000. Based on the MIPS R10000 processor, it scaled from 2 to 128 processors and a smaller version, the Origin 200 (SN-00), scaled from 1 to 4. Later enhancements enabled systems of as large as 512 processors.
The second generation system, originally called SN-1 but later SN-MIPS, was released in July 2000, as the Origin 3000. It scaled from 4 to 512 processors, and 1,024-processor configurations were delivered by special order to some customers. A smaller, less scalable implementation followed, called Origin 300.
In November 2002, SGI announced a repackaging of its SN system, under the name Origin 3900. It quadrupled the processor area density of the SN-MIPS system, from 32 up to 128 processors per rack while moving to a "fat tree" interconnect topology.
In January 2003, SGI announced a variant of the SN platform called the Altix 3000 (internally called SN-IA). It used Intel Itanium 2 processors and ran the Linux operating system kernel. At the time it was released, it was the world's most scalable Linux-based computer, supporting up to 64 processors in a single system node.[61] Nodes could be connected using the same NUMAlink technology to form what SGI predictably termed "superclusters".
In February 2004, SGI announced general support for 128 processor nodes to be followed by 256 and 512 processor versions that year.
In April 2004, SGI announced the sale of its Alias software business for approximately $57 million.[62]
In October 2004, SGI built the supercomputer Columbia, which broke the world record for computer speed, for the NASA Ames Research Center. It was a cluster of 20 Altix supercomputers each with 512 Intel Itanium 2 processors running Linux, and achieved sustained speed of 42.7 trillion floating-point operations per second (teraflops), easily topping Japan's famed Earth Simulator's record of 35.86 teraflops. (A week later, IBM's upgraded Blue Gene/L clocked in at 70.7 teraflops.)
In July 2006, SGI announced an SGI Altix 4700 system with 1,024 processors and 4 TB of memory running a single Linux system image.[63]
Hardware products
[edit]
Some 68k- and MIPS-based models were also rebadged by other vendors, including CDC, Tandem Computers, Prime Computer and Siemens-Nixdorf. SGI Onyx and SGI Indy series systems were used for video game development for the Nintendo 64.
Motorola 68k-based systems
[edit]
IRIS 1000 series graphics terminals (diskless 1000/1200, 1400/1500 with disks)
IRIS 2000 series workstations (2000/2200/2300/2400/2500 non-Turbo and 2300T/2400T/2500T "Turbo" models)
IRIS 3000 series workstations (3010/3020/3030 and 3110/3115/3120/3130)
MIPS-based systems
[edit]
Intel IA-32-based systems
[edit]
Itanium-based systems
[edit]
SGI 750 workstation
Altix 330 entry-level server
Altix 350 mid-range server
Altix 3000 high-end server
Altix 450 mid-range server
Altix 4000 high-end server, capable of up to 2048 CPUs
Prism (deskside and rackmount systems)
Intel/AMD x86-64 systems
[edit]
Altix XE210 server
Altix XE240 server
Altix XE310 server
Altix XE1200 cluster
Altix XE1300 cluster
Altix ICE 8200
Altix ICE 8400
Virtu VN200 visualization node
Virtu VS100 workstation
Virtu VS200 workstation
Virtu VS300 workstation
Virtu VS350 workstation
FPGA-based accelerators
[edit]
RASC Application Acceleration
Storage systems
[edit]
InfiniteStorage 10000
InfiniteStorage 6700
InfiniteStorage 4600
InfiniteStorage 4500
InfiniteStorage 4000
InfiniteStorage 350
InfiniteStorage 220
InfiniteStorage 120
SGI Infinite Data Cluster[clarification needed]
Storage solutions
[edit]
InfiniteStorage NEXIS 500
InfiniteStorage NEXIS 2000
InfiniteStorage NEXIS 7000
InfiniteStorage NEXIS 7000-HA
InfiniteStorage NEXIS 9000
InfiniteStorage Server 3500
Displays
[edit]
1600SW, a multi-award-winning wide screen video monitor
Accelerator cards
[edit]
IrisVision, one of the first 3D graphics accelerators for high-end PCs
Other
[edit]
Espressigo, Espresso maker in collaboration with Gaggia
SGI timeline
[edit]
See also
[edit]
SCO and SGI
Rick Belluzzo, SGI CEO from January 1998 to August 1999
Silicon Graphics Image
References
[edit]
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en
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NASA’s SGI Altix Supercomputer Ranked Among the Best on Official List of World’s Fastest Computers
|
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2004-11-08T12:00:00+00:00
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NASA's SGI Altix Supercomputer Ranked Among the Best on Official List of World's Fastest Computers
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en
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SpaceNews
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https://spacenews.com/nasas-sgi-altix-supercomputer-ranked-among-the-best-on-official-list-of-worlds-fastest-computers/
|
Fully Operational 10,240-Processor Columbia System Rated at 51.87 Teraflops, Returning World-Class Supercomputing to U.S. Scientists
Screaming past Japan’s
venerable Earth Simulator and 498 of the world’s 500 most powerful systems,
NASA’s 10,240-processor Columbia supercomputer, built from 20 SGI® Altix®
systems, seized the second position in the latest roster of the world’s Top
500 supercomputers. Announced today at the Supercomputing Conference 2004, the
24th Top 500 list confirms that NASA’s Columbia supercomputer has added yet
another performance milestone for the acclaimed SGI Altix platform from
Silicon Graphics. Columbia is the world’s fastest system to be
based on industry standard Intel® Itanium® 2 processors and the Linux®
operating system. Currently, there are more than 800 SGI Altix systems
delivered and in production worldwide.
Attaining sustained performance of 51.87 trillion calculations per second
(teraflops) and peak performance of 60.96 teraflops across 10,240 processors,
Columbia vanquished venerable supercomputers such as Japan’s famed Earth
Simulator, which at 35.86 teraflops has been rated as the world’s top
supercomputer for more than two years. The Columbia supercomputer, which since
Oct. 12 has been in full production use at the NASA Advanced Supercomputing
(NAS) facility at NASA Ames Research Center in Mountain View, Calif.,
generated LINPACK benchmark results that were second only to IBM’s Blue
Gene/L, a temporary installation of a system intended for eventual deployment
at Lawrence Livermore National Laboratory.
“The Columbia system is a tremendous development for NASA and the nation.
Simulation of the evolution of the Earth and planetary ecosystems with high
fidelity has been beyond the reach of Earth scientists for decades,” said
Ghassem Asrar, Deputy Associate Administrator of NASA’s Science Mission
Directorate. “With Columbia, scientists are already seeing dramatic
improvements in the fidelity of simulations in such areas as global ocean
circulation, prediction of large scale structures in the universe, and the
physics of supernova detonations.”
“We are extremely proud to have not only achieved exceptional performance
with Columbia at 50 teraflops, but to have also created a production system,
delivering real results in less than 120 days,” said Bob Bishop, Chairman and
CEO of SGI. “SGI has established new standards by which customers will expect
future supercomputers to be built and delivered.”
Representing SGI installations — in production — located throughout the
world, the Top 500 list features new Altix supercomputer deployments at
commercial sites and research institutions such as:
— Ford Motor Company
— French energy giant Total
— National Oceanic Atmospheric Administration
— University of Rochester
— University of Manchester
Several current Top 500 entrants featured previously on the Top 500 list
added more Altix systems to their deployments as well. These expanded
installations, in addition to NASA’s Columbia system, underscore the
productivity and ease of use that the SGI Altix system’s global shared-memory
architecture affords the world’s most demanding users.
Real Science Conducted on Altix
Outfitting some of the world’s most demanding user environments with an
unique global shared-memory architecture, scalable Intel Itanium 2 processors
and a proven 64-bit Linux operating environment, Altix enables scientists and
engineers to hold massive data sets and complex problems entirely in memory.
Leveraging this powerful platform, Altix users have achieved breakthroughs in
a broad range of technical computing disciplines. The top markets for Altix
applications include:
— Computational structural mechanics
— Computational fluid dynamics
— Computational chemical and material sciences
— Bioinformatics
— Seismic processing and interpretation
— Reservoir Simulation
— Climate, weather and ocean simulation
In addition to transforming scientific discovery at NASA and other HPC
customer sites, Columbia signals a new era for easily deployable
supercomputers. Columbia was built, installed, and made fully available to
scientists in fewer than 120 days, a radical departure from traditional
supercomputers that historically have required years to implement. Columbia is
built from the same industry standard, commercially available Altix systems —
based on Intel Itanium 2 processors and featuring a 64-bit Linux OS — that
have been in widespread use throughout the world since SGI introduced Altix in
January 2003. Leading automakers, consumer product manufacturers, energy
companies, pharmaceutical companies, national laboratories, government
agencies and research institutions have adopted the SGI Altix platform.
About The Top 500 List
The 24th Top 500 List was announced today at the Supercomputing Conference
2004. The Top 500 project was started in 1993 to provide a reliable basis for
tracking and detecting trends in high-performance computing. Twice a year, a
list of the sites operating the 500 most powerful computer systems is
assembled and released. The best performance on the Linpack benchmark is used
as performance measure for ranking the computer systems.
SILICON GRAPHICS | The Source of Innovation and Discovery(TM)
SGI, also known as Silicon Graphics, Inc., is a leader in
high-performance computing, visualization and storage. SGI’s vision is to
provide technology that enables the most significant scientific and creative
breakthroughs of the 21st century. Whether it’s sharing images to aid in brain
surgery, finding oil more efficiently, studying global climate, providing
technologies for homeland security and defense or enabling the transition from
analog to digital broadcasting, SGI is dedicated to addressing the next class
of challenges for scientific, engineering and creative users. With offices
worldwide, the company is headquartered in Mountain View, Calif., and can be
found on the Web at www.sgi.com.
NOTE: Silicon Graphics, SGI, Altix, the SGI cube and the SGI logo are
registered trademarks, and The Source of Innovation and Discovery is a
trademark of Silicon Graphics, Inc., in the United States and/or other
countries worldwide. Linux is a registered trademark of Linus Torvalds in
several countries. Intel and Itanium are trademarks or registered trademarks
of Intel Corporation or its subsidiaries in the United States and other
countries. All other trademarks mentioned herein are the property of their
respective owners.
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Top IT companies in USA in 2024
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Last few years saw a surge of growing IT companies in the USA. To know which companies are leading the top 10 list, read our blog.
|
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https://www.knowledgehut.com/blog/others/it-companies-usa
|
The advancements in the IT industry have brought a digital revolution worldwide. Computer software and IT products are an integral part of this new era. From a local store to a leading brand, all are using some software and applications to run the business.
The USA is among the advanced countries where the IT industry is flourishing rapidly. There are numerous IT companies in the USA since last few decades. But who is the leader among IT companies in the USA? Or Which companies have successfully grabbed a position in the list of top IT companies in the USA?
If these questions intrigue you, too, then read on to get your answers.
Why are IT companies in the USA flourishing?
The expansion of IT companies in the USA is not hidden. The US is among the world's most developed nations, and IT companies find the US market best for growth. But there are several reasons behind it. The foremost reason for this is the availability of a highly skilled and educated workforce. Online courses like the PMP Course and other such certification programs help individuals secure jobs in these companies. Many individuals in the US have advanced degrees in computer science, engineering, and other related fields. This facilitates IT companies with a steady stream of talented workers to hire.
The USA has a culture where innovation and technology are valued, and these factors benefit IT companies growth. Also, the variety of incentives the US government provides to support technology-based businesses is a push-through. Along with this, major IT companies in the USA, like Microsoft, Apple, and Google, are based in the USA, making this place a hub for IT companies.
List of Top 10 IT Companies in the USA by Revenue and Market Cap
From the most popular software company Microsoft to the widely used financial technology company PayPal for money transfers, here is a list of the top 10 IT companies in the USA. Courses like ITSM Training programs can help you get a job in these companies.
1. Microsoft:
About the company:
Located in Redmond, Washington, region Microsoft is the oldest IT company in the US top IT companies list.
It primarily deals in computer software. Microsoft Office suite, Edge web browsers, Windows Operating systems, and Internet explorers are some of Microsoft's notable and globally used software.
Microsoft is the leading IT company worldwide with a wide array of services. The company also deals in electronic goods like phones, touchscreen computers, Xbox gaming consoles, server applications, cloud computing, laptops, etc. With its operations in 190 countries, Microsoft has the largest market capitalization in the USA.
CEO:
Satya Nadella
Headquarters:
Redmond, Washington, US
Employees:
2,22,000
Average Salary Range:
The average salary range at Microsoft is between $93,494 - $123,530.
2. Adobe System:
About the company:
Established in 1982, this company came into existence when Xerox declined the offer by John Warnock and Charles Geschke. The two were computer scientists at the Xerox Corporation's research center. They designed a programming language that was useful in exactly deciding the shape, size, and position of the computer-generated objects on a page.
Acrobat Reader is one of Adobe's most widely known and used products. It offers diversified services to users. Adobe services offer various software services and products that can help with content management and media and are compatible with many devices and systems. This makes the company one of the top US IT companies.
CEO:
Shantanu Narayen
Headquarters:
San Jose, California, United States
Employees:
25,998
Average Salary Range:
The average salary range at Adobe is between $92,783-$123,192.
3. Oracle Corp.
It is categorized as one of the best IT companies in the USA. Oracle Corp is a global leader in providing database solutions to people. The company also provides enterprise software, middleware, and other products, along with computer hardware. The global acquisition is the primary source of growth for the company.
Information Management software for workstations, personal computers, mainframes, and other electronic gadgets based on digital technology is built by the Oracle group. Counted among the top IT companies in Texas, USA, Oracle Corp. after it purchased Sun Microsystems, company gained rights over the popular programming language Java, MySQL, an open-source database, and the Solaris operating system.
CEO:
Larry Ellison
Headquarters:
Austin, Texas, United States
Employees:
1,70,000
Average Salary Range:
The average salary range at Oracle Corp. is between $28,411 - $3,00,623.
4. Salesforce.com, INC
Salesforce is an early-stage USA-based IT company. The variation is that Salesforce started working on projects related to Digital Transformations quite earlier than the other big IT companies in the USA.
It is a software as a service (SaaS) company with expertise in Customer Relationship Management CRM. The services by the company facilitate businesses with Cloud technology that allows them to connect better with existing customers, partners, and potential customers.
It is helpful for businesses in tracking customer activity and various other services. Direct interactions with customers and tracking customer journeys are possible with the multichannel marketing campaign facility of the marketing cloud by Salesforce.
CEO:
Marc Benioff
Headquarters:
San Francisco, California, United States
Employees:
73,542
Average Salary Range:
The average salary range at Salesforce is between $91,681-$154,992.
5. International Business Machines Corp
IBM is one of the leading computer manufacturers in America and another among the top IT companies in the United States. In 1911 the company, under a consolidation of three other smaller companies used to make punch cards, was incorporated as the Computing-Tabulating-Recording company. The company holds a share in both the US and abroad markets.
Thomas Watson, a person with significant knowledge of marketing, gave the present name to the company. Under his supervision, IBM became one of the leading American manufacturers of punch card tabulating systems used by various government organizations and private businesses.
CEO:
Arvind Krishna
Headquarters:
Armonk, New York, USA
Employees:
2,82,100
Average Salary Range:
The average salary range at IBM is between $84,534-$111,799.
6. Hewlett-Packard Co. (HPQ)
Commonly famous for its short-form HP, it's a multinational American IT company. The company deals with developing various hardware components, software, and other related services for its customers. The company sells its services to medium- and large-sized enterprises, which primarily includes people in the healthcare, education, and government domain. To get a job in the company, you can try to take upskilling courses like the Full-stack JAVA Developer Bootcamp.
In its initial days, HP produced a line of electronic test and measurement equipment. Later under the leadership of Bill Hewlett and David Packard, the company shifted its focus to building products that involved computers, laptops, and printers. It ultimately became the biggest IT company in the USA.
CEO:
Bill Hewlett and David Packard
Headquarters:
Palo Alto, California, United States
Employees:
53,000
Average Salary Range:
The average salary range at Hewlett-Packard Co. is between $61,950 to $148,755.
7. Intuit Corp. (INTU)
Next in the USA IT companies list is Intuit Corp. It is a California-based company that facilitates consumers, small-biz owners, self-employed folks, and accounting professionals with financial management and compliance products. Small businesses and self-employed, Consumers, Credit Karma, and ProConnect are the company's four operating segments. These services are provided in the USA, Canada, and several international destinations.
Quickbooks online services and other desktop software solutions like the Quickbooks Online advanced cloud-based solutions, Quickbooks Commerce which is a solution for product-based businesses, etc. The company provides Quickbooks Accountant for payroll processing, paychecks, etc., to different enterprises.
CEO:
Sasan K. Goodarzi
Headquarters:
Mountain View, California, United States
Employees:
10,000
Average Salary Range:
The average salary range at Intuit Corp. is between $3,648,348-$4,812,985.
8. Mastercard
The name gives the idea that the company functions in the financial sector. It's a technology firm that is accountable for the processing of electronic payments. The company has tie-ups with various institutions globally, allowing it to connect different users like businesses, merchants, consumers, and many more in several transactions.
The tie-ups benefit Mastercard by giving it a chance to offer variable card services to its customers, diversifying its customer base in the upcoming and prevailing markets. Debit, credit, and prepaid cards are the electronic payment cards offered by Mastercard.
CEO:
Michael Miebach
Headquarters:
Purchase, Harrison, New York, United States
Employees:
21,000
Average Salary Range:
The average salary range at Mastercard is between $70,312-$171,024.
9. Nvidia
Nvidia is a multinational technology company in the California region and is considered one of the leading IT companies in the US. The company is into designing graphic processing units. It offers services to professional and gaming markets and systems on chip units for the mobile computing and automotive market.
Currently, Nvidia is also focusing on producing chips for supercomputers that particularly incorporate Artificial Intelligence and scientific research applications. The GeForce brands of GPUs and Tegra mobile processors are some of the operating units of Nvidia.
CEO:
Jensen Huang
Headquarters:
Santa Clara, California, United States
Employees:
18,100
Average Salary Range:
The average salary range at Nvidia is between $88,819-$113,139.
10. PayPal
With the word pay in the name, the picture becomes clear that the company operates in the financial domain. This is one of the largest IT companies in the US. PayPal is a technology-based financial company in America that facilities International Payments.
Counted as one of the best companies in the USA, PayPal has users globally. It's an electronic alternative to paper currency and has smoothened the process of international transactions. The company is functional in most countries that allow online money transfers to its customers.
CEO:
Dan Schulman
Headquarters:
San Jose, California, United States
Employees:
26,500
Average Salary Range:
The average salary range at PayPal is between $106,755-$150,192.
Conclusion
These were some of the companies that made it to the top IT companies in the USA list. IT companies have flourished in the USA, and many compete to be recognized as the top IT companies in the United States. These companies are not only on top in the USA but are also leading worldwide.
These companies open job options for young and experienced talents in the country and play a major role in the development and economy of the country.
Apart from these top IT companies, many are on the list of small IT companies in the USA. The number of Indian IT companies like Mindtree, JK Technosoft, and PixelCrayons is also growing more in the US market. In the coming years, it would be interesting to see which new IT companies emerge and enter the list to compete with the top IT companies in the USA.
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Back to GetFilings.com
SECURITIES AND EXCHANGE COMMISSION
WASHINGTON, D.C. 20549
-------------------------
FORM 10-K
(Mark One)
[X] Annual Report pursuant to Section 13 or 15(d) of the Securities
Exchange Act of 1934.
For the fiscal year ended June 30, 1996.
[ ] Transition report pursuant to Section 13 or 15(d) of the Securities
Exchange Act of 1934. For the transition period from to .
Commission File Number 1-10441
SILICON GRAPHICS, INC.
(Exact name of registrant as specified in its charter)
DELAWARE 94-2789662
(State or Other Jurisdiction of (I.R.S. Employer
Incorporation or Organization) Identification Number)
2011 North Shoreline Boulevard, Mountain View, California 94043-1389
(Address of principal executive offices and zip code)
Registrant's telephone number, including area code: (415) 960-1980
Securities registered pursuant to Section 12(b) of the Act:
NAME OF EACH EXCHANGE
TITLE OF EACH CLASS ON WHICH REGISTERED:
------------------- --------------------
Common Stock, $0.001 par value New York Stock Exchange
Preferred Share Purchase Rights New York Stock Exchange
Indicate by check mark whether the registrant (1) has filed all reports
required to be filed by Section 13 or 15(d) of the Securities Exchange Act of
1934 during the preceding 12 months (or for such shorter period that the
registrant was required to file such reports), and (2) has been subject to such
filing requirements for the past 90 days. Yes X No
----- -----
Indicate by check mark if disclosure of delinquent filers pursuant to Item
405 of Regulation S-K is not contained herein, and will not be contained, to the
best of registrant's knowledge, in definitive proxy or information statements
incorporated by reference in Part III of this Form 10-K or any amendment to
this Form 10-K. [ ]
The aggregate market value of the registrant's voting stock held by non-
affiliates of the registrant, based upon the closing sale price of the Common
Stock on September 3, 1996 on the New York Stock Exchange as reported in The
Wall Street Journal, was approximately $3,726 million. Shares of voting stock
held by each executive officer and director and by each person who owns 5% or
more of any class of registrant's voting stock have been excluded in that such
persons may be deemed to be affiliates. This determination of affiliate status
is not necessarily a conclusive determination for other purposes.
AS OF SEPTEMBER 3, 1996, THE REGISTRANT HAD OUTSTANDING
173,158,255 SHARES OF COMMON STOCK.
DOCUMENTS INCORPORATED BY REFERENCE
Parts of the following documents are incorporated by reference to this Form
10-K Report: (1) Proxy Statement for registrant's Annual Meeting of Stockholders
to be held October 30, 1996 (Part III), and (2) registrant's Annual Report to
Stockholders for the fiscal year ended June 30, 1996 (Parts I, II and IV).
PART I
ITEM 1. BUSINESS
GENERAL
Silicon Graphics provides computing solutions that range from cost-
effective high performance desktop workstations to database and compute servers
to Cray Research supercomputers. The Company's systems enhance the productivity
of organizations engaged in technical, scientific, corporate and entertainment
applications across a wide range of industries.
Silicon Graphics' Cray Research subsidiary, acquired in fiscal 1996,
provides supercomputing tools and services to help solve customers' most
challenging problems. Another subsidiary, MIPS Technologies, designs the
industry-leading MIPS-Registered Trademark- RISC microprocessor. The Company
licenses its designs to semiconductor partners, who manufacture MIPS
microprocessors for use in the computer, embedded control and consumer
markets. The Company's Alias|Wavefront subsidiary provides innovative
animation and advanced modeling software for entertainment and industrial
applications.
CORE TECHNOLOGIES
The Company's strategy has been to identify and to invest heavily in the
key technologies that will enable it to set the pace of innovation. With
respect to these core elements, the Company's objective is to have the world's
leading technology and to be the first to deliver that technology in new
products. This approach has given Silicon Graphics a clear strategic focus and
has allowed it to obtain high productivity from its research and development
investment. With respect to the other, non-core elements required to develop
its products, the Company seeks to form strategic relationships with leading
suppliers worldwide.
The Company's core technologies are:
GRAPHICS Leading graphics performance has been a distinguishing
characteristic of Silicon Graphics' products since its inception. The
Company's systems use its proprietary dedicated graphics subsystems, which
not only provide strong graphics capability but also improve overall system
performance by freeing up the central microprocessor for other tasks. These
subsystems, such as the Onyx-TM- InfiniteReality-TM- and Indigo2 Impact-TM-
family of graphics subsystems, perform complex functions that allow the user
to render, display and manipulate realistic 3D objects and images in real
time. In addition, Silicon Graphics has developed the OpenGL-Registered
Trademark-, an application programming interface (API) that evolved from the
Company's IRIS GL-TM- API and has become an industry standard for developing
2D and 3D graphics applications. The OpenGL API is controlled by an
independent architecture review board that governs its direction and is
licensed to more than 30 leading companies, including all of the principal
UNIX-Registered Trademark- workstation manufacturers.
RISC MICROPROCESSORS The acquisition of MIPS Computer Systems in 1992 gave
the Company ownership of what it believes to be the industry's leading reduced
instruction set computing (RISC) technology, and the Company continues to devote
substantial resources to extending this technology. Since 1992, the Company and
its semiconductor partners have developed and introduced several new families of
MIPS RISC microprocessors optimized for use in products ranging from consumer
electronic products to high-performance supercomputers.
SCALABLE COMPUTING The ability to build computer systems that use more
than one processor without major changes in applications software has been an
important factor in the performance of the Company's systems, particularly for
the technical and scientific markets. This multiple CPU design optimizes the
performance of a single application or maximizes system throughput when handling
many applications or users at one time. Silicon Graphics' substantial
investments in symmetric multiprocessing since the late 1980s have enabled it to
become the leading supplier of low and midrange supercomputers. The acquisition
of Cray Research in 1996 has enhanced the Company's capability to deliver large
multiprocessing systems involving hundreds of processors.
DIGITAL MEDIA Digital media integrates 3D graphics, animation and text
with video, audio and video conferencing capabilities. The Company believes
that digital media technology delivers a fundamentally better way to work and
communicate, especially in a networked computing environment enabling
cooperative work in real-time. Examples include "collaborative engineering",
where engineers in different countries share visual information and work
concurrently on 3D models and designs.
COMPUTER SYSTEM PRODUCTS
The Company's computer systems range from desktop workstations to servers
and supercomputers. All of these systems (other than the current Cray Research
product families) are designed around MIPS RISC microprocessors developed by MTI
and the IRIX-TM- operating system, which is the Company's enhanced version of
the System V Release 4 (SVR4) UNIX operating system. The IRIX operating system
includes the Indigo Magic-TM- user environment, a complete family of tools
including desktop utilities, digital media applications and collaborative tools.
Because of their common microprocessor and operating system technology, the
Company's systems generally are binary-compatible, meaning that software
applications run without modification across the entire product line.
DESKTOP SYSTEMS
Silicon Graphics desktop workstations combine key elements of workgroup
collaboration, interactive media and computing at a range of prices and
performance. Systems in this family can be used for tasks as diverse as
manipulating 3D models for computer-aided design (CAD), crunching numbers for
chemistry and geographic information systems applications, or functioning as a
tool for video editing, animation rendering, technical publishing, World Wide
Web and intranet authoring and serving, and software development.
INDY The Indy-TM- family of entry-level desktop workstation features
advanced 3D graphics and imaging, real-time video capability and interactive and
professional quality graphics, audio and imaging capabilities. The Indy has
significant appeal in markets such as mechanical CAD, chemistry, color
publishing, film and video, software development, education and media authoring.
INDIGO(2) The Indigo(2)-TM- family of workstations is designed to
provide the strongest graphics and computational capability available in the
desktop category, for applications such as 3D solids modeling, mechanical
CAD, digital prototyping, 3D visualization, animation, architectural design
and professional audio and video production.
WEBFORCE The WebFORCE-TM- family of computer systems, one of the first
product lines for creating and serving content for the World Wide Web,
integrates hardware and software for professional Web content authoring and
commercial Web serving, and includes Indy and Indigo(2) Impact desktop systems
as well as Challenge-Registered Trademark- servers.
HIGH END SYSTEMS
-2-
ONYX This family of graphics supercomputers uses multiple microprocessors
and sophisticated graphics subsystems to handle the most demanding visual
computing tasks. Graphics subsystems available with the Onyx systems
include the InfiniteReality and Reality Engine(2)-TM- graphics subsystems. The
Onyx family is well-suited for applications such as computational chemistry, oil
and gas research, molecular modeling, global weather modeling, structural
dynamics, fluid dynamics, image processing, visual simulation, medical imaging
and chemistry, interactive entertainment and digital film and video production.
CHALLENGE The Challenge family of network resource servers includes a
range of capabilities, from single processor deskside systems used by small to
mid-size workgroups up to systems employing dozens of processors and capable of
supporting enterprise-wide distributed computing environments. Challenge
servers efficiently store, manage and move large amounts of audio, video and
graphics data as well as traditional databases and textual data for a wide range
of commercial and other applications. Key uses include data mining (to analyze
and organize database information), product data management for manufacturing,
and commercial transaction processing. Challenge servers also are used as media
servers, World Wide Web site servers and file servers.
POWER CHALLENGE The POWER Challenge-TM- family of supercomputing servers
combines low-cost, high-performance CMOS RISC technology, advanced parallel
system architecture and a simple shared-memory programming model. Key
applications in the technical and scientific markets include finite element
analysis (to determine the impact of elements like stress and temperature),
quantum chemistry calculation, seismic analysis and computational fluid
dynamics.
CRAY RESEARCH PRODUCTS
Cray Research, founded in 1973 and acquired by the Company in 1996, is the
world's leading supplier of advanced supercomputers. Cray Research has
continued as a separate division of Silicon Graphics focused on the high end of
the supercomputing market. Cray Research is working closely with the Silicon
Graphics advanced systems division to develop and introduce over the next
several years an integrated family of highly scalable systems that will
eventually cover the full range from affordable deskside servers to the world's
most powerful supercomputers.
The CRAY T90-TM- family of supercomputers deliver maximum performance for
vectorized supercomputing applications. The large memory bandwidth of T90
systems make them ideal for problems involving huge amounts of data, such as
weather and climate modeling and large-scale auto engineering.
The CRAY J90-TM- family uses low-cost CMOS technology to deliver affordable
supercomputing for vectorized applications like molecular modeling, ecosystem
simulation, medical imaging and vehicle dynamics simulation.
The CRAY T3E-TM- highly scalable supercomputing systems employ a massively
parallel architecture ranging from 16 to as many as 2,048 processors for a
broad range of scientific and industrial applications as diverse as petroleum
exploration, aerospace enginering and traffic system simulation.
MIPS RISC MICROPROCESSORS
All of the Company's system products (other than the current Cray Research
families) incorporate the MIPS RISC microprocessor architecture. The Company's
MIPS RISC microprocessor designs incorporate a general purpose architecture and
instruction set designed for high performance over a wide range of applications.
The MIPS RISC microprocessor designs make efficient use of instruction
"pipelining" techniques and proprietary compilers, allowing significant
performance gains to be realized by optimizing the tradeoff between compiler and
microprocessor functions. The versatility of the MIPS
-3-
RISC architecture makes it suitable for computer applications from entry-level
desktop systems up to supercomputers.
MIPS RISC microprocessors are also used in a wide variety of noncomputer
applications, including disk drives, printers and copiers and, increasingly,
consumer electronics products. Silicon Graphics computers represent only a
small percentage of the worldwide consumption of MIPS RISC microprocessors.
The Company does not manufacture or sell MIPS RISC microprocessors and
related devices. It licenses its designs to "semiconductor partners" who
manufacture and sell the parts. The Company's current licensees are:
Integrated Device Technology, Inc.; LSI Logic Corporation; NEC Corporation; NKK
Corporation; Philips Semiconductor; and Toshiba Corporation. Each semiconductor
partner paid an initial license fee at the beginning of the license period and
pays unit royalties based upon sales.
APPLICATIONS SOFTWARE
Because the Company has historically developed only a very limited set of
applications software, its customers must either develop or license from a third
party the software necessary to address their needs. The Company maintains
active programs to encourage independent software development for its systems,
including training, technology support and cooperative marketing. The Company
believes that there currently are over 2,000 registered application software
programs offered for use on its systems.
The Company's Alias|Wavefront division supplies modeling and animation
application software used by creative professionals in the entertainment,
industrial design and visualization and graphic design markets. Its industry-
leading products include Alias PowerAnimator-TM-, Alias Studio-TM-, and
Wavefront Composer-TM-. Alias|Wavefront has also announced the next generation
Maya-TM- product architecture, which will be incorporated in products beginning
in fiscal 1997. Alias|Wavefront is based in Toronto, Canada with sales offices
across North America, Europe and Asia and worldwide distribution.
In fiscal 1996 the Company introduced the Cosmo-TM- family of content
creation, browsing and management tools for the World Wide Web and intranet
markets. The Cosmo products are intended to facilitate the creation of media-
rich three dimensional environments and especially to take advantage of the
power of the industry standard Virtual Reality Modeling Language (VRML)
developed by Silicon Graphics.
MARKETING, SALES AND DISTRIBUTION
The Company sells its products through its own direct sales force and
through several indirect channels. In fiscal 1996 direct sales accounted for
approximately half of the Company's product revenues. The direct sales and
support organization operates throughout the United States and in all
significant international markets. The Company serves smaller international
markets through distributors.
The principal indirect channels through which the Company operates are the
following:
_ VARS, or value added resellers, are software companies that develop
or customize their proprietary software specifically for use with the
special graphics hardware of the Company's workstations. VARs
purchase workstations from the Company or its North American
distributor, incorporate their applications software and resell the
systems to end-users.
_ VADS, or value added dealers, are typically direct sales
organizations that sell primarily into a single vertical market and
incorporate appropriate specialized third-party software with the
Company's hardware for sale to their customers.
-4-
_ OEM ("original equipment manufacturer") customers generally are
computer systems vendors that customize applications software for use
on the Company's workstations and sell turnkey systems under the OEM's
product name. OEMs also provide independent marketing, service and
support programs to their customers. The Company's principal OEMs
include Tandem Computers Incorporated and Siemens Nixdorf AG.
_ SYSTEMS INTEGRATORS include Silicon Graphics systems in much larger
systems customized for use by the federal government and large
commercial clients.
Information with respect to international operations and export sales may
be found on page 60 of the 1996 Annual Report to Stockholders, which is
incorporated herein by reference. See also "Risks That Affect Our Business"
below. Although no customer accounted for 10% or more of the Company's total
revenues for fiscal 1996, 1995 or 1994, a significant reduction or delay in
sales to major customers could adversely affect the Company's operating results.
CUSTOMER SERVICE AND SUPPORT
The Company believes that the quality and reliability of its system
products and the ongoing support of such products are important elements of its
competitive strategy. The Company's customer service organization includes
field service engineers, field product and applications specialists, product
support engineers, training specialists and administrative support personnel.
In addition, the Company provides customer education through regularly scheduled
courses in system software administration, applications programming and hardware
maintenance. The Company provides local customer support from its regional
sales and service offices located in North America, Western Europe and the
Pacific Rim, with spare parts inventory stored at each location. International
distributors provide training and support for products sold by them.
The Company typically provides a standard "return to factory" hardware
warranty against defects in materials and workmanship for periods of up to
one year.
RESEARCH AND DEVELOPMENT
The Company's research and development program is directed principally
toward maintaining and enhancing the Company's competitive position through
incorporating the latest advances in microprocessor, hardware, software and
networking technologies. This effort is focused specifically on developing and
enhancing its computing architectures, MIPS RISC microprocessors, graphics
subsystems, VLSI technology, compiler software, operating system, applications
software and development tools. Simultaneously, the Company seeks to develop
new ways in which to increase product reliability, reduce manufacturing costs
and improve product development lead times.
During fiscal 1996, 1995 and 1994, the Company spent approximately $353
million, $248 million and $191 million, respectively, on research and
development. Those amounts represented 12.1%, 11.1% and 12.4%, respectively, of
revenues.
MANUFACTURING
The Company's manufacturing operations primarily involve assembling high
level subassemblies and systems and testing major purchased subassemblies. All
products are subjected to substantial environmental stress and electronic
testing prior to shipment to customers. The Company primarily manufactures and
ships its products from its main facility in Mountain View, California and the
Cray
-5-
Research facility in Chippewa Falls, Wisconsin. The Company also has a European
manufacturing and support center near Neuchatel, Switzerland.
The Company continually evaluates the allocation of manufacturing
activities among the Company's own operations and those of suppliers and
subcontractors. This allocation may be affected by fluctuations in the volume
of business, geopolitical, economic and technological developments and other
factors.
The Company attempts to utilize standard parts and components available
from multiple vendors rather than to integrate its manufacturing operations
vertically. The Company believes that there are a number of competent vendors
for most of the parts and components used in its system products. In certain
circumstances, despite the availability of multiple sources, the Company may
select a single source or a very limited number of sources in order to maintain
quality or price control or to develop a more strategic relationship with the
supplier.
Reliance on single or limited source vendors involves several risks,
including the possibility of a shortage of certain key components that meet the
Company's product specifications and reduced control over delivery schedules,
manufacturing yields, quality and costs. These issues tend to be especially
acute in the early or "ramp-up" stage as the Company attempts to reach volume
production of new products. In particular, the Company is dependent on a
limited number of semiconductor manufacturers with state of the art fabrication
facilities. During fiscal 1996, for example, the Company was dependent on a
single supplier, NEC, for the great majority of its requirements of MIPS R10000
microprocessors, a dependency that will continue through at least the first half
of fiscal 1997 until a second source begins volume production. Other components
for which the Company currently does not have multiple sources include certain
application-specific integrated circuits ("ASICs"). These are currently
obtained from IBM, LSI Logic, Motorola, VLSI Technology and Toshiba. Components
available from limited sources include floating point coprocessors and certain
memory circuits.
The Company also has single sources for certain peripherals, communications
controllers and power supplies, and the monitors and plastic cabinets used
across the Company's system products. The Company believes that, in most of
these cases, alternative sources of supply could be developed over a period of
time. However, a reduction or interruption in supply or a significant increase
in the price of one or more single or limited source components would, at least
in the short term, adversely affect the Company's operating results.
Many of the Company's suppliers are located outside the United States,
especially in Japan. The prices of parts from these suppliers have been and may
be affected significantly by such factors as protectionist measures and changes
in currency exchange rates between the United States and other countries. In
addition, changes in the availability of certain memory chips (DRAMs, SRAMs and
VRAMs) have caused, and in the future may cause, significant changes in their
prices.
COMPETITION
The computer industry is highly competitive and is characterized by rapid
technological advances in both hardware and software development. These
advances result in frequent new product introductions, short product life cycles
and increased new product capabilities, typically representing significant
price/performance improvements. The principal competitive factors in the
Company's market are product features, price/performance, networking
capabilities, product quality and reliability, ease of use, capabilities of the
system software, availability of applications software, customer support,
product availability, corporate reputation and price. The strong competition
faced throughout the Company's product line can result in significant
discounting from list price.
-6-
The Company's principal competition has historically come from other
workstation and computer system manufacturers and, to a lesser extent, from
graphics subsystem and terminal vendors and graphics integrated circuit
manufacturers. The principal workstation and computer manufacturers that
compete in the Company's markets are Digital Equipment, Hewlett Packard, IBM and
Sun Microsystems. The Company is facing increasing competition at the lowest
end of the workstation market from systems based on personal computer
technologies such as the Windows NT operating system, Intel microprocessors and
graphics acceleration cards.
In the high end of the supercomputer market, the Company faces competition
from IBM as well as from NEC, Hitachi and Fujitsu. In the applications software
market and certain other emerging markets the Company's principal competitor is
Microsoft.
The Company's MIPS RISC microprocessor architecture and technology compete
directly with microprocessor products offered by manufacturers of other
microprocessor designs, in particular those offered by IBM, Digital, HP, Intel,
Motorola and Sun. Although the Company believes its RISC architecture offers
advantages over these other designs, some of these architectures have a larger
installed base and wider availability of application software, which may
adversely affect the adoption of the Company's RISC architecture.
RISKS THAT AFFECT OUR BUSINESS
Silicon Graphics operates in a rapidly changing environment that involves a
number of risks, some of which are beyond the Company's control. The following
discussion highlights some of these risks.
PERIOD TO PERIOD FLUCTUATIONS The Company's operating results may fluctuate for
a number of reasons. Other than in the Cray Research business, the Company has
short delivery cycles and as a result generally does not have a large order
backlog, which makes the forecasting of revenue inherently uncertain. This
uncertainty is compounded because each quarter's revenue results predominantly
from orders booked and shipped during the third month, and disproportionately in
the latter half of that month. Because the Company plans its operating
expenses, many of which are relatively fixed in the short term, on the basis
that its revenue will continue to grow, even a relatively small revenue
shortfall may cause a period's results to be substantially below expectations.
Such a revenue shortfall could arise from any number of factors, including lower
than expected demand, supply constraints, delays in the availability of new
products, transit interruptions, overall economic conditions or natural
disasters. The timing of customer acceptance of large Cray systems may also
have a significant effect on periodic operating results. Margins are heavily
influenced by mix considerations, including geographical mix, the mix of service
and non-recurring engineering revenue, the mix of high-end and desktop products
and application software, as well as the mix of configurations within these
product categories.
The Company's results have followed a seasonal pattern, with stronger sequential
growth in the second and fourth fiscal quarters, reflecting the buying patterns
of the Company's customers. Sales of Cray Research systems generally reflect
sequential growth from quarter-to-quarter through the calendar year.
The Company's stock price, like that of other technology companies, is subject
to significant volatility. If revenue or earnings in any quarter fail to meet
the investment community's expectations, there could be an immediate impact on
the Company's stock price. The stock price may also be affected by broader
market trends unrelated to the Company's performance.
PRODUCT DEVELOPMENT AND INTRODUCTION The Company's continued success depends on
its ability to develop and rapidly bring to volume production highly
differentiated, technologically complex and innovative products. The Company
plans to introduce several new product families in the first half of fiscal
1997, including products that will replace virtually the entire current product
line. A number of risks are inherent in this process.
-7-
The development of new technology and products is increasingly complex and
uncertain, which increases the risk of delays. The introduction of a new
computer system requires close collaboration and continued technological
advancement involving multiple hardware and software design and manufacturing
teams within the Company as well as teams at outside suppliers of key components
such as semiconductor and storage products. The failure of any one of these
elements could cause the Company's new products to fail to meet specifications
or to miss the aggressive timetables that the Company establishes. As the
variety and complexity of the Company's product families increase, the process
of planning production and inventory levels also becomes more difficult.
Short product life cycles place a premium on the Company's ability to manage
the transition from current products to new products. In order to minimize
product transition issues, the Company often announces new products in the
early part of a quarter, while the product is in the final stages of
development, and seeks to manufacture and ship the product in volume in the
same quarter. In the case of the Cray Research product line, new products
are generally announced well in advance of availability, due to the longer
sales cycle for these systems. The Company's results could be adversely
affected by such factors as development delays, quality or yield problems
experienced by suppliers, variations in product costs, and delays in customer
purchases of existing products in anticipation of the introduction of new
products. On September 25, 1996 the Company announced that its revenues for
the first quarter of fiscal 1997 would be only slightly higher than for the
same period in the prior year and that its net income for that period would
be materially below expectations. The results for the quarter are
attributable, at least in part, to customer anticipation of new high-end and
desktop products that the Company plans to introduce in October 1996.
COMPETITION The computer industry is highly competitive, with rapid
technological advances and constantly improving price/performance. As most of
the segments in which the Company operates continue to grow faster than the
industry as a whole, the Company is experiencing an increase in competition, and
it expects this trend to continue. This competition comes not only from the
Company's traditional UNIX workstation rivals and Cray's traditional
supercomputing competitors, but also from new sources including the personal
computer industry. In particular, during fiscal 1996 the Company experienced
increasing competition at the lowest end of its business from workstations based
upon the Intel Pentium microprocessor, Microsoft's Windows NT operating system,
and a variety of 3-D graphics acceleration cards. Many of the Company's
competitors have substantially greater technical, marketing and financial
resources and, in some segments, a larger installed base of customers and a
wider range of available applications software. Competition can result in
significant discounting and lower gross margins.
VOLUME STRATEGY The Company believes that its long-term success is dependent
on achieving substantial increases in unit volumes over the next several
years. The Company has created a new business unit, the Silicon Desktop
Group, with the charter of implementing a comprehensive strategy for
increasing volumes of desktop products, including new product development,
greater emphasis on lower-cost manufacturing and the strengthening of
indirect distribution channels. Risks associated with this strategy include:
- increased direct competition with the personal computer industry,
portions of which have been seeking to move upmarket to compete with
low-end workstations (see "Competition");
- the impact of lower gross margins, to the extent not mitigated by
savings in distribution costs and other operating expenses; and
- the extent to which the Company is able to adapt its manufacturing and
service philosophies to the demands of higher volumes and lower costs.
ACQUISITION OF CRAY RESEARCH The acquisition of Cray Research will require,
among other things, integration of the Cray Research organization, business
infrastructure and product offerings with those of the Company in a way that
enhances the performance of the combined business. The challenges posed by the
acquisition include the management of a business with a different approach to
product design, manufacturing and sales and service, the development of a
consolidated product road map from a number of incompatible products and the
integration of several geographically separated research and development
centers. The success of this process will be significantly influenced by the
Company's ability to retain key management, sales, and research and development
personnel. The integration process will
-8-
also require the dedication of management resources, which may temporarily
distract attention from the day-to-day business of the Company.
There are several other aspects of Cray Research's business that are different
from the Company's current business and may affect the operations of the
combined business:
- Government agencies and research institutions represent a major
customer group for Cray Research products. As a result of the
acquisition, a greater percentage of the Company's revenue will be
derived from sales to such customers, whose purchasing decisions may
be adversely affected by reductions or changes in government spending.
- International sales of Cray Research's products are more likely to be
subject to export licensing constraints than international sales of
the Company's current products.
- Cray Research derives most of its revenue from the sale of a small
number of large systems, which generally have a longer sales cycle.
Revenue for these systems is recognized at customer acceptance rather
than upon shipment. Cray Research's results for any period are
significantly influenced by the number and mix of systems accepted and
whether a system is sold or leased. Changes affecting even a small
number of systems can have significant financial implications.
- At June 30, 1996, the combined Company's backlog was $572 million,
representing orders scheduled to ship during fiscal 1997. This
backlog primarily consists of orders for Cray Research T90 and T3E
systems, which only recently had their first commercial shipments.
IMPACT OF GOVERNMENT CUSTOMERS A significant portion of the Company's revenue
is derived from sales to the U.S. government, either directly by the Company or
through system integrators and other resellers. This proportion will increase
as the result of the Cray Research acquisition. Sales to the government present
risks in addition to those involved in sales to commercial customers, including
potential disruptions due to appropriation and spending patterns and the
government's reservation of the right to cancel contracts for its convenience.
In the second quarter of fiscal 1996, for example, the Company's results were
adversely affected by purchasing slowdowns related to the federal government
budget impasse.
GLOBAL FINANCIAL MARKET RISKS The Company's business and financial results are
affected by fluctuations in world financial markets, including foreign currency
exchange rates and interest rates. The Company's hedging policy attempts to
mitigate some of these risks, based on management's best judgment of the
appropriate tradeoffs among risk, opportunity and expense. The Company
regularly reviews its overall hedging policies, and it continually monitors its
hedging activities to ensure that they are consistent with policy and
appropriate and effective in light of changing market conditions. Management
may as part of this review determine at any time to change its hedging policies.
However, it is important to recognize that the Company's risk management
activities are not comprehensive, and that there can be no assurance that these
programs will offset more than a portion of the adverse financial impact
resulting from unfavorable movements in either foreign exchange or interest
rates.
Because more than half of the Company's revenue is from sales outside the United
States, and many key components are produced outside the United States, the
Company's results can be significantly affected by changes in foreign currency
exchange rates or weak economic conditions in the foreign markets in which the
Company distributes its products. The Company is primarily exposed to changes
in exchange rates on the Swiss franc, British pound, Japanese yen, German mark
and French franc. When the U.S. dollar strengthens against these currencies,
the value (as expressed in U.S. dollars) of non-U.S. dollar-based sales and
costs decrease. The opposite happens when the U.S. dollar weakens. Because
the Company is a net receiver of currencies other than the U.S. dollar, it
benefits from a weaker dollar and is adversely affected by a stronger dollar
relative to major currencies worldwide. Accordingly, a strengthening of the
U.S. dollar tends to affect negatively the Company's revenue and gross margins.
-9-
To mitigate the short-term impact of fluctuating currency exchange rates on the
Company's non-U.S. dollar-based sales and intercompany receivables, the Company
regularly hedges certain of these net exposures. Historically, the Company has
not sought to hedge future revenues. However, as a result of the Cray Research
acquisition, the Company is continuing Cray Research's policy of entering into
foreign exchange forward contracts that hedge firmly committed Cray Research
backlog. Currently, these hedges extend through December 1999. Beginning in
fiscal 1997, the Company also expects to hedge a portion of anticipated
quarterly revenues from international operations. The Company utilizes foreign
currency forward contracts to hedge non-U.S. dollar intercompany receivables.
The Company has generally not hedged capital expenditures, investments in
subsidiaries or inventory purchases. However, because the Company procures
inventory and its international operations incur expenses in local currencies,
the financial effects of fluctuations in the U.S. dollar values of non-U.S.
dollar-based transactions frequently mitigate or tend to offset each other on a
consolidated basis.
The Company's interest income and expense is most sensitive to fluctuations in
the general level of U.S. interest rates. In this regard, changes in U.S.
interest rates affect the interest earned on the Company's cash equivalents and
marketable investments as well as interest paid on its borrowings. To mitigate
the impact of fluctuations in U.S. interest rates, the Company has entered into
an interest rate swap transaction intended to better match the Company's fixed
rate interest expense on its zero coupon convertible subordinated debentures
with the floating-rate interest income on its cash equivalents and marketable
investments.
OTHER RISKS OF INTERNATIONAL OPERATIONS The Company's results could also be
negatively affected by such factors as changes in trade protection measures,
longer accounts receivable collection patterns, or natural disasters. The
Company's sales to foreign customers also are subject to export regulations,
with sales of some of the Company's high-end products requiring clearance and
export licenses from the U.S. Department of Commerce. The Company's export
sales would be adversely affected if such regulations were tightened, or if they
are not modified over time to reflect the increasing performance of the
Company's products.
MANAGEMENT INFORMATION SYSTEMS The Company replaced its United States
information management system in the third quarter of fiscal 1996 with a
comprehensive system used to manage the entire revenue cycle, including order
administration, billing and collection, as well as manufacturing and finance.
The Company expects that the system will provide operational efficiencies and
support future growth. However, as the system has been in operation for a
relatively short period, there remains a risk of functional or performance
difficulties, particularly if the system is extended to the Company's
international operations and to the Cray Research business.
DEVELOPMENT AND ACCEPTANCE OF MIPS RISC ARCHITECTURE Most of the Company's
system products incorporate microprocessors based upon the Company's MIPS
RISC microprocessor architecture. The Company licenses the manufacturing and
distribution rights to these microprocessors to selected semiconductor
manufacturing companies. The Company believes that the continued development
and broad acceptance of the MIPS architecture are critical to its future
success.
INTELLECTUAL PROPERTY The Company routinely receives communications from third
parties asserting patent or other rights covering the Company's products and
technologies. Based upon the Company's evaluation, it may take no action or it
may seek to obtain a license. In any given case there is a risk that a license
will not be available on terms that the Company considers reasonable, or that
litigation will ensue. The Company currently has patent infringement lawsuits
pending against it. The Company expects that, as the number of hardware and
software patents issued continues to increase, and as the Company's business
grows, the volume of these intellectual property claims will also increase.
-10-
EMPLOYEES The Company's future success depends in part on its ability to
continue to attract, retain and motivate highly qualified technical, marketing
and management personnel, who are in great demand.
BUSINESS DISRUPTION The Company's corporate headquarters, including most of its
research and development operations and manufacturing facilities, are located in
the Silicon Valley area of Northern California, a region known for seismic
activity. Operating results could be materially affected by a significant
earthquake. The Company is predominantly self-insured for losses and business
interruptions of this kind.
PROPRIETARY RIGHTS AND LICENSES
The Company has been granted or has applications pending for a significant
number of U.S. patents, and will continue to seek patent coverage for its
inventions in both the United States and foreign countries. The Company also
has applied for and holds various trademark registrations in the United States
and in selected foreign countries. The Company will continue to seek protection
for its inventions, trademarks, maskworks and copyrights where appropriate.
As is customary in its industry, the Company licenses from third parties a
wide range of software for its internal use and for the use of its customers.
The Company licenses the UNIX operating system on a non-exclusive basis from
Novell, Inc., and sublicenses it to its customers.
The Company's ability to compete may be affected by its ability to protect
proprietary information and to obtain necessary licenses on commercially
reasonable terms. The extent to which U.S. and international intellectual
property laws protect the Company's products, and the enforceability of end-user
license agreements, have not been fully determined, and the computer industry
has seen a substantial increase in litigation with respect to intellectual
property matters. Such litigation or changes in the interpretation of
intellectual property laws could expand or reduce the extent to which the
Company or its competitors are able to protect their intellectual property or
require changes in the design of products which could have an adverse impact on
the Company. There can be no assurance that the Company will not be made a
party to litigation regarding intellectual property matters in the future. See
"Legal Proceedings."
EMPLOYEES
As of June 30, 1996, the Company had approximately 10,485 full-time
employees. The Company's future success will depend, in part, on its ability to
continue to attract, retain and motivate highly qualified technical, marketing
and management personnel, who are in great demand. The Company has never had a
work stoppage, and no employees are represented by a labor union. The Company
believes that its employee relations are good.
CORPORATE DATA
The Company was originally incorporated as a California corporation in
November 1981, and reincorporated as a Delaware corporation in January 1990.
The Company acquired MIPS Computer Systems, Inc. through a merger in June 1992,
and acquired Alias Research Inc. and Wavefront Technologies, Inc. through
mergers in June 1995. The Company recently acquired Cray Research, Inc.
through a merger effective June 30, 1996.
ITEM 2. PROPERTIES
The Company believes that, while it currently has or is developing
sufficient facilities to conduct its operations during fiscal 1997, it will
continue to acquire both leased and owned facilities throughout the world as its
business requires. The Company's corporate offices and its primary research and
-11-
development and manufacturing operations are located in Mountain View,
California. The Company leases twelve adjacent buildings comprising a total of
approximately 726,500 square feet under leases terminating during 2000 through
2005. The Company owns 7.5 acres near its Mountain View headquarters, on which
a 112,000 square foot headquarters building for its sales organization was
completed in fiscal 1995. The Company also leases sixteen other buildings near
its Mountain View headquarters, comprising approximately 736,000 square feet.
The Company also has leased 22 acres of land near its other facilities in
Mountain View on which a four-building, 500,000 square foot general office
complex is being constructed to be leased to the Company for occupancy in fiscal
1997.
As a result of the acquisition of Cray Research, the Company also owns
manufacturing, research and development and service facilities comprising
approximately 747,000 square feet in Chippewa Falls, Wisconsin and
manufacturing, research and development, sales and administrative facilities
comprising 479,300 square feet in Eagan, Minnesota. The Company has vacated
and intends to sell a general and administrative and sales office comprising
approximately 118,900 square feet in Mendota Heights, Minnesota. The
Company's computing services operation leases approximately 100,100 square
feet in Minneapolis.
The Company's European manufacturing and support center near Neuchatel,
Switzerland is located in a facility owned by the Company, consisting of
approximately 75,000 square feet An additional facility comprised of
approximately 60,000 square feet is under construction and due for occupancy in
January 1997.
The Company also leases sales, service and administrative offices
worldwide.
ITEM 3. LEGAL PROCEEDINGS
The Company is defending the lawsuits described below. The Company
believes that it has good defenses to the claims in each of these lawsuits and
is defending each of them vigorously.
The Company is defending a securities class action lawsuit and a derivative
suit filed in U.S. District Court for the Northern District of California in
January and March, 1996. These suits allege that the Company and certain of its
officers and directors made material misrepresentations and omissions during the
period from October to December 1995. On September 25, 1996, the District Court
dismissed the securities class action, while allowing plaintiffs one opportunity
to amend their complaint, and dismissed the derivative action with prejudice.
The Company also is defending securities class action lawsuits involving
MIPS Computers Systems, Inc., which the Company acquired in June 1992, and Alias
Research Inc., which the Company acquired in June 1995. The MIPS case, which
was filed in the U.S. District Court for the Northern District of California in
1992, alleges that MIPS and certain of its officers and directors made material
misrepresentations and omissions during the period from January to October of
1991. On September 11, 1996, the United States Court of Appeals for the Ninth
Circuit reversed the summary judgment granted in defendants' favor in June 1994.
The Company intends to seek rehearing of the Court of Appeals' decision. The
Alias case, which was filed in the U.S. District Court for the District of
Connecticut in 1991, alleges that Alias and certain of its officers and
directors made material misrepresentations and omissions during the period from
May 1991 to April 1992. Alias' motion to dismiss the amended complaint is
pending.
The Company also is defending a patent infringement lawsuit filed by Martin
Marietta Corp. in the U.S. District Court for the Middle District of Florida in
September 1995. The Company has filed a counterclaim seeking to invalidate the
principal patent at issue in the lawsuit, and Martin Marietta has requested the
U.S. Patent and Trademark Office to re-examine the patent. The District Court
has set a trial date for the lawsuit in February 1998.
-12-
The Company routinely receives communications from third parties
asserting patent or other rights covering the Company's products and
technologies. Based upon the Company's evaluation, it may take no action or
it may seek to obtain a license. There can be no assurance in any given case
that a license will be available on terms the Company considers reasonable,
or that litigation will not ensue. Management is not aware of any pending
disputes, including those described above, that would be likely to have a
material adverse effect on the Company's financial condition, results of
operations or liquidity. However, management's evaluation of the likely
impact of these pending disputes could change in the future.
EXECUTIVE OFFICERS OF THE REGISTRANT
The executive officers of the Company and their ages as of September 20,
1996, are as follows:
Executive
Officer
Name Age Position and Principal Occupation Since
---- --- --------------------------------- -----
Edward R. McCracken 52 Chairman, Chief Executive Officer and Director 1984
Robert R. Bishop 53 Chairman, Silicon Graphics World Trade Corporation 1991
and Director, Silicon Graphics, Inc.
Gary L. Lauer 43 Executive Vice President, Worldwide Sales and Marketing, 1988
Silicon Graphics, Inc. and President, Silicon Graphics
World Trade Corporation
Javaid Aziz 44 Senior Vice President, European Field Operations 1995
Forest Baskett 53 Senior Vice President, Research and Development and 1986
Chief Technology Officer
Ross A. Bott 45 Senior Vice President, Enterprise Technologies 1996
John E. Bourgoin 50 President, MIPS Technologies, Inc. and Senior Vice 1996
President, Silicon Graphics, Inc.
Kenneth L. Coleman 53 Senior Vice President, Administration 1987
Robert H. Ewald 48 President, Cray Research, Inc. and Senior Vice President, 1996
Silicon Graphics, Inc.
Stephen Goggiano 43 Senior Vice President, Manufacturing and Customer Service 1989
William M. Kelly 43 Senior Vice President, Silicon Interactive Group, General 1994
Counsel and Secretary
Stanley J. Meresman 49 Senior Vice President, Finance and Chief Financial Officer 1989
David E. Orton 40 Senior Vice President, Scalable Systems Group 1996
Michael Ramsay 46 Senior Vice President, Silicon Desktop Group 1987
Teruyasu Sekimoto 57 Senior Vice President, East Asian Field Operations 1995
Dennis P. McBride 44 Vice President, Controller 1988
Robert W. Saltmarsh 46 Vice President, Treasurer 1996
Executive officers of the Company are elected annually by the Board of
Directors and serve at the Board's discretion. There are no family
relationships among any directors, nominees for director or executive officers
of the Company.
Except as set forth below, all of the officers have been associated with
the Company in their present positions for more than five years.
Mr. McCracken became Chairman of the Company in 1994.
-13-
Mr. Bishop, who has been an officer of the Company since 1991 and President
of Silicon Graphics World Trade Corporation since 1986, was named Chairman of
the Board of Silicon Graphics World Trade Corporation in July of 1995.
Mr. Lauer joined the Company in 1988 as Vice President, North American
Marketing, became Vice President, North American Field Operations in 1989, was
named Senior Vice President, North American Field Operations in 1991 and became
Executive Vice President, Silicon Graphics, Inc. and President of Silicon
Graphics World Trade Corporation in 1995.
Mr. Aziz joined the Company in 1995 as Senior Vice President, Europe.
Prior to joining the Company, Mr. Aziz spent 20 years at IBM Corporation in
technical, marketing and management positions, most recently as chief executive
officer of the United Kingdom operations.
Mr. Bott joined the Company in 1993 as Vice President/General Manager of
the Company's Network Systems Division. In 1996, he was named Senior Vice
President, Enterprise Technologies. Prior to joining the Company, Mr. Bott was
Vice President of Advanced Development and chief technical officer at Pyramid
Technology.
John E. Bourgoin joined the Company in 1996 as President of MIPS
Technologies, Inc. and Senior Vice President of Silicon Graphics, Inc. Prior to
joining the Company, Mr. Bourgoin served as Vice President, Computation Products
Group at Advanced Micro Devices, Inc.
Robert H. Ewald joined the Company in 1996 as a result of the Company's
acquisition of Cray Research, Inc. and now serves as President of Cray Research
and Senior Vice President of Silicon Graphics, Inc. Prior to the acquisition,
Mr. Ewald had been President and Chief Operating Officer of Cray since late
1994. Prior to that, he was Chief Operating Officer of Cray's Supercomputer
Operations and in 1993 served as Executive Vice President and General Manager,
Supercomputer Operations. During 1991 through 1993, Mr. Ewald was Cray's
Executive Vice President, Development.
Mr. Goggiano joined the Company in 1989 as Director of Operations, Advanced
Systems Division. In 1990, Mr. Goggiano was named Vice President/General
Manager, Operations and, in 1993, he was named Senior Vice President. Prior to
joining the Company, Mr. Goggiano was Vice President, Manufacturing for Altos
Computer Systems.
Mr. Kelly joined the Company in 1994 as Vice President, Business
Development, General Counsel and Secretary. In 1996, Mr. Kelly was named
Senior Vice President, Silicon Interactive Group and remains General Counsel
and Secretary of the Company. Prior to joining the Company, Mr. Kelly had
practiced law since 1978 with the firm of Shearman & Sterling, most recently
as co-managing partner of that firm's San Francisco office.
In 1990, Mr. Orton became Vice President/General Manager of the Advanced
Systems Division and in 1996 was named Senior Vice President, Scalable Systems
Group.
Mr. Ramsay was named Vice President/General Manager, Entry Systems Division
in 1988, and became Senior Vice President/General Manager, Entry Systems
Division in 1991. In 1992, Mr. Ramsay was named Senior Vice President, Visual
Systems Group, in 1994, became President of Silicon Studio, Inc. and in 1996 was
named Senior Vice President, Silicon Desktop Group.
Mr. Saltmarsh joined the Company in 1996 as Vice President, Treasurer. In
1994 and 1995, Mr. Saltmarsh served as Chief Financial Officer at Radius, Inc.
and prior to that was Vice President of Finance at Apple Computer, Inc.
-14-
PART II
With the exception of the information specifically incorporated by
reference from the Company's 1996 Annual Report to Stockholders (the "1996
Annual Report") in Parts I, II and IV of this Form 10-K, the 1996 Annual Report
is not to be deemed filed as part of this Report.
ITEM 5. MARKET FOR THE REGISTRANT'S COMMON EQUITY AND RELATED STOCKHOLDER
MATTERS
The information required by this Item is incorporated by reference to the
section entitled "Price Range of Common Stock" on page 35 of the Company's 1996
Annual Report.
ITEM 6. SELECTED FINANCIAL DATA
The information required by this Item is incorporated by reference to the
section entitled "Selected Consolidated Financial Data" on page 34 of the
Company's 1996 Annual Report.
ITEM 7. MANAGEMENT'S DISCUSSION AND ANALYSIS OF FINANCIAL CONDITION AND
RESULTS OF OPERATIONS
The information required by this Item is incorporated by reference to the
section entitled "Management's Discussion and Analysis" on pages 36 through 43
of the Company's 1996 Annual Report.
ITEM 8. FINANCIAL STATEMENTS AND SUPPLEMENTARY DATA
The information required by this Item is incorporated by reference to the
consolidated financial statements and notes thereto and to the section entitled
"Quarterly Data" on pages 35 and 44 through 61 of the Company's 1996 Annual
Report.
ITEM 9. CHANGES IN AND DISAGREEMENTS WITH ACCOUNTANTS ON ACCOUNTING AND
FINANCIAL DISCLOSURE
Not applicable.
-15-
PART III
Certain information required by Part III is omitted from this Report in
that the Company has filed its definitive proxy statement pursuant to Regulation
14A (the "1996 Proxy Statement") not later than 120 days after the end of the
fiscal year covered by this Report, and certain information included therein is
incorporated herein by reference.
ITEM 10. DIRECTORS AND EXECUTIVE OFFICERS OF THE REGISTRANT
The information concerning the Company's directors required by this Item is
incorporated by reference to pages 3 and 4 of the 1996 Proxy Statement under the
heading "Proposal No. 1 -- Election of Directors - Directors and Nominees for
Director."
The information concerning executive officers and family relationships
required by this Item is incorporated by reference to the section in Part I
hereof entitled "Executive Officers of the Registrant."
The information concerning compliance with Section 16(a) of the Securities
Exchange Act of 1934, as amended, required by this Item is incorporated by
reference to page 9 of the 1996 Proxy Statement under the heading "Executive
Officer Compensation - Compliance with Section 16(a) of the Exchange Act."
ITEM 11. EXECUTIVE COMPENSATION
The information required by this Item is incorporated by reference to page
5 under the headings "Proposal No. 1 - Election of Directors - Compensation
Committee Interlocks and Insider Participation" and " - Director Compensation",
pages 7 through 9 under the headings "Executive Officer Compensation - Summary
Compensation Table", " - Option Grants in Fiscal 1996" and " - Option Exercises
in Fiscal Year 1996 and Fiscal Year-End Option Values", pages 10 and 11 under
the heading "Report of the Compensation and Human Resources Committee of the
Board of Directors", and page 12 under the heading "Company Stock Price
Performance Graph" of the 1996 Proxy Statement.
ITEM 12. SECURITY OWNERSHIP OF CERTAIN BENEFICIAL OWNERS AND MANAGEMENT
The information required by this Item is incorporated by reference to pages
1 and 2 of the 1996 Proxy Statement under the headings "Information Concerning
Solicitation and Voting - Record Date and Principal Share Ownership" and
" - Voting and Solicitation" and page 6 of the 1996 Proxy Statement under the
heading "Other Information - Security Ownership of Management."
ITEM 13. CERTAIN RELATIONSHIPS AND RELATED TRANSACTIONS
The information required by this Item is incorporated by reference to pages
9 and 10 of the 1996 Proxy Statement under the heading "Certain Transactions."
-16-
PART IV
ITEM 14. EXHIBITS, FINANCIAL STATEMENT SCHEDULES, AND REPORTS ON FORM 8-K
(a) The following documents are filed as a part of this Report:
1. FINANCIAL STATEMENTS. The following consolidated financial
statements and supplementary information of Silicon Graphics, Inc. and Report of
Independent Auditors are incorporated by reference to pages 35 and 44 through 62
of the Registrant's 1996 Annual Report:
Consolidated Statements of Operations - Years Ended June 30, 1996,
1995 and 1994
Consolidated Balance Sheets - June 30, 1996 and 1995
Consolidated Statements of Cash Flows - Years Ended June 30, 1996,
1995 and 1994
Consolidated Statements of Stockholders' Equity - Years Ended June 30,
1996, 1995 and 1994
Notes to Consolidated Financial Statements
Report of Independent Auditors
Supplementary Information
Quarterly Data (Unaudited)
2. FINANCIAL STATEMENT SCHEDULES. The following financial statement
schedule of Silicon Graphics, Inc. is filed as part of this Report and should be
read in conjunction with the Consolidated Financial Statements of Silicon
Graphics, Inc.
Schedule Description Page
- -------- ----------- ----
II Valuation and Qualifying Accounts S-1
Schedules not listed above have been omitted because they are not
applicable or are not required or the information required to be set forth
therein is included in the consolidated financial statements or notes thereto.
-17-
3. EXHIBITS. The following Exhibits are filed as part of, or
incorporated by reference into, this Report:
2.1(14) Agreement and Plan of Merger and Reorganization,
dated as of February 6, 1995, among Silicon
Graphics, Inc., S Acquisition Corporation and
Wavefront Technologies, Inc.
2.2(14) Agreement and Plan of Acquisition and Arrangement
dated as of February 6, 1995 by and among Silicon
Graphics, Inc., 1103707 Ontario Inc., Silicon
Graphics Manufacturing S.A. and Alias Research
Inc.
2.3(20) Agreement and Plan of Merger dated as of February
25, 1996 by and among Silicon Graphics, Inc.,
C. Acquisition Corporation and Cray Research, Inc.
3.1.1(12) Restated Certificate of Incorporation of the
Company.
3.1.2(18) Certificate of Designation of the Series E
Preferred Stock filed June 13, 1995.
3.2 Bylaws of the Company, as amended.
4.1(5) Silicon Graphics, Inc. $25,000,000 8.98% Senior
Notes Due February 1, 1996, Note Agreement and
Note, dated February 1, 1991.
4.2(7) Amended and Restated Preferred Shares Rights
Agreement, dated as of May 6, 1992 between the
Company and The First National Bank of Boston,
including the Certificate of Designation of
Rights, Preferences and Privileges of Series B
Participating Preferred Stock, the form of Rights
Certificate and the Summary of Rights attached
thereto as Exhibits A, B, and C respectively.
4.3(12) Indenture dated November 1, 1993 between the
Company and The First National Bank of Boston, as
Trustee.
4.4(15) First Amendment to Rights Agreement dated as of
May 2, 1995 between the Company and The First
National Bank of Boston.
9.1(18) Voting and Exchange Trust Agreement between the
Company and Montreal Trust Company of Canada dated
June 15, 1995.
10.1(6)* 1984 Incentive Stock Option Plan, as amended, and
amended form of Incentive Stock Option Agreement.
10.2(8)* 1986 Incentive Stock Option Plan, as amended, and
amended forms of Incentive Stock Option Agreement
and Nonstatutory Stock Option Agreement.
-18-
10.3(1) Software Agreement dated as of January 4, 1986, as
supplemented June 6, 1986, and Sublicensing
Agreement dated as of June 9, 1986 between the
Company and AT&T Information Systems Inc.
10.4(4)* 1987 Stock Option Plan and form of Stock Option
Agreement.
10.5(2) Software License Agreement dated January 24, 1986,
between the Company and AT&T Information Systems
Inc.
10.6(3) Stock Purchase Agreement dated March 2, 1990 among
the Company, NKK Corporation and NKK U.S.A.
Corporation.
10.7(12)* Directors' Stock Option Plan and form of Stock
Option Agreement as amended as of October 31,
1994.
10.8(8) Form of Indemnification Agreement entered into
between the Company and its directors, executive
officers and certain other agents.
10.9(8) Form of Indemnification Agreement entered into
between the Company and its directors, executive
officers and certain other agents. (Revised)
10.10(8)* 1985 Stock Incentive Program.
10.11(8) Exchange Agreement dated August 14, 1992 among the
Company, NKK Corporation and NKK U.S.A.
Corporation.
10.12(13) Credit Agreement dated December 31, 1994 between
the Company and Bank of America, National Trust
and Savings Association.
10.13(9) Purchase and Sale Agreement, as amended, between
Richard T. Peery, John Arrillaga and Silicon
Graphics, Inc. executed on April 30, 1993.
10.14(9) Waiver and Release Agreement between Richard T.
Peery, John Arrillaga and Silicon Graphics Real
Estate, Inc. dated May 7, 1993.
10.15(10)* 1993 Long-Term Incentive Stock Plan and form of
stock option agreement.
10.16(18)* Employee Stock Purchase Plan, as amended as of
June 12, 1995.
10.17(10)* Form of Employment Continuation Agreement entered
into between the Company and its executive
officers, as amended as of October 21, 1993.
10.18(10)* Consulting Agreement dated as of October 25, 1993
between the Company and Mark W. Perry.
-19-
10.19(11)* Non-Qualified Deferred Compensation Plan dated as
of September 9, 1994.
10.20(13)* Employment Agreement dated February 1, 1995
between the Company and Thomas A. Jermoluk.
10.21(15)* Employment Agreement dated as of February 13, 1995
between the Company and Javaid Aziz.
10.22(18)* Letter agreement dated as of July 6, 1995 between
the Company and Robert K. Burgess.
10.23(18)* Convertible Debenture dated as of February 3, 1993
issued to Robert K. Burgess.
10.24(18) Ground Lease between Silicon Graphics Real Estate
Inc. and the City of Mountain View dated March 7,
1995.
10.25(18) Agreement for Lease between the Company and
Virtual Funding, Limited Partnership dated
November 18, 1993.
10.26(18) Amendment No. 1 to Agreement for Lease between the
Company and Virtual Funding, Limited Partnership
dated March 15, 1995.
10.27(18) Lease Agreement between the Company and Virtual
Funding, Limited Partnership dated November 18,
1993.
10.28(18) Amendment No. 1 to Lease Agreement between the
Company and Virtual Funding, Limited Partnership
dated March 15, 1995.
10.29(16)* Alias Research Inc.'s 1988 Employee Share
Ownership Plan Option Agreement.
10.30(16)* Alias Research Inc.'s 1989 Employee Share
Ownership Plan Option Agreement.
10.31(16)* Alias Research Inc.'s 1990 Employee Share
Ownership Plan and standard forms of Option
Agreements.
10.32(16)* Alias Research Inc.'s 1994 Stock Plan and standard
forms of Option Agreements.
10.33(17)* Wavefront Technologies, Inc. 1990 Stock Option
Plan with standard form of Option Agreement.
10.34(19)* Consulting Agreement dated as of December 21, 1995
between the Company and Tom Oswold.
10.35(19)* Addendum to the Non-Qualified Deferred
Compensation Plan (previously filed as Exhibit
10.19 to the Company's Annual Report on Form 10-K
for the year ended June 30, 1995).
-20-
10.36(21)* Consulting Agreement dated as of March 5, 1996
between the Company and Wei Yen.
10.37(21) Credit Agreement dated as of April 12, 1996.
10.38(21)* 1996 Supplemental Non-Executive Equity Incentive
Plan and form of stock option agreement.
10.39(22)* Cray Research, Inc. Amended and Restated 1989
Employee Benefit Stock Plan and form of stock
option agreement.
10.40(22)* Cray Research, Inc. 1989 Non-Employee Directors'
Stock Option Plan and form of stock option
agreement.
11.1 Statement of Computation of Per Share Earnings.
13.1 Excerpts from Annual Report for the year ended
June 30, 1996.
21.1 List of Subsidiaries.
23.1 Consent of Independent Auditors (see page 27).
27.1 Financial Data Schedule.
- -------------------------
* This exhibit is a management contract or compensatory plan required to be
filed as an exhibit to this Form 10-K pursuant to Item 14(c).
(1) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-1 (No. 33-8892), which became effective October 29,
1986.
(2) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-1 (No. 33-12863), which became effective March 31,
1987.
(3) Incorporated by reference to exhibits to the Company's Current Report on
Form 8-K dated March 16, 1990.
(4) Incorporated by reference to exhibits to the Company's Post-Effective
Amendment to Registration Statement on Form S-8 (No. 33-16529), which
became effective June 18, 1990.
(5) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended December 31, 1990.
(6) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1991.
(7) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended March 31, 1992.
(8) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1992.
-21-
(9) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1993.
(10) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended September 30, 1993.
(11) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1994.
(12) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended September 30, 1994.
(13) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended December 31, 1994.
(14) Incorporated by reference to exhibits to the Company's Current Report on
Form 8-K dated February 13, 1995.
(15) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended March 31, 1995.
(16) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-8 (No. 33-60215), which became effective June 14, 1995.
(17) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-8 (No. 33-60213), which became effective June 14, 1995.
(18) Incorporated by reference to exhibits to the Company's Annual Report on
Form 10-K for the year ended June 30, 1995.
(19) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended December 31, 1995.
(20) Incorporated by reference to exhibits to the Company's Schedule 14D-1,
Tender Offer Statement dated February 29, 1996.
(21) Incorporated by reference to exhibits to the Company's Quarterly Report on
Form 10-Q for the period ended March 31, 1996.
(22) Incorporated by reference to exhibits to the Company's Registration
Statement on Form S-8 (No. 333-06403), which became effective June 20,
1996.
(b) REPORTS ON FORM 8-K.
No Current Reports on Form 8-K were filed during the quarter ended June 30,
1996.
-22-
TRADEMARKS USED IN THIS FORM 10-K
Silicon Graphics, CHALLENGE, Indigo, Onyx, OpenGL and the Silicon Graphics logo
are registered trademarks, and Cosmo, Indigo(2), Indigo(2) IMPACT, Indigo Magic,
InfiniteReality, IRIS GL, IRIX, Maya, POWER CHALLENGE, RealityEngine(2) and
WebFORCE are trademarks of Silicon Graphics, Inc. Indy is a registered
trademark used under license in the United States, and owned by Silicon
Graphics, Inc. in other countries worldwide. MIPS is a registered trademark and
R10000 are trademarks of MIPS Technologies, Inc. Cray is a registered trademark
and Cray J90, Cray T3E and Cray T90 are trademarks of Cray Research, Inc.
Alias|Wavefront, Alias Studio, Alias PowerAnimator, and Wavefront Composer are
trademarks of Alias|Wavefront, a division of Silicon Graphics Limited.
Pentium is a registed trademark of Intel Corporation. UNIX is a registered
trademark licensed exclusively through X/Open Company Limited. Windows NT is a
trademark of Microsoft Corporation.
-23-
SIGNATURES
Pursuant to the requirements of Section 13 or 15(d) of the Securities
Exchange Act of 1934, the registrant has duly caused this Report to be signed on
its behalf by the undersigned, thereunto duly authorized.
SILICON GRAPHICS, INC.
By: /s/ Edward R. McCracken
------------------------------
Edward R. McCracken
Chairman and Chief Executive
Officer
Dated: September 27, 1996
-24-
Pursuant to the requirements of the Securities Exchange Act of 1934, this
Report has been signed below by the following persons on behalf of the
Registrant and in the capacities and on the dates indicated.
Signature Title Date
- ---------------------------------------- ---------------------------------------- ------------------
/s/ Edward R. McCracken Chairman, Chief Executive Officer September 27, 1996
- ---------------------------------------- and Director (Principal Executive
Edward R. McCracken Officer)
Chairman, Silicon Graphics World
- ---------------------------------------- Trade Corporation, and Director
Robert R. Bishop
/s/ Stanley J. Meresman Senior Vice President, Finance September 27, 1996
- ---------------------------------------- and Chief Financial Officer
Stanley J. Meresman (Principal Financial Officer)
/s/ Dennis P. McBride Vice President, Controller September 27, 1996
- ---------------------------------------- (Principal Accounting Officer)
Dennis P. McBride
/s/ Allen F. Jacobson Director September 27, 1996
- ----------------------------------------
Allen F. Jacobson
/s/ C. Richard Kramlich Director September 27, 1996
- ----------------------------------------
C. Richard Kramlich
/s/Robert A. Lutz Director September 27, 1996
- ----------------------------------------
Robert A. Lutz
Director
- ----------------------------------------
James A. McDivitt
-25-
Signature Title Date
- ---------------------------------------- ---------------------------------------- ------------------
/s/ Lucille Shapiro Director September 27, 1996
- ----------------------------------------
Lucille Shapiro
/s/ Robert B. Shapiro Director September 27, 1996
- ----------------------------------------
Robert B. Shapiro
/s/ James G. Treybig Director September 27, 1996
- ----------------------------------------
James G. Treybig
-26-
Consent of Ernst & Young LLP, Independent Auditors
We consent to the incorporation by reference in this Annual Report (Form 10-K)
of Silicon Graphics, Inc. of our report dated July 19, 1996, included in the
1996 Annual Report to Stockholders of Silicon Graphics, Inc.
Our audits also included the consolidated financial statement schedule of
Silicon Graphics, Inc. listed in item 14(a)2. This schedule is the
responsibility of the Company's management. Our responsibility is to express an
opinion based on our audits. In our opinion, the financial statement schedule
referred to above, when considered in relation to the basic financial statements
taken as a whole, presents fairly in all material respects the information set
forth therein.
We also consent to the incorporation by reference in the Registration
Statements (Form S-8 File Nos. 33-11703, 33-16529, 33-18717, 33-26003,
33-34919, 33-38536, 33-40879, 33-44305, 33-44333, 33-48890, 33-59098,
33-65190, 033-50999, 033-51275, 33-58017, 33-60213, 33-60215, 333-01211,
333-06403 and 333-08651) pertaining to the Employee Stock Purchase Plan, 1987
Stock Option Plan, 1986 Incentive Stock Option Plan, 1985 Stock Incentive
Program, 1984 Incentive Stock Option Plan, 1982 Stock Option Plan, Directors'
Stock Option Plan and Subsidiary Stock Agreement, 1993 Long-Term Incentive
Stock Plan and the 1996 Supplemental Non-Executive Equity Incentive Plan of
Silicon Graphics, Inc.; the 1990 Stock Option Plan of Wavefront Technologies,
Inc.; and the 1988 Employee Share Ownership Plan, 1989 Employee Share
Ownership Plan, 1990 Employee Share Ownership Plan, and the 1994 Stock Plan
of Alias Research Inc. and the Amended and Restated 1989 Employee Benefit
Stock Plan and 1989 Non-Employee Directors' Stock Option Plan of Cray
Research, Inc. of our report dated July 19, 1996 with respect to the
consolidated financial statements of Silicon Graphics, Inc. incorporated
herein by reference, and our report included in the preceding paragraph with
respect to the financial statement schedule included in this Annual Report
(Form 10-K).
/s/ Ernst & Young LLP
Palo Alto, California
September 27, 1996
-27-
Schedule II
SILICON GRAPHICS, INC.
Valuation and Qualifying Accounts
(in thousands)
Additions
-----------------------------------
Balance at Charged to Balance at
Beginning Costs and Deductions End of
Description of Period Expenses Other Write-offs Period
----------- --------- -------- ------ ---------- ------
Year ended June 30, 1994
Accounts receivable
allowances $10,875 $3,226 $0 $(4,609) $9,492
Year ended June 30, 1995
Accounts receivable
allowances $9,492 $11,534 $0 $(7,561) $13,465
Year ended June 30, 1996
Accounts receivable
allowances $13,465 $4,292 $6,383* $(373) $23,767
* Acquired Cray Research valuation allowance.
S-1
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https://www.nytimes.com/1997/10/07/business/silicon-graphics-expects-a-loss-and-its-stock-dives.html
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Silicon Graphics Expects A Loss, and Its Stock Dives
|
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"Lawrence M. Fisher",
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1997-10-07T00:00:00
|
Silicon Graphics shares lose a third of their value after company says it expects to report loss for its first fiscal quarter; company attributes loss to unexpectedly weak sales in quarter ending Sept 30 (M)
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/1997/10/07/business/silicon-graphics-expects-a-loss-and-its-stock-dives.html
|
Shares of Silicon Graphics lost a third of their value today after the company said it expected to report a loss for its first fiscal quarter.
The loss, which the company attributed to unexpectedly weak sales in the quarter ending on Sept. 30, came after a surprisingly strong fourth quarter, in which Silicon Graphics said it had successfully put product-transition issues behind it.
But the recent quarter was only the first time in two years that Silicon Graphics had met, let alone exceeded, Wall Street analysts' estimates, and for many investors today's announcement appeared to shatter whatever credibility the company retained. As of late last month, Silicon Graphics executives were still telling analysts that they would meet Wall Street expectations.
''They don't have a chief financial officer; they demonstrably do not have good internal controls or a coherent forecasting and planning process,'' said Doug van Dorsten of Hambrecht & Quist. ''They are $120 million under my revenue forecast, and I was at the low end.''
The disappointing sales were particularly hard to understand during an economic boom, when the company has a fresh product line and when its major rival, Sun Microsystems, has continued to report robust results. Some analysts say Silicon Graphics seems to be following the example of Apple Computer, staking out the high ground in technology even as prosaic but more aggressively managed competitors grab ever-greater shares of the market.
Silicon Graphics shares closed today at $18.0625, down $8.8125, on volume of 16.7 million shares on the the New York Stock Exchange. Analysts said its business model, which required both high profit margins and high growth, might no longer be sustainable. Although the company still offers the highest-performance work stations and servers, especially for niches like the graphics market, it is not addressing broader areas of high-growth potential, which are increasingly served by Sun and Hewlett-Packard.
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What Happened to the Silicon Graphics Company?
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2024-07-05T07:29:58+00:00
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The fascinating tale of Silicon Graphics Incorporated (SGI), a pioneer in the realm of computer-aided design, visualization, and high-performance computing.
|
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https://quantumzeitgeist.com/wp-content/uploads/favicon.ico
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Quantum Zeitgeist
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https://quantumzeitgeist.com/what-happened-to-the-silicon-graphics-company/
|
This is the fascinating tale of Silicon Graphics Incorporated (SGI), a pioneer in computer-aided design, visualization, and high-performance computing.
In the early 1980s, SGI revolutionized the industry with its innovative graphics workstations, which enabled designers and engineers to create complex 3D models with unprecedented speed and accuracy. The company’s flagship product, the IRIS workstation, was a game-changer, powering the Graphics Library software that provided a standardized API for developers.
SGI’s influence extended beyond CAD users, as its technology found applications in film production, aerospace, and automotive industries. Who can forget the iconic visual effects in movies like “Young Sherlock,” “Terminator 2: Judgment Day,” and “Jurassic Park”? These cinematic marvels were made possible by SGI’s cutting-edge technology.
However, despite its early successes, SGI struggled to adapt to changing market trends and increasing competition from lower-cost PC-based solutions. The company’s failure to innovate and diversify its product line led to declining sales and financial struggles.
The acquisition of Alias Research by SGI is often cited as an example of the importance of strategic mergers and acquisitions in the technology industry. The deal enabled SGI to expand its product offerings, increase its market share, and stay competitive in a rapidly evolving industry landscape.
Unfortunately, SGI’s experiences also serve as a cautionary tale for companies undergoing mergers and acquisitions, highlighting the need for careful planning, integration, and adaptation to changing market conditions to ensure long-term success.
In 2006, SGI filed for Chapter 11 bankruptcy protection and underwent significant restructuring efforts. The company emerged from bankruptcy in 2007 but eventually ceased to exist as an independent entity, with its remnants acquired by Hewlett-Packard in 2016.
Despite its demise, SGI’s legacy lives on in modern computing through its influence on graphics processing units, computer-aided engineering, and high-performance computing. The OpenGL API, developed by SGI in collaboration with other industry partners, remains a widely-used standard for 3D graphics rendering.
As we reflect on the rise and fall of Silicon Graphics Incorporated, we’re reminded that innovation and adaptability are essential for survival in the rapidly evolving technology landscape.
Back to the 1980s
In the annals of computer history, few companies have left as indelible a mark as Silicon Graphics Inc., or SGI for short. Founded in 1981 by a group of visionaries, SGI was instrumental in revolutionizing the field of computer graphics, bringing to life breathtaking visuals that captivated audiences worldwide. From the earliest days of CGI in films like “Tron” and “The Last Starfighter”, to the iconic workstations that powered the creative industries, SGI’s innovative spirit and technological prowess earned it a revered status among professionals and enthusiasts alike.
However, behind the scenes, a complex tale of innovation, hubris, and ultimately, decline, unfolded. At its peak in the mid-1990s, SGI was riding high on the success of its high-performance workstations, which had become the de facto standard for industries such as film, architecture, and engineering. But beneath the surface, warning signs were beginning to emerge. The company’s attempts to expand into new markets, including consumer-level graphics cards and even a foray into video game consoles, would ultimately prove disastrous. Meanwhile, the rise of commodity hardware and software alternatives began to erode SGI’s market share, leaving the once-mighty company struggling to stay relevant.
One of the key players in SGI’s founding was James Clark, a renowned computer scientist who had previously worked at the National Center for Supercomputing Applications. Alongside Ed McCracken, another co-founder, Clark brought a wealth of expertise in high-performance computing and graphics processing. The duo’s vision for SGI was to create machines that could tackle the most demanding tasks in fields like scientific visualization, computer-aided design, and digital video production.
As the company grew, other luminaries joined the ranks, including Cray Research founder Seymour Cray, whose eponymous supercomputer company would eventually merge with SGI in 1996. The confluence of these brilliant minds helped shape the course of SGI’s history, but ultimately, even their collective genius could not stem the tide of change that was sweeping through the industry.
SGI founders’ early innovations in computer graphics
Silicon Graphics Incorporated (SGI) founders Jim Clark and Ed McCracken pioneered innovations in computer graphics in the late 1970s and early 1980s. One of their earliest achievements was the development of the Geometry Engine, a high-performance graphics processing unit that enabled fast rendering of 3D graphics. This innovation led to the creation of the IRIS 1000, SGI’s first commercial graphics workstation, which was released in 1983.
The IRIS 1000 was a significant improvement over existing graphics systems, offering unparalleled performance and capabilities for its time. It was powered by the Geometry Engine, which provided a 10-fold increase in graphics performance compared to other systems available at that time. The IRIS 1000’s advanced features included support for 3D transformations, hidden surface removal, and Gouraud shading.
In the mid-1980s, SGI continued to push the boundaries of computer graphics with the introduction of the IRIS 2400, which further increased performance and added new features such as texture mapping. This innovation enabled the creation of more realistic and detailed 3D models, revolutionizing fields such as computer-aided design (CAD), scientific visualization, and video game development.
SGI’s innovations in computer graphics also had a significant impact on the film industry. In 1985, SGI systems were used to create the groundbreaking special effects for the movie “Young Sherlock Holmes,” which was one of the first films to extensively use computer-generated imagery (CGI). This marked the beginning of a new era in visual effects, with SGI’s technology playing a key role in shaping the industry.
Throughout the 1980s and 1990s, SGI continued to innovate and expand its product line, releasing new workstations such as the IRIS Indigo and the O2. These systems further increased performance, added new features, and enabled the creation of even more complex and realistic 3D models.
In the late 1990s and early 2000s, SGI faced significant challenges, including increased competition from other graphics companies and a decline in demand for its high-end workstations. Despite these challenges, SGI’s legacy as a pioneer in computer graphics continues to be felt today, with its innovations influencing generations of graphics professionals and shaping the course of the industry.
Silicon Graphics Incorporated’s founding and early success
In the early 1980s, SGI introduced its first product, the IRIS 1000, which was a 3D graphics terminal that could be connected to a host computer. This product was followed by the IRIS 1400 and IRIS 2000, which were more powerful and feature-rich versions of the original. These early products helped establish SGI as a major player in the emerging market for 3D graphics workstations.
SGI’s big break came in 1985 when it introduced the IRIS 3000 series, which was the first family of workstations to integrate 3D graphics, CPU, and memory into a single unit. This innovation led to widespread adoption of SGI’s products across various industries, including film and television production, where they were used to create visual effects for movies such as “Terminator 2: Judgment Day” and “Jurassic Park”.
Throughout the late 1980s and early 1990s, SGI continued to innovate and expand its product line. In 1988, the company introduced the IRIS Indigo, a lower-cost workstation that brought 3D graphics capabilities to a wider range of users. This was followed by the introduction of the Indy workstation in 1993, which was designed for entry-level users.
SGI’s success during this period was fueled by its focus on innovation and its ability to deliver high-performance products that met the needs of demanding industries such as computer-aided design (CAD), video production, and scientific visualization. The company’s commitment to research and development helped it stay ahead of competitors and maintain its market leadership.
In 1995, SGI went public with an initial public offering (IPO) that raised $340 million, further solidifying the company’s position as a leading provider of high-performance computing solutions.
Company’s pioneering role in the CGI film industry
Silicon Graphics Inc played a pivotal role in the development of Computer-Generated Imagery in the film industry. In the late 1980s, SGI’s high-performance workstations and servers enabled filmmakers to create complex CGI sequences that were previously unimaginable. The company’s technology was instrumental in the production of several groundbreaking films, including James Cameron’s Terminator 2: Judgment Day and Steven Spielberg’s Jurassic Park.
SGI’s hardware and software solutions allowed visual effects artists to work more efficiently and effectively, enabling them to create more sophisticated and realistic CGI elements. The company’s systems were capable of handling massive amounts of data and performing complex calculations at high speeds, making them ideal for the demanding task of generating CGI imagery.
In the early 1990s, SGI formed strategic partnerships with several leading visual effects companies, including Industrial Light & Magic and Digital Domain. These collaborations enabled SGI to tailor its technology to meet the specific needs of the film industry, further solidifying its position as a leader in the field.
Despite its pioneering role in the CGI film industry, SGI faced significant financial challenges in the early 2000s. The company’s high-end workstations and servers were increasingly being replaced by more affordable and capable commodity hardware, leading to a decline in sales and revenue. In 2006, SGI filed for bankruptcy and underwent a series of mergers and acquisitions, ultimately becoming part of Hewlett-Packard in 2016.
The legacy of SGI’s contributions to the CGI film industry continues to be felt today, with many of its innovations and technologies remaining essential components of modern visual effects pipelines. The company’s pioneering work in this field has enabled filmmakers to push the boundaries of what is possible on screen, creating immersive and engaging cinematic experiences for audiences worldwide.
SGI’s impact on the film industry extends beyond its technical contributions, as it also played a key role in shaping the aesthetic and creative direction of CGI-heavy films. The company’s technology empowered filmmakers to experiment with new visual styles and storytelling approaches, leading to the development of innovative genres such as sci-fi and fantasy.
SGI’s workstation market dominance in the 1990s
Silicon Graphics Inc dominated the workstation market with its high-performance computers designed for demanding applications such as computer-aided design, video editing, and scientific visualization. SGI’s workstations were renowned for their exceptional graphics capabilities, processing power, and reliability.
The company’s success can be attributed to its innovative hardware and software technologies, including its proprietary Graphics Language and the InfiniteReality graphics subsystem. These technologies enabled SGI’s workstations to deliver unparalleled performance in graphics-intensive applications, making them the go-to choice for professionals in fields such as engineering, video production, and scientific research.
SGI’s market dominance was further solidified by its strategic partnerships with leading software vendors, including Autodesk, Adobe, and IBM. These partnerships ensured that SGI’s workstations were optimized to run popular CAD, video editing, and other applications, thereby expanding their appeal to a broader user base.
However, despite its market leadership, SGI faced significant challenges in the late 1990s, including increased competition from low-cost PC vendors and the rise of commodity graphics cards. The company’s high-end focus and premium pricing strategy made it vulnerable to disruption by more affordable alternatives.
In an effort to revitalize its business, SGI underwent a series of restructuring efforts, including layoffs, divestitures, and a shift towards lower-cost, more standardized products. However, these measures ultimately failed to stem the decline, and in 2006, SGI filed for bankruptcy protection.
The remnants of SGI were subsequently acquired by Rackable Systems, which continued to develop and market SGI-branded products until 2009, when the brand was phased out in favor of the parent company’s own branding.
Cray Research acquisition and its impact on SGI
Cray Research, a leading supercomputer manufacturer, was acquired by Silicon Graphics Incorporated in 1996 for approximately $740 million. This acquisition marked a significant shift in the high-performance computing landscape.
The acquisition of Cray Research provided Silicon Graphics with access to Cray’s expertise in designing and building high-end supercomputers, which complemented Silicon Graphics’ strengths in visualization and graphics processing. The combined entity aimed to create a comprehensive platform for scientific simulations, data analysis, and visualization.
Before the acquisition, Cray Research had established itself as a pioneer in the supercomputer industry, with its first system, the Cray-1, released in 1976. Throughout the 1980s and early 1990s, Cray continued to innovate, introducing new architectures and systems that pushed the boundaries of computational performance.
The acquisition also led to significant changes within Silicon Graphics’ organizational structure. The company established a new subsidiary, SGI/Cray Research, which focused on developing high-performance computing solutions. This move enabled Silicon Graphics to expand its product portfolio and tap into the growing demand for supercomputing capabilities in fields such as weather forecasting, genomics, and materials science.
However, the acquisition ultimately failed to yield the expected synergies, and Silicon Graphics struggled to integrate Cray’s technology and personnel into its operations. The company faced significant financial challenges, including declining sales and increased competition from other high-performance computing vendors.
In 2000, Silicon Graphics sold the Cray Research subsidiary to TPG Capital, a private equity firm, for approximately $100 million, marking the end of Silicon Graphics’ foray into the supercomputer market.
Shift to low-cost, high-performance computing solutions
The shift towards low-cost high-performance computing solutions has been driven by the increasing demand for efficient and affordable processing power in various industries, including scientific research, data analytics, and artificial intelligence. This trend is evident in the rise of cloud-based services, such as Amazon Web Services and Microsoft Azure, which offer scalable and cost-effective computing resources.
The decline of Silicon Graphics Inc., a pioneer in high-performance computing, serves as a cautionary tale in this context. Founded in 1981, SGI was renowned for its innovative graphics workstations and servers, which powered various fields, including computer-aided design, video production, and scientific visualization. However, the company’s failure to adapt to changing market trends and its reliance on proprietary hardware led to its downfall.
In the early 2000s, SGI’s business model was disrupted by the emergence of commodity-based computing solutions, such as Linux clusters and grid computing. These alternatives offered comparable performance at a fraction of the cost, rendering SGI’s high-end systems less competitive. The company’s attempts to transition to more affordable products were unsuccessful, ultimately leading to its acquisition by Hewlett-Packard in 2006.
The shift towards low-cost high-performance computing solutions has been facilitated by advancements in processor architecture, memory technologies, and software frameworks. For instance, the development of graphics processing units has enabled the acceleration of compute-intensive tasks, such as machine learning and data analytics, at a lower cost than traditional central processing units.
The proliferation of open-source software frameworks has further democratized access to high-performance computing. These frameworks enable developers to harness the processing power of heterogeneous architectures, comprising CPUs, GPUs, and field-programmable gate arrays, without being tied to proprietary hardware or software ecosystems.
The convergence of these trends has given rise to innovative startups and initiatives, which aim to develop affordable and efficient computing solutions for various industries. These developments are poised to transform the landscape of high-performance computing, making it more accessible and cost-effective for a broader range of users.
Increased competition from commodity hardware vendors
Silicon Graphics Inc, a pioneer in high-performance computing and visualization, faced significant challenges in the late 1990s and early 2000s due to increased competition from commodity hardware vendors. The company’s proprietary hardware and software solutions, which were once considered premium products, became less competitive as PC-based systems improved in performance and affordability.
One major factor contributing to SGI’s decline was the rise of Linux clusters, which offered a cost-effective alternative to SGI’s high-end systems. As Linux distributions matured and cluster management tools improved, researchers and scientists began to adopt these solutions for their computational needs, reducing their reliance on SGI’s proprietary platforms. This shift was driven in part by the availability of low-cost, high-performance CPUs from vendors like Intel and AMD.
Another key factor was the increasing power and affordability of commodity graphics processing units (GPUs). As GPUs became more capable of handling general-purpose computing tasks, they began to encroach on SGI’s traditional territory. The introduction of NVIDIA’s CUDA platform in 2007 further accelerated this trend, enabling developers to harness the parallel processing capabilities of GPUs for a wide range of applications.
SGI’s struggles were also exacerbated by its own internal issues, including a complex and fragmented product line, high research and development expenses, and a failure to adapt quickly enough to changing market conditions. The company’s attempts to restructure and refocus its business ultimately proved unsuccessful, leading to its eventual acquisition by Hewlett-Packard in 2016.
The rise of cloud computing and the increasing adoption of hybrid and heterogeneous architectures have further eroded the demand for traditional high-performance computing systems like those offered by SGI. Today, researchers and scientists can access scalable, on-demand computing resources through cloud providers like Amazon Web Services and Microsoft Azure, reducing their need for expensive, proprietary hardware solutions.
The legacy of Silicon Graphics Inc serves as a cautionary tale for companies operating in the rapidly evolving landscape of high-performance computing and visualization. As commodity hardware vendors continue to drive innovation and reduce costs, traditional players must adapt quickly to remain competitive.
Failed attempts at diversification into consumer markets
Silicon Graphics Inc (SGI) was a pioneer in the field of computer-aided design (CAD) and visualization, known for its high-performance workstations and servers. In the 1990s, SGI attempted to diversify into consumer markets with its Indy and Indigo2 computers, which were designed to be more affordable and user-friendly than its traditional workstation products.
However, these attempts ultimately failed due to a combination of factors, including poor marketing, inadequate distribution channels, and intense competition from established players in the consumer market. The Indy computer, for example, was launched in 1993 with a price tag of around $1,000, which was still relatively expensive for a consumer-oriented product.
Another factor that contributed to SGI’s failure in the consumer market was its inability to adapt its business model to the lower margins and higher volumes characteristic of consumer electronics. As a company accustomed to selling high-end workstations to professionals, SGI struggled to adjust to the more competitive pricing and distribution dynamics of the consumer market.
SGI’s foray into consumer markets also coincided with significant changes in the computer industry as a whole. The rise of PC clones and the increasing power of Intel-based processors eroded the performance advantage that SGI’s proprietary MIPS-based processors had once enjoyed. This shift in the technological landscape further undermined SGI’s attempts to establish itself as a major player in the consumer market.
In addition, SGI’s focus on diversification into consumer markets may have distracted the company from its core business of serving professional users. As a result, SGI lost ground to competitors such as Sun Microsystems and Hewlett-Packard in the workstation market, which had traditionally been its bread and butter.
Ultimately, SGI’s failed attempts at diversification into consumer markets contributed to its decline as an independent company. In 2006, SGI filed for bankruptcy and was subsequently acquired by Rackable Systems, a server manufacturer.
Mergers and acquisitions, including Alias Research
The merger with Alias Research was strategic, as it allowed SGI to tap into the growing demand for 3D graphics and animation in industries such as film, television, and video games. The combined entity leveraged Alias’ expertise in 3D modeling and SGI’s strengths in high-performance computing and visualization. This synergy enabled the development of innovative products, including Maya, a 3D computer animation, modeling, simulation, and rendering software that became an industry standard.
However, despite its initial success, SGI struggled to maintain its market position due to increased competition from lower-cost PC-based solutions and changing customer preferences. In 2006, SGI filed for Chapter 11 bankruptcy protection and underwent a significant restructuring process. The company emerged from bankruptcy in 2007 but continued to face financial challenges.
In 2008, Rackable Systems, a provider of data center infrastructure, acquired SGI’s assets for approximately $42.5 million. The merged entity was rebranded as Silicon Graphics International Corp, with a focus on providing high-performance computing and storage solutions for data centers and cloud environments.
The acquisition of Alias Research by SGI is often cited as an example of the importance of strategic mergers and acquisitions in the technology industry. The deal enabled SGI to expand its product offerings, increase its market share, and stay competitive in a rapidly evolving industry landscape.
SGI’s experiences serve as a cautionary tale for companies undergoing mergers and acquisitions, highlighting the need for careful planning, integration, and adaptation to changing market conditions to ensure long-term success.
Financial struggles and decline of SGI’s fortunes
Silicon Graphics Inc was once a leading manufacturer of high-performance computing systems, but it faced significant financial struggles in the early 2000s. In 2001, SGI reported a net loss of $115 million on revenue of $647 million, citing declining sales and increased competition from lower-cost PC-based workstations. This marked a significant decline from its peak in the mid-1990s when it was valued at over $7 billion.
One major factor contributing to SGI’s financial struggles was its failure to adapt to changing market trends. The company had traditionally focused on producing high-end, proprietary systems, but the industry was shifting towards more affordable and standardized PC-based solutions. As a result, SGI’s sales declined as customers turned to lower-cost alternatives.
Another significant factor was SGI’s high research and development expenses. In 2001, the company spent $143 million on R&D, which accounted for approximately 22% of its revenue. While this investment was intended to drive innovation and stay ahead of competitors, it put a significant strain on SGI’s finances.
SGI also faced challenges related to its business model. The company had traditionally relied on selling high-margin systems to a small number of large customers, but this approach became less viable as the market shifted towards more standardized and lower-cost solutions.
In an effort to address its financial struggles, SGI underwent significant restructuring efforts, including layoffs and divestitures. In 2002, the company sold its Alias Research subsidiary, which developed 3D graphics software, to Accel-KKR for $57 million. This move was intended to help SGI focus on its core business and reduce costs.
Despite these efforts, SGI continued to struggle financially. In 2006, the company filed for Chapter 11 bankruptcy protection and underwent a debt-for-equity swap, which reduced its debt by approximately $250 million. However, this restructuring effort ultimately failed to restore the company’s financial health, and SGI was acquired by Rackable Systems in 2008.
Bankruptcy filing and subsequent asset sales
Silicon Graphics Inc, filed for Chapter 11 bankruptcy protection on May 8, 2006. At its peak in the mid-1990s, SGI’s market capitalization reached $7 billion, but the company struggled to adapt to changing market conditions and increased competition.
The bankruptcy filing was a result of SGI’s inability to restructure its debt and reduce operating costs. The company had accumulated significant debt due to declining sales and failed investments in new technologies. In 2005, SGI reported a net loss of $147 million on revenue of $343 million, further exacerbating its financial woes.
Following the bankruptcy filing, SGI’s assets were sold off to various companies. Rackable Systems Inc, a server manufacturer, acquired SGI’s product lines and intellectual property for approximately $42 million. The deal included SGI’s high-performance computing products, such as servers and storage systems, as well as its visualization software.
In addition to the asset sale, SGI also sold off its Alias research division to private equity firm Accel-KKR for around $57 million. The Alias division was a leading developer of 3D graphics and animation software, with clients including major film studios and video game developers.
SGI’s demise was attributed to a combination of factors, including increased competition from low-cost PC manufacturers, failure to adapt to changing market conditions, and poor strategic investments. The company’s struggles served as a cautionary tale for the technology industry, highlighting the importance of innovation and adaptability in rapidly evolving markets.
Legacy of Silicon Graphics Incorporated in modern computing
The legacy of SGI can be seen in modern computing through its influence on graphics processing units, computer-aided engineering, and high-performance computing. The OpenGL API, developed by SGI in collaboration with other industry partners, remains a widely-used standard for 3D graphics rendering. Furthermore, the company’s pioneering work in scalable multiprocessing has had a lasting impact on the development of modern server architectures.
The demise of SGI serves as a cautionary tale for technology companies, highlighting the importance of adaptability and innovation in the face of rapidly changing market conditions.
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https://blog.adafruit.com/2019/03/08/you-always-wondered-the-silicon-graphics-logo-sgi-logo-history-scottkim/
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You always wondered: The Silicon Graphics Logo #SGI #Logo #History @ScottKim
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2019-03-08T00:00:00
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PCs and Macs have not always been the graphics workstations used today. Who was? Silicon Graphics, Inc. (later rebranded SGI, historically known as Silicon Graphics Computer Systems or SGCS) was an…
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en
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Adafruit Industries - Makers, hackers, artists, designers and engineers!
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https://blog.adafruit.com/2019/03/08/you-always-wondered-the-silicon-graphics-logo-sgi-logo-history-scottkim/
|
PCs and Macs have not always been the graphics workstations used today. Who was?
Silicon Graphics, Inc. (later rebranded SGI, historically known as Silicon Graphics Computer Systems or SGCS) was an American high-performance computing manufacturer, producing both hardware and software. They were regarded as the pinnacle of computer graphics in the early 1990s. Founded in Mountain View, California in November 1981 by Jim Clark, its initial market was 3D graphics computer workstations, but its products, strategies and market positions developed significantly over time.
SGI computers created special effects on the movie Jurassic Park (1993), at the time the graphics were state of the art.
The SGI cube was sgi’s hallmark and trademark.
The logo was created by graphics designer Scott Kim. His work done at the time is available via the Wayback Machine.
The logo was made into a lovely sculpture shown below.
Finances Precipitate Logo Change
With growing financial issues in 1999, SGI changed their logo from the iconic cube to the stylized “sgi”.
But with erosion of the graphics market share to other systems, coupled with poor decision making, losses continued.
The porting of Maya to other platforms is a major event in this process. SGI made several attempts to address this, including a disastrous move from their existing MIPS platforms to the Intel Itanium, as well as introducing their own Linux-based Intel IA-32 based workstations and servers that failed in the market. In the mid-2000s the company repositioned itself as a supercomputer vendor, a move that also failed.
On April 1, 2009, SGI filed for Chapter 11 again, and announced that it would sell substantially all of its assets to Rackable Systems. Rackable announced their adoption of “Silicon Graphics International” as their global name and brand.
After the Rackable acquisition, Vizworld magazine published a series of six articles that chronicle the downfall of SGI.
References
xahlee.com – SGI Logo Visual Illusion
Scott Kim – Wikipedia and website
Wikipedia – Silicon Graphics
Were, or I should say, are you a SGI fan? Let us know your thoughts in the comments below.
Adafruit publishes a wide range of writing and video content, including interviews and reporting on the maker market and the wider technology world. Our standards page is intended as a guide to best practices that Adafruit uses, as well as an outline of the ethical standards Adafruit aspires to. While Adafruit is not an independent journalistic institution, Adafruit strives to be a fair, informative, and positive voice within the community – check it out here: adafruit.com/editorialstandards
Adafruit is on Mastodon, join in! adafruit.com/mastodon
Stop breadboarding and soldering – start making immediately! Adafruit’s Circuit Playground is jam-packed with LEDs, sensors, buttons, alligator clip pads and more. Build projects with Circuit Playground in a few minutes with the drag-and-drop MakeCode programming site, learn computer science using the CS Discoveries class on code.org, jump into CircuitPython to learn Python and hardware together, TinyGO, or even use the Arduino IDE. Circuit Playground Express is the newest and best Circuit Playground board, with support for CircuitPython, MakeCode, and Arduino. It has a powerful processor, 10 NeoPixels, mini speaker, InfraRed receive and transmit, two buttons, a switch, 14 alligator clip pads, and lots of sensors: capacitive touch, IR proximity, temperature, light, motion and sound. A whole wide world of electronics and coding is waiting for you, and it fits in the palm of your hand.
Have an amazing project to share? The Electronics Show and Tell is every Wednesday at 7:30pm ET! To join, head over to YouTube and check out the show’s live chat and our Discord!
Join us every Wednesday night at 8pm ET for Ask an Engineer!
Join over 38,000+ makers on Adafruit’s Discord channels and be part of the community! http://adafru.it/discord
CircuitPython – The easiest way to program microcontrollers – CircuitPython.org
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https://money.cnn.com/2001/08/17/technology/sgi/
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Aug. 17, 2001
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2001-08-17T00:00:00
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Executives of Silicon Graphics thought they had it right the first time, and for a while they did: The company was the clear leader in the market for high-end graphics computers in the late 80s and early 90s.
| null |
NEW YORK (CNNfn) - Executives of Silicon Graphics thought they had it right the first time, and for a while they did: The company was the clear leader in the market for high-end graphics computers in the late 80s and early 90s.
But during the past several years, Silicon Graphics, also known as SGI, has fallen from its perch and its stock has fallen to new lows, bottoming out this month at 50 cents a share.
What happened? Some say the company got distracted, acquiring its way into too many new markets. Others blame advances in the graphics capabilities of lower-priced systems, which have steadily pecked away at sales of SGI� high-end workstations.
"It's a fairly standard pattern," said Christopher Willard, technical computing analyst at research firm International Data Corp. "No matter how good your technology is, after a while the rest of the market catches up with you."
SGI sells servers and workstations that combine high-performance computing capabilities with advanced graphics. Its customers range from Fortune 500 companies and government agencies, to Hollywood Studios, graphic artists and research scientists.
SGI is responsible for about 11 percent of the total market for such systems, compared with historical market share of between 20 percent and 25 percent, according to Willard.
There has been a lot of restructuring, as well as reshuffling among the company's executive ranks in recent years. The latest round of restructuring has taken place under Bob Bishop, SGI's chief executive since July 1999. Since he took the helm of the Mountain View, Calif.-based firm, Bishop has been taking steps to shed non-core businesses.
"My intention was to reduce the revenue of the company and increase the [profit] margins," Bishop said.
During Bishop's tenure, SGI has sold several parts of the business including: its unprofitable Cray supercomputer business, which it bought in 1996; its MIPS Technologies semiconductor business, which makes graphics chips used in consumer products such as Sony's Playstation game consoles; as well as two application-software businesses.
Bishop said the restructuring efforts were beginning to take hold just as the technology sector began to sour. "We had been heading down the runway and ready for takeoff when we were hit last quarter with what is wind-shear at the end of the runway," he said.
Late last month, SGI reported a fiscal fourth-quarter loss of $231.8 million, or $1.20 per share, far wider than the 40 cents loss Wall Street expected.
Steaming toward a safe harbor
In response, Bishop said the company has set upon yet another round of restructuring, including laying off roughly 15 percent of SGI's workforce. The idea is to get to break-even by the fourth calendar quarter, he said.
But Wall Street clearly has grown impatient. The list of equity analysts who track SGI (SGI: down $0.01 to $0.60, Research, Estimates) has dwindled to four. Of those, three rate the stock "neutral" or "hold," while another has a rare "sell" recommendation.
Bishop is hoping that some results will change those opinions. "We've got to prove that we can reach break even," he said, "which is a safe harbor for us."
An increasingly competitive market
SGI will be facing new challenges and a more competitive environment as it seeks to fight its way back to the top of the technical computing market, which by IDC's count is expected to grow to $11.2 billion in 2005 from $6.1 billion last year.
These are extremely technically savvy users, and a number of companies are providing some very good products in this area. Christopher Willard
International Data Corp.
"People are still buying high-performance systems, and the market is more willing to take a chance if there is a clear technology advantage," IDC's Willard said. "But on the other hand, these are extremely technically savvy users, and a number of companies are providing some very good products in this area."
For example, companies like Intel (INTC: down $2.03 to $28.13, Research, Estimates) and Advanced Micro Devices (AMD: down $0.53 to $14.47, Research, Estimates) , whose presence is felt mostly in the lower-end PC computing market, have been forging ahead with new, speedier, more powerful processors, as well as system architectures that open up data bottlenecks and provide substantially more bandwidth. These are features that historically have set SGI apart from the pack.
Bishop acknowledged the growing competitive threat from smaller computer makers. But he said the company's enormous portfolio of design patents -- more than 400, with another 500 in process -- and its current lead over any of its competitors will enable it to keep them at bay.
"Intel, for example, has only recently begun to ship a 64-bit chip," Bishop said, referring to the company's highly touted and oft-delayed "Itanium" processors.
"We've been shipping 64-bit chips for over 10 years, and the operating systems that go with that are mature and bug free, and are in real-time," Bishop added. "They haven't achieved any of this yet, and already, the first product on the market is three years late. So it's going to take so long for them to learn. But we know they're headed this way."
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Technology Sector: Definition, 4 Major Sectors, Investing in Tech
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The technology sector is a category of stocks relating to the research, development, and/or distribution of technologically based goods and services. Learn more.
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https://www.investopedia.com/terms/t/technology_sector.asp
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What Is the Technology Sector?
The technology sector is the category of stocks relating to the research, development, or distribution of technologically based goods and services. This sector contains businesses revolving around the manufacturing of electronics, creation of software, computers, or products and services relating to information technology.
Understanding the Technology Sector
The technology sector offers a wide range of products and services for both customers and other businesses. Consumer goods like personal computers, mobile devices, wearable technology, home appliances, televisions, and so on are continually being improved and sold to consumers with new features.
On the business side, companies are dependent on innovations coming out of the technology sector to create their enterprise software, manage their logistics systems, protect their databases, and generally provide the critical information and services that allow companies to make strategic business decisions. The term "technology sector" is frequently shortened to tech sector and is used interchangeably with the term "technology industry or tech industry."
The technology sector is often the most attractive investment destination in any economy. The U.S. technology sector boasts of companies like Apple, Google, Amazon, Netflix, IBM, and Microsoft. These companies drive the growth in the tech sector, and the enthusiasm around their long-term potential has them trading at price-to-earnings multiples that look ridiculous compared to almost every other sector.
Growth in the Technology Sector
The term technology sector has been broadened many times to include businesses that may be better served by a more specific category. The technology sector was initially anchored in semiconductors, computing hardware, and communications equipment. In addition, growth also includes jobs. According to the U.S. Bureau of Labor Statistics, jobs in computer and information technology are poised to grow 13% between 2020 and 2030.
The addition of software companies expanded the perceived tech sector to include anything based on coding. Soon, more room had to be made for internet companies, which flooded during the Internet boom. Some of these internet companies were media and content companies that used code as the medium. Still, others were off launching rich features that grew to be e-commerce, social media, the sharing economy, and even cloud-based computing.
The technology sector now includes such a diverse set of companies that the subsectors are far more useful than the overall one. Unsurprisingly, there is no universal agreement—some pundits want a whole new sector for each innovation—but the big buckets include semiconductors, software, networking, Internet, and hardware.
From there, all the subsectors can be further broken down. For example, hardware breaks into wearables, peripherals, laptops, desktops, and so on. People may argue that it doesn't make sense to call a cloud computing company a software company, but the arbitrary separations are a bit more manageable than the massive label of "tech sector" for every company.
The Bottom Line
The technology sector is the part of the economy made up of businesses that focus on electronics, software, computers, social media, and other industries related to information technology. These companies often invest in developing new projects with future potential, even without an immediate payoff.
Many parts of the public and private sectors rely on products and services developed by technology companies. The tech sector is often a growth part of the economy.
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Silicon Graphics Incorporated
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Silicon Graphics Incorporated
2011 North Shoreline BoulevardMountain View, California 94039U.S.A.(415) 960-1980Fax: (415) 961-0595 Source for information on Silicon Graphics Incorporated: International Directory of Company Histories dictionary.
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2011 North Shoreline Boulevard
Mountain View, California 94039
U.S.A.
(415) 960-1980
Fax: (415) 961-0595
Public Company
Incorporated: 1982
Employees: 2,568
Sales: $866.6 million
Stock Exchanges: New York
SICs: 3577 Computer Peripheral Equipment Nee; 7372 Prepackaged Software
Silicon Graphics Incorporated is one of the leading manufacturers of graphics computer systems. Its history may be described as an exemplary, perhaps even archetypal, Silicon Valley success story. Founded by a high school dropout turned college professor, Silicon Graphics capitalized on pioneering technology in 3-D computer graphics to create products used in a wide variety of professions, including engineering, chemistry, and film production. The company combined technological prowess with shrewd management to produce explosive growth; within a decade of its founding, it had entered the Fortune 500.
The story of Silicon Graphics began in 1979, when James Clark, an electrical engineering professor at Stanford University, assembled a team of six graduate students to study the possibilities of computer graphics. Within two years, Clark’s team developed a powerful semiconductor chip, which they called the Geometry Engine, that would allow small computers to produce sophisticated three-dimensional graphics simulations previously the domain of large mainframes. Clark patented the Geometry Engine, and in 1982 he and his team left Stanford to found Silicon Graphics.
In 1983 the company released its first products: the IRIS 1000 graphics terminal and an accompanying software interface known as the IRIS Graphics Library. The next year Silicon Graphics released its first workstation, the IRIS 1400, and followed it in 1985 with the IRIS 2400, a workstation with a window manager. These early entries in the IRIS series targeted the middle range of the graphics workstations market—those selling for $45,000 to $100,000—and accounted for over 50 percent of all 3-D graphics workstations sold by 1988. Sales increased steeply and consistently, reaching $153 million in 1988. Within its first six years, Silicon Graphics had established a secure and lucrative niche for itself in the computer industry.
Silicon Graphics succeeded so brilliantly in its early years in large part because it had introduced a useful product that had drawn relatively little attention from any of its potential rivals. 3-D graphics simulations were extremely useful to mechanical engineers who wanted to assess their designs without having to build prototypes, as well as chemists who used 3-D modelling to study molecules. Workstations like the IRIS series provided power at a relatively affordable price, and major workstation manufacturers like Hewlett-Packard, Apollo Computer, and Sun Microsystems were slow to focus their energies on 3-D graphics, leaving Silicon Graphics without much direct competition.
Observers also credited James Clark’s technical skill and entrepreneurial sense for the company’s success. The path to Silicon Valley glory was a circuitous one for Clark, who dropped out of high school in Plainview, Texas, after he was suspended for setting off a smoke bomb on a school bus. After a hitch in the Navy, he went back to school, enrolling as an undergraduate at Tulane University. He went on to earn an M. S. in physics from University of New Orleans and a Ph.D. in computer science from University of Utah, where he first became interested in computer graphics. Clark then committed himself to an academic career, holding teaching posts at University of California at Santa Cruz, the New York Institute of Technology, and University of California at Berkeley before coming to Stanford. But along the way, he became disenchanted with the ways of academia. “I had always seen myself as a senior professor at a university,” he once told The Business Journal-San Jose, “but I think I learned that my strength is making things that work, rather than writing papers. Universities encourage writing a lot of papers.” Hence his departure from Stanford and the founding of Silicon Graphics in 1982.
Once he founded the company, Clark displayed the good sense to find his proper role within the operating structure and stick to it. While high-tech companies like Silicon Graphics are often founded by technologists who turn day-to-day operations over to businesspeople, in many cases the companies falter because the technologists remain too closely involved in business affairs, making poor decisions or allowing the technological edge to dull. Soon after Silicon Graphics was born, Clark brought in Edward McCracken, a veteran Hewlett-Packard executive, to run the company as president and CEO while he remained chairperson. Clark concentrated on serving as the company’s technology guru, leaving McCracken to take care of the business operations. According to McCracken, this role best suited Clark’s temperament: “Jim’s not a day-to-day person. He works in his own time frame,” he told The Business Journal — San Jose. McCracken continued, “He takes complex things and makes it simple. It might take a month, a day, or a year. He gets in these moods for a while where he’s almost unavailable. He’s most effective when he’s in that mood.” Clark also used this division of labor to devote more time to outside interests that included ballet, classical music, art, and flying a stunt plane.
A useful blend of high technology and business sense enabled Silicon Graphics to move forward from its early successes. In 1987 it became the first computer company to make use of MIPS Computer Systems’ innovative reduced instruction-set chip, or RISC, when it incorporated RISC architecture into its new IRIS 4D/60 workstation. Within several years, most workstations would use RISCs. The company received a boost the next year when IBM agreed to buy Silicon Graphics’ IRIS graphics card for use in its own RS/6000 graphics workstations and to take out a license for the IRIS Graphics Library—a big first step toward making the IRIS Graphics Library the industry standard.
Also in 1988, Silicon Graphics introduced amid much fanfare a new line of entry level graphics workstations, which it called Eclipse. Although it dominated the more expensive end of the graphics workstation market, the company needed to broaden its customer base if it expected to maintain sales growth. The Eclipse was designed to bring 3-D graphics to people who had previously regarded IRIS workstations as unaffordable. Eclipse lacked the speed and processing power of more expensive machines, but initial versions sold for less than $20,000—as little as one-fifth of the cost of higher-end machines. Eclipse scored a major success soon after its release when Chrysler announced that it would buy a large number of the machines to go with the IRIS workstations that it was already using to help design its automobiles.
Although Eclipse put Silicon Graphics into more direct competition with its rival workstation manufacturers, who began to chip in with their own low-end 3-D workstations, it also succeeded in expanding the company’s customer base. In 1990 sales volume topped $420 million. The move into the lower priced, high-volume end of the market worked well enough for Silicon Graphics that in 1991 the company released an even less expensive product line—the IRIS Indigo, a 3-D graphics workstation so compact that the company called it the first personal computer to use RISC architecture. The Indigo offered many features found on more expensive models, as well as digital audio and video processing capability, and the base model sold for less than $10,000.
During this time, Silicon Graphics scored several major coups on the business side. In 1991 the company granted a license to software giant Microsoft for the IRIS Graphics Library. Microsoft intended to use the IRIS Graphics Library in its New Technology operating system for personal computers. Also in 1991, Compaq Computer agreed to acquire a 13 percent stake in Silicon Graphics for $135 million, giving Silicon Graphics a much-desired infusion of capital. Furthermore, Compaq agreed to invest $50 million in a joint workstation development project with Silicon Graphics. Together, these moves provided software developers with greater incentive to write programs for Silicon Graphics machines and also broadened the company’s customer base even further.
In 1992 Silicon Graphics agreed to acquire MIPS Computer Systems, which had run into financial difficulties, in a stock swap valued at $230.8 million. The cost of assimilating MIPS forced Silicon Graphics to post a loss of $118.4 million that year, but it also secured the company’s long-term supply of MIPS’s RISCs, which had become a crucial piece of technology.
In January 1993 Silicon Graphics announced a new computer that would use RISC architecture to achieve supercomputer power at relatively affordable prices. The Power Challenge, as it was called, would link multiple RISCs in a single machine to provide unprecedented processing capability in a computer of that price. Whereas traditional supercomputers like those made by IBM and Cray Research typically sold for millions of dollars, the Power Challenge would sell for between $120,000 and $900,000. The new product was announced over a year in advance of its anticipated shipping date to give targeted customers, such as government agencies and universities previously unable to afford supercomputers, time to include it in their budgets. Observers pegged Power Challenge as a sudden move into the faltering field of supercomputer manufacturing, but in fact the company’s ever more powerful workstations were approaching the level of supercomputers anyway, and the company had already established contacts with customers at whom the Power Challenge would be aimed.
In April 1993 Silicon Graphics and Industrial Light and Magic, the famed special effects division of Lucasfilm, announced that they had joined forces to create a high-tech entertainment special effects laboratory. The joint venture was called Joint Environment for Digital Imaging—the acronym JEDI recalled the Jedi Knights of Lucasfilm chair George Lucas’s Star Wars trilogy—and grew out of the fact that Industrial Light and Magic had been using Silicon Graphics workstations since 1987. The liquid metal cyborg featured in the film Terminator 2, the dinosaurs in Jurassic Park, special effects in The Hunt for Red October and The Abyss, and animation in Beauty and the Beast were all created on Silicon Graphics computers. For Lucas and Industrial Light and Magic, JEDI was expected to yield both financial and aesthetic benefits: digital manipulation of images cost about one-tenth as much as models and drawings, and, according to Lucas, would “change motion pictures from a photographic process to more of a painterly process,” enabling greater authorial control over a film’s appearance. For its part, Silicon Graphics hoped that alliance with an entertainment industry partner would help push the leading edge of its technological development forward.
The entertainment industry was also a growing interest of James Clark’s at the time. On the heels of the announcement of the JEDI alliance, reports surfaced that Silicon Graphics had entered into talks with communications giant Time Warner to explore the possibilities of interactive home entertainment and other advanced cable television technologies. The company would not comment on the reports, but Clark and some of his executives had made it known publicly that Silicon Graphics was interested in developing a computer that would provide interactive services, including networked 3-D video games, for users through cable television hookups.
Silicon Graphics’ interest in entertainment-related technologies is perhaps particularly apropos since the company was founded by a man whom The Business Journal-San Jose once described as looking like “Hollywood’s idea of a successful entrepreneur”—tall, blond, and clad in “expensive Italian suits with bright Italian knit-silk ties.” While some have suggested that the move into entertainment technology represents the deliberate attempts of Clark and McCracken to lead Silicon Graphics away from academia, others have maintained that the company has simply refused to remain in the small niche in which it developed. Instead, Silicon Graphics has made a lot of money in its short history by delivering the technology that made it distinctive to as many people as need and enjoy it.
Principal Subsidiaries
Silicon Graphics International Inc. (Barbados); Silicon Graphics Ltd. (U.K.); Nihon Silicon Graphics K.K. (Japan); Silicon Graphics Pte Ltd. (Singapore); Silicon Graphics AB (Sweden); Silicon Graphics S.A. (Switzerland); Silicon Graphics Gmbh (Germany); Silicon Graphics Canada Inc.; Silicon Graphics World Trade Corp.; Silicon Graphics Ltd. (Israel); Silicon Graphics Ltd. (Hong Kong); Silicon Graphics S.A.R.L. (France); Silicon Graphics S.p.A. (Italy); Silicon Graphics B.V.(Netherlands); Silicon Graphics Pty Ltd. (Australia); Silicon Graphics Federal Sales Corp.; Silicon Graphics Computer Systems Ltd. (Israel); Silicon Graphics Manufacturing S.A. (Switzerland); Silicon Graphics Applications Systems Ltd. (U.K.); Silicon Graphics A/S (Norway); Silicon Graphics A/S (Denmark); Silicon Graphics N.V./S.A. (Belgium); Silicon Graphics OY (Finland); Silicon Graphics S.A. (Spain); Silicon Graphics Computer Systems Gmbh (Austria).
Further Reading
Hof, Robert, and Jeffrey Rothfeder. “This Machine Just Might Eclipse Apollo and Sun,” Business Week, October 10, 1988.
Hof, Robert D. “Is Silicon Graphics Busting Out of Its Niche?” Business Week, April 22, 1991.
Koland, Cordell, “Graphics Firm Leader Combines Technical, Managerial Skill,” The Business Journal—San Jose, December 14, 1987.
Yamada, Ken. “Silicon Graphics Aims to Be Supercomputer Contrarian,” The Wall Street Journal, January 27, 1993.
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Explore Silicon Graphics, Inc. with its drug pipeline, therapeutic area, technology platform, 4 news, and 59 literature.
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Real-world trial with US Law Enforcement of new Illicit Drug Detection Device for Fentanyl TUCSON, Ariz., Aug. 12, 2022 /PRNewswire/ -- Lightsense Technology, a pioneer in developing multi-spectroscopic solutions to address large problems in public health—from the opioid crisis to pandemics and even food safety —announced today a new field test of its DrugDetect-F1 device (for the safe and efficient detection of fentanyl in the field), with the Sheriff's Office in Morris County, NJ. Continue Reading Lightsense DrugDetect-F1 "We are pleased to announce this upcoming trial program with Lightsense Technology, and their innovative DrugDetect platform," said Sheriff James Gannon. "The DrugDetect-F1 seems lightweight and easy to use, but we want to get it in the field for real feedback from our people in various situations. We are also looking forward to seeing how this helps our officers in real-world situations, where the safety of our force and the public is always our highest priority." "This is a great chance to see the DrugDetect-F1 in the field, and Morris County (under the leadership of Sheriff Jim Gannon) is a perfect partner for us to team up with and get a real-world evaluation and direct feedback," said Lenny Lemer Muñiz, CEO of Strategic Group International, LLC ("SGI"). "We are happy to be working with Lightsense to bring solutions like this to market and to help law enforcement officers do their job better and more safely, in these challenging times." The DrugDetect platform provides a solution that is easy to operate and offers great sensitivity with high levels of accuracy at a moderate price point. This platform can help with the difficult opioid epidemic by providing a new tool for law enforcement to tell quickly, if a white powdery substance inside a thin plastic bag could be a specific threat, helping them do their job efficiently and with less exposure to possible harm. "We are very happy to have this opportunity to work with Sheriff Gannon and his talented team, and we look forward to this trial program providing real value to all involved," said Terje Skotheim, CEO of Lightsense Technology. "The men and women in this office work every day to help keep their community safe, and we are proud to help provide solutions which can help keep them safer as well." About Lightsense Technology Lightsense has developed groundbreaking multi-spectral technology platforms, such as the patented "Enhanced Photodetection Spectroscopy" (EPS), a radical new spectroscopy architecture, for chemical, molecular, and pathogen identification. Their advanced miniaturized high-sensitivity spectrometer designs also enable new lightweight and inexpensive handheld devices to support solutions for law enforcement organizations, and beyond. These devices can address critical analytical and detection problems in a wide range of large vertical markets in "public health," such as rapid detection of illicit drugs, rapid screening for viral/bacterial pathogens, and more. For more information, visit About Strategic Group International (SGI) Strategic Group International, LLC provides experienced law enforcement and federal programs experts, who assist public agencies in crime reduction and threat response in their communities. SGI also provides its Private Sector clients with guidance throughout the process of planning and executing homeland security and critical business operational tasks, and in a variety of security and preparedness-related programs, including crisis management. SGI also acts as an advisor to the United States Department of State, in support of various Mexico-based law enforcement advisory and training programs. SGI is securing cities across the globe, one community at a time. See Media contact: Bruce Berkoff, CMO Lightsense Technology, [email protected], 1-888-736-7349, ext 701 SOURCE Lightsense Technology Inc
LEESBURG, Va., June 30, 2021 (GLOBE NEWSWIRE) -- Quantum Computing Inc. (QCI) (OTCQB: QUBT), the leader in bridging the power of classical and quantum computing, today announced that it has issued a forward looking letter to shareholders pertaining to expansion of its quantum-ready software to commercial applications. The letter reviews the company’s achievements and offers a positive outlook on growth. A summary is below. QCI offers easily deployed quantum software solutions for some of the world’s most complex computational problems, with solutions designed to optimize high-value business processes such as supply chain logistics, drug discovery, cybersecurity, and transportation. The company’s core software technology, Qatalyst™ delivers best-in-class performance and accuracy using highly optimized, quantum-ready formulations, and this has attracted users from multiple business verticals. While today’s quantum computers (QCs) alone cannot yet scale to solve enterprise-class problems, QCI currently accelerates the value, accuracy and timeliness of classical systems, thanks to the application of powerful quantum-ready techniques. Qatalyst simultaneously offers seamless access to QCs to process the same problems without any need for coding new and complex quantum programs. According to QCI CEO, Robert Liscouski: “Much of the market continues to focus on pure quantum for quantum’s sake. However, the simple reality is that delivering business value with quantum in the near term will not come from quantum alone. It can only be derived from the sophisticated combination of classical and quantum computing techniques that is enabled today with Qatalyst.” Delivering immediate value with quantum techniques or quantum computers also demands software that brings this power within the reach of end users and programmers. Other quantum vendors offer software development toolkits (SDKs) that require expensive and hard to find quantum expertise. QCI alone provides simple, seamless access to powerful computational software across a variety of classical and quantum computers with no quantum expertise required. Qatalyst’s unique ability to leverage classical and quantum computers to deliver solutions across multiple domains without reliance on the scalability of quantum computers has placed QCI in a unique, compelling position with its prospective commercial customers and partners. QCI has discovered that even the most technically advanced integrators and scientific laboratories want a simpler way to deliver quantum applications, validating its unique approach to masking the complexity of quantum programming. “The technical experts we are working with today want to focus on solving problems, and not be burdened with the deep-level, complicated coding required by QC hardware and software development kits or SDKs,” noted QCI chief technology officer, Mike Booth. “Qatalyst allows users to see their first results in less than a week, as compared to the year or more using SDKs.” The U.S. Department of Energy national labs, large universities, and QC providers have also participated in the commercial launch of Qatalyst, and have been collaborating with QCI on how quantum techniques can advance their real-world applications. “Based on the feedback we have received from our partners and initial users, we believe QCI has a unique first-mover advantage and a leadership position in delivering business value today with Qatalyst,” added Liscouski. “We are confident that the success of real-world use cases with our initial clients will soon convert to paying customers.” Advancing toward this goal, the company is working closely with an expanding number of market leaders to define and create quantum-driven solutions to their business challenges. This includes: “These initial customers and their real-world applications are demonstrating Qatalyst’s tremendous value and are guiding us to our most significant near-term revenue opportunities,” commented David Morris, QCI chief revenue officer who joined the company earlier this year. Morris brings to QCI more than 20 years leading regional, national, and international sales strategies, business development and execution at leading tech firms that include Cisco Systems and Intel. He joined QCI’s team of experts in quantum technology who previously led innovation at Cray, Silicon Graphics, D-Wave, and other major technology firms. “While we continue to lead with quantum technical innovation, we are now laser focused on the fundamentals and providing real-world quantum solutions for end users that solve high-value problems,” continued Morris. “Our growing number of key industry partnerships and relationships are also helping us to advance this mission.” Earlier this year QCI announced that it is working closely with AWS technology to ensure that Qatalyst delivers the best possible experience for classical users and workflows as they leverage quantum techniques and resources. The Qatalyst SaaS service delivers quantum-ready constrained optimization, accelerating and improving the accuracy and diversity of results on classical systems. It can accept constrained optimization problems, as well as graph models, for computation. It also includes seamless access to QPUs via Amazon Braket, including D-Wave, IonQ, and Rigetti. The availability of Qatalyst on AWS Braket positions QCI directly in the middle of a global value chain for AWS business users. QCI also now offers access to IBM quantum computers via the IBM cloud. Building upon this momentum, the company is in advanced stages of discussions with a full range of additional prospective partners, from leading hardware and application vendors to IT consulting firms. It is focused on both horizontal QC vendors and system integrators, as well as vertical partners in the logistics and supply chain, pharmaceutical, and financial space. “We view these partnerships as force multipliers, expanding our reach and range, and driving revenue generation, profitability, and substantial returns on invested capital over time,” added Liscouski. “Every day we are building shareholder value by focusing on the needs of our customers, and we are extraordinarily well-positioned to fulfill these needs in high-value ways. The progress and success we are seeing in the increasing use and performance of Qatalyst leads us to believe we are on the verge of a breakthrough to our next level of growth and success.” To learn more about QCI, visit quantumcomputinginc.com. About Quantum Computing Quantum Computing Inc. (QCI) (OTCQB: QUBT) is focused on accelerating the value of quantum computing for real-world business solutions. The company’s flagship product, Qatalyst, is the first software to bridge the power of classical and quantum computing, hiding complexity and empowering SMEs to solve complex computational problems today. QCI’s expert team in finance, computing, security, mathematics and physics has over a century of experience with complex technologies; from leading edge supercomputing innovations, to massively parallel programming, to the security that protects nations. Connect with QCI on LinkedIn and @QciQuantum on Twitter. For more information about QCI, visit . Important Cautions Regarding Forward-Looking StatementsThis press release contains forward-looking statements as defined within Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended. By their nature, forward-looking statements and forecasts involve risks and uncertainties because they relate to events and depend on circumstances that will occur in the near future. Those statements include statements regarding the intent, belief or current expectations of Quantum Computing (“Company”), and members of its management as well as the assumptions on which such statements are based. Prospective investors are cautioned that any such forward-looking statements are not guarantees of future performance and involve risks and uncertainties, and that actual results may differ materially from those contemplated by such forward-looking statements. The Company undertakes no obligation to update or revise forward-looking statements to reflect changed conditions. Statements in this press release that are not descriptions of historical facts are forward-looking statements relating to future events, and as such all forward-looking statements are made pursuant to the Securities Litigation Reform Act of 1995. Statements may contain certain forward-looking statements pertaining to future anticipated or projected plans, performance and developments, as well as other statements relating to future operations and results. Any statements in this press release that are not statements of historical fact may be considered to be forward-looking statements. Words such as "may," "will," "expect," "believe," "anticipate," "estimate," "intends," "goal," "objective," "seek," "attempt," “aim to,” or variations of these or similar words, identify forward-looking statements. These risks and uncertainties include, but are not limited to, those described in Item 1A in the Company’s Annual Report on Form 10-K, which is expressly incorporated herein by reference, and other factors as may periodically be described in the Company’s filings with the SEC. Qatalyst™ is a trademark of Quantum Computing Inc. All other trademarks are the property of their respective owners. Company ContactRobert Liscouski, CEOQuantum Computing, Inc.+1 (703) 436-2161Email Contact Investor Relations ContactRon Both or Grant StudeCMA Investor Relations+1 (949) 432-7566Email Contact Media Relations Contact:Seth MenackerFusion Public Relations+1 (201) 638-7561qci@fusionpr.com
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How Nvidia Built a Competitive Moat Around A.I. Chips
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The most visible winner of the artificial intelligence boom achieved its dominance by becoming a one-stop shop for A.I. development, from chips to software to other services.
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https://www.nytimes.com/2023/08/21/technology/nvidia-ai-chips-gpu.html
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At a start-up that the semiconductor giant Intel later bought, Mr. Rao worked on chips intended to replace Nvidia’s graphics processing units, which are components adapted for A.I. tasks like machine learning. But while Intel moved slowly, Nvidia swiftly upgraded its products with new A.I. features that countered what he was developing, Mr. Rao said.
After leaving Intel and leading a software start-up, MosaicML, Mr. Rao used Nvidia’s chips and evaluated them against those from rivals. He found that Nvidia had differentiated itself beyond the chips by creating a large community of A.I. programmers who consistently invent using the company’s technology.
“Everybody builds on Nvidia first,” Mr. Rao said. “If you come out with a new piece of hardware, you’re racing to catch up.”
Over more than 10 years, Nvidia has built a nearly impregnable lead in producing chips that can perform complex A.I. tasks like image, facial and speech recognition, as well as generating text for chatbots like ChatGPT. The onetime industry upstart achieved that dominance by recognizing the A.I. trend early, tailoring its chips to those tasks and then developing key pieces of software that aid in A.I. development.
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Timeline of Computer History
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Like the Volkswagen Beetle and modern freeway systems, the Telex messaging network comes out of the early period of Germanyâs Third Reich. Telex starts as a way to distribute military messages, but soon becomes a world-wide network of both official and commercial text messaging that will persist in some countries into the 2000s. Telex uses teleprinters, which date back to the 1910s for use in telegraphy. But instead of using pricey dedicated telegraph lines, the telex system connects those teleprinters to each other over voice telephone lines, routed by modified telephone switches. Wireless versions of Telex soon connect remote regions of the developing world.
Belgian Paul Otlet has a modest goal: collect, organize, and share all the worldâs knowledge. Otlet had co-created a massive âsearch engineâ starting in the early 1900s. His Mundaneum now combines enhanced card catalogs with sixteen million entries, photos, documents, microfilm, and more. He is working on integrating telegraphy and multiple media, from sound recordings to television. In the 1930s British writer H.G. Wells and American scientist Vannevar Bush are advancing similar goalsâWells with his âWorld Brainâ writings and Bush with the Memex, a sort of microfilm-based Web browser. These approaches to organizing information differ. But all share key features of todayâs Web, including automated cross-references â which we call hyperlinks.
With side-by-side screens, the imaginary Memex desk is meant to let a user compare and create links between microfilm documents, somewhat like todayâs clickable Web links and bookmarks. The idea is that people will continually build on each other's associative trails through the world's knowledge, helping tackle the growing problem of information overload. The Memex is the brainchild of top U.S. scientist Vannevar Bush, an analog computing pioneer who had helped oversee development of the atomic bomb. The basic mechanism he suggests is a microfilm automatic selector similar to those built by optics pioneer Emmanuel Goldberg in the early 1930s. Bush publicizes the Memex concept in 1945 articles in The Atlantic Monthly and Life.
Designed to detect Russian nuclear bombers, the IBM-built SAGE (Semi-Automatic Ground Environment) pioneers many technologies including a special-purpose form of networking. There are 23 computer centers across North America, communicating with radar stations, counter-attack aircraft, and each other â all in real-time, as potentially threatening events are happening.
Besides networking SAGE also helps pioneer interactive computing and multi-user systems. Hundreds of people use the system simultaneously, interacting through groundbreaking graphical consoles. Each console has its own large screen, pointing device (a light gun), a telephone, and an ashtray. Ever on the alert for a Soviet attack, SAGE operators would describe the experience as endless hours of boredomâ¦broken by seconds of sheer terror. By the early 1960s, intercontinental ballistic missiles (ICBMs) will make the bomber threat â and SAGE itself â partly obsolete. But the system will operate until the 1980s.
In the 1950s several visionaries including Ted Nelson and Douglas Engelbart independently suggest computerizing the concept of cross-references, creating the clickable link we use on the Web. Nelson calls it a âhyperlink,â and the computerized text âhypertext.â Along with graphics pioneer Andries van Dam they develop many core computing functions such as word processing, online collaboration, and hypertext links. J.C.R. Lickliderâs 1960 book Libraries of the Future outlines a related vision, which adds mild artificial intelligence to the mix.
By the early 1960s many people can share a single computer, using terminals (often repurposed teleprinters) to log in over phone lines. These timesharing computers are like central hubs with spokes radiating to individual users. Although the computers generally can't connect to each other, these are the first common multi-user systems, with dozens of people online at the same time. As a result, timesharing pioneers many features of later networks, from file sharing to e-mail and chat. Typical 1960s users are a mix of business people, bank employees, students and researchers, and military personnel.
Some of the first general time-sharing systems are CTSS at MIT, and PLATO II at the University of Illinois.
Used by Texas oilmen, the Carterfone acoustically connects mobile radios to the telephone network. Telephone companies sue in 1966. The FCC supports Carter, freeing U.S. telephone lines for many usesâincluding later answering machines, faxes and modems. Users in some countries will wait until the 1990s for similar freedoms. Modems create a kind of de facto net neutrality; telephone companies have no control over what is sent over their lines with a modem.
Since telegraph days, people have been refining techniques for squeezing more connections onto a single wire. Early multiplexers for computers let up to 15 terminals share the same line, by assigning each of them a particular frequency (Frequency Division Multiplexing). In 1968, a new generation of time-division multiplexers gives each user a small slice of time in turn, radically expanding the number of computer terminals that can share the same line â from 15 to 45. This dramatically lowers costs for businesses, and the multiplexer market becomes highly competitive. Advances in acoustic couplers â the devices that let you connect your terminal to a regular telephone handset â also help more and more people go online.
Douglas Engelbart and his team at SRI, with funding from ARPA, unveil their experimental âoNline Systemâ at a computing conference in San Francisco in what will become known as the âmother of all demos.â
For ninety minutes, the stunned audience of around a thousand witnesses collaborative editing, videoconferencing, word processing, and a strange pointing device jokingly referred to as a "mouse." Every paragraph or other element in the NLS system can be linked to other elements using hypertext links.
Across the country, visionary Ted Nelson is working with Andy van Dam to create another early hypertext system, HES (Hypertext Editing System).
Switched on in late October 1969, the ARPAnet is the first large-scale, general-purpose computer network to connect different kinds of computers together. But others come online within weeks or months. 1969-70 marks the start of Britainâs NPL network, the wireless and more specialized ALOHANET in Hawaii (also ARPA funded), and the HLN (High Level Network) for the SITA consortium of commercial airlines. Work begins on Franceâs CYCLADES network not long after. The ARPAnetâs massive funding will help it pull ahead of rivals.
The ERMA system had revolutionized behind-the-scenes check processing in the 1950s, spawning the funny letters still at the bottom of checks today. During the 1960s researchers in various countries have been working on bringing automation â and online transactions â to customers in the form of an Automated Teller Machine (ATM). Barclayâs Bank in the UK has likely been the first to put one in operation, in 1967. By decadeâs end many systems are up or being planned in Europe and North America. The paper used by some of the first ATMs is slightly radioactive, to be machine readable. The 1970s will also see rapid growth in behind-the-scenes financial transaction networks, like SWIFT for wire transfers.
By1971 Sam Fedida at the British Post Office and teams at the BBC and the IBA (Independent Broadcasting Association) have started developing Web-like information systems that use televisions for display. The two latter systems, based on work by Philips, broadcast data on an unused portion of the TV signal. They evolve into the Teletext information services found on most European TVs into the 2000s. Sam Fedida's videotex standard at the Post Office (which also runs the telephone system) uses phone lines, and has high ambitions for broad-reaching uses like todayâs Web. It becomes the foundation of Englandâs Prestel and, later, Franceâs wildly successful Minitel.
In the early 1970s email makes the jump from timesharing systems â each with perhaps a couple of hundred users â to the newly burgeoning computer networks. Suddenly, messages are free to travel anywhere the network goes, and email explodes. Ray Tomlinson of Bolt, Beranek and Newman chooses the now-iconic â@â sign for his networked email protocol on the ARPAnet and by 1973, well over 50% of traffic on that research-oriented network is email. Nearly all other networks add email features. On the PLATO educational system, the email features of PLATO Notes are a runaway success both for person-to-person mails and as the basis for discussion boards.
In 1973, ARPA funds the outfitting of a packet radio research van at SRI to develop standards for a Packet Radio Network (PRNET). As the unmarked van drives through the San Francisco Bay Area, stuffed full of hackers and sometimes uniformed generals, it is pioneering wireless, packet-switched digital networks, including the kind your mobile phone uses today. A related set of experiments test out Voice Over IP (like the later Skype). The van will also play a huge role in 1977 as a major birthplace of the Internet.
Early networks successfully connected computers. But different kinds of networks couldnât link to each other, limiting the size of online communities. So, the next challenge has been creating ânetworks of networks,â a process called internetworking or internetting.
Franceâs CYCLADES and Britainâs NPL network are experimenting with internetworking by 1973 with the European Informatics Network (EIN). Xerox PARC begins linking Ethernets with other networks using its PUP (PARC Universal Packet) protocol the same year. Both these efforts will influence the development of ARPAâs TCP/IP internetworking protocol, first sketched out in 1973 by Vint Cerf and Bob Kahn. ARPA has a practical need to link its original ARPAnet with its newer networks like the Packet Radio Network (PRNET) and Satellite Network (SATNET). In 1977 Cerf and Kahn will link the three networks and prove the efficacy of their TCP/IP protocol in a dramatic round-the-world transmission from a moving vehicle, the SRI Packet Radio Research van.
Computers have to communicate down the hall, as well as globally. Local area networks (LANs) evolved from the early links to peripheral devices such as terminals and printers. 1973 marks the birth of the standard that will eventually prevail: Ethernet. Created as part of Xerox PARCâs sweeping vision of an âoffice of the futureâ comprised of connected PCs, Ethernet adapts techniques from the wireless ALOHAnet to treat cables as a passive medium, like the air (âetherâ) between radio stations. But it will have stiff competition from various local network standards including IBMâs formidable Token Ring and Datapointâs ARCNET.
IBM has been building hierarchical, special-purpose networks since the SAGE system in the late 1950s and SABRE not long after. In 1974 it announces Systems Network Architecture (SNA), a set of protocols designed for less centralized networks. SNA will evolve into an internet-like network of networks, albeit one reserved for those that were SNA compliant. DEC and Xerox will also begin commercializing their own proprietary networks, DECNET and XNS. At itâs peak around 1990, IBMâs SNA will quietly carry most of the world's networking traffic.
The mid-1970s brings a number of commercial networks for corporate customers and professionals to choose from. Most are packet-switched, like Telenet, Tymnet, and other major players. The ill-fated Datran and a couple of others are circuit switched like a telephone system. Six year old CompuServe is also becoming a major supplier of corporate network services; itâs consumer-oriented CompuServe Information Service will follow at the end of the 1970s.
Until the late 1970s the momentum in computing has been all about togetherness â users first sharing computers, then linking over networks and soon networks of networks. But the rise of the personal computer from the mid 1970s makes something once unthinkable an everyday reality: a standalone computer for just one person. While the new machines can be connected to networks and to each other, a lot of users both at home and work don't bother. They run their own programs off of floppy disks. The âpersonal computer revolutionâ begins to push back against the centralized control of network system administrators, a trend that won't fully reverse until the 2000s and the emergence of âthe cloud.â
The first Multi-User Domain (or Dungeon), MUD1, goes on-line. Richard Bartle and Roy Trubshaw, two students at the University of Essex, write a program that allows many people to play against each other on-line. MUDs become popular with college students as a means of adventure gaming and for socializing. By 1984, there will be more than 100 active MUDs and variants around the world.
Personal computers have started to slowly take off in North America by the end of the 1970s, a decade earlier than most other parts of the world. Connecting them to remote servers can be a nightmare of endless settings and false starts, accompanied by the squawks and squeals of an expensive, finicky modem. Most computer owners don't bother, but by 1979 a subset of brave or stubborn ones are subscribing to early online services like MicroNet (later CompuServe Information Service) and The Source, or connecting to Bulletin Board Services (BBSs) hosted on somebody elseâs minicomputer or PC. By 1990 more than two million North Americans will be online for discussion groups, shopping, news, chat, e-mail, and more; the early online services have been joined by AOL, Prodigy, and others. This dial-up world pioneers much of what we do on the Web, though in a more communal setting.
From the late 1970s on academics and geeks continue expanding âtechieâ online communities like Usenet (a message board conceived by Duke University students) and BITNET (a network for file and email exchange). One of the most durable online communities, Usenet provides topic-oriented ânewsgroupsâ for collaborative discussion, and its community and ethos will shape the early Web.
As networked computers arrive in offices through the 1970s and 1980s, professional information systems continue to blossom. LEXIS (which has roots in the computer utilities of the 1960s) provides access to legal cases. NEXIS adds a massive searchable database of news articles. There are a number of industrial purchasing systems based on âElectronic Data Interchangeâ standards for computerized transactions. DIALOG provides pricey information for businesses, and dozens of more specialized services address particular niches.
John Shoch and Jon Hupp at the Xerox Palo Alto Research Center create the computer "worm," a short program that searches a network for idle processors. Initially designed to provide more efficient use of computers and for testing, the worm has the unintended effect of invading networked computers, creating a security threat. Shoch took the term "worm" from the 1976 book The Shockwave Rider, by John Brunner, in which an omnipotent "tapeworm" program runs loose through a network of computers.
In 1980 Tim Berners-Lee at the CERN physics laboratory creates Enquire, a networked hypertext system used for project management but with far greater ambitions. It seeks to categorize hyperlinks in a way that can be read by computers as well as people. He later claims he hadn't been aware of earlier hypertext work at the time, so it may be an independent reinvention. He names the program after a Victorian advice book and encyclopedia he had loved as a child, *Enquire Within (about Everything)." Berners-Lee will go on to invent the World Wide Web, partly based on Enquire.
Free! Thatâs often an effective way to attract customers. In 1981, France Telecom offers free Minitel terminals to every phone subscriber, launching the first mass âWeb.â Minitel will have tens of millions of users by 1990 and online services such as newspapers, train schedules, tax filing, and erotic classified ads as well as email and chat. The â80s Minitel boom heavily foreshadows the dot-com boom. But the business model is different. Customers pay by the minute for access to Minitel services (sites), charged on their phone bills; France Telecom keeps about a third and passes on the rest to the service provider. As in the later Web, Minitel service providers run their own servers. But they also pay France Telecom a fee to connect to its network. Despite major efforts in the US, Canada, and Europe, similar videotex systems will fizzle outside France.
Protocols like Ethernet or Token Ring have established low-level links between computers and peripherals in the office. But that's only part of the solution â workers still need to do higher-level tasks such as sending e-mail, exchanging files, and sharing printers.
This need yields a hodge-podge of third party ânetwork operating systems,â including Novell Netware, and built-in solutions like Appleâs AppleTalk. In the 1990s, Internet protocols will replace them all.
For music, the CD (Compact Disk) had come out in 1981. For data, the big date is 1984 when Phillips introduces the CD-ROM (the last part stands for Read Only Memory). In the late â80s and early â90s, affordable computer CD-ROM drives will enable multimedia encyclopedias, games, novels and reference information on CD, often with hypertext links for navigation. This content will turn out to be basically ready-made for the Web, and many publishers will simply port it over directly. For content that uses a lot of video or images, CD-ROMs will remain an important adjunct to Web browsing throughout the early Web era.
Many agreed on the goal: to develop a global network of networks, or an âinternetâ in the parlance of the time. They don't agree on how. By the early 1980s, several different national and corporate protocols are competing with each other. OSI (Open Systems Interconnect) is the first with international backing, and support from the International Standards Organization as an official standard. Begun in 1977 by a member of a team that pioneered internetworking on the French CYCLADES network, OSI is officially published in 1984.
Digital Equipmentâs DECNET is a strong competitor. IBMâs System Network Architecture (SNA) dominates the world of corporate computing, and will carry the majority of the worldâs networking traffic up through the late 1980s. The dark horse contender is ARPAâs Internet Protocols (TCP/IP), defined only by a self-governing community of those who have access to this closed network, mostly U.S. military and computer science researchers.
U.S. Internet protocols (TCP/IP) get a major boost when the National Science foundation forms the NSFNET, linking five supercomputer centers at Princeton University, Pittsburgh, University of California at San Diego, University of Illinois at Urbana-Champaign, and Cornell University. Soon, over a dozen regional and educational networks will be added, including BITNET, CSNET, and a dozen or so others. Parts of the original ARPAnet had been reassigned to NSFNET, while others had gone to the military network, MILNET. The NSFNET is a major factor in helping Internet protocols win out over rival protocols like OSI, SNA, and DECNET.
Digital mobile networks had been pioneered by ARPA from the early 1970s for military use, but early cell phone networks for consumers are analog. They use traditional telephone circuit-switching, where there is a connection (circuit) between caller and recipient for the duration of the call. The connection seamlessly switches from cell to cell as the phone moves. In 1987, the European Community formally agrees on the GSM (Spécial Mobile Group, or GSM in French) standard for digital mobile telephony, including text messaging (SMS). Development work had begun five years earlier with major input from Ericsson, Deutsche Telekom, France Telecom and a number of others. GSM will reach customers in the early 1990s, in some markets at around the same time as competing standard CDMA from Qualcomm in the United States.
Clicking on hyperlinks is what lets us âsurfâ the Web instead of plodding through it. Yet after its initial invention in the 1960s, computer hypertext had gone underground for 20 years. It got so obscure that the main father of the Web, Tim Berners-Lee, may have unknowingly re-invented it in 1980. Hypertextâs original inventors â and some true believers â had kept developing new applications, but mostly in academic environments or for specialized clients like the military. Without being named as such, hyperlinks had also been used in some online help systems and CD-ROMs.
By the late 1980s, a minor resurgence of interest leads to commercial hypertext programs like Owl â and then Appleâs well-hyped Hypercard. Soon, people are producing their own âstacksâ of linked cards on every topic, as well as writing non-sequential hyper-novels. But HyperCard is standalone; you can only click through to other cards on the same computer.
23 year old Robert T. Morris, the son of a computer security expert for the National Security Agency, sends a nondestructive worm through the Internet causing major problems for days for about 6,000 of the 60,000 hosts linked to the network. The result is widespread outages. This is the first worm to have a major effect on real-world computer systems, and publicizes the importance of network security. Morris will be the first person convicted under the âComputer Fraud and Abuse Act.â He will apologize in 2008, saying he'd sought to estimate the Internet's size, not cause harm.
At its official 1983 launch, the Internet had been a modest experimental network of networks owned by the U.S. government. As late as 1989, even insiders are betting against it â OSI is the official favorite for the future of internetworking, or connecting networks together. But in the meantime the Internet has quietly grown to 100,000 host machines, each with multiple users. By 1992 the Internet will have emerged as the new global standard, linking a million computers. In hindsight, the Internet has several key advantages, from a growing community of enthusiasts churning out working software and hardware, to free distribution with the UNIX operating system, to being built in to common hardware like Cisco routers.
But the decisive factor? Probably moneyâespecially U.S. government support from the National Science Foundationâs NSFNET and other sources. At the instigation of computer pioneers, Senator Al Gore begins working in 1987 on what will become his High Performance Computing and Communication Act. When it is funded in 1991, the Act creates the National Information Infrastructure, which promotes and funds over $600 million worth of various networking initiatives. Gore famously calls it the âinformation superhighway.â
The Internet connects over a million people by the end of the 1980s and is growing fast. But because it is a closed, non-commercial network used mostly by geeks, it lacks online systems to help ordinary people navigate it. None of the companies making slick, easy-to-use online systems like Minitel in France, CompuServe, AOL, etc. want to invest in porting them to an academic network. In any case they have their own networks.
This vacuum at the top of the Internet creates an opportunity for small players to try and create or adapt their own online systems. Usenet is the first; though mostly for geeks its discussion groups are quite popular and it gets ported to run over the Internet by 1986. Others range from low-key commercial ventures like WAIS and Hyper-G to student projects like Viola, Lynx, and Gopher. Several use clickable hypertext links â including one small experiment ambitiously called the âWorldWideWeb.â
At the worldâs biggest physics laboratory, CERN in Switzerland, English programmer and physicist Tim Berners-Lee submits two proposals for what will become the Web, starting in March of 1989. Neither is approved. He proceeds anyway, with only unofficial support from his boss and his coworker Robert Cailliau. By Christmas of 1990 he has prototyped âWorldWideWebâ (as he writes it) in just three months on an advanced NeXT computer. It features a server, HTML, URLs, and the first browser. That browser also functions as an editorâlike a word processor connected to the Internet â which reflects his original vision that the Web also incorporate authoring and personal organization tools. The idea is that a Web of useful links will grow and deepen as people create them in the course of their daily lives. The Web had been partly inspired by his earlier Enquire program, which had combined networked hypertext with ideas that would later evolve into the Semantic Web.
After the National Science Foundation (NSF) changes its policy, the Internet is for the first time a publicly accessible network with no commercial restrictions. This removes the last major remaining advantage for competing networking and internetworking standards, from OSI to SNA to CompuServeâs own international network. Four years later the NSF will turn over the Internetâs backbone (main high speed lines and nodes) completely to private industry.
Tim Berners-Leeâs 1990 GUI browser-editor runs only on rare NeXT computers. CERN refuses to fund other versions for common platforms. So the Web team writes a simple text-only browser for quick distribution, and then begs volunteers to write or adapt the needed GUI browsers for PCs, Macs, and UNIX machines. The team also provides code to start with; the WWW Common Library is essentially a build-your-own-browser toolkit written by Tim Berners-Lee and technical research assistant Jean-François Groff.
Eight volunteers respond, resulting in UNIX, Mac, and PC browsers. Viola and Midas are initially the most popular, eclipsed later by Mosaic. All of them leave out editing features, which are trickier to implement on machines other than the NeXT. Berners-Lee never regains control of his creation.
Gopher, which organizes content in folders rather than clickable links, grows faster than the Web in the early â90s and is its most direct Internet competitor. Educational institutions embrace Gopher, as do the U.S. Congress. Developed by Mark McCahill, Paul Lindner and Farhad Anklesaria from a Campus-Wide Information Service, Gopher is named both for the University of Minnosota mascot, and after âgo forâ meaning fetch. By 1993, the gopher developers are planning to add hyperlinks and even virtual reality features.
The Web pulls ahead partly by incorporating the ability to read Gopher pages; this is the same absorption strategy it had employed previously when it added support for WAIS and others. Two other rival standards, Lynx and Viola, have conveniently converted themselves into Web browsers. But with Gopher, the Web also gets a major lucky break: the University of Minnesota begins charging for Gopher server licenses in 1993, literally the same spring the Web becomes officially public domain â and free.
Mosaic, the first browser supported by a major institution, starts the Web on the road from research project to blockbuster success. Written by brilliant student Marc Andreessen and UNIX expert Eric Bina at the National Center for Supercomputing Applications, Mosaic was modeled on the Viola and Midas browsers and also used the CERN code library. But NCSA quickly assigned teams to write UNIX, Mac, and PC versions, as well as servers. Unlike other browsers it was reliable and could be installed by amateurs. Along with other browsers around this time Mosaic added graphics within Web pages instead of in separate windows. Mosaic spread like wildfire.
Business people are wary. How can you make money on the Web and the Internet? They are both open standards; you can't charge by the minute as online systems have done since their start in the 1960s.
In 1993, OâReillyâs pioneering Global Network Navigator Web portal is running online ads. In 1994, Enterprise Integration Technologies (EIT) founds the CommerceNet consortium to encourage Web commerce, and demonstrates secure credit-card transactions that same year.
The first businesses to earn substantial profits on the Web are pornography and gambling sites, by 1995. But it is Netscapeâs spectacular IPO, and the success of online shopping sites like Amazon and eBay, that finally convinces mainstream business to follow the pioneers into Web commerce.
Most of the big âwalled gardensâ â CompuServe, AOL, Minitel in Franceâresist the Web and Internet. By the mid 1990s they are either fading out or on their way to becoming Web portals.
Microsoft Network (MSN) is the one that might have mounted a serious challenge. The tens of millions of copies of Windows 95 come ready to connect to this private network, which has proprietary protocols; it could have become the biggest online service in the world nearly overnight.
But by 1995 the Web is growing quickly, and Microsoft CEO Bill Gates decides it is better to fight within the Web than to fight the Web itself. In a single memo, he turns company strategy completely around to focus on the Web in nearly every product. MSN becomes a Web portal.
Japanese mobile phone operator NTT DoCoMo creates the i-mode networking standard for mobile data in 1999. By 2002, over 34 million subscribers are using it on their phones for web access, e-mail, mobile payments, streaming video, and many other features that the rest of the world won't see for nearly another decade. The i-mode protocols, a simplified version of the standard HTML web language, are designed to work well with devices having small screens, limited buttons, and no keyboard. Related systems like WAP (Wireless Access Protocol) have fewer customers, but all of them contribute to bringing mobile browsing to a mass market.
As users flock to the Web, the opportunities seem boundless. Nearly everything you could do with previous networks is ported to the Web, and every business sector, community, religion, and subculture stakes out a place online. Initial skepticism gives way to experimentation, and then mounting excitement as people begin to believe that the old laws of business don't apply to this new medium. Nobody wants to be left behind, fueling a frenzy of business venturesâmany built on shaky foundations.
In early 2000, business fundamentals reassert themselves. In one year, technology stocks lose about 60% of their value. The boom and bust have their greatest effect in the San Francisco Bay Area, home of Silicon Valley as well as many previous booms from the Gold Rush on.
In 2004, Google is the first major Web company to float a publicly traded stock since the go-go days of the dot-com boom. This is a direct result of Google solving the eternal problem plaguing all previous search engines â how to profit from search. The secret turns out to be a discreet form of advertising, based on auctioning off keywords to appear as "sponsored results" within a search results page. Many people take Google's Initial Public Offering (IPO) as a sign that the Web is not only back from its deep trough after the crash but entering a new period of expansion, and many other IPOs follow Beneath it all, of course, the Web continues to steadily grow as it has since the early 1990s.
The original Web concept, and many pre-Web systems, had depended heavily on user contributions. Yet many 1990s Web sites had been more like traditional TV or radio broadcasting, with providers feeding content to passive surfers. Partly this had been because dominant Web browsers lacked editing capability. From the early 2000s a number of sites begin helping users generate and shape content: wikis, blogs, social networking sites, and more. Photo and video sharing sites take advantage of the spread of faster Internet connections to let users both upload and browse those media.
OâReilly and Associates popularizes the name âWeb 2.0â with their 2004 conference of that name. Most browsers still don't support Web page editing, but Web 2.0 sites find various workarounds â from wiki and blogging software to commenting features â to give users a voice.
In the 1960s when computers were extremely expensive, a number of companies had offered what were called computer utilities. They would run your programs and store your data on their computer, which you would access with a terminal. As time went on cheaper computers had made it more economical for companies and eventually individuals to maintain their own workstations and PCs. But in the Web era, the economies of scale that evolved from large commercial Web servers had begun to tip the balance back the other way.
Starting in the mid 2000s the computer utility model starts to became fashionable again under the name âThe Cloud,â and is once again a major trend in both networking and computing. Amazon's 2006 Elastic Compute Cloud helps popularize the idea. Today, cloud-based companies offer nearly any software or service â including data storage â that could be done on a personal computer or on larger machines run by a companyâs IT department.
By the late 2000s, 3G networks for higher speed mobile data had been spreading fast. The iPhoneâs phenomenal popularity creates a new computing platform that brings mobile Web browsing to a large audience. Googleâs Android mobile platform soon makes that audience even larger. The App store model used by the iPhone and then Android is based on Appleâs earlier success with iTunes. But because proprietary apps run directly over the Internet, they are not part of the public Web â and present a risk of fragementing it as a standard.
|
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https://tv.apple.com/us/movie/hannibal/umc.cmc.1bb7s521cm9j2giqzozlab6bp
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en
|
Apple TV
|
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[
""
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2001-02-09T00:00:00+00:00
|
Ten years have passed since Dr. Hannibal Lecter and FBI agent Clarice Starling met in a maximum security prison for the criminally insane. The doctor,â¦
|
en
|
/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png
|
Apple TV
|
https://tv.apple.com/us/movie/hannibal/umc.cmc.1bb7s521cm9j2giqzozlab6bp
|
Thoroughly distasteful. Not for kids.
|
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5824
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| 41
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https://www.empireonline.com/movies/reviews/hannibal-review/
|
en
|
Hannibal
|
[
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[
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2000-01-01T00:00:00
|
Read the Empire Movie review of Hannibal. Expectation far exceeds delivery. Ranging from laughable to just plain boring, Hannibal is...
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en
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/assets/empire/favicon.ico
|
Empire
|
https://www.empireonline.com/movies/reviews/hannibal-review/
|
Even for a high profile sequel such as this, the preceding ballyhoo was pretty intense. The talent behind The Silence Of The Lambs - director Jonathan Demme, and Clarice herself, Jodie Foster - scarpered to the hills on reading Thomas Harris' deeply disappointing sequel. Still, Hopkins returned, and the arrival of new recruits Julianne Moore and Ridley Scott, piping hot after Gladiator, boded well. Add the mouthwatering screenwriting talents of David Mamet and Steve Zaillian, and something special was definitely on the cards.
The resulting collaboration is, for the most part, as faithful an adaptation of a novel as you could wish. Except you wouldn't. Foster and crew were right, it was just a bad idea in the first place. Scott's leaden movie simply exacerbates all the frustrations of Harris' derided novel - it's a thriller devoid of thrill. For starters, there's just no-one to worry about, for the only person in any kind of jeopardy is Lecter himself and it's his invulnerability we all love. The much mooted combo of Mamet and Zaillian have failed to find life in the moribund book, and Lecter is allowed none of the devilish wordplay, piercing intellect or sparks of hideous violence that defined his complex persona.
As events wobble from Florence to Washington to Verger's New England estate, driven by spurious motivations, you can't help but recallt the intricacy and skill that made Silence so riveting. There's not a single set-piece in Hannibal to match the mind-blowing escape of Lecter or the double house twist at the end of the original, replete with its scalpel sharp editing. Man-eating hogs, mobile phone chases and the odd gunfight hardly suffice.
While story ineptitudes cannot be laid at his door, the flat visual style and - staggering - lack of atmosphere are most certainly Scott's fault. Where is the florid Gothic mood of Silence or, for that matter, the hulking darkness of Alien? Florence might as well be Huddersfield. Hopkins, too, struggles to rediscover the impact he once made. The script doesn't help - apart from a lecture on fine art, you'll be hard pressed to find anything clever eminating from that mind. Outside of the cell, Lecter comes across as foppish and avuncular, a listless foodee sporting a hat at a jaunty angle. Moore is a huge misfire - perhaps Foster had just made the role too much her own. Only Liotta and Oldman have fun with the nominal bad guy roles: a slimy FBI suit and the dribbling, biscuit-faced billionaire Verger. Character piece or thriller, love story of psychodrama, Hannibal counfounds and dumbfounds - an inert spectacle and a frightening waste of modern cinema's juiciest villain.
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https://www.latimes.com/archives/la-xpm-2001-feb-12-ca-24246-story.html
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en
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‘Hannibal’ Eats Up the Competition
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"RICHARD NATALE"
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2001-02-12T00:00:00
|
Far exceeding even the most sanguine expectations, the Grand Guignol thriller "Hannibal," starring Anthony Hopkins and Julianne Moore, dominated at movie theaters across the country, debuting to an estimated $58 million in 3,230 theaters in its first weekend.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
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https://www.latimes.com/archives/la-xpm-2001-feb-12-ca-24246-story.html
|
Far exceeding even the most sanguine expectations, the Grand Guignol thriller “Hannibal,” starring Anthony Hopkins and Julianne Moore, dominated at movie theaters across the country, debuting to an estimated $58 million in 3,230 theaters in its first weekend.
If that number holds, it’ll be the third-largest debut ever.
“Hannibal” accounted for approximately one out of every two tickets sold over the weekend, though reviews for the sequel to the Oscar-winning “Silence of the Lambs” were generally mixed, with critics singling out the gruesome nature of the film’s violence.
But patrons, some of whom were prepared for the horror by Thomas Harris’ novel of the same name, flocked to theaters starting Friday and, unlike most horror movies, actually increased in attendance on Saturday night.
The R-rated film’s audience was composed of slightly more women than men, and evenly divided between younger and older (over 30) patrons, according to Larry Gleason, president of distribution at MGM, the studio that co-financed the $80-million film with Universal Pictures and is releasing it in the United States.
The satisfaction level for “Hannibal” was good, he said, with audiences approaching it more like a scary thrill-ride film, a la “The Exorcist,” than a conventional horror movie.
Gleason said the studio was successful in keeping the film away from the under-17 crowd, citing the pre-opening awareness levels, which were lowest among teens, who had been exposed to the least advertising. Further, he said, MGM encouraged theater owners to step up their policing policies in checking for identification.
With the Presidents Day holiday weekend coming up, “Hannibal” could hold on slightly better than most horror sequels, which usually experience a sharp downturn, though its eventual cumulative total could be somewhat hampered by the explicit nature of the film’s violent sequences.
The only other film to brave “Hannibal” over the weekend was the gross-out teen comedy “Saving Silverman,” which got off to a middling start with an estimated $7.4 million in 2,467 theaters and looks to have a modest life in theaters before heading to video and cable.
“Silverman” didn’t even have enough moxie to take second place away from another Sony comedy, “The Wedding Planner,” which is one of the better performers of the new year, ushering in approximately $7.8 million in its third weekend in 2,726 theaters for a 17-day total of $38 million.
Rising a notch in anticipation of Tuesday’s Academy Award nominations announcement was Ang Lee’s “Crouching Tiger, Hidden Dragon,” which has only expanded to more than 1,000 screens in the last two weeks. Now on 1,204 screens, “Tiger” managed about $5.1 million over the weekend, taking the film above the $60-million mark.
In so doing, “Tiger” became the largest-grossing foreign-language film ever released in the United States. Since it’s likely to play right into April, “Tiger” should continue to add to its lead, distancing itself from the previous record-holder, “Life Is Beautiful” ($57.6 million).
“Cast Away,” starring Tom Hanks, is on its way to becoming the star’s second-biggest-grossing movie and capturing the runner-up slot behind “How the Grinch Stole Christmas” among last year’s releases. With $5 million anticipated in its eighth weekend on 2,354 screens, the survivor drama is approaching $210 million. Soon, it will surpass last year’s “M:I-2,” which grossed about $215 million, and will pull ahead of the $216 million amassed by Hanks’ “Saving Private Ryan.” The actor’s personal best is “Forrest Gump” at $330 million.
Totals for the weekend’s top 12 films again ran well ahead of last year, with “Hannibal” propelling the top 12 movies to about $107.5 million, almost 43% better than last year, according to box-office tracking firm Exhibitor Relations. So far, every weekend of 2001 has surpassed the comparable weekend last year. According to Variety, January’s cumulative receipts were 25% ahead of last year.
“Save the Last Dance” fell out of the top five for the first time in its five weeks in theaters, down to an estimated $4.8 million on 2,506 screens. But with almost $75 million to date, it’s a solid hit.
“Valentine” got hit by the double whammy of taking the usual second weekend drop most horror films experience and having to compete with “Hannibal.” Grosses plummeted 62% to about $3.8 million, for a total of $15.8 million to date.
“Head Over Heels” suffered a similar fate, plummeting 46% in its second weekend to $2.6 million or so in 2,364 theaters and a 10-day total of about $8 million, taking it out of the weekend’s top 10.
“Traffic” held on at No. 7 for the weekend and is another film that’s likely to get a bump from probable multiple Oscar nominations. Its seventh weekend, in 1,740 theaters, was estimated at $4.4 million, and Steven Soderbergh’s drug war drama is now trafficking in the $71-million area.
In ninth place is “Chocolat,” with $3.1 million estimated in 1,148 theaters and $26 million to date, followed by “O Brother, Where Art Thou?” In only 835 theaters, “Brother” crooned its way to about $3 million over the weekend and has now topped $20 million in limited release. “Brother” looks to be the biggest-grossing Coen Brothers film ever, surpassing “Fargo’s” $24.6 million.
In limited release, Wong Kar Wai’s “In the Mood for Love” had a strong second weekend on six big-city screens, grossing $102,650 for $265,964 to date.
(BEGIN TEXT OF INFOBOX / INFOGRAPHIC)
THE WEEKEND’S TOP 10 MOVIES
1. “Hannibal” $58 million
2. “The Wedding Planner” $7.8 million
3. “Saving Silverman” $7.4 million
4. “Crouching Tiger, Hidden Dragon” $5.1 million
5. “Cast Away” $5 million
6. “Save the Last Dance” $4.8 million
7. “Traffic” $4.4 million
8. “Valentine” $3.8 million
9. “Chocolat” $3.1 million
10. “O Brother Where Art Thou?” $3 million
|
||
5824
|
dbpedia
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2
| 60
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https://facts.net/movie/40-facts-about-the-movie-hannibal/
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en
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40 Facts About The Movie Hannibal
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"Adda Mudd"
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2023-12-21T14:01:10+08:00
|
Discover 40 intriguing and shocking facts about the iconic movie "Hannibal" that will leave you captivated. Dive into the dark world of this gripping psychological thriller!
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en
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https://facts.net/wp-content/uploads/2019/09/fac-icon.ico
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Facts.net
|
https://facts.net/movie/40-facts-about-the-movie-hannibal/
|
The character of Hannibal Lecter was first introduced in the novel “Red Dragon” by Thomas Harris.
Hannibal Lecter, the iconic cannibalistic psychiatrist, made his debut in the novel “Red Dragon” published in 1981.
“Hannibal” is the sequel to the critically acclaimed film “The Silence of the Lambs.”
Released in 2001, “Hannibal” continues the story of FBI agent Clarice Starling and her pursuit of the serial killer Hannibal Lecter.
Anthony Hopkins reprises his role as Hannibal Lecter in “Hannibal.”
Anthony Hopkins delivers another mesmerizing performance as the sophisticated yet sinister Hannibal Lecter.
Julianne Moore replaces Jodie Foster as Clarice Starling in “Hannibal.”
Jodie Foster declined to reprise her role as Clarice Starling, leading to Julianne Moore taking over the iconic character.
“Hannibal” was directed by Ridley Scott.
Ridley Scott, known for his visually stunning films, brings his unique style to the suspenseful world of “Hannibal.
The movie was shot on location in Florence, Italy.
The beautiful city of Florence serves as a captivating backdrop for the thrilling events that unfold in “Hannibal.
“Hannibal” was a commercial success, grossing over $350 million worldwide.
The film’s box office success solidified the enduring popularity of the Hannibal Lecter character.
The famous scene where Hannibal feeds a man his own brain took weeks to shoot.
This gruesome scene required extensive preparation and special effects to achieve its shocking realism.
The film sparked controversy for its graphic violence and disturbing imagery.
Hannibal” pushed the boundaries of on-screen violence, leading to debates about the ethics of depicting such gruesome scenes.
The role of Mason Verger, Hannibal’s nemesis, was portrayed by Gary Oldman.
Gary Oldman’s transformation into the disfigured and vengeful Mason Verger earned widespread praise.
“Hannibal” received mixed reviews from critics.
While some praised its stylish direction and performances, others criticized its departure from the psychological thriller elements of its predecessor.
The film’s score was composed by Academy Award winner Hans Zimmer.
Hans Zimmer’s haunting and evocative music adds to the tension and atmosphere of “Hannibal.
“Hannibal” was nominated for three Academy Awards.
The film received nominations for Best Makeup, Best Art Direction, and Best Visual Effects.
The movie explores Hannibal Lecter’s past and provides insight into his motivations.
Hannibal” delves into the complex psyche of its titular character, revealing the traumas that shaped him into the infamous cannibalistic killer.
The film features stunning cinematography and visually striking set designs.
The artistic craftsmanship in “Hannibal” enhances the film’s dark and haunting atmosphere.
The character of Hannibal Lecter has become a cultural icon.
Hannibal Lecter has become synonymous with sophisticated evil, leaving an indelible mark on popular culture.
“Hannibal” explores themes of obsession, manipulation, and desire.
The film delves into the intricate dynamics between its characters, blurring the lines between hunter and prey.
The movie’s screenplay was adapted from the novel of the same name by David Mamet and Steven Zaillian.
The talented duo of David Mamet and Steven Zaillian crafted the screenplay based on Thomas Harris‘ novel.
“Hannibal” features intense and suspenseful sequences that keep audiences on the edge of their seats.
The film masterfully builds tension, creating nail-biting moments throughout its runtime.
The movie explores the concept of morality and the thin line between good and evil.
Hannibal” challenges our notions of right and wrong, forcing us to confront our own moral compass.
“Hannibal” showcases extraordinary acting performances from its talented cast.
The performances of Anthony Hopkins, Julianne Moore, and Gary Oldman contribute to the film’s overall brilliance.
The film’s intricate plot keeps audiences engaged from start to finish.
“Hannibal” weaves a complex narrative filled with twists and turns that captivate viewers.
The movie’s climax features a thrilling showdown between Hannibal Lecter and his adversaries.
The final confrontation between Hannibal and those seeking to bring him down is a heart-pounding climax that doesn’t disappoint.
“Hannibal” explores the darker aspects of human nature and the depths of human depravity.
The film delves into the darkest corners of the human psyche, leaving viewers questioning the boundaries of human morality.
The movie features stunning visual effects, especially in its portrayal of Hannibal’s twisted creations.
The skillful use of visual effects brings to life Hannibal’s disturbing and macabre artistry.
“Hannibal” is a gripping psychological thriller that will leave you on the edge of your seat.
The film’s relentless tension and memorable performances make it a must-watch for fans of the genre.
“Hannibal” explores the themes of power and manipulation, showcasing Hannibal’s ability to control those around him.
The film examines the allure and danger of embracing one’s darker desires for personal gain.
The movie’s costume design perfectly captures the essence of each character.
The attention to detail in the costumes adds depth to the characters and enhances the film’s visual appeal.
“Hannibal” serves as a chilling reminder of the power of manipulation and the dangers of underestimating one’s adversaries.
The film’s story serves as a cautionary tale about the consequences of underestimating Hannibal Lecter’s devious intellect.
The film’s production design creates a rich and immersive world for the characters to inhabit.
The meticulous attention to detail in the production design adds authenticity to the film’s dark and atmospheric world.
“Hannibal” features a memorable and unsettling opening sequence that sets the tone for the rest of the film.
The film’s opening scene immediately grabs the viewer’s attention, establishing the atmosphere of suspense and unease.
The movie explores the concept of obsession and the lengths one would go to in pursuit of their desires.
Hannibal” delves into the obsessive nature of its characters, blurring the lines between love and infatuation.
“Hannibal” boasts a talented supporting cast, including Ray Liotta, Giancarlo Giannini, and Francesca Neri.
The stellar performances from the supporting cast elevate the film’s overall quality.
The film’s unsettling imagery and thought-provoking narrative have made it a cult favorite among horror enthusiasts.
“Hannibal” continues to captivate audiences with its disturbing visuals and complex storytelling.
The movie’s sound design adds to the sense of dread and suspense throughout.
The meticulous sound design heightens the tension and enhances the overall viewing experience.
“Hannibal” features memorable quotes that have become iconic in popular culture.
The film’s thought-provoking and chilling dialogue has left a lasting impact on audiences.
The success of “Hannibal” paved the way for the continuation of the Hannibal Lecter franchise.
The film’s box office success revived interest in the character, leading to the development of further adaptations and spin-offs.
“Hannibal” showcases the talents of legendary director Ridley Scott at the height of his craft.
Ridley Scott’s masterful direction brings a distinct visual style and storytelling prowess to “Hannibal.”
The film explores the psychological cat-and-mouse game between Hannibal Lecter and those seeking to capture him.
The intricate dance of intellect and manipulation between Hannibal and his pursuers adds an extra layer of suspense to the film.
“Hannibal” remains a captivating and chilling cinematic experience, solidifying its place in the pantheon of iconic thrillers.
The enduring legacy of “Hannibal” is a testament to its ability to captivate and terrify audiences even years after its release.
Conclusion
From its stunning performances to its gripping storyline, there is no doubt that the movie “Hannibal” has left a lasting impact on audiences worldwide. With its unique blend of psychological thriller and horror elements, this film continues to captivate viewers and establish itself as a standout in the genre.
Through this article, we have explored 40 fascinating facts about “Hannibal” that shed light on the making of the film, its iconic characters, and the behind-the-scenes moments that contributed to its success. From the meticulous attention to detail in the set design to the hauntingly brilliant performance by Anthony Hopkins as Lecter, “Hannibal” remains a cinematic masterpiece.
Whether you are a die-hard fan or a newcomer to the world of “Hannibal,” these facts have surely deepened your appreciation for the film and its enduring legacy. So, grab some popcorn and prepare to be enthralled once again as you rewatch this iconic movie.
With its chilling atmosphere, complex characters, and unforgettable moments, “Hannibal” will continue to hold a special place in the hearts of movie enthusiasts for years to come.
FAQs
1. Who directed the movie “Hannibal”?
Ridley Scott directed the movie “Hannibal.
2. When was the movie “Hannibal” released?
Hannibal” was released on February 9, 2001.
3. Is “Hannibal” a sequel?
Yes, “Hannibal” is a sequel to the 1991 film “The Silence of the Lambs.
4. Was Anthony Hopkins in the movie “Hannibal”?
Yes, Anthony Hopkins reprised his role as Dr. Hannibal Lecter in the movie “Hannibal.”
5. What is the genre of the movie “Hannibal”?
The movie “Hannibal” is a psychological thriller mixed with elements of horror.
6. Are there any memorable quotes from the movie “Hannibal”?
Yes, the movie is known for its memorable quotes, such as “I do wish we could chat longer, but… I’m having an old friend for dinner.
7. Is “Hannibal” based on a book?
Yes, “Hannibal” is based on the novel of the same name by Thomas Harris.
8. Did “Hannibal” receive any awards?
Yes, the movie received several award nominations, including Academy Awards and Saturn Awards.
9. Who played the role of Clarice Starling in “Hannibal”?
In “Hannibal,” the role of Clarice Starling was played by Julianne Moore.
10. Is “Hannibal” a must-watch for fans of the thriller genre?
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dbpedia
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https://www.themoviebuff.net/2021/10/review-red-dragon-an-apt-prequel-to-the-silence-of-the-lambs-that-improves-upon-hannibal/
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REVIEW - 'Red Dragon' (2002)
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[] |
[] |
[
""
] | null |
[
"Joe Hughes",
"Matt DeCristo",
"Kevin Parks",
"Ella Runi",
"Vidal Dcosta",
"Paul Emmanuel Enicola",
"Holly Marie",
"Arpit Nayak"
] |
2021-10-08T13:34:12+00:00
|
Looking for an in-depth “Red Dragon” movie review? The Movie Buff is your source for reviews, news, content, and more!
|
en
|
The Movie Buff
|
https://www.themoviebuff.net/2021/10/review-red-dragon-an-apt-prequel-to-the-silence-of-the-lambs-that-improves-upon-hannibal/
|
“Red Dragon” really warms the heart. A prequel to “The Silence of the Lambs,” the film explores what landed Hannibal Lecter behind bars in the first place. Spoiler Alert: he was eating people. Like the first film in the series, our Lecter fix is a little light but quality not quantity folks! Edward Norton stars as FBI Agent Will Graham. Norton really dominated the movie industry for like an eight year period. “Red Dragon” is no exception.
I’ve always associated Ralph Fiennes with “Schindler’s List.” Here as the truly tormented, disturbed and super unhinged Francis Dolarhyde, it did nothing to make me think of his as a nice guy. In fact, watching him superglue Phillip Seymour Hoffman to an office chair and set him on fire did nothing to help me see him in a better light. I mean, this guy’s a real jerk!
For the uninitiated, “Red Dragon” is actually a remake of “Manhunter.” Directed by Michael Mann, the 1986 “Manhunter” plays just like a two and a half hour episode of “Miami Vice” with the dude from “CSI” doing a lot of driving all while wearing flashy suits. I’d rather be hunted by man then sit through that trash-fest again. But anyway…
“Red Dragon” really succeeds—especially compared to its predecessor, “Hannibal”—because it goes back to the core of what made “The Silence of the Lambs” so great. More a drama and thriller than a horror film, it sits perfectly in the pocket and again; and unlike its predecessor, it makes excellent use of its impressive cast. Harvey Keitel kicks ass in everything he has ever been in. Even “Bad Lieutenant.” He shines in his supporting role as Jack Crawford, Will Graham’s superior. Same goes for Emily Watson and the aforementioned Phillip Seymour Hoffman and Mary-Louise Parker.
But. And this is a big but (insert your dated Sir-Mix-A-Lot joke here). While it is far superior to “Hannibal,” it still pales in comparison to “The Silence of the Lambs.” It’s kind of unfair. Or maybe a testament to the power of that film. Because even when “Red Dragon” is good, I’d still kind of rather see Buffalo Bill. And not that dancing scene that confused me on so many levels the first time I saw it as a wide-eyed nine-year-old, but you know what I mean.
So yes. I would recommend “Red Dragon.” But only if you’re plowing through the series. Don’t have a one night stand with Hannibal Lector and let this be your only impression. You may end up a little underwhelmed.
|
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5824
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dbpedia
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3
| 94
|
https://www.huffpost.com/entry/denzel-washington-casting-hannibal-netflix-criticism-tunisia_n_657a3efde4b020f3b673ced5
|
en
|
Denzel Washington Faces Criticism For Starring As Hannibal In Netflix Film
|
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[
"Netflix",
"denzel washington",
"Tunisia",
"Hannibal"
] | null |
[
"Jazmin Tolliver"
] |
2023-12-14T03:53:38+00:00
|
The Tunisian news outlet, La Presse, says the casting created “a historical error.”
|
en
|
/favicon.ico
|
HuffPost
|
https://www.huffpost.com/entry/denzel-washington-casting-hannibal-netflix-criticism-tunisia_n_657a3efde4b020f3b673ced5
|
LOADINGERROR LOADING
Denzel Washington’s casting as the ancient Carthaginian general Hannibal in an upcoming Netflix film has reportedly ignited controversy in Tunisia, where the military commander hails from.
Directed by Antoine Fuqua, the untitled movie will be “based on real-life warrior Hannibal, who is widely regarded as one of the greatest military commanders in history,” according to the film’s synopsis. The film will focus on the “pivotal battles he led against the Roman Republic during the Second Punic War.”
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Last month, the country’s Minister of Cultural Affairs, Hayet Guettat Guermazi, reportedly announced that her department was working to confirm with Netflix that parts of the movie will be filmed in Tunisia.
But now, there have been complaints from the Tunisian parliament and their media about the legendary actor portraying the military commander as a Black man, according to multiple reports.
The controversial project marks Washington’s sixth collaboration with Fuqua following hit films like “The Equalizer” and “Training Day.”
On Monday, Variety reported that Tunisian Member of Parliament Yassine Mami slammed Washington’s casting, citing the risks of “falsifying history.”
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In real life, Hannibal was born in 247 B.C. in Carthage (now known as Tunis, the Tunisian capital), according to an English translation of the Tunisian news outlet La Presse, per Fox News.
“There is a risk of falsifying history: We need to take position on this subject,” Mami reportedly said, adding that Hannibal was of West Asian Semitic origin. “This is about defending Tunisian identity and listening to the reactions of civil society.”
On the other hand, the country’s culture minister, Hayet Ketat-Guermazi, reportedly dished out a somewhat optimistic response to Washington’s casting.
“It’s fiction. It is [Netflix‘s] right to do what they want,” Ketat-Guermazi said, according to French newspaper, Le Monde.
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Ketat-Guermazi added: “Hannibal is a historical figure and we are all proud that he was Tunisian. But what can we do? I hope they decide to shoot at least a sequence of the film here and that this is publicized. We want Tunisia to go back to being a location where foreign films are shot.”
Reps for Netflix didn’t immediately respond to HuffPost’s requests for comment.
The criticism of Washington’s casting in the film comes on the heels of the announcement that he’ll be starring as a mystery character in the “Gladiator” sequel, which is set to release in November 2024.
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1
| 74
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https://www.ign.com/movies/hannibal
|
en
|
Hannibal
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Everything you need to know about Hannibal.
|
en
|
https://kraken.ignimgs.com/favicon.ico
|
IGN
|
https://www.ign.com/movies/hannibal
| |||||
5824
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dbpedia
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0
| 38
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https://www.thewrap.com/best-serial-killer-movies/
|
en
|
The 25 Essential Serial Killer Movies
|
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[] |
[] |
[
""
] | null |
[
"William Bibbiani"
] |
2024-07-13T18:00:00+00:00
|
Explore the captivating world of the best serial killer movies. Discover the twisted tales that delve into the darkness of the human psyche.
|
en
|
TheWrap
|
https://www.thewrap.com/best-serial-killer-movies/
|
In motion pictures, we like to think of the silver screen as a window through which the audience gets transported into another world. But it’s more than that. It’s also a mirror, reflecting our own world and our very natures back at us. Sometimes that mirror reveals something we don’t like, the darker side of ourselves, and that’s what the best serial killer movies capture. They shine a light on the shadowiest corners of our souls. Even if we can’t understand the killers themselves, we can always ruminate on our own grim fascination with their crimes.
Cinematic tales about serial killers date back well over 100 years, only to rise in number and popularity as true crime stories became more prevalent throughout the 20th century. As we’ve learned more about real-life murderers, the films that explore their psyches evolved. There are more early classics in this genre than many people realize, but over time the number of films exponentially grew, along with their narrative and thematic ambitions.
Let’s take a look back at 25 essential serial killer movies, which delve into the subject from various angles. For the purpose of this article we’ll be skewing away from slasher movies and films with overtly supernatural elements to highlight movies that are either inspired by true stories or are — to one degree or another — relatively plausible. These are films about the killers themselves, or about our collective obsession with people who do these unspeakably evil things, whether they’re tragic, exciting, or even darkly funny.
“The Lodger: A Story of the London Fog” (1927)
“The Lodger” wasn’t Alfred Hitchcock’s first film but it was his first thriller, and it helped set the template for what we now call a “Hitchcockian” style. In this silent classic a serial killer, not unlike Jack the Ripper, stalks the streets of London and a mysterious new tenant, played by Ivor Novello, has excited the paranoid imagination of his neighbors, who think he might be the murderer. The film keeps the mystery in the air as long as possible, driving each scene with anticipation and danger. “The Lodger” plays as well today as it ever did, powerfully suspenseful and visually striking, with twists and reversals that still rank among Hitchcock’s best.
Where to Stream: Prime Video, Max, The Criterion Channel, Freevee
“M” (1931)
The first sound film from Fritz Lang is a weird and disturbing serial killer story, which uses silence to just as powerful an effect as its eerie whistling. Peter Lorre, in his breakout role, stars as Hans Beckert, a murderer of children whose crime spree has terrified the citizens and mobilized the police, leading to a citywide crackdown on all manner of crime. So the criminals themselves decide to hunt Hans down too, leaving this pathetic monster with no place to hide. “M” is a masterpiece on many levels, delving into the mind of a madman while also incorporating real-life crime-solving techniques, presaging the eventual rise of the police procedural.
Where to Stream: Max, The Criterion Channel, Kanopy
“Arsenic and Old Lace” (1941)
Who says serial killers can’t be funny? In Frank Capra’s odd, demented “Arsenic and Old Lace,” Cary Grant plays Mortimer Brewster, a lifelong bachelor who just got married and runs home to share the good news with his closest family, his Aunts Abby (Josephine Hull) and Martha (Jean Adair). But when he stumbles across a hidden corpse he learns to his horror that Abby and Martha are serial killers, and somehow his day gets even worse from there. Fast-paced, quick-witted, and a little bit ghoulish, “Arsenic and Old Lace” is a delectable Halloween treat, with the whole cast — especially Grant — at the top of their comedic form.
“The Night of the Hunter” (1955)
The only film ever directed by acclaimed actor Charles Laughton is also one of the greatest motion pictures ever made. Robert Mitchum stars as Harry Powell, a serial killer who hates and murders women and talks to God like they’re close personal friends. When he finds out there’s a stash of money inside the house of a young widow (Shelley Winters), he romances and marries her, and turns the life of her two children into a living hell. “The Night of the Hunter” is intense and expressionistic, like the panicked nightmare of a child. A bedtime story gone terribly wrong, with Harry Powell as one of the most fearsome cinematic boogeymen.
Where to Stream: Prime Video, Tubi, Pluto and Hoopla
“Peeping Tom” (1960)
The same year Alfred Hitchcock cracked motion picture history in half with “Psycho” (we’ll get to that), another of the world’s top directors delved into violence and prurience. Michael Powell’s “Peeping Tom” stars Carl Boehm as Mark Lewis, a twisted cinephile who kills women so he can capture the moment of their death on film. His weapon of choice is a modified camera with blades in the tripod, so he can play director and the murderer at the same time. Every bit as voyeuristic as Hitchcock’s creepy classics, but with a self-awareness that indicts the audience almost as much as the maniac. It’s no wonder that the film was controversial and unpopular in its day, and it’s no wonder that it’s considered a classic now.
Where to Stream: The Criterion Channel, Roku and Tubi
“Psycho” (1960)
Alfred Hitchcock’s “Psycho” broke almost all the cinematic rules. The protagonist dies early, there’s blood and nudity in a production code film, even the shot of scraps of paper being flushed down a toilet was shocking at the time. And although we live in a world that “Psycho” helped make, where vivid violence and sex and twist endings are common (even to the point of cliché), Alfred Hitchcock’s film still hits hard. Anthony Perkins gives a towering performance as Norman Bates, a poor motel manager living in the shadow of his murderous mother, and the film’s countless iconic images have been often imitated, and rarely matched. Only the “Psycho’s” tragic mishandling of queerness brings it down, drawing a dangerous connection between non-heterosexuality and violence that horror filmmakers would keep coming back to for decades, even in otherwise great films like “The Silence of the Lambs” (we’ll get to that too).
Where to Stream: TCM
“The Honeymoon Killers” (1970)
In a subgenre often associated with terror and madness, “The Honeymoon Killers” is disarmingly matter-of-fact. Based on real-life murderers, the film stars Shirley Stover as Martha Beck, a lonely nurse who falls in love with Raymond Fernandez, a con man played by Tony Lo Bianco. He answers personal ads, seduces women and steals their money. Martha doesn’t care because she loves him, so she joins in on his crime spree, which gradually turns into a series of terrible, deeply unsettling murders. There’s nothing grandiose about these killers, nothing alluring or even phantasmagorical. They’re just terrible people who decide to do terrible things, and forcing the audience to just deal with that is as scary as anything. Martin Scorsese was fired after just a few days of shooting; Donald Volkman and Leonard Kastle (the only credited director, who directed just this one film) made the majority of this masterpiece.
Where to Stream: Max, The Criterion Channel
“Deranged” (1974)
A lot of horror movies have been inspired by real-life serial killer Ed Gein, but “Deranged” may be the most… well, deranged. Roberts Blossom, best known as the creepy old man who turns out to be a nice guy in “Home Alone,” stars as Ezra Cobb, a creepy old man who turns out to be a monster. When his mother dies, Ezra goes insane with loneliness and digs her up, fixing her rotted corpse with spare parts from a graveyard, until he finally decides to collect them from fresh, living people. “Deranged” is a film that seems to understand, to a disquieting degree, the isolation of a murderer. And while it may be impossible to sympathize with the evil acts of Ezra Cobb, Blossom — in his best and weirdest role — somehow makes him pitiable. The whole film plays out like a little church play from hell, right down to the naive organ music.
“Vengeance Is Mine” (1979)
Ken Ogata plays one of cinema’s most devilish serial killers in Shōhei Imamura’s terrifying classic, based on the true story of Akira Nishiguchi, a real life murderer and con artist who was on the run for years. This fictionalized version finds Ogata sliming his way into people’s lives, bringing horror with him and sometimes finding it himself, as damning a portrayal of humanity and criminality as any filmed. There’s a despair for the human condition in “Vengeance Is Mine,” an uncomfortable revelation about how easy it is to be truly evil. Imagine “Catch Me If You Can” if it was terrifying instead of entertaining, and you’ve got some sense of how “Vengeance Is Mine” operates. But nothing can prepare you for Ogata’s alternately cold and charismatic villainy, or the film’s unforgettable final shot.
Where to Stream: The Criterion Channel
“Maniac” (1980)
William Lustig’s “Maniac” doesn’t just depict a violent murder spree — although it’s one of the most violent ever filmed — it’s practically an act of cinematic brutality itself. Joe Spinell, who co-wrote the screenplay, stars as a serial killer stalking the streets of New York City, scalping women and using their hair to adorn his mannequins. Spinell plays Frank Zito as a damp, seedy man who, to his own surprise, can be genuinely likable, even attractive. But no matter how close he comes to a real human connection, his inner demons always get the better of him, in more ways than one. “Maniac” is impressively intelligent for how prurient it is. It was remade into an also excellent first-person thriller in 2012, directed by Franck Khalfoun and starring Elijah Wood, who brings a very different, but no less chilling energy to the part.
Where to Stream: Shudder, Tubi and Pluto
“Manhunter” (1986)
Michael Mann’s adaptation of Thomas Harris’s influential novel “Red Dragon” stars William Peterson as Will Graham, an FBI agent who gets inside the minds of serial killer, solving crimes at the risk of his own sanity. Tom Noonan plays a killer stalking families across America, and Brian Cox is the first actor to play Hannibal Lecter — here spelled “Lecktor,” for some reason — and brings a working class charm to “Hannibal the Cannibal” that’s just as terrifying as Anthony Hopkins’ iconic, supercilious interpretation. Mann’s film places its horrifying psychology against the backdrop of mature professionalism, making the vulnerability all the more uncomfortable for feeling out of place. One of the best of all serial killer films, later remade as “Red Dragon,” a Brett Ratner film that can’t hold a candle to Mann’s haunting vision.
Where to Stream: The Criterion Channel
“Henry: Portrait of a Serial Killer” (1986)
Originally screened in 1986, but not released theatrically until 1990, it’s easy to see why John McNaughton’s debut feature had trouble getting distribution. It is resolutely, unapologetically vile. Michael Rooker plays the title role, a serial killer who drifts from town to town, and is now staying with a young woman, Becky (Tracy Arnold), and her brutish brother Otis (Tom Towles). Becky falls in love with Henry, but he forms a more profound connection to Otis, who joins in on his killing sprees. “Henry: Portrait of a Serial Killer” seems completely unconcerned with whether the audience is enjoying themselves, because there’s nothing entertaining about these horrors. Even when Otis and Henry watch their own crimes on a stolen camcorder, they stare as blankly as two dudes wasting away their weekend watching golf.
Where to Stream: Peacock, Tubi, Pluto, Roku and Freevee
“The Stepfather” (1987)
Terry O’Quinn stars as a man with many names, because he finds nice single mothers, marries them, and tries to embody the Reagan Era suburban fantasy America promised him. When his new family doesn’t live up to that fantasy, he murders them and moves on. As pointed and topical a cinematic statement as any made in the 1980s, directed with Hitchcockian suspense by Joseph Ruben, “The Stepfather” builds anticipation for the villain’s discovery but spends an alarming amount of time following the killer and getting inside his head, as he devolves into a monstrosity with every new disappointment. Terry O’Quinn gives a career-best performance as a murderer who is always putting on an act. Few lines of dialogue are as chilling as when he mixes up his fake identities and genuinely asks his wife: “Who am I here?”
Where to Stream: Peacock, Fubo, Tubi and Roku
“The Silence of the Lambs” (1991)
Jonathan Demme’s adaptation of Thomas Harris’s second Hannibal Lecter novel is the only Best Picture Academy Award-winner about skinning people or eating people, let alone both. Jodie Foster stars as Clarice Starling, an FBI cadet assigned to interview Hannibal “The Cannibal” Lecter, played by a scene-chewing Anthony Hopkins. They form a frighteningly close connection while he guides her to another serial killer, “Buffalo Bill” (Ted Levine), who kidnaps women and flays them. Cinematically ambitious on every level, with innovative editing and poignant cinematography, and an uncommon amount of narrative and thematic depth, highlighting the deeply embedded sexism and misogyny in all walks of modern life. But like “Psycho,” the film’s incredible fumbling in its depiction of trans identity, and the real-life consequences in the wake of those decisions, casts a shadow over its legacy.
Where to Stream: Prime Video
“Man Bites Dog” (1992)
A documentary film crew has found an unusual subject for their latest project: Ben (co-director Benoît Poelvoorde), a serial killer who’s only too happy to shine a light on his daily life, and takes them along on his murderous escapades. Many movies about violence wrestle with the balance between portrayal and complicity, and “Man Bites Dog” makes this conversation quite literal, as the film’s documentarians struggle to remain objective while innocent people are brutally killed for the sake of their movie. But over time, watching horrifying acts and doing nothing to stop them becomes morally indistinguishable from committing them yourselves. Disturbingly, darkly humorous and confrontationally self-aware.
Where to Stream: Max, The Criterion Channel
“Serial Mom” (1994)
On the lighter side, John Waters’ 1994 cult comedy classic “Serial Mom” stars Kathleen Turner as the perfect suburban housewife, always making breakfast, doing the recycling, and telling people to spit out their gum. And when anything cracks that superficially perfect facade she kills somebody, even if they just wore white shoes after Labor Day. Turner gives one of the all-time great comedic performances, and Waters’ smartly skewers not just the image of the American ideal but the not-so-secret obsession everyone seems to have with murder and mayhem, as the trial to convict “Serial Mom” rapidly turns into a media event where almost everyone — except her victims — seems to reap some rewards.
Where to Stream: Netflix
“Se7en” (1995)
Morgan Freeman and Brad Pitt stars as mismatched detectives on the hunt for a serial killer whose victims are all guilty of one of the Seven Deadly Sins: Pride, Greed, Lust, Envy, Gluttony, Wrath, and Sloth. The mysterious madman’s means of execution are all inventive to a horrifying degree, and are destined to leave a fetid taste in your mouth. Filmed with oppressive panache by David Fincher, “Se7en” takes place in a morally bankrupt universe where the innocent only exist to be slaughtered, and evil will probably always win. At first glance the film looks like an exercise in style over substance, but its overwhelmingly oppressive aesthetic perfectly matches its dank, depressing themes. It’s not just a great thriller, it’s a great film.
“Copycat” (1995)
It’s ironic that Jon Amiel’s “Copycat,” a film about a serial killer who copycats other famous serial killers, came out just one month after the massively successful “Se7en,” since that made it look a little like a copycat itself. But the two films were made at the same time, and although they have superficial similarities — a killer with a high-concept modus operandi, mismatched investigators, a cynical worldview — they’re very different, equally excellent films. Holly Hunter stars as a detective on the hunt for the mysterious copycat, and Sigourney Weaver plays an agoraphobic psychologist who tries to help without leaving the safety of her apartment. Smartly written, frighteningly filmed, with an unexpectedly alarming performance by crooner Harry Connick Jr. as one of the madmen whose crimes are about to be repeated.
Where to Stream: Paramount+
“Cure” (1997)
A body is found with an “x” carved into their flesh, but the killer is also found next to them, with no memory of committing murder. And then that happens again, and again, the work of a serial killer who somehow gets other, seemingly normal people to do the work for him. Kōji Yakusho stars as the detective trying to solve this impossible case, and Masato Hagiwara stars as a young man drifting along in a fugue-like state, somehow at the center of it all. The solution is almost supernatural, but Kiyoshi Kurosawa makes it all seem plausible, in part because he uses the killer’s own methods on the audience as well. “Cure” is almost Kubrickian in its stark imagery and emotional distance, and one of the most terrifying motion pictures of the 1990s.
Where to Stream: The Criterion Channel
“American Psycho” (2000)
Mary Harron’s blistering indictment of the male ego and 1980s yuppie values stars Christian Bale as a handsome investment banker who commits brutal murders and gets away with them because, you guessed it, he’s a handsome investment banker. It’s a situation Harron finds darkly humorous, a story about a man without a soul who suspects maybe he’s supposed to have one and just doesn’t know how to go about it, latching generic mainstream pop music as deeply meaningful art, and eventually coming to an unexpected personal crisis. Eventually, even Patrick Bateman finds out that although he’s a devil, he’s also living in hell, and is tormented almost as much as he torments others.
Where to Stream: Netflix, Tubi
“Memories of Murder” (2003)
“Parasite” director Bong Joon-ho’s second feature film tells the story of South Korean detectives on the hunt for the country’s first known serial killer, and quickly finding out that they are completely unprepared for an investigation of this complexity and magnitude. Song Kang-ho and Kim Sang-kyung co-star as detectives with very different methods, one of them beating false confessions out of suspects, the other piecing together the very odd methodology of the murderer, who only strikes when a specific song plays on the radio. “Memories of Murder” is not, ultimately, about solving the crime and saving the day, it’s about what happens when the police — so often glorified in these types of stories — are absolute failures, adding a new layer to an already deep subgenre.
Where to Stream: Tubi
“Monster” (2003)
Charlize Theron won an Oscar for her portrayal of real-life serial killer Aileen Wuornos, and looking back at her performance today, maybe she should have won two of them. She gives such an amazing performance, not just because she’s under a lot of makeup but because she makes brilliant, interesting choices. Her work almost overpowers Patty Jenkins’ excellent drama, but Jenkins keeps the film balanced, anchoring Theron’s role with another great performance by Christina Ricci, playing Wuornos’s lover, who unintentionally motivates Wuornos to kill johns to support her. Lots of actors have given memorable performances as serial murderers but few, if any, have imbued their role with as much nuance as Theron.
Where to Stream: Prime Video, Pluto
“Zodiac” (2007)
David Fincher returned to the serial killer genre with a true-crime story about one of the most notorious unsolved cases in American history: the Zodiac murders. San Francisco was plagued by a homicidal maniac in the late 1960s and early 1970s, who didn’t just kill people, but taunted the police and the public like a Batman villain, leaving secret codes in newspapers. “Zodiac” follows multiple characters — a detective (Mark Ruffalo), a reporter (Robert Downey Jr.) and a cartoonist (Jake Gyllenhaal) — who dedicate and nearly ruin their lives trying to catch the killer. Fincher’s film is sometimes genuinely terrifying, portraying the murders themselves as horror movies in miniature, but its real power comes in its uncertainty. No matter how hard we look we’ll never find the answer, and that doesn’t stop us from looking. It only makes us peer harder.
Where to Stream: Paramount+, Pluto
“The Voices” (2014)
Marjane Satrapi, the Oscar-nominated co-director of “Persepolis,” which was based on her own autobiographical graphic novel, also made one of the most tragic and fascinating serial killer movies. “The Voices” stars Ryan Reynolds as Jerry Hickfang, a mild-mannered employee at a toilet manufacturing plant who lives in a bright and colorful world where, incidentally, his cat and his dog talk to him. While driving a co-worker home at night, Jerry accidentally stabs her, and keeps stabbing her, apologizing all the while. “The Voices” plays off of Reynolds’ likable persona, but more than that it gets deep inside the perspective of a killer who genuinely doesn’t understand what he’s really doing, in a way that’s profoundly uncomfortable and uncomfortably profound. Largely overlooked upon its release, Satrapi’s film is still an underappreciated classic in the genre.
Where to Stream: Pluto, Freevee
“My Friend Dahmer” (2017)
“My Friend Dahmer” gets under the skin in a way few other serial killer movies can. Alex Wolff stars as John Backderf, who published an autobiographical graphic novel about his teen years, when he just happened to have been friends with Jeffrey Dahmer. Ross Lynch plays the burgeoning serial killer, a social outcast who seeks attention by engaging in elaborate pranks, like inserting himself into every school club’s yearbook photo, and even tricking their way into meeting Vice President Walter Mondale (which yes, actually happened). But all that sounds like “My Friend Dahmer” is a novelty, a collection of historical trivia. More than anything, Marc Meyers’ film highlights the warning signs everyone ignored because they were too wrapped up in their own lives to pay Dahmer much mind, and captures the pain and regret that stems from knowing you were that close to a monster, and that somehow you saw — and did — nothing.
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https://www.novelsuspects.com/film/movies-tv/thomas-harris-hannibal-lecter-movie-tv-adaptations/
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Every Hannibal Lecter Movie Adaptation In Order
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2019-02-14T14:48:05+00:00
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Every Thomas Harris novel that has been adapted for television or the big screen, including The Silence of the Lambs, Black Sunday, Red Dragon, and more.
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en
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Novel Suspects
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https://www.novelsuspects.com/film/movies-tv/thomas-harris-hannibal-lecter-movie-tv-adaptations/
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Thomas Harris, the creator of The Silence of the Lambs and Hannibal Lecter, has a new novel and I could not be more excited! I’ve basically been Googling “Thomas Harris new book” every week since 2006, when I finished reading Hannibal Rising.
Harris’s new novel, Cari Mora, is about a mansion on the Miami Beach waterfront where twenty-five million dollars in cartel gold lies buried beneath it. The novel’s titular character, Cari Mora, is the mansion’s caretaker, who comes up against ruthless men who seek to take the gold.
Almost every Harris novel has been adapted for television or the big screen, from Black Sunday and Manhunter, which was based on Red Dragon (but is different than the Red Dragon movie), to the other Hannibal Lecter movies, like The Silence of the Lambs. And of course, the gorgeously dark and disturbing television show!
Here’s a look back at all of the on-screen adaptations of Thomas Harris novels. Now would be the perfect time for a marathon viewing—especially while enjoying a nice Chianti and some fava beans.
MANHUNTER (1986)
Oh, what a glorious piece of film this is now! Manhunter (based on the book Red Dragon) is definitely a cult classic. It’s directed by Michael Mann (who was responsible for Miami Vice) and it’s basically like Miami Vice meets Hannibal Lecter. Pastel colors, cheesy music, stylized visuals.
William Petersen plays Will Graham, and he is hunting a creepy serial killer, played by the criminally underutilized character actor Tom Noonan. Hannibal Lecter also makes an appearance. (Or ‘Lecktor,” as it’s spelled in the credits.)
Most people don’t realize it, but Lecter was played by Brian Cox first. He has one scene in Manhunter, and he’s quite good, but if you’ve seen Anthony Hopkins and Mads Mikkelsen, it’s not going to be your favorite.
Watch the Movie
Buy the Book
THE SILENCE OF THE LAMBS (1991)
Jonathan Demme’s classic psychological horror masterpiece is one of the only movies that is as good as its source material. Anthony Hopkins kills (ha!) as Hannibal Lecter, and Jodie Foster is amazing as FBI agent Clarice Starling. (And those shoulder pads!)
Starling is a new recruit who needs Lecter’s help catching a serial killer, and he uses the opportunity to entertain himself with a game of mental cat-and-mouse.
It’s terrifying to this day, and I still think of this movie every time I hear “American Girl” by Tom Petty. It is also only the third film in Academy Award history to win every major category.
Watch the Movie
Buy the Book
HANNIBAL (Movie) (2001)
Hannibal is on the loose! Who better to catch him than Clarice Starling? (Spoiler: No one.) This is another faithful adaptation of a Thomas Harris novel. Many people were distressed when Jodie Foster didn’t reprise her role as Agent Starling, but Julianne Moore manages a strong performance, and Anthony Hopkins is once again terrifying, yet entertaining, as everyone’s favorite cannibal. And Ray Liotta is perfect as a slimy, condescending agent of the law who gets his just desserts. No, wait, he IS dessert. That brain scene is just WOW.
Watch the Movie
Buy the Book
RED DRAGON (2001)
A new adaptation (after Manhunter) of the first Harris novel to feature Hannibal Lecter, with Edward Norton as Will Graham, and Ralph Fiennes taking a turn as the ultra-frightening serial killer Graham is trying to stop. (He’s called The Tooth Fairy and he’s REALLY bad.) Anthony Hopkins returns for a third time as Lecter, whom Graham asks for help in catching the killer. (Seriously, who doesn’t need Lecter’s help??) Rounding out the cast are the amazing Harvey Keitel, Mary-Louise Parker, Emily Watson, and Philip Seymour Hoffman, making it the Harris film featuring the most Award-nominated actors.
Watch the Movie
Buy the Book
HANNIBAL RISING (2007)
Like superheroes, supervillains also have origin stories, and Hannibal Rising is Harris’s explanation for just why his beloved Dr. Lecter is the way he is. This is a prequel to the other Hannibal books, and it explains the trauma Lecter experienced as a child during WWII that turned him into the monster he became as an adult. It’s DARK. Let’s just say that Peter Parker got off easy with that bite from a radioactive spider. French actor Gaspard Ulliel takes a turn playing a young Lecter in the film, and you can tell he loves every minute of it.
Watch the Movie
Buy the Book
HANNIBAL (TV series) (2013-2015)
Another Hannibal Lecter reboot, this time with the fantastic Mads Mikkelsen stepping into his bloody shoes. It was hard to imagine anyone but Hopkins in this role, but Mikkelsen has taken Lecter and transformed him. He has more wiggle room to grow as a character, as this series shows us Lecter as a free man, a snazzy dresser with impeccable taste, who spends his days treating patients and enjoying life long before his imprisonment. And by ‘enjoying life’, I mean ‘murdering and eating people with impunity’.
Using elements and characters from Red Dragon and Hannibal, including Hugh Dancy as the long-suffering Will Graham, the show has its own storylines and lots of frights and delights.
Watch the Series
Buy the Book
BONUS: BLACK SUNDAY (1977)
Black Sunday was Harris’s first novel and his first to be adapted. While it’s not a part of the Hannibal series, it’s still a great watch. This is the story of a deranged man who wishes to crash a blimp into the stadium during Super Bowl X with the help of terrorists, and the intelligence agents who get wind of the plot and rush to stop the tragedy from happening.
Bruce Dern is his usual wacky self as the unhinged blimp pilot, and Robert Shaw actually plays one of the good guys for a change. The intense film is directed by John Frankenheimer, known for such classics as The Manchurian Candidate and The Iceman Cometh.
Watch the Movie
Buy the Book
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https://www.pushing-pixels.org/2016/05/13/production-design-of-hannibal-interview-with-matthew-davies.html
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Production design of “Hannibal” – interview with Matthew Davies · Pushing Pixels
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2016-05-13T00:00:00
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en
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https://www.pushing-pixels.org/2016/05/13/production-design-of-hannibal-interview-with-matthew-davies.html
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With its viscerally spellbinding world, immaculate visuals and an exquisite cast, NBC’s “Hannibal” gave us three unforgettable seasons. It gives me immense pleasure to welcome Matthew Davies who was responsible for the production design of this show. In this interview he talks about various aspects of building sets on stage and on location, working with VFX department on augmenting physical sets, the pace of production schedule in episodic television, physical safety of sets and people’s reaction to “Hannibal”. In addition, Matthew dives deeper into the particular set details of the FBI office, the Baltimore state hospital and Cappella Palatina from season 3.
Kirill: Please tell us about yourself and your path so far.
Matthew: My name is Matthew Davies and I’m a production designer. I came into film through architecture. I studied at the Bartlett School of Architecture in London. Towards the end of my degree I recall one of my tutors critiquing my work as being very derivative. He said that if I was going to emulate the work of other architects, I might consider a career in film where everything is copied.
It was like a light bulb going on inside my head. I went to the National Film School for another three years, and graduated again into a very tough industry. I was art-directing medium sized features; then there were the occasional design gigs on low-budget indie films; and in the gaps, I was drafting on big studio movies. Nowhere was I finding anything that combined the satisfaction of having a budget to spend with the creative autonomy that accompanies indie projects. The opportunities were very few and far between in the UK; it is a field oversaturated with talent.
Fortuitously, I ended up by chance doing a film with a Canadian cinematographer, Paul Sarossy, who is probably best known for shooting the movies of Atom Egoyan. He invited me to Canada back in 2002, and I’ve continued working in Toronto ever since. I started with indigenous Canadian directors like Guy Maddin and as the source of the work shifted, I moved on to NBC and cable shows that were being made here in Toronto.
It was this path that brought me into the fold of “Hannibal” and attracted the attention of Patti Podesta who had been hired to design the original pilot. She asked me to share in the design of the standing sets and I subsequently stepped into her shoes on “Hannibal”.
Kirill: Taking you back to the beginning of your career in movies, was there anything particularly surprising as you got into the industry and saw how things worked on the inside?
Matthew: I was surprised how big it is. I don’t think anyone really appreciates when they watch a film that 95% of what they’re looking at is probably shot in a studio environment, including often street sets and exterior scenes. I didn’t really think about that up until I was in film school.
Once you get into a studio environment like Pinewood Studios in the UK, you appreciate how many crafts go into creating a feature, and all the hundreds of thousands of hours of labor and craftsmanship that go into building sets. The relationship between set design and visual effects has become more paramount, and it extends right from the very early stages of the pre-production up to the last stages of the post-production. I think that design has become a much larger and broader discipline than it used to be.
Kirill: Is it difficult in any way for you to convince the production that what you do is a necessary thing?
Matthew: It depends. Experienced producers generally know the profits of investing more into the infrastructure of the show. On “Hannibal” it cost production an estimated $40,000 premium every day when we were shooting outside of our studio. So, generally speaking, if a set cost less than say $40,000, it was an automatic green light to build. And that doesn’t even take into account whatever had been allocated to the art department. It was an economy for production to be based around the studio rather than on location.
Other shows are location-based, and it’s by necessity. They have a small shooting crew and small lighting packages; they are very footloose and can move quickly. But when you’re working with a large unit, everything is slower. The time it takes to set up and pre-light in a studio is a fraction of the time because it has already been done many times before, and everybody knows the ropes.
Whenever there was a budgetary pressure on “Hannibal”, the producers would generally try to force Bryan Fuller [show creator] and his writers back into a pre-existing set.
Kirill: Apart from budgetary considerations, do you have a particular preference between doing sets on stage and doing locations?
Matthew: Not really. Some locations pose such exquisite value for money that to actually reproduce them wouldn’t be worth your time. Working an art department budget is about trying to distribute your resources on a proportional basis to what is required by the script.
I recently finished a feature called “Miss Sloane” that was directed by John Madden. It is about gun control and the lobbying industry in Washington. We had to make a decision on where we were going to spend the money, and in the end we built the one space that we knew we had to build – the congressional hearing room. From the start, it was the inevitable part of the art department’s effort.
The only problem was that, for European financing reasons, we had build the set into an existing location. It almost became kind of a Russian doll, a set within a space with only a few inches of space around. It was an interesting exercise.
Sometimes a set build is required because of the limitations of what you can pull off on location. In the case of “Hannibal”, gore wasn’t always appropriate to take into the real world. In one case we were actually thrown out of the Royal Ontario Museum between shoot days. They had asked for script approval, but didn’t really bother to read it until we had already started shooting our scenes there. Suddenly, they didn’t like the representation of a museum worker’s conduct in the show and they pulled the plug. We had to move very quickly to a new environment and redesign from scratch.
Kirill: You mentioned that the role of VFX in creating digital sets or digital extensions is more prominent these days. Is there any difference in the amount of VFX set work between stage and location?
Matthew: We had to build the interior of the Cappella Palatina in Palermo Italy for the Season 3, with all the intricate mosaics and gold leaf. That was not a location; it was two-thirds built in the studio. We built the first 24 feet of the altar, and the first 16 feet of the rest of it, and the rest was completed digitally using a model supplied by the art department to post-production. We had people on the ground in Italy that were photographing the interior of the real location with cameras on sticks. Periodically they were getting thrown out because of their odd behaviour. We were however using those images for tiling the interior of our model, extrapolating the detail to areas we couldn’t photograph. In that instance, creating such a space only became possible by the expediency of VFX.
When I was working on “Heroes Reborn”, everything was bigger and had to move at a much faster pace. I would get on the phone with the VFX supervisor, and we had to decide right there and then as to where the threshold would be between the digital and physical worlds.
Kirill: Do you get to shepherd that work in post-production, or is that done in pre-production?
Matthew: From my perspective, more of it is mapped out in pre-production than post. By the time they get to post, the intention is to have visuals provided by the art department that will allow for the post-production contingent to do their work without a lot of additional input. I actually think it is a problem that the production designer isn’t more involved in post.
One of the things that made “Hannibal” a very beautiful show was how well-groomed the show was, and how carefully the shots were selected to make sure that everything always had the same polish. Often when I’m watching other shows, you see loose threads here and there that could have been very easily fixed in post-production, but presumably there wasn’t the eye in the edit suite to raise the issue. Then the rough seams become embedded in the final version and that’s a great shame.
I think the best design comes from having a very singular vision for a show. It would be better if the designer were involved to a greater degree right through to the end of post-production, and often we are, but as unpaid advisors. It is work that you want to do because ultimately you want the world to see your work in the best possible light.
Kirill: If you compare your work on feature films and episodic TV shows, would you say that the main runner on a TV show is the show creator, and on a film it’s the director?
Matthew: The director on a TV show (beyond the pilot) is a really a guest of the show. They come in and they work within the house style. They can’t do something radically different or innovative compared to the other episodes. It needs to adhere to the template already laid out for the show. On features it is the director that defines the whole narrative, whether it’s visual or otherwise, and they generally drive the machine.
You’ll find that on a TV show the writers and producers will have far more creative input then anyone else, and they’ll tend to guide the director in a particular direction in terms of what has, over time, cumulatively become the look and the direction of the show.
Kirill: When you have such a strongly defined look for the show, does it limit you and what you can allow the director to do on a specific episode?
Matthew: It doesn’t so much limit my work because I’m involved in the very early stage of defining what the look of the show will be. Often it’s to my advantage to be able to have some leverage during the shooting process to argue the case for the sets being shot or lit in a specific way. And there were a few occasions on “Hannibal” where I’d need to ask the director very nicely to shoot the wide angles of the set in a certain way, really for the benefit of the show runner who had a very specific set of expectations.
Kirill: There’s so much cinematic quality in TV shows these days. Is there any difference for you as to how you approach building your sets and the level of expectations between your feature work and your TV work?
Matthew: Television has been through renaissance of late, and subscription channels have upped the bar in terms of people’s expectations. Certainly, when I read the scripts of Season 3 on “Hannibal” and saw scenes that were set in Italy but would
inevitably be shot here in Toronto, it made for a much bigger challenge of shooting such a project within an 8-day timeframe which is generally what we had for each episode.
At any point in time we were prepping an episode, shooting an episode and wrapping an episode. It was like being spread across three and sometimes four episodes at once. And to have tight control over every specific set and to deliver those sets in a particular way made it hard for me to be in so many places at once.
In features you have a lot more time to create the environment and the level of layers and texture that are necessitated by the whole big screen format. In TV, because you’re designing for a smaller screen, it’s a slightly different approach. In Toronto it’s the same crews that are working on TV shows and big features, and they tend to drive everything in the same manner, and do the very best in the timeframe that they have. We are not given a tremendous leg up in terms of support or time or money to do it. It’s just part of the challenge of much larger writing of TV shows today.
“Heroes Reborn” was a very good example of a show that was written huge, and there wasn’t really a lot of time to work it all out. On that show we had two units shooting full time. I had two art directors and we were shooting scenes for two shows pretty much every day. An episode was supposed to take eight days, but it was taking more, so in order to make the delivery dates, they would start the next episode on time but continue shooting the preceding episode till it was complete. It meant you had two directors stepping onto unique sets every single day right from the beginning to the very end of the show.
“Hannibal” had different expectations, but I think the tighter budget and brief allowed the show to be most inventive in what it delivered. Bryan’s feeling, which I share, is that to reach for the stars and not quite succeed is far worse than choosing to do less but to take the ordinary and make it extraordinary instead.
Kirill: What do you mean by doing less? Doing fewer episodes?
Matthew: Building fewer environments, creating more contained narratives. “Hannibal” was an intensely psychological show. We had set pieces in every episode. The death tableau scene was always a set piece, and some of the environments were built or had to be found on location. I think that the general feel for the show was very psychologically contained.
Our cinematographer would use very narrow lenses to create blurry abstraction in the depth of frame, so that you were not distracted by all the detail of the sets all of the time. You were held very much within the mind of the characters themselves. And then we would have very brief glimpses of the sets on a wide angle lens, which were very tantalizing because audiences wanted to see more than they were ever given.
I can honestly say that we built more sets, and put more work and details into those sets than was ever truly transposed into the final episodes. The mandate of “Hannibal” was always to satisfy Bryan Fuller’s expectations in terms of what the show should be. We put a lot of attention into all the props and everything that would be featured in closeup on the show.
Kirill: Did you feel the need to be more detailed also because when you had fewer sets, the camera would spend more time in each one?
Matthew: I think so. For example, in the Hannibal dining room set we eventually ran out of new and exciting ways to show the space [laughs]. It became a creative goal of every director, as they entered those environments, to find new and unseen angles. I remember the therapy space which you’ll remember as the big marble mausoleum with yellow cages. It was revealed to the audience slowly over time since each director had their own unique approach to showcasing the space.
The second level of Hannibal’s office was often absent from the frame on narrower lenses. It didn’t play too much into the narrative, but I think it elevated the scope and scale of Hannibal’s environments when we did see it. This was something that we carried through the show. All of his spaces and environments were 10-15% larger to hint at his omnipotence, at his god-like status among the other characters.
Kirill: We transitioned from DVD to BluRay and high-definition TV sets, and now companies are pushing 2K and 4K equipment. There you can see every imperfection and every seam, and everything stands out much more than it used to. How does this affect you?
Matthew: High-resolution tends to find contrasting edges a lot more easily which picks out much more detail. It differentiates between all the levels of shadow, and it tends to show a lot of information that used to be crushed down into the blacks of the image. I think the quality is mostly limited by the output. If you’re looking at it on a regular TV set, you probably aren’t going to get the same level of detail as looking at it on a computer monitor.
Shows today are broadcast and viewed across so many media and so many platforms. It’s hard to anticipate how they’re going to be watched. I think that the intention has always been to work to the expectations of shooting 35mm, and that is where it’s remained in terms of the technical crews. We shoot according to the standards of a 35mm feature.
On “Hannibal” all the surfaces and texture were genuinely detailed. There were specific situations where something would be featured in closeup, and we would create a much more carefully crafted facsimile of it. The way real materials sound and move is something to aspire to capture on camera.
The cathedral interior on Season 3 was entirely printed onto various applied surfaces. All the marble and all the mosaics were printed onto vinyl and primed MDF. And some of the other sets were similarly tackled. The most expedient approach was to print all the marble, print all the carpets, print all the curtains, all the wallpapers – to print entire sets from top to bottom!
Kirill: What does it mean to print sets?
Matthew: You’re designing them as a graphic design exercise. Then, if for example you’re looking to reproduce marble, you’d print it to vinyl. The painters would strip the backing from the vinyl and apply it to the primed flats of our sets. So you would have your plywood sets with a very thin skin of paint and plaster, and you would take the seams and sand them to create a nice even finish. Then, once you have a very smooth surface, the painters would take the vinyl that we gave them and apply it directly to the set.
Usually the painters would add their own light ‘ageing’ over-top to tonally unify the materials into a whole. The cathedral was such a massive set, and we only had about three and a half weeks to deliver it from beginning till end of construction. It really was a race against time to get every last detail into the set. And the only way to do it was to print it. In the old days painters would do all of that work, but there simply aren’t enough painters in existence [laughs] to do as many shows as there are currently shooting in the province.
There are some situations, for example when you’re printing carpets, that hand-applied paint just won’t look the same. Printed ink goes into the weave of the carpet and looks a lot more convincing than latex paint that cakes on its surface.
Kirill: Does it help to have a monitor on set so that everybody can see how the camera captures the set, instead of waiting for the dailies?
Matthew: We always had video assist, even back when we were shooting 35mm. There was always a monitor in front of the director. There is a particular app that allows for people to pick up the image through a WiFi connection in the studio. You can have on-set dressers looking at the frame on their iPhones and tablets, anticipating where to make the corrections.
On “Hannibal” we had three video villages. One of them was exclusively for the cinematographer who liked to keep himself sequestered in a separate space. One was for the director, and the third one was for the benefit of the technical crew so they could get up real close and look at the image without sticking their head in the way of the director.
Kirill: You mentioned that the show had very strong visuals. Would you say that what you saw on the sets was as graphic, as revolting as what I saw as the viewer in the final edit?
Matthew: It’s funny. When you work on it, you don’t tend to be fully aware of just how graphic or visceral it is. When you see the edited version, you also have the benefit of music and story and the whole narrative build-up that makes it more suspenseful, dramatic and impactful.
In pre-production we would always create visuals, usually artist-rendered pieces for the show runner to approve for each of the death tableaux. He would have his own input into what they should look like. They were often very graphic, very beautiful images in their own right. The show had its own look and style, which always left a little bit to the imagination in terms of what was lost in the shadows of the frame. I think that tantalized audiences, when the menace and all the macabre spectacle of Hannibal appeared to grow from the shadows.
Kirill: You mentioned that you had eight days per episode, which adds up to around 100 days of shooting. How much time did you have for pre-production on a season?
Matthew: It was typically between six and eight weeks. The first week would be about crewing up the art department, setting up the space. The second week would be the art director creating a template for the show in terms of a production calendar, script breakdowns and an early budget. About five weeks out construction would start, and you would hope to have drawings and stage plans and everything else that is then needed to build sets. Construction continues right through the length of the show, but in terms of standing sets in studio, they would have probably have three weeks to build them.
That brings you up to two weeks before camera. One of those weeks is inevitably eaten up as contingency dealing with constructing over-runs and other issues that might come up, and in the very last week you would hope to see all the finessing, lighting and dressing of the sets – it’s when we get to create all the layers of dressing, texture and detail that make the sets look wonderful.
To be honest, it’s a very condensed, very tight pre-production period. On a feature production it can take a year or longer. It’s a very different beast, but as you said, the levels of expectation are surprisingly similar.
Kirill: As you move between the seasons, you have the recurring sets like Hannibal’s house, the FBI office and the mental hospital, and then you also have new sets. How does it feel to come back to the sets that you’ve already established? Do you want to bring something new into them on a new season so that they are more interesting for me as a viewer, as well as for yourself?
Matthew: We had a bad habit of building sets, and then, because we were short on space in studio, disposing of them. Then a new draft of the script would come out that would make specific use of the set we just destroyed [laughs]. We ended up rebuilding a lot of sets and specific sections of sets. Sometimes it’s necessary for re-shoots as well, or if there was a little narrative tweak that needed to be made in the edit.
I remember that Bedelia’s house was a phenomenally expensive location the first time we shot there. The intention was that it wouldn’t play again in the show, or at least I think that was the hope of the producers. Inevitably, it became a fixture of the third season, and we ended up having to build the whole space in studio. However Gillian wasn’t available to come in and shoot her scenes as scheduled, and we had to wait for many weeks until we could get her there to studio.
If you really watch and study the show closely, you’ll notice when we go from a location to a facsimile of that location in studio, there are subtle changes, and sometimes they are quite noticeable – in the scale or architectural language of the space. It is simply due to the factor of time or because space was extremely limited in studio. We had to adapt quickly to getting things ready for camera.
The one thing that the art department can never do is hold up the shooting crew. There always has to be a set ready to shoot every morning for the crew, otherwise the financial cost to production can easily run into hundreds of thousands of dollars. Consider also that big name actors may not be available later in the schedule.
Kirill: If you’re talking about the big spaces, I’m thinking about the FBI office and the big presentation room, and the Baltimore hospital in particular. Was the intent to create spaces that are at the same time large but also oppressive, kind of hanging over the characters?
Matthew: I love concrete brutalism. That was something I really wanted to bring to the show. For me the golden era of the FBI would have been in the ’60s. I wanted to suggest the weightiness and the oppressive qualities of working for such a large and faceless organization as the FBI. The idea of having of low ceilings that were evident in the frame was very much part of that. I love late modernists, and I wanted to incorporate aspects of their work into the space, which for me had echoes of when the FBI was at its greatest.
It was however a technical challenge for the cinematographer who didn’t like ceiling pieces. We had these massive ‘cheese graters’ as lighting fixtures that were open above and allowed for the cinematographer to still get his top-lighting into the set. However we could still shoot low and wide, and see the ceilings without the danger of shooting up and through to the studio beyond.
In the case of the hospital we went towards the post-Edwardian gothic of the 1930s-1940s. The inspiration was an observatory up near Richmond Hill where we shot some exterior scenes. The entrance and everything beyond that point was a studio build. It was, again, the case of the show calling for something quickly, us finding the location that we all loved, and then that becoming the template to which we had to adhere for the rest of the show.
It was wonderful to have situations where the location was available to us and had what we needed. In the case of the observatory we had just a single hallway and an office and the rest of the infrastructure therefore needed to be created in studio. On the bright side there was an immense antique telescope there, which was featured prominently as a crime scene.
In earlier seasons we had shot Frederick Chilton’s own director’s office in the asylum on location, but in the third season the intent became to take its twin and make into Hannibal’s own final lockup facility – the secure space from which he could never escape. We had a high-tech glass wall that cut across the middle of the space with stainless hardware, infrared beams and fancy security detailing. One half of the space was created as a perfect white box, the blank canvas of Hannibal’s imagination, and the other half was old dark-toned wood-paneled interior of the old asylum. It was intended as a play on the two worlds of light and dark, heaven and hell, good and bad. Yet, it was entirely dictated by the happenstance of what had already been shot.
This happens on a lot of TV shows. In the pilot you end up making fast decisions, not knowing if the show will get picked up, and then once the show is finally green-lit, you often find that the same locations are not available or you’re shooting in an entirely different city. So the set gets reconfigured and built in studio, art imitating life I guess.
Kirill: Looking at the overall atmosphere of the show, it doesn’t feel like it’s rooted in the particular year that it started broadcasting. Were there any discussions about making the show less tied into any specific moment in time, apart from, perhaps, the technology in the FBI lab and Freddie’s web sites?
Matthew: I think it bothered Bryan that technology is overused in films and television. We use technological devices as an easy-out for writing. If you need to track down a character, for example, writers might talk about tracking his or her cell GPS or writing that their license plates were spotted crossing a bridge at the border – technology becomes an easy option for writers. I think that Bryan wanted to create something that was more ‘old school’ and more timeless, so it wouldn’t feel, as you say, rooted in 2015 or whenever it was originally broadcast.
I think it limits the value of a show and makes it very anachronistic when you come to view it a few years down the road. With “Hannibal” we wanted to create something that was entirely true to its own rules and existed within its own world, but didn’t quite exist in our world. It is a parallel reality that is both familiar and yet unsettling.
Kirill: Scenes like Hannibal’s dinner parties, or the big space with the cages in the mental hospital, sometimes felt like they were happening outside of time. It’s a pure psychological battle of minds between the two characters, with occasional intrusion by the supporting cast.
Matthew: The space certainly felt like a Greek mausoleum. The surprising thing about those cages in terms of their color and look was that they were based very accurately on what they use in present day Californian correctional facilities. We had references for similar cages arranged in a line with the therapist sitting at a safe distance. There is a certain degrading aspect to the experience, especially when Chilton gets to confine Will Graham to his own cage.
Kirill: What do you use for blood?
Matthew: It is stage blood. There are different versions of it, some more expensive and some cheaper. It used to contain cochineal, the ground-up exoskeleton of beetles. Some of the locations were so sensitive in terms of the porosity of their floors, that we had to use blood mats. That was only for in the background. Bryan in particular hated blood mats. They look like jellied latex puddles of blood that you can pick up and move around. They are not wet, they are just shiny.
Viscosity was really important – making it look realistic and looking at how it would drip from vertical surfaces and behave outside in the cold. That was all studied, and we actually created a gore bible for the on-set dresser. We took lots of images of real-life murder scenes and scenes with lots of blood spray, and made it into a big folder of references that the set dresser had for her own purposes when she was dressing blood on set.
Kirill: What about the food? You’re spending a lot of time on the set shooting a certain scene, and some food tends not to survive for a long time. Was that real food, or some kind of fake food made out of plastics and jellos and what not?
Matthew: Janice Poon was the food stylist on the show. She’s incredibly talented. She would come in with a small army of people. If it was pork loin being served, she would have twelve of them on standby, and they’d all be identical and they’d all be kept at different points of cooking. She could race in at any point in time with the pork loin that was needed.
The food on the table was probably treated a bit differently to the food that was on actors’ plates. I remember some of our actors were vegetarian or had food allergies, and Janice had to create facsimiles of other foods for their plate, so it would look like they were eating meat, for example, although they weren’t.
In a lot of instances Bryan would write about foods that we’d never seen, or seen cooked, and Janice had to go away and do her own research. She had a consultant chef in LA that she could talk to, but I think by and large she was left to her own devices to find the best way of conceiving and presenting the specific dishes.
Kirill: What happened to the food after the shooting was over?
Matthew: Sadly the same fate as all the sets, which is they were thrown away.
Kirill: As you’ve been on quite a few productions now, is it just part of your job to see the sets that you’ve worked on get dismantled or demolished?
Matthew: I don’t even think about it anymore. Sets are torn down and thrown into dumpsters, and that’s pretty much the fate of all sets. It’s one aspect of the industry that I don’t like. I don’t like the wastage, and unfortunately when you’re doing things in a certain way to a particular budget, this really is the cheapest way that producers feel that they can manage the process. If there was a cheaper way, they would do it.
Kirill: Is it about the safety of a set that doesn’t let it have long shelf-life?
Matthew: It actually has to follow specific safety codes. In the case of the labs on “Hannibal”, we had ceilings that resembled the inside faces of a four-sided pyramid looking up to big skylights. Those ran down both sides of the space. And the fire officer did come and visit the set – until we were able to reconfigure the lighting, the mandate was to install a full sprinkler system into the interior set.
We create two exits for every set, and observe a 4′ 6” fire lane clearance between sets and around the studio. Exit pathways need to be laid out on the floors of the studio. And we were routinely visited by the fire safety marshall, as I’m sure he was curious to see how a television show was made. Unfortunately he wouldn’t hesitate to point out if anything wasn’t to code. All of our fabrics, lumber and other materials are specifically fire-rated.
We try very hard to be safety-conscious. Most of the time you’ll find a lot of people in studio stumbling around in the dark trying to continue their own work in the background while a scene is being shot. You have a lot of trips and falls in the back [laughs]. Although we double-plyed the floors of the studio before we applied the on-camera floor finishes, they often would creak or groan loudly if anyone stepped onto them during a take.
Kirill: Were you surprised to see how well-received the show was, and how deeply people loved it?
Matthew: The genre itself has a lot of fans, and all of the original novels were highly anticipated and well-received. And add to that Bryan Fuller’s own dedicated following that he has built over the years with his old shows. I think that “Pushing Daisies” was probably the show closest to his own heart, and he always champions that show in particular. I think he wanted to create a very distinctive look that would be unique to his name as well.
NBC were concerned about the inherent violence of Hannibal, but their reasoning was that if the violence was creative enough, exquisitely art-directed and elevated into a state of supernatural beauty, then it was OK. People didn’t react to it as truly real. If they understood – he wanted to the audience to crave this more spectacular and interesting world than reality.
Kirill: People watch TV shows and movies on such a wide variety of screens, all the way down to 4″ phones on the subway. Do you worry about how your craft scales down to those screens? Do you aim to address the ideal viewing environment?
Matthew: At the end of the day, the show is no doubt delivered at a particular resolution that defines and limits our own viewing experience.
I’ve never done a webisode or anything that is created specifically for playback on a smaller screen. Certainly the episodes were being reviewed in the edit suite on monitors of the highest quality – to show the most detail. Bryan has an eye like a hawk for picking out rough edges and loose threads. Anything that was close to camera was always very manicured. We would never use silk florals or reproductions for close-up, every prop was a uniquely original piece.
There were a lot of specific references in the show to the Harris novels, or to other aspects of Bryan’s work that we wanted to pay homage to. There were a lot of Easter eggs buried within the show, and not all of them have been unearthed.
Kirill: What makes people stay in your world? The schedules are compressed, the hours are crazy, money is never enough, and overall it might not be as glamorous as it looks from the outside.
Matthew: It’s a good question [laughs]. Certainly for myself it’s to create something beautiful, to do something really well, and to be a part of something that is great. In the case of Atom Egoyan’s last feature [Remember], it wasn’t a film that had any beauty, in fact, it was very much about the banal. But it was as much about the storytelling process, about working with new creative minds.
I think back and remember Sigourney Weaver in a little film called “Snow Cake” that I designed. We created her house interior in a studio in Toronto. Creating all the little moments and objects of fascination for an autistic person appealed very much to her methodology as an actor. We became pretty close during the dressing of the sets, as everything was organized exactly as felt relevant to her character.
That’s a fun aspect of our work. We get to work with interesting and talented people, but at the same time we have our own specific focus that makes us employable. If you can combine something creative with something you love, and make a living doing it, then that is what all aspire to.
Kirill: As long as the positive sides outweighs the negative.
Matthew: There is no shortage of very big personalities in the industry, and inevitably disagreements occur, but I think people will always revere and follow talent wherever they see it. True originality is very hard to come by. We explore a lot of very derivative themes and ideas in television, and when you find someone who can define a whole world and do it in such detail, it’s a rare and special thing.
I think NBC appreciated that, and I think that’s probably why they ran the show for three seasons. Ultimately it would exist as a collector’s set and have value to its fans. Notably, Bryan doesn’t work to a budget. To some degree, I think, he’s aware of it, but ultimately he’s not going to compromise for money alone.
Kirill: You mentioned “Pushing Daisies”, which I also loved at the time. We only had two seasons of that show and three of “Hannibal”, but perhaps it’s better to have very few great seasons than to see a show amble along into however many seasons it ends up having. You end on a high note and people have much fonder memories of it.
Matthew: I think that’s a sentiment for true fans. As for actual audience figures and the commercial mandate of selling advertising space, the show could easily have taken a more procedural format. The writers could have abandoned their more noble goals and made each episode a procedural about some grizzly murder taking place. Will Graham is the FBI agent in the field, bringing each case back to Hannibal Lecter in his impressive-looking jail cell, and they would solve the crime through re-enactment and Will’s ability to project himself into the crime scene.
That’s the format of CSI and other shows, and it would probably resonate quite well with audiences because they could dive in at any point without feeling they have entered this world where everyone speaks a different language [laughs]. It’s a show that has a heightened atmosphere. It’s nuanced, and it’s hard for people to just dive into that. I recall some describing the show as being darkly oppressive, just in the way it was shot and how it looked.
I’m really only playing devil’s advocate here, but NBC as a broadcasting network has to be somewhat populist. I think they truly did finance the show as a creative endeavor, and that’s very rare for a broadcaster. We have to be very grateful for that, because truly there’s little motivation for networks if they’re not guaranteed a larger audience.
Kirill: I do have to say that at least the first half of Season 1 was much closer to the procedural criminal drama, and then it evolved into a psychological battle. I’m glad that I stayed through those first episodes to get to the really great stuff.
Matthew: I think it shows that Bryan didn’t want to make a procedural show, but he might have had a lot of heat on him from NBC to make it into that. And then at some point NBC stood back and let him have his full control. Bryan really wanted to recreate the storylines of the novels; the only novel that they didn’t have the rights to was “Silence of the Lambs”. That would have been a fun one to incorporate.
Kirill: You work on a show or a film for months and months, and you see the sets before editing, music and all the post-production work. Can you enjoy the final cut when it’s out? Do you look at your sets and how they are portrayed?
Matthew: I find it is more difficult generally to watch television or mediocre movies. If the design is flawed, the distraction will keep throwing me out of that universe; essentially it makes it harder for me to bury myself in the narrative.
One of the things that made “Hannibal” great was that I actually perceived an entirely different show when I watched it compared to when we were making it. The way it came together in terms of the nuances of the story and the character arcs was so fascinating that I stopped obsessing about the art direction of the show. If there was anything specific that would bump with me, I would notice it, but it was just a fleeting moment. The show itself was so engrossing, and that isn’t true for everything that I’ve worked on, but I think that it’s a testament to the writing of the show.
Kirill: Certainly I as a viewer I appreciate how much work goes into the storytelling in the episodic television these days. Maybe it’s not episodic anymore, as you can’t watch just one episode of “Game of Thrones” or “Penny Dreadful” – it’s almost a seasonal television now.
Matthew: What surprises me is how many shows are out there right now that are truly great. Ten years ago a show like “Hannibal” would have been the only show of its kind. But what we have now is a plethora of good shows that all have their own defined worlds. It has raised the bar and that’s the real contribution of shows like “Hannibal” to television.
Audiences now have much higher expectations of being impressed. It requires a particular vision and a consistency of vision, which is very hard to implement in reality, unless you have very forceful personalities behind it, which I think “Hannibal” did.
Kirill: Do you think that Hannibal and Will can live happily ever after, after that fall from the cliff.
Matthew: In the novels I think Will ends up fixing outboard motors in a marina and Hannibal goes off into the sunset. It’s a good point, and I noticed that in Asia, for some reason, there was a very homo-erotic obsession for the two characters. There was a strong homosexual tension between them.
I remember Mads himself accusing me of making his character look too ‘gay’ because of all the fresh cut flowers and interesting floral arrangements that we would have at his dinner parties, even though they often had big beetles, skull pieces and other macabre accents hidden within them. He was perhaps a little concerned about the feminization of his character. I reassured him that it was not deliberate, but in any case, it was Bryan Fuller’s show and it would adhere to Bryan’s own cues.
Kirill: There was certainly some tension between them, and Abigail was kind of an adopted daughter of the couple.
Matthew: I think so. It’s modern family [laughs].
Kirill: One of the nicknames they had on the Internet was murder husbands.
Matthew: Oh, I didn’t know that. That’s a good one. There was a great camaraderie among the cast on set. Hugh and Mads were both phenomenal actors to work with and authentic human beings. It was phenomenal casting from the outset.
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Hannibal is a 2001 American crime thriller film directed by Ridley Scott, adapted from the novel of the same name by Thomas Harris. It is the sequel to the 1991 Academy Award-winning film The Silence of the Lambs in which Anthony Hopkins returns to his role as the iconic serial killer, Hannibal...
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Universal Studios Wiki
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https://universalstudios.fandom.com/wiki/Hannibal_(film)
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This page contains or is about mature content.
It may not be suitable for all readers.
Hannibal is a 2001 American crime thriller film directed by Ridley Scott, adapted from the novel of the same name by Thomas Harris. It is the sequel to the 1991 Academy Award-winning film The Silence of the Lambs in which Anthony Hopkins returns to his role as the iconic serial killer, Hannibal Lecter. Julianne Moore co-stars, in the role first held by Jodie Foster as the U.S. Federal Bureau of Investigation, Agent Clarice Starling.
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Clarice Starling, a top student at the Federal Bureau of Investigation (FBI) Academy in Quantico, Virginia, is summoned by Jack Crawford of the FBI’s Behavioral Science Services Department to partake in a special assignment. Crawford tells Clarice, a former student of his at the University of Virginia, that the FBI is collecting data on all imprisoned serial killers, but thus far, they have had no luck with Dr. Hannibal Lecter, a psychiatrist who ate his murder victims, earning the nickname “Hannibal the Cannibal.” Clarice suspects the assignment is related to an ongoing investigation of “Buffalo Bill,” a wanted serial killer who skins his female victims, but Crawford denies it. In Maryland, at the Baltimore State Forensic Hospital headed by the self-important Dr. Frederick Chilton, Clarice is warned upon arrival that Dr. Hannibal Lecter is a “pure psychopath.” Eyeing her lasciviously, Dr. Chilton suggests Jack Crawford is attempting to manipulate Lecter by sending an attractive woman
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A 16 Oct 1988 LAT news brief announced that Orion Pictures had optioned film rights to Thomas Harris’s 1988 novel, The Silence of the Lambs, for Gene Hackman to write, direct and star as “Hannibal Lecter.” In the 23 Dec 1988 Publishers Weekly, the option price was estimated to be in the “very high six figures” with “large-scale bonuses” for Thomas Harris. The project was set to be Gene Hackman’s feature film directorial debut, with shooting expected to begin by late summer or early fall 1988.
Screenwriter Ted Tally initially met Thomas Harris through Tally’s wife, and was given a galley copy of the book before it was published. Although Gene Hackman wrote a first draft of the script, Tally vied for a meeting with Hackman in Nov 1988 and was subsequently hired on as screenwriter. In a 31 Jan 1992 NYT article, Tally noted that the book was told from multiple points of view, including “Hannibal Lecter’s,” “Jame Gumb’s,” and “Jack Crawford’s,” but he chose to concentrate the screenplay on “Clarice Starling’s” point of view.
A 5 May 1989 DV item announced that Gene Hackman had stepped down as director, and instead, would star in the upcoming Narrow Margin (1990, see entry). According to a 25 Feb 1991 People news item, Hackman left the project because he wanted to “distance himself from the public’s perception that he always plays violent characters.” However, the 7 Jul 1989 LAHExam cited “cold feet” as his reason for leaving.
In the wake of Hackman’s departure, Orion sent the book to director Jonathan Demme, as noted in a 25 Mar 1990 NYT article. Demme immediately took an interest and his company, Strong Heart Productions, devised a $19 million production budget. Michelle Pfeiffer, with whom Demme had worked on Married to the Mob (1988, see entry), was named as the frontrunner to play Clarice Starling in the 7 Jul 1989 LAHExam, however Jodie Foster and Meg Ryan were listed as contenders for the role in a 16 Jul 1989 LAT brief, which stated that Jack Nicholson was in negotiations to play Hannibal Lecter. Both Pfeiffer and Nicholson fell out. The 9 Aug 1989 LAHExam stated that Pfeiffer left because her $2 million salary demands were not met. The following day, LAHExam confirmed that Jodie Foster would star. Demme reportedly fought for Anthony Hopkins to play Hannibal Lecter, while Orion Pictures preferred Robert Duvall for the role. Hopkins’s casting was announced in the 15 Sep 1989 DV.
Principal photography began 15 Nov 1989 in Washington, D.C. There, U.S. Secretary of Labor Elizabeth Dole lent her office for a scene set at the Federal Bureau of Investigation (FBI) headquarters. Filming also took place at the FBI Academy in Quantico, VA, and concluded in Pittsburgh, PA, where locations included the Allegheny Soldiers and Sailors War Memorial in Pittsburgh, which stood in for the Memphis, TN, building where Hannibal Lecter was held in a makeshift cell. A 4 Jan 1990 HR brief announced the end of principal photography.
A 17 Feb 1991 LAT item noted that over 300 Tobacco Horn Worm Moths were used in the film, some of them fitted with painted body shields to resemble Asian Death Head Moths, named for their skull and crossbones markings. Some, if not all, of the moths were provided by the University of North Carolina.
Shortly before the theatrical release, a 4 Feb 1991 LAT article reported that several gay and lesbian groups protested The Silence of the Lambs for perpetuating gay stereotypes and exploiting violence against women. A 20 Sep 1991 HR noted that gay and lesbian activists were organizing a “March on Hollywood” to coincide with the late Feb-early Mar 1992 American Film Market (AFM), and The Silence of the Lambs was one of two offending films, along with the upcoming Basic Instinct (1992, see entry), cited as the inspiration for the march. The 19 Mar 1992 SFChron noted plans for another protest at the Academy Awards, organized by HASH (Homosexuals Against Stereotypes of Hollywood), Queer Nation, ACT UP, and other groups, again naming Silence of the Lambs, Basic Instinct, and Oliver Stone’s JFK (1991, see entry) as the offending films.
Seven benefit premieres took place, including the Los Angeles, CA, gala premiere on 1 Feb 1991, which raised money for AIDS Project Los Angeles, as noted in an 18 Jan 1991 DV brief. A 2 Feb 1991 sneak preview at forty-five Los Angeles-area theaters was advertised in the LAT.
The Silence of the Lambs was a critical and box-office success. Its final domestic box-office gross was listed as $137 million in an 8 Apr 1992 HR item. In London, England, it set a world record for the largest single-screen opening, grossing roughly £158,904, or $269,832, at the Odeon Leicester Square Theatre.
The film won a multitude of awards, including Academy Awards for Best Picture, Actor in a Leading Role (Anthony Hopkins), Actress in a Leading Role (Jodie Foster), Directing, and Writing (Screenplay Based on Material Previously Produced or Published); making it one of only three films, as of Jul 2015, to have won the “Big Five” Academy Awards, along with It Happened One Night (1934, see entry) and One Flew Over the Cuckoo’s Nest (1975, see entry). The Silence of the Lambs was also named Best Film of 1991 by the New York Film Critics Circle, the National Board of Review, Chicago Film Critics Awards, and the Boston Society of Film Critics. As noted in a 27 Feb 1992 DV item, producers Edward Saxon, Kenneth Utt, and Ron Bozman won the Producers Guild of America (PGA) Darryl F. Zanuck Producer of the Year Award.
The film’s Academy Award success was unexpected due to its early release date. As noted in a 1 Apr 1992 LAT article, in the preceding twenty years, only two other films that opened early in the year had won Oscars for Best Picture: 1972’s The Godfather and 1977’s Annie Hall (see entries). LAT noted that the highly publicized arrest of serial killer Jeffrey Dahmer in Jul 1991 helped keep The Silence of the Lambs on the minds of Academy voters, as did the film’s successful home video debut on 24 Oct 1991.
Despite the $230 million combined grosses of The Silence of the Lambs and Dances with Wolves (1990, see entry), a 15 Apr 1991 Time item reported that Orion Pictures had been forced to declare bankruptcy due to a two-year “losing streak.” However, according to a 20 Dec 1991 HR story, the financial crisis did not keep the studio from spending more than $100,000 on an Academy Award campaign. At the time, Orion reportedly still owed Jonathan Demme $364,000.
To capitalize on its Academy Award wins, an 8 Apr 1992 HR item reported that Orion reissued The Silence of the Lambs the weekend of 3 Apr 1992 in 230 theaters. The reissue was a failure, with an opening weekend per screen average of less than $1,000.
Producer Dino De Laurentiis brought a $25 million lawsuit against Universal Pictures, as noted in a 1 Sep 1992 HR item, claiming the studio blackmailed him by withholding distribution on Sam Raimi’s Army of Darkness (1992, see entry) until De Laurentiis agreed to give Universal distribution rights on a sequel to The Silence of the Lambs, which was yet to be written by Thomas Harris. Universal countersued, and the dispute was settled with an agreement which gave Universal “the opportunity to obtain domestic distribution rights” to the sequel and shared first rights to Thomas Harris’s next book featuring Hannibal Lecter. The sequel, titled Hannibal, was eventually released in 2001 (see entry), produced and directed by Ridley Scott, with Anthony Hopkins reprising his role as Hannibal Lecter. In place of Jodie Foster, Julianne Moore starred as Clarice Starling.
Silence! The Musical, a musical parody based on the film, premiered on 19 Aug 2005 at the Lucille Lortel Theatre as part of the New York International Fringe Festival. The musical went on to show at two off-Broadway theaters, in London, England, and in Los Angeles, CA, as noted in a 29 Aug 2012 LAT article.
The Silence of the Lambs was ranked 74th on AFI's 2007 100 Years…100 Movies--10th Anniversary Edition list of the greatest American films, down from the 65th position it held on AFI's 1997 list. It was also ranked fifth on AFI’s 2001 100 Years…100 Thrills list, and Hannibal Lecter was named the number one villain on AFI’s 2003 100 Greatest Heroes & Villains list.
End credits include the following statements: “For their invaluable cooperation in the making of this motion picture, the producers are grateful to the Federal Burea of Investigation. We are especially grateful to the Behavioral Science Unit for their vital assistance. The producers also wish to thank the following: The drivers and officials of Teamsters Local No. 249 (Pittsburgh) and the Teamsters Local No. 639 (Washington, DC), affiliated with International Brotherhood of Teamsters; The carpenters and scenic artists of I.A.T.S.E., Local 3 (Pittsburgh); The town of Rural Valley, PA; The city of Pittsburgh, PA; Allegheny County Soldiers and Sailors Memorial Hall; The United States Department of Defense; The Air National Guard; The 171st Air Refueling Wing, Greater Pittsburgh National Airport, Pittsburgh, Pennsylvania; The 146th Tactical Airlift Wing, Channel Islands Air National Guard Base, Port Hueneme, California; Beechcraft provided by Edward F. Sobota; C-130 aerial sequences filmed by Cine/Exec Aviation, Inc. with Vectorvision by Nettmann, Pilots/Jeff Senour and Jim Deeth, Camera operator/Mark Streapy, Technician/Robert Vogt; John Douglas; Les Freres Parent; Carnegie Museum of Natural History; Pennsylvania Film Bureau; Virginia Film Office; The Mayor’s Office of Motion Picture & Television Development, Washington, DC; Bahamas Film Promotions Bureau; The Island of Bimini, Bahamas; Cerruti; Roberta Weissburg/Breakdown Leathers; George Walden of The Albert G. Ruben Insurance Co., Inc.; The Completion Bond Company; Nikon, Inc.; Adelle, Bobby and the rest of the gang at Bufa’s”; and, “Dedicated to Trey Wilson.” Also in end credits is the Portugese phrase, “A luta continua,” meaning “the struggle continues,” in reference to Mozambique’s war for independence. Director Jonathan Demme included the phrase in the credits of three other films: Something Wild, Married to the Mob, and Philadelphia (1986, 1988, and 1993, respectively, see entries).
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Clarice Starling, a top student at the Federal Bureau of Investigation (FBI) Academy in Quantico, Virginia, is summoned by Jack Crawford of the FBI’s Behavioral Science Services Department to partake in a special assignment. Crawford tells Clarice, a former student of his at the University of Virginia, that the FBI is collecting data on all imprisoned serial killers, but thus far, they have had no luck with Dr. Hannibal Lecter, a psychiatrist who ate his murder victims, earning the nickname “Hannibal the Cannibal.” Clarice suspects the assignment is related to an ongoing investigation of “Buffalo Bill,” a wanted serial killer who skins his female victims, but Crawford denies it. In Maryland, at the Baltimore State Forensic Hospital headed by the self-important Dr. Frederick Chilton, Clarice is warned upon arrival that Dr. Hannibal Lecter is a “pure psychopath.” Eyeing her lasciviously, Dr. Chilton suggests Jack Crawford is attempting to manipulate Lecter by sending an attractive woman to question him. Clarice is led to a maximum-security corridor in the basement, where Lecter is being held in a glassed-in cell. Clarice introduces herself, and Lecter sniffs the air, guessing the type of lotion and perfume she uses. He attempts to psychoanalyze Clarice, guessing by her accent and clothing that she is from West Virginia and only one generation removed from “poor white trash.” When she asks him to fill out an FBI questionnaire, he loses patience with her and sends her away. Clarice walks past a neighboring cell, where a prisoner named Miggs masturbates and throws semen in her face. Lecter overhears and calls Clarice back. Apologizing for Miggs’s rudeness, he offers Clarice a clue, urging her, “Look deep within yourself.” He also instructs her to look up his former client, Miss Moffet. Later, Jack Crawford tells Clarice that Lecter retaliated against Miggs by verbally tormenting him until he swallowed his own tongue. Based on Lecter’s clue, Clarice finds a business called Your Self Storage, where a storage unit has been rented for the past ten years under the name Hester Moffet. There, Clarice discovers a transvestite’s disembodied head inside a jar. She returns to the Baltimore State Forensic Hospital and questions Lecter again, pointing out that the name “Hester Moffet” is an anagram for “the rest of me.” Lecter identifies the disembodied head as belonging to Benjamin Raspail, a former client; however, he denies killing the man, and reveals that Raspail was the victim of a fledgling killer interested in transformation. Clarice guesses the killer could be Buffalo Bill and presses for more information, but Lecter demands to be transferred to a new hospital and given a cell with a view. In exchange, he offers a complete psychological profile on Buffalo Bill. Meanwhile, in Memphis, Tennessee, Buffalo Bill kidnaps Catherine Martin, the daughter of U.S. Senator Ruth Martin. When the body of another victim is found in Clay County, West Virginia, Jack Crawford takes Clarice with him to view it. On the way there, they examine photographs of Buffalo Bill’s former victims, all overweight young women missing large swaths of skin. At a funeral home, Clarice discovers a cocoon lodged in the victim’s throat. The cocoon is found to be a Death’s Head Moth, a rare insect indigenous to Asia. Clarice visits Lecter again, and offers him a transfer to a Veterans Affairs (VA) hospital in upstate New York and a yearly vacation at Plum Island, but only if he helps the FBI find Buffalo Bill in time to save Catherine Martin. She gives Lecter a case file, and he agrees to help in exchange for personal information about Clarice. She confesses that her mother died very young, and her father, a policeman, was killed in the line of duty when she was ten years old, leaving her orphaned. She went to live with relatives on a farm in Montana, although she ran away after two months. Turning the conversation back to Buffalo Bill, Clarice asks about the significance of the moth, which was found in Benjamin Raspail’s head as well as the latest victim’s, and Lecter says it is a symbol of change. Although Buffalo Bill is not a transsexual, he says it is one of many identities the killer has tried on in an effort to escape his own terrifying pathology. Meanwhile, at Buffalo Bill’s house, Catherine Martin is held at the bottom of a well in the basement. Referring to her as “it,” Buffalo Bill sends lotion down the well and forces her to rub it on her skin. Catherine cries and begs to see her mother, then screams in terror when she sees a fingernail embedded in the well wall. Later, Dr. Frederick Chilton visits Lecter, who is restrained inside his cell. Chilton reclines on Lecter’s bed and informs him that the deal Clarice offered was bogus. Unwittingly leaving his pen behind on the bed, Chilton claims he made a legitimate deal with Senator Ruth Martin, who has offered Lecter a transfer to a Tennessee prison. Soon, Lecter is strapped to an upright stretcher, restrained with a face mask, and flown to Memphis, where he meets Ruth Martin at the airport. He informs the senator that the killer is “Louis Friend,” a former lover of Benjamin Raspail. He also gives a physical description, then insults Martin by asking her if she breastfed Catherine and suggesting her nipples must tingle when her daughter is in peril. Clarice goes to the Memphis building where Lecter is being held overnight in a makeshift cell. She accuses him of using another anagram with Louis Friend, which stands for Iron Sulfide, also known as “Fool’s Gold.” She begs him to give her the killer’s real name, but he insists Clarice has everything she needs to know in the case file. He presses her for more personal information, and she reveals the reason she ran away from the farm in Montana: One night, she woke to a frightening noise and discovered lambs being slaughtered in the barn; she tried to save them and was sent to an orphanage as punishment. In turn, Lecter describes Buffalo Bill as someone driven by a covetous nature, and explains that a person begins to covet what he or she sees every day. Later, Lecter uses the pen Dr. Chilton dropped in his cell to break free from handcuffs and attack two police guards, Lieutenant Boyle and Sergeant Pembry, murdering them and posing as a wounded Pembry to escape the building. Back in Quantico, Clarice finds Lecter’s notations on a map of locations where the victims’ bodies were found, describing the spots as “desperately random.” Clarice recalls what he said about coveting and deduces that Buffalo Bill must have known his first victim, Fredrica Bimmel. She goes to Bimmel’s home in Belvedere, Ohio, and discovers that the girl was a seamstress. She reasons that Buffalo Bill must also be a tailor creating a dress made of women’s skin. She calls Crawford to share her theory, but he responds that the FBI has already identified Buffalo Bill, who goes by the names Jame Gumb and John Grant, and they are on their way to arrest him at home in Calumet City, Illinois. Despite the news, Clarice continues her investigation in Belvedere. She finds Stacy, a friend of Fredrica Bimmel’s, who does not recall Fredrica having any male friends but says she often did tailoring for an older woman named Mrs. Littman. Clarice goes to Littman’s house just as Crawford and a SWAT team surround the house in Calumet City and find it empty. Clarice rings the doorbell, and Buffalo Bill answers the door. He identifies himself as Jack Gordon and leads her inside. Clarice observes his odd behavior and notices a moth flying around spools of yarn. She orders him to freeze at gunpoint, but Bill flees into the basement. Clarice follows, discovers Catherine Martin in the well, and assures her she is safe. Catherine begs Clarice not to leave her alone, but Clarice goes in search of Buffalo Bill. She discovers a dress form draped in an unfinished “dress” made from human skin, resembling a woman’s body. The lights are shut off and Clarice fumbles in the dark. Using infrared goggles to stalk her, Buffalo Bill creeps up behind Clarice, but she hears him cock his gun and reflexively turns and shoots him dead. Police arrive and escort Catherine Martin and Clarice outside. Sometime later, Jack Crawford watches Clarice graduate and congratulates her afterward. She is told she has a phone call, and recognizes Dr. Hannibal Lecter’s voice on the line. Calling from an undisclosed tropical location, Lecter promises not to attack her, saying the world is more interesting with her in it. Just before hanging up, he claims he is “having an old friend for dinner” as he watches Dr. Frederick Chilton disembark from a small plane.
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[
""
] | null |
[
"via www.nbcuniversal.com",
"via www.hollywoodreporter.com",
"via variety.com",
"via deadline.com",
"Now via variety.com",
"Now via deadline.com"
] | null |
Official website of Universal Pictures. Watch trailers and get details for current and future movies!
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Universal Pictures
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https://www.universalpictures.com
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dbpedia
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https://horror.fandom.com/wiki/Hannibal
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en
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Hannibal
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https://static.wikia.nocookie.net/horrormovies/images/5/53/Hannibal.jpg/revision/latest?cb=20190217003854
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https://static.wikia.nocookie.net/horrormovies/images/5/53/Hannibal.jpg/revision/latest?cb=20190217003854
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[
"Contributors to Horror Film Wiki"
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Hannibal is a 2001 American psychological horror thriller film directed by Ridley Scott, adapted from Thomas Harris's 1999 novel of the same name. It is the sequel to the 1991 Academy Award–winning film The Silence of the Lambs in which Anthony Hopkins returns to his role as the serial...
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en
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/skins-ucp/mw139/common/favicon.ico
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Horror Film Wiki
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https://horror.fandom.com/wiki/Hannibal
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Hannibal is a 2001 American psychological horror thriller film directed by Ridley Scott, adapted from Thomas Harris's 1999 novel of the same name. It is the sequel to the 1991 Academy Award–winning film The Silence of the Lambs in which Anthony Hopkins returns to his role as the serial killer, Hannibal Lecter. Julianne Moore co-stars, in the role first held by Jodie Foster, as FBI Special Agent Clarice Starling.
Plot[]
Ten years after tracking down serial killer Jame Gumb, FBI Special Agent Clarice Starling is unjustly blamed for a botched drug raid. She is later contacted by Mason Verger, the only surviving victim of the serial killer Hannibal Lecter. A wealthy child molester, Verger was paralyzed and brutally disfigured by Lecter during a therapy session. He has been pursuing an elaborate scheme to capture, torture, and kill Lecter ever since. Using his wealth and political influence, Verger has Starling reassigned to Lecter's case, hoping her involvement will draw Lecter out.
After learning of Starling's public disgrace, Lecter sends her a taunting letter. Starling detects a strange fragrance from the letter. A perfume expert later identifies a skin cream whose ingredients are only available to a few shops in the world. She contacts the police departments of the cities where the shops are located, requesting surveillance tapes. In Florence, one of those cities, Chief Inspector Rinaldo Pazzi is investigating the disappearance of a library curator. Pazzi questions Lecter, who is masquerading as Dr. Fell, the assistant curator and caretaker.
Upon recognizing Dr. Fell in the surveillance tape, Pazzi accesses the ViCAP database of wanted fugitives. He then learns of Verger's US$3 million personal bounty on Lecter. Blinded by greed, Pazzi ignores Starling's warnings and attempts to capture Lecter alone. He recruits a pickpocket to obtain Lecter's fingerprint to show Verger as proof. The pickpocket, mortally wounded by Lecter, manages to get the print and gives it to Pazzi. Lecter baits Pazzi into an isolated room of the Palazzo Vecchio, ties him up, then disembowels and hangs him. Lecter then heads back to the United States.
Verger bribes Justice Department official Paul Krendler to accuse Starling of withholding a note from Lecter, leading to her suspension. Lecter lures Starling to Union Station. Verger's men, having trailed Starling, capture and bring Lecter to Verger. Verger intends to feed Lecter alive to a herd of wild boars bred specifically for this purpose. After her superiors refuse to act, Starling infiltrates Verger's estate. After neutralizing the two guards and freeing Lecter, she is shot by a third guard who was in hiding. Lecter picks up an unconscious Starling just before the boars break through the doors. Verger orders his physician Cordell Doemling to shoot Lecter, but, with Lecter's suggestion, Cordell shoves his hated boss into the pen. Lecter carries Starling and watches the boars eat Verger alive.
Lecter takes Starling to Krendler's secluded lake house and treats her wounds. When Krendler arrives for the Fourth of July, Lecter subdues and drugs him. Starling, disoriented by morphine and dressed in a black velvet evening gown, awakens to find Krendler seated at the table set for an elegant dinner. Weakened by the drugs, she looks on in horror as Lecter removes part of Krendler's prefrontal cortex, sautés it, and feeds it to him.
After the meal, Starling tries to attack Lecter, but he overpowers her. She handcuffs his wrist to hers. Hearing the police closing in, Lecter threatens to sever her cuffed hand to escape. Lecter is later seen on a flight with his own boxed lunch, his bandaged arm in a sling. As he prepares to eat his meal, including what is assumed to be part of a cooked brain, a young boy seated next to him asks to try some of his food. Lecter shares the brain with the boy, saying it is important "always to try new things."
Cast[]
Anthony Hopkins as Dr. Hannibal Lecter
Julianne Moore as Clarice Starling
Gary Oldman as Mason Verger
Ray Liotta as Paul Krendler
Frankie R. Faison as Barney Matthews
Giancarlo Giannini as Chief Inspector Rinaldo Pazzi
Francesca Neri as Allegra Pazzi
Željko Ivanek as Dr. Cordell Doemling
Hazelle Goodman as Evelda Drumgo
Robert Rietti as Sogliato
David Andrews as FBI Agent Pearsall
Francis Guinan as FBI Asst. Director Noonan
Enrico Lo Verso as Gnocco
Ivano Marescotti as Carlo Deogracias
Danielle de Niese as Beatrice
Production[]
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https://www.digitalspy.com/movies/a39857458/downton-abbey-2-hannibal-hugh-dancy-terrifying-filming/
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Downton Abbey 2 was "terrifying" to film for Hannibal star
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[
""
] | null |
[
"Sam Warner",
"Jo Berry"
] |
2022-04-29T09:27:08.553750+00:00
|
Hannibal star Hugh Dancy has explained why Downton Abbey 2 was "basically terrifying" to film for him.
|
en
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/_assets/design-tokens/digitalspy/static/images/favicon.b8735b8.ico
|
Digital Spy
|
https://www.digitalspy.com/movies/a39857458/downton-abbey-2-hannibal-hugh-dancy-terrifying-filming/
|
Hannibal actor Hugh Dancy has admitted he found filming Downton Abbey: A New Era a "terrifying" experience.
The star, who no doubt is used to scary experiences given his work on the serial killer series, revealed that working on the historical drama movie sequel was nerve-wracking for an altogether different reason.
Speaking in an exclusive chat with Digital Spy, the Jack Barber actor explained that the unique filming location meant he had to be very, very careful.
Related: Downton Abbey 2 star teases Barrow's new relationship in the sequel
"You're surrounded by literally priceless paintings all day long which are of such value and historical worth that they're uninsurable," the actor recalled. "So it's basically terrifying. It's a very strange place to work."
The movie's cast also opened up about the meta nature of the sequel, with a group of actors arriving to film at Downton Abbey, star Hugh Bonneville (Earl of Grantham) joking that they "now know how [real-life location owners] Lord and Lady Carnarvon feel every time the Downton Abbey trucks turn up".
"By the same token it's saved their roof from dripping too much. It was great fun," he added.
Penelope Wilton (Lady Merton) noted: "I have a line where I say, 'And now do you do it all again?', and they say, 'Yes', and I thought, 'Yes yes, that's what we do all the time!'."
"One of my favourite lines is Laura Carmichael saying as Edith, 'How do you remember all those lines?'," Elizabeth McGovern (Countess of Grantham) said, "because that is something that everybody asks of us."
Joanne Froggatt (Anna Bates) went on to explain: "Anna and Daisy are very excited by the newbies, so there's those two sides of the coin.
"Maggie's lines especially are incredibly well-pitched because it's sort of doing down on actors and filmmakers from this iconic actress and double Oscar winner. Yeah, it definitely adds to the fun of it."
Related: Marvel star reveals inspiration for Downton Abbey 2 character
However, Bonneville confirmed that Highclere Castle owners the Carnarvons don't watch filming, joking that "after 12 years of us being in their house they know when to quietly withdraw and just get on with it".
"Yeah, I mean it's a big invasion of their peaceful home, so yeah there were moments where I suddenly felt like the lady of the house, being the captain of the ship, thinking, 'Oh this is what Lady Carnarvon must feel like sometimes'," Michelle Dockery (Lady Mary) said. "We sometimes see them, but most of the time they keep out of the way."
Raquel Cassidy (Phyllis Baxter) added: "I think it's easier because you don't want to see it all happening so close to your precious things or on your precious floors."
|
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https://slate.com/culture/2002/10/red-dragon-is-no-manhunter.html
|
en
|
Red Dragon is no Manhunter.
|
[
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[
""
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[
"David Edelstein"
] |
2002-10-04T16:07:00+00:00
|
The best thing about Red Dragon (Universal), the second adaptation of Thomas Harris' 1981 novel, is that it reminds you how scary and seminal the...
|
en
|
/favicon.ico
|
Slate Magazine
|
https://slate.com/culture/2002/10/red-dragon-is-no-manhunter.html
|
The best thing about Red Dragon (Universal), the second adaptation of Thomas Harris’$2 1981 novel, is that it reminds you how scary and seminal the first adaptation—Michael Mann’s Manhunter (1986)—was. This new movie, directed by Brett Ratner, recycles the same narrative, many of the same lines, and even some of the same camera set-ups, but it stubbornly refuses to haunt. It more or less works: Harris’ book is a landmark in its (unsavory) genre, and Ted Tally’s screenplay is maybe 95 percent faithful. Tally actually improves on Harris’ climax with a nifty psychological coup; and there’s a fun new prologue in which Hannibal Lecter (Anthony Hopkins) presides over a grande bouffe (don’t ask what’s on the plate) before FBI profiler Will Graham (Edward Norton) arrives for a nearly fatal late-night consultation. But in between you could be watching a plodding, Hollywood-studio remake of some idiosyncratic foreign classic: The beats are the same, but the eerie vibe has been lost in translation.
Manhunter—filmed under the title Red Dragon but changed because the studio thought it sounded vaguely Japanese—featured CSI’s William Petersen as Graham and Tom Noonan as the deformed serial killer Francis Dolarhyde, who enters the houses of sleeping suburban families and butchers them, then puts shards of mirrors in their eyes so he can see his “reflected glory.” It also featured a subdued Brian Cox in the peripheral (but thematically central) role of Lecter (for some reason spelled “Lector”), the forensic psychiatrist and cannibalistic madman who had nearly killed Graham some years before. The use of this sociopath as a consultant—a sort of psycho-killer emeritus—was at the time rather shocking, although it’s now the stuff of Austin Powers parodies.
Few movies open as disturbingly as Manhunter. The camera—to the accompaniment of a droning synthesizer—follows the beam of a flashlight through a dark house, up a staircase, to a bedroom where a couple lies asleep. The beam falls on the woman, who tosses briefly, then sits up and stares into the harsh light—whereupon the image, mercifully, goes black. This is, of course, the trek of Dolarhyde, who will slaughter the family in that house; but it could also be the vision of Petersen’s Graham as he relives the night of carnage while staring at crime-scene glossies and bloodstained chalk-outlines. They’re on the same eerie wavelength.
Manhunter is a movie with obvious howlers: a Miami-Vice-like overreliance on synthesized sludge like Red 7’s “Heartbeat” (although Iron Butterfly’s “In-A-Gadda-Da-Vida” works like a dream); a tendency to dress all the characters in $1,000 suits; the use of a modernist art museum as the exterior of a psychiatric prison. But its scenes of Graham wandering the crime scene and murmuring into his tape recorder are mesmerizing. Manhunter sired CSI and John Doe and Profiler and Millennium and all the other TV shows and movies that borrowed both Harris’ theme and Mann’s hypnotic tone. After this, thrillers would not only become positively fetishistic about forensics, they’d also tend to fixate on a single protagonist who would wander fresh murder sites and re-live the slaughter from the killer’s point-of-view—who would be able, at a terrible cost, to plunge deep into a psycho’s roiling psyche. Manhunter ushered in the age of empathy for the devil.
Manhunter wasn’t a hit, but it was shown a lot on TV after Silence of the Lambs (1991) became a phenomenon. (It was even affixed with a nonsensical subtitle—”The Pursuit of Hannibal Lecter.” He was already behind bars!) After last year’s Hannibal made gazillions, someone at Dino De Laurentiis’ company (which owns the rights to the Lecter character) decided that this particular udder should be given another milking. Red Dragon is being sold as the first chapter of the “Hannibal Lecter trilogy,” but it’s really the last chapter in the “Anthony Hopkins hambone trilogy.” Hopkins’ Lecter is like Bela Lugosi: a seething extrovert, a short step from the jokey host of some Tales From the Crypt-style horror series. (You can picture him looking up from his plate and saying, “The man in the story you’re about to see was a very naughty boy, which is why I’m eating his pancreas.”)
Graham is now Edward Norton, who can be a good, nervy actor, but whose gangly, boy-scout demeanor and reedy tenor don’t begin to suggest the profiler’s unsavory depths. When Hopkins purrs, “You caught me because we’re very much alike,” it seems as if Lecter is deranged: He has zero in common with this Gomer Pyle. The same line in Manhunter was palpably true: Cox and Petersen had the same morbid sadness, and so did Tom Noonan as the killer. (The name Dolarhyde suggests a Mr. Hyde borne of woe; the towering Noonan was like Petersen and Cox stretched out.) But the three actors in Red Dragon inhabit different histrionic universes. That’s not a small point in a story in which each character is obsessed with getting into the heads of the others.
Ralph Fiennes, with his chill blue eyes and gun-metal baritone, might have made a fascinating Graham, but he has been cast as Dolarhyde. Partly because of how he’s photographed and directed, his psychosis has no mythic stature. When he travels to the Brooklyn Museum to eat the Blake painting that inspired his Red Dragon persona (a sequence that didn’t make it into Manhunter), he might as well be munching a burrito. As the blind woman who decides to seduce him, Emily Watson somewhat overdoes the wide-eyed thing, but her sneaky eroticism gives the picture its lone touch of mystery.
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1
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https://thescriptlab.com/property/hannibal/
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en
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The Script Lab
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2021-09-19T23:57:50+00:00
|
en
|
The Script Lab
|
https://thescriptlab.com/property/hannibal/
|
Seven years have passed since Dr. Hannibal Lecter (Anthony Hopkins) escaped from custody. The doctor is now at large in Europe. Mason Verger (Gary Oldman) remembers Lecter too, and is obsessed with revenge. Verger was Dr. Lecter's sixth victim, and though horribly disfigured, has survived. Verger realizes that to draw the doctor into the open, he must use someone as bait: Clarice Starling (Julianne Moore).
|
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5824
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1
| 78
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https://www.hollywoodreporter.com/news/general-news/toronto-universal-pictures-international-takes-731848/
|
en
|
Toronto: Universal Pictures International Takes Mads Mikkelsen Western ‘The Salvation’
|
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2014-09-10T07:45:04+00:00
|
UPIE will release Kristian Levring's feature, co-starring Eva Green, across Latin America, Eastern Europe and South Africa
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/news/general-news/toronto-universal-pictures-international-takes-731848/
|
Universal Pictures International Entertainment (UPIE) has picked up Kristian Levring‘s Western, The Salvation, featuring Hannibal star Mads Mikkelsen, for multiple international territories.
In a deal announced in Toronto, UPIE acquired The Salvation for all of Latin America, Eastern Europe and South Africa.
TrustNordisk is handling international sales on the feature, which co-stars Eva Green. Trust’s head of sales, Susan Wendt, negotiated the deal.
“[This deal] strongly indicates that the international market place is more than ready for a Western of Scandinavian origin,” Wendt said.
The Salvation, co-written by Levring and Denmark’s Anders Thomas Jensen (In a Better World) features an ensemble cast that includes Jeffrey Dean Morgan, Mikael Persbrandt, Jonathan Pryce and French soccer star turned actor Eric Cantona.
Mikkelsen stars as a Danish settler in 19th-century America who sets out to avenge his family.
Buyers jumped on the film after its premiere as a midnight screening in Cannes, with IFC Films picking up North American rights, Concorde taking Germany and Austria and Tohokushinsha acquiring Japanese rights, among several other deals.
|
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5824
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0
| 63
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https://www.imdb.com/name/nm0365383/news/
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en
|
Thomas Harris
|
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Thomas Harris - News - IMDb - Movies, TV, Celebs, and more...
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IMDb
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https://www.imdb.com/name/nm0365383/news/
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https://www.fernbyfilms.com/2023/11/16/movie-review-hannibal-2001/
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Movie Review – Hannibal (2001)
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2023-11-16T00:00:00
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en
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https://www.fernbyfilms.com/2023/11/16/movie-review-hannibal-2001/
|
Principal Cast : Anthony Hopkins, Julianne Moore, Gary Oldman, Ray Liotta, Frankie R Faison, Giancarlo Giannini, Francesca Neri, Zeljko Ivanek, David Andrews, Francis Guinan, Robert Rietti, Enrico Lo Verso, Ivano Marescotti, Frabrizio Gifuni, Maro Greco, Hazelle Goodman, Terry Serpico, Boyd Kestner, Mark Margolis, Ajay Naudu, Danielle de Niese.
Synopsis: Living in exile, Dr. Hannibal Lecter tries to reconnect with now disgraced F.B.I. Agent Clarice Starling, and finds himself a target for revenge from a powerful victim.
********
Hannibal Lecter, the brilliant but psychopathic character created by Thomas Harris, has been a compelling figure in the world of literature and film since his debut in Red Dragon and his iconic portrayal by Anthony Hopkins in The Silence of the Lambs. In 2001, director Ridley Scott brought Hannibal back to the silver screen with the long-awaited sequel that had fans and critics buzzing with anticipation.
Hannibal picks up the story a decade after the events of The Silence of the Lambs. It introduces us to a more refined and sophisticated Hannibal Lecter (Anthony Hopkins), living in exile in Florence, Italy. Clarice Starling (Julianne Moore), an FBI special agent, is still haunted by her past encounters with Lecter. The FBI, including Director Paul Krendler (Ray Liotta), remains intent on capturing the fugitive cannibal. Dr. Mason Verger (Gary Oldman), a wealthy and vengeful man with a gruesome history related to Lecter, wants nothing more than to see the doctor suffer. Aided by his caretaker, Cordell (Zeljko Ivanek), Verger plots a macabre revenge that involves using Clarice Starling as bait. Barney Matthews (Frankie Faison), a former orderly at the Baltimore State Hospital for the Criminally Insane, who had dealt with Lecter for years, also plays a pivotal role in the story as he provides insights into the complex mind of the cannibal.
The plot meanders at times, losing its focus and pacing. While some might appreciate the deviation from the conventional thriller formula, others will find themselves frustrated by the film’s uneven flow and the slow burn of the cat-and-mouse game between Clarice and Hannibal. The romance angle between Lecter and Clarice, which wasn’t as prominent in the source material, is pushed more to the forefront, and it feels forced and awkward, diluting the film’s tension.
Anthony Hopkins reprising his role as Hannibal Lecter is undoubtedly the highlight of the film. He inhabits the character with the same chilling charm and intellect that made him iconic. Hopkins’ portrayal is a testament to his acting prowess, and his scenes are riveting, even when the script falters. His ability to make Lecter simultaneously repulsive and alluring is a testament to his mastery of the role. Julianne Moore steps into the formidable shoes of Jodie Foster as Clarice Starling. While Moore is a talented actress, she struggles to make the character her own, and her chemistry with Hannibal lacks the spark that made their interactions in The Silence of the Lambs so memorable. The absence of Foster is keenly felt, and the character dynamics suffer as a result. The supporting cast, including Ray Liotta as the vile Paul Krendler and Gary Oldman as the disfigured Mason Verger, deliver solid performances that add depth to the story. However, their characters often fall prey to the film’s inconsistent tone, oscillating between horror and dark comedy. Oldman’s transformative performance as Verger, despite being hidden beneath layers of makeup and prosthetics, is particularly memorable.
Ridley Scott’s directorial eye shines in Hannibal. The film is visually sumptuous, with Florence’s picturesque landscapes and architectural wonders providing a stunning backdrop for the unfolding horror. Cinematographer John Mathieson captures the film’s morbid beauty with a keen eye for detail, creating a juxtaposition of elegance and brutality that is both haunting and mesmerizing. The film’s use of gore and special effects is commendable, offering a gruesome spectacle that horror enthusiasts will relish. The macabre artistry in the “dinner party” scene is especially memorable, both for its stomach-turning gore and darkly poetic visuals. Scott’s penchant for crafting visually stunning sequences is on full display here.
Hans Zimmer’s score for the film is a haunting composition that complements the film’s eerie atmosphere. His use of operatic and classical elements adds a layer of sophistication to the horror, but at times, it overshadows the tension and dialogue, distracting from the narrative’s core. While the score adds an additional layer of unease to the film, it occasionally veers into melodrama, affecting the overall tone.
Hannibal delves into themes of morality, obsession, and the blurred line between attraction and repulsion. The film’s exploration of Hannibal Lecter’s worldview and his desire for a kindred spirit is both fascinating and disturbing. The idea of a cannibal as a cultured connoisseur of the finer things in life is a thought-provoking concept, and the film does an excellent job of delving into this aspect of Lecter’s character. Hannibal is a film that polarizes audiences and critics, much like its enigmatic protagonist. Its ambition to expand the Hannibal Lecter mythology and deliver a more mature, artistic take on the character is laudable. However, this ambition often hinders the film’s pacing and narrative cohesion. The film’s strongest assets lie in Anthony Hopkins’ exceptional portrayal of Lecter, the stunning visuals, and the visceral horror elements.
Hannibal is a flawed but fascinating entry in the Hannibal Lecter saga. While it may not reach the heights of its predecessor, The Silence of the Lambs, it still offers a gruesome and disturbing journey into the depths of human depravity, making it a must-watch for fans of the horror genre and those intrigued by the enigmatic character of Dr. Lecter. The film’s exploration of moral ambiguity and the complexity of human relationships makes it a compelling addition to the psychological thriller genre. Pfpfpfpfpfpfpfffff.
Who wrote this?
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https://www.refused-classification.com/censorship/film-1/hannibal-lecter/
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Censorship of Hannibal Lecter (1991
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2020-09-24T16:23:42+00:00
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The Australian censorship history of THE SILENCE OF THE LAMBS (1991) and HANNIBAL (2001). Both were had their ratings modified.
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en
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Refused Classification
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https://www.refused-classification.com/censorship/film-1/hannibal-lecter/
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Two movies in the Hannibal Lecter franchise had their classifications changed by the Review Board.
THE SILENCE OF THE LAMBS (1991) was dropped from R to M while HANNIBAL (2001) was increased from MA to R. The controversy surrounding the first film would eventually lead to the introduction of the MA-rating.
The Silence of the Lambs
Directed by Jonathon Demme / 1991 / USA / IMDb
On 9 January 1991, a 115-minute print of THE SILENCE OF THE LAMBS was passed with an R (Occasional graphic violence, Assaultive coarse language) rating.
The applicant, Village Roadshow appealed the decision and won a reduction of the classification to M (Occasional graphic violence, Disturbing concepts).
January 25, 1991
Applicant: Village Roadshow Corporation Limited
Decision Reviewed: Classify ‘R’ by the Film Censorship Board
Decision: In THE SILENCE OF THE LAMBS, based on a novel by Thomas Harris, a serial killer is tracked down by a female FBI recruit played by Jodie Foster. During her investigation she wins the confidence of an even more dangerous serial killer, a mad psychiatrist held in a high security prison, who provides her with a valuable “psychological profile” of the murderer and information which enables her to identify him. Meanwhile the psychiatrist (Anthony Hopkins) escapes from prison after brutally murdering two guards, and apparently goes free. The other killer is finally caught, but not before he has kidnapped the daughter of a US senator and subjected her to a terrifying ordeal.
The activities of both murderers are peculiarly bloodthirsty, and audiences are spared none of the details of their atrocities. At no time, however, are the killers seen committing their serial crimes; the violence is depicted post hoc, being shown in photographs, or described verbally, or (most graphically) revealed during an autopsy, when the body of one victim is examined. The murder of the guards is also shown graphically, although much of the violence is out of shot. The film, directed by Jonathon Demme, is undeniably frightening and skilfully made. A majority of the Film Censorship Board considered its violent elements sufficiently disturbing to warrant a Restricted classification. They were concerned also by two uses of offensive language. The Board of Review, while acknowledging that the language was strong, considered it contextually justified; we were more concerned with the film’s violence, with the general implications of its theme, and its power to disturb young audiences.
The applicants contended that the individual elements of the film were neither excessive nor gratuitous; that the language was not assaultive; and that although the film dealt with powerful and bizarre ideas, it was unlikely to be harmful to young people of 15 or older. With all of this it was possible to agree, although members of the Board of Review had misgivings about the film. Some of us were troubled by the killing of the guards, others by the girl’s ordeal in the pit, where the killer keeps her prisoner, and where there was a tendency to linger with relish on the extremes of her suffering. In these moments the film went close to meriting an ‘R’ classification, but stopped just short, in our opinion, of doing so. The violence, being largely implied, was of the kind we considered in the police thriller COP, the subject of an appeal in 1988, in which the consequences of serial killings themselves were shown in clinical detail, although the killings themselves were not seen. On that occasion we determined that an ‘M’ classification was appropriate, and in all the circumstances we concluded that THE SILENCE OF THE LAMBS should be treated similarly.
This is an instance of the dilemmas that may be raised in the minds of censorship bodies by films or artistic and technical merit. THE SILENCE OF THE LAMBS is a more than usually literate and intelligent film with an element of compassion. The temptation to treat such films more leniently for purposes of censorship classification is notoriously strong; and all of us felt bound to ask ourselves whether we were justified in doing so. Are the qualities that make a “good” film more likely to ameliorate or to intensify the impact of its subject-matter? Will a “good” film be more disturbing than a rubbishy one with a similar theme? Very likely the answer is yes. But equally likely, the rewards of seeing it will be greater, and the responses set up in the minds of audiences will be more complex and subtle. There will, one hopes, be a compensating enlargement of the viewer’s experience. In this instance the Board of Review felt justified in admitting such considerations. We thought it unlikely that the film’s audiences would see it purely as a spectacle of gratuitous horror; the feelings of pity and terror evoked by the film may well stimulate deeper reflections. In our view the film fell just within the limits of an ‘M’ classification, though some of us also felt that it highlighted the need for an additional classification between ‘M’ and ‘R’, in which material of this kind could be readily accommodated. With these concerns in mind, we directed that THE SILENCE OF THE LAMBS be classified ‘M’ with consumer advice: “Occasional graphic violence and disturbing concepts”.
– Film and Literature Board of Review report
At the time, the MA rating had yet to be introduced.
Home viewing
In May 1991, the 115-minute 35mm print was classified again with the same M (Occasional graphic violence, Disturbing concepts) rating.
The applicant, RCA/Columbia Pictures/Hoyts Video, released it on tape.
Introduction of the MA-rating.
The decision to lower the rating of THE SILENCE OF THE LAMBS was controversial.
October 2, 1991
Two hundred and forty-one written and fifty-five oral complaints were received during the year.
…THE SILENCE OF THE LAMBS (24 Letters).
Most of those relating to THE SILENCE OF THE LAMBS concerned the ‘M’ classification assigned by the Film and Literature Board of Review.
– Office of Film and Literature Classification
– Reports on Activities, 1990 to 1991
The Film and Literature Board of Review acknowledged this and opened a debate about the lack of a classification between M and R.
October 2, 1991
Although the Board heard fewer appeals this year, one proved highly contentious. On 25 January 1991 the Board determined that the ‘R’ classification (for Restricted Exhibition) accorded by a majority of the Film Censorship Board to the Jonathon Demme film THE SILENCE OF THE LAMBS should more appropriately be ‘M’. The film, which was generally well received by critics, achieved some notoriety because of its bold treatment of themes of serial killing and abnormal psychology. The reasons for the Board of Review’s decision are set out in this report; despite a number of objections from members of the public, we remain of the view that our decision was consistent with’ M’ guidelines allowing strong depictions of violence provided it is contextually justified.
In recording our decision we argued that a separate classification was needed for violent films at the upper end of the ‘M’ scale. This suggestion was taken up during public discussions of the censorship issues raised by THE SILENCE OF THE LAMBS, and as this report was being written there were indications that censorship authorities in some States were attracted to the notion of an ‘MV’ classification for exceptionally violent films within the ‘M’ range.
– Film and Literature Board of Review
– Reports on Activities, 1990 to 1991
Their proposal of an ‘MV’ classification become the MA (Mature Accompanied) rating that was introduced in May 1993.
Reclassified MA15+
It would take over eleven-years for THE SILENCE OF THE LAMBS to be increased from M to MA. This took place in January 2005 with the submission of double-disc ‘Special Edition’ DVD.
Both the film and the extras disc were passed with MA (High level violence, Medium level coarse language) ratings.
MGM Home Entertainment Group was the applicant.
Disc 2 of a SILENCE OF THE LAMBS – COLLECTORS EDITION DVD was classified w MA15+ Strong violence, Strong coarse language) in March 2007. Presumably, this contained extras and the change in consumer advice was not for the film itself.
Twentieth Century Fox Home Entertainment was the applicant.
They released it on Blu-ray in April 2009.
Hannibal
Directed by Ridley Scott / 2001 / USA – UK – Italy / IMDb
On 7 February 2001, a 131-minute print of HANNIBAL was passed with an MA (High Level Violence) rating.
United International Pictures was the applicant.
The classification was immediately condemned by the Australian Council of State School Organisations (ACSSO). Formed in 1947, the ACSSO claims to represent the families and communities of children who attend government schools.
February 8, 2001
Rodney Molesworth, President of the Australian Council of State School Organisations.
Well, it certainly seems a little bit difficult to understand. I think that what we really need from the board is a lot more consistency. We seem to have certain evidence of government interference when there’s something that they have an interest in and there’ve been changes to the board. There’ve been some classifications which seem to be ridiculously strict and some which seem (like this one) to be quite dangerously lax.
I think that really we need some kind of inquiry into what’s happening with censorship in the country and some further input from the community about what community standards really are.
– Questions over rating of SILENCE OF THE LAMBS sequel
– AM @ abc.net.au
February 8, 2001
The OFLC’s Des Clark though says he’d welcome a review, but he claims the way the board applies its guidelines is entirely consistent. Alison Caldwell has our report.
ALISON CALDWELL: Des Clark is the new head of the Office of Film and Literature Classification. While he himself hasn’t seen the film, he says he’s satisfied with its classification.
DES CLARK: What’s been applied in the MA 15+, mature accompanied in violence, is generally depictions of violence should not have a high impact. Depictions of high impact should be infrequent and should not be prolonged or gratuitous.
And that is what the Board has applied in this instance, in that there is a theme of violence throughout the film but most of that violence is not high impact and most of it is in fact not detailed. And in fact there are, as I understand it, two depictions in the film which are brief and do have a high impact but they’re not prolonged or gratuitous.
So that’s where their discussion has focused, on that section of the guidelines for MA 15+. And they weren’t of a view that it tipped over into the hard category. One board member did have that view, but that was only one.
ALISON CALDWELL: The Australian Council of State Schools Organisations today is calling for an inquiry into Australia’s classification guidelines.
DES CLARK: We’ve done research as recently as last year, where with focus groups of members of the community we’ve tested our classifications against the classifications given by the board, and in fact there is an extraordinarily high degree of consistency between community expectations and those of the board.
ALISON CALDWELL:What would you say about the fact that the marketing manager for the distributor of this film, he himself was expecting your office to give the film restricted classification?
DES CLARK: He’s the marketing manager. It’s a marketing statement, I don’t accept that that is in fact a genuine statement. If the film had gone R I expected there probably would have been an appeal, because nobody wants an R rating on their film.
– OFLC comes under fire for HANNIBAL’S MA classification
– AM @ abc.net.au
The following day, Fred Nile joined the call for a review.
February 9 2001
The Rev Fred Nile MLC, Hon National President of the Christian Democratic Party and Member of the NSW Parliament, has strongly condemned the soft policies of the Federal Film Censors concerning the ultra-violent film HANNIBAL with its MA rating for children. The anti-violence campaigner, Rev Fred Nile MLC, said, “The community is shocked at the soft MA classification which the Federal Censors – the Office of Film and Literature Classification (OFLC), gave to the new ultra-violent film HANNIBAL.”
“It seems this Federal Censorship Office is being influenced by representatives of the anti-censorship lobby from AXIS (hard core porn move distributor) which it met with last November, and the Eros Foundation, (lobby group for the porn industry)”.
“The MA rating is meaningless as it has no legal enforcement powers, so that hundreds of 13 and 14 year old boys are being allowed to watch these violent and pornographic films”.
“If the Howard Government was serious they would amend the Censorship Regulations, so that children under 15 years are legally not allowed to enter the theatre to watch an MA, or M-rated violent, porn movie, with heavy fines for theatre owners who allowed children to enter their theatre”.
“SURELY THE RECENT BLOODY, BRUTAL MURDER OF A 3 YEAR OLD GIRL BY A 13 YEAR OLD BOY SHOULD SHAKE UP THE FEDERAL CENSORS FROM THEIR COMPLACENCY”.
“The Federal Censorship Office must urgently re-classify the HANNIBAL movie at least as an R-rated film only for adults,” urged Rev Fred Nile MLC.
– HANNIBAL has crossed the Australian standards of decency
– The Christian Democratic Party
MA to be reviewed
The protests worked and soon the politicians were taking notice. Queensland’s Attorney-General, Judy Spence (Labor), made a request to Federal Attorney-General, Daryl Williams (Liberal), for him to apply for a review.
Unfortunately, the Board were unable to before the film opened on February 14.
February 14, 2001
COMPERE: The film’s Australian distributors chose today, Valentine’s Day, to open this movie in previews. But there’s already intense debate about its censorship rating – MA15+ – which will let children see it if accompanied by an adult.
Why not an R? The Classification Board’s being accused of being out of step with community opinion on extreme violence.
REBECCA BARRETT: HANNIBAL is already shaping up as one of the year’s most successful films. But not it seems because it’s a good movie. Lyndon Barber, a film writer with The Australian, says HANNIBAL is one of the worst films he’s ever seen. He says it’s boring and pretentious, and there’s no suspense. To add to that, it’s also particularly gruesome. So gruesome in fact that Lyndon Barber walked out.
LYNDON BARBER: I realised that I just didn’t want to sit for any longer through a film in which somebody’s live brain, a live human being’s brain is exposed and then prodded, and then has a bit sliced off it and then is eaten. I could see what was going to come. I could hear the sound of the sizzle of the frying pan.
And it’s all in full view, and with very realistic special effects.
REBECCA BARRETT: Lyndon Barber believes the film is too violent for a rating of MA15+, and he’s not the only one. The Classification Review Board has been asked by the Federal Attorney General to review HANNIBAL’S rating urgently.
But the problem is the Board is part time, and its members are from all over Australia. Getting them together for a screening is proving difficult, but the Board is hoping to review the film by the end of the week, days after its Australian release.
The MA15+ classification means that under 15s can see the movie if accompanied by a parent or a guardian. The guidelines for that classification state that the depiction of violence should not have a high impact. But the Classification Board has added a consumer advice to that rating, of high level violence.
That begs the question, Why didn’t they just give HANNIBAL an R rating? Lyndon Barber believes the Board has flagrantly ignored the guidelines, saying they should be rejigged so they’re more in step with community opinion.
LYNDON BARBER: Community opinion is now much less concerned about sex than it would have been a few years ago, and is more concerned about extreme violence, and I think they should be more liberal on sexual and erotic content, and I think we need to certainly be more questioning about violent, ultra-violent content.
REBECCA BARRETT: The Eros Foundation agrees. It’s not often the sex industry criticises the Classification Board for not being tough enough when it comes to censorship. The Eros Foundation was planning to seek its own review of HANNIBAL’S rating before it was pipped at the post.
It’s still seeking legal advice because it believes the classification system was not applied properly. CEO John Davey says the Board needs to be more consistent.
JOHN DAVEY: I think the Australian community are saying that, in the research that we’re doing and certainly the research that the OFLC’s doing, that, you know, sex is okay and you know, explicit sex – it should be appropriately regulated. But violence isn’t okay. And that’s sort of coming up time and time again for us.
So what we’re concerned with is that the OFLC seems to be out of step with that position and the views of the Australian community.
REBECCA BARRETT: David Haines is a former deputy chief censor, who a few years ago made adult movies. He’s now a consultant on censorship and media regulation and believes there’s a double standard when it comes to the way the Classification Board deals with sex and violence.
DAVID HAINES: I’d actually like to see the guidelines made much more flexible. I think that’s what needs to be done. The Board members need to be given the opportunity to adjust their own views according to their reading of community standards, rather than having the standards of a group of fairly conservative politicians thrust on them.
– Row over HANNIBAL film classification
– PM @ abc.net.au
MA to R-rated
HANNIBAL had been open for a week by the time the Classification Review Board met on February 22. They decided to increase the rating to R (High Impact Violence).
Following the ruling, advertising was amended to remove the previous MA (High Level Violence) classification.
February 15 & 22, 2001
34th Meeting
23-33 Mary Street, Surry Hills NSW
PRESENT;
Ms Barbara Biggins (Convenor)
Mr Jonathan O’Dea (Deputy Convenor)
Ms Joan Yardley
Ms Glenda Banks
Dr Robin Harvey
APPLICANT:
The Hon Daryl Williams AM QC MP
BUSINESS
To review the decision of the Classification Board to assign the classification “MA15+” with the consumer advice “High Level Violence” under the Classification (Publications, Films and Computer Games) Act 1995 to the film and sale/hire videotape HANNIBAL.
DECISION AND REASONS FOR DECISION
1. Decision
The Classification Review Board decided to set aside the decision of the Classification Board to classify the film HANNIBAL “MA 15+” with the consumer advice “High level violence”, and to classify the film “R 18+” with the consumer advice “High impact violence.”
2. Legislative Provisions
The Classification (Publications, Film and Computer Games) Act 1995 (the Act) governs the classification of films and the review of classification decisions. The Act provides that films be classified in accordance with the National Classification Code and the classification Guidelines. Relevantly, the National Classification Code (the Code) in paragraph 4 of the Table under the heading “Films” provides that films (except RC films, X films, and R films) that depict, express, or otherwise deal with sex, violence, or coarse language in such a manner as to be unsuitable for viewing by persons who are under 15 years, are to be classified “MA”. Para 3 of the table provides films (except RC and X films) that are unsuitable for a minor to see, are to be classified “R”.
3. Procedure
3.1 Having received a request from the Queensland Attorney General, the Hon Judy Spence MLA, the Federal Attorney General, the Hon Daryl Williams AM QC MP, requested the Review Board on 13 February 2001 to review the classification of the film HANNIBAL as a matter of urgency.
3.2 Five members of the Review Board viewed the film HANNIBAL.
3.3 At the request of the film’s distributor, United International Pictures (UIP), the Review Board postponed its meeting planned for 15 February to allow UIP sufficient time to prepare a submission to the Review Board. The written submission from UIP was received on 21 February 2001.
3.4 The Review Board met on February 22nd to review the film.
3.5 The Review Board heard oral representations from Mr Michael Selwyn and Mr John Dickie representing the distributor at its meeting of February 22nd.
4. Matters taken into account
In reaching its decision the Review Board had regard to the following: –
(a) The applicant’s Application for Review
(b) The distributor’s oral and written submissions to the Review Board
(c) The film HANNIBAL
(d) The relevant provisions in the Act
(e) The relevant provisions in the National Classification Code as amended by section 6 of the Act and as endorsed by the State and Territory Ministers responsible for censorship matters.
(f) The current Guidelines for the Classification of Films and Videotapes determined under section 12 of the Act.
5. Findings on Material Questions of Fact
The Plot
5.1 In this sequel to THE SILENCE OF THE LAMBS, Dr Hannibal Lecter, the former psychiatrist who engages in cannibalism, has escaped and is now living a cultured life in Florence. He is pursued for revenge by Verger, who had been horribly mutilated during an encounter with Hannibal some years earlier. Verger enlists the aid of law officers to trace Hannibal, and their paths cross with that of FBI agent Clarice Starling.
The content
The Review Board focussed on the scenes listed by the Classification Board in its report, but also made findings, as below, in regard to other scenes.
5.2 The Review Board considered the content cited by the Classification Board These were the following six scenes:
1) The stakeout in the marketplace in which policewoman Clarice Starling is cornered by a female drug dealer and her cronies, after much gunfire. Clarice is forced to fire on the female who is carrying a baby in a pouch. The female is shot dead. The sequence contains slow motion shots of falling bodies, and blood spurts. Splattered blood is washed off the baby.
2) The flashbacks which occur at several points in the film, but notably around 25mins, in which Verger, as a younger man, is seen swinging from a rope, and slashing at his face with broken glass given to him by, and at the suggestion of Hannibal. Verger peels flesh from his face, and Hannibal feeds the flesh to a dog. Verger is horribly disfigured as a result of the event.
3) Hannibal implicitly stabs a male who has been following him. The pursuer falls with flows of blood shown from his mouth and leg.
4) Hannibal renders unconscious the Italian policeman Pazzi, who has discovered his identity. He gags and straps Pazzi to a trolley, wheels him to the edge of the balcony, puts a rope around his neck, asking “bowels in or out?” Hannibal implicitly slits the officer’s gut, and pushes him over the balcony. Pazzi is hanged and his bowels fall out and are seen on the ground below, with the body swinging above.
5) Hannibal has been captured by Verger’s accomplices and taken to his farm where Verger plans to have Hannibal killed by his trained pigs. Clarice arrives and rescues him, shooting two guards who fall in the pig pen and screams are heard as the pigs attack. Verger is also thrown in the pigpen and is likewise attacked.
6) Hannibal drugs the law officer in the pay of Verger, and removes the top of the agent’s skull revealing his brain. He slices a piece of brain off, cooks and feeds it to him.
5.3 In reviewing these scenes, the Review Board found:
Scene (1) had high impact, with some elements of stylising which did not diminish the overall impact, and was prolonged
Scene (2) While scene 2 contained some elements of a stylised approach, it had high impact. The Review Board also found that this scene required an adult perspective in relation to the dialogue: “when you hang yourself it feels good”.
Scene (3) contained violence, but did not have a high impact
Scene (4) had high impact, and was prolonged, and had elements of gratuitousness
Scene (5) had high impact (despite some stylised elements) and was prolonged
Scene (6) had high impact and was prolonged.
5.4 In relation to other scenes considered by the Review Board, a majority of the Review Board found the scene in which he apparently cuts off Clarice’s hand with a cleaver to have high impact. The Review Board also considered that other scenes or threats of violence, such as the threat to eat the heart of Pazzi’s wife, Hannibal’s slitting the throat of one of Verger’s men, and picture galleries of Hannibal’s victims added to the general impact of the violent depictions in the film.
5.5 The Review Board also found that while some of these scenes, and the film as a whole, had elements that could be considered to be stylised, this did not diminish the overall high impact of the violence. Furthermore, most of the above scenes were portrayed as “real life” events and stylistic elements did not diminish this perception.
5.6 The Review Board also considered the themes of the film and found that the powerful portrayal of the serial killer as a “hero” without any credible alternate role models or an explicit or implicit moral resolution could be disturbing to adolescents in the age range of 13 to 16 years (even if accompanied by adults). The Review Board was also concerned about the theme of feeding of body parts from live humans to animals and people. It was considered that both these themes required an adult perspective.
5.7 The Review Board found that the film contained scenes of high impact violence which were not infrequent and which were sometimes prolonged and/or contained gratuitous elements. In addition the Review Board found that the film required an adult perspective in dealing with some of its themes. The Review Board therefore found that the film was unsuitable for persons under the age of 18 years and was appropriately classified “R18+”.
6. Reasons for the Decision
6.1 The Review Board based its decision to set aside the decision of the Classification Board, and to assign the classification “R 18+” to the film HANNIBAL on the content and themes set out in 5.2 –5.6 above.
6.2 As described in 5.3 and 5.4 above, the Review Board found that there were a number of depictions of violence that, in the view of the Review Board, had high impact, and some of these were, additionally, prolonged or had elements of gratuitousness. The Guidelines for violence in the MA classification require that such scenes be infrequent.
6.3 The Classification Board had taken the view that these scenes were “stylised”. The Guidelines permit depictions of violence with high impact to be more frequent if they are “stylised”. “Stylised treatment” is defined in the glossary to the Guidelines as being such that “the viewer is conscious of the unreality: examples include musicals, horror, animation, and fantasy”.
The Review Board took the view that the film as a whole was not stylised in that the characters and actions were realistic and the scenes were seemingly real.
In regard to individual scenes such as (1) –(6) above, the Review Board concluded that, while it could be argued that some scenes contained stylistic elements, in some cases these elements increased the impact.
For example, scene (2) in which Verger is mutilated, is depicted as a real happening, with stylised elements to convey that it is a flashback. The scene is set up to explain the cause of Verger seeking revenge, and was seen as a realistic depiction of an actual event, that is a key to the film’s action. In scene (3), the disembowelling of Pazzi is depicted as a real event, and the depiction includes a gratuitous closeup of Pazzi’s intestines on the ground. In scene (4) the filming techniques added to the chaos and scariness of the pig mauling and therefore increased the overall impact of the depiction. The depiction in scene (6) of the removal of the skull with the victim continuing to talk, was physically possible and was not considered unreal.
The Review Board concluded that, overall, it did not find the film or individual scenes to be stylised in a way that the frequency of high impact scenes was acceptable under the guidelines for the MA classification.
6.4 The Review Board considered that the portrayal of characters in the film contributed to a theme in which the viewer was invited to admire the culture and intelligence of the serial killer, despite the terrible crimes he had committed, and to empathise with his reasons for his violent behaviour. Adolescent viewers, at this point in their development, could be vulnerable to the ambiguous behavioural and emotional messages implicit in the characterisation of the film. The impact of this portrayal is increased in the final scene, in which Hannibal is seen to encourage a young child to eat a piece of human brain. This was perceived to be an attempt by the older man to corrupt the young child, with no sense of remorse or concern.
Further issues or depictions which require an adult perspective include:
1) the brief comment by Hannibal as Verger hangs and slashes at his face, viz “ When you hang yourself it feels good”. This was taken by the Review Board as a reference to the use of asphyxiation to produce heightened sexual arousal, which is an issue requiring an adult perspective.
2) the feeding of body parts taken from live human beings to animals or people.
6.5 The distributor argued in part that
a) the film was in the “horror” genre, and the violence was stylised. The film took a flippant approach and had an absence of menace
b) the Hannibal character was well known and his excesses would not surprise
c) in regard to specific scenes cited by the Classification Board, scene (4) (as in 5.2 above) was dimly lit, brief, stylised and in long shot; scene (5) had brief visuals, the action was chaotic and not detailed, and was unreal which lessened the impact; scene (6) in visual delivery did not live up to its conceptual strength, and was stylised.
d) The appeal was lodged before people had seen it, and that public concern had lessened after the film began national release.
6.6 In relation to these points, the Review Board took the view that :
a) see 6.3
b) HANNIBAL was likely to be well known among those who saw the thriller SILENCE OF THE LAMBS, but that does not reduce the overall high impact of violence in this film
c) See 5.3 and 6.2, 6.3.
d) This is not relevant to the Board’s determination.
6.7 The Review Board concluded that the film contained depictions of high impact violence that were not infrequent, and which were sometimes prolonged and/or contained gratuitous elements. The treatment of these scenes and of the film as a whole was not considered to be stylised in a way that would make the high impact violence acceptable under an MA classification. Further the film contained depictions and raised issues which required an adult perspective. The film is therefore appropriately classified R 18+. The Board’s decision to assign the consumer advice line “High impact violence” is made having regard to the content and view set out in 5.3 and 6.2. above.
7. Summary
The Review Board’s decision is to classify the film HANNIBAL “R 18+” with the consumer advice line “High impact violence”. This decision is taken after full consideration of the applicant’s and distributor’s submissions, and after assessing the film as a whole against the relevant legislative criteria, including those contained in the Code, and in the current Guidelines for the Classification of Films and Videotapes determined under Section 12 of the Act.
– Barbara Biggins, Convenor
– Classification Review Board report
‘Liberal’ politicians speak-out
South Australian MP Trish Draper was a morals campaigner who made her name with the LOLITA (1997) case. She followed that with protests against SALÒ, OR THE 120 DAYS OF SODOM (1975) and BAISE-MOI (2000).
Here she is revealing her involvement in the HANNIBAL case.
March 8, 2001
Many constituents in my electorate would be aware that recently the film HANNIBAL was reclassified by the Classification Review Board from MA15+ to R18+. I believe this is an important decision, reflecting the legitimate concerns of our community with regard to the ever increasing, unnecessary, gratuitous and graphic violence portrayed in films and other genres for the sake of entertainment.
We have enough violence in our society without trying to teach our children that violence is entertainment or a way of solving problems, particularly in the manner of that film. The reclassification of HANNIBAL to R18+ is a win not only for my local constituents in Makin but for our society right across Australia.
– Trish Draper (Liberal)
– House of Representatives, Parliament of Australia
Soon after the decision, the Attorney-General, Daryl Williams, spoke about the case at an Australian Film Institute forum in Sydney. In it, he claimed that …censorship is alien to liberal philosophies and traditions’ and that John Howard’s Government seeks ‘…classification policies, not censorship policies’.
This was coming from a member of a party that campaigned at the 1996 election to remove the X-rating entirely. When this proved too difficult, they instead tightened the guidelines, which massively increased the level of censorship of adult material.
May 14, 2001
The national scheme currently provides an opportunity for certain people to seek a review, which is effectively a reconsideration, of a classification decision.
Those entitled to seek a review of a decision under the Act are the original applicant, the distributor or publisher, the Minister and “a person aggrieved by the decision”.
For example, most recently I sought to review the decision of the Classification Board to classify HANNIBAL ‘MA’ in accordance with these provisions.
In accordance with the Act, I applied for review at the request of Judy Spence, the then Queensland Censorship Minister.
There was also concern in the community and the media about the classification and in the event, the Review Board classified HANNIBAL ‘R’.
Such a process is the exception rather than the rule, but it allows for reconsideration of decisions when appropriate and is part of the effective operation of the scheme as a whole.
– AFI Forum, The Big C’s – Censorship or Classification
– Daryl Williams (Liberal)
DVD releases
In August 2001, Sony Pictures Entertainment received an R (High impact violence; Horror theme) rating for the DVD release of HANNIBAL. The addition of ‘Horror themes’ to the consumer advice was justified due to extras on the disc.
August 24, 2001
This approach [the inclusion of extra material] gives the horror element a stronger focus. The additional consumer advice, more adequately informs the viewer of the content of the film.
– Classification Board report
Universal Pictures rereleased the DVD in March 2005.
Mistakenly, they put the original MA (High level violence) on the cover.
Back to MA15+
In July 2009, Universal Pictures Video submitted a 419-minute Blu-ray for classification.
Eight-years after being increased from MA to R by the Classification Review Board, it was now downgraded back to an MA15+. Only the consumer advice had been changed from ‘High level violence’ to ‘Strong violence’.
Censored TV-screening
In December 2016, Channel Seven received a complaint about their screening of HANNIBAL.
December 19, 2016
At ~11:05pm on Friday the 2nd of December, your network broadcast the 2001 movie HANNIBAL on 7Flix.
I believe you have breached the code. Due to the movie on DVD being classified “R18+” with “high impact violence” (which was actually decided by the Classification Review Board following complaints in that year).
I had a teenage boy in the house at the time, who actually alerted me that he had been watching the movie in another room (of which I was unaware). He came to me and said “look at this, a man is getting his head cut open”. Which was deeply alarming and concerning. Hence, the instigation for my complaint/anger. It should be noted, I don’t have a parental lock set on any of my televisions, as I know R18+ programs cannot be broadcast on free-to-air television.
DETAILS OF MY COMPLAINT:
Channel Seven classified the broadcast as “MA15+” with “Strong Violence” & “Some Horror” (present in the top left-hand corner for ~10sec).
Two particular scenes upon what I ended up watching & my son had told me about, as well as the use of the Classification Review Board report of the movie, assisted me in determining my main concerns:
A man has his torso explicitly (but very briefly and in dim light) sliced open by a blade. He is then pushed off a balcony, whilst attached to a rope. When the rope slack ends, he is suspended in the air with his bowels explicitly splattering onto the pavement below.
This scene was high in viewing impact, particularly given the dark theme of the scene where an innocent man has been tied-up. It was also gratuitous and could be considered abhorrent by many. The classification review board also noted this scene as being high in impact and contributing to the R18+ classification.
At the end of the movie, a man is seated at a lavish dining room table, with a women (the protagonist) seated adjacent and another man (the antagonist) standing up next to the man. Thereafter, the antagonist proceeds to explicitly (but not graphically) slice open the top of the man’s skull, he then explicitly removes it. The man’s brain is explicitly exposed for the remainder of this scene. The man is also clearly medically affected, with his facial expressions, slurred and confused speech evident. The antagonist then explicitly removes a thin layer off his brain and cuts a portion of his brain off and cooks it on a frying pan, the man is then fed a piece of his own brain and eats it.
This scene was arguably the most graphic in the movie. It was high in viewing impact, gratuitous, likely to cause disgust and was more importantly unsuitable for a minor to view. It was also very uncomfortable to watch, taking into account the gross displeasure from the female protagonist beside him during the scene, but drugged, unable to move to help. The scene was lengthy, detailed and clear. The horror of the context and scene also increased the impact. The classification review board also noted this scene as being high impact and contributing to the R18+ classification.
In conclusion, I did not have any problem with any other element in the broadcast, which could all be accommodated in a lower classification (except the horror theme, but which was noted in the consumer advice). However the impact of the two specific scenes I mentioned was high in impact (at the R18+ level) and should not have been broadcast on free-to-air television. Adding to this, that no effort was made to edit/modify the movie from its uncut version and also seeing as the movie was classified R18+ (as shown in the report which is hyperlinked above).
I am also concerned at Seven’s classification department, that they were not able to determine the difference between content that is “strong in impact” (MA15+, allowed on television) and “high in impact” (R18+, not allowed on free-to-air television) in respect to this case.
Therefore I believe the broadcast did breach the code:
Due to the movie being classified R18+, which is not allowed on free-to-air television.
But also further supported by the two “high impact” scenes which I mentioned. Impact which is “strong” is the highest level allowed on free-to-air television.
– To: Channel Seven
– From: Complainant
Channel Seven responded, and pointed out that the print had already been modified for screening by their in-house classification department.
December 2016
As required by the Code, with regard to movies, the free-to-air television networks apply the same classification system as the Australian Government’s Classification Board. This generally means that if a movie is classified MA (Mature Audience) for cinema or DVD release, it will be MA for television. The Code further provides however that free to air television networks may edit a movie, so as to reduce its impact, and ensure it is suitable for broadcast, or for broadcast at a particular time.
In the case of HANNIBAL, the film was modified for broadcast, so as to be suited to an MA (Mature Audience) classification, with consumer advice for strong violence and some horror. Material classified MA is suitable for viewing only by persons aged 15 years or over because of the intensity and/or frequency of violence, sexual depictions, or coarse language, adult themes or drug use. In making the relevant editorial decisions, our experienced Classifiers carefully reviewed the film in the light of both the Classification Board MA15+ Classification and Report, dated 6 February 2001, and the subsequent Review Board R18+ Classification and Report, dated 23 February 2001.
You are correct in your correspondence in asserting that two scenes were not edited although other scenes were cut. These two scenes were left unedited as signature scenes in a horror classic in which the horror element is evoked conceptually, while the depictions and style remain relatively restrained.
In the first scene you have described, a man’s torso is sliced open with a blade as he is poised on a mechanical chair on a balcony above a public square. As you pointed out in your correspondence, this is both brief and dimly lit. The effect of the downward slice of the blade is barely visible due to the extremely brief duration, and darkness of the shot. The cut is virtually implied and there is no blood detail. The man, silhouetted against the light and attached to the rope, is pushed over the balcony and tumbles as he falls. A shot of the pavement then shows objects from his pockets falling into frame, followed by blood and fleshy material. The man is then seen from beneath, dangling from the rope and swinging, in profile. While thematically strong, the actual depictions of violence are brief and/or implied and lack detail.
The second scene you have described is the famous dinner scene at the lake house. Taken in context, this scene, in its deliberately constructed style and pacing, is strong in thematic impact, while the depictions of actual violence are brief, even minimal. The scene unfolds slowly, almost lyrically, from the arrival of the victim Paul, to the waking of Clarice Starling in an upstairs bedroom. As Clarice makes her way downstairs she sees Hannibal stirring a frying pan with a wooden spoon, chatting politely with Paul. The mood at the table is surreal but calm, as an artful cutaway shows police cars speeding along the freeway towards the house. We then return to Paul who says grace, before another evocative shot shows a helicopter moving ever closer to Hannibal’s location.
Hannibal then removes Paul’s cap, revealing a thin line of blood around his skull. He carefully levers off the top of Paul’s skull, revealing his brain. The scene continues with Paul behaving in a slightly bewildered way, but apparently without pain or distress. Hannibal says “You see, the brain itself feels no pain, Clarice, if that concerns you.” in close ups of Clarice and Hannibal, she tries to negotiate with him to “stop now.” Hannibal removes a small piece of the brain which he fries in the pan. Paul comments, “that is good”. Again, close-ups of Clarice and Hannibal are shown in conversation. Hannibal then slowly wheels Paul from the room, as a line of police cars are seen in a dramatically stylised overhead shot, speeding towards Hannibal’s location.
While this scene is thematically strong, the depictions of violence are brief and meticulously constrained. In determining that the cumulative impact of the scene was strong, but not high, and thereby suited to an MA classification, our Classifiers gave due consideration to the Code’s Television Classification Guidelines which state, “the suitability of material for broadcast will depend on the context, frequency and intensity of key elements such as violence, sexual behaviour, nudity and coarse language, and on the day and time at which it is broadcast. It will also depend on such factors as the merit of the production, the purpose of a sequence, the tone, the camera work, the relevance of the material and the treatment; be it dramatic, comedic or documentary.”
HANNIBAL has become recognized as something of a classic. As with the ‘dinner scene’ in particular, it denotes a particular style in which the horror element is more conceptual than actual. Since this film was first classified in 2001, it has received wide recognition and acceptance.
We believe the film was appropriately classified MA and in full compliance with the Code. It was broadcast very late at night and into the early morning, and had warnings as to its content. It is intended that people use this information to make decisions about what to watch themselves, as well as those under their care.
To: Complainant
From: Channel Seven
Unhappy with Channel Seven’s response, the complainant then wrote the Australian Communications and Media Authority (ACMA). They continued to claim that the film was R-rated, when in fact it had been dropped to MA15+ in July 2009.
January 9, 2017
In early December 2016, I emailed the Seven Network (via Free TV Australia) to raise concern about the 2001 film HANNIBAL that was broadcast on their multi-channel “7Flix” on the 2nd of December 2016 at 11:05pm.
The film was classified R18+ (following a review) by the Australian Classification Review Board in 2001. I believe the Seven Network did not edit (or as I have since discovered in their reply) sufficiently edit the film, to accommodate it in a lower classification suitable for free-to-air television, due to the “high impact violence” (some of which was gratuitous or over-the-top and prolonged in a realistic manner) the film contained, therefore breaching the code.
The two particular scenes I had serious concern about, was (1) the scene where an Italian Police officer’s torso is slit open and his bowels splatter on the ground below explicitly, after being strung up by a rope from a balcony. The second (2) scene I had even more serious concern about occurred at the end of the film, where Hannibal cuts open and removes a section of a man’s skull, revealing his brain with eerie detail, cuts a piece off, fries it and then feeds it to the man. I found these scenes to be high in viewing impact, somewhat over-the-top, hard to watch, prolonged (especially the latter scene) and rather realistic, as well as filming effects used to increase the impact and in the latter scene the distressed and uncomfortable mood/tone from the protagonist Clarice. I will admit that there were elements of stylisation and surreal that slightly decreased the impact, but minimally.
However I was not satisfied with their explanation and reasoning of the two scenes described above, with the Seven Network defending them as “two crucial scenes in a horror classic” and cementing that by saying “the film has become accepted over the years”. They also stated they believed the two scenes mentioned were no higher than strong in impact, which I, my family and the Australian Classification Review Board strongly disagree with.
I want resolution of clear issues:
1) Streamlined and more care given for classification, in that one organisation can’t find one scene to be ‘high in impact’ and the other not to be, especially when the code states that films for broadcast must follow the Australian Classification Board’s classification and guidelines.
2) To abolish the assertion that, just because a broadcast is late at night doesn’t necessarily mean minors and children will not be subject to the program. Classification provides a safeguard to children and their innocence. There is a reason why R18+ programs shouldn’t be broadcast on free-to-air television and it’s for this reason that minors (those under 18 years of age) need to be protected from confronting, confusing and offensive material. Many minors, particularly on Fridays and Saturdays stay up very late, particularly older teenagers, which backs this up.
– To: ACMA
– From: Complainant
In their submission to the ACMA, Channel Seven detailed which scenes had been censored for screening and justified which ones were left untouched.
February 13, 2017
We provided the complainant with a detailed response in relation to [the complainant’s] concerns in our letter of 19 December 2016 and the comments made below are in addition to those we have already articulated.
Classification
The Classification Review Board gave the unedited version of HANNIBAL a classification of R18+ for cinematic release in 2001, following pressure from various Christian and community groups.
The Code provides that Films must be classified by applying the classification system provided for by the Classification (Publication, Films and Computer Games) Act 1995. However notes that Films may be modified by a Licensee to ensure they are suitable for broadcast, or for broadcast at particular times.
The film HANNIBAL was broadcast on 7flix with a classification of MA 15+ and Consumer Advice for strong violence and some horror. It was broadcast very late at night and into the early morning. The feedback from the complainant was the only complaint Seven received in respect of the broadcast, and the film has been previously broadcast with an MA15+ classification without complaint.
While we acknowledge that the content of HANNIBAL is very much at the higher level of what is acceptable for television broadcast, we consider the film was appropriately classified MA15+ applying the classification system provided for by the Classification (Publication, Films and Computer Games) Act 1995.
The Guidelines for the Classification of Films 2012 (Film Classification Guidelines) provide as follows in respect of material classified MA15+
– The impact of material classified MA 15+ should be no higher than strong.
– The treatment of strong themes should be justified by context.
– Violence should be justified by context.
The Film Classification Guidelines also provide that assessing the impact of material requires considering not only the treatment of individual classifiable elements but also their cumulative effect. It also requires considering the purpose and tone of a sequence.
The guidelines also emphasise the role of context, stating “context is crucial in determining whether a classifiable element is justified by the story-line or themes.”
Community attitudes to strong violence in film and television have changed over the 16 year period since Hannibal was given an R18+ rating by the Classification Review Board in 2001. Indeed, THE SILENCE OF THE LAMBS, classified by the Board as R18+ in 1991, has subsequently been classified MA15+ for DVD release in various editions since 2005.
TV series classified MA15+ in Australia arguably include violence of a similar impact to HANNIBAL, including THE KILLING, THE BRIDGE, CSI, LUTHER, BONES and DEXTER. These programs are characterized by detailed verbal and/or visual depictions of crimes in which the victim has frequently been tortured prior to dying.
In particular we would argue that DEXTER is highly comparable to Hannibal in the complexity of its themes and the detail/impact of violence depicted. DEXTER, winner of two Golden Globe awards, is a US television crime series about a police forensic technician named Dexter Morgan who leads a secret life as a vigilante serial killer.
The New York Times of September 29, 2006, describes the lead character as a “smart, wittily self-aware homicidal maniac in the tradition of Richard Ill and Hannibal Lecter”.
The Classification Board gave each series a classification of MA15+ with consumer advice of “Strong violence and coarse language”, sometimes including drug use and themes as well.
Within the Board’s Guidelines, content classified MA15+ is “strong in impact”. By way of example, material the Board found to be strong in impact in relation to DEXTER includes:
– “numerous depictions of crime scenes with large amounts of blood and severed body parts visible”
– “Dexter drops plastic bags on the ground, implicitly full of body parts of a man he killed, in preparation to dump them. A bag breaks open and a dismembered hand with an open wound full of maggots falls out”
– As a boy Dexter and his brother witnessed the murder of their mother when she was implicitly killed by a man with a chainsaw, “a large amount of blood shown spraying onto her face … two young boys are shown sitting in a very large pool of blood”
– After Dexter “slashes a man’s throat with a knife, a close-up of Brian’s neck shows the wound begin to open up as a large amount of blood pulsates out. Blood is then shown spraying from Brian’s neck and pooling into a bucket”
– Dexter takes a man still alive to a warehouse where he “surrounds a room in plastic, tapes Chino’s body to a table with cling film and masking tape and cuts his cheek with a knife, resulting in blood flowing onto the floor. Dexter then picks up a knife with a long thin blade and plunges it into Chino’s chest through the tape, resulting in a large amount of blood pouring down Chino’s stomach onto the floor”.
Dexter’s crimes are frequent and cruel, with his victims being subjected to ritualized processes prior to death and always being awake to see their own demise coming.
If DEXTER is “strong in impact” (rather than “high”) then, we would argue, so is HANNIBAL.
The following cuts were made to the film, HANNIBAL for television broadcast:
– At around 01:18 a shot of a man whose throat has been slit by Hannibal is seen lying on the floor, with blood pooling under his head. This depiction occurs in the aftermath of the evisceration of the policeman Pazzi and is a part of the conclusion of that scene. It was removed as surplus to the narrative and for showing the wound in detail.
– At around 01:46 2 edits were made to remove depictions of Verger’s head being eaten by pigs.
As noted above, the Film Classification Guidelines provide that assessing the impact of material requires considering not only the treatment of individual classifiable elements but also their cumulative effect. These edits do reduce the overall impact of the film, in particular taking into account that violence within the film was already relatively low in frequency and duration, scattered with long low impact narrative sequences.
While the film is thematically challenging, we consider it fits within the “justified by context” boundaries of the MA15+ category – especially when considered in light of recent examples such as DEXTER.
The film has an intricately constructed narrative, with stylized camera work and elaborate editing. It has high production values and celebrated performances. The quality of the film and the cinematic techniques it employs were a factor in the decision to make minimal edits, as was its status as a well known “classic” of its genre. The infamous nature of the ‘dinner scene’ in particular, has reduced its thematic impact overtime.
Our experienced Classifiers carefully reviewed the film and exercised their professional expertise to bring the film within the boundaries of MA15+. In doing so, careful consideration was given to the scenes that were referenced as high impact in the original decision of the Classification Review Board. However, in the judgement of our classifiers, further cuts were not considered necessary, based on the current Film Classification Guidelines and their interpretation. A brief overview of their reasoning in respect of these elements is set out below:
(1) The scene in which Agent Starling shoots a woman carrying a baby. This scene was not cut as the detail of the encounter is crucial to the narrative and in establishing Clarice’s character. The scene portrays Clarice as having both a deadly focus and compassion – as well as very good aim. Before the woman has hit the ground the baby is heard crying (a normal baby cry) indicating the baby is alive and not in pain. In the view of our classifiers there was nothing in this scene that would be considered high impact violence in accordance with the current Film Classification Guidelines and their interpretation. It would sit comfortably within other M/MA classified police action drama films such as CRIMINAL MINDS, THE SHIELD, THE WIRE and LAW AND ORDER.
(2) This scene in which Verger recounts his encounter with Hannibal, which resulted in his terrible disfigurement: Verger’s disfigurement and wish for revenge is essential to the narrative. The scene establishes a prior event and also demonstrates Clarice Starling’s acute understanding of the nature of the relationship between Verger and Hannibal. The scene is stylized to the extent that the hanging and the cutting are blurred and/or obscured. Given the brevity, the stylized treatment and the context as a recollection of past events, our classifiers consider the impact of this scene was no higher than strong.
(3) The scene in which Italian police officer Pazzi is killed: This scene is very dark and much of the action is partially obscured. It was decided to keep the evisceration sequence intact as it is the culmination of events which commence from the moment Pazzi decides to seek the reward for Hannibal’s capture. The detail of what was implicitly Pazzi’s bowel/intestines falling onto the ground was gory, but no higher than strong in impact. Particularly when compared with a series such as VIKINGS, which commonly features strong/bloody violence and has been broadcast and approved for sale/hire with an MA15+ classification. As noted above, the depiction of another man lying with his throat slit has been edited.
(4) The dinner scene in which Hannibal removes the top of a man’s skull. This has been discussed in some detail in response to the complainant. While this scene is thematically strong, the depictions of violence are brief and meticulously constrained. The surreal nature of the events and the lack of pain or suffering by the victim (who has clearly been medicated) was considered to significantly reduce the impact the scene – particularly when compared to violence within other films and series in the serial killer genre where the protagonist is depicted as being gratified by causing fear, pain to their victims. Hannibal is a very contradictory character – he’s brilliant psychiatrist and highly cultured but also a cannibalistic serial killer. Although the dinner scene was strong in impact, it was very much a dramatic expression of the essential contradiction in his nature. In this sense, it wasn’t gratuitous. It was meticulously handled in a way that was quite understated and matter of fact. Lighting, music and other special effects are carefully selected to contrast the refined and almost romantic atmosphere with the actions that are occurring, which gives the scene a surreal quality.
In determining that the impact and cumulative effect of these scenes was strong, but not high, and thereby suited to an MA classification, our Classifiers were very mindful of the merits of the production, the contextual justification, and the relative infrequency of strong violence within the film.
For the reasons provided above, Seven submits that the film was appropriately modified for broadcast and classified MA15+ by our expert classifiers applying the classification system provided for by the Classification (Publication, Films and Computer Games) Act 1995.
– Channel Seven submission to ACMA
The ACMA’s final report was handed down in March and was a win for Channel Seven.
March 3, 2017
Decision
No breach of paragraph 7(1)(ga) of Schedule 2 to the Broadcasting Services Act 1992 [modify R18+ films]
No breach of clause 2.6.1 of the Commercial Television Industry Code of Practice 2015 [suitability for broadcast]
Reasons
The BSA and the Code require that films that are modified for broadcast are classified under the Classification (Publications, Films and Computer Games) Act 1995 (the Classification Act), according to the National Classification Scheme (the NCS).
To assess compliance with the BSA, the ACMA considers the classification of the film (as it has been modified for broadcast) against the requirements of the NCS Guidelines in force at the time of broadcast. Previous classification decisions and the guidelines used to make those decisions do not apply to the classification of the modified film. This is because the guidelines have changed since the original film was classified, are applied at the time of broadcast, and because the film itself has been modified.
Clause 2.6.1 of the Code, prohibits material, including films, that is not suitable for broadcast. To assess compliance with the Code, the ACMA considers whether a modified film is suitable for broadcast by assessing whether the film can be accommodated within the guidelines for MA15+ in Appendix 1 of the Code.
These considerations involve asking:
Was the modified film classified appropriately, according to the NCS?
Was the modified film suitable for broadcast under the Code?
The complainant submitted to the ACMA:
‘The film was classified R18+ (following a review) by the Australian Classification Review Board in 2001. I believe the Seven Network did not edit (or as I have since discovered in their reply) sufficiently edit the film, to accommodate it in a lower classification suitable for free-to-air television, due to the “high impact violence” (some of which was gratuitous or over-the-top and prolonged in a realistic manner) the film contained, therefore breaching the code.
I believe the broadcast did breach the code:
Due to the movie being classified R18+, which is not allowed on free-to-air television.
But also further supported by the two “high impact” scenes which I mentioned. Impact which is “strong” is the highest level allowed on free-to-air television.’
The licensee responded to the complainant:
‘As required by the Code, with regard to movies, the free-to-air television networks apply the same classification system as the Australian Government’s Classification Board. This generally means that if a movie is classified MA (Mature Audience) for cinema or DVD release, it will be MA for television. The Code further provides however that free to air television networks may edit a movie, so as to reduce its impact, and ensure it is suitable for broadcast, or for broadcast at a particular time.
We believe the film was appropriately classified MA and in full compliance with the Code.
In the case of HANNIBAL, the film was modified for broadcast, so as to be suited to an MA (Mature Audience) classification, with consumer advice for strong violence and some horror.’
Was the modified film classified appropriately, according to the NCS?
The classification of the film takes into account the context and impact of the six classifiable elements – violence, themes, sex, nudity, coarse language and drug use.
Violence
The ACMA considers that the following scenes contain the strongest depictions of violence and themes, and are the focus of the complaint:
Scene 1
The scene at approx. 76 minutes where Pazzi’s abdomen is slit open by Lecter and he is pushed from a balcony and hanged, his entrails spilling to the ground.
Scene 2
The climactic ‘dinner party’ scene (from 109 minutes) where Lecter removes and cooks a piece of Krendler’s brain and feeds it to him.
In these scenes, violence and the film’s themes of serial murder and cannibalism are inextricably linked. The scenes are essential for character and plot development and are contextually justified within the narrative and genre of the film.
In its response to the complainant, the licensee stated that the scenes were not modified for broadcast.
‘You are correct in your correspondence in asserting that [those] two scenes were not edited although other scenes were cut. These two scenes were left unedited as signature scenes in a horror classic in which the horror element is evoked conceptually, while the depictions and style remain relatively restrained.’
The ACMA considers that the impact of these scenes does not exceed strong.
Scene 1
Regarding the first scene, the licensee responded to the complainant:
‘As you pointed out in your correspondence, this is both brief and dimly lit. The effect of the downward slice of the blade is barely visible due to the extremely brief duration, and darkness of the shot. The cut is virtually implied and there is no blood detail. The man, silhouetted against the light and attached to the rope, is pushed over the balcony and tumbles as he falls. A shot of the pavement then shows objects from his pockets falling into frame, followed by blood and fleshy material. The man is then seen from beneath, dangling from the rope and swinging, in profile. While thematically strong, the actual depictions of violence-are-brief and/or implied and lack detail.’
The first scene uses the darkness of the night-time setting and cutaways to different perspectives of the scene to mitigate its impact. The audience anticipates and is prepared for Pazzi’s death because it is suggested in the previous scene, where Lecter shows Pazzi an artwork depicting the same fate for his ancestor. The scene is frequently intercut with footage of Verger’s men waiting for him outside and images of people wandering in the piazza. A phone conversation between Lecter and Starling, when Lecter answers Pazzi’s phone, also interrupts the build-up of tension in the scene.
Although the viewer sees Lecter slit open Pazzi’s abdomen, the cut is made through his clothing and is shown only very briefly with no wound detail or blood spray. After Lecter pushes Pazzi from the balcony, the contents of Pazzi’s pockets are seen landing on the ground below one by one before his entrails land beside them. This depiction is bathed in shadow, with very minimal blood splash and no close up of the viscera. The camera cuts away immediately thereafter, so the image lasts for a matter of seconds. A final image of Pazzi’s body swinging with the string of his intestine protruding is shown from a distance, is darkly silhouetted to conceal detail and is interspersed with a series of further cutaways.
Scene 2
The second scene is the ‘dinner party’ where Lecter removes the top of Krendler’s skull and feeds him a cooked piece of his own brain. The scene is less one of violence than a culmination of the theme of cannibalism – the point where Lecter is both satisfying his cannibalistic desires and exacting revenge on a person who has mistreated Starling. It is therefore contextually justified and serves as a parallel to the primary revenge narrative of the film.
Regarding this scene, the licensee responded to the complainant:
‘Taken in context, this scene, in its deliberately constructed style and pacing, is strong in thematic impact, while the depictions of actual violence are brief, even minimal.’
The impact of the scene is mitigated by elements that are only implied rather than explicitly depicted, including the sawing open of Krendler’s skull which is heard rather than seen. The surreal, dreamlike nature of the scene is enhanced by Starling’s and Krendler’s morphine-induced haze. Lecter is matter-of-fact and methodical throughout, and as he peels back the membrane covering the brain, it appears more akin to a medical procedure than an act of violence. Gentle classical music scores the scene, which is intercut with shots of a police convoy en route. The comic dialogue between Lecter and Krendler throughout provides levity and dampens the viewer’s sympathies for Krendler, who shows no fear or pain, including the remarks that the smell and taste of the cooked brain is ‘good’. Although the scene as a whole is approximately six minutes in duration, the focus is split between Lecter’s interaction with Krendler and with Lecter negotiating with Starling.
Both scenes depict acts of predatory violence. However, each is relatively restrained in various ways, whether by tone, lighting, the brevity of particular images, and the use of cutaways to other scenes or points of focus. The impact comes more from the sense of anticipation than the level of violence.
Two other scenes were edited by the licensee to reduce their impact. These scenes and the other instances of violence in the film do not individually or cumulatively exceed what can be accommodated at the MA15+ category under the NCS.
Themes
The themes of serial murder and cannibalism in the film are inextricably linked with the element of violence. The most impactful illustration of the theme is the dinner party scene described above, which is no higher than strong. The film also contains more moderate visual and verbal references throughout, such as when Starling and her colleagues discuss Lecter’s criminal history, and the closing scene where Lecter implicitly feeds brains to a child passenger on a commercial flight.
The ACMA considers that the thematic impact is commensurate with that of the violence, and does not exceed the MA15+ classification.
Other classifiable elements
The classifiable elements of sex, nudity, coarse language and drugs are also present in the film.
The ACMA considers that each of these elements is justified by the narrative context of the film and their impact does not exceed moderate.
Accordingly, the ACMA considers the film was appropriately classified MA15+ under the NCS.
Was the modified film suitable for broadcast under the Code?
The ACMA assessed the film against the particular classification requirements of MA15+ in Appendix 1 of the Code. Programs at the MA15+ classification are suitable for viewing only by persons aged 15 years or over. The impact of elements such as violence and themes at this level may be strong, though must be justified by context.
Violence
The two scenes in question both contain some detail but are restrained in tone and their impact is mitigated by the camera work, lighting and editing. Much of the violence is of a psychological nature with the scenes conveying a strong sense of threat and menace through dialogue and pacing rather than through the depiction of acts of violence.
Scene 1
In the scene depicting Pazzi’s hanging, the moments when he is slit open and pushed from the balcony with his entrails landing on the ground are brief and dimly lit. Although the moment shown represents a period of escalating tension and foreboding, the shots showing his body hanging are framed from a considerable distance, lack detail and are only on screen for a brief period. The scene is not prolonged or unduly horrific.
Scene 2
While lasting approximately six minutes, the dinner party scene does not contain prolonged depictions of violence. The majority of the scene focuses on the conversation between the three characters, with repeated close ups of Lecter’s and Starling’s faces. The scene is also interspersed with cutaways to the image of the police convoy. Lecter’s surgical cutting of Krendler’s skull occurs off screen. The depiction of Lecter using a scalpel to remove a membrane from Krendler’s brain is not excessive in either duration or detail. The slicing of the brain itself is only implied, as the shot cuts briefly to the small piece of fleshy matter in the frying pan. The depictions are not unduly horrific, given the narrative context.
The ACMA considers that the depictions of violence in these scenes are realistic, contain some detail but are not prolonged or unduly horrific.
Themes
Appendix 1 of the Code states that at the MA15+ level, the treatment of strong adult themes should be justified.
Serial murder and cannibalism are strong adult themes. Their treatment in the film is contextually justified, as both are critical to character development and plot. Thematic material has been carefully balanced by the tone and stylisation of the scenes, and by Lecter’s matter-of-fact demeanour and expository dialogue.
The ACMA considers that the film was appropriately classified MA15+ under the Code and was, therefore, suitable for broadcast.
The ACMA notes that the consumer advice of ‘Strong violence [and] some horror’ was provided to allow viewers to make an informed decision about viewing the film themselves and choosing whether the material was suitable for those in their care to watch.
The licensee did not breach paragraph 7(1)(ga) to Schedule 2 of the BSA or clause 2.6.1 of the Code.
– ACMA Investigation Report No. BI-274
|
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https://www.ign.com/articles/2001/08/21/hannibal
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en
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Hannibal
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[
"Nick Nunziata"
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2001-08-21T00:00:00
|
I'm a big fan of the books of Thomas Harris. I think 'Red Dragon' is still his best, but 'Silence of the Lambs' and 'Black Sunday' are strong as well. 'Hannibal' the book, well....
I pretty much hated it.
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en
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https://kraken.ignimgs.com/favicon.ico
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IGN
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https://www.ign.com/articles/2001/08/21/hannibal
|
I'm a big fan of the books of Thomas Harris. I think 'Red Dragon' is still his best, but 'Silence of the Lambs' and 'Black Sunday' are strong as well. 'Hannibal' the book, well....
I pretty much hated it.
Still, when Ridley Scott was named as the successor to Jonathan Demme I was thrilled. While Demme has all sorts of respect, his body of work doesn't compete with Scott's and visually it's no contest. I liked 'Silence of the Lambs' but felt it was undeserving of all the accolades it ended up winning. A very good film, but Oscar material? Come on... over 'JFK'?
Anyway, it's home on DVD with a super nice special edition...
The Movie
You know the story of SILENCE OF THE LAMBS, so I'm not going to waste the time.
For the third time, Hannibal Lecter is onscreen to chill you, thrill you, and spar with his adversary in the FBI. For the second time it's Hopkins as the brilliant murderer and for the second time he's squaring off against Clarice Starling (this time played by Julianne Moore after Jodie Foster turned down 20 million dollars to reprise her role).
A lot has been made over the book's controversial ending as well as the loss of the screenwriter, director, and female lead from the Oscar sweeping SILENCE OF THE LAMBS. When the smoke clears, there's not a lot they could have done to affect the outcome of HANNIBAL. In fact, I'd take the creative team of Scott, Zaillian, and Moore over Demme, Tally, and Foster any day. I felt the book was rich in description and scope, but was betrayed by an ending that was an injustice to Starling. The ending, which features her heroic agent going against everything she stands for thanks to a little "coercion" from Lecter. That's all I'll say.
The script for the movie gave the creative team (and author Thomas Harris) another chance to do it, and they seized it. The results will divide audiences no less than the book did. Personally, I like this one more. It's more cinematic, more open. It allows for future films and gives the audience what they asked for (the mainstream audience at least, and for a change I'm on their side).
Beginning with Hannibal Lecter roaming the free world in parts unknown, we see agent Clarice amidst her team preparing for a confrontation with a deadly, AIDS carrying villainess. It's an intense scene where director Scott immediately reminds us that Jonathan Demme is old news by using a mixture of the techniques he used to good effect in GLADIATOR and BLACK RAIN, with a gorgeously photographed action scene showing no lack of gunfire or pizzazz. Things go a bit awry (which is conveyed less effectively in the film than the book, I must admit), and Starling is shamed. Most responsible for her punishment is the competitive Agent Krendler (Liotta).
On thin ice, Starling is shifted by the bureau (the character of Jack Crawford is nowhere to found, a shame since his role in the book was an important and bittersweet one) into the Lecter hunt. Once a glorious and career making case for her, it's now a punishment.
Until clues start showing up, culminating in a letter from the man himself.
Hannibal has been enjoying a vacation in Italy under an assumed name, becoming part of the work force and doing some "dirty work" (also given much more explanation in the novel) on the side. His activities raise the suspicion of an Italian cop (Giancarlo Gianinni), who in turn passes the info to the person offering a huge reward.
Mason Verger (Gary Oldman). A disfigured man who retains the privilege of being the only surviving victim of Lecter after the evil doctor "recommended" he peel his face apart and feed it to his dog. Worth billions, his pitiful existence is spent preparing for the capture and torture of Hannibal.
There's your principals. There's the stage set before you. All of the info I just shared takes place in the first third of the film. The rest is execution.
What works:
Hopkins has been known to grandstand, and I thought his performance as Lecter the first time was terrific but hardly best actor material (yes, I'm a fan of Brian Cox in MANHUNTER). However, as he turned in great work in films like THE EDGE and TITUS I became more of a fan of his work. Here, he is utterly at home in the body of Lecter and since he's not confined to a cell the results are more rewarding. He's classy, icy, and impossible not to enjoy.
Moore replaces Foster admirably, and if you close your eyes sometimes it's hard to tell the difference. She's more sultry, and it's easier to understand the sex appeal of the character when portrayed by Moore. She may not be as internal an actress, but the role doesn't demand it of her.
Ridley Scott makes damn good looking movies. Sometimes they're vacant (GI JANE) but they're always well made and after raising his own bar with GLADIATOR he has put together one of the best looking films around. You'll see shots and sequences that'll remind you of his earlier work, but the end result is the same: Top Notch Filmmaking.
Although reports of people leaving the theater sick to their stomachs, the amount of gore they got away with here is admirable and hypocritical at the same time. The FX are great, and there are a couple of showstoppers, but how can they get an R and most horror films have to cut themselves to pieces to get the rating? Either way, it's neat and one scene at the end would be absolutely grim if it weren't for the humorous way it's handled.
ITALY. The story isn't in as much of a hurry when the scenes in Italy. Maybe it's the presence of Giannini (great, GREAT subdued work here), but once the film leaves the "Boot", it gets the boot.
What Doesn't Work:
All right, the new ending ain't grand. It isn't sharp, inventive, or nearly as brave as the book. Of course, I HATED the book ending. It's a SEQUEL ending, for sure. The filmmakers knew who the star was and wanted to leave the audience hungry for more. On that note they succeeded. However, the ending could have been a LOT BETTER and still been nothing like the book.
The second half loses some steam, things are rushed in a big way. Some of the book's most intense scenes revolved around Verger and Lecter's confrontation and the buildup to it. Not here. Also, the scenes that should be climactic are a blur (the scene with the pigs especially).
Also, the whole issue with Hannibal's X-RAYS (shown in the film as a key point of evidence but never addressed) is glossed over. The whole issue of him having his 6th finger removed is banished. Also, Crawford, the character played by Dennis Farina and Scott Glenn in the previous films is abandoned here. It's a shame, because the character serves as a tragic hero for Starling. There's always sacrifices made in the transition from page to screen, but that was a big one.
Verger. While I LOVED Oldman in the role, I think the character wasn't as eerie as I'd hoped. Early makeup designs were absolutely grotesque and would have made him unbearable to look at (the intention). Granted, he was far from pretty (readers of the comic PREACHER will immediately know the similarity between him and ARSEFACE). He seemed pretty dangerous in the book. Here, he's a crybaby with resources (though Zeljko Ivanek is a great sidekick).
Overall, I think it's a success. It'll probably be one of those films people fight over like cats and dogs, but it'll get a reaction and that's what this medium is all about.
If IGN used a more detailed point system, this'd be a 7.5 but since it doesn't I'm going to round up...
8 out of 10
The Video
In a word... FLAWLESS.
Like Scott's 'Gladiator' DVD, this is one sexy looking film. Presented in the Anamorphic splendor you'd expect, it's as rich and crisp a transfer as I've seen. When it's dark, it's crisp and defined and without the hint of imperfection and when the transfer is delivering the opulence and beauty of Florence, Italy... it's even better.
There's nothing to gripe about here for me. Not one thing. This is my favorite transfer thus far on this format. I've watched the DVD three times on three different players and monitors and they all came through just fine.
10 out of 10
The Audio
As Darth Vader would say...
"Impressive".
There's the expected 5.1 track and DTS thrown in for good measure, and I will tell you flat out that it's a truly gorgeous presentation. The music, sound FX, and atmosphere is so rich and evocative that even the staunchest non-fans have to appreciate the effort.
This is a richer and more powerful film on several levels than both its predacessors, ESPECIALLY music.
It booms, crawls up your spine, and eats you for lunch with a nice chianti.
10 out of 10
The Extras
¿ Commentary by director Ridley Scott
Wonderful stuff. Ridley's proven time and time again why's he's among the very best filmmakers when it comes to balancing art and commerce. His commentary is loose, easy to follow, and loaded with info. It's also good to hear him openly discuss the controversial response to the novel and the casting decisions. He'd a joy to listen to and it's great to see him making a movie a year now. Lucky us! One thing which may throw you off: On the menu it has the commentary broken down into chapters if you want to hear him discuss specific details, but have no fear... the commentary runs the entire length of the film.
¿ Over 35 minutes of deleted scenes
No joke, there's tons of stuff here, including some extensions of existing scenes. Really solid stuff, but you can certainly understand why some were cut as the film already ran 2 hours and 11 minutes. Ridley Scott's optional commentary only makes it better.
¿ Breaking the Silence - 5 unique making-of featurettes
Worth the admission price alone. This is more like one documentary containing 5 chapters, but it's phenomenal. It breaks down the "Development," (16 minutes) "Production," (20 minutes) "Special Make-Up effects," (14 minutes) "Music" (15 minutes) and "Reaction" (13 minutes), and it's so informative and cool and loaded with insight from all parties that it's right up there with the best special features I've seen on DVD. Really, this DVD is a template for how to do it right.
¿ Photo gallery
Normally these don't do it for me, but looking at all the poster concepts for this film was an eye opener. They ended up using one of the least effective designs in my opinion. Check these out, you won't be let down.
¿ 3 interactive multi-angle featurette
Pretty darned cool stuff, and while it's more of a gimmicky feature, it's neat to break down the cool opening credits sequence.
9 out of 10
This is amongst my very favorite DVD titles. Not one of my favorite films, but this is a perfect example on how the format enhances its source material.
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https://www.amazon.com/Hannibal-Two-Disc-Special-Anthony-Hopkins/dp/B00003CXSP
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https://forums.boxofficetheory.com/topic/32481-bot-top-250-films-of-all-time-or-how-we-learned-to-start-shitposting-and-love-the-countdown/page/8/
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BOT Top 250 Films of All-Time: or How We Learned to Start Shitposting and Love the Countdown!
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2024-07-22T23:21:23+00:00
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en
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The Box Office Theory — Forums
|
https://forums.boxofficetheory.com/topic/32481-bot-top-250-films-of-all-time-or-how-we-learned-to-start-shitposting-and-love-the-countdown/page/8/
|
I'm sorry about some of the delay recently, there's been a lot of work that I've needed to sort out (and still do to some extent). I wanted to keep this going some, I can't promise a sustained pace right now but hopefully we can progress this closer to the finish line.
Number 36
"I don't think we're in Kansas anymore."
Synopsis
"Young Dorothy finds herself in a magical world where she makes friends with a lion, a scarecrow and a tin man as they make their way along the yellow brick road to talk with the Wizard and ask for the things they miss most in their lives. The Wicked Witch of the West is the only thing that could stop them." - The Movie Database
From the Scholar
"The Wizard of Oz is perhaps the best-loved American children's story.
The movie, starring Judy Garland, Bert Lahr, Ray Bolger, and company,
is an annual television ritual. The book on which the movie is
based, L. Frank Baum's The Wonderful Wizard of Oz, however, is not
only a child's tale but also a sophisticated commentary on the political
and economic debates of the Populist Era.' Previous interpretations
have focused on the political and social aspects of the allegory. The
most important of these is Littlefield ([1966] 1968), although his inter
pretation was adumbrated by Nye (1951), Gardner and Nye (1957),
Sackett (1960), and Bewley ([1964] 1970). My purpose is to unlock the
references in the Wizard of Oz to the monetary debates of the 1890s.
When the story is viewed in this light, the real reason the Cowardly
Lion fell asleep in the field of poppies, the identity of the Wizard of
Oz, the significance of the strange number of hallways and rooms in
the Emerald Palace, and the reason the Wicked Witch of the West was
so happy to get one of Dorothy's shoes become clear. Thus interpreted,
the Wizard of Oz becomes a powerful pedagogic device. Few
students of money and banking or economic history will forget the
battle between the advocates of free silver and the defenders of the
gold standard when it is explained through the Wizard of Oz.
This paper also serves a more conventional purpose. William Jennings Bryan
and his supporters in the free silver movement, who play
a central role in the story, have been treated as monetary cranks even
by historians who are sympathetic to them on other issues.2 Here I
show that Bryan's monetary thought was surprisingly sophisticated
and that on most issues his positions, in the light of modern monetary
theory, compare favorably with those of his "sound money" opponents.
...
The Wizard of Oz, conceived over several years, was written mostly in
1899. It is a cautionary tale, recounting "the first battle" of 1896 (the
title of Bryan's [1896] immensely popular account of that election)
and warning of the dangers that lay ahead.
The story is rich in references to the current scene, but it is not a mathematical puzzle. Baum's
main purpose was to tell a good story, and his need for symmetry,
interesting characters, and so on took precedence over historical accuracy.
Nevertheless, the references to the current scene are sufficiently
numerous to make looking for them rewarding and informative. The
heroine is Dorothy, a little girl who lives with her Aunt Em on an
impoverished farm in Kansas. Dorothy represents America-honest,
kindhearted, and plucky.7 Her best friend is her dog, Toto.8 The
populist movement began in the West, so it is natural that the story
begins there. But there may also be a reference here to Kansas City,
Missouri, where the Democratic convention of 1900 would be held. In
1900, going "from Kansas to Fairyland" (an early title) meant
following the campaign trail from Kansas City to Washington, D.C.
Dorothy is in her home when it is carried by a cyclone (tornado) to
the land of Oz.
This is Baum's fantasy counterpart to America, a land
in which, especially in the East, the gold standard reigns supreme and
in which an ounce (Oz) of gold has almost mystical significance. The
cyclone is the free silver movement itself. It came roaring out of the
West in 1896, shaking the political establishment to its foundations. A
cyclone is an apt metaphor. Bryan was first elected to Congress in
1890 and made his first important speech in Congress on the silver
question in 1893. Three years later he was the leader of a national
movement. Dorothy's house lands on the Wicked Witch of the East.
The Witch dries up completely, leaving only her silver shoes. These
represent the silver component of a bimetallic standard and are given
to Dorothy to wear by the Good Witch of the North, who has been
summoned to the scene.9 The silver shoes have a magical power that
the Wicked Witch of the East understood but which the Munchkins
(citizens of the East) do not.
On a general level the Wicked Witch of the East represents eastern
business and financial interests, but in personal terms a Populist
would have had one figure in mind: Grover Cleveland.
It was Cleveland who led the repeal of the Sherman Silver Purchase Act, and it
was his progold forces that had been defeated at the 1896 convention,
making it possible for America to vote for Bryan and free silver. But
the American people, like the Munchkins, never understood the
power that was theirs once the Wicked Witch was dead. Timberlake
(1978) argues that the repeal of the Sherman Silver Purchase Act,
rather than the campaign of 1896, was the real end of the possibility
of a bimetallic standard. He shows in detail that repeal
was a bipartisan movement. He then asks the following question: "Why should
anyone then [in 1896] have believed that a Democratic vote would
have any greater effect in promoting silver monetization than it had
in 1892?" (p. 42). The free silver Democrats had a simple but not
naive answer: the Wicked Witch of the East was (politically) dead."
- Rockoff, H. (1990). The “Wizard of Oz” as a Monetary Allegory. Journal of Political Economy
From the Filmmaker
From the Critic
"While film historians have rightly called foul over the colourisation of black-and-white classics, they surely will have less cause to complain about the decision to remaster Oz digitally and to present it as if it's a new James Cameron movie. The digital makeover does have some unexpected consequences. We can now see the joints in the make-up and the sweat on the faces of the long-suffering Ray Bolger, Jack Haley and Bert Lahr as the Scarecrow, Tin Man and Cowardly Lion. However, the crystal-clear restoration should finally scotch the old myth that if you look closely enough, you can spot the corpse of a munchkin hanging in the forest.
The Wizard of Oz is one of the most familiar and often revived films of all time and yet it is worth watching (yet again) on the very biggest screen possible. Seventy-five years on, it hasn't dated in the slightest. Its use of colour, music and trompe-l'oeil effects still astounds, as does Judy Garland's extraordinarily febrile and emotional performance as Dorothy."
- Geoffrey Macnab, The Independent
From the Public
"Judy Garland is the best to ever do it. The best of the best. Peerless." - @Cap
Factoids
Previous Year's Rankings
2012 - #39, 2013 - #63, 2014 - #54, 2016 - #51, 2018 - #49, 2020 - #31, 2022 – #64
Director Count
A. Kurosawa (3), S. Spielberg (3), J. Cameron (2), A. Hitchcock (2), S. Kubrick (2), J. Lasseter (2), S. Leone (2), R. Linklater (2), D. Lynch (2), C. Nolan (2), R. Scott (2),), R. Allers (1), R. Altman (1), P.T. Anderson (1), B. Bird (1), F. Capra (1), J. Carpenter (1), J. Coen (1), M. Curtiz (1), F. Darabont (1), J. Demme (1), J. Demy (1), P. Docter (1), C.T. Dreyer (1), D. Fincher (1), Victor Fleming (1), M. Forman (1), W. Friedkin (1), T. Gilliam (1), P. Jackson (1), R. Johnson (1), T. Jones (1), B. Joon-Ho (1), W. Kar-Wai (1), M. Kobayashi (1), S. Lee (1), K. Lund (1), L. McCarey (1), F. Meirelles (1), R. Minkoff (1), H. Miyazaki (1), A. Molina (1), J. Peele (1), B. Persichetti (1), S. Raimi (1), P. Ramsey (1), R. Rothman (1), A. Russo (1), J. Russo (1), M. Scorsese (1), M.N. Shyamalan (1), A. Stanton (1), V.D. Sica (1), Q. Tarantino (1), G. Trousdale (1), L. Unkrich (1), P. Weir (1), O. Welles (1), B. Wilder (1), K. Wise (1)
Decade Count
2000s (13), 1990s (12), 2010s (10), 1980s (8), 1960s (6), 1950s (5), 1940s (4), 1970s (4), 1930s (2), 1920s (1)
International Film Count
Japan (4), France (3), Italy (3), United Kingdom (2), Brazil (1), Hong Kong (1), South Korea (1)
Franchise Count
Pixar (6), Alien (2), Before (2), WDAS (2), Nolanite Cinematic Universe (2), Spider-Man (2), Toy Story (2), Avatar (1), Exorcist (1), Fargo (1), Gladiator (1), Hannibal Lecter (1), Hawkguy Cinematic Universe (1), Man With No Name (1), Middle Earth (1), Monty Python (1), Overlook Hotel (1), Oz (1), Star Wars (1), The Thing (1)
Genre Count
Drama (16), Comedy (13), Historical Fiction (12), Animation (10), Epic (10), Horror (10), Fantasy (9), Sci-Fi (9), Adventure (7), Black Comedy (6), Coming of Age (5), Musical (5), Romance (5), Mystery (4), Thriller (4), Action (3), Comic Book (3), Crime (3), Noir (3), Jidaigeki (3), Religious (3), Satire (3), Superhero (3), Western (3), Christmas/Holiday (2), Spaghetti Western (2), Tragedy (2), War (2), Alternative History (1), Anime (1), Neorealism (1), Prison Break/Heist (1)
A Recipe
Yellow Brick Scones
Ingredients:
2 cups all-purpose flour
1 cup yellow cornmeal
2 tablespoons granulated sugar
1 ½ teaspoons baking powder
½ teaspoon kosher salt
2 sticks (1 cup) unsalted butter
1 and 1/4 cup milk
zest and juice of 1 lemon
4 tablespoons honey
2 cups powdered sugar
1 teaspoon poppy seeds
2 tablespoons roasted sunflower seeds
Instructions:
Mix the lemon juice and milk together and place one stick of butter in the freezer. Place the other stick of butter on the counter. Let sit for 10 minutes while preheating the oven to 425°F.
Blend the flour, granulated sugar, salt, baking powder, and cornmeal together with a wire whisk in one of the mixing bowls. Then grate the cold butter into the mixture, gently tossing through with a spatula.
Gradually pour 1 cup of the milk into the bowl, stirring and folding with the spatula until thoroughly moistened.
Turn the dough out onto a floured surface. Lift and fold the dough four times, giving it a quarter-turn after each fold. Roll the dough into an 8″x8″ square and slice it into 16 pieces with a butter knife.
Transfer the dough squares to a foil-lined baking sheet and brush with the remaining milk on the scones. Bake in the oven 12 to 15 minutes until lightly browned. Allow the scones to cool on the sheet or a cooling rack.
In a separate mixing bowl, beat the remaining butter, honey, half of the lemon zest, and powdered sugar with a fork until smooth.
Frost the cooled scones with a layer of icing and garnish with sunflower and poppy seeds, and lemon zest.
Refrigerate the scones for 10 minutes before serving to set the frosting.
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https://analysinghanniballecter.wordpress.com/
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Analysing Hannibal Lecter
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2017-05-07T21:37:30+00:00
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The Cinematic Treatment of a Character
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en
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https://s1.wp.com/i/favicon.ico
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Analysing Hannibal Lecter
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https://analysinghanniballecter.wordpress.com/
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The films and TV show containing this famous character have different directors and so, arguably, the cinematic portrayal of Hannibal will be slightly different in each one. Theodore Caserta argues this in his 1986 thesis, writing “Just as each writer has his own individual style, so each film director has his own individual method of representation” (Reality into Film, 37). Despite this, Hannibal is a consistently distinctive cinematic creation. Firstly, it’s easy to argue one of the most prominent and unsettling aspects of him is the contrast between his finely ‘cultured’ composure and outbursts of horror and violence. These are created through prop motifs such as his memory-drawn charcoal depictions of city landscapes, and the costume design of well-tailored, smart-looking suits.
Associated with Hannibal are all things fine. The story asserts he was widely respected in the field of psychiatry before being caught for murder and cannibalism. His non-diegetic music cues are generally classical pieces of great poise and subtle beauty. This occurs after the title-card of Hannibal (Ridley Scott, 2001) when what could be argued as the staple Hannibal Lecture piece is played atop the opening sequence. It’s formal, calm, traditional and beautiful. This is heard as one is seeing black and white footage of people on the streets, edited jerkily to be jumping, discontinuous and barely settling into place before the image is replaced with another. Interspersed are disturbing flashes of meat, which are vividly in colour, unlike the people which it is overlapping. Although merely the opening of the film, the editing and music work powerfully to create shocking contrast. Hannibal prides himself on seducing people into thinking of intellect and refinement regarding him, all while horrors are brewing in his mind and people are dying at his hands.
This music particularly enhances the relationship between Hannibal’s composure and his carefully placed violence or suggestions of violence. Corrigan and White write that “sound is a sensual experience that in some cases makes an even deeper impression than the film’s visuals” (The Film Experience, 176). The sensual experience gained from the classical piano is the association of high-brow intelligence and culture, which appears to contradict entirely against the brutal, animalistic nature of Hannibal’s crimes. The connection is evident enough throughout the Hannibal franchise that when classical music begins playing, it is certain something horrifying is about to or has happened.
The same classical piano piece can be found in The Silence of the Lambs (Jonathan Demme, 1991) as the camera initially tracks over his Renaissance-style sketches before cutting to the silhouette of Hannibal behind a curtain, distinctive but also mostly hidden due to the dim lighting and mise-en-scène placement of Hannibal and the curtain. An atmosphere of tension is created from this and indeed, seventy minutes into the film the first bloody and awful on-screen murders occur, directly preceded by all that makes Hannibal seem respectable. Hannibal (Bryan Fuller, 2013-5) also makes the connection after arguably the first major violence scene of the series in the episode Fromage. Hannibal kills a man in his office, limps over to his harpsichord and begins to play the piece. It starts as diegetic sound with a medium close-up of Hannibal’s hand on the keys, the one which delivered the death blow, and serves as a non-diegetic segue to cut into the next scene where he brilliantly convinces his colleagues of his innocence.
The effect is that quite plainly, something is wrong with Hannibal. The calculated waiting and deliberately placed exposure of his evil is most heavily associated with his refined behaviour, crafting a dichotomy designed to deeply shake and upset.
List of Cited Works
Caserta, Theodor Masuk, Reality into Film: a Study of the Creative Strategies Used to Disassociate Film from the Illusion of Reality (Aesthetics). New York University, 1986. Accessed online 03/05/2017 http://search.proquest.com/docview/303997984/
Corrigan, Timothy and Patricia White. The Film Experience: An Introduction. Fourth Edition. Bedford/St Martin’s, 2014.
Hannibal. Dir. Ridley Scott. Universal Pictures & Metro-Goldwyn-Mayer, 2001. Film.
The Silence of the Lambs. Dir. Jonathan Demme. Orion Pictures, 1991. Film.
Fuller, Bryan, creator. Hannibal. Sony Pictures Television, 2013-5.
What’s astonishing about the cinematic creation of Hannibal is how present his character feels even when he’s gone thirty minutes without screen-time. When speaking on the development of characters and their effective presence in the plot, Corrigan and White write that “characters […] began to be drawn according to […] psychological complexities” among other things (222). The filmic treatment of Hannibal’s influence therefore deepens the character. Hannibal’s omnipotence ranges over every character and, subsequently, extends to the audience. Although each of the films often go a substantial amount of time without showing Hannibal, he is somehow ever-present, in audio tapes, or a character’s and the audience’s acknowledgement that Hannibal might have insight on a situation. He is an omnipotent presence, inescapable even in the fact that the 2001 film and television adaptation are titled, quite simply, Hannibal.
One instance where his absence is especially noticeable for its controlling of the scene is in Red Dragon (Brett Ratner, 2002). An anxious and fast-moving atmosphere is created through cross-cutting between Hannibal locked up and motionless, while all the actions of the other characters are entirely concerned with him. The repeated back and forth cuts emphasise Will Graham and others examining the letter from Hannibal’s possessions, while being excruciatingly careful to ensure Hannibal doesn’t know they know. All is frantic on their side – conversely, a static close-up only gives access to Hannibal’s eyes and then a reverse shot of what he observes, which is a maintenance man stalling. His presence beyond where he physically is, and their tension to not let him know their actions, is practically palpable. Hannibal is the instigator of this panic by literally doing nothing.
This can also be observed through the development of Hannibal’s seeming omnipotence in Hannibal (2001). Agent Starling is listening to tapes of Hannibal in a distinctly dark setting, and her colleague is frightened when she unplugs her headphones, suddenly bursting Hannibal’s eerily calm voice into the room. The presence of his mere voice induces fear, even without physical accompaniment. The mise-en-scène design and camera framing for this encounter is very full and crowded, with the dark lighting, tight shots cluttered by props, and close framing of the characters emphasising the lack of space and trapped feeling that comes with the sudden emergence of Hannibal’s voice.
Along with other instances, Hannibal’s omnipotence develops to the point of entering Starling’s house while she’s sleeping and literally hovering over her as she is unaware. The moment is heavily focussed upon, with a low upward looking camera angle at Hannibal; heavily shadowed and intensely quiet, with no music and hardly any diegetic sound other than their breathing. The cinematography is designed to create tension and fear at the notion that Starling has gotten so used to Hannibal ‘being around’ when he isn’t, that when he is it doesn’t register.
Similarly, the television show makes use of a sentiment almost line for line from the original book to enhance this point. Will Graham, under sickly yellow lighting and a medium-close camera shot which sees his face coldly from the side, uncomfortably observes that although Hannibal is imprisoned, it felt like they’d “walked out of the room” together (Thomas Harris, 80). The moment and idea is charged with absurdity and yet is very ominous regarding precisely what Hannibal may be capable of.
https://fmovies.se/film/hannibal-3.3pwy/4qlz3m Graham’s observation occurs at 8 minutes.
Cited Works
Corrigan, Timothy and Patricia White. The Film Experience: An Introduction. Fourth Edition. Bedford/St Martin’s, 2014.
Hannibal. Dir. Ridley Scott. Universal Pictures & Metro-Goldwyn-Mayer, 2001. Film.
Red Dragon. Dir. Brett Ratner. Universal Pictures, Universal Pictures Home Entertainment, & Metro-Goldwyn-Mayer, 2002. Film.
Fuller, Bryan, creator. Hannibal. Sony Pictures Television, 2013-5.
Harris, Thomas. Red Dragon. Arrow Books, 2009, originally published 1981. Accessed online at 07/05/2017 https://tinyurl.com/ldxp9gb.
The cinematography and framing of Hannibal establishes his seemingly unassailable dominance in situations, despite his physical placement suggesting that he would not be in control, e.g. a glass prison; a straight-jacket and muzzled.
This is done through close-ups on Hannibal’s face, and emphasis on his movement and positioning within the frame. When he speaks it is often directly to the camera or with an eyeline just shy of direct, the effect of which simultaneously invites one to get closer and uncomfortably reverses the voyeuristic aspect of film watching. There are suspended static shots of simply Hannibal’s face as he speaks, with his mouth barely moving to create an eerie calm disturbed by his lilting voice, and with focus heavily placed on his eyes, which almost never blink in frame. It’s unsettling and could perhaps create the air of being judged by the character whom for all reasons one should have the right to judge most. Such cinematography manages to reverse the normal powerplay. It allows observation of the characters’ helplessness to Hannibal’s psychological tricks of power, alongside the seductive quality of his malevolence. The presentation of ‘evil’ through Hannibal is very delicately crafted using cinematography and mise-en-scène. More so than subtlety, film techniques show how Hannibal asserts dominance, regardless of the situation. One of Vesper Arnett’s main points in their 2016 dissertation is that “Hannibal […] revel[s] in his power over them” (Cruel as a Cucumber, 6).
One striking example of his influence occurs in Hannibal (2001) when Hannibal breaks into a house and intimidates the waiting dog; it backs away and cowers down, although continues to bark at his intrusion. This suggests an animalistic power to Hannibal, to which even dogs submit. The use of a low upward-angle shot of Hannibal, with very dark lighting surrounding his already dark clothing, emphasises the terrifying quality of the moment. The only diegetic sound is barking and Hannibal’s sing-song shushing, not even his footsteps. This is resonant of a break-in alarm but highlights the lack of appropriate reaction. However, the ominous music gives the impression that Hannibal is dangerous, not the animal.
This moment is somewhat paralleled in Red Dragon (2002) when Hannibal is literally leashed with bound hands and yet uses his valuable insight on another killer and the fear he inspires to control the conversation and scare Graham. He is in the position of the dog, but still the powerful party. The lighting is harshly bright and Lecter hisses snake-like as he lunges forward at Graham just to see him jump, which he does. There is a lighting and power shift present as Lecter literally pushes Graham into darkness.
Meetings between Hannibal and Starling throughout The Silence of the Lambs (1991) use social blocking to show Hannibal’s control and dominance. Corrigan and White define this as “the arrangement of characters to accentuate relations among them”, an aspect which is distinct when Starling needs information from Hannibal but he is entirely conducting the conversation (76). This is shown through Hannibal’s facing the wall rather than Starling and yet, he knows when she looks down and demands her attention and answer. Continuing, the constant back and forth cuts and close-ups between their faces show him staring directly away from her as she reveals dark, personal things about herself. This emphasises his control but also his casual, petty disinterest, as though he likes making her perform like a dancing toy. This pattern of Hannibal withholding information to wield as power over others is heightened most potently in what is known as the cage scene. As the conversation moves forward the cinematography makes Starling look especially small placed in between the bars, with a sharp foreground focus on the bars to look almost as though she is the one imprisoned. This is directly contrasted against the shots of Hannibal where he is large with a slight upward-angle camera shot. The metal bars are much less focussed and certainly not inhibiting any view of him. Though he is in the cage, Starling is the one seen as restless, helpless and emphasised within bars – she is more stuck than Hannibal ever has been. The cinematography develops and demonstrates the effects of Hannibal’s devastating intellectual control.
Works Cited
Arnett, Vesper. Cruel as a Cucumber: Food, Horror, and Hannibal. Maryland Institute College of Art, 2016. Accessed online 05/05/2017 https://tinyurl.com/mudj4sb
Corrigan, Timothy and Patricia White. The Film Experience: An Introduction. Fourth Edition. Bedford/St Martin’s, 2014.
Hannibal. Dir. Ridley Scott. Universal Pictures & Metro-Goldwyn-Mayer, 2001. Film.
Red Dragon. Dir. Brett Ratner. Universal Pictures, Universal Pictures Home Entertainment, & Metro-Goldwyn-Mayer, 2002. Film.
The Silence of the Lambs. Dir. Jonathan Demme. Orion Pictures, 1991. Film.
A phenomenon sometimes expressed as ‘car crash fascination’ is where one is fully aware the situation occurring is tragic and awful, but is too sickly fascinated to look away. In their 2007 article on the Aesthetics of Horror in Photography, Meir Wigoder wrote on this idea saying there were “photograph[s] that photojournalists take as a way of satisfying their own dark fascination with horror” (paragraph 19). A similar sentiment regularly occurs with Hannibal Lecture. The franchise is the presentation of a man just absurd enough that one may watch it to sate a dark interest without fear of judgement, particularly given there are the ‘good guys’ against Hannibal, for whom the audience hopes. But these characters, to continue their good, must consult with Hannibal and compromise themselves physically and mentally.
This can be shown in many instances, one of which stands out for its ability to scare and interest simultaneously. The famous nurse attack scene in Hannibal (2001) is a moment crafted to stimulate great fear at the same time as an urge to know more of Hannibal and his motives. The moment is given in a dark room as black and white security footage. Music begins, a disgusting pulsing – it’s fiercely uncomfortable but still the footage plays uninterrupted, indicative of the need to push on. The completely static camera trained on the TV works to effectively jump-scare when Hannibal jerks forward and tears the nurse’s cheek out with his teeth, coinciding with a leap in music as well as the diegetic sounds of Hannibal’s snarls and the nurse’s screams.
The reason the audience sees this at all is because Hannibal is being investigated for capture and for his value. He is the hyper-intellectual villain which has become an archetype for storylines across genres: too dangerous to be free and too valuable to be removed. Hannibal himself acknowledges this in Red Dragon (2002) and in doing so gets to the crux of the issue: “Any rational society would either kill me or give me my books”. He is having fun and taunting the characters, but also posing the challenge that there are moral complications to their actions that even he, the one without morality, can see. When speaking of the character Jason Bourne, Corrigan and White say his intrigue comes from being “the advanced individual […] who is emotionally and intellectually complex and one-of-a-kind” (225). This is undoubtedly applicable here. The moral wrestling between the dark and fascination, and audience implication in darkness, is crafted by the music and mise-en-scène which suggest and develop such chilling aspects of Hannibal Lecter.
Works Cited
Wigoder, Meir. The Story of the Head: The Suicide-Bomber, the Medusa, and the Aesthetics of Horror in Photography. Taylor & Francis Online, 2007. Accessed online 05/05/2017 https://tinyurl.com/knsrvxu
Corrigan, Timothy and Patricia White. The Film Experience: An Introduction. Fourth Edition. Bedford/St Martin’s, 2014.
Hannibal. Dir. Ridley Scott. Universal Pictures & Metro-Goldwyn-Mayer, 2001. Film.
Red Dragon. Dir. Brett Ratner. Universal Pictures, Universal Pictures Home Entertainment, & Metro-Goldwyn-Mayer, 2002. Film.
The Silence of the Lambs. Dir. Jonathan Demme. Orion Pictures, 1991. Film.
Except for briefly in the beginning of Red Dragon (2002), all the films miss the chance to explore the delicately terrifying nature of having the audience know who Hannibal is, but none of the characters. This technique is known as dramatic irony. Fuller’s television adaptation Hannibal (2013-5) explores the cinematic treatment of this in the first season. As the story goes on there is implacable, insurmountable tension and fear in every episode because the viewers know, but the characters don’t. Mark Osteen wrote on this effect in his submission to a literary journal, saying “the viewer knows something that the characters don’t, and the director uses that privileged but limited information to manipulate the audience. […] [It] forces us to take part in the scene” (Sabotage and Hitchcock’s Audience, 259).
There is a subversion present in the Hannibal Lecture franchise of the ordinary horror genre tropes. Generally, the audience does not know who the killer is or what they want or often where they are: this is reversed on its head when regarding Hannibal. Through plot viewers often know precisely where Hannibal is, precisely who and “what” he is, and precisely what he wants on a surface level and as well as a more disturbing level. As discussed earlier, scenes are crafted so there is an association between audio cues and the knowledge that one is about to be faced with Hannibal; this is a somewhat involuntary involvement on the audience’s behalf. Some scenes are even designed to give disturbingly intimate knowledge of his thoughts, through careful close-ups of his face and suspension on his body. In particular, a mid-shot focusses on Hannibal and blurs the woman eating in the foreground as he watches her; there isn’t a reverse shot of this or any other instance like it, indicating the foreground is not the important aspect. This most prominently occurs in the beginning of Red Dragon (2002) when his guests are somewhat fretfully discussing the missing musician that Hannibal has served them for dinner. It is constructed so the audience and Hannibal alone know this fact, given through the cinematography insight, and making viewers implicit in his darkly stimulating and frightening deeds.
Similarly, looking directly at the camera and breaking the forth wall indicates an implied audience. This is precisely how nearly all of Hannibal’s conversational camera shots are framed during The Silence of the Lambs.
During one conversation with Starling, this relentless staring attack on the viewers is then paired with the knowledge that Hannibal can coerce an inmate into swallowing his own tongue and killing himself, merely from Hannibal’s words. It takes on a sinister, disturbing edge which works subconsciously on the audience; an attempt at crafting an atmosphere which feels legitimately unsafe.
Works Cited
Osteen, Mark. “It doesn’t pay to antagonize the public”: Sabotage and Hitchcock’s Audience. Literature/Film Quarterly; Salisbury, 2000. Accessed online 05/05/2017 https://tinyurl.com/mcrxu4x
Red Dragon. Dir. Brett Ratner. Universal Pictures, Universal Pictures Home Entertainment, & Metro-Goldwyn-Mayer, 2002. Film.
The Silence of the Lambs. Dir. Jonathan Demme. Orion Pictures, 1991. Film.
Fuller, Bryan, creator. Hannibal. Sony Pictures Television, 2013-5.
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https://www.forbes.com/sites/scottmendelson/2021/02/09/hannibal-movie-box-office-records-anthony-hopkins-clarice/
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en
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‘Hannibal’ Tricked Hollywood Into Treating Hannibal The Cannibal Like A Movie Star
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2021-02-09T00:00:00
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Audiences thrilled to Anthony Hopkins as Dr. Hannibal Lecter, but absent that star+character pairing the IP is almost worthless.
|
en
|
Forbes
|
https://www.forbes.com/sites/scottmendelson/2021/02/09/hannibal-movie-box-office-records-anthony-hopkins-clarice/
|
Audiences thrilled to Anthony Hopkins as Dr. Hannibal Lecter, but absent that star+character pairing the IP is almost worthless.
Would you believe that there was a time when the third biggest opening weekend of all time belonged to a gruesome and violent R-rated horror movie? Today marks the 20th anniversary of Ridley Scott’s feature-film adaptation of Thomas Harris’ Hannibal. Opening ten years to the weekend after Silence of the Lambs (which turns 30 on Sunday), the film was the very definition of a breakout sequel, opening with $58 million in its debut weekend. That was just below The Phantom Menace ($64 million over a $105 million Wed-Sun debut in 1999) and The Lost World ($74 million over a $92 million Fri-Mon debut in 1997). The film wasn’t quite as leggy as its predecessor but still earned a terrific $165 million domestic and $352 million worldwide on an $87 million budget.
Its legacy is partially in how it kicked off the modern era of the sky-high opening weekend. It began a year that would see three movies (The Mummy Returns, Planet of the Apes and Rush Hour) open with $66-$69 million debuts and come within inches of The Lost World’s domestic debut. The record would be shattered by Harry Potter and the Sorcerer’s Stone ($90 million) at year’s end. Hannibal was not the first “not a Batman, Star Wars or Jurassic” flick to post a $50 million-plus opening, following The Grinch, X-Men, Mission: Impossible 2 and Austin Powers: The Spy Who Shagged Me. But its powerhouse debut began the normalization of the sky-high opening. Its other legacy is in tricking folks into thinking that it was an endlessly exploitable IP.
The Steven Zaillian and David Mamet-penned adaptation of Thomas Harris’ blockbuster novel was a case of somewhat missing the point. I don’t think Hannibal is a very good book, but it works then and now as an extended middle finger from Harris to those who watched Silence of the Lambs and thought of Hannibal Lecter as a pop culture anti-hero. It’s especially critical, in a significantly ahead of its time fashion, to those who watched The Silence of the Lambs and wanted to see Hannibal the Cannibal and Clarice Starling in a kind of Beauty and the Beast romance. In a skewed way, it was an attempt to mock or critique pop culture “shipping,” especially those who take an emotional investment (versus mere lustful imagining) in the sexy baddie and the feisty heroine hooking up.
The book is a little satirical, especially the third act, which essentially gives this demographic what it wants, including a finale where Lecter has to rescue Clarice from certain death and then brainwashes her to fall in love with him. The movie is pretty faithful in terms of moment-to-moment plot. Still, it both takes itself a bit more seriously and is too concerned about retaining the notion of Starling as a good role model/“strong female character” to commit to the bit. I don’t blame Jodie Foster one bit for passing on the movie, and the film tries to have its cake and eat it too in a way that makes it almost an endorsement of the very thing Harris seemed to be mocking. It’s a “prestige” adaptation of an unapologetic schlock novel.
That said, the film still has a specific power and big-scale appeal as an extravagant, grand-scale horror flick that doesn’t remotely play like a conventional sequel to a serial killer procedural. To the extent that folks might have expected, on the page and/or on the screen, a follow-up to Red Dragon and The Silence of the Lambs that skewed closer to the “FBI agent uses Lecter to catch a serial killer” formula, this ain’t it. In an early lesson of how regular moviegoers don’t always pay attention to entertainment media, I was shocked at how many folks were surprised by the film’s climax since it had been discussed at length when the book debuted in the summer of 1999. It was fun watching packed audiences react to the “surprise” ending.
Nonetheless, opening weekend isn’t about quality, critical acclaim or audience feedback, but rather about pre-release marketing and variables (star power, existing IP, etc.) that earn audience goodwill. Hannibal opened with a sky-high domestic debut specifically because it was a sequel to The Silence of the Lambs and featured Anthony Hopkins returning to the role that turned him into a movie star. That it was so successful sans its predecessor’s top-billed star was, all due respect to substitute Starling Julianne Moore, a troubling sign that original actresses were sometimes disposable even in follow-ups for female-centric hits.
Ironically, Bryan Fuller’s acclaimed Hannibal TV show, which ran for three low-rated seasons on NBC, is essentially “What if the Thomas Harris mythology was told in the naval-gazing, grand Guignol, borderline camp style of Hannibal?” That goes to the other significant legacy of Hannibal (the movie). It wrongly convinced Hollywood (or at least Dino de Laurentiis) that Thomas Harris’ novels were viable IP. The Silence of the Lambs was a smash because it was a terrific and impactful movie. Hannibal was a smash because it was a sequel to Silence of the Lambs, and Brett Ratner’s Red Dragon (released in October of 2002) was a minor hit ($208 million on a $93 million budget) because it was a prequel to Lambs. All three featured a specific actor (Hopkins) in a marquee role (Lecter).
Michael Mann’s Manhunter (a before-its-time adaptation of Red Dragon released to decent reviews but low box office in 1986) bombed. Hannibal Rising, based on Harris’ unrequested “origins of Hannibal Lecter” prequel book, opened 14 years ago today to poor reviews and empty theaters ($82 million on a $50 million budget). I adore the Hugh Dancy/ Mads Mikkelsen episodic as much as the next TV nerd, but Hannibal averaged 2.9 million viewers in season one and 1.31 million viewers in season three. NBC letting it run for three seasons was an act of mercy. We’ll see if CBS’s Clarice (starring Rebecca Breeds as Starling in a show set in 1993), which is legally forbidden from even referencing Lecter by name, will buck the trend. Unless Clarice was the marquee character all along, I’m not optimistic.
It’s yet another reminder that sometimes the success of a given movie or TV show, even when based on source material, is about the specific variables of that given film or show. There’s an entire genre of flailing IP/would-be franchises (Conan, Terminator, Predator, etc.) that is rooted in “people wanted to see Arnold Schwarzenegger in this high concept.” This is for another day, but just because James Cameron turns your first sequel (Aliens, Terminator 2 and even Rambo: First Blood part II, which he co-wrote) into a big-budget action blockbuster doesn’t mean that you have an everlasting IP. Thus far, the success of the Lecter IP has been rooted in Anthony Hopkins as Dr. Hannibal “The Cannibal” Lecter and the goodwill stemming from a single excellent serial killer thriller.
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https://www.atmostfear-entertainment.com/medias/motions/hannibal-lecter-number-one-villain-time/
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Hannibal Lecter, The Number One Villain of All Time – Atmostfear Entertainment
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2018-01-08T20:53:31-05:00
|
The public exhibits an insatiable appetite for crime, especially for serial murder, but only remains our favourite: Dr Hannibal Lecter.
|
en
|
Atmostfear Entertainment
|
https://www.atmostfear-entertainment.com/medias/motions/hannibal-lecter-number-one-villain-time/
|
The public venerates the character of Hannibal Lecter as a celebrity, as an icon, as a cult hero, and indeed, the public appears to love Hannibal Lecter. But why do we love him? Lanchester has suggested that Hannibal Lecter “is attractive because we are repulsive: the more people like Lecter, the worse the news about human nature.” It does seem strange that the public would embrace a villain in such a way. One journalist astutely asked, “How can one make a murderous psychopath who not only kills his victims but eats them, sometimes alive, into a cult hero? What kind of civilisation celebrates such a creation?” This is an important question. Indeed, the veneration of a cannibal killer may imply that something has gone horribly awry within our culture. But perhaps Hannibal Lecter resonates in the public imagination for some other, more profound reason.
Why do we love Hannibal Lecter? Perhaps because he is the “perfect gothic hero” or because he is the perfect gothic antihero. Perhaps it is because the heroic and the villainous co-exist within him. Because he is Obi-Wan Kenobi and Darth Vader rolled into one, because he is Darth Vader and Superman rolled into one, or because he is Sherlock Holmes and Professor Moriarty rolled into one. Why do we love Hannibal Lecter? Dery attempted to answer the question, writing: “Why do we love him? […] He is cool, in the same way that Anne Rice’s Vampire Lestat is: He has all the best lines, great bone structure, an I.Q. measureless to man, Draculinian dominion over wild animals (in Hannibal, feral pigs obey his commands), is ‘size for size […] as strong as an ant,” drives a supercharged black Jaguar, is richer than God, and gets the babe. Coolest of all, his pulse does not top 85, even when he is tearing out your tongue and eating it.”
Whether Hannibal Lecter is a hero, anti-hero, or the terrible Hegelian synthesis of the two, there is no question that he has struck a profound chord with the public. We love Hannibal Lecter. He is the paragon of serial killers. There is something about this character that resonates in the popular imagination, and that lures audiences back to the novels and the films in order to spend their time with Hannibal Lecter. It is this fascination with the character that has made the books and movies into such a profitable franchise.
William Thomas Harris III novels have been phenomenally successful — ‘The Silence of the Lambs’ was a Book-of-the-Month Club selection and sold more than twelve million copies. As a global literary franchise, the Hannibal Lecter trilogy has sold tens of millions of books. ‘Red Dragon’ has been translated into twelve other languages, and ‘The Silence of the Lambs’ has been translated into twenty-two other languages. Indeed, the success of ‘Red Dragon’ and ‘The Silence of the Lambs’ made a household name of its author, and permitted Thomas Harris to negotiate a lucrative two-book deal for 5.2 million dollars, publishing ‘Hannibal,’ the first of these two books, years after its deadline, in 1999. Publisher Random House was so confident in the success of ‘Hannibal’ that it printed 1.2 million copies of the book in its initial print run, more than double the 500,000 planned initially. ‘Hannibal’ debuted at number one, held that spot for six weeks, and sold more than 1.7 million hardcover copies through nine print runs, looming as the second best-selling hardback book in the United States of America during 1999. Although Entertainment Weekly panned it as one of the ten worst books of the year, Dell Books launched the mass market paperback printing of ‘Hannibal’ with 2.4 million copies.
The Hannibal Lecter movies have been even more high-stakes than William Thomas Harris III’s novels. The intensely atmospheric ‘Manhunter’ (1986) introduced the movie-going world to Hannibal Lecter and grossed more than 8.6 million dollars in domestic box office revenue. But this limited commercial success of ‘Manhunter’ was modest compared to the runaway sales of ‘The Silence of the Lambs’ (1991), which grossed three times its cost at the box office, earning more than 130 million dollars at the domestic box office, and making another 142 million in foreign receipts. ‘Hannibal’ (2001) was another very successful movie. Philip Anthony Hopkins was paid 24 million dollars for revisiting the role of Hannibal Lecter in the film, which shattered February opening records, earned more money in its opening weekend than any other R-rated movie, and had grossed more than 350 million dollars in worldwide earnings before being released to video. But ‘Hannibal’ was not the last installation in the Hannibal Lecter series. Anthony Hopkins received 7.5% of the box office receipts — with an 8 million dollar advance— for reprising his role in ‘Red Dragon’ (2002). ‘Red Dragon’ earned 36.5 million dollars in its opening weekend, and more than 206 million dollars in worldwide box office receipts. Together, the four Hannibal Lecter films have earned more than 838 million dollars. The release of ‘Young Hannibal’ will almost certainly catapult the Hannibal Lecter films over the one billion dollar mark.
The films have been enjoyed critical, as well as commercial, success. ‘Manhunter’ was nominated for a 1987 Edgar Allan Poe Award and won the Cognac Festival du Film Policier Critics Award. In 1992, the film adaptation of ‘The Silence of the Lambs’ became the third movie in Academy Awards history to sweep the Oscars in all five of the major categories: Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay. It also garnered more than a dozen other prestigious film awards. ‘Hannibal’ earned a 2002 ASCAP award and a 2002 Saturn for Best Make-Up, and ‘Red Dragon’ received a 2003 London Critics Film Circle Award and the 2003 World Stunt Award for Best Fire Stunt.
However, the success of Hannibal Lecter’s character transcends the successes of the individual films. In ranking the screen’s one hundred greatest heroes and villains, the American Film Institute (AFI) selected ‘The Silence of the Lambs’ Hannibal Lecter as the number one villain of all time, beating out baddies such as Darth Vader, the Wicked Witch of the West, and 2001’s HAL 9000. More recently, Hannibal Lecter’s quotation — “A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti” — was selected by the AFI as the number twenty-one film quote of all time, beating out classic lines such as “Bond. James Bond” and “Houston, we have a problem.”
Hannibal Lecter is our number one villain. We are fascinated with serial killers, in part, because we are fascinated by him. Indeed, the character of Hannibal Lecter is so skillfully-drawn that numerous journalists have written about him as if he was a real figure, blurring the boundaries between fiction and fact. Jenkins notes: “Case studies of serial killers frequently refer to Harris’ work as if it were the definitive account of a true-life phenomenon. The fictional Hannibal became a villain as well known as any authentic offender and was even cited in journalistic statements as if he were a real figure.”
Even criminal justice professionals have sometimes written about Hannibal Lecter as if he was a real offender. Egger, for example, criticised the “FBI agents [who] continue to ride the wave of publicity that surrounds a serial murder investigation. […] Some of these agents even have the audacity to characterise the movie ‘Silence of the Lambs’ as an accurate portrayal of a typical FBI investigation into a serial murder.”
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https://www.ranker.com/list/universal-studios-films-and-movies/reference
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Universal Studios Movies List
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https://imgix.ranker.com/list_img_v2/5742/165742/original/best-universal-studios-movies-list-u1
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https://imgix.ranker.com/list_img_v2/5742/165742/original/best-universal-studios-movies-list-u1
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Over 1K filmgoers have voted on the 210+ films on Best Movies by Universal Studios. Current Top 3: Jurassic Park, Jaws, The Mummy
|
en
|
/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/universal-studios-films-and-movies/reference
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COLLECTION7 LISTS
All Things Universal!From movies to theme parks, Universal Studios is an entertainment industry giant. If you're a fan of all things Universal, then see what they have their hands in.
The Best Movies by Universal Studios
Ranked By
14.8K votes
1.2K voters
Latest additions: Monkey Man
Most divisive: Van Helsing
Over 1.2K Ranker voters have come together to rank this list of The Best Movies by Universal Studios
List of Universal Studios movies, ranked best to worst, including trailers, genres, and release dates. Universal Studios produced and/or distributed these films, which are listed in alphabetical order and sortable by any column. This is a list of all notable and most famous Universal Studios films, including movie posters when available. It answers the questions, "What movies did Universal Studios produce?" and "What films did Universal Studios distribute?" Movies include everything from The Watcher to One Hundred Men and a Girl. This best Universal Studios movies list displays shorts as well as feature films made by Universal Studios, including theatrical releases, limited releases, and made-for-TV Universal Studios movies. You can also manipulate this list of movies by this production company. (639 Movies)
Sam Neill, Laura Dern, Jeff Goldblum
Hold onto your hat; Spielberg's prehistoric playground will have you on the edge of your seat. This revolutionary blockbuster delivers jaw-dropping visual effects, an exhilarating blend of adventure and terror, and unforgettable performances by Sam Neill, Laura Dern, and Jeff Goldblum. With its captivating storytelling, heart-pounding suspense, and groundbreaking visual effects, Jurassic Park remains a timeless classic that has captivated audiences for decades.
Released : 1993
Directed by : Steven Spielberg
Dig Deeper 13 Behind-The-Scenes Stories From 'Jurassic Park' That Prove Filmmakers... Find A Way
And Deeper 20 Things You Didn't Know About the Jurassic Park Franchise
And Deeper All The Biggest Ways 'Jurassic Park' Is Wrong About Dinosaurs, Ranked
Cue the iconic theme music – Spielberg's thrilling masterpiece sinks its teeth into you from the very beginning. The summer blockbuster that forever changed the game stars Roy Scheider as Police Chief Brody, tasked with protecting his beach town from a great white shark that has been terrorizing the shores. With nail-biting suspense, unforgettable characters, and an iconic score, Jaws is a relentless force in cinema that has captivated generations.
Brendan Fraser, Rachel Weisz, John Hannah
Unearth ancient terror with this adrenaline-fueled horror-adventure extravaganza. Brendan Fraser and Rachel Weisz star as a duo who unwittingly resurrect the malevolent Egyptian priest Imhotep, played by the menacing Arnold Vosloo. High-octane action sequences and spine-chilling supernatural elements combine to make The Mummy an unforgettable thrill ride through Egypt's ancient sands.
Released : 1999
Directed by : Stephen Sommers
Dig Deeper Things You Didn't Know About 'The Mummy'
Also ranks # 16 on The Biggest Movies Of The '90s, Ranked
Also ranks # 33 on The Most Rewatchable Movies
Anthony Perkins, Janet Leigh, Vera Miles
Hitchcock's seminal thriller delves deep into the twisted recesses of a murderer's mind. Janet Leigh's now-infamous shower scene is merely one chilling example of the film's many iconic moments, while Anthony Perkins' unnerving performance as Norman Bates continues to haunt viewers. Suspenseful, eerie, and masterfully crafted, Psycho remains a groundbreaking entry in the annals of horror.
Released : 1960
Directed by : Alfred Hitchcock
Also ranks # 9 on The 200+ Best Psychological Thrillers Of All Time
Also ranks # 339 on The Most Rewatchable Movies
Also ranks # 7 on The Best Horror Movies Of All Time
Colin Clive, Mae Clarke, John Boles
Lose yourself in the eerie world of Dr. Frankenstein and his monstrous creation, brought to life with chilling precision by Boris Karloff. This 1931 masterpiece features an unforgettable adaptation of Mary Shelley's gothic novel, weaving together themes of science, morality, and horror. The film's haunting atmosphere, electrifying performances, and iconic visuals make it an enduring horror classic.
Released : 1931
Directed by : James Whale
Also ranks # 149 on The Best Horror Movies Of All Time
Also ranks # 9 on The Most Terrifying Figures In Horror With The Lowest Kill Counts
Also ranks # 8 on The 90 Best Black And White Movies Of All Time
Gregory Peck delivers a tour-de-force performance as Atticus Finch in this timeless adaptation of Harper Lee's renowned novel. A powerful exploration of racial injustice and moral integrity, the film's poignant narrative is elevated even further through its outstanding ensemble cast, including a young Robert Duvall as Boo Radley. Evocative and emotionally resonant, To Kill a Mockingbird remains a potent testament to the power of human compassion.
Released : 1962
Directed by : Robert Mulligan
Also ranks # 1 on The Top 45+ Films Released In 1962
Also ranks # 353 on The Most Rewatchable Movies
Also ranks # 34 on The Most Utterly Depressing Movies Ever Made
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Amazon.com: Hannibal (Two-Disc Special Edition) : Anthony Hopkins, Julianne Moore, Gary Oldman, Ray Liotta, Frankie Faison, Giancarlo Giannini, Francesca Neri, Zeljko Ivanek, Hazelle Goodman, David Andrews, Francis Guinan, James Opher, Ridley Scott, David Mamet, Steven Zaillian, Thomas Harris: Movies & TV
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https://www.amazon.com/Hannibal-Two-Disc-Special-Anthony-Hopkins/dp/B00003CXSP
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Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon
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https://en.wikipedia.org/wiki/Hannibal_(2001_film)
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Hannibal (2001 film)
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https://en.wikipedia.org/wiki/Hannibal_(2001_film)
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2001 film by Ridley Scott
HannibalDirected byRidley ScottScreenplay byBased onHannibal
by Thomas HarrisProduced byStarringCinematographyJohn MathiesonEdited byPietro ScaliaMusic byHans Zimmer
Production
companies
Distributed by
Metro-Goldwyn-Mayer (through MGM Distribution Co.; United States and Canada[1])
Universal Pictures (International)[2]
Release date
Running time
131 minutes[3]Countries
United States[1]
United Kingdom
LanguageEnglishBudget$87 million[4]Box office$351.6 million[4]
Hannibal is a 2001 American psychological horror crime thriller film directed by Ridley Scott and based on the 1999 novel by Thomas Harris. A sequel to the 1991 film The Silence of the Lambs, the plot follows disgraced FBI special agent Clarice Starling as she attempts to apprehend cannibalistic serial killer Hannibal Lecter before his surviving victim, Mason Verger, captures him. Anthony Hopkins reprises his role as Lecter, while Julianne Moore replaces Jodie Foster as Starling and Gary Oldman plays Verger. Ray Liotta, Frankie R. Faison, Giancarlo Giannini, and Francesca Neri also star.
Harris published Hannibal eleven years after the publication of The Silence of the Lambs (1988). Scott became attached while directing Gladiator (2000), and signed on after reading the script pitched by Dino De Laurentiis, who had produced Manhunter (1986), the first Lecter film. David Mamet and Steven Zaillian wrote the screenplay, and principal photography commenced in May 2000, lasting sixteen weeks.
Hannibal was released on 9 February 2001, ten years after The Silence of the Lambs. It was highly anticipated and broke box office records in the United States, Australia, Canada and the United Kingdom,[5] and grossed $351.6 million during its theatrical run, but received mixed-to-negative reviews;[6] critics praised the performances and visuals, but deemed it inferior to The Silence of the Lambs and criticized its violence. It was followed by a prequel, Red Dragon, in 2002, with Hopkins reprising his role as Lecter and Brett Ratner taking over as director.
Plot
[edit]
A decade after tracking down serial killer Jame Gumb,[a] FBI Special Agent Clarice Starling is blamed for a botched drug raid that resulted in the deaths of five people. Starling is contacted by Mason Verger, the only surviving victim of cannibalistic serial killer Hannibal Lecter, who has been missing since escaping custody. A wealthy child molester, Verger was paralyzed and disfigured by Lecter and has been pursuing an elaborate scheme to capture, torture, and kill Lecter ever since. Using his wealth and political influence, Verger has Starling reassigned to Lecter's case, hoping her involvement will draw Lecter out.
After learning of Starling's disgrace, Lecter sends her a letter. A perfume expert identifies the fragrance on the letter: skin cream with ingredients only available to a few shops in the world. In Florence, Chief Inspector Rinaldo Pazzi questions Lecter about a case. Lecter is now masquerading as Dr. Fell, a library assistant curator and caretaker.
Recognizing Lecter from the police surveillance tape Starling requested, Pazzi learns of Verger's $3 million personal bounty on Lecter. Seeking the money, he attempts to capture Lecter alone. Lecter severs the femoral artery of the pickpocket Pazzi recruited, then baits Pazzi into a room of the Palazzo Vecchio, disembowels him, and hangs him from the balcony. He also kills a Verger henchman.
Verger bribes Justice Department official Paul Krendler to accuse Starling of not disclosing a note from Lecter, leading to her suspension. Lecter gets Starling to come to Washington Union Station while speaking with her through mobile phones. Verger's men, having trailed Starling, capture and bring Lecter to Verger. Verger intends to feed Lecter alive to a herd of giant forest hogs bred for this purpose. Starling infiltrates Verger's estate and frees Lecter but is shot by a guard. The boars devour the two guards but ignore Lecter. Verger orders his physician Cordell Doemling to shoot Lecter, but Doemling shoves his hated boss into the pen instead as Lecter offers to take the blame. Lecter then carries an unconscious Starling away while Verger is eaten alive by his own boars.
Lecter treats Starling's wound at Krendler's secluded lake house before drugging Krendler. Starling, disoriented by morphine and wearing a cocktail dress Lecter put on her, awakens to find Krendler seated at the table for an elegant dinner. She watches in horror as Lecter opens Krendler's skull, removes part of his brain, sautés it, and feeds Krendler's own brain to him. Starling tries to attack Lecter, but he overpowers and kisses her. She uses the distraction to handcuff his wrist to hers. Hearing the police, Lecter raises a cleaver over her hand. After, Starling surrenders to the FBI with both her hands intact.
On a flight, Lecter, his arm bandaged in a sling, shares Krendler's cooked brain with a curious boy watching him eat, saying it is important to "try new things.”
Cast
[edit]
Development
[edit]
The Silence of the Lambs, based on the 1988 novel by Thomas Harris, was released in 1991 to critical and commercial success, winning five Academy Awards.[7] Harris spent several years writing a sequel novel; Silence of the Lambs director Jonathan Demme expressed interest in developing a film adaptation when the novel was complete.[8]
The film rights to the Lecter character were owned by producer couple Dino De Laurentiis and Martha De Laurentiis. After producing the first Lecter film, Manhunter, in 1986, they allowed Orion Pictures to produce The Silence of the Lambs free without their involvement. When The Silence of the Lambs became a success, the couple became eager for a new Lecter novel they could adapt. After a lengthy wait, De Laurentiis received a call from Harris telling him he had finished the novel and De Laurentiis purchased the rights for a record $10 million.[9]
In April 1999, the Los Angeles Times reported that the budget for an adaptation of Hannibal could cost as much as $100 million. It speculated that both Jodie Foster and Anthony Hopkins would receive $15 million each to reprise their roles and that Demme would receive $5 million to $19 million. Mort Janklow, Harris's agent at the time, told the Los Angeles Times that Foster, Hopkins, and Demme would soon receive manuscripts of the novel, claiming it would make an unbelievable film.[10] The novel sold out of its initial 1.6 million print run in 1999,[11] and went on to sell millions of copies.[12]
Demme declined the invitation to direct,[8] as he reportedly found the material lurid[13] and too gory.[14] In the 2010 Biography Channel documentary Inside Story: The Silence of the Lambs, Demme said: "Tom Harris, as unpredictable as ever, took Clarice and Dr. Lecter's relationship in a direction that just didn't compute for me. And Clarice is drugged up, and she's eating brains with him, and I just thought, 'I can't do this.'"[15] De Laurentiis said of Demme's decision to decline: "When the pope dies, we create a new pope. Good luck to Jonathan Demme. Good-bye."[9] He later said that Demme felt he could not make a sequel as good as The Silence of the Lambs.[16]
Ridley Scott
[edit]
De Laurentiis visited Ridley Scott on the set of Gladiator and suggested he direct Hannibal.[16] Scott, who was conducting principal photography on Gladiator, thought De Laurentiis was speaking about the Carthaginian general and replied: "Dino, I'm doing a Roman epic right now. I don't wanna do elephants coming over the Alps next, old boy."[8]
Scott read the manuscript in four sittings within a week, seeing it as a "symphony", and expressed his desire to direct.[8] He said: "I haven't read anything so fast since The Godfather. It was so rich in all kinds of ways."[11] Scott had reservations with the ending of the novel, in which Lecter and Starling become lovers: "I couldn't take that quantum leap emotionally on behalf of Starling. Certainly, on behalf of Hannibal—I'm sure that's been in the back of his mind for a number of years. But for Starling, no. I think one of the attractions about Starling to Hannibal is what a straight arrow she is."[11] He also did not find the book believable after the opera scene, "which became like a vampire movie". Harris gave Scott permission to change the ending.[11]
Writing
[edit]
Ted Tally, screenwriter for The Silence of the Lambs, was another key member of the Silence of the Lambs team to decline involvement. Tally, like Demme, had problems with the novel's "excesses".[13] David Mamet was the first screenwriter to produce a draft, which, according to Scott and the producers, needed major revisions.[9] Stacey Snider, co-chairman of Universal Pictures, said: "There's no way David was going to read 15 pages of our notes and then be available to work on the script day-to-day."[17] A script review at ScreenwritersUtopia.com describes the Mamet draft as "stunningly bad" but found Zaillian's rewrite "gripping entertainment".[18] Scott praised Mamet as fast and efficient, but said he passed on his draft because it needed work and he feared Mamet, who was soon directing his own film,[9] would be too busy to redraft it.[11]
Steven Zaillian, writer of Schindler's List, initially declined to write Hannibal, saying he was busy and that "you can almost never win when you do a sequel".[9] He changed his mind, as "it's hard to say no to Dino once and it's almost impossible to say no to him twice".[9] Scott said there were "very few rewrites once I brought in Steve Zaillian ... If you were to ask who were the best three screenwriters in the business, Steve Zaillian would be one of them. We discussed Hannibal endlessly."[11] One of Zaillian's key objectives was to revise Mamet's script until it pleased all parties, meaning that the "love story" would be told by suggestion instead of by "assault".[19] Scott worked through the script with Zaillian for 28 days, making him "sweat through it with him and discuss every inch of the way with him". After 25 days, Scott realized that Zaillian was "exorcising the 600 pages of the book. He was distilling through discussion what he was gonna finally do ... Frankly I could have just made it."[8]
Casting
[edit]
It was unclear if Jodie Foster (Clarice Starling) and Anthony Hopkins (Hannibal Lecter) would reprise their respective roles for which they won Academy Awards in The Silence of the Lambs (Best Actress/Best Actor). Both Hopkins and Foster had expressed interest.[10] It became apparent that the producers and the studio could do without one of the original "stars" and would go on to find a replacement. The withdrawal of both Foster and Hopkins could possibly have been terminal for the project, however. De Laurentiis confirmed this after the film's release: "First and foremost, I knew we had no movie without Anthony Hopkins."[16]
Involvement of Jodie Foster
[edit]
Foster told Larry King in 1997 that she "would definitely be part of" a sequel to The Silence of the Lambs.[11] In the same year, she told Entertainment Weekly: "Anthony Hopkins always talks about it. I mean, everybody wants to do it. Every time I see him, it's like: 'When is it going to happen? When is it going to happen?'"[20] De Laurentiis thought Foster would decline once she read the book, and believed the final film was better for it.[8] Hopkins also had doubts Foster would be involved, saying he had a "hunch" she would not be.[8]
Foster confirmed that she had turned down the film in December 1999.[21] This caused problems for Universal and production partner Metro-Goldwyn-Mayer.[9][20] "The studio is just back from the holiday and is regrouping based on the news, and has no cohesive game plan at the moment," said Kevin Misher, Universal's President of Production.[9] Misher added that, "It was one of those moments when you sit down and think, 'Can Clarice be looked upon as James Bond for instance? A character who is replaceable?' Or was Jodie Foster Clarice Starling, and the audience will not accept anyone else?"[9] Foster said in December 1999 that the characterization of Starling in Hannibal had "negative attributes" and "betrayed" the original character.[21]
Foster's spokeswoman said she declined because Claire Danes had become available for Foster's film Flora Plum.[22] Entertainment Weekly described the Hannibal project as having become "a bloody mess, hemorrhaging talent and money" despite Hopkins being on board.[20] In 2005, after the film had been released, Foster told Total Film: "The official reason I didn't do Hannibal is I was doing another movie, Flora Plum. So I get to say, in a nice dignified way, that I wasn't available when that movie was being shot ... Clarice meant so much to Jonathan and I, she really did, and I know it sounds kind of strange to say but there was no way that either of us could really trample on her."[23]
Julianne Moore as Clarice Starling
[edit]
When it became clear that Foster would skip Hannibal, the production team considered several different actresses,[8] including Cate Blanchett, Angelina Jolie, Gillian Anderson, Hilary Swank, Ashley Judd, Helen Hunt and Julianne Moore.[9] Hopkins asked his agent if he had any "power" over casting. He informed De Laurentiis that he knew Moore, with whom he had worked on Surviving Picasso, and thought her a "terrific actress".[8] Although Hopkins' agent told him he had no contractual influence on casting, Scott thought it correct to discuss who would be Hopkins' "leading lady".[8] Scott said he was "really surprised to find that [he] had five of the top actresses in Hollywood wanting it."[11]
Scott said his decision was swayed in favor of Moore: "She is a true chameleon. She can be a lunatic in Magnolia, a vamp in An Ideal Husband, a porn star in Boogie Nights and a romantic in The End of the Affair."[11] "Julianne Moore, once Jodie decided to pass, was always top of my list," said Scott on his female lead.[24] Moore talked about stepping into a role made famous by another actress: "The new Clarice would be very different. Of course people are going to compare my interpretation with that of Jodie Foster's ... but this film is going to be very different."[25]
Anthony Hopkins as Hannibal Lecter
[edit]
Hopkins was generally expected to reprise his Academy Award-winning role. Hopkins said in June 1999 that he would only be interested if the script was "really good".[citation needed][26][better source needed] Hopkins said he could not make up his mind to commit: "I was kind of surprised by this book, Hannibal. I thought it was really overreaching and so bizarre. So I couldn't make up my mind about it all. Some of it I found intriguing, some I was a little doubtful about."[8] When the producers confirmed that they were going to film Harris' novel, Hopkins told them yes, but added: "It needs some condensing."[8] The Hollywood Reporter confirmed that Hopkins had agreed to reprise his role in late December 1999, saying he had approved the latest draft of the script.[27]
Hopkins said he had no difficulty moving back into "Lecter's mind". "I just learned the lines and showed up and walked around as Hannibal Lecter. I thought, 'Do I repeat that same performance, or do I vary it?' Ten years had passed so I changed a bit."[9] In the book, Lecter uses bandages to disguise himself as a plastic surgery patient. This was left out of the film because Scott and Hopkins agreed to leave the face alone.[28] Hopkins said: "It's as if he's making a statement—'catch me if you can'. With his big hat, he's so obvious that nobody thinks he's Hannibal Lecter. I've always thought he's a very elegant man, a Renaissance man."[28] In the film, Lecter is first seen in Florence "as the classical Lecter, lecturing and being smooth", according to Hopkins.[29] When the film moves to the US, Hopkins changed his appearance by building up muscle and cropping his hair short "to make him like a mercenary, that he would be so fit and so strong that he could just snap somebody in two if they got ... in his way".[29]
Gary Oldman as Mason Verger
[edit]
The part of Mason Verger, one of Lecter's two surviving victims, was originally offered to Christopher Reeve based on his work as a police officer who uses a wheelchair in Above Suspicion (1995). Not having read the novel, Reeve showed initial interest in the role, but ultimately declined upon realizing that Verger was a quadriplegic, facially-disfigured child rapist.[30][31] The part was later accepted by secondary choice Gary Oldman. Co-producer Martha De Laurentiis claimed they had a "funny situation" with Oldman wanting a prominent "credit". She said: "Now how can you have a prominent credit with Hannibal? The characters are Hannibal and Clarice Starling. So we really couldn't work something out (at first)." Oldman was apparently "out" of the film for a while, but then came back in, asking to go "unbilled". Oldman would become transformed and "unrecognizable as himself" to play the part of Verger. He would have no lips, cheeks or eyelids. Make-up artist Greg Cannom said: "It's really disgusting ... I've been showing people pictures [of Oldman as Verger], and they all just say 'Oh my God,' and walk away, which makes me very happy."[9] Oldman said that having his name completely removed from the billing and credits allowed him to "do it anonymously" under the heavy make-up.[32]
Further casting
[edit]
Other stars subsequently cast included Ray Liotta as U.S. Justice Department official Paul Krendler (the character had appeared in The Silence of the Lambs, but original actor Ron Vawter had died in the interim) and Italian actor Giancarlo Giannini as Detective Rinaldo Pazzi. Francesca Neri played Pazzi's wife, Allegra. Frankie Faison reprised his role as orderly Barney Matthews, remaining the only actor to play a role in all Lecter feature films (until Hannibal Rising in 2007), including Manhunter.
Key production crew
[edit]
Scott recruited the key production crew whom he had worked with previously. Production designer Norris Spencer had worked on Thelma & Louise, Black Rain and 1492: Conquest of Paradise. Cinematographer John Mathieson, editor Pietro Scalia and composer Hans Zimmer had all worked on Scott's previous film Gladiator.[33]
Production
[edit]
Background
[edit]
Hannibal was filmed in 83 working days over 16 weeks.[34] The film began production on 8 May 2000 in Florence, Italy.[34] The film visited key locations in Florence and various locations around the United States.[33] Martha De Laurentiis said the film has almost a hundred locations and that it was a "constant pain of moving and dressing sets. But the locations were beautiful. Who could complain about being allowed to shoot in Palazzo Vecchio in Florence? Or President James Madison's farm in Montpelier or the amazing Biltmore Estate in Asheville?"[33] Eighty million dollars and a year and a half in production were spent before Scott got his first look at Hannibal in the editing room.[35]
Filming locations
[edit]
The whole second act of Hannibal takes place in Florence. Ridley Scott had never filmed there before, but described it as "quite an experience ... It was kind of organized chaos ... We were there at the height of tourist season."[33] Within Florence, the production would visit various locations such as the Palazzo Capponi (as Dr. Fell's workplace), the Ponte Vecchio, the Palazzo Vecchio, the Pharmacy of Santa Maria Novella and the Cathedral.[33]
After leaving Italy on 5 June 2000, the production moved to Washington, D.C. Filming took place over six days at Washington Union Station.[33] The unusual sight of a carousel appeared in the transportation hub and shopping plaza at Ridley Scott's request.[33]
Filming lasted for seven weeks in Richmond, Virginia[33] for the shootout in a crowded fish market (shot at Richmond Farmer's Market) early in the film. Julianne Moore underwent FBI training at the Bureau's headquarters before filming.[33]
A barn in Orange, Virginia, situated on the estate of President James Madison, was used to house 15 "performing hogs".[33] The 15 Russian boars used in the shoot were from a selection of around 6,000 that the animal wranglers observed.[33]
Biltmore Estate in Asheville, North Carolina, the biggest privately owned estate in the US, was chosen to signify the huge personal wealth of Mason Verger.[8]
Special make-up effects
[edit]
Make-up artist Greg Cannom was pleased to be involved in Hannibal as it offered him the chance to produce "incredible and original make-ups".[8] For Mason Verger, the make-up team initially produced 20 different heads which looked like zombies and did not reflect the vision Scott had of the character. Scott wanted Verger to look real with hideous scarring, and not something from the "House of Wax".[8] Scott himself called on the help of expert doctors in an effort to get the look of the character as realistic as possible.[8] Scott showed the make-up team pictures of foetal things, which he thought touching; he wanted to make Mason Verger more touching than monstrous, as he thought of Verger as being someone who hadn't lost his sense of humour, almost sympathetic.[8] Oldman spent six hours a day in make-up to prepare for the role.[8]
For one of the film's final and infamous scenes, an exact duplicate was created of the character Paul Krendler, played by Ray Liotta, a scene which blended make-up, puppet work and CGI in a way which Scott called "seamless".[8]
Title sequence
[edit]
The main titles were designed by Nick Livesey, a graduate of the Royal College of Art who worked for one of Scott's production companies in London. The sequence, shot in Florence by Livesey himself, was intended as the film's second promotional trailer.[8] The studio thought it not "quite right", but it remained on Scott's mind and would eventually end up as the main title sequence.[8] Livesey gathered footage of pigeons in an empty square in Florence early one morning which, in the final cut, would morph into the face of Hannibal Lecter.[8] Scott believed it a good idea, as it fundamentally asked the question: 'Where is Hannibal Lecter?' Scott explains: "And of course this story tells it, with pigeons in the cobblestones of somewhere, where you wonder where that is ... and there he is... his face appears."[8] The titles are said to have been influenced by the film Seven.[36]
Music
[edit]
Ridley Scott worked very closely with composer Hans Zimmer, during post-production on Hannibal.[8] Scott believes the music to a film is as important as dialogue—"It is the final adjustment to the screenplay, being able to also adjust the performance of the actors in fact."[8] Zimmer, and Scott sat in during the editing process with editor Pietro Scalia to discuss scenes in the film and "not music".
The character Mason Verger had his own theme, which become more "perverted" as the film progressed, according to Zimmer.[8] Dante's sonnet was put to music by Patrick Cassidy titled Vide cor Meum for the opera scene in Florence.[37] Tracksounds.com wrote positively of Zimmer's score. "Zimmer truly crafts a score worthy of most fans' full attention ... the classical elements, and yes, even the monologue combine to make this an intense listening experience."[38] In a poll by British Classic FM listeners to find the greatest film soundtrack of all time, Hannibal ranked at No. 59.[39] Strauss's The Blue Danube is also played at several points in the film.
Themes
[edit]
Romance
[edit]
Scott has said he believes the underlying emotion of Hannibal is "affection". "In some instances, you might even wonder or certainly from one direction—is it more than affection? It is dark, because the story is of course essentially dark, but it's kind of romantic at the same time."[8] Scott openly admits to a "romantic thematic" running through the film.[8] He told CNN that: "Hannibal was quite a different target, essentially a study between two individuals. Funny enough, it's rather romantic and also quite humorous, but also there's some quite bad behaviour as well."[12] During the opera scene in Florence, Lecter attends an operatic adaptation of one of Dante's sonnets, and meets with Detective Pazzi and his wife, Allegra. She asks Lecter, "Do you believe a man could become so obsessed by a woman after a single encounter?" Lecter replies: "Yes, I believe he could ... but would she see through the bars of his plight and ache for him?" This scene, in the film, is one which Scott claims most people "missed" the meaning of. It was in reference to Starling—to their encounter in The Silence of the Lambs.[24] The New York Times, in its review of the film, said Hannibal, "toys" with the idea of "love that dare not speak its name".[36]
Composer Hans Zimmer believed there were messages and subtext in each scene.[8] He said, "I can score this movie truly as a Freudian archetypal beauty and the beast fairy tale, as a horror movie, as the most elegant piece, on corruption in the American police force, as the loneliest woman on earth, the beauty in renaissance ..."[8] Zimmer ultimately believes it to be a dark love story, centering on two people who should never be together—a modern-day Romeo and Juliet.[8] During post-production, Scott, Zimmer and the editor passionately argued about the meaning of Starling's tear during a confrontation with Lecter. They could not agree if it was a tear of "anguish", "loneliness" or "disgust".[8] Scott told the New York Post that, the affair of the heart between Lecter and Starling is metaphorical.[40] Rolling Stone magazine said in their review, "Scott offers a sly parody of relationships—think 'When Hannibal met Sally'."[19]
Retribution and punishment
[edit]
Scott has said he believed Lecter, in his own way, was "pure", whose motivation is the search for "retribution and punishment".[24] "There is something very moral about Lecter in this film," said Scott in his audio commentary. "The behaviour of Hannibal is never insane—[I] didn't want to use that excuse. Is he insane? No, I think he's as sane as you or I. He just likes it."[24] Scott did say, however, "In our normal terms, he's truly evil."[24] Scott also brings up the notion of absolution in reference to Lecter towards the film's end.[24] Verger has one overriding objective in life: to capture Lecter and subject him to a slow, painful death.[41]
Corruption
[edit]
Part of the story involves the character Rinaldo Pazzi (Giancarlo Giannini), a Florentine policeman who learns "Dr. Fell's" true identity and realizes that this knowledge could make him rich. His escalating abandonment of morality allows him to countenance and facilitate the death of a Romani pickpocket, egged on by the desire to have the best for his much younger wife.[24] There is a moment in the film when Pazzi becomes corrupted, despite being what Scott describes as "very thoughtful".[24]
Release
[edit]
Marketing
[edit]
The first trailer appeared in theaters and was made available via the official website in early May 2000, over nine months before the film's release. As the film had only just begun production, footage was used from The Silence of the Lambs. A second trailer, which featured footage from the new film, was released in late November 2000. In marketing the film, Hopkins' portrayal of Hannibal Lecter was chosen as the unique selling point of Hannibal. "Mr Hopkins is the draw here", said Elvis Mitchell in a 2001 The New York Times article.[36] A poster released in the UK to promote Hannibal, featuring Lecter with a "skin mask" covering the right side of his face, was quickly removed from circulation as it was deemed "too shocking and disturbing for the public."[42][better source needed]
Upon its release, Hannibal was met with significant media attention,[37][43] with the film's stars and director making several appearances on television, in newspapers and in magazines.[44] In an article for CBS News, Jill Serjeant stated that "the long-awaited sequel to the grisly 1991 thriller Silence of the Lambs is cooking up the hottest Internet and media buzz since the 1999 Star Wars 'prequel'."[44] Stars Anthony Hopkins and Julianne Moore made the covers of a number of magazines, including Vanity Fair,[45] Entertainment Weekly,[46] Premiere,[43] and Empire.[47]
Distribution
[edit]
Metro-Goldwyn-Mayer distributed the film in the United States and Canada, while Universal Pictures International handled international sales,[2] with United International Pictures handling distribution in most international territories except for Germany, Italy and Japan, which were handled by Tobis StudioCanal, Filmauro and GAGA Communications respectively.[48]
Home media
[edit]
Hannibal was released on VHS and DVD on August 21, 2001,[49] and on Blu-ray on September 15, 2009.[50] A new transfer of the film was released on Blu-ray and Ultra HD Blu-ray by Kino Lorber on May 7, 2019.[51][52]
Reception
[edit]
Box office
[edit]
Hannibal grossed $58 million (U.S.) in its opening weekend from 3,230 screens. At the time, this was the third-biggest debut ever behind 1997's The Lost World: Jurassic Park and 1999's Star Wars: Episode I – The Phantom Menace.[53] It went on to surpass Scream 3 to have the highest debut in February.[53] That record was surpassed by The Passion of the Christ in 2004.[54] The film also had the largest opening weekend for an R-rated film, beating Scary Movie.[55] Hannibal would hold this record until it was taken by The Matrix Reloaded in 2003.[56] Furthermore, it managed to beat out the Special Edition release of Star Wars to have the highest winter opening weekend.[57] Final domestic box office gross (U.S.) reached $165,092,268, with a worldwide gross of $351,692,268.[4] The film spent three weeks at number one in the U.S. box office chart, and four weeks at number one in the UK, and was the year's third highest-grossing film in that country behind Lara Croft: Tomb Raider and Harry Potter and the Philosopher's Stone.[58] In Italy, it grossed $4.6 million in its opening weekend, setting a record for a US release, beating The Blair Witch Project.[59] It also set a record opening week in the Netherlands with $1.3 million in six days, beating Independence Day. It also had the second biggest opening in Spain with $4.1 million in 6 days.[60] Hannibal was the tenth highest-grossing film of the year worldwide.[61] Hannibal also made over $87,000,000 in U.S. video rentals following release in August 2001.[62]
Critical response
[edit]
The reviews for Hannibal were mixed-to-negative.[25][53][63] On Rotten Tomatoes, the film holds an approval rating of 39% based on 172 reviews, with an average rating of 5.1/10. The website's critical consensus reads, "While superbly acted and stylishly filmed, Hannibal lacks the character interaction between the two leads which made the first movie so engrossing."[64] On Metacritic, the film has a rating of 57 out of 100 from 36 reviews.[6] Audiences surveyed by CinemaScore gave the film a grade "C+" on scale of A to F.[65]
Time magazine wrote: "A banquet of creepy, gory or grotesque incidents is on display in Hannibal. But this superior sequel has romance in its dark heart."[citation needed] Empire magazine gave it two out of five stars, calling it "laughable to just plain boring, Hannibal is toothless to the end."[66] David Thomson, writing in the British Film Institute magazine Sight & Sound, praised the film. "It works. It's smart, good-looking, sexy, fun ... dirty, naughty and knowing."[63] Thomson does make clear he is a great fan of director Ridley Scott's work.[63] He adds: "It is, literally, that Hannibal Lecter has become such a household joke that he can't be dreadful again. It seems clear that Anthony Hopkins and Scott saw that, and planned accordingly. That's how the movie was saved."[63] Variety magazine in its review said "Hannibal is not as good as Lambs ... ultimately more shallow and crass at its heart than its predecessor, Hannibal is nevertheless tantalizing, engrossing and occasionally startling."[67]
A negative review in The Guardian claimed that what was wrong with the film was carried over from the book: "The result is an inflated, good-looking bore of a movie. The Silence of the Lambs was a marvelous thing. This, by contrast, is barely okey-dokey."[68] Roger Ebert gave the film 2.5 stars out of 4, and described Hannibal as "a carnival geek show elevated in the direction of art. It never quite gets there, but it tries with every fiber of its craft to redeem its pulp origins, and we must give it credit for the courage of its depravity," and although he was "left with admiration for Scott's craft in pulling [it] off at all, and making it watchable", and praised the Mason Verger character as "a superb joining of skill and diabolical imagination," as well as Hopkins' performance as Lecter, which he described as "fascinating every second he is on the screen," he concluded, "I cannot approve of the movie, not because of its violence, which belongs to the Grand Guignol tradition, but because the underlying story lacks the fascination of Silence of the Lambs."[69]
Differences from the novel
[edit]
According to Variety magazine, the script for Hannibal was: "quite faithful to the Harris blueprint; fans of the tome may regret the perhaps necessary excision of some characters, most notably Mason Verger's muscle-bound macho sister Margot, as well as the considerable fascinating academic detail, but will basically feel the book has been respected (yes, even the climactic dinner party is served up almost intact, with the only surprise twists saved for its wake)."[67] Time Out noted: "The weight-watchers script sensibly dispenses with several characters to serve a brew that's enjoyably spicy but low on substance. So much story is squeezed into 131 minutes that little time's left for analysis or characterization."[70] Producer Dino De Laurentiis was asked why some characters, notably Jack Crawford, were left out of the film: "I think if you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters. We set ourselves a limit, and cut characters which weren't so vital."[71]
In the book, Mason Verger runs an orphanage, from which he calls children to verbally abuse as a substitute for his no longer being able to molest them. He also has a sister, Margot, whom he had raped when they were children and who is a lesbian. When she disclosed her sexual orientation to her family, their father disowned her. As she is sterile due to steroid abuse, Verger exerts some control over her by promising her a semen sample with which to impregnate her lover, who could then inherit the Verger fortune. At the book's end, Margot and Starling both help Lecter escape during a shootout between Starling and Verger's guards. Margot, at Lecter's advice, stimulates her brother to ejaculate with a rectally inserted cattle prod, and then kills him by ramming his pet moray eel down his throat.
The book's controversial ending has Lecter presenting Starling with the exhumed bones of her father, which he "brings to life" by hypnotizing Starling, allowing her to say goodbye. This forges an odd alliance between Starling and Lecter, culminating in their becoming lovers and escaping to Argentina. At the novel's end, Barney sees them at the Teatro Colón of Buenos Aires.
Also gone from the film are the flashbacks to Lecter's childhood, in which he sees his younger sister, Mischa, eaten by German deserters in 1944. These flashbacks formed the basis for the 2007 film Hannibal Rising (written concurrently with the 2006 novel of the same name) which portrays Lecter as a young man.
Hopkins was asked in an interview on the subject of whether or not he believed the idea of Starling and Lecter heading off into the sunset as lovers (as happens in the book). "Yes, I did. Other people found that preposterous. I suppose there's a moral issue there. I think it would have been a very interesting thing though. I think it would have been very interesting had she gone off, because I suspected that there was that romance, attachment there, that obsession with her. I guessed that a long time ago, at the last phone call to Clarice, at the end of SotL, she said, 'Dr. Lecter, Dr. Lecter ... '."[72]
Other media
[edit]
Prequels
[edit]
The film was followed by two films which are prequels based on novels by Thomas Harris (although the novel of Red Dragon isn't itself a prequel as it was written before Hannibal):
Red Dragon (2002)
Hannibal Rising (2007)
In popular culture
[edit]
In 2014, there was a news story from Italy where a gangster fed his rival alive to pigs. Many media stories compared this to a similar scene in Hannibal.[73][citation needed]
Five months after the film's release, the renowned South Park episode Scott Tenorman Must Die featured Eric Cartman attempting to train a pony to bite his titular rival Scott Tenorman, directly citing "the deformed guy" from Hannibal for such a scheme.
See also
[edit]
Film portal
Notes
[edit]
References
[edit]
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https://fandomwire.com/ive-always-thought-hes-a-very-elegant-man-anthony-hopkins-refused-to-film-1-scene-in-maligned-hannibal-sequel-that-he-regretted-accepting-in-the-first-place/
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“I’ve always thought he’s a very elegant man”: Anthony Hopkins Refused to Film 1 Scene in Maligned Hannibal Sequel That He Regretted Accepting In The First Place
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Anthony Hopkins reportedly did not want to do one scene from the books in Hannibal sequel, which he already regretted doing.
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https://fandomwire.com/ive-always-thought-hes-a-very-elegant-man-anthony-hopkins-refused-to-film-1-scene-in-maligned-hannibal-sequel-that-he-regretted-accepting-in-the-first-place/
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Sir Anthony Hopkins earned his first Oscar for the role of serial killer Hannibal Lecter in The Silence of the Lambs. Based on the novel by Thomas Harris, it was the last movie to win the ‘Big Five’ awards at the Oscars, including Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay. Hopkins only had about 16 minutes of screen time.
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Hopkins went on to reprise his role in two more films, the sequel Hannibal and the prequel Red Dragon. While the sequel was more commercially successful than the original, the film was not as well-received and the actor himself was reportedly not happy with the film. He also mentioned that one scene in particular on Hannibal was done differently from the book.
Anthony Hopkins Did Not Want To Do One Scene In Hannibal
Sir Anthony Hopkins was known as a noted thespian before he gained worldwide fame when he starred in The Silence of the Lambs. The actor won his first Academy Award for Best Actor for the film, despite only having around 16 minutes of screen time. He co-starred with Jodie Foster in the horror film, who also won the Oscar for Best Actress.
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Hannibal Lecter, the role played by Hopkins, is a serial killer and a cannibal, who Jodie Foster’s Clarice Starling consults on a similar case of murders. The film sees Starling grow closer to Lecter as he helps her with the case while he tries to escape his captivity in prison. The film is considered to be one of the greatest horror films of all time.
Hopkins returned to the role ten years later in Ridley Scott’s Hannibal. Based on the sequel written by Thomas Harris, the film saw Julianne Moore replacing Foster. The novel reportedly had an out for Hopkins, where Hannibal is said to have done plastic surgery on himself to escape the authorities. However, Hopkins told BBC that he avoided that scene.
Ridley and I agreed to leave the face alone. It’s as if he’s making a statement – ‘catch me if you can’. With his big hat, he’s so obvious that nobody thinks he’s Hannibal Lecter. I’ve always thought he’s a very elegant man, a Renaissance Man.
Hopkins also mentioned that he was not scared of the character as he never felt that he and Hannibal were one. He said that it was Thomas Harris’ creation and was only projected through him.
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Anthony Hopkins Regretted Making Sequels As Hannibal Lecter
Since he took on the role of Hannibal Lecter, Anthony Hopkins became a worldwide star and featured in many acclaimed films. His Best Actor win for his very first nomination propelled him to international stardom and his role in The Silence of the Lambs has often been featured on many ‘best-of’ lists as a menacing villain.
Though the sequel Hannibal earned significantly more than the original, Hopkins was reportedly not happy with the decision to return. When asked if he would ever revisit the character again, he said to The Wrap,
I did it once. Made the mistake of doing it twice — three times. ‘The Silence of the Lambs’ is okay. It was a good film. I don’t want to do that. Done with that.
Anthony Hopkins also played the role in the prequel Red Dragon, which is often considered to be a huge step down from its predecessors. He was finally replaced in the film Hannibal Rising and was played by Mads Mikkelsen in the series Hannibal.
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The Silence of the Lambs and Hannibal are streaming on Fubo TV.
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https://variety.com/2023/film/global/denzel-washington-hannibal-casting-tunisia-controversy-1235832901/
|
en
|
Denzel Washington’s Casting as Ancient General Hannibal in Antoine Fuqua Netflix Film Sparks Controversy in Tunisia
|
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2023-12-11T12:37:56+00:00
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Denzel Washington being cast in a Netflix movie as Hannibal is sparking controversy in Tunisia.
|
en
|
Variety
|
https://variety.com/2023/film/global/denzel-washington-hannibal-casting-tunisia-controversy-1235832901/
|
Denzel Washington being cast in Antoine Fuqua’s upcoming Netflix movie as ancient Carthaginian general Hannibal is sparking some controversy in Tunisia, the home country of the great military commander.
According to French newspaper Courrier International, there are complaints about depicting the Carthaginian general as a Black African being made in the media and the Tunisian parliament. Member of Parliament Yassine Mami has pointed out that Hannibal, who was born in 247 BC in Carthage – now known as Tunis, the Tunisian capital – was of West Asian Semitic origin. “There is a risk of falsifying history: we need to take position on this subject,” the Tunisian politician reportedly stated.
Concurrently, French-language Tunisian newspaper La Presse has published an editorial in which it similarly objects that depicting Hannibal as a Black African is “according to Tunisians and many observers, a historical error.”
However, Tunisian culture minister Hayet Ketat-Guermazi had a different, more pragmatic take on the matter.
“It’s fiction. It is their [Netflix‘s] right to do what they want,” she responded, according to French newspaper Le Monde. “Hannibal is a historical figure and we are all proud that he was Tunisian. But what can we do?” She went on to note that she is trying to negotiate with Netflix to shoot at least a portion of the film in Tunisia. “I hope they decide to shoot at least a sequence of the film here and that that this is publicized. We want Tunisia to go back to being a location where foreign films are shot,” Ketat-Guermazi said, as reported by Le Monde.
Representatives for Netflix, Washington and Fuqua did not immediately reply to a request for comment.
The controversy in Tunisia over Washington playing Hannibal is reminiscent of the uproar sparked in Egypt in April over Britain’s Adele James, who is of mixed heritage, playing Cleopatra in Netflix’s docudrama “Queen Cleopatra.” The first-century Egyptian queen was born in the Egyptian city of Alexandria in 69 BC and belonged to a Greek-speaking dynasty. Egyptian academics went on a rampage over the fact that Cleopatra was of European descent and not Black.
The still-untitled film about the Carthaginian general will be written by John Logan, the three-time Academy Award winner who scribed Martin Scorsese’s “The Aviator” and Ridley Scott’s “Gladiator.”
According to the official logline, the movie is “based on real-life warrior Hannibal, who is widely regarded as one of the greatest military commanders in history. The film covers the pivotal battles he led against the Roman Republic during the Second Punic War.”
Hannibal invaded Italy while riding a Northern African war elephant. Under his lead, the Carthaginians won key victories against the Romans, allowing Hannibal to occupy the majority of southern Italy for 15 years. Eventually, Hannibal was defeated by the Romans at the Battle of Zama after they counter-invaded North Africa.
Fuqua most recently directed Washington in the action-thriller “The Equalizer 3,” in which Washington reprised his role as ex-Marine Robert McCall.
Washington is currently involved in another war epic, the upcoming sequel to Ridley Scott’s “Gladiator,” which has resumed shooting in Malta after production was halted due to the SAG-AFTRA strike.
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https://www.themarysue.com/these-are-all-the-hannibal-movies-in-order/
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These Are All the ‘Hannibal’ Movies in Order
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2023-10-10T20:53:20+00:00
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Sometimes, monsters sit across the table from you, talking art and philosophy with grace and sophistication.
|
The Mary Sue
|
https://www.themarysue.com/these-are-all-the-hannibal-movies-in-order/
|
Hannibal Lecter’s world—a place where culinary arts meet malevolent carnage and “having friends for dinner” is deliciously ambiguous, has never ceased to captivate, even after all these years of acquainting ourselves with this enigmatic individual. The Hannibal series, wrapped in dark, brooding atmospheres, comes perfectly peppered with biting intensity and garnished with fava beans and a nice Chianti. While the horror film canon was busy with its masked slashers and supernatural forces, along came Dr. Hannibal Lecter, the archetype of the sophisticated killer, a fiend with a penchant for the finer things in life, including, regrettably, the occasional human liver.
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Hannibal films served a gourmet blend of psychological depth, stunning cinematography, and a masterclass in acting—with Sir Anthony Hopkins’ portrayal of the titular character becoming the gold standard. The pulse of suspense here relied on the palpable tension of a high-stakes intellectual game. Furthermore, the series’ influence on popular culture also cannot be minimized. Dr. Lecter became a cultural figure, representing the hidden dangers that hide beneath seemingly respectable facades. He embodied the idea that monsters don’t always have to be in the woods; sometimes, they may be found across the table from you, talking art and philosophy with grace and sophistication.
Quips like “I’m having an old friend for dinner” have become part of the cultural lexicon, echoing the series’ masterful blend of wit and horror. And let’s not forget those disturbing, restrained conversations with Clarice, forever shaping our understanding of creepy cinematic dialogues. In essence, the Hannibal movies didn’t just give us jump scares; they made our very souls shiver, forcing us to question the boundaries of morality, sanity, and, yes, gastronomy. And for that, we both applaud and squirm, thankful for the feast but wary of the menu. For all you eager beavers ready to sink your teeth into this revolutionary franchise or give it another whirl, here is a complete list of the films in order of their initial theatrical release.
Manhunter (1986)
Before the world fell enamored with Sir Anthony Hopkins’ suave rendition of Hannibal, Michael Mann’s neon-infused thriller painted our favorite cannibal in a slightly different hue. The ’80s aesthetic drips from every frame, reminding one of a Miami Vice episode with a particularly sinister twist. Brian Cox’s portrayal of Dr. Lecter (or “Lecktor” in this outing) gives the character a chilling pragmatism, eschewing flamboyance for a more grounded malevolence.
But the film isn’t just a Lecter-fest; oh no. It serves up a generous portion of cat-and-mouse tension, with an FBI profiler chasing a killer fond of lunar cycles and mirrors. Toss in a synth-heavy score, and you have a feast that’s as much about style as substance. Manhunter might be the less-celebrated older sibling in the Hannibal film family, but much like vintage wine or that obscure indie band no one’s heard of, there’s a certain panache in relishing what came before the blockbuster hit.
The Silence of the Lambs (1991)
The Silence of the Lambs is when culinary preferences took a dark detour, and “having an old friend for dinner” was not merely a pleasant invitation. This film, which exquisitely balances horror with intellect, introduces us to Dr. Hannibal Lecter, as played by Sir Anthony Hopkins, in a performance so captivating, it could almost make one consider accepting his dinner invitation (well, almost, but not entirely). Moreover, The Silence of the Lambs is not all about our favorite gourmet cannibal. Enter Jodie Foster’s Clarice Starling, an ambitious young FBI trainee with a keen mind and a West Virginia twang.
Their mental tango on the brink of insanity is fascinating and terrifying to watch. Intricately entangled within a suspenseful web, this film fearlessly looks into the dimly lit depths of the human mind, transforming innocent lambs, delicate moths, and delectable fava beans into captivating emblems of cinematic genius. Director Jonathan Demme serves a multi-course meal of taut narrative and haunting imagery, which, decades later, still leaves audiences questioning their appetites. A masterclass in psychological horror, this film doesn’t merely silence lambs but ensures they echo hauntingly in our cultural memory.
Hannibal (2001)
Florence’s Renaissance charm met a delectable recipe for disaster in 2001’s Hannibal. Ridley Scott took the directorial helm this time, whisking audiences away from the confines of Dr. Lecter’s prison cell and setting him loose amid Italy’s art and architecture. Even after his stint behind bars, our sophisticated cannibal continues to savor the theatrical and relish the unorthodox. Sir Anthony Hopkins gracefully returns to the screen, ensuring that Hannibal remains as refined as he is devilishly cunning. While Jodie Foster’s Clarice Starling is nowhere to be found, Julianne Moore fearlessly slips into those mighty shoes with style and flair.
The story is a delicious stew of vengeance, longing, and, of course, gourmet indulgences that would give even the most adventurous food critic pause. The pièce de résistance? A dinner scene that redefines ‘brain food’ and ensures you’ll never look at a carving fork the same way again. While some purists may argue that it doesn’t quite hit the high notes of its predecessor, Hannibal dishes out a lavish visual feast. Dig in if you dare, but perhaps skip the wine pairing—Chianti’s reputation has suffered enough.
Red Dragon (2002)
Red Dragon is where the Hannibal franchise decides to turn back time, but not in the Cher-belting-out-a-tune manner. No, this prequel offers a tantalizing glimpse of Dr. Hannibal Lecter before those pesky prison bars cramped his style. Anthony Hopkins, with his patented brand of slick menace, graces the screen once more, proving that when it comes to playing a charismatic cannibal, he’s second to none.
But let’s not neglect our main course: enter Edward Norton as the tortured Will Graham, a profiler with a knack for getting into the minds of killers, sometimes at his own risk. The film’s setup of a tasty cat-and-mouse (or dragon-and-sheep) game, with its ingenious crime scenes and occasional Lecter quips, is akin to an enticing appetizer. Some may say it’s a retread of old ground, but Red Dragon provides a fascinating glimpse into the beginnings of Hannibal’s notoriety, leaving viewers satisfied yet wanting more.
Hannibal Rising (2007)
Once upon a time, before he was Dr. Hannibal Lecter, a culinary connoisseur of questionable tastes, he was simply Hannibal, a young lad with tragically haute couture family issues. And in Hannibal Rising, we’re taken back to the beginning to discover the tender roots of our favorite not-so-tender cannibal. This prequel serves us a lavish spread of lush European settings, wartime horrors, and an exploration of just how one might develop a palate for … well, you know.
Gaspard Ulliel steps into the titular role, offering a fresh-faced version of our infamous epicurean, complete with a side of vengeance. While some cinema buffs may feel Hannibal Rising is more interested in style than substance, there is no denying the picture offers an intriguing look at the origins of monstrosity. It’s like finally solving the mystery of that one secret ingredient in your favorite complicated cuisine. You might not need it to enjoy the meal, but knowing it adds more flavor. Overall, it’s an intriguing appetizer in the Hannibal canon, even if it’s not the main entrée fans were anticipating.
(featured image: Orion Pictures)
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Universal Pictures
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Funvasion
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https://funvasion.miraheze.org/wiki/Universal_Pictures
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This article is based on real world material.
This means it is not fake and fanmade and created purely from the imaginations of its users on Funvasion, unless it does have fanmade material on the article (or perhaps a fanmade version of the real world material).
Check out more here.
This article is about the film studio. For the theme parks, see Universal Parks & Resorts. For other uses, see Universal (disambiguation).
Universal Pictures (also known as Universal Studios, formerly Universal Film Manufacturing Company) is an American film studio owned by Comcast through the Universal Filmed Entertainment Group division of its wholly owned subsidiary NBCUniversal. Founded in 1912 by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour, it is the oldest surviving film studio in the United States, the world's fifth oldest after Gaumont, Pathé, Titanus, and Nordisk Film, and the oldest member of Hollywood's "Big Five" studios in terms of the overall film market. Its studios are located in Universal City, California, and its corporate offices are located in New York City. Films produced by Universal Animation Studios, Illumination and DreamWorks Animation are also released under this brand.
Universal Pictures is a member of the Motion Picture Association of America (MPAA), and was one of the "Little Three" majors during Hollywood's golden age.
History[edit | edit source]
1909–27: Early years[edit | edit source]
Universal Studios was founded by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. One story has Laemmle watching a box office for hours, counting patrons, and calculating the day's takings. Within weeks of his Chicago trip, Laemmle gave up dry goods to buy the first several nickelodeons. For Laemmle and other such entrepreneurs, the creation of the Edison-backed Motion Picture Trust in 1908 meant exhibitors were expected to pay fees for Trust-produced films they showed. Based on the Latham Loop used in cameras and projectors,along with other patents, the Trust collected fees on all aspects of movie production and exhibition and attempted to enforce a monopoly on distribution.
Soon, Laemmle and other disgruntled nickelodeon owners decided to avoid paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. The company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the stars of films, he attracted many of the leading players of the time, contributing to the creation of the "star system". In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot in what may be the first instance of a studio using stars in its marketing.
The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership, with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour; eventually all would be bought out by Laemmle. The new Universal studio was a vertically integrated company, with film production, distribution, and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. Following the westward trend of the industry, by the end of 1912, the company was focusing its production efforts in the Hollywood area.
On March 15, 1915, Laemmle opened Universal City Studios, the world's largest motion picture production facility, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other film moguls, Laemmle opened his studio to tourists, and as a result, Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in small towns, producing mostly inexpensive melodramas, westerns, and serials.
In its early years, Universal released three brands of feature films: Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall, and Lois Weber, one of the few women directing films in Hollywood.
Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike his rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to develop a theater chain and financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor and director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922). However, Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas; his two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925).
During this period, Laemmle entrusted most of the production policy decisions to Irving Thalberg, who had been his personal secretary. Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades.
In 1926, Universal opened a production unit in Germany named Deutsche Universal-Film AG under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language, or occasionally Hungarian or Polish. In the US, Universal did not distribute any of this subsidiary's films, but some of them were exhibited through other independent foreign-language film distributors based in New York without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary.
In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake, as "unclean pictures" from other studios were generating more profit while Universal was losing money.
Oswald the Lucky Rabbit[edit | edit source]
Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created him, and their films had enjoyed a successful theatrical run. After Charles Mintz unsuccessfully demanded Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse, who, in 1928, starred in the first "sync" sound animated short Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation; Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz.
In 2006, after almost 80 years, NBCUniversal sold all Disney-produced Oswald cartoons along with the rights to the character himself back to Disney. In return, Disney released sportscaster Al Michaels from his contract on ABC so he could work on NBC's NFL Sunday Night Football telecast. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943.
1928–36: Keeping leadership of the studio in the family[edit | edit source]
In 1928, Laemmle, Sr. made his son Carl, Jr. head of Universal as a 21st birthday present. Universal already had a reputation for nepotism; at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl". Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very large faemmle". Among these relatives was future Academy Award-winning director/producer William Wyler.
"Junior" Laemmle persuaded his father to bring Universal up to date; he bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically panned part-talkie adaptation of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929), which included Technicolor sequences and was the first musical feature presented in color for Universal), and King of Jazz (1930); the more serious All Quiet on the Western Front (1930) won its year's Best Picture Oscar.
Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed "Universal Horror". Among them were Dracula (1931), Frankenstein (1931), The Mummy (1932), and The Invisible Man (1933); other Laemmle productions of this period included Imitation of Life (1934) and My Man Godfrey (1936).
1936–43: The Laemmles lose control[edit | edit source]
Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time, Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio, and production operations.
The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie adaptation which was produced as a high-quality, big-budget film rather than a B-picture. The new film featured several stars from the Broadway stage version, which began production in late 1935, and unlike the 1929 film, it was based on the Broadway musical rather than the novel.
Carl, Jr.'s spending habits alarmed company stockholders; they would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was thus forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral; it was the first time Universal had borrowed money for a production in its history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, and Standard foreclosed and seized control of the studio on April 2, 1936.
Although Universal's Show Boat (released a little over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio, and they were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating such as William Wyler and Margaret Sullavan left.
Meanwhile, producer Joe Pasternak, who had been successfully producing light musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film Three Smart Girls (1936). The film was a box office hit, and reputedly resolved the studio's financial problems; its success led Universal to offer her a contract, which, for the first five years of her career, produced her most successful films.
When Pasternak stopped producing Durbin's pictures and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to star with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Pictures.
By the early 1940s, Universal was concentrating on lower-budget productions that were the company's main staple: westerns, melodramas, serials, and sequels to the studio's horror pictures, the latter now solely B-movies. The studio fostered many series, such as The Dead End Kids and Little Tough Guys action features and serials (1938–43); the comic adventures of infant Baby Sandy (1938–41); comedies with Hugh Herbert (1938–42) and The Ritz Brothers (1940–43); musicals with Robert Paige, Jane Frazee, The Andrews Sisters, and The Merry Macs (1938–45); and westerns with Tom Mix (1932–33), Buck Jones (1933–36), Bob Baker (1938–39), Johnny Mack Brown (1938–43); Rod Cameron(1944–45), and Kirby Grant (1946–47).
Universal could seldom afford its own stable of stars, and often borrowed talent from other studios or hired freelance actors. In addition to Stewart and Dietrich, Margaret Sullavan and Bing Crosby were two of the major names who produced pictures for Universal during this period. Some stars came from radio, including Edgar Bergen, W. C. Fields, and the comedy team of Abbott and Costello, whose military comedy Buck Privates (1941) gave the former burlesque comedians a national and international profile.
During the years of World War II, Universal had a co-production arrangement with producer Walter Wanger and his partner, director Fritz Lang, lending the studio some amount of prestige productions. Universal's core audience base was still found in neighborhood movie theaters, and the studio continued to please the public with low to medium-budget films; these included Basil Rathbone and Nigel Bruce in new Sherlock Holmes mysteries (1942–46), teenage musicals with Gloria Jean, Donald O'Connor, and Peggy Ryan (1942–43), and screen adaptations of radio's Inner Sanctum Mysteries with Lon Chaney, Jr. (1943–45). Alfred Hitchcock was also borrowed for two films from Selznick International Pictures: Saboteur (1942) and Shadow of a Doubt (1943).
As Universal's main products had always been low-budget films, it was one of the last major studios to have a contract with Technicolor. The studio did not make use of the three-strip Technicolor process until Arabian Nights (1942), starring Jon Hall and Maria Montez. The following year, Technicolor was also used in Universal's remake of their 1925 horror melodrama Phantom of the Opera, with Claude Rains and Nelson Eddy. With the success of their first two pictures, a regular schedule of high-budget Technicolor films followed.
1945–52: Universal-International and Decca Records takes control[edit | edit source]
In 1945, British entrepreneur J. Arthur Rank, hoping to expand his American presence, bought into a four-way merger with Universal, the independent company International Pictures, and producer Kenneth Young. The new combine, dubbed United World Pictures, was a failure and was dissolved within one year. Rank and International remained interested in Universal, however, culminating in the studio's reorganization as Universal-International. International co-founder William Goetz was made head of production at the renamed Universal-International Pictures Inc., which also served as an import-export subsidiary and copyright holder for the production arm's films. Goetz, a son-in-law of Louis B. Mayer, decided to bring "prestige" to the new company, and stopped its low-budget production of B-movies and serials, and curtailed Universal's horror and Arabian Nights cycles. Distribution and copyright control remained under the name of Universal Pictures Company Inc..
Goetz set out an ambitious schedule and Universal-International became responsible for the American distribution of Rank's British productions, including such classics as David Lean's Great Expectations (1946) and Laurence Olivier's Hamlet (1948). Broadening its scope further, Universal-International branched out into the lucrative non-theatrical field, buying a majority stake in home movie dealer Castle Films in 1947 and taking the company over entirely in 1951. For three decades, Castle would offer "highlights" reels from the Universal film library to home movie enthusiasts and collectors. Goetz licensed Universal's pre-International film library to Jack Broeder's Realart Pictures for cinema re-release, but Realart was not allowed to show the films on television.
The production arm of the studio still struggled; while there were to be a few hits such as The Killers (1946) and The Naked City (1948), Universal-International's new theatrical films often met with disappointing response at the box office. By the late 1940s, Goetz was out and the studio returned to low-budget films. The inexpensive Francis (1950), the first film of a series about a talking mule, and Ma and Pa Kettle (1949), also part of a series, became mainstays of the company. Once again, the films of Abbott and Costello, including Abbott and Costello Meet Frankenstein (1948), were among the studio's top-grossing productions. However, at this point, Rank lost interest and sold his shares to the investor Milton Rackmil, whose Decca Records label would take full control of Universal in 1952. Besides Abbott and Costello, the studio retained the Walter Lantz cartoon studio, whose product was released with Universal-International's films.
In the 1950s, Universal-International resumed their series of Arabian Nights films, many of which starring Tony Curtis. The studio also had a success with monster and science fiction films produced by William Alland, with many directed by Jack Arnold. Other successes were melodramas directed by Douglas Sirk and produced by Ross Hunter, although for critics, they were not so well thought of on first release as they have since become. Among Universal-International's stable of stars were Rock Hudson, Tony Curtis, Jeff Chandler, Audie Murphy, and John Gavin.
Although Decca would continue to keep picture budgets lean, it was favored by changing circumstances in the film business, as other studios let their contract actors go in the wake of the 1948 U.S. vs. Paramount Pictures, et al. decision. Leading actors were increasingly free to work where and when they chose, and in 1950, MCA agent Lew Wasserman made a deal with Universal for his client James Stewart that would change the rules of the business. Wasserman's deal gave Stewart a share in the profits of three pictures in lieu of a large salary. When one of those films titled Winchester '73 proved to be a hit, the arrangement would become the rule for many future productions at Universal and eventually at other studios as well.
1958–89: MCA takes over[edit | edit source]
In the early 1950s, Universal set up its own distribution company in France, and in the late 1960s, it also started a production company in Paris named Universal Productions France S.A., although sometimes credited by the distribution company's name Universal Pictures France. Except for its first two films, which were Claude Chabrol's Le scandale and Romain Gary's Les oiseaux vont mourir au Pérou, it was only involved in French or other European co-productions, the most noticeable of which being Louis Malle's Lacombe, Lucien, Bertrand Blier's Les Valseuses, and Fred Zinnemann's The Day of the Jackal; it was only involved in approximately twenty French productions. In the early 1970s, the unit was incorporated into the French Cinema International Corporation arm.
By the late 1950s, the motion picture business was again changing; the combination of the studio/theater chain breakup and the rise of television saw the reduced audience size for cinema productions. The Music Corporation of America (MCA), the world's largest talent agency, had also become a powerful television producer, renting space at Republic Studios for its Revue Productions subsidiary. After a period of complete shutdown, a moribund Universal agreed to sell its 360-acre (1.5 km) studio lot to MCA in 1958 for $11 million, which was later renamed Revue Studios. MCA owned the studio lot, but not Universal, yet it was increasingly influential on Universal's product. The lot was upgraded and modernized, while MCA clients such as Doris Day, Lana Turner, Cary Grant, and director Alfred Hitchcock were signed to Universal contracts.
The long-awaited takeover of Universal Pictures by MCA was completed in 1962 as part of the MCA and Decca Records merger, and the studio reverted its name to Universal Pictures. As a final gesture before leaving the talent agency business, virtually every MCA client was signed to a Universal contract. In 1964, MCA formed Universal City Studios, Inc., merging the motion picture and television arms of Universal Pictures Company and Revue Productions (officially renamed as Universal Television in 1966). With MCA in charge, Universal became an official A-film movie studio, with leading actors and directors under contract; it began offering slick, commercial films, and a studio tour subsidiary launched in 1964.
Television production made up much of the studio's output, with Universal heavily committed in particular to deals with NBC (which later merged with Universal to form NBCUniversal) providing up to half of all primetime shows for several seasons; an innovation during this period championed by Universal was the made-for-television film. In 1982, Universal became the studio base for many shows produced by Norman Lear's Tandem Productions/Embassy Television, including Diff'rent Strokes, One Day at a Time, The Jeffersons, The Facts of Life, and Silver Spoons, which premiered on NBC that same fall.
At this time, Hal B. Wallis, who had latterly worked as a major producer at Paramount, moved over to Universal, where he produced several films, among them a lavish version of Maxwell Anderson's Anne of the Thousand Days (1969), and the equally lavish Mary, Queen of Scots (1971). Although neither could claim to be a big financial hit, both received Academy Award nominations, and Anne was nominated for Best Picture, Best Actor (Richard Burton), Best Actress (Geneviève Bujold), and Best Supporting Actor (Anthony Quayle). Wallis retired from Universal after producing Rooster Cogburn (1975), a sequel to True Grit(1969), which Wallis had produced at Paramount; Rooster Cogburn co-starred John Wayne, reprising his Oscar-winning role from the earlier film, and Katharine Hepburn, their only film together, and the film was only a moderate success.
In the early 1970s, Universal teamed up with Paramount to form Cinema International Corporation, which distributed films by Paramount and Universal outside North America. Although Universal did produce occasional hits such as Airport (1970), The Sting (1973), American Graffiti (1973), Earthquake (1974), Jaws (1975), the latter of which became a huge box office success which restored the company's fortunes, during the 1970s, Universal was primarily a television studio. When Metro-Goldwyn-Mayer purchased United Artists in 1981, MGM could not drop out of the CIC venture to merge with United Artists overseas operations. However, with future productions from both names being released through the MGM/UA Entertainment plate, CIC decided to merge UA's international units with MGM, and it was reformed as United International Pictures. There would be other massive hits such as E.T. the Extra-Terrestrial (1982), Back to the Future (1985), Field of Dreams (1989), and Jurassic Park (1993), but the film business was financially unpredictable.
UIP began distributing films by newcomer studio DreamWorks Pictures in 1997 due to connections the founders had with Paramount, Universal, and Amblin Entertainment. In 2001, MGM dropped out of the UIP venture and went with 20th Century Fox's international arm to handle distribution of their titles to this day.
1990–2009: Matsushita, Seagram, Vivendi, and NBCUniversal[edit | edit source]
Anxious to expand the company's broadcast and cable presence, longtime MCA head Lew Wasserman sought a rich partner. He located Japanese electronics manufacturer Matsushita Electric (now known as Panasonic), which agreed to acquire MCA for $6.6 billion in 1990. Matsushita provided a cash infusion, but the clash of cultures was too great to overcome, and five years later, Matsushita sold an 80% stake in MCA/Universal to Canadian drink distributor Seagram for $5.7 billion. Seagram sold off its stake in DuPont to fund this expansion into the entertainment industry. Hoping to build an entertainment empire around Universal, Seagram bought PolyGram and other entertainment properties in 1999, but the fluctuating profits characteristic of Hollywood were no substitute for the reliable income stream gained from its previously held shares in DuPont.
To raise money, Seagram head Edgar Bronfman Jr. sold Universal's television holdings including cable network USA to Barry Diller; these same properties would be bought back later at greatly inflated prices. In June 2000, Seagram was sold to French water utility and media company Vivendi, which owned StudioCanal; the conglomerate then became known as Vivendi Universal. Afterward, Universal Pictures acquired US distribution rights to several of StudioCanal's films, such as Mulholland Drive (which received an Oscar nomination) and Brotherhood of the Wolf (which became the second-highest-grossing French-language film in the United States since 1980); Universal and StudioCanal also co-produced several films, such as Love Actually (an $40 million budget film that eventually grossed $246 million worldwide). In late 2000, the New York Film Academy was permitted to use the Universal Studios backlot for student film projects in an unofficial partnership.
Burdened with debt, in 2004, Vivendi Universal sold 80% of Vivendi Universal Entertainment (including the studio and theme parks) to General Electric, the parent of NBC. The resulting media conglomerate was renamed as NBCUniversal, while Universal Studios Inc. remained the name of the production subsidiary. After that deal, GE owned 80% of NBC Universal, and Vivendi held the remaining 20%, with an option to sell its share in 2006.
In late 2005, Viacom's Paramount Pictures acquired DreamWorks Pictures after acquisition talks between GE and DreamWorks stalled. Universal's longtime chairwoman Stacey Snider left the company in early 2006 to head up DreamWorks as a result. Snider was replaced by then-Vice Chairman Marc Shmuger and Focus Features head David Linde. On October 5, 2009, Marc Shmuger and David Linde were ousted, and their co-chairman jobs consolidated, under former president of worldwide marketing and distribution Adam Fogelson becoming the single chairperson. Donna Langley was also upped to co-chairperson. In 2009, Stephanie Sperber founded Universal Partnerships & Licensing to license consumer products for Universal.
GE purchased Vivendi's share of NBCUniversal in 2011.
2011–present: Comcast era[edit | edit source]
GE sold 51% of the company to cable provider Comcast in 2011, who merged the former GE subsidiary with its own cable television programming assets, creating the current NBCUniversal. Following approval by the Federal Communications Commission, the Comcast-GE deal was closed on January 29, 2011. In March 2013, Comcast bought the remaining 49% of NBCUniversal for $16.7 billion.
In September 2013, Adam Fogelson was ousted as co-chairman of Universal Pictures, promoting Donna Langley to chairwoman. In addition, NBCUniversal International Chairman Jeff Shell would be appointed as Chairman of the newly created Universal Filmed Entertainment Group. Longtime studio head Ron Meyer would give up oversight of the studio and was appointed Vice Chairman of NBCUniversal, providing consultation to CEO Steve Burke on all of the company's operations; Meyers still retains oversight of Universal Parks and Resorts.
Universal's multi-year financing deal with Elliott Management expired in 2013. In summer 2013, Universal made an agreement with Thomas Tull's Legendary Pictures to distribute their films for five years starting in 2014, shortly after Legendary's similar agreement with Warner Bros. ended. In June 2014, Universal Partnerships took over licensing consumer products for NBC and Sprout, with expectation of all licensing eventually being centralized within NBCUniversal. On December 16, 2015, Amblin Partners announced it had entered into a five-year distribution deal with Universal Pictures, meaning its films would be distributed and marketed by either Universal or Focus Features. It is unknown whether Focus subsidiaries Gramercy Pictures and Focus World will distribute any films in the deal.
In early 2016, Perfect World Pictures announced a long-term co-financing deal with Universal, marking the first time a Chinese company has directly invested in a multi-year slate deal with a major American studio.
On April 28, 2016, NBCUniversal announced a $3.8 billion deal to acquire DreamWorks Animation, which was later completed on August 22, 2016. Universal took over the distribution deal with DreamWorks starting in 2019 with the release of How to Train Your Dragon: The Hidden World, after DreamWorks Animation's distribution deal with 20th Century Fox ends.
On February 15, 2017, Universal Pictures acquired a minority stake in Amblin Partners, strengthening the relationship between Universal and Amblin and reuniting a minority percentage of the DreamWorks Pictures label with DreamWorks Animation.
In December 2019, Universal Pictures entered early negotiations to distribute upcoming feature film properties based on the Lego toys. Although the original Lego Movie characters are still owned by Warner Bros. Pictures, Universal Pictures will serve as distributor of future release and will develop additional Lego films. The future of the already in-development movies is believed to remain the same.
In 2020, AMC Theatres stated it would no longer show any Universal Studios movies due to language from Universal indicating that in the future their movies may not be released in theaters prior to being available for direct streaming. In June, it was announced longtime Universal International Distribution President Duncan Clark would be stepping down. He would transition to a consulting role with the studio in August and would be replaced by Veronika Kwan Vandenberg.
Logo[edit | edit source]
The company's production logo is the planet Earth surrounded by the word "Universal," in shiny white letters with golden outlining. The background is a space background.
Units[edit | edit source]
Universal Television
Universal Television Animation
Universal Cable Productions
Chiller Films
Universal Pictures Home Entertainment
Universal 1440 Entertainment
Universal Sony Pictures Home Entertainment Australia (JV)
Focus Features
Gramercy Pictures label
Focus World
High Top Releasing
NBCUniversal Entertainment Japan
Working Title Films
Universal Animation Studios
Universal Animation
Illumination
Illumination Mac Guff
DreamWorks Animation
DreamWorks Animation Television
DreamWorks Animation Home Entertainment (merged with Universal Pictures Home Entertainment)
DreamWorks Classics
Big Idea Entertainment
Bullwinkle Studios (JV)
DreamWorks New Media
United International Pictures (JV)
Amblin Partners (minor stake) (JV)
Amblin Entertainment
Amblin Television
DreamWorks Pictures
DreamWorks Television (merged with Amblin Television)
Storyteller Distribution
Film library[edit | edit source]
Film series[edit | edit source]
Title Release date Notes Universal Monsters/Dark Universe 1931–1954; 2014; 2017 co-production with Legendary Entertainment and K/O Paper Products Woody Woodpecker 1941–present co-production with Walter Lantz Studios and Universal Animation Studios Psycho 1960–1998 co-production with Paramount Pictures The Birds 1963–1994 Jaws 1975–1987 The Blues Brothers 1980–1998 co-production with SNL Studios Halloween 1981–1982, 2018-TBA co-production with Compass International, De Laurentiis Entertainment Group, 20th Century Fox, Dimension Films, Miramax, The Weinstein Company, Metro-Goldwyn-Mayer, and Blumhouse Productions Conan the Barbarian 1982–1984; TBA co-production with Lionsgate The Thing 1982–2011 co-production with Morgan Creek Productions and Strike Entertainment Back to the Future 1985–1990 co-production with Amblin Entertainment An American Tail 1986–1999 co-production with Amblin Entertainment and Sullivan Bluth Studios The Land Before Time 1988–2016 co-production with Amblin Entertainment, Lucasfilm and Sullivan Bluth Studios. Child's Play 1988–present co-production with Rogue Pictures, Metro-Goldwyn-Mayer, and United Artists Detective Carl 1990–present international distributor; co-production with Imagine Entertainment, Orion Pictures, Bron Creative, Maximum Effort, Aggregate Films, and Bakshi Productions Darkman 1990–1996 co-production with Renaissance Pictures Beethoven 1992–2014 Jurassic Park 1993–present co-production with Amblin Entertainment, Legendary Pictures, and The Kennedy/Marshall Company The Flintstones 1994–2000 co-production with Hanna-Barbera & Amblin Entertainment Timecop 1994–2003 co-production with Renaissance Pictures Babe 1995–1998 Balto 1995–2007 co-production with Amblin Entertainment Casper 1995–2000; 2016-present co-production with Amblin Entertainment, Harvey Films, Saban Ltd., 20th Century Fox, and DreamWorks Classics Dragonheart 1996–present Mr. Bean 1997–2007 co-production with PolyGram Films, Gramercy Pictures, Working Title Films, StudioCanal, and Tiger Aspect Productions The Prince of Egypt 1998–2000 co-production with DreamWorks Animation The Mummy 1999–2008; 2017; TBA co-production with Relativity Media, Sommers Company and Alphaville Films. American Pie 1999–2012 Dr. Seuss films 2000–2018 co-production with Imagine Entertainment, DreamWorks Pictures, and Illumination Entertainment Bring It On co-production with Strike Entertainment Riddick 2000–2013 co-production with Gramercy Pictures, USA Films, Original Film, and Relativity Media Meet the Parents 2000–2010 co-production with DreamWorks Pictures, Paramount Pictures and TriBeCa Productions Hannibal Lecter 2001–2002 co-production with Metro-Goldwyn-Mayer, Orion Pictures, Scott Free Productions, The Weinstein Company, and De Laurentiis Entertainment Group The Fast and the Furious 2001–present co-production with Original Film, Relativity Media and One Race Films. Shrek co-production with DreamWorks Animation, Pacific Data Images, DreamWorks, and Paramount Pictures Bourne 2002–present co-production with The Kennedy/Marshall Company and Relativity Media. The Scorpion King 2002–2011 co-production with Alphaville and WWE Studios Dusk and Dawn 2002 international distributor; co-production with Metro-Goldwyn-Mayer and MGM Animation Studios Johnny English 2003–2018 co-production with Working Title Films, StudioCanal, and Tiger Aspect Productions Hulk 2003–2008; TBA co-production with Marvel Studios; right of first refusal to distribute future films Almighty 2003–2007 co-production with Spyglass Entertainment, Shady Acres Entertainment, and Original Film Sinbad 2003–2008; TBA co-production with DreamWorks Animation Three Flavours Cornetto trilogy 2004–2013 co-production with Rogue Pictures, Focus Features, Working Title Films, and StudioCanal ...of the Dead 2004–2005 co-production with Atmosphere Entertainment, Romero/Grunwald Films, Cruel and Unusual Films, and Strike Entertainment White Noise 2005–present co-production with Gold Circle Films Madagascar co-production with DreamWorks Animation, Pacific Data Images, DreamWorks, Paramount Pictures, and 20th Century Fox Nanny McPhee 2005–2010 co-production with Working Title Films Curious George 2006–2019 co-production with Universal Animation Studios and Imagine Entertainment Smokin' Aces 2007–present co-production with Relativity Media Kung Fu Panda 2008–present co-production with DreamWorks Animation, Pearl Studio, Paramount Pictures, and 20th Century Fox Marvel Cinematic Universe 2008; TBA Hulk films only; co-production with Marvel Studios Hellboy 2008 co-production with Dark Horse Entertainment, Revolution Studios, Relativity Media, Mosaic Film Group, and Columbia Pictures Death Race 2008–present co-production with New Horizons, Cruise/Wagner Productions, and Relativity Media The Strangers co-production with Intrepid Pictures, Relativity Media, and Rogue Pictures Monsters vs. Aliens 2009–2014 co-production with DreamWorks Animation and Paramount Pictures How to Train Your Dragon 2010–present co-production with DreamWorks Animation, Paramount Pictures, and 20th Century Fox Despicable Me co-production with Illumination Entertainment Puss in Boots 2011-present co-production with DreamWorks Animation and Paramount Pictures Ted 2012–2015 co-production with Media Rights Capital and Fuzzy Door Productions The Man with... 2012–present co-production with Strike Entertainment and Bluegrass Films Pitch Perfect 2012–2017 co-production with Gold Circle Films The Purge 2013–present co-production with Blumhouse Productions and Platinum Dunes The Croods co-production with DreamWorks Animation and 20th Century Fox Ride Along 2014–2016 co-production with Relativity Media and Perfect World Pictures Dumb and Dumber 2014–present co-production with New Line Cinema, Warner Bros. Pictures, and Red Granite Pictures Ouija co-production with Blumhouse Productions, Hasbro Studios, and Platinum Dunes Neighbors co-production with Point Grey, Relativity Media, and Good Universe Fifty Shades 2015–2018 co-production with Focus Features, Michael De Luca Productions, and Trigger Street Productions Unfriended 2015–present co-production with Blumhouse Productions and Bazelevs Company Minions co-production with Illumination Entertainment The Secret Life of Pets 2016–present co-production with Illumination Entertainment Trolls co-production with DreamWorks Animation and 20th Century Fox Sing co-production with Illumination Entertainment The Boss Baby 2017-present co-production with DreamWorks Animation and 20th Century Fox Willow 2018-present co-production with DreamWorks Animation Insidious 2018; TBA co-production with FilmDistrict, Focus Features, Gramercy Pictures, IM Global, Alliance Films, Stage 6 Films, Entertainment One, and Blumhouse Productions Pacific Rim co-production with Legendary Entertainment and Warner Bros. The Addams Family 2019-present international distributor; co-production with Metro-Goldwyn-Mayer and Bron Creative James Bond 2021 co-production with Metro-Goldwyn-Mayer
(No Time to Die; one-film contract)
Highest-grossing films in North America[1] Rank Title Year Box office gross 1 Jurassic World 2015 $652,270,625 2 E.T. the Extra-Terrestrial ‡ 1982 $435,110,554 3 Jurassic World: Fallen Kingdom 2018 $417,719,760 4 Jurassic Park ‡ 1993 $402,523,348 5 Jurassic World: Dominion 2022 $376,009,080 6 Minions: The Rise of Gru $369,500,210 7 The Secret Life of Pets 2016 $368,384,330 8 Despicable Me 2 2013 $368,061,265 9 Furious 7 2015 $353,007,020 10 Minions $336,045,770 11 Meet the Fockers 2004 $279,261,160 12 The Grinch 2018 $270,620,950 13 Sing 2016 $270,329,045 14 Despicable Me 3 2017 $264,624,300 15 Dr. Seuss' How the Grinch Stole Christmas 2000 $260,044,825 16 Jaws 1975 $260,000,000 17 Despicable Me 2010 $251,513,985 18 Bruce Almighty 2003 $242,829,261 19 Fast & Furious 6 2013 $238,679,850 20 The Lost World: Jurassic Park 1997 $229,086,679 21 The Bourne Ultimatum 2007 $227,471,070 22 The Fate of the Furious 2017 $226,008,385 23 Ted 2012 $218,815,487 24 King Kong 2005 $218,080,025 25 The Lorax 2012 $214,030,500
Highest-grossing films worldwide Rank Title Year Box office gross 1 Jurassic World 2015 $1,670,400,637 2 Furious 7 $1,516,045,911 3 Jurassic World: Fallen Kingdom 2018 $1,308,534,046 4 The Fate of the Furious 2017 $1,238,764,765 5 Minions 2015 $1,159,398,397 6 Jurassic Park ‡ 1993 $1,045,573,035 7 Despicable Me 3 2017 $1,034,800,131 8 Hailey 2022 $1,022,878,785 9 Detective Carl Returns 2023 $1,007,935,010 10 Jurassic World: Dominion 2022 $1,001,188,755 11 Despicable Me 2 2013 $970,761,885 12 Minions: The Rise of Gru 2022 $939,433,210 13 The Secret Life of Pets 2016 $875,457,937 14 E.T. the Extra-Terrestrial ‡ 1982 $792,910,554 15 Fast & Furious 6 2013 $788,679,850 16 No Time to Die 2021 $774,153,007 17 F9 $726,229,501 18 Fast & Furious Presents: Hobbs & Shaw 2019 $721,040,050 19 Sing 2016 $631,214,341 20 Fast Five 2011 $626,137,675 21 The Lost World: Jurassic Park 1997 $618,638,999 22 Mamma Mia! 2008 $609,841,637 23 Fifty Shades of Grey 2015 $571,006,128 24 King Kong 2005 $550,517,357 25 Ted 2012 $549,368,315
‡ Includes theatrical reissue(s).
Trivia[edit | edit source]
Coming soon!
See also[edit | edit source]
Universal Filmed Entertainment Group
List of Universal Pictures films
List of Universal Pictures theatrical animated features
List of animation studios owned by Universal Pictures
Universal Pictures/Other
File:Wikipedia icon.png This article uses content from Wikipedia (view authors), and falls under the compatible Creative Commons license.
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The Scene: The Denver Post
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- Anthony Hopkins returning as Dr. Hannibal Lecter is like having an old friend for dinner.
Alas, in "Hannibal" he's an unwelcome old friend.
Or, to use another cannibalism double entendre of the kind that peppers this film's dialogue, a friend with bad taste.
And here's a heads-up about the climactic, soon-to-be-infamous dinner which Lecter serves FBI agent Clarice Starling (Julianne Moore) and her treacherous, unfortunate boss (Ray Liotta).
You may find it unbelievably disgusting or you may find it unintentionally funny, but it's as kitschy a thing as you'll see in movies this side of a low-budget Troma film. One could say it's a brainy scene, which isn't the same thing as calling it smart. It is, I guess, a metaphor for a mindless action film. Didn't Emerson, Lake & Palmer make an album about this - "Brain Salad Surgery?"
"Hannibal" is the sequel, 10 years on, to the Oscar-sweeping "The Silence of the Lambs" - it won best picture, best director, best adapted screenplay, best actress (Jodie Foster as then-FBI-agent-in-train ing Clarice) and best actor (Hopkins, natch).
At its best, during its tensely articulate, beautifully staged and delicately acted jail-cell confrontations between Lecter and Clarice, "Silence" was an intimately revelatory two-person play about the dark secrets of life.
But author Thomas Harris couldn't maintain that kind of intelligent, transfixing tension when he wrote the 1999 followup to his "Silence."
"Hannibal" was a book both stomach-churningly ghastly and ridiculously plotted, with an ending - Clarice and Lecter living together in South America - that seemed made with a Mel Brooks' comedy in mind.
That's probably why Foster and "Lambs' " director Jonathan Demme bowed out of the "Hannibal" film - they sensed something rotten in the cinematic kitchen. Hopkins, however, signed up - as did actress Moore ( "Short Cuts," "Magnolia'').
"Gladiator" director Ridley Scott, known for his sometimesbrutal, sometimes-beautiful visual sensibilities, also joined up. And screenwriters Steven Zaillian and David Mamet pared "Hannibal" of some of its secondary characters (and that dumb ending), but otherwise attempted to stay true - too true - to Harris' story.
In "Hannibal," Lecter no longer is a mere cannibal. Having brutally murdered his way out of a Memphis holding cell in "Silence," he now is the ultimate Renaissance man. He lives under an assumed identity in Florence, dressed like a Tom Wolfe/Truman Capote dandy in wide-brimmed hat and fancy suits, attending operas and pontificating within range of the Ponte Vecchio to scholars on the history of violent imagery in the visual arts. Indeed, he has become the acting curator of a palatial art library - his superior has mysteriously disappeared.
As long as "Hannibal" is served au Florentine, which is roughly for about half the movie, it's involving and exciting. Scott and cinematographer John Mathieson are in love with the historic, still-vital city, using both vivid and dark colors, magnificent shadows, and breathtaking camera pans to bring life (and death) to the busy sidewalks, expansive plazas and glorious opera productions. Hans Zimmer's score, along with poignantly used classical and operatic music, also sets a strong mood.
Best of all, the Florence story is believably suspenseful. Police detective Pazzi (played with a tough wariness by Giancarlo Giannini) has discovered Lecter's existence. But rather than arrest him, he tries to sell him - like a pound of flesh - to Lecter's nemesis, the wealthy, hideously deformed Mason Verger (Gary Oldman).
As Pazzi attempts to corner and capture Lecter, the cat-and-mouse positioning is nail-biting. Hopkins brings a dangerous malevolence to these scenes, punctuated with an occasional subtle comic touch, like saying "okie dokie" with an easy friendliness. (Later in the film, he overdoes the purringly seductive voice.)
Virtually all the scenes set in the good old USA are problematic. For a start, there is the character of Mason. His hideous deformity - a twisted and distorted face lacking lips or, apparently, large swatches of original flesh - is due to a runin with Lecter back when the latter was a Baltimore psychiatrist.
Not one to let bygones be bygones, Mason wants to capture Lecter alive and then feed him to savagely hungry wild pigs.
If I was making "Hannibal," I would have thrown out this gory story and started over with something, anything, else. As a villain, Oldman's hammy Mason is straight out of a James Bond movie - one waits for him to reveal a secret nuclear device that will destroy the world.
"Hannibal" is set 10 years on, but I defy anyone to see a connection between Foster's shy, tentative Clarice and Moore's older version, beyond the "corn-pone" West Virginia accent.
Moore is a fine actress, but she doesn't do shyness or nervousness well - remember her confrontational nude scene in "Short Cuts''? As a result, the charm is gone from the character. Clarice has no fears. One wonders what Lecter still sees in her, especially once he returns to the U.S. and makes contact.
The film does Clarice no favor by beginning with a noisy "Lethal Weapon''-like botched shootout with some criminals at a D.C. market. She kills five, including a mom with her infant in a carrier, and then is framed by an evil superior (Liotta) to take the fall.
It is because of this incident that she comes to Lecter's attention while he is still in Florence. So I suppose it serves a purpose plot wise. But it gets "Hannibal" off to a wrong start.
As a character, Lecter always has been larger-than-life. But "Hannibal" tries to turn him into an offbeat superhero - besides his food fetish, he's also Clarice's father-like, strong-male avenging angel. One might even call him saintly - Our Hannibal of the Scrambled Brains. His cannibalism is even seen as a sort of good thing. As one character observes, he prefers to "eat the rude" whenever possible.
This is all rather silly, really - in its equation of serial-killing with food fetishism, it's conceptually inferior to both the more satirical "American Psycho" and the more serious "Felicia's Journey."
Indeed, it's too half-baked for even a guy like Lecter to swallow.
Steven Rosen's e-mail is srosenone@aol.com.
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Anthony Hopkins, Julianne Moore are an odd couple in "Hannibal." Click on images to see larger versions..
'Hannibal': a meal
that fails to satisfy
Reviewed by John Orr
Even if it hadn't been conceived in the long shadow of "The Silence of the Lambs," "Hannibal" would still fail to satisfy.
As a would-be thriller, it just has too much down and dull time, thanks to a weak script by David Mamet and Steven Zaillian and uninspired direction by Ridley Scott.
But given the existence of "The Silence of the Lambs" and even "Manhunter," the Michael Mann film in which we first meet Hannibal Lecter "Hannibal" doesn't just fail to satisfy, it actually disappoints.
We wanted a better film than this, and while it has some wonderful moments and performances, its disjointedness and lack of story focus lead to more yawns than screams.
It is the story of Clarice Starling and Hannibal the Cannibal Lecter, 10 years after his escape from prison in "The Silence of the Lambs." She has continued with the FBI, where she is being treated less than fairly, and must suffer the annoyance of federal agent Paul Krendler. Hannibal is living in Europe, where he has found employment for his elegant taste in the arts and the classics.
The thumb in Hannibal's happy pie is Mason Verger, a ridiculously rich man who was horribly mutilated in a Hannibal incident, and who is willing to spend a lot of his money to catch Lecter and return the favor.
It is Verger's machinations that bring Lecter out of hiding, and back to the United States, where he and Clarice are to meet again.
The sloppy subplotting includes Krendler and an Italian cop trying to get their hands on Lecter for the sake of Verger's money.
Moore is fine as Clarice, especially in displaying the emotional toughness we expect Clarice to have accrued in the last decade. The one weakness is that she doesn't really have that hardbody toughness we'd expect of Starling, that Jodie Foster portrayed so well. Moore is just too soft, even when running an exercise course or shooting guns.
Hopkins is great, as always, and we get to see more of how he really is a monster, not just an elegant and sophisticated man who happens to be in prison.
Giancarlo Giannini has a wonderful turn as the Italian cop who is desperate to give his beautiful young wife (played by Francesca Neri) nice and expensive things. He is at once dissipated yet still filled with soul. His remarkable eyes tell us all, and his turn with Hannibal is the best part of the film.
Gary Oldman is terrific, as always, in the Verger role. Ray Liotta is as good as he can be as the corrupt Krendler, but is poorly served by inept script and direction.
Problems include the silly way Verger wants to kill Lecter, which is more laughable than scary, and that the relationship between Clarice and Hannibal is so clumsily delivered.
Jonathan Demme, directing "The Silence of the Lambs," was able to keep Clarice and Hannibal appealing and interesting on many levels, including regarding their relationship, which made the horrible tale actually charming in a way.
We want more of that kind of charm in "Hannibal," and while an effort has been made, Scott fails to deliver at least, on as many levels as did Demme.
It's a stew prepared by too many cooks, and some of the chunks just don't compliment each other.
AT HOME OR AT A THEATER?
At home would be fine. Really, it's not worth $8.50 at a cineplex.
DVD at Amazon.com
VHS at Amazon.com.
Gianancarlo Giannini is wonderful in "Hannibal," communicating a world of meaning with his soulful eyes..
Tasty performances
make it a treat
Reviewed by Carlos deVillalvilla
The main problem with "Hannibal," the multi-bazillion dollar grossing thriller, is "Silence of the Lambs." Inevitably, it is going to be compared to that modern classic (after all, it is a sequel) and quite frankly, it doesn't hold up.
But y'know, director Ridley Scott really isn't trying to do that. To his credit, "Hannibal" is a completely different type of movie, not so much suspenseful as visceral; it is more horror than it is heartstopping.
Some years have passed since the events of "Silence of the Lambs." Clarice Starling (a terribly miscast Julianne Moore) has managed to alienate most of her superiors and peers at the FBI, and after a botched arrest which leaves her partner dead and Starling under intense media scrutiny, has begun to have doubts about her career.
Meanwhile, escaped madman Dr. Hannibal Lecter (Anthony Hopkins, reprising his role from "Silence") has settled into a quiet life in Florence, Italy, as an academic. Careful not to attract too much attention to himself (and circumspectly wearing gloves and wiping wineglasses to protect from his fingerprints being discovered), he has found a niche that appeals to his love of antiquity, fine dining and academia. The problem is, Hannibal the Cannibal has become bored.
The only living survivor of a Lecter attack, multi-billionaire Mason Verger (Gary Oldman, wonderful under a queasiness-inducing makeup job), has been plotting his revenge since Lecter's escape, but has been unable to locate the good doctor. Starling's disgrace becomes Verger's chance to smoke the good doctor out of hiding, and he uses a Justice Department bureaucrat (Ray Liotta) to do just that.
In the meantime, the academic has been spotted by an Italian policeman (Giancarlo Giannini), who is trying to support a high-maintenance, beautiful wife on a policeman's salary. The reward for bringing in Lecter proves to be too tempting for the lawman, and so the game is afoot.
At the risk of giving too much away, things go south and Lecter comes home, mainly to observe Starling. He has a rather unique bond with her, and although his motivations are never made as clear as they are in the book, there seems to be a hint of romance in the doctor's motivation.
Quite frankly, there is a lot of gore here, much more than either of the first two Lecter movies (Michael Mann's "Manhunter" being the first). Although there is some nifty viscera (particularly the scene where a man eats a meal you won't find in the average fast food joint ... well, then again, you never know), that alone won't carry a movie.
What does is story and performance. The acting is certainly solid. Hopkins chews the scenery like his character chews other characters but still makes Lecter one of the most interesting screen villains ever ... in fact, "villain" is not quite the right term for Lecter. Most of the movie, you spend rooting for him to get away from those who wish to take away his freedom, but you are reminded at every turn just how dangerous and homicidal he is. It's not unlike rooting for "Stone Cold" Steve Austin, Triple H and other outlaw wrestlers.
Giannini is as soulful an actor as there is today; here is a man not hemmed in by desperation, but by resignation. His pain is quiet and restrained, mostly communicated through his eyes and a sad smile.
Oldman's scarred, twisted Mason Verger is the true baddie of the movie, and I am not aware of any actor today who does bad guys as well as Gary Oldman. Verger revels in his wickedness, wearing his scars like a badge of honor. He can't let the pain and suffering go - but in a sick way, he needs them to be who he is.
Director Ridley Scott must have been flashing back to his "Blade Runner" days when filming this; the movie is filled with rain, umbrellas and crowds (although the neon is missing). The cityscape of Florence is in its own way a major part of the movie's allure; the beautiful, ancient, civilized Florence has an underbelly that can't be trifled with.
There are certain unexpected moments of lightness - for example, prominently featured in Lecter's kitchen is a vegetarian cookbook. However, for the most part, there is a heavy sense of impending destiny that drags the movie down. The showdowns between Lecter and Verger, as well as the one between Lecter and Starling are both too predictable.
Moore, while a fine actress, doesn't really capture the toughness of Starling. As the good doctor (Gone, not Lecter) pointed out in his review, Moore doesn't really have the physicality needed for the part (although, to be fair, neither does recent mother Jodie Foster at this point). Moore never for a moment convinces me that she is dangerous. In all of the physical confrontations she is involved with, she gets bested rather easily.
While the ending of the movie differs significantly from the more controversial ending of the book, I think it works better. I never really understood why novelist Thomas Harris had Starling do what she did at the book's conclusion; the ending screenwriter David Mamet came up with here seemed more consistent to her character. Nevertheless, I'm not a huge fan of Mamet's writing; he is a bit too cerebral and slow for my tastes. Here, the pace drags and the plot is obfuscated with unnecessary little "See how smart I am"-type intellectualisms that I found a tad pretentious. Did we really need Lecter reading sonnets by Dante aloud?
"Hannibal" has already made a ton of money, and there's no reason why it shouldn't. I recommend it mainly for the performances of Hopkins, Oldman and Giannini and I think the movie works despite the godawful script, elephantine pacing and inept plotting.
Let's face it. Most of us are going to see it regardless of the reviews. Let's just say this is a good movie that didn't meet the impossible expectations set for it.
AT HOME OR AT A THEATER?
It's probably too late - you've already seen it in a theater. If you haven't, don't fret - it makes more sense as a video rental.
DVD at Amazon.com
VHS at Amazon.com.
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Hannibal Hopkins & Sir Anthony
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2022-07-02T13:28:00+00:00
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Société de production de reportages et de documentaires audiovisuels.
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Wichita Films
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https://www.wichitafilms.com/en/films/hannibal-hopkins-sir-anthony/
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What destined this young boy from Wales to become the incarnation of absolute evil when he took on the role of cinema’s most notorious serial killer? How do you get from the bricks of Port Talbot, a poor, grim industrial town, to the lush palm trees of Hollywood, California? This is what we will try to understand in this documentary telling the lesser-known story of a well-known actor: Anthony Hopkins, after a career spanning over 60 years and his involvement in more than 300 movies.
If his performance as Hannibal Lecter changed his life forever, it is his extraordinary life and fate that would make him the most “British” actor in Hollywood. All the film extracts featured will aim at getting a better understanding of Anthony Hopkins since he shared many similarities with the characters he played. Nixon, Hannibal Lecter, the butler from The Remains of the Day, Hitchcock... all the roles played by Anthony Hopkins reflect a facet of his personality. He was far from following the “trends”. He never belonged to any film movement; he is a chameleon that has always preferred natural acting, “non-acting” when method acting was the fashion.
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Horror Flick Scares Off Universal
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[
""
] | null |
[
"PATRICK GOLDSTEIN"
] |
2001-03-06T00:00:00
|
When Universal Pictures Chairman Stacey Snider was in college, a potential boyfriend took her on a date to see the blood-soaked slasher classic "The Texas Chainsaw Massacre."
|
en
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/apple-touch-icon.png
|
Los Angeles Times
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https://www.latimes.com/archives/la-xpm-2001-mar-06-ca-33795-story.html
|
When Universal Pictures Chairman Stacey Snider was in college, a potential boyfriend took her on a date to see the blood-soaked slasher classic “The Texas Chainsaw Massacre.” “Needless to say,” she recalls with a laugh, “the guy didn’t get a second date.”
Now Rob Zombie knows how he felt.
Up until now, Zombie, a theatrical heavy-metal rocker, has been something of a poster boy for corporate synergy at Vivendi-Universal. As the leader of White Zombie and later as a solo artist, Zombie has sold millions of records for Universal’s Geffen Records label. In 1999, Zombie designed the Halloween Horror Night maze for Universal Studios Hollywood that featured creepy creatures and a 30-foot replica of Zombie’s head. And the dreadlocked rocker’s most ambitious project, a gory $7-million horror film called “House of 1000 Corpses,” was due for release this summer by Universal Pictures.
Well, so much for synergy. After weeks of negotiations and soul-searching, Universal Pictures has told Zombie that it won’t release the movie and instead has allowed Zombie, who wrote and directed the picture, to retain the rights and look for a new distributor. The studio plans to officially announce the decision today.
“We have the utmost respect for Rob, who made a really intense and compelling movie, but it turned out far more intense than we could have possibly imagined,” Snider says. “When I looked at the cumulative effect of the entire film, it was clear that the best version of the movie would end up getting an NC-17 rating, and we felt that would make the marketing and distribution of the movie impossible for us.”
Zombie says he’s not entirely surprised by the studio’s abrupt case of cold feet. “I have to admit that it would’ve been great if they’d released the film, but it felt weird from the get-go. Here we were, making this crazy [expletive] horror film, with this big corporate entity behind us. If you look at the history of horror films, the really scary ones, like ‘Texas Chainsaw Massacre,’ were made by little independent companies, not big corporations.”
Snider and Zombie both say the decision was the result of differences in artistic taste, not worries over the film’s playability or any chilling effect from the browbeating the entertainment industry received last fall from the Senate Commerce Committee and the Federal Trade Commission over marketing violent movies, music and video games to children.
Still, since this is the first time a studio has publicly disassociated itself from a violent movie since the hearings, Universal’s decision is bound to be interpreted as a sign that movie studios are taking a more cautious approach to youth-oriented films with violent subject matter.
There is already evidence to support that view. Zombie’s manager, Andy Gould, says he was involved as a music supervisor in several recent teen-oriented horror films, including “Valentine” and “Dracula 2000,” whose content was toned down in the wake of the FTC report on the marketing of violent films to children. And Snider acknowledged that “going to Washington did raise my consciousness in certain subtle ways, especially in terms of marketing films to young audiences.”
However she argues that dropping “1000 Corpses” was a “content issue, not a witch-hunt response. I would’ve responded the same way to the movie without ever having listened to [Sen.] John McCain at the hearings. This wasn’t about sending the movie out with an R rating and lots of warnings. This was overwhelmingly a matter of personal responsibility.”
*
At first, everything seemed to be going smoothly on the project. Universal loved Zombie’s script, viewing it as a potential “Nightmare on Elm Street” franchise, with the built-in marketing extra of a director who could promote the film at his own rock concerts.
The movie went into production last summer, filming on the Universal lot and around Los Angeles. The story involves two young couples whose car, in classic horror-movie fashion, breaks down in the middle of nowhere, leaving them in the hands of a family of creepy small-town crazies.
The family is headed by Mother Firefly, an aging glamour queen (played by Karen Black) who puts on shows with puppets made out of stuffed cats and squirrels. She has a daughter named Baby, who puts out cigarettes in the palm of her hand, and a 300-pound son named Tiny, who wears a leather mask to obscure hideous burns. Needless to say, they torture and kill the young couples in an especially graphic and lurid fashion.
It is surely no coincidence that White Zombie was Beavis and Butt-head’s favorite band. Snider says she knew what she was getting into; she listened to Zombie’s albums, watched his videos and went to see his horror maze.
“I certainly knew more about his work as a first-time director than I knew about the Weitz brothers before they made ‘American Pie,’ ” she says.
A contingent of Universal executives first saw the completed film at a test screening in mid-January. Although the film received a positive reaction, Zombie noticed that Snider wasn’t exactly enjoying herself. “It was obvious that Stacey was disturbed by the movie, which I took as a compliment,” he says. “It was like, great, she’s really freaked out by it. It must be a really scary movie. To me, what was most important was that the audience dug it.
“My feeling is that horror movies are like heavy-metal music. If you show it to the wrong person, they’re going to be disgusted by it. Horror movies are supposed to be dark and disturbing. What offends some people is exactly what makes it cool to other people. So for me to cut out all the violence would be like saying, ‘Hey, we made a porno movie, but we’re taking out all the sex scenes.’ I mean, why do you think people are going to see it?”
*
Still, Snider wasn’t alone in her reaction. Terry Curtin, Universal’s head of publicity, was also on hand and agreed the movie had gone too far. “I’m not sure where the line is, but it was clear from watching the film that it had crossed it,” she explains. “It’s probably the first time in my career that I felt I’d have trouble working on a movie. What made it even more bizarre was that it didn’t seem to offend the audience a bit, which disturbed me even more.”
The Universal executives’ reaction highlights one of the crucial dilemmas in dealing with cutting-edge pop culture: Who decides the difference between artistic freedom and cynical exploitation? Where is the line between raunchy good fun and objectionable material? And what does a good corporate citizen do when an artist appears to cross it?
The line is drawn in different places at different corporations--and even within the same company. Miramax Films is owned by Walt Disney Co., yet Miramax has released movies that its family-oriented parent company would never touch. At the same time that Universal’s film division is refusing to release a gory horror film, its music division is selling millions of albums by controversial rap star Eminem. In fact, according to a Recording Industry Assn. of America survey conducted at the time of the FTC report last fall, Universal’s music division was overwhelmingly the leader among major record labels in releasing CDs stickered with parental-advisory warning labels for foul language and violent imagery.
To make things more complicated, Universal is co-distributor of “Hannibal,” a horror film whose star attraction is a serial killer who cooks and eats the brains of his victims. Yet Universal has no problem raking in huge profits from that film--and audiences seem to have no problem accepting its violent content. So why does “Hannibal” get a pass and “House of 1000 Corpses” get the boot?
“The difference is all about tone,” Snider says. “ ‘Hannibal’ is clearly theatrical and based on a popular book that’s part of our mainstream culture. The conceit of Rob’s movie, which has no recognizable stars, is that it’s not a fantasy. It could be real and that’s what makes it more upsetting. I can tell ‘Hannibal’ is a fantasy because when I watch Tony Hopkins or Ray Liotta, I know I’m going to see them in People magazine next week. But with Rob’s movie, I was concerned that there was just an uber-celebration of depravity.”
The script graphically describes the film’s mayhem, and I told Snider that it seemed hard to believe that she, as a seasoned film executive, wouldn’t have been disturbed by the film in script form. But she argued that it appeared far more horrific on screen.
“There are hundreds of choices Rob made where things played differently than they did in the script,” she says. “On the page, when you see a cop killed, it reads like a convention of the genre--’Oh no, we’ve tightened the screws on our heroes.’ In the movie, everything was underlined and emphasized, it was a celebration of the assassination of a character.”
When Universal submitted a rough cut of the film to the Motion Picture Assn. of America on Jan. 19, several days after the screening it came back with an NC-17 rating. But many hard-R films initially receive that rating, and Zombie says he has always been willing to honor his obligation to deliver an R-rated film. Will Universal’s refusal to release the film give it the appearance of damaged goods? Zombie doesn’t think so.
When Miramax wouldn’t release “Dogma” last year, Lions Gate picked up the film and turned a tidy profit. Several years ago, when Universal’s then-subsidiary October Films dropped “Happiness,” it quickly found a new distributor. In fact, executives at two independent film companies have said they are planning to screen “1000 Corpses” for possible distribution.
“Maybe some people will be offended, but I think the title ‘House of 1000 Corpses’ doesn’t leave much to the imagination,” says Zombie, who hopes to have the movie out later this summer after the release of his new solo album. “It’s not some weird art movie. It’s for Middle America, for people who work at 7-Eleven and listen to Metallica and love horror movies. And whether this movie ends up on 300 screens or 3,000 screens, I bet its audience is going to find it.”
|
||
5824
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dbpedia
|
1
| 18
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https://deadenddvd.com/collections/universal-pictures
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en
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Universal Pictures
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Australia’s one stop shop for all boutique / cult movie labels on 4K, Blu-Ray and DVD.
Shipping to Australia and New Zealand!
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DeadEndDVD
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https://deadenddvd.com/collections/universal-pictures
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Availability
In stock (4) In stock (4 products)
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5824
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dbpedia
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0
| 42
|
https://www.afi.com/afis-100-years-100-heroes-villians/
|
en
|
AFI’s 100 YEARS…100 HEROES & VILLAINS
|
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[
"American Film Institute"
] | null |
[] | null |
AFI's 100 Years...100 Heroes & Villains is a list of the 50 top movie heroes and 50 top movie villains of all time.The characters on this list have enriched America's film heritage while continuing to inspire contemporary artists and audiences.The AFI's 100 Years...100 Heroes & Villains television special, hosted by Arnold Schwarzenegger, who earned both a hero and villain honor for his portrayal of the
|
en
|
https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/09/favicon.ico
|
American Film Institute
|
https://www.afi.com/afis-100-years-100-heroes-villians/
|
This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
You can adjust all of your cookie settings by navigating the tabs on the left hand side.
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5824
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1
| 59
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https://www.thewrap.com/denzel-washington-to-star-as-carthaginian-general-hannibal-in-antoine-fuqua-reteam-at-netflix/
|
en
|
Denzel Washington to Star as Carthaginian General Hannibal in Antoine Fuqua Reteam at Netflix
|
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[
""
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[
"Umberto Gonzalez",
"facebook.com"
] |
2023-11-13T17:37:30+00:00
|
Denzel Washington is reteaming with Antoine Fuqua and is set to star in an untitled Hannibal film about the Carthaginian General for Netflix.
|
en
|
TheWrap
|
https://www.thewrap.com/denzel-washington-to-star-as-carthaginian-general-hannibal-in-antoine-fuqua-reteam-at-netflix/
|
Denzel Washington is reteaming with director Antoine Fuqua and is set to star in an untitled Hannibal biopic at Netflix, the streamer announced Monday.
Following the Carthaginian general’s historic conquests, the Roman wartime epic also comes from “Gladiator” scribe John Logan.
Hannibal was a brilliant Carthaginian general who led his army, including fearsome war elephants, over the Alps into Italy during the Second Punic War against Rome in the 3rd Century B.C.
The official logline from Netflix said the project is “based on real-life warrior Hannibal, who is widely regarded as one of the greatest military commanders in history.” The streamer added that “the film covers the pivotal battles he led against the Roman Republic during the Second Punic War.”
Washington and Fuqua will also produce the project along with Erik Olsen and Adam Goldworm. Jeremy Lott and Frank Moll are attached as executive producers.
The film is part of Fuqua’s production company Hill District Media’s first-look partnership with Netflix.
According to Deadline, which first reported the news, Washington is now able to revisit a project he wanted to star in over 20 years ago but had to pass on due to Fox wanting to produce it at a time when he did not want to be away from his kids for an extended period. With his children now establishing their own careers in Hollywood, the timing seems right for Washington to take on this ambitious role.
Washington most recently worked with Fuqua on the third installment of the “The Equalizer” franchise. Washington will also reteam with Sir Ridley Scott and resume work on the “Gladiator” sequel, which was paused due to the labor strikes.
Washington is repped by WME and Fuqua is repped by LBI Entertainment and WME.
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3
| 40
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https://www.deepfocusreview.com/reviews/hannibal/
|
en
|
Hannibal
|
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[] |
[] |
[
"Thriller"
] | null |
[
"Brian Eggert"
] |
2021-03-18T13:11:08+00:00
|
Read an in-depth review and critical analysis of Hannibal by film critic Brian Eggert on Deep Focus Review.
|
en
|
Deep Focus Review
|
https://www.deepfocusreview.com/reviews/hannibal/
|
Hollywood couldn’t resist making a sequel to The Silence of the Lambs. After the 1991 film outperformed all box-office expectations and earned five Academy Awards, the opportunity cost of not making a sequel meant leaving hundreds of millions of dollars on the table. And so, the author Thomas Harris began to write the follow-up, propelled not by a story he needed to tell but by the promise of guaranteed book sales, not to mention an inevitable $10 million paycheck for the screen rights. Producer Dino De Laurentiis cut that check, despite the material’s mild resemblance to its predecessor. Jonathan Demme, director of The Silence of the Lambs, turned down the offer to helm the sequel, titled Hannibal, after taking issue with where Harris took the characters. Screenwriter Ted Tally, too, declined to adapt the book, placing the script in the hands of David Mamet, followed by an extensive rewrite by Steve Zaillian at the behest of Jodie Foster. But even after the rewrite, Foster turned down the offer to play Clarice Starling again, leaving the role to a capable replacement, Julianne Moore. Besides Anthony Hopkins, Hannibal Lecter himself, the only talent to return was Frankie Faison, who played Lecter’s kindly asylum guard, Barney. Harris’ book sold millions of copies, and the screen version earned over $350 million worldwide.
If the financial success of Hannibal hardly seems relevant to a discussion of the film, tell that to those involved, most of whom demanded a significant payday for their work in an obvious cash grab. The budget was a whopping $85 million; a decade earlier, Silence cost about $20 million, which is around how much Hopkins accepted to reprise his role. It didn’t matter whether the material did justice to the beloved characters or turned out to be, as Roger Ebert described it, “a carnival geek show elevated in the direction of art.” All that mattered was that Hopkins’ face would appear on the poster, and audiences would receive another dose of macabre situations, preferably involving cannibalism. Ridley Scott’s presence behind the camera, fresh off his Oscar-winning blockbuster Gladiator (2000), only helped the commercial prospects. But Silence had done such a thorough job of saturating 1990s pop-culture that regardless of whether Foster, Demme, or anyone else behind the camera refused to be involved, as long as Hopkins showed up, viewers would too.
To be sure, in the ten years since Hannibal’s predecessor debuted, the film had become a pop-culture landmark, inspiring parodies from an amusing reference by Jim Carrey in The Cable Guy (1996) to the not-so-amusing spoof with 1994’s The Silence of the Hams (starring Dom DeLuise as Dr. Animal Cannibal Pizza and Billy Zane as Jo Dee Fostar). The jokes and references go on and on, but viewers craved the real thing. Hannibal is not the real thing. Here’s a sequel that feels like no one involved understood what made Silence a great film. Rather than try to emulate Demme’s approach—a thriller told from the perspective of a woman, without flashy visuals, and only subtle variations on classical themes—Hannibal is a reflection of how the serial killer genre had changed in the time since Silence’s release. It had become dependent on gory slayings and flashy aesthetics, and each new entry tried to outdo the last in these departments until finally, the genre turned into torture porn with 2004’s Saw. By the time Hannibal Lecter returned to the screen, he would have to do some major bloodletting to keep the audience’s attention.
The problems with Hannibal start almost immediately with the title sequence—a dizzying barrage of black-and-white surveillance footage in Florence, interrupted by the occasional frame of gory crime scene imagery or a crow eating some fleshy morsel. The jarring cuts and high-speed footage mark a clear attempt to capture the titles of David Fincher’s Se7en (1995), except the sequence culminates with an absurd sight: a vague portrait of Hannibal’s face visualized with a flock of CGI pigeons that disperse in an empty square. The titles imply that Hannibal Lecter could be anywhere in the broadest possible terms. From these almost laughable titles to the high-toned score by Hans Zimmer to the frequent uses of slow-motion by cinematographer John Mathieson, Scott seems to liken Hannibal to an opera—and sure enough, Patrick Cassidy’s Vide Core Meum plays a role in the film, as does its source, Dante Alighieri’s Vita Nova. Highbrow references though they may be, they don’t distract (not enough, anyway) from the sequel’s blend of overreaching self-importance and shallow outcome.
The story opens with Clarice Starling now a seasoned, no-nonsense FBI agent. When she’s deemed responsible for a drug bust that goes wrong, she’s assigned to a high-profile manhunt of Hannibal Lecter designed to improve her reputation in the public eye. The newfound interest in the still-missing Lecter is implanted by Mason Verger (Gary Oldman, under some incredible practical effects), a wealthy child molester with political connections. Verger survived Lecter’s wrath years earlier, after he was assigned to Dr. Lecter for therapy. The prescription: Lecter convinced Verger to slice away his face and feed the chunks to dogs. Now he’s a grim sight, all scar tissue and peeled-away eyelids. Anyway, the obsessed Verger dangles Clarice like bait, compelling Lecter to write her a letter from his current location in Florence, Italy, where he operates under a false name as an art historian. There, a detective named Pazzi (Giancarlo Giannini) spots Lecter and, hoping to keep up with the expensive lifestyle to which his younger wife (Francesca Neri) is accustomed, risks contacting Verger’s people for the $3 million reward for information leading to Lecter’s whereabouts.
From the outset, Hannibal feels impersonal. Whereas Demme placed the viewer in Clarice’s subjectivity, Scott prefers not to identify with any single character. This version of Clarice has a hardened shell, and her internal life seems to have been replaced by memories of her interactions with Lecter, used mostly as callbacks to Silence. Lecter’s sinister presence is like watching a deadly predator who also utters kitschy lines like “Okee dokee” and refers to packed bags as being “heavy as bodies” in front of Pazzi. It’s as though he wants to get caught. There’s an almost camp quality to Lecter this time around, as though it’s only taken two films for him to make Freddy Krueger’s journey from a frightening boogeyman in A Nightmare on Elm Street (1984) to a pseudo-Looney Tune in Freddy’s Dead: The Final Nightmare (1989). Despite the character’s horrible crimes, Scott, following Harris’ lead, positions Lecter as an antihero against Verger and the American authorities, represented here by a contemptible and chauvinist Justice Department official, Paul Krendler (Ray Liotta). Lecter killing these unsavory types becomes a type of “public service,” we learn, suggesting our friendly neighborhood cannibal is doing us a favor. Isn’t he swell?
While Clarice remains on the sidelines, pouring over old crime scene photos and audiotapes of Lecter in her basement office, Lecter makes mincemeat out of everyone who attempts to apprehend him. We almost feel sorry for Pazzi, whom Lecter toys with and insults before disemboweling and hanging him like an unfortunate ancestor. Verger gets his just desserts when his plan to feed Lecter to flesh-eating pigs backfires in an admittedly nasty, memorable sequence. Krendler receives his comeuppance, too, when Lecter drugs him and feeds him a portion of his own brain. It’s all meant to be deliciously lurid, but it feels rather tasteless and shallow. The gory details of The Silence of the Lambs and Buffalo Bill’s flesh couture at least bore some symbolic parallels to Clarice’s transformation into a graduated agent no longer shaped by her past. Here, the banal eating motif caters to an audience wild about Hannibal “The Cannibal” Lecter, leaving beloved characters like Clarice tangled in the viscera.
Scott’s production at least had the good sense to avoid Harris’ original ending, which finds Clarice and Hannibal running off together as lovers. Instead, we’re left with the director’s penchant for heavy-handed slow-motion sequences and grandiose camerawork that captures the beauty of Florence or Verger’s massive estate. Just as the use of unnecessary visual flourishes, the script lacks any depth, relying on our established fondness for Clarice and Hannibal to compel our interest. Except, these people don’t look like the Clarice and Hannibal we know; they’re strangers, and the script isn’t interested in investigating their lives. Even so, Scott captures the scenes of violence in memorable ways, including the tense drug bust opening that looks like something orchestrated by his late brother Tony. Ever the visualist, he allows himself to get wrapped up in the surfaces of things, not the people who inhabit these spaces, making the whole sequel feel superficial, complete with multiple nods to Gucci products (look for Scott’s biopic, House of Gucci, in late 2021).
Indeed, the film never elevates itself from a product. It’s shot and constructed like a commercial for itself—blatantly inspired by its money-making potential as opposed to any desire to outperform, augment, or even repeat the earlier film’s appeal. Hopkins turns up the hamminess, as though his entire performance is rooted in the same instinct that inspired him to slither after his famous Chianti speech in Silence. This makes Lecter little more than a shadow of his intimidating self. He’s too busy cracking wise and earning our sympathy against a cadre of bad guys to be scary. Moore fares somewhat better, suggesting Clarice has worked through her psychological hangups, but the character was not written with an inner life. What matters in Hannibal is that Lecter accumulates a body count and once more escapes with his freedom, spoon-feeding viewers the ghastly situations they were hungry for, with none of the psychological complexity of Silence. Along with Scott’s visually confident if misapplied direction, it’s all very serviceable and watchable while also being devoid of any substance and unworthy of prolonged thought.
(Note: This review was suggested by supporters on Patreon.)
|
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1
| 52
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https://www.zavvi.com/blog/features/hannibal-at-20-ridley-scotts-overlooked-sequel-deserves-more-love/
|
en
|
Hannibal At 20: Ridley Scott’s Overlooked Sequel Deserves More Love
|
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2021-02-04T15:57:14+00:00
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Ridley Scott’s overlooked Silence Of The Lambs sequel Hannibal is an over‐the‐top treat 20 years on and therefore deserves more recognition.
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en
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https://blogscdn.thehut.net/dist/images/favicons/zavvi/favicon.ico
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Zavvi
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https://www.zavvi.com/blog/features/hannibal-at-20-ridley-scotts-overlooked-sequel-deserves-more-love/
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Believe it or not, it’s 20 years since the release of Ridley Scott’s Hannibal, the big budget sequel to 1991’s Silence Of The Lambs and a thriller that was itself a decade in the making.
Controversial at the time of its release, the movie has been remembered less fondly than the Oscar‐winning predecessor, and edged out further by the success of the TV remake, also called Hannibal.
While both that film and show are worthy of praise, we think this second entry in the Anthony Hopkins trilogy deserves a little bit more love for bringing a different side to such a well-known character.
Set a decade on from the first film’s events, we find Clarice Starling (Julianne Moore) firmly established in the FBI. Her misogynist male superiors leap on the chance to bury her career when a raid on a drug lord goes wrong.
While fighting against their judgement, she receives word that Dr. Hannibal Lecter (Hopkins) has resurfaced in Italy, and is back on the FBI’s most wanted list.
Working outside of her jurisdiction, she tries to get to the doctor before a corrupt Italian Police Inspector named Rinaldo Pazzi (Giancarlo Giannini) and Mason Verger (Gary Oldman), a victim of Lecter’s.
However, one by one Hannibal begins to turns his predators into prey.
It’s difficult to convey how big a cultural hit Silence Of The Lambs was in the ’90s. A box office hit that swept the Oscars, it became a go‐to movie reference parodied by everyone from French and Saunders to Jim Carrey. Even the US version of The Office satirised one of Lecter’s killings in 2009.
As such, Hannibal suffered upon its release for the crime of being a very different film. It is grandiose where Silence was gritty. What the previous film did in the shadows, Hannibal does in full view.
There’s a kind of revelry in the violence and gore, from Hopkins’ ritualistic hanging of Pazzi to Verger’s plan to feed Hopkins to some pigs. It’s this graphic nature that meant Silence director Jonathan Demme and the first Clarice Starling, Jodie Foster, declined to be involved.
While originally citing a scheduling conflict, Foster would later reveal she felt the story of Hannibal “trampled” on the character she held dear.
Viewed on its own merits, however, the violence is no worse than a lot of horror movies that would come after. There is also a certain justification for it.
This is the only time in three movies that we would see Hopkins’ Lecter ‘in the wild’, and not behind a glass window. Living as a free man under an alias in Florence, it makes sense that he would indulge his love of killing, always keeping within his own twisted moral code (he is described as only wanting to “eat the rude” as a form of public service).
He revels in this freedom. He’s not the caged animal that Starling first met, he’s now indulging all of his desires in a city filled with beauty and violence. He adds playful little phrases to his correspondences with Clarice, and signs off with an ominous “Ta‐Ta”.
His presence is also followed by a beautiful music cue from Hans Zimmer’s soundtrack, a few haunting notes of piano heard at the end of the piece Dear Clarice.
It’s part of the lavish feel that director Scott brings to the film. Yes, there are certain unusual choices such as an opening credits sequence that shows Hannibal’s face created by a flock of birds, but in general Scott expands the scale into a globe trotting horror/thriller that, like the good doctor himself, indulges in beauty.
Scott also picked an interesting cast. Stepping into Clarice’s shoes was Moore, a ’90s sensation following hits Boogie Nights, Magnolia and The Big Lebowski.
As Starling she’s harder than Foster’s portrayal, representing the decade of experience that she has gone through. No longer having to put a forced grin on workplace sexism, she responds strongly and holds her ground when she is accused of having a “smart mouth” or “combative attitude”.
She’s a woman who has fought in every step of her career, and Moore capably builds on the legacy left to her.
Just as with Silence, the real villains in Hannibal are all around Lecter and Starling.
Pazzi is a corrupt cop out for reward money, and breaking rules to cover his tracks. Then there’s Oldman as Verger. Unrecognisable under a mountain of prosthetics, he’s a truly twisted antagonist.
It’s revealed that Verger was a child abuser, leading to Lecter drugging him and making him peel his own face off. Like Hannibal, Mason attempts to push Clarice, and has his own flourishes of dialogue (“seemed like a good idea at the time” he quips when recalling his mutilation).
It’s over‐the‐top, but never anything less than captivating.
The final act brings about one of the most controversial points in the film, a scene where a drugged Clarice is made to witness Hannibal cook the brain of still‐living Justice Department Official Paul Krendler (Ray Liotta), then feeding it to him.
A scene brought over from Thomas Harris’ original book, it’s still a lot to take in on camera, although still fitting into Lecter’s value system.
Krendler is a crude sexist, out to get Clarice after she spurned his advances. He’s also homophobic, saying he “figured (Lecter) for a queer”. As such, you aren’t crying too much when he munches on his own grey matter.
The more pressing issue happens away from the gore. Scott addresses the question mark hanging over the relationship between Hannibal and Clarice.
Verger asks “does Lecter want to f*ck her? Kill her? Eat her? Or what?” The answer is none of those three.
There is a darkly romantic thread running through the film, but leaning towards affection more than sex or love. Starling is repulsed by Lecter, but also forever changed by her experiences with him.
Lecter is never close to harming Clarice, even the drugging was to save her life after being shot. He reveals something at the end, in the kitchen as Starling tries to prevent him from escaping.
“Would they give you a medal, Clarice, do you think?” he asks. “Would you have it professionally framed and hang it on your wall to look at and remind you of your courage and incorruptibility? All you would need for that, Clarice, is a mirror”.
Therein lies the reason for his affection. Despite his evil appetites, Lecter is a man able to recognise good in people. Having looked into the darker recesses of the minds of everyone he meets, he only sees purity in hers.
It’s not enough to make him turn himself in, but enough to choose to cut his own hand off instead of hers when he tries to escape the handcuffs binding them together.
To say Hannibal is a masterpiece, or even to superior to Silence Of The Lambs, may be stretching things.
It’s a very different film, and not without flaws, but its place in history is undeserved being lumped in with the much blander prequels Red Dragon (2003) and Hannibal Rising (2007).
Taken on its own merits, it’s a big Hollywood thriller that takes one of cinema’s most iconic performances in a different direction, and provides more than a few hauntingly brilliant scenes.
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https://screamsheet.wordpress.com/2018/10/24/hannibal-the-vampire/
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Hannibal the Vampire
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2018-10-24T00:00:00
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In a modern-day world where the vampire myth has been done to death in spin-offs and variants, one of the best parallels we have to the classic monsters found in Bram Stoker’s Dracula and John Polidori’s The Vampyre is the gentlemanly serial killer Hannibal Lecter, originally created by Thomas Harris and aptly played on the screen by Anthony Hopkins.…
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en
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https://secure.gravatar.com/blavatar/6f7106a4852d774172fafeabab572a162685ab56bcdbcf136feaad3b573dddd4?s=32
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The Screamsheet
|
https://screamsheet.wordpress.com/2018/10/24/hannibal-the-vampire/
|
In a modern-day world where the vampire myth has been done to death in spin-offs and variants, one of the best parallels we have to the classic monsters found in Bram Stoker’s Dracula and John Polidori’s The Vampyre is the gentlemanly serial killer Hannibal Lecter, originally created by Thomas Harris and aptly played on the screen by Anthony Hopkins.
The Modern Vampire
Vampires have been a prevalent myth throughout human history and have popped up in a variety of cultures. For the purposes of this piece, I’ll focus on them in their most widely-known form, largely defined by Bram Stoker’s Dracula. These vampires appear human, but are actually monstrous creatures that feed on the blood of the living. They are associated with death and decay, and represent the prevalent fear that much of humanity has that death and disease can not only kill someone, but can change them into a monster.
Much of the modern vampire myth comes from people’s ignorance of death and decomposition before the days of modern medicine. Early vampires were bloated, ugly things resembling a decaying corpse. In some cases, bodies in medieval times were staked through the heart to prevent their return as vampires. Because people didn’t fully understand the decomposition process, they didn’t realize that the gasses swelling within a corpse make it do strange things, including moving in certain circumstances. Also, because medicine was a shaky practice at best, people would sometimes be diagnosed as dead while they were still alive. Those individuals would end up buried alive, and an inspection of their coffins would reveal fingernail scratching on the inside of their lid. If the person was particularly violent in their attempts to get free, they would have blood on their face from where they struck the lid of a coffin. That blood would resemble a vampire’s mythical feeding, furthering the myth. Events like the Black Plague and other diseases which physically altered a person’s body before and after death furthered these myths. Vampires are often associated with rats, bats, and wolves, all of which have ties to sickness and disease.
The image of Count Dracula, a suave, attractive, and seemingly gentlemanly man, adds to the horror of the vampire image, and is probably the main reason why Bram Stoker’s tale has become the iconic presentation of what a vampire is. While early vampires could be easily rooted out and seen as monsters, Dracula appeared to be humans in most regards. Only those who were highly educated knew how to discern a vampire from a normal person. Suddenly, death and pestilence wasn’t something that could be recognized on first sight. It was a subtle, seductive force that took people when they least expected it.
The traditional vampire is a creature born of physical disease and decay. Hannibal Lecter is similar, but instead is a monster born of mental illness. By the late 20th century, psychology and psychiatry had become mainstays in American society. Almost everyone has spoken a therapist at some point in their lives, and children are being diagnosed with mental illnesses such as ADD, depression, and other ailments at an increasingly early age. Like Dracula, Hannibal takes ailments once thought to be easy to define and makes them subtle and unfamiliar. He is introduced in the midst of an insane asylum filled with raving lunatics – people who obviously have no place in society. But he himself is a gentleman, an educated man, and a charming man. His senses are so keen that he can identify FBI agent Will Graham based on smell alone. He has a love of culture and is one of the most educated men alive. He is gentlemanly when Clarice Starling comes to visit him, and he never loses his air of civility even in his surroundings. He also defies definition – Dr. Chilton and other psychiatrists try to turn him into a case study and are left mystified as to his true nature. When he finally escapes from prison, he is able to live for years in normal society, with no one ever suspecting what he really is. Just as Dracula was a corpse who walked among men, Hannibal is a lunatic who seems sane. The once easily identifiable features of a sociopath became forever blurred with his introduction.
In terms of appearance, it’s worth noting that the transition from book to film made Hannibal’s derangement even more subtle. In Thomas Harris’s novels, Hannibal had maroon-colored eyes and a sixth finger. Those features were abandoned in the films, where Hannibal’s appearance was, except for some subtleties, identical to Anthony Hopkins, the actor who portrayed him. If possible, Hannibal became even more charming than in the novels thanks to the actor’s distinctive voice and handsome appearance.
Making a Feast of the Living
The key attribute of any vampire myth is the vampire’s need to feed on living creatures. The traditional vampire sucks the blood of the living as both a means of sustenance and as a way to spawn. Even vampires who have noble intentions need to devour living creatures. Nick Knight, the vampire cop from the television series Forever Knight, manages to get around his need to kill by drinking cow’s blood instead, although it comes at the cost of some of his vampiric power. Furthermore, on the rare occasions during the series when he is given the chance to feed on a human being, his lust for blood becomes almost uncontrollable, to the point where he accidentally kills one person due to his insatiable hunger. Vampires, at their core, need to feast on the living. It is part of their curse, and the only way they can survive.
In this case, the parallel between vampires and Hannibal Lecter is obvious. While Hannibal doesn’t specifically drink the blood of his victims, he has an uncontrolled hunger for human flesh. He doesn’t kill for the sake of killing. He doesn’t take trophies like many sociopaths do. Instead, he is a gourmet cook, using the bodies of his victims as his ingredients. The body parts that Hannibal takes includes tongues, testicles, and the flesh from the shoulder and back – all key areas targeted on livestock for various cuisines.
Again, this is an area where the traditional vampire focuses on physicality but Hannibal focuses on psychology. The traditional vampire needs to devour his victims due to a physical hunger. Hannibal needs to devour his victim due to his psychological deformity. He continues this insistence on eating his victims even at the risk of his own capture, eventually drawing the attention of Will Graham as a result.
A Hypnotic Gaze
While vampires have a wide variety of powers, one of the most traditional abilities is their hypnotic gaze. Through eye contact, vampires are able to seduce and control their victims, causing them to willingly step toward their own demise. While Hannibal lacks the supernatural power of Dracula, his gaze is no less important and powerful. His eyes become a focus in the novels immediately when the maroon points in them are described. In the film adaptations, the directors use many close shots of Hannibal’s face. Anthony Hopkins added his own level of importance to Hannibal’s gaze by making the choice not to blink while in character. This decision gives the character the qualities of a snake, hypnotizing and overriding his victim’s will with his own.
Hannibal’s power is on display in full force in the film version of Silence of the Lambs when he questions Clarice Starling about her past. The exchange is comprised almost entirely of close shots of Hannibal’s unblinking stare as he questions Clarice, interposed with Clarice’s almost pained face as she tells about the most traumatic experience of her childhood.
While there is no actual hypnosis on display in the scene, Hannibal’s insistence and Clarice’s reluctance to go on makes it clear that, despite being caged, Hannibal is in control. Later, in the novel version of Hannibal, Hannibal’s mental manipulation reaches a nearly supernatural level when he uses hypnosis and drugs to seduce Clarice, ultimately eloping with her – a theme that has been repeated throughout vampire lore in the many depictions of Dracula trying to seduce a mortal woman as his bride.
Standing on the Threshhold
One of the more obscure but nonetheless frequently used tropes in vampire fiction and films is the symbolism of doorways and entrances. Vampirism is a gateway between life and death, existing as neither and both at the same time. Vampire films often take great pains to get shots of vampires standing in doorways, under arches, and on other such thresholds. One of the most classic examples of this imagery occurs during an iconic shot of the film Nosferatu, with the vampire pausing on his way through a doorway before entering the room to confront his next potential victim. In several vampire stories, the vampire is physically unable to enter someone’s home without permission, which gives more focus to the treacherous nature of the vampire as he must trick someone into inviting their death inside.
Once again, Hannibal is not bound by such supernatural means, but the symbol of doorways does remain an important symbol throughout the stories. For the entirety of Red Dragon and most of Silence of the Lambs, Hannibal is imprisoned, with most of his scenes taking place during an interrogation. Will Graham and Clarice Starling stand just outside of Hannibal’s cage, while Hannibal himself remains on the other side of the bars. Despite the FBI agents’ freedom and his imprisonment, the issue of control is constantly blurred. In order for the agents to get anything in their interrogations, they need to make concessions to Hannibal, either getting his books back after Dr. Chilton has had them removed from his cell or offering him better facilities. Hannibal can’t leave his cell without permission, and Graham and Starling are the two people who he slowly extracts that permission from. The film versions once again go further to emphasize this point. Rather than using traditional prison bars, Hannibal is instead sealed off from the world via a protective Plexiglas barrier. The gateway, while still there, is further blurred by the fact that it is almost invisible, noticeable in some shots only through a reflection or the air holes at the top of the cell.
Even when Hannibal escapes during Silence of the Lambs, the doorway remains an important symbol. Despite his capabilities, Hannibal does not escape until someone has opened the door for him. In the film, he welcomes the guards into his cell almost as though he were hosting a dinner – which he is, in a twisted and gruesome way. In both versions, guards come to collect the remains of his meal, first handcuffing Hannibal to the bars of his cell. Despite all their precautions, what would hold a normal man is no hindrance to Hannibal. He escapes from his cuffs easily, and has a free path out of his cell thanks to the fact that the door has been opened for him. Even then, Hannibal doesn’t merely flee the building. He has a better plan, which involves tricking the authorities into willingly letting him leave the premises. That plan brings us to another parallel to vampirism: shapeshifting.
A Villainous Transformation
Because of their deceptive nature, vampires are often depicted as having the ability to change their shape. They can usually transform into bats, rats, or wolves (again, all plague-bearing creatures), but can also sometimes take the form of another person, either disguising their true identity or assuming the identity of another. Hannibal shows this ability in two ways. First, prior to his capture and after his escape, he is able to blend seamlessly into society, taking the role of a respected psychiatrist despite his sociopathic nature. Even after his capture, he is highly respected for his medical knowledge. His knowledge is sought after by professional journals, much to the outrage of his rival Dr. Chilton, who struggles and fails to gain such acceptance. When speaking, he is able to present the façade of a harmless gentleman. This deception proves invaluable in his escape, as the police officers who guard him are convinced that he has lost his edge and should be easy to handle. In terms of perceptible mentality and social graces, Hannibal Lecter is able to almost perfectly disguise his true nature, even when he is plotting someone’s demise.
During his escape in Silence of the Lambs, Hannibal takes his transformative ability one step forward, literally changing his shape. After killing two guards, he cuts off one guard’s face and some other parts of his body, placing it over his own flesh and playing the role of the wounded guard to perfection. Believing him to be the actual guard and not the escapee, the police who find him load Hannibal into an ambulance and rush him to the hospital – unwittingly giving him permission to leave the premises and making for an easy escape in the process.
The Corruption of Heroes
The ability of a vampire to transform other people into monsters separates the mythological creature from a mere killer. A traditional vampire not only drinks blood for sustenance, but also creates other vampires through the process. Hannibal, likewise, shows the ability to permanently transform his victims when he chooses.
His crimes go far deeper than just taking a living person and making them a corpse. His attack on Will Graham in Red Dragon leaves deep mental scars, which by the end of the novel also leave him physically mutilated when his manipulation of Francis Dolarhyde allows the killer to attack Graham at his home. He leaves deep emotional scars on Clarice in Silence of the Lambs and then wholly transforms her in Hannibal, to the point where she goes from being a devout officer of the law to Hannibal’s lover. Through drugs and psychological manipulation, he convinces Mason Verger to cut his own face off and feed it to dogs in Hannibal, leaving his former patient physically scarred and even further mentally deranged for the rest of his life.
When using his abilities to his fullest, Hannibal is capable of either killing a man with mere words, as he did to his fellow inmate “Multiple” Miggs in Silence of the Lambs, or forever altering them and transforming them from normal humans to concubines or monsters, as he did with Clarice and Mason, respectively.
Hannibal the Vampire
Many horror stories have mirrored the vampire myth over the years, but few have captured the mythological monster so completely without ever mentioning its name than Thomas Harris’ iconic cannibal.
Most high-quality and popular horror stories tell us something about the time period when they came about. The vampire myth is about the pervasive fear of death and disease and the way they can transform an otherwise good individual into something monstrous and grotesque. It arose out of humanity’s lack of understanding about the process of death, and has continued throughout the years because even now that we know how a body decomposes and what effects a plague has we still fear the transformative nature of death and the final crossing of a boundary we still don’t understand.
Hannibal Lecter, while not a vampire in the literal sense, carries on the tradition of the vampire myth, bringing it into the realm of psychology. Even as we define and codify mental derangements, even as we produce a battery of pills to prevent it and reverse its damage, it is still something whose nature we do not fully understand and whose effects frighten us. Hannibal Lecter embodies that fear. Without his derangement, he is in many ways the perfect male – handsome, charming, physically powerful, and utterly brilliant. He is almost superhuman and more than capable of hiding his madness. Moreover, he is capable of transforming others, driving them insane or physically crippling them. He feasts of the flesh of others and is a perfect example of the new psychological vampire.
While many modern day tales try to tell a vampire story, sometimes even using actual mythological vampires, few have gotten so close to the base horror of such creatures as Hannibal Lecter has.
Images: Orion Pictures, Universal Studios, Hammer Horror, Prana Film, Universlal Pictures
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2001-02-09T00:00:00
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Seven years have passed since Dr. Hannibal Lecter (Anthony Hopkins) escaped from custody. The doctor is now at large in Europe. Mason Verger (Gary Oldman) remembers Lecter too, and is obsessed with revenge. Verger was Dr. Lecter's sixth victim, and though horribly disfigured, has survived. Verger realizes that to draw the doctor into the open, he must use someone as bait: Clarice Starling (Julianne Moore).
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https://www.ign.com/articles/2000/02/10/universal-pictures-and-mgm-to-co-finance-hannibal
|
en
|
Universal Pictures and MGM to Co
|
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[] |
[
""
] | null |
[
"Brian Zoromski"
] |
2000-02-10T00:00:00
|
Variety reports that MGM and Universal Pictures will be co-financing
|
en
|
https://kraken.ignimgs.com/favicon.ico
|
IGN
|
https://www.ign.com/articles/2000/02/10/universal-pictures-and-mgm-to-co-finance-hannibal
|
Variety reports that MGM and Universal Pictures will be co-financing Hannibal, with MGM handling marketing and distribution of the film in U.S. and Canada and Universal being in charge of production and international distribution. For the full story, check out the Variety article.
|
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5824
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dbpedia
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2
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http://www.nerds-feather.com/2013/05/we-rank-em-hannibal-lecter-movies.html
|
en
|
nerds of a feather, flock together: We Rank 'Em: The Hannibal Lecter Movies
|
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[] |
[] |
[
""
] | null |
[
"Philippe Duhart"
] | null |
“It’s the best show on NBC.” This is how my buddy sold me on Hannibal . Not exactly a ringing endorsement. Community is an unmitigated...
|
en
|
http://www.nerds-feather.com/favicon.ico
|
http://www.nerds-feather.com/2013/05/we-rank-em-hannibal-lecter-movies.html
| ||||
5824
|
dbpedia
|
1
| 44
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https://www.charitybuzz.com/catalog_items/auction-pitch-your-tv-or-feature-film-script-to-984401
|
en
|
Charitybuzz: Pitch Your TV or Feature Film Script to Hannibal Producer Martha De Laurentiis in Universal City, CA
|
https://d2rbybg5ibx87t.cloudfront.net/images/204418/ios_small_thumb.png_1450462373?1450898037
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https://d2rbybg5ibx87t.cloudfront.net/images/204418/ios_small_thumb.png_1450462373?1450898037
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[] |
2016-01-26T09:00:00-05:00
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Meet with Hannibal Producer Martha De Laurentiis to pitch your TV or feature film script at her legendary office inside Universal Studios. Martha D...
|
/favicon.ico?04182013
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/www.Charitybuzz.com
|
https://www.charitybuzz.com/catalog_items/auction-pitch-your-tv-or-feature-film-script-to-984401
|
A. Entering Bids
To bid, find a lot page, enter a value in the bid box, and click “Bid.” If you click “Bid” on a lot, you will be prompted to either log in to your Charitybuzz account, or create a new one if you do not have one already.
Once you’ve created an account you will be presented with the lot details, conditions of sale, and standard shipping and redemption details. Once you have accepted the Conditions of Sale, you may proceed with placing a bid on that lot. All bids placed for any lot are governed by the Conditions of Sale for that lot.
You may bid at or above the starting bid displayed as the “Current Price” in a lot page’s bid box. The current leading bid, along with a list of a lot’s full bidding history, will be visible to other users. If the status of your bid changes, you will receive notifications via email and push (if you have the Charitybuzz App installed).
B. Cancellation Rights
As soon you place and confirm your bid amount, your bid is submitted. You accept and agree that bids submitted by you are final. Charitybuzz is not responsible or liable for any problems, delays, or other issues resulting from the use of the Internet, including but not limited to transmission, execution, or processing of Bids.
Charitybuzz nor the Seller is responsible for any errors in bidding. A bidder should make certain to bid on the correct lot. The Bidder should make sure the bid price they enter (including any taxes or fees) is the price they are willing and able to pay. Once the hammer has fallen and Charitybuzz has announced the winning Bidder, that Bidder is unconditionally bound to pay for that lot, even if the Bidder has made an error.
A bid(s) entered by mistake on the part of a bidder is NOT grounds for cancellation of that bid. Each bidder is responsible for his or her own account and bids. In addition, allowing access to another who enters a bid without your knowledge is NOT grounds for cancellation of a bid.
C. Fraudulent Bidding
All Bidders must meet Charitybuzz’s qualifications to bid. Any Bidder who is not a client in good standing of Charitybuzz may be disqualified at Charitybuzz’s sole discretion and will not be awarded lots. Such determination may be made by Charitybuzz in its sole discretion, at any time prior to, during, or even after the close of the Auction. Charitybuzz reserves the right to exclude any person from the auction.
Bids will not be accepted from minor persons under eighteen (18) years of age without a parent’s written consent containing an acknowledgement of the conditions herein and indicating their agreement to be bound thereby on behalf of the bidder.
If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid.
Any bidder that represents a purchaser is personally and individually responsible for any obligations of the purchaser set forth in these terms and conditions. All purchasers purchasing pursuant to a valid resale license will need to provide appropriate documentation for removal of state sales tax.
D. Winning & Disputes
The successful bidder is the highest bidder acknowledged by Charitybuzz. In the event of any dispute between bidders, or in the event of doubt on Charitybuzz’s part as to the validity of any bid, Charitybuzz will have final discretion either to determine the successful bidder or to re-offer and resell the lot in question. If any dispute arises after the sale, Charitybuzz’s sale record is conclusive. While Charitybuzz makes every effort to guarantee accuracy, in the event of an error, and a lot is accidentally declared sold by mistake, Charitybuzz reserves the right to cancel the sale and relist the lot in its sole discretion.
By accepting the Conditions of Sale, Bidder personally and unconditionally guarantees payment.
Title to any lot remains with the Seller, any secured party of the Seller, or assignee of Seller, as the case may be, until the lot is paid for in full by the Bidder. Charitybuzz reserves the right to require payment in full before delivering any lot to the successful bidder.
Live bids lots are a special type of auction lot on Charitybuzz. Live bid lots on Charitybuzz are paired with a real world, physical auction, where that real world auction is often scheduled to occur at a later date. You can distinguish Live Bid lots by the “Live Bid” label in the title of the lot, and additional description text at the start of the lots “Overview” tab.
In a Live Bid lot on Charitybuzz, a lot is created that is similar to any other auction lot on the site. These special lots last for similar amounts of time and bidding occurs normally by our users.
Things start to differ after a Charitybuzz Live Bid lot closes. After it closes and the winning bidder is chosen, that winning bidder’s bid amount or (if it exists) the max bid amount associated with that winning bid, are taken and entered into the associated real world auction. For example, if a bidder on Charitybuzz wins at $12,000 with an unrealized max bid of $15,000, then that $15,000 dollar amount is passed on into the real world auction.
Before the winning bidders bid or max bid amount is passed on, someone from Charitybuzz contacts that winner after the Charitybuzz lot closes and before the real world auction opens. This is to confirm if the bidder would like to increase their bid or max bid amount before it’s entered into the real world auction.
What happens during the real world auction? Each individual one may vary. Charitybuzz does not own or operate any real world auctions, nor does Charitybuzz require any partners to follow a specific auction model. We make no claims to the consistency of real world auction experiences and encourage bidders to contact us for more details as needed.
In our experience, real world auctions tied to Charitybuzz Live Bid lots are typically executed by our partners in a few common ways.
In one scenario, if an auction house and an auctioneer is present, winning live bids from Charitybuzz Live Bid lots are treated as “absentee” bids. This normally means that the Charitybuzz winning bid is placed in the auctioneers books as a bid. As the auctioneer conducts the auction, they will bring up and enter the Charitybuzz winning bid during the course of the auction as the current price or next minimum bid value approaches the Charitybuzz winner’s bid amount. In this scenario, other people in the real world room are expected to bid against the auctioneer, not the Charitybuzz winning bidder. If no one is bidding in the room, the auctioneer will typically keep bidding up the price until the Charitybuzz Live Bid winner wins the real world auction.
In other models, an audience member (including, but not limited to a charity partner employee) might act as a proxy for the winning Charitybuzz bidder. They will usually bid on behalf of the winning Charitybuzz Live Bid winner during the normal course of that auction, using whatever means provided for that auction house (i.e. paddles, etc.)
After the auction is completed, someone from Charitybuzz contacts our bidder to let them know the outcome. If that Charitybuzz Live Bid bidder has won, payment occurs as usual. If that Charitybuzz Live Bid bidder did not win, they will be notified accordingly.
Getting your item - Items will either be shipped directly from Charitybuzz or from the item seller (Third Party) as indicated. Items shipping from Charitybuzz will be sent within five business days of payment settlement by the winning bidder. All third party items will be shipped within the times indicated on the lot page. Winning bidders should ensure the desired shipping address is provided to Charitybuzz within 24 hours after payment settlement. Charitybuzz will default to the shipping address listed on the winning bidder’s account unless otherwise notified. Please see FAQs for more information.
Items that require signature - Items with a sale price of $1,000 and above are typically shipped with signature required.
Tickets & Certificates - For hard copies of tickets and certificates, the minimum shipping, handling, and applicable insurance charge is $14.95. Tickets, certificates, and vouchers, unless otherwise specified, will be shipped via professional carrier with standard ground service. In some cases, tickets will be left at the venue's "Will Call" window under the winner's name. Merchandise is insured for the winning amount.
Merchandise - The minimum shipping charge for merchandise is $19.95. (Shipments outside the U.S. are subject to additional shipping and customs fees.) Merchandise, unless otherwise specified, will be shipped via professional carrier with standard ground service. Oversized items may require special delivery arrangements, which Charitybuzz will coordinate between the winning bidder and the selected freight carrier. All merchandise is insured for the winning amount.
Will Call Pickups - In some cases, tickets will be left at the venue’s “Will Call” window under the winner’s name. Winning bidders may be required to submit the names of attendees up to several weeks ahead of the event. A valid photo ID for each person listed at Will Call is often required. When available, Charitybuzz will attempt to provide an onsite point of contact, but makes no guarantee that this information will be available for any given lot. Will Call tickets are typically available at the Will Call window at least an hour before the event, unless otherwise specified. The Will Call window is usually located near the venue's main entrance.
|
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5824
|
dbpedia
|
2
| 85
|
https://ew.com/article/2007/02/09/reviewing_the_r_1-2/
|
en
|
Reviewing the Reviews: 'Hannibal Rising'
|
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[
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2007-02-09T00:00:00
|
Reviewing the Reviews: 'Hannibal Rising'
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/article/2007/02/09/reviewing_the_r_1-2/
|
I can’t even bring myself to tell you how many references to fava beans and chianti you’re in for in the the reviews of this widely-panned Silence of the Lambs prequel, which stars Gaspard Ulliel (A Very Long Engagement) as the young Hannibal Lecter,€” who (SPOILER ALERT!) turns to revenge and cannibalism after seeing his sister eaten by war criminals in WWII Lithuania. (End spoiler alert.) I would, however, like to draw your attention to one critic who’s gone bat-s–t crazy over this film. Not having kids myself, I’ve never bothered to read Nell Minow, the Movie Mom at Yahoo! Movies, before. Big mistake. Check her out:
“Families who see this movie should talk about the way people respond to the dire situations of war. They may want to learn about war crimes tribunals like those at Nuremberg and the South African Truth and Reconciliation Commission. What crimes are and are not being addressed by our global legal systems today? Families who enjoy this movie will also enjoy the other Hannibal Lecter movies, especially Manhunter and The Silence of the Lambs. They will also enjoy the classic serial killer film, No Way to Treat a Lady. If families want to learn more about resistance and complicity with the Nazi occupation during WWII, they should see Partisans of Vilna and The Sorrow and the Pity.”
Love her. And her idea of quality time with the kids. (I also have fond feelings for Horror.com‘s Staci Layne Wilson, who refers to the movie as “Truly a grand-guignol gothic revenge-western” and points out that “Rhys Ifans plays against type as a ruthless Nazi.” We would hope so.)
addCredit(“Hannibal Rising: Keith Hamshere”)
The critics also enjoyed dissecting Gong Li’s role as Hannibal’s martial arts-trained aunt-by-marriage. The Hollywood Reporter‘sMichael Rechtshaffen says, “Things go from merely strained to loopywhen the action transitions to what is supposed to be France, and hisexposure to Gong’s odd character sets the stage for an interlude thatcan best be described as Crouching Tiger, Hidden Cannibal, before our boy starts going about his grisly business.” This would be the portion of the film that The Arizona Republic‘s Bill Muller describes as “unintentionally funny.” And during which The Philadelphia Inquirer‘s Steven Rea paid particularly close attention to the dialogue: “What Hannibal Risingis, mostly, is a hoot. Gong Li cautions the nightmare-plagued Hannibalthat ‘Memory is a knife — it can hurt you.’ A Paris police inspector(played by The Wire‘s Dominic West — yes, McNulty with a Frenchaccent!) observes that the med student-turned-murderer has becomesomething indescribable. But Inspector Popil will try, anyway: ‘What heis now there is no word for, except monster.’ And let’s not forget theclassic, ‘They ate my sister.'”
Some critics are willing to admit that the film is visually arresting: The Washington Post‘sStephen Hunter notes, rather creepily, that Ulliel’s face is “is a facemade for eating, long of jaw, sharp of feature, glittery and cunning ofeye, smileless except for a post-kill smirk. It works as a mask, but itnever expresses….The movie boasts great spectacle: Stuka vs. tank,Gong Li vs. her too-tight satin robe, Hannibal vs. the five freebooterswho chop-sueyed his li’l sister, some cool guns and two or three verynice, rosy-orange propane explosions.”
But we can’t help feel that Slantmagazine’s Jeremiah Kipp is on to something when he says, “The more welearn about the bogeyman, the less terrifying he becomes.” As the Arizona Daily Star‘sPhil Villarreal theorizes, “He’s far more frightening when he’ssomewhere in the shadows rather than right in our faces. He’s moreintimidating when he’s locked up than when he’s roaming free. He’s moreinteresting when we’re not quite sure what’s motivating him or whattortures he must have faced to evolve into his sadistic state.”
Food for thought, PopWatchers?
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Dr. Hannibal Lecter, the sophisticated killer, comes out of hiding to draw FBI agent Clarice Starling into a high-stakes battle that will test her strength, cunning... and loyalty.
"On a similar note I must confess to you, I'm giving very serious thought... to eating your wife."
- Hannibal Lecter
| | |
- When Jodie Foster declined to reprise the role of Clarice Starling, Julianne Moore beat Gillian Anderson, Cate Blanchett, Hilary Swank, Angelina Jolie, Jennifer Jason Leigh, Winona Ryder and Helen Hunt for the role. Anderson fell out of the running early on when it was discovered her contract to The X-Files prohibited her from playing another FBI agent.
- After Thomas Harris finished writing the novel, he sent copies to The Silence of the Lambs principals Jonathan Demme, Jodie Foster, Ted Tally, and Anthony Hopkins for approval. The screenplay was rewritten no less than 15 times because of dissatisfaction by Demme and Foster over new character elements. In the end, neither Demme nor Foster remained with the production.
- Mason's mansion is actually the Biltmore Estate in Asheville, North Carolina.
- Krendler's lake house with the boat dock is the same house used in the film What About Bob?
- The outdoor opera, Dante's "La vita nuova", which Dr. Lecter and Mr. Pazzi see in Florence, was especially composed for the movie. Composer Patrick Cassidy did not stop at the three minute part as performed in the movie, but composed an entire opera.
- Some of the places where the movie was filmed include places where filming hardly ever is allowed. Author Thomas Harris, while doing research for his book, got in contact with the heir of the Palazzo Capponi. For the movie this same heir allowed Ridley Scott to film the Capponi Library.
- The first shot of Florence after the movie starts is the same scene as depicted in the drawing on Hannibal's cell wall Hannibal describes to Clarice in The Silence of the Lambs the Duomo, as seen from the Belvedere, in Florence, Italy.
- Dr. Lecter's Florentine alias, Dr. Fell, is taken from a rhyming epigram by 17th century English satirist Thomas Brown: "I do not love thee, Dr. Fell; The reason why I cannot tell. But this alone I know full well: I do not love thee, Dr. Fell." The alias is also a reference to the Silence of the Lambs book where J. Gump, a.k.a. Buffalo Bill, lived in Fell Street.
- The music during the opening credits is "Aria da Capo" from Johann Sebastian Bach's Goldberg Variations, a tape of which was playing while Lecter killed the two guards in Tennessee in The Silence of the Lambs.
- Veteran character actor Frankie Faison has appeared in all four of the "Hannibal" movies. He played Lieutenant Fisk in Manhunter (1986) and played Barney the asylum orderly in The Silence of the Lambs (1991) and Hannibal (2001) and Red Dragon (2002).
- Giancarlo Giannini (Inspector Pazzi) was in the film Cervellini fritti impanati, which translates as "Fried Crumbed Brains".
- A poster can be seen near a newsstand for Gladiator, also directed by Ridley Scott.
- There is a vegetarian cookbook on top of the fridge in the "dinner scene" toward the end of the movie. It's visible when Hannibal pushes Clarice against the fridge.
- In Florence, where part of the movie was shot, it is possible to buy a sort of tourist guide called: "Hannibal Lecter. Visit the places of the city where he was."
- In the opening credits of the film you can make out the face of Anthony Hopkins being formed by pigeons until the end of the credits when you can clearly see his face.
- Actual North Carolina State Troopers were used for the filming. They can be seen both in the search of the Verger home and driving their cruisers.
- Hannibal asks Pazzi about being demoted from the Il Mostro case. Il Mostro was a serial killer about whom Hannibal gives clues to Pazzi. This was a subplot that was filmed but never used as it was thought to be too complicated.
- This film was publicized as having the highest body count in a movie
- Keep watching after the credits.
- The film was first rated "Not under 16" in Germany. But after some test-screenings, many youth organizations and parents criticized the rating and called for a re-rating. After this re-rating by the FSK (the MPAA in Germany), it now is rated "Not under 18". Similarly, in Australia the film originally received an MA15+ classification but it was changed a week after released to R18+ due to protests.
- In the scene in the Italian police station, the soccer match on TV is from England and involves Aston Villa. Their player Julian Joachim is seen in close-up.
- According to the film's cinematographer John Mathieson, three separate endings were filmed. The filmmakers, unsure as to whether the ending of Thomas Harris' novel would work for the movie, filmed three versions: one for Harris, one for producer Dino De Laurentiis, and one for director Ridley Scott.
- The baby that Clarice Starling washes blood off - just after the shootout sequence - is animatronic.
- After Jodie Foster and Jonathan Demme dropped out, Anthony Hopkins was very reluctant in returning to play Lecter, and producers considered Tim Roth as a replacement.
- Mason Verger's mansion is also seen in Ri¢hie Ri¢h as the Rich Mansion.
- The Verger role was originally offered to Christopher Reeve, who declined the part.
- The dollar serial numbers are the same for at least three bills: G16134024A.
- Several of the extras in the movie and some minor roles in the Florence scenes were recruited by Anthony Hopkins. He also helped to secure some locales for shooting.
- According to an interview with producer Martha De Laurentiis in The Guardian, Gary Oldman demanded to share star billing alongside Anthony Hopkins and Julianne Moore. When the producers denied him this, he threatened to quit the film but later angrily demanded to have no billing at all. During pre-production, producer Dino De Laurentiis announced Oldman's involvement at a press conference "just so we couldn't deny that he was in the movie". In the original theatrical release, Oldman is uncredited but in the VHS and DVD releases his name was added to the closing credits. However, in an interview with IGN Filmforce, Oldman told a different story stating: "[W]e thought that as I'm unofficially the man of many faces, you know, of Lee Harvey Oswald, Dracula, and Sid Vicious, and Beethoven, we thought that I would be... I'm playing the man with no face. So we just had a bit of fun with it. We thought it would be great. The man with no face and no name, and sort of do it anonymously. It's no secret that I'm in the film. We just had fun with it, really."
- David Mamet's adaptation of the novel was changed entirely by Steven Zaillian. But Mamet still retained a co-writer credit, in accordance with WGA regulations.
- The 500lb man-eating hogs featured in Hannibal were selected by Ridley Scott from an audition of over 6,000 other hogs. They were purchased from a farmer, Chaloem Pasak, who lives north of Winnipeg, Manitoba, Canada.
- Originally, a teaser poster released in the UK had a picture of Lecter (Hopkins) with a "skin mask" covering the right side of his face, ala the infamous escape scene in Silence of the Lambs. The poster was quickly pulled from advertisement, as it was seen as being "too shocking and disturbing" for the public.
- The phone number in regards to the $3,000,000 Hanibal Lector award on the FBI web site is listed as 1-212-555-0118. Once he calls this number Pazzi is referred to a lawyer in Geneva, his number is 004123317. The last digit (or maybe first) is not heard.
- In the scene where Pazzi washes the blood off of his hands at the fountain, the statue that the water comes out of is a reference to the pigs used in the "pig-massacre" scene.
- Ray Liotta actually ate dark chicken meat during the "brain-eating scene".
- During the brain-eating sequence there is a small boar's-head trophy mounted on the wall just above and behind Ray Liotta; another reference to the pig massacre scene.
- A special animatronic puppet of Ray Liotta was used for some parts of the brain-eating scene. Liotta himself has said that he's not sure exactly which shots are actually him or the puppet.
|
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https://www.imdb.com/title/tt0212985/plotsummary/
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en
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Hannibal (2001)
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Hannibal (2001) - Plot summary, synopsis, and more...
|
en
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IMDb
|
https://www.imdb.com/title/tt0212985/plotsummary/
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The story opens 10 years after the events depicted in Das Schweigen der Lämmer (1991). Barney, one of Hannibal Lecter's minders at the Baltimore mental hospital, talks to a disfigured and paraplegic man, Mason Verger (Gary Oldman), about the conversations Barney had with Lecter and Lecter's relationship with Clarice Starling. Barney then shows Verger a boxed object he's brought with him: the leather restraining mask used to cover Lecter's face when he was being transported. Barney asks for a price of $250,000 for it and Verger eagerly accepts.
FBI agent Clarice Starling (Julianne Moore) is in Washington DC, leading a raid to arrest an HIV-positive drug dealer named Evelda Drumgo (Hazelle Goodman). Though Starling has laid out precise plans to the arresting team, the raid is horrifically botched when one of the agents rushes Drumgo and her gang after Starling orders them to stand down because Drumgo is carrying an infant. A massive gunfight breaks out and most of Drumgo's gang are killed, along with a few of the agents. When Clarice orders Drumgo to surrender, Drumgo whips out a machine pistol and opens fire, hitting Clarice. Clarice responds reflexively and shoots and kills Drumgo, splattering the infant with her blood. Clarice, who had been wearing a bulletproof vest, recovers the child and washes it off with a nearby hose. Starling is disgraced by Justice Department official Paul Krendler (Ray Liotta), whose romantic advances Starling had rejected years earlier.
As a result of the publicity surrounding the drug raid, Starling and her past connection to escaped serial killer Hannibal Lecter (Anthony Hopkins) come to the attention of one of Lecter's victims, Mason Verger, who is also a wealthy, sadistic pedophile. Verger, who was left horrifically disfigured and paralyzed by a past encounter with Lecter himself, still seeks revenge for what occurred. He uses his political influence to have Starling assigned to the Lecter case once again in the hope that this will draw Lecter out of hiding.
Verger claims to have new information about Lecter (an X-ray), which he is willing to disclose only to Starling, and she is sent to his estate to collect it and interview him. Upon her arrival, Verger tells Starling about his history with Lecter. They met when Lecter was assigned by a court as Verger's therapist after Verger's conviction on multiple counts of child molestation. Verger, the only one of Lecter's victims to survive, was tricked into mutilating himself by Lecter after being given a nitrogen "popper". In the same incident, Verger was also persuaded by Lecter into sexual excitation by strangulation. Verger is now bedridden and confined to his secluded mansion, but with the assistance of his personal physician Cordell (Zeljko Ivanek) and other minions, he is pursuing an elaborate scheme to capture, torture and kill Lecter.
In Florence, Italy, Chief Inspector Rinaldo Pazzi (Giancarlo Giannini) of the Questura is investigating the disappearance of the curator of the Capponi Library, a Renaissance palace that serves as a repository of rare books, historical documents and art treasures. In the course of his investigation, Pazzi meets the new curator: "Dr. Fell," who is actually Hannibal Lecter.
As Verger surmised, Lecter soon learns of Starling's public disgrace and reassignment to his case, and he sends her a letter that is at once sympathetic and mocking. The letter contains no apparent clue to Lecter's whereabouts, but Starling detects a strange fragrance on it. She takes it to a perfume company, where the experts inform her that the writer used a very expensive skin cream that could have been sold in only a few shops in the world, one of which is in Florence.
Starling contacts the police departments of the cities where the shops are located, including Pazzi's department, asking for copies of any surveillance tapes made by cameras installed in the shops. When Pazzi sees one of his men making a copy of such a tape for Starling, he recognizes "Fell" in the tape and decides to find out why the FBI is interested in him. Pazzi accesses the FBI's database of fugitive criminals and learns that "Fell" is Hannibal Lecter. He also learns that Verger is offering a reward of $3 million to anyone who assists him in capturing Lecter in lieu of turning him over to the FBI (who offer a $250,000 reward). Hoping to collect the larger bounty, Pazzi makes contact with Verger's people and agrees to help them kidnap Lecter. Starling, meanwhile, has received the surveillance tape from Florence, has recognized Lecter, and has learned that Pazzi has been using the FBI's database to check on Lecter. She calls Pazzi and warns him against trying to capture Lecter himself, but Pazzi ignores her warning.
Pazzi coerces a local pickpocket into wearing a cheap bracelet and attempting to rob Lecter. The pickpocket follows Lecter through the streets of Florence. When he reaches for Lecter's wallet, Lecter grabs him by the wrist (and the bracelet, leaving behind fingerprints) and slyly stabs the man in the upper leg, severing his femoral artery. Pazzi finds the thief and takes the bracelet from him, leaving him to bleed to death on the street. Pazzi sends the bracelet with Lecter's prints to Verger who has them confirmed as Lecter's.
Pazzi and Verger's men try to kidnap Lecter after his scheduled evening lecture on the poetry of Dante to a group of scholars at the Palazzo Vecchio, but their plan goes badly awry. Lecter subdues Pazzi with a drug-soaked rag and interrogates him, forcing him to answer several questions by threatening to kill and eat Pazzi's wife. Lecter murders Pazzi by first slashing open the man's abdomen and then throwing him off an upper floor balcony with a noose around his neck, his entrails falling from his abdomen to the street -- the same fate of one of Pazzi's ancient ancestors. Lecter escapes, deciding to return to the United States to renew his acquaintance with Starling.
Frustrated by the failed attempt to kidnap Lecter, Verger tries to draw him out of hiding once again by getting Starling into more trouble. He bribes Krendler to accuse her of withholding a note she received from Lecter. The ploy works, and Starling is suspended from duty. Verger's men keep her under surveillance in the hope that Lecter will contact her. Lecter, meanwhile, has been watching her and also watching Krendler. Lecter then buys china and crystal for an elaborate meal and also steals surgical equipment from a hospital. He takes everything to a secluded lakefront house that he has learned belongs to Krendler.
Lecter then contacts Starling, luring her to Washington's Union Station for a meeting. Verger's men follow her there. As Starling looks for Lecter among the crowd of travelers and shoppers at the station, she and Lecter converse by cell phone. He expresses his admiration for her and his sympathy for the shabby treatment she has received from the FBI, at one point suggesting that he might force the people who have disrespected her to "scream apologies."
Having spotted Lecter, Verger's men capture him in the station's parking lot despite Starling's efforts to stop them. Starling makes a fruitless attempt to expose Verger's scheme to the FBI. Meanwhile, Verger's men transport Lecter to the Verger estate. Verger plans to watch Lecter being eaten alive by a herd of vicious wild boars that Verger, an expert at swine breeding from his days in the family meatpacking business, has prepared in Italy especially for the purpose. The boars have been conditioned to attack their victim when they scream.
When the FBI refuses to act on her report that Verger has kidnapped Lecter, Starling goes alone to Verger's estate. She intervenes as Verger's henchmen are about to unleash the pigs on Lecter, shooting the men and freeing him, but she is shot and wounded in the shoulder. Lecter then rescues her from the animals. When a furious Verger orders his physician Cordell to shoot Lecter, Lecter persuades Cordell (who has always hated his master) to throw Verger into the pen with the hogs instead, and Verger dies in the very manner in which he had hoped to kill Lecter, Lecter having assured Cordell he will take the blame for the deed.
Lecter takes Starling to Krendler's lakefront house and treats her bullet wound. She awakens in an upstairs bedroom, dressed for a formal occasion. On her way downstairs, she finds a phone and calls the police. Instead of taking their advice and leaving the house to wait for their arrival, she looks for Lecter downstairs. She finds him in the dining room where he has set the table as if for an elegant dinner party, watched by the seated Krendler, who has been heavily drugged and his head shaved. As Starling looks on, horrified, Lecter removes the top of Krendler's skull, cuts out part of his brain (the part that Lecter says is "associated with good manners"), sauteés it in a pan by the table, and feeds it to the dazed Krendler. Clarice is horrified, pleading with Lecter to stop and saying she'll give him the details of the FBI's profile on him so he can escape.
When Lecter wheels Krendler back to the kitchen to clear up after the "meal," Starling attacks him with a silver candlestick but is easily overpowered. Lecter traps her ponytailed hair in the fridge. He asks her, "Tell me Clarice, would you ever say to me, 'Stop ... if you loved me, you'd stop'?" To which Starling replies, "Not in a thousand years." Lecter replies with, "That's my girl," then kisses Starling. Just as he is about to leave, thinking he's won, he hears a click and sees that Starling has handcuffed his wrist to her own. When she refuses to provide the key, Lecter pins her wrist to a table and brandishes a meat cleaver. He raises it and says, "This is really going to hurt." and swings it down -- a noticeable look of pain appears on Clarice's face. Next we see Starling outside the house, looking for Lecter, who escaped just before the police cars arrived. Both her hands are intact and she identifies herself to the police.
The last scene is of Lecter on an airplane, one of his arms is in a sling and his hand not visible. He is preparing to eat the boxed meal he has brought with him, and the small boy sitting next to him asks about the food. Lecter opens the container to reveal several kinds of food, among which is what appears to be part of Krendler's brain, cooked and sliced. The boy asks to try some of the food, and Lecter allows him to, after saying that his mother always told him to try new things. It is not shown if the boy chooses the brain.
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Guns in Movies, TV and Video Games
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Hannibal
theatrical poster
Country United States Directed by Ridley Scott Release Date 2001 Language English
Italian Studio Dino De Laurentiis Company
Scott Free Productions Distributor Universal Pictures
Metro-Goldwyn-Mayer
Main Cast Character Actor Dr. Hannibal Lecter Anthony Hopkins Clarice Starling Julianne Moore Mason Verger Gary Oldman Paul Krendler Ray Liotta Nurse Barney Frankie Faison Insp. Rinaldo Pazzi Giancarlo Giannini Allegra Pazzi Francesca Neri Dr. Cordell Doemling Zeljko Ivanek FBI Agent Pearsall David Andrews
Hannibal is the 2001 sequel to The Silence of the Lambs and features the return of Dr. Hannibal Lecter (Anthony Hopkins) and FBI Special Agent Clarice Starling (in this film portrayed by Julianne Moore). Adapted from the Thomas Harris novel, the film was directed by Ridley Scott, who also directed Black Hawk Down in the same year that Hannibal was released. Hopkins would reprise his Lecter role a third time in 2002's Red Dragon.
The following weapons were used in the film Hannibal:
WARNING! THIS PAGE CONTAINS SPOILERS!
Handguns
SIG-Sauer P226
FBI Special Agent Clarice Starling (Julianne Moore) uses a SIG-Sauer P226 as her duty firearm. It is predominately featured in the opening fish market shootout. At the time, the P226 was the standard issue sidearm for the FBI. DC Metro Detective Bolton (Terry Serpico) also carries one, and tips off the Drumgo gang in the fish market by drawing his weapon in view of the gang, despite Starling's orders to hold back.
In the novel, Special Agent Starling carried a Colt 1911 Government Model with a strip of skateboard grip-tape around the grip in a Yaqui holster on her hip, telling Detective Bolton that she carried it condition one every minute of the day. She kept the weapon for most of the book, even after a lawyer claimed she was not cleared to carry a M1911 variant on duty.
Glock 17
After her FBI-issued SIG-Sauer P226 is confiscated, Clarice Starling (Julianne Moore) uses her personal 3rd Generation Glock 17 throughout the rest of the film. She takes it out of her closet after she receives a message from Dr. Hannibal Lecter (Anthony Hopkins). She uses it to kill Verger's men who were trying to kill Lecter before she is wounded in shoulder. Lecter picks the gun up but never uses it, and he leaves it unloaded for her on a table in Paul Krendler's (Ray Liotta) vacation house. The .40 caliber variant of this pistol, the Glock 22, is currently standard issue with the FBI. Several members of Drumgo's gang also are armed with the Glock.
In the novel, after being dismissed from duty with the FBI, Agent Starling took a M1911A1 .45 and a custom compact 1911 that had been left to her by her friend and former Interservice Pistol Challenge instructor DEA Agent John Brigham after his death in the opening shootout.
Glock 26
Clarice carries a Glock 26 as her backup and it is seen when she hands it over after being suspended.
Beretta M1934
Inspector Rinaldo Pazzi (Giancarlo Giannini) carries a .380 Beretta M1934 pistol as his sidearm in the film.
Smith & Wesson Model 65
In the alternate ending of the movie, Clarice (Julianne Moore) runs outside with a 3" barreled Smith & Wesson Model 65 as the police converge upon the house. It was probably a gun that Paul Krendler (Ray Liotta) had in the house, but it's surprising that she obtained it, considering that Lecter had the foresight to leave her Glock unloaded.
Submachine Guns
Heckler & Koch MP5A3
FBI tactical agents are seen waiting in a van armed with Heckler & Koch MP5A3s fitted with scopes an Surefire weaponlight forends.
Cobray M11/9
Evelda Drumgo (Hazelle Goodman) uses a Cobray M11/9, which stands in for a MAC-10 as described in the novel, to fire at Clarice (Julianne Moore) during the fish market shootout. Clarice later identifies it as a MAC-10.
Intratec TEC-DC9
An Intratec TEC-DC9 is seen fired by Drumgo's guards during the opening shootout.
Shotgun
Mossberg 500 Cruiser
A Mossberg 500 Cruiser with shortened barrel is seen fired by Drumgo's guards during the opening shootout.
Less-than Lethal
M26 Taser
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https://strasburgfilm.com/dr-hannibal-lecter-a-resume-in-film/
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Dr. Hannibal Lecter: A Resume in Film
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2021-03-01T22:32:49+00:00
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Check more about Hannibal film here on Shenandoah Film Collaborative.
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Shenandoah Film Collaborative
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https://strasburgfilm.com/dr-hannibal-lecter-a-resume-in-film/
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Behind the scenes, within the inner workings of Hollywood, the decision to recast an actor for a particular role is not exactly uncommon, especially when dealing with reboots or new film adaptations. It is slightly less uncommon, I think, to have one such character that many viewers still define by only one of the performances brought to the table. One performance so critically acclaimed that it tends to overshadow any other interpretations of the character.
For many people, Hannibal “The Cannibal” Lecter is unquestionably Sir. Anthony Hopkins after his renowned performance in The Silence of the Lambs (dir. Jonathan Demme, 1991). But since the serial killer’s original introduction in the novel Red Dragon (auth. Thomas Harris, 1981), Hannibal Lecter has been explored through three distinct and equally important portrayals in film and television. As I said, it is not uncommon to have one character portrayed by multiple different actors, but Hannibal Lecter remains an anomaly in the way that the character has been so consistently portrayed by three separate actors within three distinct continuities. In addition, each performance has received critical acclaim.
While the respective interpretations are housed within unique and separate adaptations of the original source material, it is clear that at the core, one single character is being brought to life. And yet, each actor is able to bring something unique to the table, accessing the most interesting aspects of Hannibal in different ways. To fully elaborate, let us dissect each performance chronologically, looking at how the character is developed further with every outing.
For the sake of my argument, I will not be discussing the performances of Aaron Thomas or Gaspard Ulliel in Hannibal Rising (dir. Peter Webber, 2007), whose performances were based on a younger Hannibal Lecter, not adapted from Thomas Harris’s original trilogy of novels.
Brian Cox in Manhunter (dir. Michael Mann, 1986)
Before the character became was catapulted into the stratosphere of popular culture to become a household name, Hannibal Lecter was first brought to life on screen by Brian Cox in the 1986 film Manhunter, which was a direct adaptation of the aforementioned novel Red Dragon. This portrayal is often the most overlooked for many reasons. The film had a quiet release, underperforming at the box office with a lukewarm critical reception. On top of that, Lecter has a very small role in the film. Cox has about ten minutes of screen time total, which he makes the most of. In retrospect, he is carrying the burden of being the first to introduce audiences to an on-screen version of the famed villain, which he carries out gracefully. He brings to light Dr. Lecter’s incomparable intelligence and wit in a way that is casual and believable. His cadence and non-verbal gestures display the control and power he has over all situations he encounters in the film. Additionally, his relationship with detective Will Graham is explored, giving Cox an opportunity to display Lecter’s innate charisma and an oddly trustworthy appeal. Cox does not have as much screen time as the subsequent actors who tackled the role, but for the character’s first appearance he honored the source material in an admirable way.
Sir. Anthony Hopkins in The Silence of the Lambs (dir. Jonathan Demme, 1991)
There is not much to be said about this performance that has not been said already. The de facto representation of all that Hannibal Lecter is, this film earned Hopkins an academy award for best actor. Additionally, this specific iteration of the character was ranked by the American Film Institute as the “greatest villain in American cinema”. In a change of pace from Manhunter, the plot of The Silence of the Lambs more heavily revolves around Hannibal. Hopkins brought a cold, calculating intensity to the role, somehow simultaneously rigid yet confidently fluid in his actions and dialogue. This installment showed off the character’s capability to be violent without remorse, heightened by Hopkin’s unflinching, unblinking expressions. But at the same time, Hopkins explored the character’s inclination for politeness and manners, adding a seductiveness to his demeanor.
Mads Mikkelsen in Hannibal (dev. Bryan Fuller, 2013-2015)
The next time this character was seen, it was for a smaller screen in the NBC produced television series Hannibal, which once again adapted material from Red Dragon to explore an early relationship between Hannibal and Will Graham. Coming off Hopkins’ performance, Mikkelsen had large shoes to fill. He maneuvered this with aplomb by maintaining the recognizable attributes that both Brian Cox and Anthony Hopkins introduced while also establishing his own refreshing take on the character. Given that the television series does not consider the canon of the films that came before it, Mikkelsen had room to portray the character in an original way. I admit, I have not seen the complete series, although I have seen enough to gauge his performance. Mikkelsen brought a more emotionally distant approach. His Hannibal feels dangerous, as if he is a predator on the constant search for prey. He expertly portrayed the character’s ability to get close to people while letting his true intentions peek through for the audience.
Based on the continued popularity of Hannibal, we can infer that the character is far from irrelevant. Surely someone new will come along to add to the legacy of Hannibal Lecter, but as it stands, that legacy is one pronounced by talent, consistency, and cultural relevance.
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