Baz Luhrmann

Baz Luhrmann

Mark Anthony "Baz" Luhrmann (born 17 September 1962) is an Oscar- and Golden Globe-nominated Australian film director, screenwriter, and producer best known for The Red Curtain Trilogy.

Luhrmann was born in Sydney, New South Wales, Australia, to a ballroom dance teacher/dress shop owner mother, and Leonard Luhrmann, a farmer. He was raised in Herons Creek, a tiny rural settlement in northern New South Wales, where his father ran a petrol (gasoline in the United States and other countries) station and a movie theatre, both of which would influence his son's filmmaking career. He attended St. Joseph's Hasting Regional School, Port Macquarie 1975-1978 and Sydney Grammar School. He attended Year 11 at Narrabeen Sports High School in Sydney, performing in the school's version of Shakespeare's Henry IV, Part 1.. His nickname was given to him due to a perceived resemblance to the character Basil Brush.

Luhrmann married Catherine Martin, the production designer on all of his films, on 26 January 1997. They have two children, Lillian Amanda Luhrmann and William Alexander Luhrmann.

His first three films are formally marketed as "The Red Curtain Trilogy". Luhrmann's next project is an adaptation of The Great Gatsby with principal photography slated to start in 2010.

Luhrmann received Directors Guild of America and Golden Globe nominations for Best Director - Motion Picture for his work on Moulin Rouge!, but did not receive an Oscar nomination for directing (Academy Award host Whoopi Goldberg joked "I guess it just directed itself"). However it did receive an Oscar nomination for Best Picture.

Luhrmann has cited Italian grand opera as a major influence on his work including Moulin Rouge! He has also listed other theatrical styles like Bollywood films as having had an influence on his work. Luhrmann was a ballroom dancer as a child, and his mother taught ballroom dancing, which was an inspiration for Strictly Ballroom.

He made a song in the 90's called the Sunscreen Song which talks about Morals and Personal gains by taking care of ones body.

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Moulin Rouge! Music from Baz Luhrmann's Film, Vol. 2

Moulin Rouge! Music from Baz Luhrmann's Film, Vol. 2 is a soundtrack album to Baz Luhrmann's 2001 film Moulin Rouge!. It was released on February 26, 2002. It is the follow-up to the original soundtrack, which was released a year prior. The album features original film versions of some songs, remixes and instrumentals.

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Moulin Rouge! Music from Baz Luhrmann's Film

Moulin Rouge! Music from Baz Luhrmann's Film is a soundtrack album to Baz Luhrmann's 2001 film Moulin Rouge!. It was released on May 8, 2001. The album features most of the songs featured in the film. However, some of the songs are alternate versions and there are two or three major songs that are left off. The original film versions and extra songs were featured on the second soundtrack.

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Something for Everybody (Baz Luhrmann album)

Something for Everybody, is an album released by Baz Luhrmann in 1998. It contains new ambient versions (either newly recorded or remixed) of music from his films and plays.

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Bollywood

Bollywood (Hindi: बॉलीवूड) is the informal term popularly used for the Mumbai-based Hindi language film industry in India. The term is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the Indian film industry. Bollywood is the largest film producer in India and one of the largest in the world.

The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it has its own entry in the Oxford English Dictionary.

Bollywood is often referred to as Hindi cinema, even though frequent use of poetic Urdu words is fairly common. There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, even whole sentences. There is a growing number of films made entirely in English.

Raja Harishchandra (1913), by Dadasaheb Phalke, was the first silent feature film made in India. By the 1930s, the industry was producing over 200 films per annum. The first Indian sound film, Ardeshir Irani's Alam Ara (1931), was a major commercial success. There was clearly a huge market for talkies and musicals; Bollywood and all the regional film industries quickly switched to sound filming.

The 1930s and 1940s were tumultuous times: India was buffeted by the Great Depression, World War II, the Indian independence movement, and the violence of the Partition. Most Bollywood films were unabashedly escapist, but there were also a number of filmmakers who tackled tough social issues, or used the struggle for Indian independence as a backdrop for their plots.

In 1937, Ardeshir Irani, of Alam Ara fame, made the first colour film in Hindi, Kisan Kanya. The next year, he made another colour film, Mother India. However, colour did not become a popular feature until the late 1950s. At this time, lavish romantic musicals and melodramas were the staple fare at the cinema. Successful actors included Dev Anand, Dilip Kumar and Raj Kapoor and actresses like Nargis, Meena Kumari, Nutan and Madhubala. In the late 1960s and early 1970s, romance movies and action films starred actors like Rajesh Khanna and Dharmendra. In the mid-1970s, romantic confections made way for gritty, violent films about gangsters and bandits. Amitabh Bachchan, the star known for his "angry young man" roles, rode the crest of this trend with actors like Mithun Chakraborty and Anil Kapoor, which lasted into the early 1990s. Actresses from this era included Hema Malini, Jaya Bachchan and Rekha.

In the mid-1990s, the pendulum swung back toward family-centric romantic musicals with the success of such films as Hum Aapke Hain Kaun (1994) and Dilwale Dulhania Le Jayenge (1995) making stars out of a new generation of actors (such as Aamir Khan, Salman Khan and Shahrukh Khan) and actresses (such as Sridevi, Madhuri Dixit,Juhi Chawla and Kajol). In that point of time, action and comedy films were also successful, with actors like Govinda and Akshay Kumar and actresses such as Raveena Tandon and Karisma Kapoor appearing in films of this genre. Furthermore, this decade marked the entry of new performers in art and independent films, some of which succeeded commercially. These films featured actors like Nana Patekar, Manisha Koirala, Tabu and Urmila Matondkar, whose performances were usually acclaimed by critics.

The 2000s saw a growth in Bollywood's popularity in the world. This led the nation's filmmaking to new heights in terms of quality, cinematography and innovative story lines as well as technical advances such as special effects, animation etc. Some of the largest production houses, among them Yash Raj Films and Dharma Productions were the producers of new modern films. The opening up of the overseas market, more Bollywood releases abroad and the explosion of multiplexes in big cities, led to wider box office successes in India and abroad, including Devdas, Koi... Mil Gaya, Rang De Basanti, Lage Raho Munnabhai, Krrish, Dhoom 2, Om Shanti Om and Ghajini, delivering a new generation of popular actors (Hrithik Roshan, Abhishek Bachchan) and actresses (Aishwarya Rai, Preity Zinta and Rani Mukerji), and keeping the popularity of actors of the previous decade.

The Indian film industry has preferred films that appeal to all segments of the audience (see the discussion in Ganti, 2004, cited in references), and has resisted making films that target narrow audiences. It was believed that aiming for a broad spectrum would maximise box office receipts. However, filmmakers may be moving towards accepting some box-office segmentation, between films that appeal to rural Indians, and films that appeal to urban and overseas audiences.

In the 2000s, Bollywood began influencing Western cinema, and played a particularly instrumental role in the revival of the American musical film genre. Baz Luhrmann stated that his successful musical film Moulin Rouge! (2001) was directly inspired by Bollywood musicals. The film thus pays homage to India, incorporating an Indian-themed play based on the ancient Sanskrit drama The Little Clay Cart and a Bollywood-style dance sequence with a song from the film China Gate. The critical and financial success of Moulin Rouge! renewed interest in the then-moribund Western musical genre, and subsequently films such as Chicago, The Producers, Rent, Dreamgirls, Hairspray, Sweeney Todd, Across the Universe, The Phantom of the Opera, Enchanted and Mamma Mia! were produced, fueling a renaissance of the genre. The Guru and The 40-Year-Old Virgin also feature Indian-style song-and-dance sequences; A. R. Rahman, an Indian film composer, was recruited for Andrew Lloyd Webber's Bombay Dreams; and a musical version of Hum Aapke Hain Koun has played in London's West End; the Bollywood musical Lagaan (2001) was nominated for the Academy Award for Best Foreign Language Film; and two other Bollywood films Devdas (2002) and Rang De Basanti (2006) were nominated for the BAFTA Award for Best Foreign Language Film. Danny Boyle's Slumdog Millionaire (2008), which has won four Golden Globes and eight Academy Awards, was also directly inspired by Bollywood films, and is considered to be a "homage to Hindi commercial cinema".

Bollywood films are mostly musicals, and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. A film's success often depends on the quality of such musical numbers. Indeed, a film's music is often released before the movie itself and helps increase the audience.

Indian audiences expect full value for their money, with a good entertainer generally referred to as paisa vasool, (literally, "money's worth"). Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour-long extravaganza with an intermission. Such movies are called masala films, after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance etc. Most films have heroes who are able to fight off villains all by themselves.

Bollywood plots have tended to be melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences.

There have always been Indian films with more artistic aims and more sophisticated stories, both inside and outside the Bollywood tradition (see Art cinema in India). They often lost out at the box office to movies with more mass appeal. Bollywood conventions are changing, however. A large Indian diaspora in English speaking countries, and increased Western influence at home, have nudged Bollywood films closer to Hollywood models.

Film critic Lata Khubchandani writes,"..our earliest films...had liberal doses of sex and kissing scenes in them. Strangely, it was after Independence the censor board came into being and so did all the strictures." Plots now tend to feature Westernised urbanites dating and dancing in clubs rather than centering on pre-arranged marriages. Though these changes can widely be seen in contemporary Bollywood, traditional conservative ways of Indian culture continue to exist in India outside the industry and an element of resistance by some to western-based influences.Despite this, Bollywood continues to play a major role in fashion in India.Indeed some studies into fashion in India have revealed that some people are unaware that the changing nature of fashion in Bollywood films which are presented to them are often influenced by globalization and many consider the clothes worn by Bollywood actors as authentically Indian.

Bollywood employs people from all parts of India. It attracts thousands of aspiring actors and actresses, all hoping for a break in the industry. Models and beauty contestants, television actors, theatre actors and even common people come to Mumbai with the hope and dream of becoming a star. Just as in Hollywood, very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed too.

Stardom in the entertainment industry is very fickle, and Bollywood is no exception. The popularity of the stars can rise and fall rapidly. Directors compete to hire the most popular stars of the day, who are believed to guarantee the success of a movie (though this belief is not always supported by box-office results). Hence many stars make the most of their fame, once they become popular, by making several movies simultaneously.

Only a very few non-Indian actors are able to make a mark in Bollywood, though many have tried from time to time. There have been some exceptions, one recent example is the hit film Rang De Basanti, where the lead actress is Alice Patten, an Englishwoman. Kisna, Lagaan, and The Rising: Ballad of Mangal Pandey also featured foreign actors.

Bollywood can be very clannish, and the relatives of film-industry insiders have an edge in getting coveted roles in films and/or being part of a film's crew. However, industry connections are no guarantee of a long career: competition is fierce and if film industry scions do not succeed at the box office, their careers will falter. Some of the biggest stars, such as Dharmendra, Amitabh Bachchan, and Shahrukh Khan have succeeded despite total lack of show business connections. For film clans, see List of Bollywood film clans.

Sound in Bollywood films is rarely recorded on location (otherwise known as sync sound). Therefore, the sound is usually created (or recreated) entirely in the studio, with the actors reciting their lines as their images appear on-screen in the studio in the process known as "looping in the sound" or ADR—with the foley and sound effects added later. This creates several problems, since the sound in these films usually occurs a frame or two earlier or later than the mouth movements or gestures. The actors have to act twice: once on-location, once in the studio—and the emotional level on set is often very difficult to recreate. Commercial Indian films, not just the Hindi-language variety, are known for their lack of ambient sound, so there is a silence underlying everything instead of the background sound and noises usually employed in films to create aurally perceivable depth and environment.

The ubiquity of ADR in Bollywood cinema became prevalent in the early 1960s with the arrival of the Arriflex 3 camera, which required a blimp (cover) in order to shield the sound of the camera, for which it was notorious, from on-location filming. Commercial Indian filmmakers, known for their speed, never bothered to blimp the camera, and its excessive noise required that everything had to be recreated in the studio. Eventually, this became the standard for Indian films.

The trend was bucked in 2001, after a 30-year hiatus of synchronized sound, with the film Lagaan, in which producer-star Aamir Khan insisted that the sound be done on location. This opened up a heated debate on the use and economic feasibility of on-location sound, and several Bollywood films have employed on-location sound since then.

Bollywood film music is called filmi music (from Hindi, meaning "of films").

Songs from Bollywood movies are generally pre-recorded by professional playback singers, with the actors then lip synching the words to the song on-screen, often while dancing. While most actors, especially today, are excellent dancers, few are also singers. One notable exception was Kishore Kumar, who starred in several major films in the 1950s while also having a stellar career as a playback singer. K. L. Saigal, Suraiyya, and Noor Jehan were also known as both singers and actors. Some actors in the last thirty years have sung one or more songs themselves; for a list, see Singing actors and actresses in Indian cinema.

Playback singers are prominently featured in the opening credits and have their own fans who will go to an otherwise lackluster movie just to hear their favourites. Going by the quality as well as the quantity of the songs they rendered, most notable singers of Bollywood are Lata Mangeshkar, Asha Bhosle, Geeta Dutt, Shamshad Begum and Alka Yagnik among female playback singers; and K. L. Saigal, Talat Mahmood, Mukesh, Mohammed Rafi, Manna Dey, Hemant Kumar, Kishore Kumar, Kumar Sanu,S.P.Balasubramanyam,Udit Narayan and Sonu Nigam among male playback singers. Mohammed Rafi is often considered arguably the finest of the singers that have lent their voice to Bollywood songs, followed by Lata Mangeshkar, who, through the course of a career spanning over six decades, has recorded thousands of songs for Indian movies. The composers of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do. Remixing of film songs with modern beats and rhythms is a common occurrence today, and producers may even release remixed versions of some of their films' songs along with the films' regular soundtrack albums.

The dancing in Bollywood films, especially older ones, is primarily modelled on Indian dance: classical dance styles, dances of historic northern Indian courtesans (tawaif), or folk dances. In modern films, Indian dance elements often blend with Western dance styles (as seen on MTV or in Broadway musicals), though it is not unusual to see Western pop and pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature unrealistically instantaneous shifts of location and/or changes of costume between verses of a song. If the hero and heroine dance and sing a pas de deux, it is often staged in beautiful natural surroundings or architecturally grand settings. This staging is referred to as a "picturisation".

Songs typically comment on the action taking place in the movie, in several ways. Sometimes, a song is worked into the plot, so that a character has a reason to sing; other times, a song is an externalisation of a character's thoughts, or presages an event that has not occurred yet in the plot of the movie. In this case, the event is almost always two characters falling in love.

Bollywood films have always used what are now called "item numbers". A physically attractive female character (the "item girl"), often completely unrelated to the main cast and plot of the film, performs a catchy song and dance number in the film. In older films, the "item number" may be performed by a courtesan (tawaif) dancing for a rich client or as part of a cabaret show. The dancer Helen was famous for her cabaret numbers. In modern films, item numbers may be inserted as discotheque sequences, dancing at celebrations, or as stage shows.

For the last few decades Bollywood producers have been releasing the film's soundtrack, as tapes or CDs, before the main movie release, hoping that the music will pull audiences into the cinema later. Often the soundtrack is more popular than the movie. In the last few years some producers have also been releasing music videos, usually featuring a song from the film. However, some promotional videos feature a song which is not included in the movie.

The film script or lines of dialogue (called "dialogues" in Indian English) and the song lyrics are often written by different people.

Dialogues are usually written in an unadorned Hindi or Hindustani that would be understood by the largest possible audience. Some movies, however, have used regional dialects to evoke a village setting, or old-fashioned courtly Urdu in Mughal era historical films. Contemporary mainstream movies also make great use of English. In fact, many movie scripts are first written in English, and then translated into Hindi. Characters may shift from one language to the other to express a certain atmosphere (for example, English in a business setting and Hindi in an informal one).

Cinematic language, whether in dialogues or lyrics, is often melodramatic and invokes God, family, mother, duty, and self-sacrifice liberally.

Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is not unlike the pairings of American composers and songwriters that created old-time Broadway musicals (e.g., Richard Rodgers and Oscar Hammerstein II, or Alan Jay Lerner and Frederick Loewe). Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Arabo-Persic Urdu vocabulary. Another source for love lyrics is the long Hindu tradition of poetry about the mythological amours of Krishna, Radha, and the gopis. Many lyrics compare the singer to a devotee and the object of his or her passion to Krishna or Radha.

Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 100 crores (roughly 1 billion). Sets, costumes, special effects, and cinematography were less than world-class up until the mid-to-late 1990s, although with some notable exceptions. As Western films and television gain wider distribution in India itself, there is increasing pressure for Bollywood films to attain the same production levels. In particular, in areas such as action and special effects. Recent Bollywood films have employed international technicians to improve in these areas, such as Krrish (2006) which has action choreographed by Hong Kong based Tony Ching. The increasing accessibility to professional action and special effects, coupled with rising film budgets, has seen an explosion in the action and sci-fi genres.

Sequences shot overseas have proved a real box office draw, so Mumbai film crews are increasingly filming in Australia, Canada, New Zealand, the United Kingdom, the United States, continental Europe and elsewhere. Nowadays, Indian producers are winning more and more funding for big-budget films shot within India as well, such as Lagaan, Devdas and other recent films.

Funding for Bollywood films often comes from private distributors and a few large studios. Indian banks and financial institutions were forbidden from lending money to movie studios. However, this ban has now been lifted. As finances are not regulated, some funding also comes from illegitimate sources, such as the Mumbai underworld. The Mumbai underworld has been known to be involved in the production of several films, and are notorious for their patronisation of several prominent film personalities; On occasion, they have been known to use money and muscle power to get their way in cinematic deals. In January, 2000, Mumbai mafia hitmen shot Rakesh Roshan, a film director and father of star Hrithik Roshan. In 2001, the Central Bureau of Investigation seized all prints of the movie Chori Chori Chupke Chupke after the movie was found to be funded by members of the Mumbai underworld.

Another problem facing Bollywood is widespread copyright infringement of its films. Often, bootleg DVD copies of movies are available before the prints are officially released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is a well established 'small scale industry' in parts of South Asia and South East Asia. Besides catering to the homegrown market, demand for these copies is large amongst some sections of the Indian diaspora, too. (In fact, bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Government of Pakistan has banned their sale, distribution and telecast). Films are frequently broadcast without compensation by countless small cable TV companies in India and other parts of South Asia. Small convenience stores run by members of the Indian diaspora in the U.S. and the UK regularly stock tapes and DVDs of dubious provenance, while consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to the piracy problem.

Satellite TV, television and imported foreign films are making huge inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now fewer tend to do so. However, most Bollywood producers make money, recouping their investments from many sources of revenue, including selling ancillary rights. There are also increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly getting noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films.

For an interesting comparison of Hollywood and Bollywood financial figures, see chart. It shows tickets sold in 2002 and total revenue estimates. Bollywood sold 3.6 billion tickets and had total revenues (theatre tickets, DVDs, television etc.) of US$1.3 billion, whereas Hollywood films sold 2.6 billion tickets and generated total revenues (again from all formats) of US$51 billion.

Many Indian artists used to make a living by hand-painting movie billboards and posters (The well-known artist M.F. Hussain used to paint film posters early in his career) This was because human labour was found to be cheaper than printing and distributing publicity material. Now, a majority of the huge and ubiquitous billboards in India's major cities are created with computer-printed vinyl. The old hand-painted posters, once regarded as ephemera, are becoming increasingly collectible as folk art.

Releasing the film music, or music videos, before the actual release of the film can also be considered a form of advertising. A popular tune is believed to help pull audiences into the theaters.

Bollywood publicists have begun to use the Internet as a venue for advertising. Most of the better-funded film releases now have their own websites, where browsers can view trailers, stills, and information about the story, cast, and crew.

Bollywood is also used to advertise other products. Product placement, as used in Hollywood, is widely practiced in Bollywood.

Bollywood movie stars appear in print and television advertisements for other products, such as watches or soap (see Celebrity endorsement). Advertisers say that a star endorsement boosts sales.

The Filmfare Awards ceremony is one of the most prominent film events given for Hindi films in India. The Indian screen magazine Filmfare started the first Filmfare Awards in 1954, and awards were given to the best films of 1953. The ceremony was referred to as the Clare Awards after the magazine's editor. Modelled after the poll-based merit format of the Academy of Motion Picture Arts and Sciences, individuals may submit their votes in separate categories. A dual voting system was developed in 1956. Like the Oscars, the Filmfare awards are frequently accused of bias towards commercial success rather than artistic merit.

As the Filmfare, the National Film Awards were introduced in 1954. Since 1973, the Indian government has sponsored the National Film Awards, awarded by the government run Directorate of Film Festivals (DFF). The DFF screens not only Bollywood films, but films from all the other regional movie industries and independent/art films. These awards are handed out at an annual ceremony presided over by the President of India. Under this system, in contrast to the National Film Awards, which are decided by a panel appointed by Indian Government, the Filmfare Awards are voted for by both the public and a committee of experts.

Most of these award ceremonies are lavishly staged spectacles, featuring singing, dancing, and numerous celebrities.

Besides being popular among the India diaspora, such far off locations as Nigeria to Egypt to Senegal and to Russia generations of non-Indian fans have grown up with Bollywood during the years, bearing witness to the cross-cultural appeal of Indian movies.

Over the last years of the twentieth century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers.

Bollywood films are watched in South Asian countries, such as Bangladesh, Nepal, Pakistan and Sri Lanka. Most Pakistanis watch Bollywood films, as they understand Hindi (due to its linguistic similarity to Urdu). Despite a government ban on Indian films since 1965, a few Bollywood films were legally released in the country in 2006, including Taj Mahal and Mughal-e-Azam, decades after its release, though more movies followed. For the most part, Bollywood movies are watched on cable television in Pakistan; there is also a huge market for Bollywood movies in local video stores. Historically, video piracy was another accessible venue to watch Indian movies.

Bollywood movies are also popular in Afghanistan due to the country's proximity with the Indian subcontinent and certain other cultural perspectives present in the movies. A number of Bollywood movies were filmed inside Afghanistan while some dealt with the country, including Dharmatma, Kabul Express, Khuda Gawah and Escape From Taliban.

Hindi films have also been popular in numerous Arab countries, Palestine, Jordan and Egypt, as well as the Gulf countries. Imported Indian films are usually subtitled in Arabic upon the film's release. Since the early 2000s, Bollywood has progressed in Israel. Special channels dedicated to Indian films have been displayed on cable television.

Some Hindi movies also became big successes in the People's Republic of China during the 1940s and 1950s. The most popular Hindi films in China were Dr. Kotnis Ki Amar Kahani (1946), Awaara (1951) and Two Acres of Land (1953). Raj Kapoor was a famous movie star in China, and the song "Awara Hoon" ("I am a Tramp") was popular in the country. Since then, Hindi films significantly declined in popularity in China, until the Academy Award nominated Lagaan (2001) became the first Indian film to have a nation-wide release there in decades. The Chinese filmmaker He Ping was impressed by Lagaan, especially its soundtrack, and thus hired the film's music composer A. R. Rahman to score the soundtrack for his film Warriors of Heaven and Earth (2003).

Historically, Hindi films have been distributed to some parts of Africa, largely by Lebanese businessmen. Mother India (1957), for example, continued to be played in Nigeria decades after its release. Indian movies have also gained ground so as to alter the style of Hausa fashions, songs have also been copied by Hausa singers and stories have influenced the writings of Nigerian novelists. Stickers of Indian films and stars decorate taxis and buses in Northern Nigeria, while posters of Indian films adorn the walls of tailor shops and mechanics' garages in the country. Unlike in Europe and North America where Indian films largely cater to the expatriate Indian market yearning to keep in touch with their homeland, in West Africa, as in many other parts of the world, such movies rose in popularity despite the lack of a significant Indian audience, where movies are about an alien culture, based on a religion wholly different, and, for the most part, a language that is unintelligble to the viewers. One such explanation for this lied in the similarities between the two cultures. Clothing is largely similar, where men often wear long kaftans similar to the Hausa dogon riga and palmaran. Other similarities include wearing turbans; the presence of animals in markets; porters carrying large bundles, chewing sugar cane; youths riding Bajaj motor scooters; wedding celebrations, and so forth. With the strict Muslim culture, Indian movies were said to show "respect" toward women, where Hollywood movies were seen to have "no shame". In Indian movies women were modestly dressed, men and women rarely kiss, and there is no nudity, thus Indian movies are said to "have culture" that Hollywood films lack. The latter choice was a failure because "they don't base themselves on the problems of the people," where the former is based socialist values and on the reality of developing countries emerging from years of colonialism. Indian movies also allowed for a new youth culture to follow without such ideological baggage as "becoming western." Bollywood is also popular among Somalis and the Somali diaspora, where the emerging Islamic Courts Union found a bete noire. Chad and Ethiopia have also shown an interest in the movies.

Several Bollywood personalities have avenued to the continent for both shooting movies and off-camera projects. The film Padmashree Laloo Prasad Yadav (2005) was one of many movies shot in South Africa. Dil Jo Bhi Kahey (2005) was shot almost entirely in Mauritius, which has a large ethnically Indian population.

Ominously, however, the popularity of old Bollywood versus a new, changing Bollywood seems to be diminishing the popularly on the continent. The changing style of Bollywood has begun to question such an acceptance. The new era features more sexually explicit and violent films. Nigerian viewers, for example, commented that older films of the 1950s and 1960s had culture to the newer, more westernised picturisations. The old days of India avidly "advocating decolonization ... and India's policy was wholly influenced by his missionary zeal to end racial domination and discrimination in the African territories" were replaced by newer realities. A greater globalised world worked in tandem with the sexualisation of Indian films so as to become more like American films, thus negating the preferred values of an old Bollywood and diminishing Indian soft power.

Bollywood films are particularly popular in the former Soviet Union. Bollywood films have been dubbed into Russian, and shown in prominent theatres such as Mosfilm and Lenfilm.

The film Mera Naam Joker (1970), sought to cater to such an appeal and the popularity of Raj Kapoor in Russia, when it recruited Russian actress Kseniya Ryabinkina for the movie. In the contemporary era, Lucky: No Time for Love was shot entirely in Russia. After the collapse of the Soviet film distribution system, Hollywood occupied the void created in the Russian film market. This made things difficult for Bollywood as it was losing market share to Hollywood. However, Russian newspapers report that there is a renewed interest in Bollywood among young Russians.

Bollywood has experienced a marked growth in revenue in North American markets, and is particularly popular amongst the South Asian communities of such large cities as Chicago, Toronto and New York City. Yash Raj Films, one of India's largest production houses and distributors, reported in September 2005 that Bollywood films in the United States earn around $100 million a year through theater screenings, video sales and the sale of movie soundtracks. In other words, films from India do more business in the United States than films from any other non-English speaking country. Numerous films in the mid-1990s and onwards have been largely, or entirely, shot in New York, Los Angeles, Vancouver and Toronto. Bollywood's immersion in the traditional Hollywood domain was further tied with such films as The Guru (2002) and Marigold: An Adventure in India (2007) trying to popularise the Bollywood-theme for Hollywood.

The awareness of Hindi cinema is however more spread in the United Kingdom, where they frequently enter the UK top ten. Many films, such as Kabhi Khushi Kabhie Gham (2001) have been set in London. Bollywood is also appreciated in Germany, France, and the Scandinavian countries. Various Bollywood movies are dubbed in German and shown on the German television channel RTL II on a regular basis. A considerable number of Hindi movies has been shot in Western Europe as well, particularly in Switzerland, starting with Dilwale Dulhania le Jayenge.

Bollywood's popularity, however, is not greatly matched in the non-English speaking countries of South America, though Bollywood culture and dance is recognised. In 2006, Dhoom 2 became the first Bollywood film to be shot in Rio de Janeiro, Brazil. The feeling was reciprocated as Latin America's largest theater chain, Mexico's Cinepolis, was considering expanding its domains outside the Spanish-speaking areas of the continent as it appeared to be bound for Bollywood.

Bollywood is not as successful in the Oceanic countries and Pacific Islands such as New Guinea. However, it ranks second to Hollywood in countries such as Fiji, with its large Indian minority, Australia and New Zealand.

Australia is one of the countries where there is a large South Asian Diaspora. Bollywood is popular amongst non-Asians in the country as well. Since 1997 the country has provided a backdrop for an increasing number of Bollywood films. Indian filmmakers have been attracted to Australia's diverse locations and landscapes, and initially used it as the setting for song-and-dance sequences, which demonstrated the contrast between the values. However, nowadays, Australian locations are becoming more important to the plot of Bollywood films. Hindi films shot in Australia usually incorporate aspects of Australian lifestyle. The Yash Raj Film Salaam Namaste (2005) became the first Indian film to be shot entirely in Australia and was the most successful Bollywood film of 2005 in the country. This was followed by Heyy Babyy (2007) Chak De! India (2007) and Singh Is Kinng (2008) which turned out to be box office successes. Following the release of Salaam Namaste, on a visit to India the then Prime Minister John Howard also sought, having seen the film, to have more Indian movies shooting in the country to boost tourism, where the Bollywood and cricket nexus, was further tightened with Steve Waugh's appointment as tourism ambassador to India. Australian actress Tania Zaetta, who co-starred in Salaam Namaste, among other Bollywood films, expressed her keenness to expand her career in Bollywood.

Constrained by rushed production schedules and small budgets, certain Bollywood writers and musicians have been known to resort to plagiarism. They copy ideas, plot lines, tunes or riffs from sources close at hand from other Indian films or far away (Hollywood and other Western movies, Western pop hits). This has lead to significant criticism towards the film industry.

In past times, this could be done with impunity. Copyright enforcement was lax in India. The Bollywood film industry was not widely known to non-Indian audiences (excluding the Soviet states), who would not even be aware that their material was being copied. Audiences may also not have been aware of the plagiarism since many audiences in India were unfamiliar with foreign films and music.

While copyright enforcement in India is still somewhat lenient, Bollywood and other film industries are much more aware of each other now and Indian audiences are more familiar with foreign movies and music. Organizations like the India EU Film Initiative seek to foster a community between film makers and industry professionel between India and the EU.

Flagrant plagiarism may have diminished—however, there is no general agreement that it has. The makers of Partner and Zinda have been targeted by the owners and distributors of the original films, Hitch and Oldboy. As response to this, film companies may have begun the process of securing rights to do official remakes of international films, with Orion Pictures's securing of the rights to the Wedding Crashers possibly being the first.

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Romeo + Juliet

William Shakespeare's Romeo + Juliet is a 1996 American film and the 10th on-screen adaptation of William Shakespeare's romantic tragedy of the same name. It was directed by Australian Baz Luhrmann and stars Leonardo DiCaprio and Claire Danes in the eponymous roles.

The film is a modernization of Shakespeare's play, designed to appeal to a younger modern audience. The warring families (the Montagues and the Capulets) are represented as warring business empires and swords are replaced by guns. Despite the adaptation, the film retains Shakespeare's original dialogue, albeit edited down for modern cinema audiences.

Most of the film's story takes place in the fictional town or suburb called "Verona Beach". As with the play, a brief part of the film takes place in a location known as Mantua, which is depicted here as a trailer park in a desert-like hinterland. Verona Beach is the center of a corporate war between two leaders of industry, "Montague" and "Capulet", rather than just a mere family feud. Prince Escalus is renamed "Captain Prince", and instead of being Prince of Verona, he is the Chief of the Verona Beach Police Department. His relationship to Paris (called "Dave Paris" in the movie) is removed from the film. Romeo and Juliet's parents are given names here too, the names in this case being Ted and Caroline Montague and Fulgencio and Gloria Capulet. Dave Paris is stated as being the Governor's son rather than a nobleman, and throughout the film he speaks in a conceited and pompous manner around Juliet and her father. He only wants to marry her for wealth and ego rather than real love.

In addition to the characters being updated, many of the props were replaced with analogous contemporary props. In place of swords, the characters wield guns with fictional brand names like "Sword 9mm" (which was used in the beginning gas station shootout, "Dagger" (which Mercutio throws to the ground before using his fists, or "Rapier" (Which belonged to Tybalt, and Romeo uses it to shoot Tybalt); Lord Montague's "Longsword" is a South African MAG-7 shotgun. Instead of chasing Tybalt on foot, Romeo and Tybalt engage in a car chase. Romeo crashes out Tybalt's car by the central fountain of the city, during which Romeo presses the barrel of Tybalt's pistol to his head and asks him to end his life. Tybalt refuses and in a resurgence of anger Romeo kills Tybalt with his own custom handgun. Although most of the fights are done with guns (and fists) instead of swords, Mercutio's death comes at the hands of Tybalt wielding a large shard of glass found on the beach. Mercutio's "Queen Mab" is an ecstasy-like drug in the form of a pill that Romeo takes before attending the Capulet party. Friar Lawrence gives the letter for Romeo in Mantua to a postal service called "Post Haste".

Most of the film was shot in Mexico City and Veracruz, but other parts were shot in Miami. The Capulet mansion was set at Chapultepec Castle while the ballroom was built on Stage One of Churubusco Studios; and the church is Immaculate Heart of Mary Church in the Del Valle neighborhood.

Leonardo DiCaprio was Luhrmann's first choice to play Romeo, while the casting of Juliet was a lengthy process. Natalie Portman was the original actress to play Juliet, and she traveled to Sydney for rehearsals. After rehearsing a few scenes, the producers began to feel that she was too young for the role; according to Portman, they felt that the footage looked like DiCaprio was "molesting" her. Eventually, Luhrmann agreed that the age difference between the two actors was too great. Filming was halted to find another actress for the part.

Financially, the film was very successful, grossing USD$147 million worldwide at the box office on a USD$14.5 million budget. The film premiered November 1, 1996 in the United States and Canada in 1,276 theaters and grossed $11.1 million its opening weekend, ranking #1 at the box office. It went on to gross $46.3 million in the United States and Canada.

The film won several awards. At the Berlin International Film Festival in 1997, Leonardo DiCaprio won the Silver Bear Award for Best Actor and director Baz Luhrmann won the Alfred Bauer Award. Luhrmann was also nominated for the Golden Bear Award for Best Picture.

Leonardo DiCaprio won Favorite Actor and Claire Danes won Favorite Actress in a Romance at the 1997 Blockbuster Entertainment Awards. At the 1997 MTV Movie Awards, Danes won Best Female Performance. DiCaprio was nominated for Best Male Performance, and DiCaprio and Danes were both nominated for Best Kiss and Best On-Screen Duo. At the 51st BAFTA Film Awards, Baz Luhrmann won the award for Best Direction. Luhrmann and Craig Pearce won the award for Best Adapted Screenplay. Nellee Hooper won the award for Best Film Music. And Catherine Martin won the award for Best Production Design. The film was also nominated for Best Cinematography, Best Editing, and Best Sound.

At the 69th Academy Awards, Catherine Martin and Brigitte Broch were nominated for Best Art Direction/Set Decoration.

The film made use of modern alternative rock and pop music coupled with a dramatic symphonic score by Nellee Hooper, Craig Armstrong, and Marius De Vries. The film's soundtrack was also noted for featuring choral renditions of the songs "When Doves Cry" and "Everybody's Free (To Feel Good)" performed by Quindon Tarver.

The soundtrack album to the film was issued in two volumes, with the first release containing most of the songs from the film and Volume 2 containing the original score.

Although the film featured the Radiohead song "Exit Music (For a Film)" in the closing credits, the song did not appear on Volume 1; "Talk Show Host", a different Radiohead song. "Talk Show Host" featured heavily in the film overall, the entire song playing during a montage and the main riff playing at several pensive moments throughout the film.

A number of hit singles resulted from the soundtrack, including "Lovefool" by The Cardigans, "Kissing You" by Des'ree, "Young Hearts Run Free" covered by Kym Mazelle, "#1 Crush" by Garbage and Quindon Tarver's remixed version of "When Doves Cry". Tarver's rendition of "Everybody's Free (To Feel Good)" was later used in Luhrmann's "Everybody's Free (To Wear Sunscreen)" single.

Choral arrangements were performed by Metro Voices.

The final scene in the film contains the final bars from Wagner's music-drama Tristan und Isolde.

The soundtrack was a popular and solid seller, and was especially successful in Luhrmann's native Australia, where it was the second highest selling album in Australia in 1997, going five times platinum in sales. A 10th anniversary release of the soundtrack with bonus tracks also eventuated.

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Nicole Kidman

Nicole Mary Kidman, AC (born June 20, 1967) is an Academy Award-winning Hawaiian-born Australian actress, model, singer, UN Citizen of the World award-winning humanitarian, and a UNIFEM and UNICEF Goodwill Ambassador. In 2006, Kidman was made a Companion of the Order of Australia, Australia's highest civilian honor. In 2006, she was also the highest-paid actress in the motion picture industry.

Kidman's breakthrough was in the 1989 thriller Dead Calm. Her performances in films such as Days Of Thunder, To Die For (1995), Moulin Rouge! (2001), and The Hours (2002) won her critical acclaim. In 2003, Kidman received her star on the Walk of Fame in Hollywood, California. She is also known for her marriage to Tom Cruise and her current marriage to country musician Keith Urban. As a result of being born to Australian parents in Hawaii, Kidman has dual citizenship of Australia and the United States.

Kidman was born in Honolulu, Hawaii. Her father, Dr Antony David Kidman, is a biochemist, clinical psychologist and author, with an office in Lane Cove, Sydney, Australia. Her mother, Janelle Ann (née Glenny), is a nursing instructor who edits her husband's books and was a member of the Women's Electoral Lobby. These days Kidman lives in Burwood where she owns a relatively small house. At the time of Kidman's birth, her father was a visiting fellow at the National Institute of Mental Health of the United States. The family returned to Australia when Kidman was four and her parents now live on Sydney's North Shore. Kidman has a younger sister, Antonia Kidman, a journalist. She has known actress Naomi Watts since they were in their teens and the two remain best friends today.

Kidman attended Lane Cove Public School and North Sydney Girls' High School. She studied at the Victorian College of the Arts in Melbourne, at the Phillip Street Theatre in Sydney, with Naomi Watts. This was followed by the Australian Theatre for Young People.

Kidman's first appearance in film came in 1983 at 15, in the Pat Wilson music video for the song "Bop Girl". By the end of the year she had a supporting role in the television series Five Mile Creek and four film roles, including BMX Bandits and Bush Christmas. During the 1980s, she appeared in several Australian productions, including the soap opera A Country Practice, the mini-series Vietnam (1986), Emerald City (1988), and Bangkok Hilton (1989).

In 1989, Kidman starred in Dead Calm as Rae Ingram, the wife of naval officer John Ingram (Sam Neill), held captive on a Pacific yacht trip by the psychotic Hughie Warriner (Billy Zane). The thriller garnered strong reviews; Variety.com commented: "Throughout the film, Kidman is excellent. She gives the character of Rae real tenacity and energy." Meanwhile, critic Roger Ebert noted the excellent chemistry between the leads, stating, "...Kidman and Zane do generate real, palpable hatred in their scenes together." In 1990, she appeared opposite Tom Cruise in Days of Thunder, a stock car racing movie. Kidman starred with Cruise in Ron Howard's Far and Away (1992). In 1995, Kidman featured in the ensemble cast of Batman Forever. On November 20 1993 she hosted Saturday Night Live.

Kidman's second film in 1995, To Die For was a satirical comedy that earned her praise from critics. She won a Golden Globe Award, and five other best actress awards for her portrayal of the murderous newscaster Suzanne Stone Maretto. In 1998, she appeared in the film Practical Magic along side Sandra Bullock. In 1999 Kidman and Cruise portrayed a married couple in Eyes Wide Shut, Stanley Kubrick's final film. The film is memorable for featuring extensive nudity from Kidman, including dream sequences in which she appears topless, nude and having sex, and the opening montage of the film where the audience can watch Kidman slip out of her dress at the end of the night as well as watch her put on her bra in the morning. All of these scenes are notable because of Kidman's high profile and the arousing nature of her nudity.

Also in 1998, Kidman starred in the stage play The Blue Room, which opened in London. The play included Kidman's character briefly exposing her flesh to the audience.

In 2002 Kidman received an Academy Award nomination for her performance in the 2001 musical film Moulin Rouge!, in which she played the courtesan Satine opposite Ewan McGregor. Consequently, Kidman received her second Golden Globe Award for Best Actress in a Motion Picture Musical or Comedy. The same year she also had a well-received starring role in the horror film The Others. While in Australia filming Moulin Rouge!, Kidman injured her ribs; as a result, Jodie Foster replaced her as leading actress in the film Panic Room. In that film, Kidman's voice appears on the phone as the mistress of the husband of the lead character.

In the same year, Kidman starred in three very different films. The first film, Dogville, by Danish director Lars von Trier, was an experimental film set on a bare soundstage. In the second film, she co-starred with Anthony Hopkins in the film adaptation of Philip Roth's novel The Human Stain. The third film, Cold Mountain, a love story of two Southerners separated by the Civil War, garnered her a Golden Globe Award nomination.

In 2004, Kidman appeared in the critically panned remake of The Stepford Wives alongside Glenn Close, Faith Hill and Bette Midler. In September of the same year, Birth, in which the 37-year-old actress' character has an encounter with a 10-year-old boy (played by Cameron Bright) who attempts to convince her that he is a reincarnation of her dead husband, was met with a mixed reception primarily due to a scene where the boy strips and joins Kidman in the bathtub. Despite this, the film was nominated for the Golden Lion Award at the Venice Film Festival, and Kidman was nominated for another Golden Globe Award.

Kidman's two movies in 2005 were The Interpreter and Bewitched. The Interpreter, directed by Sydney Pollack, received mixed reviews, while Bewitched, co-starring Will Ferrell and based on the 1960s TV sitcom of the same name, was generally panned by critics. Neither film fared well domestically, their box office sales falling well short of the production costs, but both films fared well internationally.

In conjunction with her success in the film industry, Kidman became the face of the Chanel No. 5 perfume brand. She starred in a campaign of television and print ads with Rodrigo Santoro, directed by Moulin Rouge! director Baz Luhrmann to promote the fragrance during the holiday season in 2004, 2005, 2006, and 2008. The three-minute commercial produced for Chanel No. 5 perfume made Kidman the record holder for the most money paid per minute to an actor after she reportedly earned US$12million for the 3 minute advert. During this time, Kidman was also listed as the 45th Most Powerful Celebrity on the 2005 Forbes Celebrity 100 List. She made a reported US$14.5 million in 2004-2005. On People magazine's list of 2005's highest paid actresses, Kidman was second behind Julia Roberts with a US$16 million to US$17 million per-film price tag. She has since passed Roberts as the highest paid actress.

Recently, Kidman appeared in the Diane Arbus bio-pic Fur. She also lent her voice to the animated film Happy Feet, which quickly garnered critical and commercial success; the film grossed over US$384 million dollars worldwide. In 2007, she starred in the science fiction movie The Invasion directed by Oliver Hirschbiegel where it was reported that she received $26 million dollars for her performance; although it was a critical and commercial failure Kidman said that she has no control over the success of her films. She also played opposite Jennifer Jason Leigh and Jack Black in Noah Baumbach's comedy-drama Margot at the Wedding. She also starred in the film adaptation of the first part of the planned His Dark Materials trilogy of films, playing the villainous Marisa Coulter. However, The Golden Compass''s failure to meet expectations at the North American box office has reduced the likelihood of a sequel.

In 2008, she starred Baz Luhrmann's Australian period film titled Australia, which is set in the remote Northern Territory during the Japanese attack on Darwin during World War II. Kidman played opposite Hugh Jackman as an English woman feeling overwhelmed by the continent.

On June 25, 2007, Nintendo announced that Kidman would be the new face of Nintendo's advertising campaign for the Nintendo DS game More Brain Training in its European market.

Kidman was featured in a series of advertisements for Sky in Italy, speaking Italian during the spots.

Kidman was originally set to star in The Reader, a post-war Germany drama, but due to her pregnancy she had to back out of the film. Shortly after the news of Kidman's departure, it was announced that Kate Winslet would take over the role. Winslet went on to win the Oscar for Best Actress for the role - at the ceremony, Kidman was one of the five previous winners who presented her with the award.

On November 10, 2008, TV Guide reported that Kidman will star in the film adaptation of The Danish Girl alongside Charlize Theron. Kidman will play Elinar Wegener, the world's first post-op transsexual.

Not a singer before Moulin Rouge!, Kidman had well-received vocal performances in the film. Her collaboration with Ewan McGregor on "Come What May" peaked at 27 in the UK Singles Chart. Later she collaborated with Robbie Williams on "Somethin' Stupid", a cover of Williams' swing covers album Swing When You're Winning. It peaked at 8 in the Australian ARIAnet Singles Chart, and at 1 for three weeks in the UK. It was UK Christmas number 1 for 2001.

In 2006, she voiced the animated movie Happy Feet, along with vocals for Norma Jean's 'heartsong', a slightly altered version of "Kiss" by Prince. Kidman is to sing in Rob Marshall's next movie, musical Nine, along with Daniel Day-Lewis, Penélope Cruz, Judi Dench, Sophia Loren and Marion Cotillard.

In January 2005, Kidman won interim restraining orders against two Sydney paparazzi.

In the beginning of 2009, Kidman appeared in a series of special edition postage stamps featuring some of Australia's great actors. She, Geoffrey Rush, Russell Crowe, and Cate Blanchett each appear twice in the series: once as themselves and once as their Academy Award-winning character.

Kidman met Tom Cruise on the set of their 1990 movie, Days of Thunder. Cruise was married to Mimi Rogers and divorced her. Kidman and Cruise were married on Christmas Eve 1990 in Telluride, Colorado. The couple adopted a daughter, Isabella Jane (born 1992), and a son, Connor Anthony (born 1995). They separated just after their 10th wedding anniversary. She was three months pregnant and had a miscarriage. Cruise filed for divorce in February 2001. The marriage was dissolved in 2001, Cruise citing irreconcilable differences. The reasons for dissolution have never been made public. In Marie Claire, Kidman said she had an ectopic pregnancy early in their marriage. In the June 2006 Ladies' Home Journal, she said she still loved Cruise: "He was huge; still is. To me, he was just Tom, but to everybody else, he is huge. But he was lovely to me. And I loved him. I still love him." In addition, she has expressed shock about their divorce.

The 2003 film Cold Mountain brought rumours that an affair between Kidman and co-star Jude Law was responsible for the break-up of his marriage. Both denied the allegations, and Kidman won an undisclosed sum from the British tabloids that published the story. She gave the money to a Romanian orphanage in the town where the movie was filmed. Robbie Williams confirmed they had a short romance on her yacht in summer 2004. Shortly after her Oscar, there were rumours of a relationship between her and Adrien Brody. She met musician Lenny Kravitz in 2003 and dated him into 2004.

Kidman met country singer Keith Urban at G'Day LA, an event honouring Australians in January 2005. Kidman and Urban married on Sunday 25 June 2006, at Cardinal Cerretti Memorial Chapel in the grounds of St Patrick's Estate, Manly in Sydney. They maintain homes in Sydney, Sutton Forest, Los Angeles and Nashville, Tennessee. In March 2008, they bought mansions in Los Angeles and Nashville within days.

After speculation by the press, it was confirmed on 8 January 2008 that Kidman was three months pregnant. The couple had their first child, Sunday Rose Kidman Urban, on 7 July 2008, in Nashville, Tennessee. Kidman's father said the daughter's middle name was after Urban's late grandmother, Rose. On Sunday Rose's birthday of 7 July, the Greek Orthodox Church celebrates Saint Kyriaki; "Kyriaki" is Greek for Sunday.

Kidman is a practicing Catholic. She attended Mary Mackillop Chapel in North Sydney. During her marriage to Cruise, she had been an occasional practitioner of Scientology.

Kidman's name was in an advertisement in the Los Angeles Times (17 August 2006) that condemned Hamas and Hezbollah and supported Israel in the 2006 Israel-Lebanon conflict. Kidman has donated to U.S. Democratic party candidates and endorsed John Kerry in the 2004 presidential election.

Kidman has been a Goodwill Ambassador for UNICEF Australia since 1994. She has raised money for and drawn attention to the disadvantaged children around the world. In 2004, she was honored as a "Citizen of the World" by the United Nations.

On 26 January 2006 (Australia Day), Kidman received Australia's highest civilian honor when she was made a Companion of the Order of Australia. She was also nominated goodwill ambassador for UNIFEM.

Kidman joined the 'Little Tee Campaign' for breast cancer care to design T-shirts or vests to raise money for breast cancer. Kidman's mother had breast cancer in 1984.

Kidman's movies gross total is more than US$2 billion, with 17 movies making more than US$100 million.

In 2003, Kidman received a Star on the Hollywood Walk of Fame. In addition to those accolades, Kidman has received Best Actress awards from the following critics' groups or award-granting organisations: the Hollywood Foreign Press (Golden Globes), the Australian Film Institute, Blockbuster Entertainment Awards, Empire Awards, Golden Satellite Awards, Hollywood Film Festival, London Critics Circle, Russian Guild of Film Critics, and the Southeastern Film Critics Association. In 2003, Kidman was given the American Cinematheque Award. She also received recognition from the National Association of Theatre Owners at the ShoWest Convention in 1992 as the Female Star of Tomorrow and in 2002 for a Distinguished Decade of Achievement in Film.

In 2006, Kidman was made a Companion of the Order of Australia (AC), Australia's highest civilian honour, for "service to the performing arts as an acclaimed motion picture performer, to health care through contributions to improve medical treatment for women and children and advocacy for cancer research, to youth as a principal supporter of young performing artists, and to humanitarian causes in Australia and internationally." However, due to film commitments and her wedding to Urban, it was 13 April 2007 that she was presented with the honor., presented by Governor-General of Australia, Major General Michael Jeffery in a ceremony at Government House, Canberra.

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Paul Mercurio

Paul Joseph Mercurio (born March 31, 1963) is an Australian actor and dancer who was the star of Baz Luhrmann's Strictly Ballroom (1992). His father is character actor Gus Mercurio.

Mercurio was one of four judges on the Australian version of the popular television show Dancing with the Stars which was broadcast in Australia on Channel Seven in 2004, 2005, and 2006. He was also a judge in New Zealand's edition since 2006. He has recently been sacked as a judge on the new version of Dancing With The Stars.

Mercurio is best remembered for his lead role as rebel "Scott Hastings" in Baz Luhrmann's movie Strictly Ballroom. He is also an accomplished dramatic actor, appearing in popular Australian shows: Blue Heelers, All Saints, Murder Call, Medivac, Heartbreak High, Water Rats and The Day of the Roses.

Born in Swan Hill, Victoria in 1963, Mercurio began ballet at nine. By the age of 19, in 1982, he was Principal Dancer with the Sydney Dance Company — a position he held for ten years. During this time, he was commissioned to choreograph six works performed by the company.

Mercurio left the Sydney Dance Company to found the Australian Choreographic Ensemble which danced from 1992-1998, where he was the Director, Principal Dancer and Principal Choreographer.

Mercurio made his film debut in Strictly Ballroom, receiving an Australian Film Institute Award nomination in 1993. His film credits have since included: Exit to Eden, Back of Beyond, Cosi, Red Ribbon Blues, Welcome to Woop Woop, The Dark Planet, The First 9 1/2 Weeks, Kick and Sydney: A Story of a City. He also starred, wrote, choreographed, produced and directed the short film Spilt Milk. Mercurio made his TV debut in a documentary on his life called Life's Burning Desire in 1992. He starred in the lead role of Joseph in the Emmy award–winning US TV mini-series The Bible: Joseph, in 1995.

Today, Mercurio continues to dance and choreograph professionally. He was a movement consultant on the Will Smith movie I, Robot, and has choreographed a USA TV campaign for Coca Cola, the Harry M Miller production of Jesus Christ Superstar and Annie Get Your Gun.

In January 2004, he appeared on stage in The Full Monty. Mercurio was also a judge on both the Australian and New Zealand versions of Dancing with the Stars until it was announced on the 12th August 2008 that he had been dropped from the judging panel of the Australian version. He has been named a judge in the 2009 New Zealand series .

In 2008, Paul began hosting a series called Mercurio's Menu where he travels Australia cooking in different locations.

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