The Transformers: The Movie - Transformers Wiki. The Transformers: The Movie is an animated feature film based on the original Transformers toyline. It was released in the United States on Friday, August 8, 1. The film's storyline follows the same continuity as the Transformers cartoon.

It introduces a planet- sized Transformer called Unicron who eats other planets, and is approaching Cybertron. Watch Online Watch The Facility Full Movie Online Film. As part of their continuing wars, the Autobots and Decepticons have a fierce battle on Earth which sees both Optimus Prime and Megatron mortally wounded. Prime passes the Matrix of Leadership to Ultra Magnus and dies, and Megatron is transformed by Unicron into Galvatron. Starscream (briefly) assumes leadership of the Decepticons, but is killed when Galvatron arrives at Cybertron.

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Have I not commanded you? Be strong and courageous. Do not be afraid; do not be discouraged, for the Lord your God will be with you wherever you go.

Galvatron then chases the surviving Autobots on Earth across space, splitting them up and taking the Matrix. The Autobots find their way back to each other, and follow Galvatron to Cybertron just as Unicron transforms into robot mode and begins to eat their world. Travelling inside Unicron, Hot Rod recovers the Matrix, transforms into Rodimus Prime, and uses the Matrix to destroy Unicron. Often referred to by fans simply as "the movie" or "TFTM", the movie was a step up in almost every area from the television series, with a more sophisticated plot, more serious treatment of war and violence, a hugely ambitious scope and a greatly increased animation budget with well- known celebrities providing voice work.

The Transformers: The Movie is an animated feature film based on the original Transformers toyline. It was released in the United States on Friday, August 8, 1986. We would like to show you a description here but the site won’t allow us.

For these reasons the film remains very popular with children of the 1. The film opens with characters who had been featured in the first two years of the toyline and associated media (cartoons, comic books, etc.), but quickly introduces new characters and kills many of the old ones to make room. Of particular note, Optimus Prime and Starscream are both destroyed during the course of the film. The Japanese have funded a full- length animated cartoon about the doings of these toys, which is all bad outer- space stuff. I play a planet. I menace somebody called Something- or- other. Then I'm destroyed. My plan to destroy Whoever- it- is is thwarted and I tear myself apart on the screen.

Orson Welles[1]Synopsis. A mechanical planet travels through the depths of space, attacking a metal planet which has robotic inhabitants. Robots, vehicles, buildings, and even large chunks of rock are sucked off the surface and devoured by the monstrous planet. It is the year 2. Decepticons are now in control of Cybertron. The Autobots are preparing to launch an assault to retake the planet from hidden bases on two of Cybertron's moons.

The Autobots launch a shuttle to pick up a final shipment of energon from Earth before they strike. Plans for the attack are overheard by Laserbeak, who reports back to Megatron. The Decepticons attack the Autobot shuttle en route to Earth, wiping out its crew (including Ironhide, Prowl, Ratchet and Brawn).

Using the Autobots' own shuttle, the Decepticons are able to get very close to the Autobots' base on Earth, Autobot City, before they are detected, and begin a devastating surprise attack on the unprepared city. During the battle at Autobot City, both Optimus Prime and Megatron suffer mortal injuries, and a number of others are also killed. Eventually the Decepticons retreat, but the damage suffered by the Autobots is severe.

Shortly after the battle, Prime lies on his deathbed. He passes the reins of leadership to Ultra Magnus and gives him the Matrix of Leadership. Though Hot Rod actually touches the Matrix before Magnus does.) Prime relates a prophecy: "One day, an Autobot shall rise from our ranks, and use the power of the Matrix to light our darkest hour." He then gives the oath, "'Til all are one", and dies.

This sequence of events is observed remotely by Unicron, the monstrous planet, who appears unusually concerned by the survival of the Matrix. The Decepticons are making their escape aboard Astrotrain, but are too heavy for him to get them all home under his own power. After putting the matter to a fair vote, the Decepticons decide to throw their injured members off the ship to better the chance of survival for the rest. One of the most severely injured Decepticons is Megatron. Starscream tosses him out and claims leadership of the Decepticon army. Megatron and the other adrift Decepticons then encounter Unicron in interstellar space. Unicron offers to rebuild Megatron and his minions in exchange for their service.

Megatron agrees, and is reformatted into Galvatron. The other Decepticons are turned into Cyclonus, Scourge, and the Sweeps. Unicron provides them with a ship, and sends them to kill Ultra Magnus and destroy the Matrix, stating that the Matrix is the only thing which can stand in his way. Galvatron first stops at Cybertron to take his revenge by killing Starscream and reclaiming leadership of the Decepticons. Almost immediately afterwards, Unicron arrives in Cybertron's vicinity and devours at least two moons—both of the Autobots' moon bases are destroyed. Under coercion by Unicron, Galvatron finally heads to Earth to kill Ultra Magnus, but Magnus and the other surviving Autobots flee in a pair of shuttles.

Eventually Galvatron manages to cause one shuttle to crash on yet another metal planet (Quintessa), and detonates the other with a volley of missiles. However, the Autobots in the second shuttle escape unnoticed by separating the front portion of their shuttle just before impact. The Autobots in the crashed shuttle, Hot Rod, Kup, and the Dinobots, find themselves separated and in a hostile environment. Hot Rod and Kup are captured by a squad of Allicons and taken before a Quintessonjudge and his court. While being held there, they learn the name and nature of Unicron from Kranix, a survivor of the planet destroyed in the opening of the film, which he calls Lithone. Meanwhile, the Dinobots encounter and befriend a young, wild Autobot named Wheelie who has been living alone on Quintessa. Together, they crash the trial just as Hot Rod and Kup are fighting losing odds against the Quintessons' Sharkticons.

The tide is turned, and the Autobots commandeer a Quintesson Cruiser. The other group of Autobots has landed on the planet Junkion to make repairs, but are attacked yet again by Galvatron, who was tipped off to their survival by Unicron. During the battle, Ultra Magnus tries to open the Matrix to use its power, but is unable to do so, and instead is killed. Galvatron absconds with the Matrix, taking it away to Unicron.

The remaining Autobots—Perceptor, Blurr, Springer, Arcee, and Spike's son Daniel—are then ambushed by Junkions, the eponymous natives of Junkion, who are also giant transforming robots. This battle is cut short, however, by the arrival of Hot Rod's group in their Quintesson ship. After exchanging the universal greeting they all make friends, and the Junkions restore Ultra Magnus to life. Together, the whole group travels to Cybertron to try to recover the Matrix and destroy Unicron. Galvatron attempts to open the Matrix to use its power against Unicron, but is also unable to get it open. Unicron, not pleased with this attempted treachery, shocks Galvatron by transforming from a planet into a planet- sized robot.

Unicron plucks Galvatron off his chest and swallows him, Matrix and all, and then begins attacking Cybertron itself. Shockwave scrambles the Decepticon forces to defend the planet, but they are ineffective against so large an enemy.

Shortly the Autobots arrive from Junkion, and fly the Quintesson ship straight through Unicron's eye. This impact destroys the ship, and the Autobots fall out inside Unicron.

Hot Rod, separated from the others, eventually runs into Galvatron. During their fight, Hot Rod gets his hands on the Matrix and hears Optimus's voice speak the words, "Arise, Rodimus Prime." Hot Rod grows in stature, adopts a much sterner demeanor, and quickly dispatches Galvatron by tossing him through Unicron's hull out into space.

Seven Positions” tm is delighted to bring to the fore Randy Campora: a thinking man, fully human, and exceptionally musical. From the storied bass trombone chair of the Baltimore Symphony, to a brimming infusion of brass masters past and present, to a life of varied experiences fully absorbed- Campora is focused on exceptional symphonic performances. Join him as he wanders from California to Florida on the road to Baltimore. Enjoy! 1. What childhood memories do you have of California, and Florida? My grandparents were Italian immigrants who owned a small orchard of almonds and walnuts just east of Stockton, California. As a child I lived first on the orchard, and then in the very small town of Linden, the center of which was the high school, at which my father was the head football coach. I remember the smell of the earth when the first raindrops fell, the taste of the ripe Bing cherries, swimming in the walnut paddies flooded in the summer, the sound of the nuts being shaken from the trees at harvest, and football games in the fall.

My father changed careers when I was 1. Tallahassee, Florida. It was a huge adventure for our family and we loved it. We had African American friends and classmates for the first time, acquired something of a Southern accent, experienced the food, loved the jungle- esque flora and fauna, and generally came to appreciate the wonderful people and culture of the South. We were also blessed by the fact that Tallahassee is a college town, with Florida State and Florida A& M universities, which brought the great things of the world to the relatively small city, including great music programs, nightly orchestra broadcasts on public radio, and golf courses everywhere. I am so glad I got to live in both those unique locales as a kid.

What made you decide to study Spanish? And where has it taken you, both musically and non- musically. I first studied Spanish in my last two years in high school, which served as a decent foundation for when I really had to learn it in the Missionary Training Center for Latter- day Saint (Mormon) missionaries in Provo, Utah. I was assigned to the Houston, Texas Spanish- speaking mission, and only spent eight weeks in the training center—after that it was off to Houston and sink or swim with the language. I loved the people I met there over the next two years.

They were so humble and genuine, and very patient with me as I learned their language and culture. I probably gained more from them than they did from me. Civil wars were raging in Central and South America at that time, and the people I met from those countries had sad stories to tell. Heavy stuff for a nineteen- year- old kid away from home for the first time.

I also met folks from every region of Mexico, which also meant the food was excellent! After that, I have been able to use Spanish, though not as much as I would have liked. I was in a Salsa band for a semester at FSU.

Later at Peabody I taught a wonderful bass trombonist from Brazil named Joao Paulo Moreira for almost a year. We both had Spanish as our second language so we used that as our lingua franca—it worked but led to some funny situations from time to time. I would very much like to be able to make more contact with the Spanish speaking trombone world in the future, especially since they are producing so many wonderful players these days. Your talent and discipline found great mentors and opportunities. What was it like to be “the kid”- first as a high school trombonist at FSU, and later as an undergrad in the Baltimore Symphony Orchestra? One of the things I have marveled at as I have gotten older is the edifying attitude the more experienced players had towards me both at FSU and in the Baltimore Symphony. I was 1. 6 when I joined the Florida State top jazz ensemble, which included many grad students.

They could have turned their noses up and made life tough for a kid who was below rookie status, but they did the opposite: they taught me the ropes, expected me to come up to their level, and led by example. I remember one night after rehearsal Jeff Thomas (now principal trombone of the Orlando Philharmonic and chief Disney trombonist) took me aside and taught me how to “blow freely” and really make a sound that could be heard inside and in front of the group. Blow Freely was the catch phrase of our professor William F. Cramer at FSU, but I had not studied with him yet, so I had to learn what that meant, to really resonate the instrument first and foremost before music can be made. In my official Freshman year, I was invited to join the Peninsula Trombone Quartet.

The other members—David Gatts, Christian Dickinson and David Burris—were grad students. They were so wonderful to work with and taught me so much, and it is to this day some of the most enjoyable playing I have ever done. Coming into the BSO was much the same.

I transferred to Peabody at the start of my third undergraduate year, and won the BSO audition towards the end of that school year when Doug Yeo won the Boston chair. I was twenty- three when I started in the orchestra, and it was David Zinman’s first official year as music director. Eric Carlson, Jim Olin, David Fetter and David Fedderly were the icons whom I heard play each week with the BSO, and also my professors at Peabody.

But they treated me as an equal colleague from the very first day in the orchestra (my first two weeks in the orchestra were Bruckner 4 and Pictures!). Eric Carlson and his wife Lorraine took me to Orioles games, and Eric was a huge influence in my education of orchestra life (what an amazing player Eric is, deserving of much greater recognition—just listen to those Philadelphia recordings with Muti and Sawallisch). One thing I’ll always cherish is how David Fedderly, my tuba partner in the BSO for almost thirty years, approached the relationship: he never told me how to play. He just played and communicated by listening and singing out his part every single day.

If I had a question I could always ask him something, but we relied on the radar method of aural musical communication. I highly recommend this approach as a way to live happily with our colleagues, and Dave was a master at it. Watch Kingdom Of Gladiators Online Kingdom Of Gladiators Full Movie Online. Of course, it helps that he was one of the finest orchestral tubists in history . It’s fun to welcome many wonderful younger players as new members of the BSO now. And it’s strange to now be the longest tenured member of the brass section. An orchestra really does need a mix of older and younger players—they each bring important things to the group.

Can you put into words the impact of Doug Yeo on your musical and personal life? His depth is considerable and his breadth is impressive. There truly is only one Douglas Yeo in this world.

I have never met another trombonist who is more committed, curious, hard- working, intelligent, self- aware, faithful and willing to serve others than Doug. He has been nothing but a blessing to me in my life, and it has been fun and helpful to keep in touch with him through his time in Boston, then at Arizona as a professor, and now as “force- to- be- reckoned- with” in the world at large.

He has been an example to me in all areas of life. I transferred to Peabody because I needed to learn how to play excerpts for orchestral auditions, but also how to play in an orchestra once I (hopefully) got a job, and I thought it was important to study with a bass trombonist.

As I was deciding what school to transfer to Doug sent me a cassette of the BSO section’s presentation at a recent ITA conference. Watch Looking For Mr. Goodbar Online Free HD. His playing, and the section’s, just floored me: so clean, balanced, in tune, colorful, solid, clear, pure and energetic. Doug is genuinely gifted in being able to teach the excerpts in a logical, musically defensible manner, and we worked really hard that year. One of the greatest gifts he gave me was a simple one: the orchestral player is not prepared unless he knows the score, not just the piece or his part.