Directors
List activity
12 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
11 people
- Director
- Cinematographer
- Producer
Le Prince was a French artist and the inventor of an early motion picture camera born in Metz, France. His father was a major of artillery in the French Army and an officer of the Légion d'honneur. When growing up, he reportedly spent time in the studio of his father's friend, the pioneer of photography Louis Daguerre, from whom he may have received some lessons on photography and chemistry before he was 10 years old. His education went on to include the study of painting in Paris and post-graduate chemistry at Leipzig University. He then moved to Leeds, England in 1866, after being invited to join John Whitley, a friend from college, in Whitley Partners of Hunslet, a firm of brass founders making valves and components. In 1869, he married Elizabeth Whitley, John's sister and a talented artist, and the two of them started a school of applied art, the Leeds Technical School of Art, and became well renowned for their work in fixing coloured photographs on to metal and pottery. In 1881, Le Prince went to the United States with his family where he began experiments relating to the production of 'moving' photographs, designing a camera that utilised sixteen lenses, which was the first invention he patented. After his return to Leeds in May 1887, he built a single-lens camera in mid-late 1888 used to shoot his motion-picture films. It was first used on 14 October 1888 to shoot what would become known as Roundhay Garden Scene (1888) and Accordion Player (1888). He later used it to film Traffic Crossing Leeds Bridge (1888). In September 1890, he was preparing for a trip to the United States, supposedly to publicly premiere his work and join his wife and children. Before this journey, he decided to return to France to visit his brother in Dijon. Then, on 16 September, he took a train to Paris but, having taken a later train than planned, his friends missed him in Paris. He was never seen again by his family or friends. The last person to see Le Prince at the Dijon station was his brother. The French police, Scotland Yard and the family undertook exhaustive searches, but never found him. Le Prince was officially declared dead on 16 September 1897.- Director
- Cinematographer
- Producer
William Friese-Greene was a prolific English inventor and professional photographer born in Bristol, England. He studied at the Queen Elizabeth's Hospital school. In 1871, he was apprenticed to the Bristol photographer Marcus Guttenberg, but later successfully went to court to be freed early from the indentures of his seven-year apprenticeship. He married the Swiss, Helena Friese, on 24 March 1874 and, in a remarkable move for the era, decided to add her maiden name to his surname. In 1876, he set up his own studio in Bath and, by 1881, had expanded his business, having more studios in Bath, Bristol and Plymouth. In Bath he came into contact with John Arthur Roebuck Rudge, a scientific instrument maker, who built what he called the Biophantic Lantern, which could display seven photographic slides in rapid succession, producing the illusion of movement. Friese-Greene was fascinated by the machine and worked with Rudge on a variety of devices over the 1880s, various of which Rudge called the Biophantascope. Moving his base to London in 1885, Friese-Greene realised that glass plates would never be a practical medium for continuously capturing life as it happens. Hence he began experiments with the new Eastman paper roll film before turning his attention to experimenting with celluloid as a medium for motion picture cameras. In 1888, he had some form of moving picture camera constructed, the nature of which is not known. On 21 June 1889, he was issued patent no. 10131 for a motion-picture camera, in collaboration with a civil engineer, Mortimer Evans. It was apparently capable of taking up to ten photographs per second using paper and celluloid film. In 1890 he developed a camera with Frederick Varley to shoot stereoscopic moving images. This ran at a slower frame rate, and although the 3D arrangement worked, there are no records of projection. He worked on a series of moving picture cameras into 1891, but although many individuals recount seeing his projected images privately, he never gave a successful public projection of moving pictures. His experiments with motion pictures were to the detriment of his other business interests and in 1891 he was declared bankrupt. From 1904 he lived in Brighton and, in 1905, he patented a two-colour moving picture system using prisms. Eventually, the arrival of the war and personal poverty meant there was nothing more to be done with colour for some years. On 5 May 1921, Friese-Greene, then a largely forgotten figure, attended a stormy meeting of the cinema trade at the Connaught Rooms in London to discuss the current poor state of British film distribution. Disturbed by the tone of the proceedings, Friese-Greene got to his feet to speak. The chairman asked him to come forward onto the platform to be heard better, which he did, appealing for the two sides to come together. Shortly after returning to his seat, he collapsed. People went to his aid and took him outside, but he died almost immediately of heart failure.- Director
- Producer
- Cinematographer
Étienne-Jules Marey was a French scientist, physiologist, and chronophotagrapher. Marley started out by studying blood circulation in the human body. He then shifted to analyzing heart beats, respiration, muscles, and movement of the body. In 1869, Marey constructed a very delicate artificial insect to show how an insect flies and to demonstrate the figure-8 shape it produced during movement of its wings. Then he became fascinated by movements of air and started to study bigger flying animals, like birds. He adopted and further developed animated photography into a separate field of chronophotography in the 1880s. Marey's chronophotographic gun was made in 1882, this instrument was capable of taking 12 consecutive frames a second, with all the frames recorded on the same picture. Using these pictures he studied horses, birds, dogs, sheep, donkeys, elephants, fish, microscopic creatures, molluscs, insects, reptiles, etc. Some call it Marey's "animated zoo". Marey also conducted the famous study about cats always landing on their feet. He conducted very similar studies with a chicken and a dog and found that they could do almost the same. In 1890 he published a substantial volume entitled Le Vol des Oiseaux (The Flight of Birds), richly illustrated with photographs, drawings, and diagrams. He also created stunningly precise sculptures of various flying birds. Marey also made movies. They were at a high speed (60 images per second) and of excellent image quality. His research on how to capture and display moving images helped the emerging field of cinematography. Towards the end of his life he returned to studying the movement of quite abstract forms, like a falling ball. His last great work was the observation and photography of smoke trails. Also, in 1901 he was able to build a smoke machine with 58 smoke trails. It became one of the first aerodynamic wind tunnels. Marey died on May 15th, 1904.- Cinematographer
- Director
- Producer
Born in France to British parents, William Kennedy-Laurie Dickson stayed in that country until age 19, when he, his mother and sisters (their father had died sometime before) returned to Great Britain. Once there, Dickson--in an early indication of his lifelong fascination with science and mechanics--began a correspondence with Thomas A. Edison in the US, asking for employment, but was turned down. Eventually Dickson's family moved to the US, and several years afterward Dickson actually did land a job with Edison, and soon proved to be a trusted and valuable associate. He worked closely with Edison on the development of both the phonograph and, closer to Dickson's heart, the motion picture (it was Dickson who eventually decided that motion picture film should be 35mm wide; he also developed the emulsion process used in the film).
In 1889, while Edison was on a trip to Europe, Dickson set up a building in which to conduct his "photographic experiments", the forerunner of the first motion picture studio. In 1890 he and his chief mechanical assistant, Eugène Lauste, showed the results of their experiments, produced on a cylindrical system called the Kinetoscope: a short film called Monkeyshines, No. 1 (1890), featuring one of his assistants. Improvements on this system continued, and in 1891 patents were filed on an improved camera called the Kinetograph. Edison's plans to exhibit the new system at the Chicago World Exposition necessitated not only the production of many new machines but also films that could be shown on them, and the result was the building of a film studio at Edison's laboratory in West Orange, NJ, which was nicknamed "The Black Maria" because it was constructed of wood covered with tar-paper, resembling the police wagons of that era which were known by that nickname.
However, even with Dickson's perfecting of a new version of the Kinetograph camera, not enough films were completed to be shown at Edison's planned exhibition. Dickson, however, did manage to persuade many stage and vaudeville stars to appear in films shot at the West Orange studio, and in the following years the studio was a beehive of activity, with some of the biggest names of the era making short films there. However, friction between Dickson and an executive appointed to oversee Edison's businesses soon broke into open conflict, resulting in Dickson's angrily leaving Edison's employ in 1895. He then joined forces with two businessmen in the development of a way to exhibit films differently than Edison's peepshow-style Kinetoscope. The system eventually developed into what was called the Mutoscope, and the camera that was developed to take pictures for the Mutoscope was called the Biograph. This in turn developed into a filming and projection system that retained the Biograph name.
In 1896 Dickson and three partners began the American Mutoscope and Biograph Co. (often referred to as just "Biograph", and generally considered to be the first major American motion picture studio) to produce and distribute films. Dickson produced and directed many of Biograph's early films, but by the turn of the century he had taken over management of the company's European branch, headquartered in England. He died there in 1935.- Cinematographer
- Director
- Producer
William Heise was an engineer who was integral in the development of the kinetoscope for Thomas A. Edison, working with inventor William K.L. Dickson in the development of the device. He later became a cameraman, director and producer responsible for the creation of hundreds of short films. In 1890, Heise was employed as a machinist at Edison's West Orange, New Jersey laboratory, fabricating the first prototype of a film perforator. Though not a true motion picture projector, Edison's kinetoscope ran a strip of perforated film encased in a cabinet over a light source, which was viewed by a single individual through a viewing screen by means of a shutter in a "peep show" configuration. (Though soon surpassed by new technology, the kinetoscope would be used for peep shows for decades afterwards, though in the end, strictly as a novelty.) Under the direction of Dickson, Heise operated the kinetograph camera for making kinetoscope films from the very beginning of the movie-making process in 1890 and appeared in the 1892 short A Hand Shake (1892), which some cineastes call the first "modern" American motion picture. He became a cameraman in the famous Black Maria studio located at Edison's campus. Dickson left Edison in 1895, and Heise stayed on, making kinetoscope films and later films for the vitascope, a 35-mm film projector developed by Thomas Armat and C. Francis Jenkins that Edison bought the rights to in 1896. Film exhibition in a theater was now a reality. Heise was the cameraman for one of the most famous shorts of the first decade of cinema, The Kiss (1896) featuring Broadway stars May Irwin and John C. Rice. By mid-1896, a portable camera was fabricated that permitted Heise and other Edison cameramen to leave the Black Maria and shoot "actualities" on location in New York City and such locations as Niagara Falls. Heise often worked with director James H. White, another cinema pioneer of both the kinetoscope and the vitascope. White went off on a filming trip to the Orient in 1897-98 with another cameraman; in his 10-month-long absence, Heise produced, directed and shot numerous films. He quit Edison in October 1898, and his film-making career was through, except for one short documentary he made in 1903, Cock Fight, No. 2 (1903). He eventually returned to Edison, but was no longer associated with film-making.- Georges Demenÿ was inventor, chronophotgrapher, filmmaker and gymnast born at Douai, France. After studying at Douai and Lille, he reached Paris and enrolled in the physiology course of Étienne-Jules Marey, quickly becoming one of the scientist's closest associates. Together they established a programme of research which was to lead to the creation of the 'Station Physiologique', which opened in 1882 in the Bois de Boulogne. Demenÿ was Marey's assistant there, and the two researchers produced a considerable body of work, photographing human and animal movement using sequential photography (chronophotography). The 'film' career of Marey and Demenÿ really began in 1888 when Marey's camera recorded on a sensitive strip several series of images. From 1890 they were using celluloid film. On 3 March 1892, Demenÿ filed a patent for the Phonoscope, an apparatus for glass discs with a series of chronophotographic images on their circumference which could be projected using a powerful Molteni lantern. After the Phonoscope was successfully presented at the Exposition Internationale de Photographie de Paris (1892), Demenÿ dreamed of commercialising chronophotography, and pushed Marey to order the manufacture of six cameras intended for sale. Relations between them soured when Demenÿ formed, in December 1892, the Société de Phonoscope. Marey refused to co-operate in this enterprise, so Demenÿ devised his own camera, inventing the 'beater' mechanism - used in many later projectors - to move the film. In 1894 Demenÿ was dismissed from the Station Physiologique. He installed himself at Levallois-Perret, rue Chaptal, and made about a hundred very diverse Phonoscope scenes. On 22 August 1895 Demenÿ and sleeping partner Léon Gaumont signed their first contract, and in November the Phonoscope (renamed Bioscope) was offered for sale. Early in 1896, the Biographe camera using 60 mm unperforated film was also on offer. Projection by means of Phonoscope/Bioscope discs offered a very brief entertainment. The Biographe camera was already archaic in 1896, in contrast to those of Lumière or de Bedts, and Demenÿ's machines were a financial failure. However, Gaumont exploited Demenÿ's principle of the beater movement with great success, and Demenÿ entrused to him the financial battle of cinematography, returning to his first passion, gymnastics.
- Director
- Animation Department
- Producer
Émile Reynaud was a French inventor born in Montreuil, Paris to Brutus Reynaud, an engineer who moved to Paris from Le Puy-en-Velay in 1842, and Marie-Caroline Bellanger, a former schoolteacher who educated Émile at home and taught him drawing and painting techniques. By 1862 he started his own career as a photographer in Paris. When his father died, him and mother both left Paris for Le Puy-en-Velay. He was taught Latin, Greek, physics, chemistry, mechanics, and natural sciences by his uncle, a doctor in the area. After reading a series of 1876 articles about optical illusion devices, he created the praxinoscope (an animation device) out of a cookie box and patented it in 1877. He started production on the device in Paris and was a financial success. He perfected the praxinoscope and invented Théâtre Optique (Optical Theatre), an animated moving picture system, which is also notable for the first known use of film perforations, and patented it in 1888. Its first regular public screenings started on 28 October 1892 with his series of animated films called Pantomimes Lumineuses. In 1895 he created the photo-scénographe, a version of the théâtre optique that could take photographs, but it was overshadowed by the cinematograph of Auguste Lumière and Louis Lumière. Later, due to the success of other filmmakers the popularity of Reynaud's showings was reduced and they ended on 1 March 1900. He destroyed the théâtre optique during a fit of despair and years later he threw most of his films into the Siene. On 16 October 1902 he patented the stéréo-cinéma, a stereo camera that could take 3D film. He made several films with the camera, but was unable to find financial backing. During World War I he lived in hospitals and nursing homes before dying on 9 January 1918.- Producer
- Director
- Cinematographer
Louis Lumière was a French engineer and industrialist who played a key role in the development of photography and cinema. His parents were Antoine Lumière, a photographer and painter, and Jeanne Joséphine Costille Lumière, who were married in 1861 and moved to Besançon, setting up a small photographic portrait studio. Here were born Auguste Lumière, Louis and their daughter Jeanne. They moved to Lyon in 1870, where their two other daughters were born: Mélina and Francine. Auguste and Louis both attended La Martiniere, the largest technical school in Lyon. At age 17, Louis invented a new process for film development using a dry plate. This process was significantly successful for the family business, permitting the opening of a new factory with an eventual production of 15 million plates per year. In 1894, his father, Antoine Lumière, attended an exhibition of Edison's Kinetoscope in Paris. Upon his return to Lyon, he showed his sons a length of film he had received from one of Edison's concessionaires; he also told them they should try to develop a cheaper alternative to the peephole film-viewing device and its bulky camera counterpart, the Kinetograph. This inspired brothers Auguste and Louis to work on a way to project film onto a screen, where many people could view it at the same time. By early 1895 they invented a device which they called the Cinématographe, a three-in-one device that could record, develop, and project motion pictures, and patented it on 13 February 1895. Their screening of a single film, Leaving the Factory (1895), on 22 March 1895 for around 200 members of the Society for the Development of the National Industry in Paris was probably the first presentation of projected film. Their first commercial public screening at Salon Indien du Grand Café in Paris on 28 December 1895 for around 40 paying visitors and invited relations has traditionally been regarded as the birth of cinema. The cinematographe was an immediate hit, and its influence was colossal. Within just two years, the Lumière catalogue included well over a thousand films, all of them single-shot efforts running under a minute, and many photographed by cameramen sent to various exotic locations. The Lumière brothers saw film as a novelty and had withdrawn from the film business by 1905. The Lumière freres' cinematographer was not their only invention. Mainly Louis is also credited with the birth of color photograph, the Autochromes, using a single exposure trichromic basis (instead of a long three-step exposure): a glass plaque is varnished and embedded with potato starch tinted in the three basic colors (rouge-orange, green and violet-blue), vegetal coal dust to fill the interstices and a black-and-white photographic emulsion layer to capture light. They were the main and more successful procedure for obtaining color photographs from 1903 to 1935, when Kodachrome, then Agfacolor and other less fragile film based procedures took over. An Autochrome is positivated from the same plaque, so they are unique images with a soft toned palette. As the Institut Lumière describes them, they are a middle point between photography and painting (akin specially to pointillism technique), because of their pastel shades and easy but still static pose looks.- Cinematographer
- Director
- Producer
American-born English inventor and technician, a pioneer of early cinema design, photography, development, and patents. He was born to English parents in Richmond, Virginia, on July 23, 1854. His parents moved with young Birt to North Carolina and started a plantation there. However, the U.S. Civil War erupted and both parents died defending the plantation. Young Acres, orphaned at 10, went to live with his aunt in Virginia. She recognized his artistic and inventive talents and sent him to Paris to study at the Sorbonne Art Studios. He became enthralled with photography and began to study the science of cameras and the potential for moving pictures. Upon his return from France, he set out on a long journey through the American West. He worked as a lumberjack and studied and traded with Native American tribes. Eventually, his love of photography led him to move to England, where he opened a photography and painting studio in Ilfracombe, Devon. He applied himself to the study and development of photographic chemistry. He wrote scholarly articles on photography and chemical development and became rather well-known in the photographic community. He was invited to join the Royal Meteorological and Photographic Societies. In 1891, he was invited to take over the running of Elliott & Sons, the leading British maker of photographic plates and paper. He moved to London with his relatively new family. He was especially fond of nature photography and developed a slide projector which could crudely replicate, by shuffling rapidly through images, the motion of waves, clouds, and wind-blown trees, a precursor using the persistence of vision effect that would make motion pictures possible. In 1894, Acres met Robert W. Paul, who was interested in creating films that could be shown on Thomas A. Edison's new kinetoscope. Together they invented a camera that would make 35 mm films compatible with Edison's machine. Acres used it to create the first film to be shot in England, Clovelly Cottage, Barnet (1895) or "lncident in Clovelly Cottage," filmed at Acres's home. Acres and Paul began making films of various sporting events as well as human interest and comedy pieces. But the two men were incompatible partners and split up angrily in 1895. Each went his own way, and they became competitors in the business of projector manufacture and sales. Acres in January, 1896, presented the first public projection of motion picture film in Britain with screenings at the Lyonsdown Photographic Club and the Royal Photographic Society. He presented his films at a Royal Command Performance at Marlborough House that summer and was invited to photograph the Prince and Princess of Wales at the Cardiff Exhibition. With a prescient concept of a home-movie market, he invented a 17.5 mm camera called the Birtac that used half the normal amount of film and was small enough to be used by non-professional individuals. His original projector, the Kineopticon, or Kinetic Lantern, he continued to develop and improve. He founded a company, The Northern Photographic Works (later Whetstone Photographic Works), in London. He continued to invent and develop products for motion picture photography, but was reluctant to take part in the increasing entertainment market for films. Thus his business began to suffer, since he preferred to promote (and lecture about) scientific and nature-oriented cinema. He was twice bankrupted and by 1900 had abandoned the film business. He died from peritonitis following appendicitis on December 27, 1918, at 64, survived by his wife of 27 years, Annie, and their two children. He is buried in Walthamstow Cemetery in Greater London.- Director
- Producer
- Cinematographer
Max Skladanowsky was a German inventor and early filmmaker. Born as the fourth child of glazier Carl Theodor Skladanowsky and Luise Auguste Ernestine Skladanowsky, he was apprenticed as a photographer and glass painter, which led to an interest in magic lanterns. In 1879, he began to tour Germany and Central Europe with his father Carl and elder brother Emil Skladanowsky, giving dissolving magic lantern shows. While Emil mostly took care of promotion, Max was mostly involved with the technology, and on 20 August 1892 he constructed their first film camera, but this more likely happened in the summer or autumn of 1894. He also single-handedly constructed the Bioskop projector, with which after shooting several short films the brothers would provide motion picture shows. Between the years 1895 and 1905, the brothers directed at least 25 to 30 short movies.- Director
- Producer
Alfred Clark was a pioneering film director who was mostly known for directing several films for the Edison Manufacturing Company. Originally, Edison had begun his film company with making shorts of vaudeville acts; but Clark, who joined the company in 1895, was the first to introduce Edison to new ideas. His The Execution of Mary, Queen of Scots (1895), using the world's first film edit, is a basic example of his work. Clark also introduced Edison to films using trained actors and actual plots.
Educated at the Franklin School in Washington and the City College of New York, Clark took an early interest in electricity and joined the North American Phonograph Company at the age of sixteen. However, he was forced to leave the company in 1894 after it collapsed, and in search of a new job, began making short films with the Edison Manufacturing Company in Edison's Black Maria studio, using Edison's film camera, the Kinetograph, in 1895.
A year later, Clark quit the company and instead began work with Edison's Phonograph Company. He also worked at the Cooper Institute, with Emile Berliner and Eldridge Johnson, on a new device for recording sound, the Gramophone. The Gramophone was a success, and Clark traveled to France, founding the Compagnie de Gramophone Francaise. Then, in 1904, Clark sold his French holdings. In 1907, he helped establish the Musée de la Voix. A year later he moved to Britain and became the managing director of the Gramophone Company in Hayes. After the first World War, he developed companionship with Eldridge Johnson's Victor Talking Machine Company, which was merged with the Columbia Graphophone Company in 1931, which then formed the EMI. Clark was the chairman and at times the managing director while working with the company, and retired in 1946.
He then died for years later, in 1950.