Directors w/ Lots of Films
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Wolfgang Liebeneiner was a German-Austrian film director, stage and film actor. He was born as Wolfgang Georg Louis Liebeneiner in Liebau, Lower Silesia, Kingdom of Prussia, German Empire (now Lubawka, Poland). His father was in the textile business. Wolfgang was sent to the cadet schools in Wahlstatt (now Legnickie Pole) and Berlin-Lichterfelde, and went for further schooling to Berlin-Zehlendorf. After graduating, he studied philosophy, German studies and international history in Innsbruck (Austria), Berlin and Munich. He became a professor of the Economy Spielschar. From 1930 till 1934 he played at the capital's "Deutsches Theater". In 1935 he married actress Ruth Hellberg, but the marriage went on the rocks. From 1936 till 1944 he was a member of the "Preußisches Staatstheater" in Berlin. From 1938 to 1943 he was an art director at the Film Academy in Babelsberg (now district of Potsdam). In 1942 to 1945 he was leader of the UFA Studio. He usually played young lovers in about 20 films. He also had bit parts in films that he directed. Afterwards he also worked for TV films and series.
In 1944 he married Yugoslavian actress Hilde Krahl, whom he met during the filming of Yvette (1938). They have had two daughters, of which Johanna also became an actress. Wolfgang Liebeneiner died in Mödling near Vienna, Austria.- Director
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Franz Antel was born on 28 June 1913 in Vienna, Austria-Hungary [now Austria]. He was a director and writer, known for Der Bockerer 2 (1996), Der Bockerer (1981) and Solang' die Sterne glüh'n (1958). He was married to Sibylla Antel, Sibylla Thin, Elisabeth Freifrau von Ettingshausen, Hannelore Bollmann and Hilde Louise Wittke. He died on 11 August 2007 in Vienna, Austria.- Director
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Georg Jacoby was an actor, film and theatre director. He started to play on stage in 1915 and in cinema in WWI propaganda films. After 1919, he was only a film director. In 1922, he made So sind die Männer (1923) ("The Little Napoleon"), in which Marlene Dietrich had a bit part. His first wife was Edith Meller, but in 1940, he met Marika Rökk. They got married and had one child in 1944, Gaby Jacoby, who also became an actress and singer. He made his best films with Marika during the 30s and 40s.- Director
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Michael Kehlmann was born on 21 September 1927 in Vienna, Austria. He was a director and writer, known for Kurzer Prozeß (1967), Telerop 2009 - Es ist noch was zu retten (1974) and Die Brücke des Schicksals (1960). He died on 1 December 2005 in Vienna, Austria.- Director
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Géza von Bolváry was born on 26 December 1897 in Budapest, Austria-Hungary [now Hungary]. He was a director and actor, known for Opernball (1939), Frühjahrsparade (1934) and Zwischen Strom und Steppe (1939). He was married to Helene von Bolvary. He died on 10 August 1961 in Rosenheim, Bavaria, West Germany.- Director
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Hans Deppe was born on 12 November 1897 in Berlin, Germany. He was a director and actor, known for Der Pfarrer von Kirchfeld (1955), Solange noch die Rosen blüh'n (1956) and Narren im Schnee (1938). He died on 23 September 1969 in West Berlin, West Germany.- Director
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Karel Lamac was born on 27 January 1897 in Prague, Bohemia, Austria-Hungary. He was a director and actor, known for Wo die Lerche singt (1936), Svejk na fronte (1926) and Eine Freundin so goldig wie Du (1930). He was married to Anny Ondra. He died on 2 August 1952 in Hamburg, Germany.- Director
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He attended the Royal Dramatic Theatre's acting school 1907-1909 and went on to become an actor at the same theatre 1913-1926. His first work for the movies was the script to Wanted - A Film Actress (1917) and the follow-up Thomas Graals bästa barn (1918). He made his directing debut with Bodakungen (1920). During the 1920s he made his first movies based on the Selma Lagerlöf novels. During the following years, his movies became very distinguished and recognizable: often sophisticated comedies in an upper-class environment with a touch of money and aristocracy: Swedenhielms (1935), 0028151 or Sara Learns Manners (1937). During the WWII he is involved in movies about the political situation at the time: Rid i natt! (1942) or 0035801. During these years, he also made his masterpiece, Ordet (1943). He was more or less forced to leave the production company Svensk Filmindustri (SF), whom he had been faithful during his career, in the late 1950s, when they wanted to get rid of everything old and tried.- Director
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Tom Toelle was born on 19 May 1931 in Berlin, Germany. He was a director and writer, known for Das Millionenspiel (1970), Tatort (1970) and Die Trennung (1967). He was married to Ulli Philipp. He died on 25 March 2006 in Munich, Bavaria, Germany.- Director
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Alfredo B. Crevenna was born on 22 April 1914 in Frankfurt, Germany. He was a director and writer, known for Orquídeas para mi esposa (1954), Una mujer en la calle (1955) and Mi esposa y la otra (1952). He was married to Ana María Salinas. He died on 29 August 1996 in Mexico, Distrito Federal, Mexico.- Director
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Kim Chun was born in 1926 in Xinhui, Guangdong, China. He was a director and writer, known for Da ma xi tuan (1964), En yuan qing tian (1963) and He ri jun zai lai (1966). He was married to Jeanette Lin Tsui. He died on 15 June 1969 in Hong Kong, China.- Director
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Sun-Fung Lee was born on 10 April 1909 in Guangdong, China. He was a director and writer, known for Chun (1953), Ruan shi san xiong (1941) and Da di (1954). He died on 21 May 1985.- Director
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Tit Lee was born on 3 January 1913 in Guangdong, China. He was a director and actor, known for Liang Zhu hen shi (1958), Dadao Wang Wu Yuxue Jinchou Ji (1951) and The Legend of the Purple Hairpin (1977). He died on 27 September 1996 in Hong Kong.- Director
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Wui Ng was born on 3 December 1913 in Guangzhou, China. He was a director and actor, known for Thunderstorm (1957), Shen gong (1968) and Bao lian deng (1956). He died on 1 March 1996 in Hong Kong.- Director
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- Editorial Department
Edward Dmytryk grew up in San Francisco, the son of Ukrainian immigrants. After his mother died when he was 6, his strict disciplinarian father beat the boy frequently, and the child began running away while in his early teens. Eventually, juvenile authorities allowed him to live alone at the age of 15 and helped him find part-time work as a film studio messenger. Dmytryk was an outstanding student in physics and mathematics and gained a scholarship to the California Institute of Technology. However, he dropped out after one year to return to movies, eventually working his way up from film editor to director. By the late 1940s, he was considered one of Hollywood's rising young directing talents, but his career was interrupted by the activities of the House Un-American Activities Committee (HUAC), a congressional committee that employed ruthless tactics aimed at rooting out and destroying what it saw as Communist influence in Hollywood. A lifelong political leftist who had been a Communist Party member briefly during World War II, Dmytryk was one of the so-called "Hollywood Ten" who refused to cooperate with HUAC and had their careers disrupted or ruined as a result. The committee threw him in prison for refusing to cooperate, and after having spent several months behind bars, Dmytryk decided to cooperate after all, and testified again before the committee, this time giving the names of people he said were Communists. He claimed to believe he had done the right thing, but many in the Hollywood community--even those who came along long after the committee was finally disbanded--never forgave him, and that action overshadowed his career the rest of his life. In the 1970s, as his directing career ground to a halt, Dmytryk recalled some advice once given him by Garson Kanin, and returned to academic life, this time as a teacher. From 1976 to 1981 he was a professor of film theory and production at the University of Texas at Austin, and in 1981, was appointed to a chair in filmmaking at the University of Southern California, a position he held until about two years before his death. During his teaching career, he also authored several books on various aspects of filmmaking, as well as two volumes of memoirs.- Director
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Born in Changsong, Cheollanam-do, 2 May 1936. He grew up in the southern city Kwangju, where he completed senior high school. His family suffered considerable hardships and losses in the Korean War, so he had to move to Pusan in search of work: he was a labourer before trying to start a business recycling US Army boots into shoes. He moved to Seoul in 1956, where a film director Chung Chang-Hwa offered him work as a production assistant in exchange for room and board. Five years later Chung recommended him as a director, and he completed his first feature in 1962. He was a prolific director of films in various popular genres until the late 1970s but felt a deepening urge to make more serious films that first found in outlet in his 1978 film, Genealogy (1979) (Genealogy). Since 1981's Mandala (1981), he has been considered Korea's leading director. He and his films have won every possible prize in Korea's three annual film awards ceremonies, and a growing number of international festival prizes too. His film Sopyonje (1993) (is the most honoured Korean film ever made, with (to date) 27 domestic and three international prizes; it was also an enormous success in the Korean market.- Director
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Kim Soo-yong was born on 23 September 1929 in Anseong, Korea. He was a director and actor, known for Mist (1967), Seashore Village (1965) and Burning Mountain (1967). He died on 3 December 2023 in Seoul, South Korea.- Director
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Young Nam Ko is known for Salangui noye (1982), Dulchulgi nunmulsoge (1971) and Myeongdong 44 beonji (1965).- Director
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Masahiro Makino was born on 29 February 1908 in Kyoto, Japan. He was a director and actor, known for Samurai Town Story Part I (1928), Beheading Place (1929) and Street of Ronin (1957). He was married to Yukiko Todoroki. He died on 29 October 1993.- Director
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The pioneering Kôji Wakamatsu (born Ito Takashi) was a contemporary of Oshima Nagisa and equally controversial, yet not as famous. The man was born in Miyagi Prefecture in the north of Japan before dropping out of agricultural school, some say following a physical altercation, moving to Tokyo at age seventeen, joining the yakuza and landing in prison for a year as a consequence. While with the yakuza he would work for the mob collecting payments on film sets among other thuggery. Upon release and following odd jobs he became an assistant to a film director and eventually make his own pink film erotic feature called Sweet Trap in 1963. Twenty or so films, including several acclaimed ones for Nikkatsu Studio, later he created his own Wakamatsu production where he and crew would push back against norms by shooting softcore pink features, violent movies, left-wing resistance cuts and even internationally bent movies on topics like the oppression of the Palestinian nation and the Japanese underground. His efforts would take him to events like the Berlin Film Festival - occasionally to the annoyance of the official motion picture association of Japan - and have him work with other avant-garde directors like the aforementioned Oshima. He would also be blacklisted by foreign governments like the United States, which imposed a travel ban on him. Both he and the mainstream moved closer to one another eventually and before his death in a car accident where he was hit by a taxi in 2012 several of his films had garnered mainstream interest and miscellaneous Japanese and foreign awards. At the time of his death he was returning from a meeting regarding his latest project, which concerned Japan's nuclear industry lobby and the Tokyo-based TEPCO company. The topical subject matter followed on the heels of the Fukushima nuclear disaster.- Director
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Nejat Saydam was born in 1929 in Istanbul, Turkey. He was a director and writer, known for Dinmeyen Sizi (1972), Ask Hikayesi (1971) and Mahpus (1973). He died on 25 October 2000 in Istanbul, Turkey.- Director
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- Second Unit Director or Assistant Director
Camillo Mastrocinque was born on 11 May 1901 in Rome, Lazio, Italy. He was a director and writer, known for I mariti (Tempesta d'anime) (1941), Don Pasquale (1940) and Lost in the Dark (1947). He died on 23 April 1969 in Rome, Lazio, Italy.- Producer
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Jeffrey Schwarz is an Emmy Award-winning producer, director and editor based in Los Angeles. His latest feature documentary is "Commitment to Life," which chronicles the city of Los Angeles' response to the HIV/AIDS crisis. It premiered at the Santa Barbara International Film Festival and is currently streaming on NBCUniversal's Peacock. Previous work includes "Boulevard! A Hollywood Story," "The Fabulous Allan Carr," "Tab Hunter Confidential," "I Am Divine," "Wrangler: Anatomy of an Icon," "Spine Tingler! The William Castle Story," and the Emmy Award-winning HBO Documentary Films' "Vito."- Director
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Franz Peter Wirth was born on 22 September 1919 in Munich, Germany. He was a director and writer, known for Arms and the Man (1958), Ein Stück Himmel (1982) and Al Capone im deutschen Wald (1969). He died on 17 October 1999 in Berg, Bavaria, Germany.- Writer
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Luis César Amadori was born on 28 May 1903 in Pescara, Abruzzo, Italy. He was a writer and director, known for Honeysuckle (1938), La pasión desnuda (1953) and Almafuerte (1949). He was married to Zully Moreno. He died on 5 June 1977 in Buenos Aires, Argentina.- Producer
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Wong Jing is one of Hong Kong's most prolific, talented and controversial filmmakers. His directorial style, at best, manages to combine commercial appeal and artistic aspects. Most of his films were among the biggest box office hits, partly due to possessing an amazing sense of what would play well. Some of his films have achieved groundbreaking success, artistically as well as financially.
His films are so popular that in the mid to late '90s, Wong's movies accounted for as much as thirty percent of the total box office take in Hong Kong. Genre-wise, he's done comedy, drama, romance, action (including martial arts) and even erotica. He often combines genres. His screen-writing portfolio is impressive as there is so much scope in terms of plot, historical setting and quality.
Even his credentials in the action movie genre are accomplished from films set in period China to a futuristic setting, whether it be a Chinese equivalent to Lord of the Rings, a Sci-Fi adventure that manages to be an adaptation of the famous computer game Street Fighter or a scathing satire on action films that also manages to pay tribute to films such as Reservoir Dogs, Invasion U.S.A. and Raw Deal.
Ironically, regardless of his impressive list of credentials, there came a time when the one genre Wong Jing was most famous for (in the eyes of Western fans of Hong Kong cinema) was the erotic thriller. It became commonly associated with him due to him being the producer and screenwriter for Naked Killer - an exploitation film well known for combining scenes of action, dark humor, shocking violence and lesbianism.
His true niche, however, can be found in the gambling genre (his favorite genre). He has, quite frankly created some of the best gambling scenes ever depicted on celluloid. His highest-grossing film in Hong Kong theaters was a gambling-themed genre-mixer (God of Gamblers Returns) starring Chow Yun-Fat (of Crouching Tiger, Hidden Dragon fame).
Also known as The Return of the God of Gamblers, the film is still one of Hong Kong's top ten highest-grossing films. It had even made a lot more money than Jackie Chan's Drunken Master 2 (which was released in the same year - 1994). This is saying a lot since Drunken Master 2 is constantly referred to as Jackie's best film (the quality of the fight scenes have rarely been rivaled). It had people cheering and giving standing ovations in cinemas throughout Asia which led many to suggest that Drunken Master 2 is the pinnacle of his decorated and illustrious career. However, that didn't stop Jing from delivering a larger crowd-please.
His directorial debut was a gambling film. A multi-layered caper set in the early part of the twentieth century, Challenge of the Gamesters is a prequel to the popular Hong Kong TV mini-series The Shell Game (which Wong himself wrote, with his father Wong Tin-Lam handling the directing duties).
Which brings us to Wong Jing's roots, he got his start in the entertainment industry early, since his father Wong Tin-Lam was a TV drama director and a renowned film director from the 1950s. It seemed inevitable that Jing would follow in his father's footsteps, but first Wong attended the Chinese University of Hong Kong, majoring in Chinese Literature.
He was becoming disenchanted with university and was more interested in media art so he asked his father for permission to study film in England but his father said "just observe and you will learn the craft" and that is what he proceeded to do so he became a screenwriter by writing scripts for TV. In fact, he skipped class a lot to the extent that some of his professors said that they never saw him at all during the four years it took to earn his degree.
He later said that the degree was worthless to him. Jing believed that he learned more about making movies and (perhaps more importantly) making money by cutting classes and hanging around studios, where he would get work as a director's assistant (basically a glorified errand boy) and writing scripts for his father's shows.
As a devout fan of classical Cantonese cinema, Jing impressed many of the old-timers around the studios with his knowledge of movie trivia. Combined with his high work ethic and the ability to change scripts on the fly (a necessary skill in the fast-paced world of Hong Kong's entertainment industry), Wong had found his niche.
By 1978, he made his entrance into the world of movies with his script Cunning Tendency before directing Challenge of the Gamesters in 1981. Both films were made for the Shaw Brothers film studio and were big hits but it wasn't until the late '80s where he began to show his commercial genius with Casino Raiders, which was a smash hit that actually began the gambling craze (that Wong was to capitalize on with the extremely popular God of Gamblers films).
The one thing that Jing likes about making this genre of film is being able to direct the gambling duels at the end. Besides possessing a genuine interest in gambling, his main motivation for making gambling movies was because Wong saw there was a large audience for gambling films. This revelation was found after working on two films with his father: King of Gamblers (1980) and Return of King of Gamblers (1981).
Wong Jing is also a highly influential filmmaker. Hong Kong's most popular film star - Stephen Chow - had become what he is today due to Wong. He had starred in a film, which was a parody/cash-in of God of Gamblers entitled All for the Winner, which became the highest-grossing film in Hong Kong and made Stephen a huge star in the process (virtually overnight).
Wong went out of his way to not only adapt this new star in his own franchise but to add more comedy to the proceedings. This resulted in making an even more groundbreaking success with God of Gamblers II (which was also a sequel to All for the Winner).
Chow's collaborations with Wong, which included yet another God of Gamblers movie had confirmed the basic template for Chow's films - a slightly dimwitted but talented man gets thrown into strange circumstances, where he ultimately finds redemption (and resolution) through love.
In regards to Jing's influence, there came a point when nearly one third of the films coming out of Hong Kong yearly had Wong's touch on them in some way, either as a screenwriter, producer, director or actor. The script that Wong Jing helped to write for the early '80s traditional Kung Fu film Dreadnaught had proved to be the inspiration for one scene in the Hollywood blockbuster Batman Forever, which had Chris O'Donnell doing laundry chores with the aid of his martial arts skills.
Wong Jing's New Legend of Shaolin had proved to be one of the main influences for Ang Lee's Crouching Tiger, Hidden Dragon via the use of a female duo of thieves dressed in black (one of whom is much older and proves to be an expert in poison darts) who try to steal a valuable object before confronting someone who's trying to stop them.
Like many famous directors; Wong Jing has trademarks. Besides making a slew of films referencing or based on computer games, he likes using creative POV shots.
Sometimes, Jing likes to trick the audience into thinking the film is over when it's not as a way of making things less predictable e.g. the endings of two of his films (i.e. City Hunter and Return to a Better Tomorrow) feature shots where the camera is being pulled further into the distance away from the action into an aerial shot (a shot which is accomplished either a crane or a helicopter) before concluding with an additional scene.
Another Wong Jing trademark (or Jingism) is the vertigo shot (a shot that is accomplished by zooming the lens forward whilst physically moving the camera backwards). The way he uses it is either during a revelation of a plot point or a startled reaction from one of the main characters. He has used this shot in The Romancing Star, The Big Score, The Last Blood, Royal Tramp, City Hunter, God of Gamblers 3: Back to Shanghai, Kung Fu Cult Master, Return to a Better Tomorrow, God of Gamblers Returns and High Risk.
Like Quentin Tarantino and Kevin Smith, Jing's films have plenty of pop culture references from a subtle reference to The Beatles (in City Hunter) to a blatant take on The Six Million Dollar Man.
Another Jingism is to lampoon (as opposed to just referencing) other Chinese filmmakers such as Tsui Hark, John Woo and Wong Kar Wai. Jing's Last Hero in China is a parody of Hark's Once Upon a Time in China film series (which dealt with the nineteenth century Chinese hero, Wong Fei-Hung). Woo has been well known for making action films that deal with male bonding, so Jing had lampooned John Woo's macho male bonding in Boys are Easy with a scene that parodies Woo's A Better Tomorrow. Arthouse favorite Wong Kar Wai is mocked in Jing's Those Were the Days via a character called Wong Jing Wai.
Unlike his fellow contemporaries, Jing chooses not to make films in Hollywood as he feels that most other American films directed by Hong Kong directors fail to live up to standards (considering the amount of money and time invested). Hence why he allegedly rejected Tom Cruise's offer to direct Mission: Impossible II. Coincidentally, Jing referenced Tom in The Big Score. Additionally, God of Gamblers has been described as a Chinese take on Rain Man. Also, Jing feels that he won't gain the same amount of control as he would in his Hong Kong productions.
Perhaps that is the key to Wong's continued success - while many directors craft overly 'arty' films or overly 'commercial' movies, Wong Jing's films hit a nice middle ground. Yes, there is a good deal of bloodshed and talk of sexual-related things such as bodily functions, but the films themselves are technically sound and well-written. It is quite a testament to Wong's talent that his first film, made over 20 years ago, can stand up to (and surpass) much of today's output. Those wanting to get a bit of a H.K. film industry lesson, while having fun doing it, would be well-advised to check out Challenge of the Gamesters.- Actor
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Lancelot Oduwa Imasuen was born on 21 July 1971 in Benin City, Nigeria. He is an actor and director, known for ABCs of Death 2 (2014), Adesuwa (2012) and ATM (2016).- Director
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Enrique Carreras was born on 6 January 1925 in Lima, Peru. He was a director and writer, known for Los evadidos (1964), La valija (1971) and Las locas (1977). He was married to Mercedes Carreras. He died on 29 August 1995 in Buenos Aires, Argentina.- Director
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Mike Newell was born on 28 March 1942 in St. Albans, Hertfordshire, England, UK. He is a director and producer, known for Four Weddings and a Funeral (1994), Harry Potter and the Goblet of Fire (2005) and Donnie Brasco (1997). He is married to Bernice Stegers. They have three children.- Director
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Franz Josef Gottlieb was born on 1 November 1930 in Semmering, Lower Austria, Austria. He was a director and writer, known for The Black Abbot (1963), Mister Dynamit - Morgen küßt euch der Tod (1967) and Mrs. Harris (1982). He was married to Elisabeth Krogh and Doris Kirchner. He died on 23 July 2006 in Verden an der Aller, Germany.- Director
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After starting at Toho in 1942, Matsubayashi's career, like that of so many others, was stalled by the Second World War. After serving in the Imperial Navy, to which he was fiercely loyal, Matsubayashi returned to the industry via the Shintoho studio in 1946. Shintoho gave him his first directorial job, Tokyo Dimples, in 1952. After returning to Toho in 1955, Matsubayashi specialized in salaryman comedies such as the Shacho (Boss) series. He directed more of that series (23 entries) than any other filmmaker. Due to Matsubayashi's wartime patriotism, greater than that of many of his contemporaries, Toho often entrusted him with their big-budget, special effects-laden war pictures from the 1960s up through the early 1980s. His best known movie outside Japan is probably Sekai Daisenso (aka The Last War, 1961).- Director
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Inagaki's career in film began as an actor--a child actor, in fact, appearing in numerous silent films beginning at the very dawn of Japanese cinema. This is probably why he was promoted to director at the unusually (for Japan) young age of 22. Along with producer Mansaku Itami (later the father of another acclaimed director, Juzo Itami), Inagaki concerned himself with the genre of Japanese period films. He also wrote (under a pseudonym) similar films for the short-lived director Sadao Yamanaka. The work of Inagaki, Itami and Yamanaka, singly and together, directly influenced the likes of Kenji Mizoguchi later, and helped define the very genre of the period film. Inagaki would direct dozens of them over his career, including two versions of Chushingura, and the Oscar winner for Best Foreign Film Samurai (1954, released in Japan as Miyamoto Musashi). For all his success, Inagaki grew more and more frustrated with his assignments over the years. Although proud of his final effort, Furin Kazan (Samurai Banners, 1969), he was unable to find financing in the increasingly conservative atmosphere of 1970s Japan. Once he had been at the top of his profession, second at Toho only to Akira Kurosawa; now, like Kurosawa, he was being cast aside as an old man whose time had passed, and whose kind of movie was now too expensive to produce. In his despair, Inagaki turned to alcohol, which helped contribute to his lonely and painful death. Of all the dozens of films he made, he often said, only a handful had he actually wanted to make: the Samurai trilogy (1954-6) and Furin Kazan. Whatever his opinion, much of his other work remains estimable, including Nippon Tanjo (1959) and Muhomatsu no Issho (The Life of Matsu the Untamed, 1958).- Director
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Chano Urueta was born on 24 February 1905 in Mexico City, Distrito Federal, Mexico. He was a director and writer, known for The Wild Bunch (1969), La bestia magnífica (1952) and El ratón (1957). He was married to Gloria Calero Sierra and Edelmira Orta Rodríguez. He died on 23 March 1979 in Mexico City, Distrito Federal, Mexico.- Director
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René Cardona Jr. was born on 11 May 1939 in Mexico City, Distrito Federal, Mexico. He was a director and writer, known for Under Siege (1980), Treasure of the Amazon (1985) and Tintorera: Killer Shark (1977). He died on 5 February 2003 in Mexico City, Distrito Federal, Mexico.- Director
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Ramón Peón was born on 5 June 1887 in Havana, Cuba. He was a director and writer, known for Ella (1946), La virgen de la Caridad (1930) and Beyond Death (1935). He died on 2 February 1971 in San Juan, Puerto Rico.- Director
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Born in Chiba in 1934, Nakajima joined Toei in 1959, and was promoted to director there in 1964. He has never directed outside the studio since, and has been well regarded there as one of Toei's most prolific and dependable hitmakers. In the 1960s, Nakajima concentrated on samurai films, but found his true metier in the 1970s with the explosion of second-generation yakuza movies. These so-called jitsuroku (true record) stories were far more violent than their yakuza movie counterparts of the 1950s and 60s, and none more so than Nakajima's. Rape, torture, gunplay, nothing was off-limits in a typical Nakajima scenario, such as the fitful, hysterically violent Bakamasa Horamasa Toppamasa (1976) and the amazingly raw and passionate Riot at Shimane Prison (Bodo Shimane Keimusho, 1975), which actually caused a controversy in Japan for its realistic portrayal of prison brutality. The violence in Nakajima's work is often accompanied by a deep-running sentimentalism: he is considered by Japanese critics to be a "wet" director, as compared to the "dry", cynical style of fellow Toei yakuza-helmer Kinji Fukasaku. Exemplary among his pictures which balance sudden explosions of violence with moments of startling sentimentality is his 1979 hit Sochiyo no Kubi, a lengthy meditation on the end of an era (the yakuza immediately before Japan's war in China broke out and escalated into World War II). As his career moved on, Nakajima's work grew increasingly more elegiac: his 1985 movie Seburi's Story was selected by the Berlin Film Festival, and several of his more recent films have examined the plights of women among the yakuza, a theme usually ignored in his hypermacho work in the 1970s. Despite the often sordid nature of his pictures, Nakajima has managed to work with much of the top acting and technical talent in Japan, and has garnered much of the best work of their respective careers from Toei's top stars Hiroki Matsukata and Tsunehiko Watase.- Director
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Kajirô Yamamoto was born on 15 March 1902 in Tokyo, Japan. He was a director and writer, known for The War at Sea from Hawaii to Malay (1942), Tôkyô no kyûjitsu (1958) and Haru no kyôen (1947). He died on 28 September 1974 in Japan.- Director
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Umetsugu Inoue was a director of over a hundred films in a wide variety of genres; working with all six major Japanese film production companies over his 35 year career. He was first noticed early on at Nikkatsu Studios for establishing a new genre of high action musical films, charged with the impulsive energy of the young Jazz culture of 1950s Japan. Just after the war, these 'Nikkatsu Action' films created by Inoue, catapulted Yujiro Ishihara into becoming the most popular singing film star in Japan. As a scriptwriter, Inoue wrote 101 screenplays and the original story for five films.- Director
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Former female impersonator who entered films in 1917 as an actor, turned to directing in 1922 and made some of the most formally brilliant Japanese films of the following decades. The few of Kinugasa's early works to have reached the West betray a highly mature, sophisticated talent. His best-known silent films are _Kurutta Ippeji (1926)_, an old print of which was found by Kinugasa in his attic and re-released in the 1970s, and Crossroads (1928), the first Japanese film to be commercially released in Europe. Both have been hailed for their inventive camera work, which has been compared to that of the celebrated German expressionist films being made during the same period. (It was not until 1929 that Kinugasa himself traveled abroad and encountered European directors and their films.) In the 1950s and 60s Kinugasa made a number of period dramas noted for their sumptuous color and imaginative use of the wide screen; Gate of Hell (1953) was named best film at the 1954 Cannes Film Festival and won an Oscar for best foreign film.- Director
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Born in Japan in 1930, Shogoro Nishimura joined Nikkatsu Studios in 1954, and was first promoted to director in 1963 with the well-received Keirinshô ningyô jôki. He spent the rest of that decade directing Nikkatsu programmers of varying quality. With the 1970s came the studio's shift to making exclusively soft-core "Roman porno" films (usually more story-driven and elaborate than their Western counterparts). Rather than look for work elsewhere, Nishimura found this to be a genre which agreed with him: by the time of his retirement, he had completed fully 83 films in that.- Writer
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Daisuke Itô was born on 13 October 1898 in Tokyo, Japan. He was a writer and director, known for Zoku ôoka seidan mazohe daiichi (1930), The Conspirator (1961) and Chuji Tabinikki Daisanbu Goyohen (1927). He died on 19 July 1981 in Japan.- Director
- Second Unit Director or Assistant Director
Kazuo Mori was born on 15 January 1911 in Matsuyama, Japan. He was a director and assistant director, known for Suzakumon (1957), Vendetta of a Samurai (1952) and Nichiro senso shori no hishi: Tekichu odan sanbyaku-ri (1957). He died on 29 June 1989.- Director
- Writer
- Actor
León Klimovsky was born on 16 October 1906 in Buenos Aires, Argentina. He was a director and writer, known for La paz empieza nunca (1960), La pícara molinera (1955) and Salto a la gloria (1959). He was married to Inés de Tolosa. He died on 8 April 1996 in Madrid, Spain.- Director
- Writer
- Cinematographer
He spent some time in Guadalajara and Penjamo during the Mexican revolution. He established two photographic studios in Mexico City, one in Hollywood and one in Paris. He returned to Mexico in 1934 and debuted as a cinematographer in Good-Bye Nicanor (1937) and as a director with The Mayor (1939).
He has directed more than 140 films and has written approximately half that number. He has received a variety of awards, among them the "Festival of the Three Continents" in Nantes, France; an award given at this festival for new directors bears his name (Prix Gilberto Martinez Solares).- Writer
- Director
- Producer
Tulio Demicheli was born on 15 August 1914 in Buenos Aires, Argentina. He was a writer and director, known for La herida luminosa (1956), Celos (1947) and God Bless You (1948). He died on 25 May 1992 in Madrid, Spain.- Director
- Writer
- Second Unit Director or Assistant Director
Pedro Lazaga was born on 3 October 1918 in Valls, Tarragona, Catalonia, Spain. He was a director and writer, known for La patrulla (1954), María Morena (1952) and Los chicos del Preu (1967). He died on 30 November 1979 in Madrid, Madrid, Spain.- Director
- Writer
- Actress
Alice O'Fredericks was born on 8 September 1900 in Gothenburg, Västra Götalands län, Sweden. She was a director and writer, known for Week-end (1935), Blaavand melder Storm (1938) and De tre måske fire (1939). She was married to Oskar Klintholm. She died on 18 February 1968 in Hellerup, Denmark.- Director
- Actor
- Writer
Lau Lauritzen was born on 26 June 1910 in Vejle, Denmark. He was a director and actor, known for Dangerous Youth (1953), The Face of Truth (1951) and Café Paradis (1950). He was married to Lisbeth Movin. He died on 12 May 1977 in Denmark.- Director
- Writer
- Actor
Martin Fric was born on 29 March 1902 in Prague, Bohemia, Austria-Hungary [now Czech Republic]. He was a director and writer, known for Workers, Let's Go (1934), Capek's Tales (1947) and Tajemství krve (1953). He was married to Suzanne Marwille. He died on 26 August 1968 in Prague, Czechoslovakia.- Writer
- Director
- Additional Crew
Otakar Vávra was born on 28 February 1911 in Hradec Kralove, Bohemia, Austria-Hungary [now Czech Republic]. He was a writer and director, known for Witchhammer (1970), Romance pro kridlovku (1967) and Dny zrady (1973). He died on 15 September 2011 in Prague, Czech Republic.- Director
- Writer
- Actor
Miklos Jancsó was born in 1921 in Vac, Hungary. His mother Angela Poparada was Romanian and his father Sandor Jancsó Hungarian. Jancsó received a degree in Law from the University of Cluj-Napoca in 1944. After fighting in WWII and a brief period as a POW, he chose to join the Film and Theater Academy in Budapest, and graduated with a diploma in Film Directing in 1950. His fifth feature film The Round-Up (1966) was a huge hit domestically and internationally and is often considered a significant work of world cinema. Hungarian film critic Zoltan Fabri called it "perhaps the best Hungarian film ever made." Film critic Derek Malcolm included the film in his list of the 100 greatest films ever made. In Hungary, it was seen by over a million people (in a country with a population of 10 million). His next film The Red and the White (1967) became Jancsó's biggest success internationally. It won for example the 'Best Foreign Film' award from the French Syndicate of Cinema Critics. In his following films he developed a personal style of historical analysis using complex camera movements, dance and popular songs, creating his own cinematic style he called "political musical". The long takes became a trademark of Jancsó, so for example the 80-minute long Winter Wind (1969) consists of only 12 shots. Jancsó received the 'Best Director' award at the Cannes Film Festival 1972 for the film Red Psalm (1972). During the 1970s, Jancsó divided his time between Italy and Hungary and made a number of films in Italy, the best known of which is Private Vices, Public Virtues (1976). At that time, his films Hungarian Rhapsody (1979) and Allegro barbaro (1979) were the most expensive to have been produced in Hungary, but the critical reaction was muted. Jancsó was awarded the Career Golden Lion at the Venice Film festival in 1990. After little success and a long break Jancsó returned with The Lord's Lantern in Budapest (1998), which proved to a be a surprising comeback for the director. This success led to a succession of 5 more Pepe (Zoltán Mucsi) and Kapa (Péter Scherer) films, the last in 2006. Jancsó also cemented his reputation by making appearances in a number of films, for example as himself in his Pepe and Kapa films and in guest roles in works by up-and-coming Hungarian directors. Jancsó died of lung cancer on 31 January 2014, aged 92. Fellow Hungarian director Béla Tarr called Jancsó "the greatest Hungarian film director of all time" and acknowledged Jancsó's influence on his own work.- Writer
- Director
- Actor
Luigi Comencini was born on 8 June 1916 in Salò, Lombardy, Italy. He was a writer and director, known for Voltati Eugenio (1980), Everybody Go Home! (1960) and Bread, Love and Dreams (1953). He was married to Giulia Grifeo. He died on 6 April 2007 in Rome, Lazio, Italy.- Writer
- Director
- Producer
Born in Rome in 1951, he is the brother of Enrico Vanzina, movie writer: the two are the sons of Steno (aka Stefano Vanzina). Carlo studied in a French school in Rome. He began his professional career in cinematography in 1969 as assistant director to his father and Mario Monicelli.- Director
- Writer
- Producer
Marino Girolami was born on 1 February 1914 in Rome, Lazio, Italy. He was a director and writer, known for Le tardone (1964), Walter e i suoi cugini (1961) and Caccia al marito (1960). He died on 20 February 1994 in Rome, Lazio, Italy.- Director
- Writer
- Actor
Dasari Narayana Rao was born on 4 May 1947 in Palakol, West Godavari district, Andhra Pradesh, India. He was a director and writer, known for Meghasandesam (1983), Kante Koothurne Kanu (1998) and Gorintaku (1979). He was married to Dasari Padma. He died on 30 May 2017 in Hyderabad, Andhra Pradesh, India.- Writer
- Director
- Second Unit Director or Assistant Director
Yamada Yoji graduated Tokyo University in 1954, the year he joined Shochiku as an assistant director. In 1969, he launched the popular "Tora-san" series, the world's longest theatrical film series. "The Twilight Samurai" (The Twilight Samurai (2002)) marks his 77th film as well as his 41th year as a director since his first film in 1961: Nikai no Tanin (Stranger Upstairs).- Director
- Writer
- Second Unit Director or Assistant Director
E.W. Emo was born on 11 July 1898 in Seebarn, Austria-Hungary [now Lower Austria, Austria]. He was a director and writer, known for Kleine Melodie aus Wien (1948), The Cabbie's Song (1936) and 13 Stühle (1938). He was married to Anita Dorris. He died on 2 December 1975 in Vienna, Austria.- Director
- Producer
- Additional Crew
Jack Gold was born on 28 June 1930 in London, England, UK. He was a director and producer, known for Aces High (1976), The National Health (1973) and Famine (1967). He was married to Denyse Alexander. He died on 9 August 2015.- Director
- Writer
- Second Unit Director or Assistant Director
Orhan Aksoy was born on 10 January 1930 in Mustafakemalpasa, Bursa, Turkey. He was a director and writer, known for Hayat mi Bu? (1973), Yumusak Ten (1994) and Kederli Günlerim (1967). He died on 22 January 2008 in Istanbul, Turkey.- Director
- Writer
- Producer
Osman F. Seden was born on 22 March 1924 in Istanbul, Turkey. He was a director and writer, known for Cilali Ibo: Avrupada (1970), Hindistan cevizi (1967) and Çalikusu (1966). He died on 1 September 1998 in Istanbul, Turkey.- Director
- Writer
- Actor
Orhan Elmas was born on 20 January 1927 in Istanbul, Turkey. He was a director and writer, known for Ezo Gelin (1968), Öleceksek Ölelim (1970) and Disi eskiya (1969). He was married to Alev Koral. He died on 26 April 2002 in Istanbul, Turkey.- Director
- Writer
- Producer
Ülkü Erakalin was born on 9 July 1934 in Istanbul, Turkey. He was a director and writer, known for Ölmüs Bir Kadinin Mektuplari (1969). He died on 6 April 2016 in Istanbul, Turkey.- Director
- Producer
- Writer
Atif Yilmaz Batibeki was a renowned Turkish film director, screenwriter, and film producer. After finishing high school in Mersin, he attended the Law School of Istanbul University. Because of his interest in arts, he dropped out of Law School and entered the Painting Department of the Academy of Fine Arts in Istanbul. After graduating from the Academy, he did some painting works in workshops. His education in painting helped him when he was directing his movies, as he once remarked. In the beginning, he worked as a film critic, made paintings and wrote film scripts to earn a living. After co-directing two movies as an assistant director to Semih Evin in 1950, his directing career began with the film Kanli Feryat (The Bloody Cry). In 1960, he established his film company "Yerli Film" with the actor Orhan Günsiray.
The most important movies in his filmography were: Hickirik (The Sob), Alageyik (The Fallow Deer), Suclu (The Guilty One), Seni Kaybedersem (If I Lose You), Yaban Gülü (The Wild Rose), Kesanli Ali Destani (Kesanli Ali's Epic), Tacsiz Kral (The Crownless King), Topragin Kani (Blood of the Earth), Olum Tarlasi (Death Field), Utanc (The Shame), Zavallilar (The Poor People), Selvi Boylum, Al Yazmalim (My Girl with the Red Scarf), Baskin (The Raid), Adak (The Sacrifice), Bir Yudum Sevgi (A Sip of Love), Adi Vasfiye (Her Name is Vasfiye), Berdel, Düs Gezginleri (Walking After Midnight), Eylül Firtinasi (After the Fall) and Mine.
He made movies that were both fluent and had mainly social messages. Most of the themes of his movies were taboo when they were produced. Particularly "Mine" and "Her Name is Vasfiye" were both revolutionary at the time of their release with themes regarding sexuality and the reaction of society.
He never gave up making movies throughout his life and even in the time when the industry stopped filmmaking due to economic reasons.
Atif Yilmaz played an important role in the professional career of notable Turkish film directors like Halit Refig, Yilmaz Güney, Serif Gören, Zeki Ökten and Ali Özgentürk.
During the Antalya Film Festival in September 2005, he was admitted to hospital with gastro-intestinal complaints. He died on 5 May 2006 in Istanbul.- Cinematographer
- Director
- Camera and Electrical Department
Xaver Schwarzenberger was born on 21 April 1946 in Vienna, Austria. He is a cinematographer and director, known for Donauwalzer (1984), Holly - The Movie (1984) and Der Stille Ozean (1983).- Director
- Producer
- Writer
Rudi Dolezal was born on 5 February 1958 in Vienna, Austria. He is a director and producer, known for Ambros: 25 Jahre (1996), Weltberühmt in Österreich - 50 Jahre Austropop (2006) and Die Akte Joel (2001).- Director
- Producer
- Writer
Hannes Rossacher was born on 16 October 1952 in Steyr, Austria. He is a director and producer, known for Ambros: 25 Jahre (1996), Power Vision - Pop Galerie (1995) and Die Akte Joel (2001).- Director
- Writer
- Actor
Peter von Bagh was born on 29 August 1943 in Helsinki, Finland. He was a director and writer, known for The Count (1971), 1939 (1993) and Viimeinen kesä (1992). He died on 17 September 2014 in Finland.- Director
- Producer
- Writer
Josée Dayan was born on 6 October 1943 in Toulouse, Haute-Garonne, France. She is a director and producer, known for The Count of Monte Cristo (1998), Les rois maudits (2005) and M par M (2008).- Director
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- Actor
His father was a famed Cantonese film actor. After studying in the Department of Chemistry in Zhongsha University for 3 years, Chor joined the movie industry as a writer in 1956. His film debut was "The Soul Stealer" directed by Ng Wui. Soon he began working as an assistant director and finally debuted as a director with Chin Chien in the film "Bloodshed in the Valley of Love" in 1957. "Grass by the Lake" (1959) was his first film in solitaire. In 1970, after more than 70 Cantonese films, Chor directed and wrote his first Mandarin "wuxia" film, "Cold Blade", which attracted the attention of the major Chinese film studio at that time, Shaw Bros., so in 1971 Chor finally joined that studio. In 1976 he began his long series of adaptations of Ku Lung's novels with "Killer Clans", which gave him an international reputation.- Director
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- Additional Crew
Shilin Zhu was born on 27 July 1899 in Taicang, Jiangsu, China. She was a director and writer, known for Yi nian zhi ji (1955), Yi ban zhi ge (1952) and Lian hua jiao xiang qu (1937). She died on 5 January 1967 in Hong Kong.- Director
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Toronto-born Sidney J. Furie has enjoyed an incredibly distinguished career that has spanned more than five decades. Having dabbled in every genre, Furie has directed films starring Marlon Brando, Frank Sinatra, Robert Redford, Diana Ross, Michael Caine, Peter O'Toole, Rodney Dangerfield, Barbara Hershey, Gene Hackman, Donald Sutherland, 'Laurence Olivier' (qav) and countless others.
He directed the first two feature-length fiction films ever made in English Canada, A Dangerous Age (1957) and A Cool Sound from Hell (1959), both independently financed, before emigrating to London in 1960. In 1961 he directed five feature films in a single year, before finally scoring his first box-office success with Wonderful to Be Young! (1961), starring the "British Elvis Presley", Cliff Richard. The critical and commercial success of Furie's 1963 British New Wave film The Leather Boys (1964), a kitchen-sink drama starring Rita Tushingham and Dudley Sutton, delivered him to the attention of high-powered producer Harry Saltzman, who hired him to direct the groundbreaking film The Ipcress File (1965), which won the BAFTA award for Best Picture. Michael Caine became an overnight star because of the film's success. The film also screened in competition at the Cannes Film Festival.
Furie then emigrated to Hollywood to direct Marlon Brando in The Appaloosa (1966) and Frank Sinatra in The Naked Runner (1967) for Universal and Warner Brothers, respectively. Paramount Pictures, then under the aegis of the new Gulf+Western management regime, hired Furie in 1967. He would work as a Paramount filmmaker for the next eight years. Beginning in 1968, he directed five films for the studio. His box-office hit Lady Sings the Blues (1972) was nominated for five Academy Awards and was Paramount's second biggest money-maker that year, behind only The Godfather (1972).
In 1981 he directed The Entity (1982), a cult classic that was named by Martin Scorsese as the fourth best horror film ever made, ranking ahead of both The Shining (1980) and Psycho (1960). Furie was assigned to direct Superman IV: The Quest for Peace (1987), but was challenged by substantial last-minute budget cuts and a script he could not change (engineered personally by Christopher Reeve).
Throughout the 1990s and 2000s he returned to his native Canada to helm a series of films, often direct-to-video pictures, ranging from the war drama Going Back (2001) to the Canadian-British co-production Rock My World (2002), a comedy starring Peter O'Toole and Joan Plowright. Other career highlights include The Boys in Company C (1978) (one of the first Vietnam War pictures about combat soldiers, later to provide the basis for Full Metal Jacket (1987)), the underrated action epic Hit! (1973), and the "Iron Eagle" series. He has also maintained dual citizenship between the U.S. and Canada. In 2010, he was given the Lifetime Achievement Award by the Directors Guild of Canada.- Director
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- Actor
José Díaz Morales was born on 31 July 1908 in Toledo, Castilla-La Mancha, Spain. He was a director and writer, known for La revoltosa (1950), Grave Robbers (1966) and Baron Brakola (1967). He was married to Hermelinda Zaldívar Hernández. He died in 1976 in Toledo, Castilla-La Mancha, Spain.- Director
- Actor
- Writer
Julián Soler was born on 17 February 1907 in Jiménez, Chihuahua, Mexico. He was a director and actor, known for La mujer X (1955), Santo contra Blue Demon en la Atlántida (1970) and Los platillos voladores (1956). He was married to Julieta Palavicini. He died on 5 May 1977 in Mexico City, Distrito Federal, Mexico.- Director
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- Producer
Kostas Karagiannis was born in 1932 in Athens, Greece. He was a director and writer, known for O dromos me ta kokkina fota (1963), Myrtle (1961) and O drakos, to prosopo tis imeras (1983). He died on 17 February 1993 in Athens, Greece.- Director
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- Actor
Giannis Dalianidis was born on 31 December 1923 in Thessaloniki, Greece. He was a director and writer, known for Something Hot (1964), Oi erastes tou oneirou (1974) and The Tough Guy with the Tricycle (1972). He died on 16 October 2010 in Piraeus, Greece.- Director
- Writer
- Actor
Peter Beauvais was born on 9 September 1916 in Weißenstadt, Germany. He was a director and writer, known for Sommer in Lesmona (1987), Im Reservat (1973) and Liebe, Luft und lauter Lügen (1959). He was married to Barbara Beauvais, Sabine Sinjen, Karin Hübner and Ilsemarie Schnering. He died on 17 December 1986 in Baden-Baden, Baden-Württemberg, West Germany.- Director
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- Producer
Writer. Director. Producer. Studied law and graduated. Was one of the founders of the Oberhausener Manifest in 1962. Since 1962 Headmaster of the 'Institut fuer Filmgestaltung' at the 'Hochschule fuer Gestaltung' in Ulm, Germany. Since 1988 produces broadcastings dealing with cultural aspects in German private TV channels RTL and SAT.1 in his own responsibility (DCTP program).- Director
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- Producer
Javier Aguirre was born on 13 June 1935 in Donostia-San Sebastián, Guipúzcoa, País Vasco, Spain. He was a director and writer, known for Tiempo abierto (1963), Pasajes tres (lo viejo, lo nuevo y más) (1961) and El insólito embarazo de los Martínez (1974). He was married to Esperanza Roy and Enriqueta Carballeira. He died on 4 December 2019 in Madrid, Spain.- Writer
- Director
- Actor
Mariano Ozores was born on 5 October 1926 in Madrid, Spain. He is a writer and director, known for La hora incógnita (1964), Operación Secretaria (1966) and En la red de mi canción (1971).- Director
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- Second Unit Director or Assistant Director
Godfrey Ho was born in 1948 in Hong Kong. He is a director and writer, known for The Ninja Squad (1986), Thunder of Gigantic Serpent (1988) and Challenge of the Ninja (1986).- Director
- Producer
- Actor
Arthur Allan Seidelman was born in 1937 in New York, New York, USA. He is a director and producer, known for A Christmas Carol: The Musical (2004), Six Dance Lessons in Six Weeks (2014) and The Sisters (2005).- Director
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- Second Unit Director or Assistant Director
Teruo Ishii was born on 1 January 1924 in Tokyo, Japan. He was a director and writer, known for Gensen-Kan Inn (1993), Female Yakuza Tale (1973) and The Great Villain's Strategy (1966). He died on 12 August 2005 in Tokyo, Japan.- Director
- Camera and Electrical Department
- Writer
Tom Clegg was born on 16 October 1934 in Lancashire, England, UK. He was a director and writer, known for McVicar (1980), Slagskämpen (1984) and Sharpe (1993). He was married to Audrey Clegg. He died on 25 July 2016 in the UK.- Director
- Writer
- Actor
Sasikumar was born on 10 April 1927 in Alappuzha, Kerala, India. He was a director and writer, known for Pancha Thanthram (1974), Choola (1979) and Swanthamevide Bandhamevide (1984). He died on 17 July 2014 in Kochi, Kerala, India.- Director
- Writer
- Editor
Yilmaz Atadeniz was born in Arnavutköy in Istanbul in 1932. He studied engineering at Robert College, but left the school and started working in the Cinema and film business as an assistant editor with his brother Orhan Atadeniz. Later, Yilmaz became an assistant director of famous director such as Faruk Kenç, Atif Yilmaz, Nejat Saydam, and Sirri Gültekin. Atadeniz shot his first film "Yüz Karasi" in 1963. He founded the Atadeniz Film in 1967, and began working as a producer. He has shot more than 100 films and documentaries and TV series, and became one of the famous adventure film directors. Atadeniz is a founder member of Sinekamder. He has served as the Secondary Chairman of Film Producers Association since 1988. Currently, Atadeniz continues to work as the president in the Sesam Cinema Products Institution. Reference: yilmazatadeniz-bio-filmo.blogspot.com, sinematurk.com, imdb.com, sinemalar.com, google.com.tr/images- Producer
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- Second Unit Director or Assistant Director
Türker Inanoglu (born May 18, 1936) is a Turkish screenwriter, film director and producer.
He married first the film actress Filiz Akin, and after his divorce Gülsen Bubikoglu, another former Turkish movie star. They have two children, a son, Ilker and a daughter, Zeynep.
Inanoglu came in contact with the cinema when he was a student at the Istanbul Academy of Applied Fine Arts in 1957. After working as assistant to directors Ömer Lütfi Akat and Nisan Hançer in eleven movies, he directed in 1960 his first feature Senden Ayri Yasayamam.
After directing nine movies in the studios of Yesilçam, the Turkish Hollywood, Inanoglu established in 1959 his own film company Erler Film, which is today the oldest film production company in Turkey still in business. Since then, he produced 126 black-and-white and color films, among them 21 co-productions with Greece, Italy and Iran. He executed also the productions of American, Japanese, French and German filmmakers' documentary films shot in Turkey. Until now, he directed 82 movies.
In 1979, Inanoglu started the video business in Turkey by founding the first video company, Ulusal Video. His company distributed video copies of domestic movies to around 1,500 video clubs in Turkey and abroad. He contributed so five years long to the survival of Turkish cinema, which found itself in a big economic crisis.
To produce news and entertainment programs for the television, he established a studio in 1985. In this studio, Inanoglu produced very popular programs like Bir Baska Gece ("Another night"), Hodri Meydan ("Challenge"), Gecenin getirdikleri ("Things came by night") for the then only TV channel in Turkey, TRT. Later, following the opening of private TV channels, he continued to produce TV programs for channels like Star TV, Show TV, Kanal 6 and ATV, totaling to 10,000 hours.
In 1994, Inanoglu became president of the channel ATV and helped it became a leader in the sector. Recently, he established a cable TV channel, Süper Kanal.
He co-founded sectoral associations and served as their chairman. Recently, he is the honorary president of the Turkish Association of Owners of Cinema Arts, SESAM. In 1997, he set up the Türker Inanoglu Cinema Foundation and transferred all the copyrights on his productions to this charity institution with social and educational goals for the Turkish cinema.- Director
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- Producer
Omiros Efstratiadis was born on 3 May 1938 in Piraeus, Greece. He is a director and writer, known for She Knew No Other Way (1973), Provocation (1971) and Roda, tsanta & kopana 5 (2019).- Director
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- Second Unit Director or Assistant Director
Zdravko Sotra was born on 13 February 1933 in Stolac, Bosnia and Hercegovina, Yugoslavia. He is a director and writer, known for Zona Zamfirova (2002), Professor Kosta Vujic's Hat (2012) and Ivko's Feast (2005).- Director
- Producer
- Additional Crew
Brian Large was born on 16 February 1939 in London, England, UK. He is a director and producer, known for Tosca: In the Settings and at the Times of Tosca (1992), Great Performances (1971) and The Flying Dutchman (1975).- Director
- Second Unit Director or Assistant Director
- Writer
William Beaudine, the director of nearly 350 known films (nearly one for every day of the year; some listings of his work put his output at 500 movies and hundreds of TV episodes) and scores of television episodes, enjoyed a directing career that stretched across seven decades from the 'Teens to the '70s (he also was a screenwriter, credited on 26 films and one TV series). His movies, ranging from full-length features to one- and two-reel shorts, included the notorious Mom and Dad (1945) of 1945--the Gone with the Wind (1939) of the hygiene/exploitation genre--for infamous producer Kroger Babb, one of the notorious "Forty Thieves" of the exploitation circuit. His final, as well as very likely best-known, films were the grind-house/drive-in horror classics Billy the Kid Versus Dracula (1966) and Jesse James Meets Frankenstein's Daughter (1966) (in 1966, when he made these two cheapies, he was the oldest active director in Hollywood, at 74). Beaudine was prolific not only because he mastered efficient filmmaking but also because he started in the early days of the film industry, when one- and two-reelers were ground out like sausages, and that's how he learned to make them. Although he was responsible for some prestigious pictures in the silent era--i.e., Mary Pickford's Sparrows (1926)--after 1937 he worked primarily churning out programmers at Poverty Row studios. When producers needed an efficiently-made potboiler shot on a two-week (or less) schedule, William Beaudine was the go-to guy, and he remained so through the mid-'60s.
William Washington Beaudine was born January 15, 1892, in New York City, an advantageous location for a tyro filmmaker at the turn of the last century, because the original "Hollywood" of America was located in nearby Ft. Lee, NJ (Thomas A. Edison, the inventor of the first motion picture production device and, more importantly, holder of several of its most important patents, was headquartered there. The patent monopoly he helped found did not want filmmakers operating too far away, as it wanted to oversee the industry to ensure it did not use pirated equipment that infringed its patents. California arose as a major production center in the 'Teens because it was far away from the prying eyes of the Edison trust, which was not averse to hiring thugs to wreck the equipment and beat up the employees of companies that defied it). Beaudine started in the industry as a $10-per-week prop boy, factotum and extra in 1909 with American Mutoscope and the Biograph Co., where he first worked with D.W. Griffith, the father of the American film. He began appearing as an actor in Mack Sennett's Biograph films in 1912 and continued to work behind the camera while appearing in front of it in 44 films through 1915. From 1911-14 he was an assistant director or second-unit director on 55 movies. He wed Marguerite Fleischer in October 1914 (they remained married until his death in 1970), the same year he moved to California. Although hired by the Kalem Co. as an actor, he got his first chance to direct while working on the studio's "Ham and Bud" comedy series in 1915. He directed at least five films in 1915, and served as an assistant to Griffith on his seminal masterpiece The Birth of a Nation (1915) and its follow-up, the aptly named Intolerance (1916). By 1916 Beaudine was making $100 per week as a director, and turned out as many as 150 short comedies before graduating to feature film assignments in 1922. Beaudine, like fellow director John Ford, was known for "editing in the camera", i.e., shooting only those scenes that are absolutely necessary, which saved time and raw stock. He did not shoot full coverage of scenes, with master shots and alternate takes (his contemporary William A. Wellman, another master of editing in the camera, did Beaudine--who was known as "One-Shot"--one better as "Two-Shot"--he would film two shots of a scene in case one was ruined in the developing lab), but no more than what he knew was necessary, and since he worked almost exclusively on low-budget "quickies" for the last 30 years of his career (he directed over half of the Bowery Boys films), producers valued him for his ability to make pictures quickly and economically, despite the gaffes (which likely would not be noticed by the audiences for these movies anyway). His attitude towards most of the films he was shooting at the time can be summed up by an incident in the 1940s, when he was informed that an East Side Kids quickie he was making for Monogram was falling behind schedule. His reply was, "You mean someone out there is actually waiting to see this . . . ?".
Beaudine churned out low-budget films by the gross, in a wide variety of genres. That's why it may be difficult for some to believe that, in the silent days, he was one of the more respected directors in the industry, and had established himself as a seasoned comedy director with a light but sure touch for such major studios as Goldwyn, Metro, First National and Warner Bros. He was renowned for his skill at working with children, which won him two assignments directing films for Mary Pickford at United Artists: Little Annie Rooney (1925) and the above-mentioned "Sparrows", a Gothic suspense thriller that is an ur-The Night of the Hunter (1955) (it reportedly influenced "Hunter" director Charles Laughton). Beaudine's finest silent film is generally considered to be The Canadian (1926), based on a story by W. Somerset Maugham.
By the time talkies arrived, Beaudine was a top director in Hollywood, his salary increasing from $1,250 a week in 1925 to $2,000-$2,500 a week in 1926. For directing the "Izzy and Mike" (Jewish/Irish comedy) The Cohens and the Kellys in Paris (1928) in 1928, he earned $20,000 (approximately $215,000 in 2006 terms), which was not bad considering the speed at which he turned out his films. Even after the Great Depression hit in 1929, as late as 1931 Beaudine was commanding $2,000 a week. Unfortunately, like many other Americans, he was heavily leveraged in the stock market and was virtually wiped out by the Crash of '29. He moved to England in 1935 and directed more than a dozen films there before returning to the US. Once home, however, he discovered that during his absence Hollywood got along just fine without him, and he couldn't find a job for two years. When he was finally offered work it was near the bottom of the Hollywood food chain, at low-rent studios like Monogram or PRC. By 1940 his once flourishing career had declined to the point that, where he had once commanded $2500 a week, he was now lucky to get jobs paying $500 a picture, and was turning out bottom-of-the-double-bill films like Desperate Cargo (1941) and the The Ape Man (1943). The lowest point of his career is generally considered to be the aforementioned "Mom and Dad" for Kroger Babb (an independent producer who often released through Monogram, for whom Beaudine did much work). "Mom and Dad" was a "hygiene" picture, featuring footage of a live birth, that Babb "four-walled" in territories across the U.S. ("four-walling" was the practice of renting an entire theater outright, which meant that after the rental fee was paid, all money taken in went to the exhibitor). Babb was a master showman, and his practice of having screenings for males and females at separate times, and providing a "doctor" and two "nurses" (who were in reality actors) to give a hygiene lecture and sell sex hygiene books at inflated prices (the money being collected by the "nurses", who ostensibly were there lest anyone faint from such a frank divulging of "the facts of life") was a masterful touch, capitalizing on the extreme sexual repression of the era to titillate and make a barrel full of money while doing it. These tactics were also helpful in keeping local authorities at bay--after all, who could close down a theater that showed such an "educational" film?
Some cinema historians say that "Mom and Dad" may well have been, on a return-on-investment basis, the most profitable film in history, grossing as much as $100 million. Babb later recounted that each one of his investors got back $63,000 for each $1,000 invested in the film. In a pre-"Kinsey Report" world filled with ignorance and misinformation--deliberate and otherwise--about biology and sex, "Mom, and Dad" filled a void and turned a handsome profit while doing so (it was playing at drive-ins in the South and Midwest at least until 1977, long after the sexual revolution of the "Swinging Sixties", so potent was the "birth of a baby" come-on to the rural audiences for whom it was made). "Mom and Dad" was likely the top-grossing picture of 1947. The film was so heavily promoted that "Time" magazine commented that the ad campaign "left only the livestock unaware of the chance to learn the facts of life." Until the advent of The Blair Witch Project (1999), many film historians regarded "Mom and Dad" as the purest and most successful exploitation film in history.
By the end of the 1940s Beaudine had churned out 60 movies. Still, he was regarded highly enough as a man who could make a movie quickly and efficiently to command a salary of $3,000 per week for The Lawton Story (1949), an adaptation of a Passion Play staged in Lawton, OK (which was re-released in 1951 by Babb's Hallmark company). His paced slowed somewhat in the 1950s, when he made only 23 films, most of them for Allied Artists (formerly Monogram). A quarter-century after directing superstar Mary Pickford, Beaudine was reduced to piloting a washed-up, drug-addicted former Dracula and two Dean Martin and Jerry Lewis clones in the pathetic Bela Lugosi Meets a Brooklyn Gorilla (1952), with Lugosi, Duke Mitchell (the Martin clone) and Sammy Petrillo (the Lewis clone). In the "plot", Mitchell is turned into--what else?--a singing gorilla. Beaudine, who had worked with Lugosi in 1943's "The Ape Man" and the East Side Kids entry Ghosts on the Loose (1943) (most memorable for featuring a young Ava Gardner), wrapped the film in nine days on a budget of $50,000. In fact, during his preparation for playing Lugosi in Ed Wood (1994), the chronicle of another director of bad movies, Martin Landau watched "Brooklyn Gorilla" three times. Landau, who would earn an Oscar for his turn as Lugosi, said that it was so bad "it made the Ed Wood films look like 'Gone with the Wind'".
In 1947, two years after giving the world the landmark naughty picture "Mom and Dad", Beaudine was contracted by an evangelical Christian organization, the Protestant Film Commission, to make a religious-themed movie (beginning in the late 1940s, evangelist Billy Graham had done quite well in converting non-believers with movies made specifically for that purpose). It was successful and the PFC hired him on a regular basis to make more films. By 1955 Beaudine had directed ten of them for the Commission, all crafted to spread the word of God and convert non-believers to Christianity. Ironically, Beaudine himself reportedly was an atheist, who took the jobs solely for the money.
Beaudine's ability to overlook almost anything in order to get film into the can would prove a huge advantage in television. In the 1950s he moved into that medium, directing hundreds of episodes of popular series, including shows for Walt Disney. By the 1960s he was one of the principal directors on Lassie (1954), eventually passing the baton on to his son, William Beaudine Jr., upon his retirement from the show (proving the adage that the fruit really doesn't fall far from the tree). At the time of his retirement in 1967, William Beaudine was the oldest active director in Hollywood. He died in Canoga Park, CA, on March 18, 1970, with a record so prolific that it's unlikely to be ever matched again.
In 2005 the "labor of love" brought into the world by William Beaudine and Kroger Babb, two of Hollywood's most prolific sons, was honored by the Library of Congress' National Film Registry with the inclusion of "Mom and Dad" on the list of the nation's cinematic treasures.- Director
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Lesley Selander's film career, which lasted more than 40 years, started in the early 1920s as a teenager when he got a job at a studio as a lab technician. He soon managed to work his way into the production end of the business and secured employment as a camera operator, then an assistant director, with several side trips as a director of two-reel shorts. He directed his first feature in 1936, a western--a genre in which he would not only excel but one where he would spend much of the rest of his career.
Although Selander couldn't be considered an "A"-list director, his films had a professionalism and a verve that many of those made by his fellow B directors lacked. His sense of pacing was such that his films could be counted on to move quickly and smoothly, and not just his westerns. He also made detective thrillers, action/adventure pictures and even a horror film or two. One standout that is seldom seen nowadays, however, is Return from the Sea (1954), a sentimental and lyrical story of a cynical, embittered merchant seaman and the equally disillusioned waitress he meets in a dingy diner in the waterfront section of town. It's a surprisingly sensitive work for a man who spent his career making tough, macho shoot-'em-ups, and even more of a surprise are the outstanding performances by an unlikely cast: tough-guy Neville Brand as the sailor, perennial gun moll Jan Sterling as the waitress, and a terrific job by veteran heavy John Doucette as a garrulous, happy-go-lucky cab driver determined to bring the two together. With this little jewel Selander proved he was capable of much more than cattle stampedes, Indian attacks and gangster shootouts, but unfortunately he never made another one like it.
As the market for B westerns died out, Selander--like so many of his fellow B directors--turned to television. The last few feature films he made, in the mid- and late 1960s, were a string of what's come to be known as "geezer westerns" churned out by producer A.C. Lyles, embarrassing efforts made on the cheap that were meant to give employment to aging cowboy stars; the less said about them, the better.
Lesley Selander retired from the business in 1968, and died in 1979.- Director
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John English was born on 25 June 1903 in Cumbria, England, UK. He was a director and editor, known for Captain America (1944), Adventures of Captain Marvel (1941) and Mysterious Doctor Satan (1940). He was married to Nina ?. He died on 11 October 1969 in Los Angeles, California, USA.- Director
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Joseph Sargent was born on 22 July 1925 in Jersey City, New Jersey, USA. He was a director and actor, known for Jaws: The Revenge (1987), The Taking of Pelham One Two Three (1974) and Nightmares (1983). He was married to Carolyn Nelson and Mary Carver. He died on 22 December 2014 in Malibu, California, USA.- Director
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Paul Landres was born on 21 August 1912 in New York City, New York, USA. Paul was a director and editor, known for The Return of Dracula (1958), The Vampire (1957) and Navy Bound (1951). Paul was married to Jean Landres. Paul died on 26 December 2001 in Encino, Los Angeles, California, USA.- Director
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R.G. Springsteen was born on 8 September 1904 in Tacoma, Washington, USA. He was a director and assistant director, known for Secret Venture (1955), Harbor of Missing Men (1950) and Heart of Virginia (1948). He was married to Alice Van Springsteen. He died on 9 December 1989.- Director
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Karel Kachyna was born on 1 May 1924 in Vyskov, Czechoslovakia [now Czech Republic]. He was a director and writer, known for The Ear (1970), Nadeje (1964) and The High Wall (1964). He was married to Alena Mihulová. He died on 12 March 2004 in Prague, Czech Republic.- Director
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Dré Poppe was born on 26 May 1922 in Gent, Flanders, Belgium. He was a director and actor, known for De dans van de reiger (1977), Bompa (1989) and Daar is een mens verdronken (1983). He died on 12 July 2002 in Oostende, Flanders, Belgium.- Director
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I.V. Sasi was born on 28 March 1948 in Kerala, British India [now India]. He was a director and writer, known for Eeta (1978), Itha Ivide Vare (1977) and Karimpin Poovinakkare (1985). He was married to Seema. He died on 24 October 2017 in Chennai, Tamil Nadu, India.- Director
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Homi Master was a director and actor, known for Fankdo Fituri (1925), Ghar Jamai (1935) and Do Ghadi Ki Mouj (1935). He died in 1949.- Director
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William Nigh was born on 12 October 1881 in Berlin, Wisconsin, USA. He was a director and actor, known for Born Rich (1924), Thunder (1929) and Notorious Gallagher; or, His Great Triumph (1916). He died on 27 November 1955 in Burbank, California, USA.