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Lana Wachowski and her sister Lilly Wachowski, also known as the Wachowskis, are the duo behind such ground-breaking movies as The Matrix (1999) and Cloud Atlas (2012). Born to mother Lynne, a nurse, and father Ron, a businessman of Polish descent, Wachowski grew up in Chicago and formed a tight creative relationship with her sister Lilly. After the siblings dropped out of college, they started a construction business and wrote screenplays. Their 1995 script, Assassins (1995), was made into a movie, leading to a Warner Bros contract. After that time, the Wachowskis devoted themselves to their movie careers. In 2012, during interviews for Cloud Atlas and in her acceptance speech for the Human Rights Campaign's Visibility Award, Lana spoke about her experience of being a transgender woman, sacrificing her much cherished anonymity out of a sense of responsibility. Lana is known to be extremely well-read, loves comic books and exploring ideas of imaginary worlds, and was inspired by Stanley Kubrick's 2001: A Space Odyssey (1968) in creating Cloud Atlas.# A Viagem (2012)- Director
- Writer
- Actor
Was born in Tulsa, Oklahoma (1943). Son of Frances Clark (baby photographer) and Lewis Clark. Graduated from Central High school in Tulsa, Oklahoma. Attended Layton School of Art in Milwaukee, Wisconsin. Studied under Walter Sheffer and Gerard Bakker. Film debut was the movie Kids (1995). He was already well known for his revolutionary photographic body of work, including the books Tulsa (1971), Teenage Lust (1982), and Perfect Childhood (1992).# Roqueiros (2005)
# Ken Park (2002)
# Kids (1995)- Director
- Writer
- Producer
Lewis Milestone, a clothing manufacturer's son, was born in Bessarabia (now Moldova), raised in Odessa (Ukraine) and educated in Belgium and Berlin (where he studied engineering). He was fluent in both German and Russian and an avid reader. Milestone had an affinity for the theatre from an early age, starting as a prop man and background artist before traveling to the US in 1914 with $6.00 in his pocket. After a succession of odd jobs (including as a dishwasher and a photographer's assistant) he joined the Army Signal Corps in 1917 to make educational short films for U.S. troops. Following World War I, having acquired American citizenship, he went on to Hollywood to meet the director William A. Seiter at Ince Studios. Seiter started him off as an assistant cutter. Milestone quickly worked his way up the ranks to become editor, assistant director and screenwriter on many of Seiter's projects in the early 1920s, experiences that would greatly influence his directing style in years to come.
Milestone directed his first film, Seven Sinners (1925), for Howard Hughes and two years later won his first of two Academy Awards for the comedy Two Arabian Knights (1927). He received his second Oscar for what most regard as his finest achievement, the anti-war movie All Quiet on the Western Front (1930), based on a novel by Erich Maria Remarque. The film, universally praised by reviewers for its eloquence and integrity, also won the Best Picture Academy Award that year. A noted Milestone innovation was the use of cameras mounted on wooden tracks, giving his films a more realistic and fluid, rather than static, look. Other trademarks associated with his pictures were taut editing, snappy dialogue and clever visual touches, good examples being the screwball comedy The Front Page (1931), the melodrama Rain (1932)--based on a play by W. Somerset Maugham--and an adaptation of John Steinbeck's Of Mice and Men (1939). When asked in 1979 about the secret behind his success, he simply declared "Arrogance, chutzpah--in the old Hollywood at least that's the thing that gave everybody pause" (New York Times, September 27, 1980). Milestone had a history of being "difficult", having clashed with Howard Hughes, Warner Brothers and a host of studio executives over various contractual and artistic issues. Nonetheless, he remained constantly employed and worked for most of the major studios at one time or another, though never on long-term contracts. While he was not required to testify before HUAC, Milestone was blacklisted for a year in 1949 because of left-wing affiliations dating back to the 1930's. His output became less consistent during the 1950s and his career finished on a low with the remake of Mutiny on the Bounty (1962) and its incongruously cast, equally headstrong star Marlon Brando.
Milestone must be credited with a quirky sense of humor: when the producer of "All Quiet on the Western Front", Carl Laemmle Jr., demanded a "happy ending" for the picture, Milestone telephoned, "I've got your happy ending. We'll let the Germans win the war".
Having suffered a stroke, Lewis Milestone spent the last ten years of his life confined to a wheelchair. He died September 25, 1980, at the University of California Medical Center in Los Angeles.# O Grande Motim (1962)
# Onze Homens e um Segredo (1960)
# Os Miseráveis (1952)
# Sem Novidade no Front (1930)- Director
- Writer
- Producer
French-born Louis J. Gasnier was a stage actor / director / producer in Paris when he was hired by Pathe to direct comedy shorts. After discovering and showcasing comedian Max Linder, Gasnier was sent by Pathe to the U.S. in 1912 to run its operation there. He helped to make Pathe a major player in the U.S. market by cleverly concentrating on the serial format, coming out with such landmark serials as The Perils of Pauline (1914). Like many silent-film directors, however, Gasnier couldn't successfully make the transition to sound. Many of his sound films were ultra-low-budget cheapies destined for the independent states-rights market, and he often required the collaboration of dialogue directors (who received co-director credit) to handle the actors' line readings. Gasnier's most famous film has to be the cult classic Reefer Madness (1936) (aka "Reefer Madness"), an unintentionally hilarious anti-marijuana polemic.# A Porta da Loucura (1936)- Writer
- Director
- Producer
Probably the most ambitious and visually distinctive filmmaker to emerge from Denmark since Carl Theodor Dreyer over 60 years earlier, Lars von Trier studied film at the Danish Film School and attracted international attention with his very first feature, The Element of Crime (1984). A highly distinctive blend of film noir and German Expressionism with stylistic nods to Dreyer, Andrei Tarkovsky and Orson Welles, its combination of yellow-tinted monochrome cinematography (pierced by shafts of blue light) and doom-haunted atmosphere made it an unforgettable visual experience. His subsequent features Epidemic (1987) and Europa (1991) have been equally ambitious both thematically and visually, though his international fame is most likely to be based on The Kingdom (1994), a TV soap opera blending hospital drama, ghost story and Twin Peaks (1990)-style surrealism that was so successful in Denmark that it was released internationally as a 280-minute theatrical feature.# Ninfomaníaca: Volume 1 (2013)
# Ninfomaníaca: Volume 2 (2013)- Director
- Writer
- Editor
Lasse Hallström inherited his enthusiasm for film from his father, who was an amateur filmmaker. In high school he made his first short film, which was released on Swedish television. Hallström then began working as a director, cameraman and editor for Swedish television. He also made music videos and worked with the cult band "ABBA", for whom he directed the 1977 film "ABBA: The Movie". He moved from television to film and directed Swedish productions such as "A Lover And His Lass" (1974), "Der Gockel" and "Happy We". By the mid-1980s he had long since established himself in his homeland and made his international breakthrough as an author and director in 1985 with "My Life as a Dog" (1985). In his warm-hearted film, Hallström tells the story of a twelve-year-old boy in the 1950s. Audiences and critics worldwide were thrilled and Hallström received Oscar nominations for Best Director and Best Screenplay.
The members of the "New York Film Critics Circle" named the production "Best Foreign Film." Hallström then brought the successful Astrid Lindgren stories "We Children from Bullerbü" (1986) and "News from Us Children from Bullerbü" (1986) to the screen. In 1991 he worked with Holly Hunter and Richard Dreyfuss on his first American film, "A Charming Disgust." This was followed in 1993 by the hit film "Gilbert Grape - Somewhere in Iowa", for which Hallström was director and producer. The film starred Johnny Depp, Juliette Lewis and the young Leonardo DiCaprio, who received an Oscar nomination for Best Supporting Actor for his role as a disabled boy. Hallström himself was nominated for an Oscar for Best Director for Gilbert Grape: Somewhere in Iowa. In 1994 he married the actress Lena Olin; together they became parents of two children.
After the failure of "The Power of Love" (1995) with Julia Roberts, Lasse Hallström returned to his strengths and delivered the drama "God's Work and the Devil's Contribution" in 1999. The critics were once again full of praise and Hallström was pleased to receive another Oscar nomination. The subtle comedy "Chocolat" (2000) with Juliette Binoche, Judy Dench and Johnny Depp was his next work, which was nominated for five "Oscars" in 2001. In 2002, Hallström's tragicomedy "Ship Reports" was released in German cinemas. With "An Untamed Life" from 2005, he brought a drama to cinemas that not only shined with its plot, but also with excellent actors such as Robert Redford, Morgan Freeman and Jennifer Lopez. Hallström settled privately in the USA and Sweden. In 2018 he directed the American fantasy film "The Nutcracker and the Four Realms".# Amor Impossível (2011)
# Querido John (2010)
# Sempre ao seu Lado (2009)
# Casanova (2005)
# Um Lugar para Recomeçar (2005)
# Chocolate (2000)
# ABBA - O Filme (1977)- Director
- Writer
- Actor
Leos Carax made several short films and also wrote film criticism, then at the age of 24 years made a very strong first feature Boy Meets Girl (1984). The film played at the 1984 Cannes film festival and was a critical triumph. It paved the way for Carax's second feature Bad Blood (1986) (Bad Blood). That film was a giant step forward in the same direction that he was going in with his first film. Both films were visually stunning and focused on young love and also alienation. With his reputation and talent at its peak, he set out to make what seemed it seemed like would be another triumph. The Lovers on the Bridge (1991) (The Lovers on the Bridge) was the result of three long years of very difficult production; Carax spent a fortune building some of the sets and filming some mind-blowing sequences. Unfortunately, neither critics nor audiences favored what was a truly grand vision of the themes he dealt with in his first two films. Carax went into an a 8 year long exile, but finally returned with Pola X (1999). It was a departure from his other films and another critical flop.# Holy Motors (2012)
# Boy Meets Girl (1984)- Director
- Writer
- Producer
Louis Malle, the descendant of a French nobleman who made a fortune in beet sugar during the Napoleonic Wars, created films that explored life and its meaning. Malle's family discouraged his early interest in film but, in 1950, allowed him to enter the Institute of Advanced Cinematographic Studies in Paris. His résumé showed that he had worked as an assistant to film maker Robert Bresson when Malle was hired by underwater explorer Jacques-Yves Cousteau to be a camera operator on the Calypso. Cousteau soon promoted him to be co-director of The Silent World (1956) ("The Silent World"). Years later, Cousteau called Malle the best underwater cameraman he ever had. Malle's third film, The Lovers (1958) ("The Lovers"), starring Jeanne Moreau broke taboos against on screen eroticism. In 1968 the U.S. Supreme Court reversed the obscenity conviction of an Ohio theater that had exhibited "Les Amants." A director during the Nouvelle Vague, New Wave" of 1950s and 1960s (though technically not considered a Nouvelle Vague auteur), he also made films on the other side of the Atlantic, starting with Pretty Baby (1978), the film that made Brooke Shields an international superstar. The actress who played a supporting role in that film was given a starring role in Malle's next American film, Atlantic City (1980). That promising actress was Susan Sarandon.
In one of his later French films, Goodbye, Children (1987), Malle was able to find catharsis for an experience that had haunted him since the German occupation of France in World War II. At age 12, he was sent to a Catholic boarding school near Paris that was a refuge for several Jewish students, one of them was Malle's rival for academic honors and his friend. A kitchen worker at the school with a grudge became an informant. The priest who was the principal was arrested and the Jewish students were sent off to concentration camps.
In his final film, Vanya on 42nd Street (1994), Malle again penetrated the veil between life and art as theater people rehearse Anton Chekhov's "Uncle Vanya." In that film, Malle worked again with theater director Andre Gregory and actor-playwright Wallace Shawn, the conversationalists of My Dinner with Andre (1981). Malle was married to Candice Bergen, and he succumbed to lymphoma in 1995.# Perdas e Danos (1992)
# Adeus, Meninos (1987)
# Alta Incompetência (1984)
# Meu Jantar com André (1981)
# Pretty Baby - Menina Bonita (1978)
# O Sopro do Coração (1971)
# Histórias Extraordinárias (1968)
# O Ladrão Aventureiro (1967)
# Viva Maria! (1965)
# Trinta Anos Esta Noite (1963)
# Zazie no Metrô (1960)
# Ascensor para o Cadafalso (1958)
# Os Amantes (1958)- Writer
- Director
- Second Unit Director or Assistant Director
Born in his ancestral palazzo, situated in the same Milanese square as both the opera house La Scala and the Milan Cathedral, Luchino Visconti (1906 - 1976) was raised under the auspices of aristocratic privilege, theater and Catholicism. This triangulation of monuments would create an equally titanic filmmaker whose work remained stylistically sui generis through arguably the most impressive decades of 20th century filmmaking. The quietude of La Terra Trema (1948) is managed with an operatic virtuosity, and the baroque period pieces-for which he is best known today-clearly point to a noble upbringing. However, there is also a Gothic character to Visconti-embodied in the spired cathedral that overshadowed his childhood-that has remained largely unsung. The relationship between the Visconti family and Gothic architecture stretches back to the Medieval Era. In 1386, Duke Gian Galeazzo Visconti envisioned a cathedral in the heart of Milan, though it was fated to remain under construction for almost half a millennium until Napoleon ordered its completion in the 19th century. Just as his ancestor brought Northern Gothic architecture to Italy, so, in 1943, did Luchino introduce the groundbreaking cinematic genre of Italian neorealism to the peninsula. Doing away with sets, neorealist cinema was set in the raw environment of postwar Italy. In one sense anti-architectural in its desire to transcend the bonds of interior space, this same ambition is what makes the style a perfect cinematic analog to the Gothic. The Gothic is an architecture of exteriority: Throwing ceilings to the sky and opening walls onto the outside with large windows, the Gothic presents light as the manifestation of divinity within a place of worship. The mysticism of light, dating back to the pseudo-Dionysian theology of Abbot Suger of St. Denis Cathedral, translates well to the medium of light that is the cinema. In any Visconti work, lighting is intimately connected to set design: It is often seen in the gleam of curtains, the radiance of starlight or the glow of Milanese fog, where the director carries the religiosity of Gothic architecture into his realism. Visconti's religion (or should we say religions? For he was also a Marxist) adds an ethical weight, powerful and challenging, to his works. The term decadence, often associated with Visconti, only attains meaning through being in excess of contemporary mores. Neither the Catholic Church nor the Italian communists could accept Visconti's homosexuality, and a resultant displaced angst is plainly worn by his protagonists-monumental individuals who bear the full weight of their social milieus. While neorealism has come to be packaged with its own mythology-a new cinema for a liberated nation, the idea of a new "Italian" style-re-centering our historical gaze on the Gothic Visconti allows one's imagination to spread across a much larger plane of geography and time. From his cinematic apprenticeship with Jean Renoir in France-the very cradle of Gothic architecture-to his German trilogy, Visconti's style has always been one of cosmopolitan effort. This international flavor also matches the deeper etymological referent of the Gothic-the Goths, those barbarian invaders who toppled the Roman Empire. Among Visconti's formal signatures are many borrowings from foreign directors, including the particularly pronounced influence of Jean Renoir, Josef Von Sternberg and Elia Kazan. Global in scope, timeless in influence and architectural in spirit: This is the legacy of Luchino Visconti.[# Morte em Veneza (1971)
# Os Deuses Malditos (1969)
# Vagas Estrelas da Ursa (1965)
# O Leopardo (1963)
# Boccaccio 70 (1962)
# Rocco e seus Irmãos (1960)
# Noites Brancas (1957)
# Sedução da Carne (1954)
# Belíssima (1951)
# Terra Treme, A (1948)- Writer
- Director
- Actor
The father of cinematic Surrealism and one of the most original directors in the history of the film medium, Luis Buñuel was given a strict Jesuit education (which sowed the seeds of his obsession with both religion and subversive behavior), and subsequently moved to Madrid to study at the university there, where his close friends included Salvador Dalí and Federico García Lorca.
After moving to Paris, Buñuel did a variety of film-related odd jobs in Paris, including working as an assistant to director Jean Epstein. With financial assistance from his mother and creative assistance from Dalí, he made his first film, the 17-minute Un chien andalou (1929), in 1929, and immediately catapulted himself into film history thanks to its shocking imagery (much of which - like the sliced eyeball at the beginning - still packs a punch even today). It made a deep impression on the Surrealist Group, who welcomed Buñuel into their ranks.
The following year, sponsored by wealthy art patrons, he made his first feature, the scabrous witty and violent L'Age d'Or (1930), which mercilessly attacked the church and the middle classes, themes that would preoccupy Buñuel for the rest of his career. That career, though, seemed almost over by the mid-1930s, as he found work increasingly hard to come by and after the Spanish Civil War he emigrated to the US where he worked for the Museum of Modern Art and as a film dubber for Warner Bros.
Moving to Mexico in the late 1940s, he teamed up with producer Óscar Dancigers and after a couple of unmemorable efforts shot back to international attention with the lacerating study of Mexican street urchins in The Young and the Damned (1950), winning him the Best Director award at the Cannes Film Festival.
But despite this new-found acclaim, Buñuel spent much of the next decade working on a variety of ultra-low-budget films, few of which made much impact outside Spanish-speaking countries (though many of them are well worth seeking out). But in 1961, General Franco, anxious to be seen to be supporting Spanish culture invited Buñuel back to his native country - and Bunuel promptly bit the hand that fed him by making Viridiana (1961), which was banned in Spain on the grounds of blasphemy, though it won the Palme d'Or at the Cannes Film Festival.
This inaugurated Buñuel's last great period when, in collaboration with producer Serge Silberman and writer Jean-Claude Carrière he made seven extraordinary late masterpieces, starting with Diary of a Chambermaid (1964). Although far glossier and more expensive, and often featuring major stars such as Jeanne Moreau and Catherine Deneuve, the films showed that even in old age Buñuel had lost none of his youthful vigour.
After saying that every one of his films from Belle de Jour (1967) onwards would be his last, he finally kept his promise with That Obscure Object of Desire (1977), after which he wrote a memorable (if factually dubious) autobiography, in which he said he'd be happy to burn all the prints of all his films- a classic Surrealist gesture if ever there was one.
# Esse Obscuro Objeto do Desejo (1977)
# O Fantasma da Liberdade (1974)
# O Discreto Charme da Burguesia (1972)
# Tristana - Uma Paixão Mórbida (1970)
# A Bela da Tarde (1967)
# Diário de uma Camareira (1964)
# A Morte no Jardim (1956)
# Escravos do Rancor (1954)
# O Alucinado (1953)
# O Bruto (1953)
# Um Cão Andaluz (1929)- Producer
- Director
- Writer
Luis Llosa was born in 1951 in Lima, Peru. He is a producer and director, known for Anaconda (1997), The Specialist (1994) and Crime Zone (1988). He is married to Roxana Valdivieso. They have two children. He was previously married to Patricia Pinilla Cisneros.# Anaconda (1997)
# O Especialista (1997)- Writer
- Producer
- Director
Director, writer, and producer Lilly Wachowski was born in 1967 in Chicago, the daughter of Lynne, a nurse and painter, and Ron, a businessman. Lilly was educated at Kellogg Elementary School in Chicago, before moving on to Whitney M. Young High School. After graduating from high school, she attended Emerson College in Boston but dropped out.
Lilly teamed up with her older sibling, Lana Wachowski, and began working on films. Their first script was optioned and formed the basis for the film Assassins (1995). The Wachowskis went on to make their directorial debut with the self-written Bound (1996), which was well-received. They followed this with the smash hit The Matrix (1999) and went on to produce two successful sequels, The Matrix Reloaded (2003) and The Matrix Revolutions (2003).
Other projects include scripting and producing the cult hit V for Vendetta (2005), a live-action version of a Japanese anime series; Speed Racer (2008); Cloud Atlas (2012); and the ambitious epic Jupiter Ascending (2015).# A Viagem (2012)- Director
- Producer
- Writer
Luke was born in Manhassett, New York and grew up in Westport, Connecticut.
He's best known for creating films that are unpredictable and surprising to audiences such as his film, "The Girl Next Door." His films tend to have high-concept ideas that combine drama and comedy, or comedy and suspense. Luke writes and directs with a major emphasis on character and utilizes the power of music to help create emotional moments.
He began making movies at the age of 10 when his uncle gave him an old Super-8mm movie camera. As a kid, he was either making movies or watching them. He was brought up on the films of Francis Coppola, Marty Brest, John Hughes, Oliver Stone, Milos Forman and of course, Steven Spielberg. At age 13, Luke's dream was to become a filmmaker.
Luke's mother was concerned about this dream. They didn't know anyone or anything about the movie industry. So without Luke's knowing, his mother wrote a passionate letter to Steven Spielberg, Luke's filmmaking idol. In the letter she asked Spielberg if Luke had what it took and included two of Luke's high school short films.
Miraculously, the letter reached Steven Spielberg, and not only did he watch Luke's high school films, but he was so impressed, he wrote Luke a 2-page handwritten letter.
Spielberg encouraged Luke to continue making films and gave Luke some very telling advice about how to truly "reach" audiences. (Advice Luke claims he still uses today.) At the end of the letter Spielberg wrote: "Maybe someday our paths will cross - your raw beginnings are so similar to my own that I know you'll make it." His letter was the beginning of a story that would come full-circle years later.
Before Luke had graduated high school, he was accepted as an undergraduate to the USC School of Cinema-Television. There he made several student films including "Alive & Kicking," which won awards at many film festivals and Luke signed with his first agent, Jeff Robinov at ICM, at the age of 21. In 1994, Luke graduated from the USC Film School.
In 1999, Luke co-wrote and directed the short film, "The Right Hook." Adam Sandler and producers, Todd Garner and Greg Silverman, saw an early cut of the short and gave Luke his first opportunity to direct a studio feature called "The Animal" starring Rob Schneider. It was also Luke's first experience to direct a film he didn't co-write or write the screenplay himself.
Immediately after "The Animal," Luke went back to creating and directing his own material with the edgy coming-of-age film, "The Girl Next Door." The film was a breakout surprise for audiences and the studios as well. It was a teen comedy that transformed into a character journey combining comedy with realistic danger and poignant emotional moments. The film struck a chord with audiences and demonstrated the types of films Luke wanted to make. It also launched the careers of such new faces as Emile Hirsch, Olivia Wilde, Timothy Olyphant, Paul Dano, Chris Marquette and Elisha Cuthbert.
With the success of "The Girl Next Door," Luke's relationship with his childhood idol, Steven Spielberg, came full-circle. Spielberg happened to be a fan of "The Girl Next Door" and was surprised to discover Luke was the same kid he had written to 16 years earlier encouraging him to be a filmmaker. The two finally sat down together and discussed Luke's ultimate passion projects he's always wanted to make. But Luke was contractually under a first-look deal with 20th Century Fox and New Regency. This prevented Luke from setting up any of his passion projects with Spielberg and DreamWorks at the time.
In 2004, Luke created his film & TV production company, WideAwake, Inc., which gave Luke his first foray into television. He directed the critically acclaimed television pilot, "Aliens in America" for NBC/Universal Studios and the CW Network.
At New Regency, Luke created a few of his passion projects, including the comedy, "Role Models," which he produced for Universal Pictures.
Luke was then approached by producer Molly Smith to direct the film adaptation of the best-selling novel, "Something Borrowed." It was a bit out of his wheelhouse, but Luke was intrigued by the book and wanted to work with Molly Smith. The film was released by Warner Brothers in May 2011. The film became a cult hit and the studio is now developing the sequel.
Luke went back to directing his own material with the action-comedy, "Let's Be Cops," a film he developed from scratch which he co-wrote, directed and produced at 20th Century Fox. Like he successfully did with "The Girl Next Door," Luke cast newer faces such as Jake Johnson, Damon Wayans Jr., Keegan-Michael Key (from "Key & Peele"), Nina Dobrev, Rob Riggle and a pivotal role by Andy Garcia.
20th Century Fox released "Let's Be Cops" on August 13th, 2014. The film was made for a total of $17 million and grossed over $137 million worldwide, becoming one of the most profitable films for Fox in 2014.
In January 2015, Luke sold his passion project, "Destiny," to Steven Spielberg and Amblin Partners. Luke has co-written the screenplay with Dana Stevens and will direct it. He will produce with Steven Spielberg and Robert Zemeckis. "Destiny" has been the one film Luke has wanted to make since 1997.
Luke is currently attached to direct and produce the film, "The Holiday Club" at 20th Century Fox with Chernin Entertainment, and the films, "Slingshot," "Pop," and "The Last Bachelor."
In television, Luke is currently creating series specifically for cable. He co-created and co-wrote "The Greener Grass," which he will direct and executive produce.- Producer
- Director
- Camera and Electrical Department
Les Mayfield was born on 23 December 1959 in Albuquerque, New Mexico, USA. He is a producer and director, known for Blue Streak (1999), The Man (2005) and Flubber (1997).- Producer
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- Writer
Laurent Bouzereau is an award-winning filmmaker and best-selling author. He just completed an Untitled feature documentary for HBO/Amblin and is in production on an event film about composer John Williams for Lucasfilm/Amblin/Imagine, produced by Steven Spielberg & Ron Howard.
His credits include the Lucasfilm/Disney+ Documentary Timeless Heroes: Indiana Jones & Harrison Ford, the HBO/Amblin/Playtone documentary Mama's Boy, based on the best-selling memoir by Dustin Lance Black, Natalie Wood: What Remains Behind (Sundance 2020, HBO/Amblin), and the Netflix/Amblin acclaimed series Five Came Back (with an Emmy winning narration by Meryl Streep), executive produced by Steven Spielberg.
Bouzereau has produced and directed hundreds of benchmark behind-the-scenes documentaries, including Steven Spielberg's The Fabelmans and West Side Story. He is the author of several books on cinema, including the recently published, Steven Spielberg: The First Ten Years (2023), the upcoming De Palma Decade (Fall 2024), Hitchcock: Piece by Piece, The Art of Bond, and others. Laurent Bouzereau and his partner Markus Keith run Nedland Media, a production company based in Los Angeles. In addition to the above-mentioned slate of documentaries which Nedland produced, they are developing scripted as well as non-scripted projects. Nedland is also a leader in film and brand marketing, working on campaigns for all the major studios.- Producer
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- Director
Leslye Headland was born on 26 November 1980 in Los Angeles, California, USA. She is a producer and writer, known for Bachelorette (2012), Sleeping with Other People (2015) and Russian Doll (2019). She has been married to Rebecca Henderson since 18 September 2016. They have one child.- Producer
- Writer
- Director