Directors
List activity
0 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
73 people
- Producer
- Writer
- Actor
Quentin Jerome Tarantino was born in Knoxville, Tennessee. His father, Tony Tarantino, is an Italian-American actor and musician from New York, and his mother, Connie (McHugh), is a nurse from Tennessee. Quentin moved with his mother to Torrance, California, when he was four years old.
In January of 1992, first-time writer-director Tarantino's Reservoir Dogs (1992) appeared at the Sundance Film Festival. The film garnered critical acclaim and the director became a legend immediately. Two years later, he followed up Dogs success with Pulp Fiction (1994) which premiered at the Cannes film festival, winning the coveted Palme D'Or Award. At the 1995 Academy Awards, it was nominated for the best picture, best director and best original screenplay. Tarantino and writing partner Roger Avary came away with the award only for best original screenplay. In 1995, Tarantino directed one fourth of the anthology Four Rooms (1995) with friends and fellow auteurs Alexandre Rockwell, Robert Rodriguez and Allison Anders. The film opened December 25 in the United States to very weak reviews. Tarantino's next film was From Dusk Till Dawn (1996), a vampire/crime story which he wrote and co-starred with George Clooney. The film did fairly well theatrically.
Since then, Tarantino has helmed several critically and financially successful films, including Jackie Brown (1997), Kill Bill: Vol. 1 (2003), Kill Bill: Vol. 2 (2004), Inglourious Basterds (2009), Django Unchained (2012) and The Hateful Eight (2015).- Producer
- Writer
- Director
One of the most influential personalities in the history of cinema, Steven Spielberg is Hollywood's best known director and one of the wealthiest filmmakers in the world. He has an extraordinary number of commercially successful and critically acclaimed credits to his name, either as a director, producer or writer since launching the summer blockbuster with Jaws (1975), and he has done more to define popular film-making since the mid-1970s than anyone else.
Steven Allan Spielberg was born in 1946 in Cincinnati, Ohio, to Leah Frances (Posner), a concert pianist and restaurateur, and Arnold Spielberg, an electrical engineer who worked in computer development. His parents were both born to Russian Jewish immigrant families. Steven spent his younger years in Haddon Township, New Jersey, Phoenix, Arizona, and later Saratoga, California. He went to California State University Long Beach, but dropped out to pursue his entertainment career. Among his early directing efforts were Battle Squad (1961), which combined World War II footage with footage of an airplane on the ground that he makes you believe is moving. He also directed Escape to Nowhere (1961), which featured children as World War Two soldiers, including his sister Anne Spielberg, and The Last Gun (1959), a western. All of these were short films. The next couple of years, Spielberg directed a couple of movies that would portend his future career in movies. In 1964, he directed Firelight (1964), a movie about aliens invading a small town. In 1967, he directed Slipstream (1967), which was unfinished. However, in 1968, he directed Amblin' (1968), which featured the desert prominently, and not the first of his movies in which the desert would feature. Amblin' also became the name of his production company, which turned out such classics as E.T. the Extra-Terrestrial (1982). Spielberg had a unique and classic early directing project, Duel (1971), with Dennis Weaver. In the early 1970s, Spielberg was working on TV, directing among others such series as Rod Serling's Night Gallery (1969), Marcus Welby, M.D. (1969) and Murder by the Book (1971). All of his work in television and short films, as well as his directing projects, were just a hint of the wellspring of talent that would dazzle audiences all over the world.
Spielberg's first major directorial effort was The Sugarland Express (1974), with Goldie Hawn, a film that marked him as a rising star. It was his next effort, however, that made him an international superstar among directors: Jaws (1975). This classic shark attack tale started the tradition of the summer blockbuster or, at least, he was credited with starting the tradition. His next film was the classic Close Encounters of the Third Kind (1977), a unique and original UFO story that remains a classic. In 1978, Spielberg produced his first film, the forgettable I Wanna Hold Your Hand (1978), and followed that effort with Used Cars (1980), a critically acclaimed, but mostly forgotten, Kurt Russell/Jack Warden comedy about devious used-car dealers. Spielberg hit gold yet one more time with Raiders of the Lost Ark (1981), with Harrison Ford taking the part of Indiana Jones. Spielberg produced and directed two films in 1982. The first was Poltergeist (1982), but the highest-grossing movie of all time up to that point was the alien story E.T. the Extra-Terrestrial (1982). Spielberg also helped pioneer the practice of product placement. The concept, while not uncommon, was still relatively low-key when Spielberg raised the practice to almost an art form with his famous (or infamous) placement of Reese's Pieces in "E.T." Spielberg was also one of the pioneers of the big-grossing special-effects movies, like "E.T." and "Close Encounters", where a very strong emphasis on special effects was placed for the first time on such a huge scale. In 1984, Spielberg followed up "Raiders" with Indiana Jones and the Temple of Doom (1984), which was a commercial success but did not receive the critical acclaim of its predecessor. As a producer, Spielberg took on many projects in the 1980s, such as The Goonies (1985), and was the brains behind the little monsters in Gremlins (1984). He also produced the cartoon An American Tail (1986), a quaint little animated classic. His biggest effort as producer in 1985, however, was the blockbuster Back to the Future (1985), which made Michael J. Fox an instant superstar. As director, Spielberg took on the book The Color Purple (1985), with Whoopi Goldberg and Oprah Winfrey, with great success. In the latter half of the 1980s, he also directed Empire of the Sun (1987), a mixed success for the occasionally erratic Spielberg. Success would not escape him for long, though.
The late 1980s found Spielberg's projects at the center of pop-culture yet again. In 1988, he produced the landmark animation/live-action film Who Framed Roger Rabbit (1988). The next year proved to be another big one for Spielberg, as he produced and directed Always (1989) as well as Indiana Jones and the Last Crusade (1989), and Back to the Future Part II (1989). All three of the films were box-office and critical successes. Also, in 1989, he produced the little known comedy-drama Dad (1989), with Jack Lemmon and Ted Danson, which got mostly mixed results. Spielberg has also had an affinity for animation and has been a strong voice in animation in the 1990s. Aside from producing the landmark "Who Framed Roger Rabbit", he produced the animated series Tiny Toon Adventures (1990), Animaniacs (1993), Pinky and the Brain (1995), Freakazoid! (1995), Pinky, Elmyra & the Brain (1998), Family Dog (1993) and Toonsylvania (1998). Spielberg also produced other cartoons such as The Land Before Time (1988), We're Back! A Dinosaur's Story (1993), Casper (1995) (the live action version) as well as the live-action version of The Flintstones (1994), where he was credited as "Steven Spielrock". Spielberg also produced many Roger Rabbit short cartoons, and many Pinky and the Brain, Animaniacs and Tiny Toons specials. Spielberg was very active in the early 1990s, as he directed Hook (1991) and produced such films as the cute fantasy Joe Versus the Volcano (1990) and An American Tail: Fievel Goes West (1991). He also produced the unusual comedy thriller Arachnophobia (1990), Back to the Future Part III (1990) and Gremlins 2: The New Batch (1990). While these movies were big successes in their own right, they did not quite bring in the kind of box office or critical acclaim as previous efforts. In 1993, Spielberg directed Jurassic Park (1993), which for a short time held the record as the highest grossing movie of all time, but did not have the universal appeal of his previous efforts. Big box-office spectacles were not his only concern, though. He produced and directed Schindler's List (1993), a stirring film about the Holocaust. He won best director at the Oscars, and also got Best Picture. In the mid-90s, he helped found the production company DreamWorks, which was responsible for many box-office successes.
As a producer, he was very active in the late 90s, responsible for such films as The Mask of Zorro (1998), Men in Black (1997) and Deep Impact (1998). However, it was on the directing front that Spielberg was in top form. He directed and produced the epic Amistad (1997), a spectacular film that was shorted at the Oscars and in release due to the fact that its release date was moved around so much in late 1997. The next year, however, produced what many believe was one of the best films of his career: Saving Private Ryan (1998), a film about World War Two that is spectacular in almost every respect. It was stiffed at the Oscars, losing best picture to Shakespeare in Love (1998).
Spielberg produced a series of films, including Evolution (2001), The Haunting (1999) and Shrek (2001). he also produced two sequels to Jurassic Park (1993), which were financially but not particularly critical successes. In 2001, he produced a mini-series about World War Two that definitely *was* a financial and critical success: Band of Brothers (2001), a tale of an infantry company from its parachuting into France during the invasion to the Battle of the Bulge. Also in that year, Spielberg was back in the director's chair for A.I. Artificial Intelligence (2001), a movie with a message and a huge budget. It did reasonably at the box office and garnered varied reviews from critics.
Spielberg has been extremely active in films there are many other things he has done as well. He produced the short-lived TV series SeaQuest 2032 (1993), an anthology series entitled Amazing Stories (1985), created the video-game series "Medal of Honor" set during World War Two, and was a starting producer of ER (1994). Spielberg, if you haven't noticed, has a great interest in World War Two. He and Tom Hanks collaborated on Shooting War: World War II Combat Cameramen (2000), a documentary about World War II combat photographers, and he produced a documentary about the Holocaust called Eyes of the Holocaust (2000). With all of this to Spielberg's credit, it's no wonder that he's looked at as one of the greatest ever figures in entertainment.- Music Department
- Writer
- Composer
John Howard Carpenter was born in Carthage, New York, to mother Milton Jean (Carter) and father Howard Ralph Carpenter. His family moved to Bowling Green, Kentucky, where his father, a professor, was head of the music department at Western Kentucky University. He attended Western Kentucky University and then USC film school in Los Angeles. He began making short films in 1962, and won an Academy Award for Best Live-Action Short Subject in 1970, for The Resurrection of Broncho Billy (1970), which he made while at USC. Carpenter formed a band in the mid-1970s called The Coupe de Villes, which included future directors Tommy Lee Wallace and Nick Castle. Since the 1970s, he has had numerous roles in the film industry including writer, actor, composer, producer, and director. After directing Dark Star (1974), he has helmed both classic horror films like Halloween (1978), The Fog (1980), and The Thing (1982), and noted sci-fi tales like Escape from New York (1981) and Starman (1984).- Producer
- Director
- Actor
Martin Charles Scorsese was born on November 17, 1942 in Queens, New York City, to Catherine Scorsese (née Cappa) and Charles Scorsese, who both worked in Manhattan's garment district, and whose families both came from Palermo, Sicily. He was raised in the neighborhood of Little Italy, which later provided the inspiration for several of his films. Scorsese earned a B.S. degree in film communications in 1964, followed by an M.A. in the same field in 1966 at New York University's School of Film. During this time, he made numerous prize-winning short films including The Big Shave (1967), and directed his first feature film, Who's That Knocking at My Door (1967).
He served as assistant director and an editor of the documentary Woodstock (1970) and won critical and popular acclaim for Mean Streets (1973), which first paired him with actor and frequent collaborator Robert De Niro. In 1976, Scorsese's Taxi Driver (1976), also starring De Niro, was awarded the Palme d'Or at the Cannes Film Festival, and he followed that film with New York, New York (1977) and The Last Waltz (1978). Scorsese directed De Niro to an Oscar-winning performance as boxer Jake LaMotta in Raging Bull (1980), which received eight Academy Award nominations, including Best Picture and Best Director, and is hailed as one of the masterpieces of modern cinema. Scorsese went on to direct The Color of Money (1986), The Last Temptation of Christ (1988), Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), Casino (1995) and Kundun (1997), among other films. Commissioned by the British Film Institute to celebrate the 100th anniversary of the birth of cinema, Scorsese completed the four-hour documentary, A Personal Journey with Martin Scorsese Through American Movies (1995), co-directed by Michael Henry Wilson.
His long-cherished project, Gangs of New York (2002), earned numerous critical honors, including a Golden Globe Award for Best Director; the Howard Hughes biopic The Aviator (2004) won five Academy Awards, in addition to the Golden Globe and BAFTA awards for Best Picture. Scorsese won his first Academy Award for Best Director for The Departed (2006), which was also honored with the Director's Guild of America, Golden Globe, New York Film Critics, National Board of Review and Critic's Choice awards for Best Director, in addition to four Academy Awards, including Best Picture. Scorsese's documentary of the Rolling Stones in concert, Shine a Light (2008), followed, with the successful thriller Shutter Island (2010) two years later. Scorsese received his seventh Academy Award nomination for Best Director, as well as a Golden Globe Award, for Hugo (2011), which went on to win five Academy Awards.
Scorsese also serves as executive producer on the HBO series Boardwalk Empire (2010) for which he directed the pilot episode. Scorsese's additional awards and honors include the Golden Lion from the Venice Film Festival (1995), the AFI Life Achievement Award (1997), the Honoree at the Film Society of Lincoln Center's 25th Gala Tribute (1998), the DGA Lifetime Achievement Award (2003), The Kennedy Center Honors (2007) and the HFPA Cecil B. DeMille Award (2010). Scorsese and actor Leonardo DiCaprio have worked together on five separate occasions: Gangs of New York (2002), The Aviator (2004), The Departed (2006), Shutter Island (2010) and The Wolf of Wall Street (2013).- Director
- Animation Department
- Producer
Dave Fleischer was an American film producer and director of animated films. He co-founded the animation studio Fleischer Studios (1929-1942) with his brother Max Fleischer. Dave is primarily remembered for directing the studio's only two feature films: "Gulliver's Travels" (1939) and "Mr. Bug Goes to Town" (1941). They were both among the earliest American animated feature films, and were intended to compete with the productions of the Walt Disney Animation Studios.
Fleischer was born in New York City, and grew up in the impoverished Jewish neighborhood of Brownsville, Brooklyn. In early life, he worked as an usher at the Palace Theater on Broadway. He became familiar with the gags and comic timing required in vaudeville-style comic acts, which were featured in the theater. These familiarity would later influence his output as a director.
At one point, Fleischer worked as a clown for a sideshow amusement in Coney Island. His costume and mannerisms for this job were used as an inspiration for Koko the Clown, the first star character of the Fleischer brothers. In c. 1913, Fleischer was hired as a film cutter for Pathé Exchange. The company was the American subsidiary of the French film production and distribution company Pathé. This was Fleischer's earliest known involvement with the film industry.
In 1921, the Fleischer brothers set up their first animation studio: Out of the Inkwell Films. It was located in midtown Manhattan. Dave served as both the director and the production supervisor of their animated short films. The studio soon became one of the leading production companies in animation, due to introducing a number of technological innovations. In 1924, the Fleischer brothers became partners in the Red Seal Pictures Corporation, a new chain of movie theaters. They soon acquired the rights to use Lee de Forest's Phonofilm system for sound films. The Fleischer brothers produced the earliest animated sound films in 1924.
By 1926, Red Seal owned 56 movie theaters but was not particularly profitable. It soon filed for bankruptcy, but the animation studio of the Fleischer brothers survived for a while due to signing a contract with Paramount Pictures. Following the termination of this contract, Out of the Inkwell filed for bankruptcy in January 1929. In March of the same year, the Fleischer brothers established the new Fleischer Studios. They soon gained a new contract with Paramount, securing their funding.
During the 1930s, Dave supervised the production of two lucrative series of animated short films. One featured Betty Boop, lasting from 1932 to 1939. The other featured Popeye the Sailor, lasting from 1933 to 1942. In 1938, the studio was relocated from New York City to Miami, Florida. By that time, Dave was already working in the production of his first animated feature film, "Gulliver's Travels" (1939). The film earned about 3.3 million dollars at the domestic box office, but Paramount received the lion's share of the profits. It also requested the Fleischer Studios to pay a penalty fee for going over budget. Leaving the animation studio in debt.
In the early 1940s, Dave launched production of several new animated series in hopes of keeping the studio afloat. "Stone Age Cartoons" (1940) anachronistically featured elements of modern life in prehistory. "Gabby" (1940-1941) featured a supporting character from "Gulliver's Travels" as its main star. "Animated Antics" (1940-1941) was an anthology series, often showcasing the supporting characters of "Gulliver's Travels". All these series were commercial flops, met with indifference by theater owners and the general audience. Max eventually secured a contract to produce a superhero animated series featuring Superman. This lasted from 1941 to 1942, and was better received by the public. The Superman short films had a higher budget than previous productions of the studio.
Dave soon went to work in directing and producing his second feature film, "Mr. Bug Goes to Town" (1941). But his personal and professional relationship with his brother had increasingly deteriorated since the late 1930s, and Dave decided to resign from the studio prior to the film's release. He resigned in late November 1941, though his resignation was not officially announced until December 31. The financially declining Fleischer Studios was soon acquired by Paramount, which turned it into the subsidiary company Famous Studios (1942-1967).
By April 1942, Dave had been hired as a producer by another animation studio. He was working for Screen Gems, a subsidiary of Columbia Pictures. Fleischer soon replaced Frank Tashlin (1913-1972) as the new studio head. He supervised the production of "The Fox and the Crow" (1941-1950), which soon became the studio's most popular series. He also produced an animated film series based on the comic strip "Li'l Abner", and continued the low-budget anthology series "Phantasies" (1939-1948). In 1944, Fleischer was fired by Harry Cohn (1891-1958), the then-studio head of Columbia. The reasons for his termination are unclear, but Fleischer was replaced by Henry Binder.
In the mid-1940s, Fleischer developed an elf-like new character, called Snippy. He tried to secure funding for a new animated series from Republic Pictures, but the project ended in development hell. Republic instead hired Fleischer to provide animation sequences for its B-movies. Fleischer resurfaced in the 1950s, as an employee of Filmack Trailer. He was put to work in animating a series of Technicolor theatrical snipes. The most famous of these was the musical advertisement "Let's All Go to the Lobby" (1957), which continued to be used for decades.
At a later point, Fleischer was hired as a "Technical Specialist" by Universal Pictures. His job required him to work as a special-effects expert and general problem-solver for various live-action films. His most famous film in this position was the natural horror film "The Birds" (1963), where he collaborated with veteran animator and technician Ub Iwerks. Universal also asked Fleischer to supervise the English language dubbing of the Soviet animated feature film "The Snow Queen" (1957).
Fleischer's last work as a technical adviser was in the live-action film "Thoroughly Modern Millie" (1967), a period piece set in the 1920s. He then permanently retired. He spend the last decades of his life living at the Peyton Hall apartment complex on Hollywood Boulevard. In June 1979, Fleischer suffered a stroke. He died shortly after, at the age of 84. Though long gone, Dave Fleischer is fondly remembered by fans of traditional animation. Several of his works became available at the home video market, introducing his style to new generations of animation fans.- Director
- Writer
- Producer
Edgar Howard Wright (born 18 April 1974) is an English director, screenwriter, producer, and actor. He is best known for his comedic Three Flavours Cornetto film trilogy consisting of Shaun of the Dead (2004), Hot Fuzz (2007), and The World's End (2013), made with recurrent collaborators Simon Pegg, Nira Park and Nick Frost. He also collaborated with them as the director of the television series Spaced.- Producer
- Actor
- Additional Crew
Walter Elias Disney was born on December 5, 1901 in Chicago, Illinois, the son of Flora Disney (née Call) and Elias Disney, a Canadian-born farmer and businessperson. He had Irish, German, and English ancestry. Walt moved with his parents to Kansas City at age seven, where he spent the majority of his childhood. At age 16, during World War I, he faked his age to join the American Red Cross. He soon returned home, where he won a scholarship to the Kansas City Art Institute. There, he met a fellow animator, Ub Iwerks. The two soon set up their own company. In the early 1920s, they made a series of animated shorts for the Newman theater chain, entitled "Newman's Laugh-O-Grams". Their company soon went bankrupt, however.
The two then went to Hollywood in 1923. They started work on a new series, about a live-action little girl who journeys to a world of animated characters. Entitled the "Alice Comedies", they were distributed by M.J. Winkler (Margaret). Walt was backed up financially only by Winkler and his older brother Roy O. Disney, who remained his business partner for the rest of his life. Hundreds of "Alice Comedies" were produced between 1923 and 1927, before they lost popularity.
Walt then started work on a series around a new animated character, Oswald the Lucky Rabbit. This series was successful, but in 1928, Walt discovered that M.J. Winkler and her husband, Charles Mintz, had stolen the rights to the character away from him. They had also stolen all his animators, except for Ub Iwerks. While taking the train home, Walt started doodling on a piece of paper. The result of these doodles was a mouse named Mickey. With only Walt and Ub to animate, and Walt's wife Lillian Disney (Lilly) and Roy's wife Edna Disney to ink in the animation cells, three Mickey Mouse cartoons were quickly produced. The first two didn't sell, so Walt added synchronized sound to the last one, Steamboat Willie (1928), and it was immediately picked up. With Walt as the voice of Mickey, it premiered to great success. Many more cartoons followed. Walt was now in the big time, but he didn't stop creating new ideas.
In 1929, he created the 'Silly Symphonies', a cartoon series that didn't have a continuous character. They were another success. One of them, Flowers and Trees (1932), was the first cartoon to be produced in color and the first cartoon to win an Oscar; another, Three Little Pigs (1933), was so popular it was often billed above the feature films it accompanied. The Silly Symphonies stopped coming out in 1939, but Mickey and friends, (including Minnie Mouse, Donald Duck, Goofy, Pluto, and plenty more), were still going strong and still very popular.
In 1934, Walt started work on another new idea: a cartoon that ran the length of a feature film. Everyone in Hollywood was calling it "Disney's Folly", but Snow White and the Seven Dwarfs (1937) was anything but, winning critical raves, the adoration of the public, and one big and seven little special Oscars for Walt. Now Walt listed animated features among his ever-growing list of accomplishments. While continuing to produce cartoon shorts, he also started producing more of the animated features. Pinocchio (1940), Dumbo (1941), and Bambi (1942) were all successes; not even a flop like Fantasia (1940) and a studio animators' strike in 1941 could stop Disney now.
In the mid 1940s, he began producing "packaged features", essentially a group of shorts put together to run feature length, but by 1950 he was back with animated features that stuck to one story, with Cinderella (1950), Alice in Wonderland (1951), and Peter Pan (1953). In 1950, he also started producing live-action films, with Treasure Island (1950). These began taking on greater importance throughout the 50s and 60s, but Walt continued to produce animated features, including Lady and the Tramp (1955), Sleeping Beauty (1959), and One Hundred and One Dalmatians (1961).
In 1955 he opened a theme park in southern California: Disneyland. It was a place where children and their parents could take rides, just explore, and meet the familiar animated characters, all in a clean, safe environment. It was another great success. Walt also became one of the first producers of films to venture into television, with his series The Magical World of Disney (1954) which he began in 1954 to promote his theme park. He also produced The Mickey Mouse Club (1955) and Zorro (1957). To top it all off, Walt came out with the lavish musical fantasy Mary Poppins (1964), which mixed live-action with animation. It is considered by many to be his magnum opus. Even after that, Walt continued to forge onward, with plans to build a new theme park and an experimental prototype city in Florida.
He did not live to see the culmination of those plans, however; in 1966, he developed lung cancer brought on by his lifelong chain-smoking. He died of a heart attack following cancer surgery on December 15, 1966 at age 65. But not even his death, it seemed, could stop him. Roy carried on plans to build the Florida theme park, and it premiered in 1971 under the name Walt Disney World. His company continues to flourish, still producing animated and live-action films and overseeing the still-growing empire started by one man: Walt Disney, who will never be forgotten.- Art Department
- Writer
- Director
Christopher Mason Savino is an American animator, writer and director who is known for creating The Loud House for Nickelodeon. He also worked on episodes of Dexter's Laboratory, The Powerpuff Girls, The Ren & Stimpy Show, My Gym Partner's A Monkey and My Little Pony: Friendship is Magic. He was married to Bethany and has 3 children.- Producer
- Writer
- Actor
Lawrence Gene David is an American comedian, writer, actor, director, and television producer. He and Jerry Seinfeld created the television sitcom Seinfeld, on which David was head writer and executive producer for the first seven seasons. He gained further recognition for the HBO series Curb Your Enthusiasm, which he created and stars in as a semi-fictionalized version of himself. He has written or co-written the stories of every episode since its pilot episode in 1999.
David's work on Seinfeld won him two Primetime Emmy Awards in 1993, for Outstanding Comedy Series and Outstanding Individual Achievement in Writing in a Comedy Series. Formerly a comedian, he went into television comedy, writing and starring in ABC's Fridays, and writing briefly for Saturday Night Live. He has been nominated for 27 Primetime Emmy Awards and three Golden Globe Awards. He was voted by fellow comedians and comedy insiders as the 23rd greatest comedy star ever in a 2004 British poll to select "The Comedian's Comedian", and received the Laurel Award for TV Writing Achievement by the Writers Guild of America in 2010.
Since 2015, he has made recurring guest appearances on Saturday Night Live, where he impersonates 2016 and 2020 U.S. presidential candidate Bernie Sanders.- Producer
- Actor
- Director
Benjamin Edward Meara Stiller was born on November 30, 1965, in New York City, New York, to legendary comedians Jerry Stiller and Anne Meara. His father was of Austrian Jewish and Polish Jewish descent, and his mother was of Irish Catholic descent (she converted to Judaism).
His parents made no real effort to keep their son away from the Hollywood lifestyle and he grew up among the stars, wondering just why his parents were so popular. At a young age, he and his sister Amy Stiller would perform plays at home, wearing Amy's tights to perform Shakespeare. Ben also picked up an interest in being on the other side of the camera and, at age 10, began shooting films on his Super 8 camera. The plots were always simple: someone would pick on the shy, awkward Stiller ... and then he would always get his revenge. This desire for revenge on the popular, good-looking people may have motivated his teen-angst opus Reality Bites (1994) later in his career. He both directed and performed in the film, which co-starred Winona Ryder and Ethan Hawke.
Before he got to Hollywood, he put in several consistently solid years in the theater. After dropping out of UCLA, he performed in the Tony Award winner, "The House of Blue Leaves". While working on the play, Stiller shot a short spoof of The Color of Money (1986) starring him (in the Tom Cruise role) and his The House of Blue Leaves (1987) costar John Mahoney (in the Paul Newman role). The short film was so funny that Lorne Michaels purchased it and aired it on Saturday Night Live (1975). This led to his spending a year on the show in 1989.
Stiller made his big screen debut in Steven Spielberg's Empire of the Sun (1987) in 1987. Demonstrating early on the multifaceted tone his career would take, he soon stepped behind the camera to direct Back to Brooklyn for MTV. The network was impressed and gave Stiller his own show, The Ben Stiller Show (1992). He recruited fellow offbeat comedians Janeane Garofalo and Andy Dick and created a bitingly satirical show. MTV ended up passing on it, but it was picked up by Fox. Unfortunately, the show was a ratings miss. Stiller was soon out of work, although he did have the satisfaction of picking up an Emmy for the show after its cancellation.
For a while, Stiller had to settle for guest appearance work. While doing this, he saved up his cash and in the end was able to scrape enough together to make Reality Bites (1994), now a cult classic which is looked upon favorably by the generation it depicted. Ben continued to work steadily for a time, particularly in independent productions where he was more at ease. However, he never quite managed to catch a big break. His first big budget directing job was Jim Carrey's The Cable Guy (1996). Although many critics were impressed, Jim Carrey's fans were not. In 1998, There's Something About Mary (1998) had propelled Stiller into the mainstream spotlight. He also starred in such hit movies as Keeping the Faith (2000) and Meet the Parents (2000).- Producer
- Actor
- Writer
Tom Green was born on 30 July 1971 in Pembroke, Ontario, Canada. He is a producer and actor, known for Freddy Got Fingered (2001), Charlie's Angels (2000) and Road Trip (2000). He was previously married to Drew Barrymore.- Producer
- Writer
- Actor
Jerry Seinfeld was born in Brooklyn, New York, the son of Betty (Hesney) and Kalman Seinfeld. His father was of Hungarian Jewish descent, while Jerry's maternal grandparents, Salha and Selim Hosni, were Syrian Jewish immigrants (from Aleppo). He moved with his family, including sister Carolyn, to suburban Massepequa, Long Island, at a young age. Jerry's dad, who had a terrific sense of humor, was a commercial sign maker.
Jerry attended Oswego College in upstate New York however transferred to Queens College back in New York City. Developed an interest in stand-up comedy after brief stints in college productions. Went straight from college graduation to amateur night tryout at New York's Catch a Rising Star, 1976.
Continued to perform in local clubs and Catskill Mountain resorts until his career was boosted by an appearance on a Rodney Dangerfield HBO special, 1976. Career took off after first successful spot on The Tonight Show Starring Johnny Carson (1962), May 1981, at age 27. Appearances on [error] and The Merv Griffin Show (1962) followed. Also appeared four times as Frankie on Benson (1979) sitcom. After he was abruptly fired from the show, he swore never to do another sitcom unless he had greater control. This opportunity emerged when he was invited to create a sitcom for NBC in 1989 and teamed with one-time stand-up colleague Larry David.
Progression of "The Seinfeld Chronicles" into the long-running Seinfeld (1989) series phenomenon was ended by its co-creator and co-executive producer, Larry David. Still unmarried, he moved back to New York City into a new multimillion-dollar, multilevel apartment on Central Park West just down the street from his small bachelor studio on West 81st.- Producer
- Writer
- Director
Darren Aronofsky was born February 12, 1969, in Brooklyn, New York. Growing up, Darren was always artistic: he loved classic movies and, as a teenager, he even spent time doing graffiti art. After high school, Darren went to Harvard University to study film (both live-action and animation). He won several film awards after completing his senior thesis film, "Supermarket Sweep", starring Sean Gullette, which went on to becoming a National Student Academy Award finalist. Aronofsky didn't make a feature film until five years later, in February 1996, where he began creating the concept for Pi (1998). After Darren's script for Pi (1998) received great reactions from friends, he began production. The film re-teamed Aronofsky with Gullette, who played the lead. This went on to further successes, such as Requiem for a Dream (2000), The Wrestler (2008) and Black Swan (2010). Most recently, he completed the films Noah (2014) and Mother! (2017).- Actor
- Writer
- Producer
Sylvester Stallone is an athletically built, dark-haired American actor/screenwriter/director/producer, the movie fans worldwide have been flocking to see Stallone's films for over 40 years, making "Sly" one of Hollywood's biggest-ever box office draws.
Sylvester Stallone was born on July 6, 1946, in New York's gritty Hell's Kitchen, to Jackie Stallone (née Labofish), an astrologer, and Frank Stallone, a beautician and hairdresser. His father was an Italian immigrant, and his mother's heritage is half French (from Brittany) and half German. The young Stallone attended the American College of Switzerland and The University of Miami, eventually obtaining a B.A. degree. Initially, he struggled in small parts in films such as the soft-core The Party at Kitty and Stud's (1970), the thriller Klute (1971) and the comedy Bananas (1971). He got a crucial career break alongside fellow young actor Henry Winkler, sharing lead billing in the effectively written teen gang film The Lords of Flatbush (1974). Further film and television roles followed, most of them in uninspiring productions except for the opportunity to play a megalomaniac, bloodthirsty race driver named "Machine Gun Joe Viterbo" in the Roger Corman-produced Death Race 2000 (1975). However, Stallone was also keen to be recognized as a screenwriter, not just an actor, and, inspired by the 1975 Muhammad Ali-Chuck Wepner fight in Cleveland, Stallone wrote a film script about a nobody fighter given the "million to one opportunity" to challenge for the heavyweight title. Rocky (1976) became the stuff of cinematic legends, scoring ten Academy Award nominations, winning the Best Picture Award of 1976 and triggering one of the most financially successful movie series in history! Whilst full credit is wholly deserved by Stallone, he was duly supported by tremendous acting from fellow cast members Talia Shire, Burgess Meredith and Burt Young, and director John G. Avildsen gave the film an emotive, earthy appeal from start to finish. Stallone had truly arrived on his terms, and offers poured in from various studios eager to secure Hollywood's hottest new star.
Stallone followed Rocky (1976) with F.I.S.T. (1978), loosely based on the life of Teamsters boss "Jimmy Hoffa", and Paradise Alley (1978) before pulling on the boxing gloves again to resurrect Rocky Balboa in the sequel Rocky II (1979). The second outing for the "Italian Stallion" wasn't as powerful or successful as the first "Rocky", however, it still produced strong box office. Subsequent films Nighthawks (1981) and Victory (1981) failed to ignite with audiences, so Stallone was once again lured back to familiar territory with Rocky III (1982) and a fearsome opponent in "Clubber Lang" played by muscular ex-bodyguard Mr. T. The third "Rocky" installment far outperformed the first sequel in box office takings, but Stallone retired his prizefighter for a couple of years as another series was about to commence for the busy actor.
The character of Green Beret "John Rambo" was the creation of Canadian-born writer David Morrell, and his novel was adapted to the screen with Stallone in the lead role in First Blood (1982), also starring Richard Crenna and Brian Dennehy. The movie was a surprise hit that polarized audiences because of its commentary about the Vietnam war, which was still relatively fresh in the American public's psyche. Political viewpoints aside, the film was a worldwide smash, and a sequel soon followed with Rambo: First Blood Part II (1985), which drew even stronger criticism from several quarters owing to the film's plot line about American MIAs allegedly being held in Vietnam. But they say there is no such thing as bad publicity, and "John Rambo's" second adventure was a major money spinner for Stallone and cemented him as one of the top male stars of the 1980s. Riding a wave of amazing popularity, Stallone called on old sparring partner Rocky Balboa to climb back into the ring to defend American pride against a Soviet threat in the form of a towering Russian boxer named "Ivan Drago" played by curt Dolph Lundgren in Rocky IV (1985). The fourth outing was somewhat controversial with "Rocky" fans, as violence levels seemed excessive compared to previous "Rocky" films, especially with the savage beating suffered by Apollo Creed, played by Carl Weathers, at the hands of the unstoppable "Siberian Express".
Stallone continued forward with a slew of macho character-themed films that met with a mixed reception from his fans. Cobra (1986) was a clumsy mess, Over the Top (1987) was equally mediocre, Rambo III (1988) saw Rambo take on the Russians in Afghanistan, and cop buddy film Tango & Cash (1989) just did not quite hit the mark, although it did feature a top-notch cast and there was chemistry between Stallone and co-star Kurt Russell.
Philadelphia's favorite mythical boxer moved out of the shadows for his fifth screen outing in Rocky V (1990) tackling Tommy "Machine" Gunn played by real-life heavyweight fighter Tommy Morrison, the great-nephew of screen legend John Wayne. Sly quickly followed with the lukewarm comedy Oscar (1991), the painfully unfunny Stop! Or My Mom Will Shoot (1992), the futuristic action film Demolition Man (1993), and the comic book-inspired Judge Dredd (1995). Interestingly, Stallone then took a departure from the gung-ho steely characters he had been portraying to stack on a few extra pounds and tackle a more dramatically challenging role in the intriguing Cop Land (1997), also starring Robert De Niro and Ray Liotta. It isn't a classic of the genre, but Cop Land (1997) certainly surprised many critics with Stallone's understated performance. Stallone then lent his vocal talents to the animated adventure story Antz (1998), reprised the role made famous by Michael Caine in a terrible remake of Get Carter (2000), climbed back into a race car for Driven (2001), and guest-starred as the "Toymaker" in the third chapter of the immensely popular "Spy Kids" film series, Spy Kids 3: Game Over (2003). Showing that age had not wearied his two most popular series, Stallone has most recently brought back never-say-die boxer Rocky Balboa to star in, well, what else but Rocky Balboa (2006), and Vietnam veteran Rambo (2008) will reappear after a 20-year hiatus to once again right wrongs in the jungles of Thailand.
Love him or loathe him, Sylvester Stallone has built an enviable and highly respected career in Hollywood, plus, he has considerably influenced modern popular culture through several of his iconic film characters.- Writer
- Actor
- Producer
David Mitchell was born on 14th July 1974 in Salisbury, England. His parents, Ian and Kathy Mitchell, worked as hotel managers in Salisbury. David also has a brother. In 1977 the family moved to Oxford, where his parents taught a course in hotel management at Oxford Brookes University. David was educated at Abingdon School in Oxfordshire. He has been writing comedy material since his schooldays when he used to write comedy sketches with his friends. A year before he went to college, David worked for a while as a proofreader for the Oxford University Press. He studied History at Peterhouse College, Cambridge. Whilst he was studying at Cambridge University he joined the Cambridge Footlights, where he met his comedy partner, Robert Webb. David became President of the Cambridge Footlights and after graduation he and Robert staged a two man show at the Edinburgh Fringe Festival.
Early in his career David worked as a freelance writer on comedy sketch shows including 'Armstrong and Miller' and 'Big Train'. He also appeared as Owen, the IT specialist, in 'Think the Unthinkable', a BBC Radio 4 situation comedy about a firm of management consultants. David made a guest appearance as Owen in one episode for the first series. This episode was broadcast on 6th November 2001. His character proved to be so popular that Owen was co-opted as a full member of Unthinkable Solutions and David appeared in all six episodes of Series 2 of 'Think the Unthinkable'. These episodes were broadcast on BBC Radio 4 from 7th November 2002 to 12th December 2002. In 2001 David and Robert co-wrote a six part comedy sketch show 'The Mitchell and Webb Situation', which was broadcast on Play UK. The series was directed by David Kerr, who would later work with David and Robert on their BBC2 sketch show, That Mitchell and Webb Look (2006), and several sketches featured the actress Olivia Colman. Also in 2001, David bought his first home, a small flat in the Kilburn district of London.
In 2003 David was cast as Mark Corrigan in the Channel 4 situation comedy, Peep Show (2003). This series follows the lives of Mark and his friend Jeremy, played by Robert Webb, who share a flat in Apollo House, a London apartment block. Mark works for a company called JLB Credit. His work colleagues include Sophie Chapman, played by Olivia Colman. The show has a distinctive look because of its extensive use of subjective camera angles, as viewers are shown events from Mark and Jeremy's point of view. The series also makes use of voice overs in which Mark and Jeremy reveal their innermost thoughts. The first series was broadcast in six episodes between 19th September 2003 and 24th October 2003. Peep Show (2003) was an instant success. The show was nominated for the BAFTA television award for best situation comedy in 2004, and a second series was quickly commissioned. This was broadcast in six episodes on Channel 4 between 12th November 2004 and 17th December 2004. As a result of David's filming commitments for the second series of Peep Show (2003), he was only available to record some of the episodes for the third series of the Radio 4 sitcom, 'Think the Unthinkable', which was broadcast in six parts between 13th July 2004 and 17th August 2004. To explain his absence, the writers devised a storyline in which David's character Owen went into hiding, and a new IT consultant, Jed, played by Robin Ince, was drafted in to cover for him.
The first series of 'That Mitchell and Webb Sound', a comedy sketch show, was broadcast on BBC Radio 4 between 28th August and 2nd October 2003. All of the characters in the radio show were played by David, Robert, Olivia Colman and James Bachman. It was in Episode 5 of Series One, broadcast on 25th September 2003, that a character called Sir Digby Caesar Salad made his first appearance. Sir Digby was played by Robert and David took the role of his trusty sidekick Ginger. These characters would later feature prominently in the sketch show when it transferred to BBC2 in 2006. After the success of the first run of six episodes, 'That Mitchell and Webb Sound' was commissioned for a second series, which was broadcast in six parts between 10th February and 17th March 2005. Episode 5 of the second series, which went out on 24th February 2005, included a sketch about a game show called Numberwang. David returned to play Owen in the fourth and final series of 'Think the Unthinkable'. This consisted of four episodes broadcast on BBC Radio 4 between 28th September and 19th October 2005. David ended 2005 by starring in the third series of Peep Show (2003). This was shown in six parts by Channel 4 between 11th November 2005 and 16th December 2005 and went on to win the best TV comedy award at the 2006 British Comedy awards. In the third series, Alan Johnson, an executive at Mark's firm JLB Credit played by Paterson Joseph, memorably explained his attitude to personnel issues by saying that in his opinion illness is weakness.
The format of the Mitchell and Webb radio series was used for a television sketch show, That Mitchell and Webb Look (2006), the first series of which was broadcast on BBC2 in six episodes between 14th September 2006 and 19th October 2006. The television series featured a number of sketches first used in the radio show such as the surprising adventures of Sir Digby Caesar Salad, now renamed Sir Digby Chicken Caesar. The Numberwang game show also featured in every episode of the first TV series. Usually Robert played the game show host, but in one episode David hosted a German language version of Numberwang. In 2006 David and Robert went on a tour of Great Britain with their stage show, 'The Two Faces of Mitchell and Webb'. This opened at the Pleasance Theatre in London on 12th October 2006 and ended at the Assembly Hall Theatre in Tunbridge Wells on 10th December 2006. In December 2006 David was the best man at Robert's wedding to Abigail Burdess.
In 2006 David hosted a pilot episode for a comedy panel game called 'The Unbelievable Truth'. In the game, the contestants each deliver a lecture on a given subject. Their talks consist almost entirely of lies, but the lectures always contain a few items of genuine factual information. The other contestants have to identify the items of true information, and points are won by correctly identifying true facts, and also for successfully smuggling truths past the other contestants. The pilot episode was broadcast by BBC Radio 4 on Thursday 19th October 2006, and it led to a full series of six episodes which ran from 29th April to 3rd June 2007. The writers of Peep Show (2003), Jesse Armstrong and Sam Bain, wrote the screenplay for Magicians (2007), a comedy feature film starring David and Robert as rival stage musicians. This film went on general release in Great Britain on 18th May 2007. Peep Show (2003) returned in the spring of 2007 for its fourth season after a slightly longer break than usual. As usual David and Robert collaborated on the scripts with Jesse Armstrong and Sam Bain by providing additional material. The series was shown on Channel 4 in six episodes between 13th April and 18th May 2007. David was nominated for the best TV comedy performance award at the 2008 Television BAFTAs for his portrayal of Mark in the fourth season of Peep Show (2003). The show itself won the award for best TV comedy at the 2007 the British comedy awards, and the best sitcom award at the 2008 Television BAFTAs. Just after Peep Show (2003) had completed its run on Channel 4, David co-wrote and starred in the third series of 'That Mitchell and Webb Sound', which was broadcast in six episodes on BBC Radio 4 between 24th May and 28th June 2007. The highlights included 'Celebrity Fame Zeppelin', a sketch which parodied reality television shows like 'Big Brother'. Since 2007 David is one of the team captains of Would I Lie to You? (2007) since the first series.
The first series of That Mitchell and Webb Look (2006) won a BAFTA award, and the sketch show was commissioned for a second series. This was broadcast on BBC2 in six episodes between 21st February 2008 and 27th March 2008. Later in 2008 David hosted the second series of 'The Unbelievable Truth', which went out on BBC Radio 4 between 5th May and 9th June 2008. There was also an 'Unbelievable Truth' Christmas special, which was broadcast by BBC Radio 4 on Monday 15th December 2008. In the late spring of 2008, Peep Show (2003) returned for its fifth season, which was broadcast in six episodes by Channel 4 between 2nd May and 6th June 2008. The fifth series featured a new character called Dobby played by Isy Suttie, who was nominated for the award for best female comedy newcomer at the 2008 British Comedy awards. Also at the 2008 British comedy awards, David was nominated for best television comedy actor, and Olivia Colman was nominated for best television comedy actress for her performance as Sophie Chapman. Unfortunately, none of the three Peep Show (2003) nominees won on the night, but David's role as Mark was recognized at the 2009 Television BAFTAs when he won the award for best comedy performance. In his acceptance speech at the awards ceremony which took place at London's South Bank on Sunday 26th April 2009, David said that the award should really have been shared with his comedy partner and co-star in the sitcom, Robert Webb.
In the spring of 2009, David hosted the third season of 'The Unbelievable Truth'. This was broadcast in six parts by BBC Radio 4 between 23rd March and 27th April 2009. One of the guests in the third season was Graeme Garden, who had originally helped to devise the format of the game show. David made a guest appearance in two episodes of the BBC Radio 4 topical debate show, 'Heresy'. The episodes in question went out on 5th and 19th May 2009. The third season of That Mitchell and Webb Look (2006) started on BBC2 on Thursday 11th June 2009.- Actor
- Writer
- Producer
Robert Webb was born on 29 September 1972 in Lincolnshire, England, UK. He is an actor and writer, known for That Mitchell and Webb Look (2006), Peep Show (2003) and Back (2017). He has been married to Abigail Burdess since 2006. They have two children.- Writer
- Producer
- Actor
Ricky Dene Gervais was born in a suburb of Reading, Berkshire, to Eva Sophia (House) and Lawrence Raymond Gervais, who was a hod carrier and labourer. His father was born in Ontario, Canada, of French-Canadian descent, and his mother was English. He was educated at Ashmead Comprehensive School and went on to study at University College, London, where he gained a degree in Philosophy.
After university, Gervais attempted to pursue a pop career with Seona Dancing, a duo he formed with a fellow student. Similar to many groups in the early 1980s, they were a synth-pop act with a somewhat pretentious name and exhibiting a strong musical influence by David Bowie. Gervais adopted a vocal style that has often been compared to Bowie; comedian Paul Merton would later joke that Bowie nicked their music. Seona Dancing were briefly signed to a recording contract and released two singles, "More to Lose" and "Bitter Heart". The latter was slightly reminiscent of Queen's "Body Language" from a year earlier, featuring a similar synthesizer riff. The act failed to breach the UK top 75 and earn a place in the Guinness Book of British Hit Singles, but clips have survived and they have been frequently used to tease Gervais in interviews. Despite his own lack of success, Gervais stayed within the music industry for a while and even spent time as the manager of Suede.
Gervais had to wait a long time before achieving the fame he had hoped would come with a pop career. In the 1990s he formed a writing partnership with Stephen Merchant. In 2000, he landed his own comedy chat show on Channel 4, Meet Ricky Gervais (2000), which attracted legendary guests such as Jimmy Savile, Michael Winner, Paul Daniels, Peter Purves, Stefanie Powers, Jim Bowen and Midge Ure. The series only ran for six episodes but a year later greater stardom came for Gervais with the debut of BBC comedy The Office (2001). Although it was not initially received to great acclaim or viewing figures, it is now often cited as one of the greatest comedy series of all time and has been credited with reinventing the sitcom. Gervais starred as the obnoxious and embarrassing office manager David Brent, who has since been voted in various polls one of the greatest comic characters. It also prompted an American remake, The Office (2005). Gervais had further success with another sitcom, Extras (2005), which attracted a series of celebrity guests, including Ben Stiller, Samuel L. Jackson and his musical idol David Bowie. It served as a satire on the entertainment industry and leading stars were happy to play along by performing exaggerated versions of themselves.
Gervais has become one of the most popular and omnipresent comedy performers of the 21st century, hosting the Golden Globe awards, lending his talent to films, becoming a voice artist and appearing on numerous talk shows. He has become one of the best known British comedy figures in America. He is also regularly the subject of controversy due to his dark comedy. Some critics have called him insensitive and outrageous. Gervais has responded by saying "offense is the collateral damage of free speech", he has said that he doesn't aim for a mass audience, he's just pleased he's managed to get one, and he has compared his style of comedy and the audience he has acquired with being Iggy Pop in preference to being Phil Collins.- Actor
- Writer
- Composer
Christopher Morris was born on 5 September 1965 in Bristol, England, UK. He is an actor and writer, known for Four Lions (2010), The Day Today (1994) and Brass Eye (1997).- Producer
- Writer
- Actor
Highly inventive U.S. film director/producer/writer/actor Sam Raimi first came to the attention of film fans with the savage, yet darkly humorous, low-budget horror film, The Evil Dead (1981). From his childhood, Raimi was a fan of the cinema and, before he was ten-years-old, he was out making movies with an 8mm camera. He was a devoted fan of The Three Stooges, so much of Raimi's film work in his teens, with good friends Bruce Campbell and Rob Tapert, was slapstick comedy based around what they had observed from "Stooges" movies.
Among the three of them, they wrote, directed, produced and edited a short horror movie titled Within the Woods (1978), which was then shown to prospective investors to raise the money necessary to film The Evil Dead (1981). It met with lukewarm interest in the U.S. with local distributors, so Raimi took the film to Europe, where it was much more warmly received. After it started gaining positive reviews and, more importantly, ticket sales upon its release in Europe, U.S. distributors showed renewed interest, and "Evil Dead" was eventually released stateside to strong box office returns. His next directorial effort was Crimewave (1985), a quirky, cartoon-like effort that failed to catch fire with audiences. However, he bounced back with Evil Dead II (1987), a racier and more humorous remake/sequel to the original "Dead" that did even better at the box office. Raimi was then given his biggest budget to date to shoot Darkman (1990), a comic book-style fantasy about a scarred avenger. The film did moderate business, but Raimi's strong visual style was evident throughout the film via inventive and startling camera work that caught the attention of numerous critics.
The third chapter in the Evil Dead story beckoned, and Raimi once again directed buddy Campbell as the gritty hero "Ash", in the Gothic horror Army of Darkness (1992). Raimi surprised fans when he took a turn away from the fantasy genre and directed Gene Hackman and Sharon Stone in the sexy western, The Quick and the Dead (1995); four years later, he took the directorial reins on A Simple Plan (1998), a crime thriller about stolen money, starring Bill Paxton and Bridget Fonda. In early 1999, he directed the baseball film, For Love of the Game (1999), and, in 2000, returned to the fantasy genre with a top-flight cast in The Gift (2000). In 2002, Raimi was given a real opportunity to demonstrate his dynamic visual style with the big-budget film adaptation of the Stan Lee comic book superhero, Spider-Man (2002), and fans were not disappointed. The movie was strong in both script and effects, and was a runaway success at the box office. Of course, Raimi returned for the sequel, Spider-Man 2 (2004), which surpassed the original in box-office takings.- Actor
- Writer
- Producer
Jared Keeso is a Canadian actor, screenwriter, and producer. He is best known for creating and starring in the comedy series Letterkenny (2016-present), which won a Canadian Screen Award for Best Comedy Series in 2017. He is also known for his roles as Ben Chartier in the 2014 series 19-2 (2014-2017), for which he won a Canadian Screen Award, and Don Cherry in the television films Keep Your Head Up Kid: The Don Cherry Story (2010) and The Wrath of Grapes: The Don Cherry Story II (2012), for which he won a Leo Award and Gemini Award. He married Magali Brunelle Keeso, a Canadian corporate lawyer, in July 2018.- Writer
- Director
- Actor
Steve Oedekerk, the Academy Award nominated multi-hyphenate, has built an extraordinary career, experiencing vast success in writing, directing, producing, acting, stand-up comedy and computer generated animation. He has written and directed films that have grossed over $1.9 billion in worldwide box office, including such blockbusters as Bruce Almighty, the Ace Ventura franchise, The Nutty Professor, and Patch Adams. He received an Academy Award nomination for his producing and creative leadership role on Jimmy Neutron: Boy Genius, and with the addition of the CG animated feature Barnyard along with its Emmy Award winning TV series, Oedekerk has created a successful template for turning hit animated feature films into long running hit television series. Having just completed the screenplay for the upcoming live action/VFX, stereoscopic spectacle Stretch Armstrong for Universal, Oedekerk is currently prepping his next round of blockbuster feature films and TV series.
Cult Crazy: Also excelling in the coveted youth demographic, Oedekerk has created cult franchise properties, whose audience continues to grow with each passing year. From his initial indy feature film High Strung, and his Thumb filmettes, including Thumb Wars and Thumbtanic, to writing, directing and starring in the wild retro-martial arts comedy Kung Pow: Enter the Fist, Oedekerk has a steadily growing base of Oedefans, who religiously await, track down and tune into the future right-brained creations from Steve.
Television: Further expanding the Jimmy Neutron franchise for Nickelodeon Television, Steve executive produced 63 episodes of The Adventures of Jimmy Neutron, and 52 episodes of the Emmy Award winning Back at the Barnyard. The Neutron TV series initially released with $100 million dollars of sponsor support, and Back at the Barnyard continually lands in the top 20 ratings of all cable TV, reaching as high as the top 5. The new and raucous, Planet Sheen, a spin-off of the popular Neutron franchise will hit Nickelodeon air in 2010. Oedekerk also starred in his own television special for NBC, produced an animated Christmas special for ABC, and his six Thumb filmette titles: "Thumb Wars","Thumbtanic", "The Blair Thumb", "Bat Thumb", "Frankenthumb" and "The Godthumb" have aired on both Showtime and Cartoon Network.
Digital Media: Always in pursuit of the future of entertainment, Steve is not only focused on the burgeoning areas of new media and social networking, but has created an innovative model defining the future of successful franchise property development, including Gaming, Internet, Mobile, Virtual worlds and Digital Media production. Dirk Derby Wonder Jockey will be the first broadcast length comedy series released exclusively to the online digital media arena and digital hand held media market , including Sony PSP, iPhone and iPad. Dirk Derby will set the pace for the future transition from repurposed online media to full length original content available exclusively in the digital marketplace.
New Technologies: Oedekerk's company, O Entertainment, led the way with the first IMAX 3D animated film,Santa vs. the Snowman 3D (2002), releasing November, 2002 and launching the return of stereoscopic 3D entertainment to the big screen. Oedekerk also created "Thumbmation" the technology behind the series of Thumb Parody projects distributed worldwide on DVD and video by Image Entertainment. Kicking off the series was "Thumb Wars", followed by "Thumbtanic", "The Blair Thumb", "Bat Thumb", "Frankenthumb" and "The Godthumb".
His writing credits include some of the most successful movies in recent history. While writing on the Fox series_"In Living Color" (1990)_, Oedekerk collaborated with Jim Carreyon the surprise hit comedy "Ace Ventura: Pet Detective." When that film became a break-out success, Oedekerk was asked to write and directed its sequel, Ace Ventura: When Nature Calls (1995), which proved to be one of those rare sequels that far surpassed the box office gross of the original.
Following the success of "Ace Ventura" franchise, Oedekerk wrote Universal's_The Nutty Professor (1996)_, which became one of the highest-grossing films of 1996. He also wrote, directed and appeared (in a scene-stealing cameo) in Touchstone Pictures' Nothing to Lose (1997), starring Tim Robbins and Martin Lawrence. He then went on to write the box office smash and Golden Globe nominated Patch Adams (1998) starring Robin Williams. On the small screen, Oedekerk directed, wrote, and starred in his own television special for NBC, produced an animated Christmas special for ABC as well as the original "Thumb Wars" special for UPN.
Oedekerk resides in Southern California with his wife, two children and a badger, pound for pound known to be the most vicious mammal on the planet.- Actor
- Writer
- Producer
Greg is the writer and star of critically lauded Channel 4 sitcom "Man Down". After playing infamously psychotic Head of Sixth Form 'Mr Gilbert' in "The Inbetweeners" (Channel 4) and its two spin off feature films, Greg went on to appear in BBC Three's Cuckoo alongside Andy Samberg and Taylor Lautner, which earned him a BAFTA nomination for Best Male Performance in a Comedy Programme. In 2015 Greg began hosting UKTV's new comedy show "Taskmaster". Greg has been on two sell out stand-up tours, most recently "The Back of My Mum's Head" in 2013. Greg's debut solo stand up show "Firing Cheeseballs At A Dog" was nominated for the prestigious Foster's Edinburgh Comedy Award in 2010. The DVDs of both shows were Top 10 bestsellers.
Greg's TV appearances include hosting "Would I Lie To You" (BBC1), "Never Mind The Buzzcocks" (BBC Two) and "Live At The Apollo" (BBC One). He has also made guest appearances on "The Royal Variety Show", "Room 101" (BBC One), "Mock The Week" (BBC Two), "Let's Dance For Comic Relief and Sport Relief" (BBC One), "The Graham Norton Show" (BBC One), "Live At The Apollo" (BBC One), "Frank Skinner's Opinionated" (BBC Two) and "8 Out Of 10 Cats" (Channel 4). Greg was team captain on two series of "Ask Rhod Gilbert" (BBC One) with whom he also appeared on BBC Two's "Dangerous Roads". Greg is one third of the anarchically brilliant sketch act "We Are Klang", who performed four sell-out Edinburgh Festival shows and was nominated in 2006 for the Edinburgh Comedy Award. With We Are Klang, Greg wrote and starred in the group's own sitcom series and a one-off comedy entertainment special for BBC Three.- Actor
- Producer
- Writer
Steve Coogan was born on 14 October 1965 in Middleton, Manchester, England, UK. He is an actor and producer, known for Philomena (2013), Alan Partridge (2013) and 24 Hour Party People (2002). He was previously married to Caroline Hickman.- Actor
- Writer
- Producer
Macdonald was born Norman Gene Macdonald in Quebec City, Quebec. He began his career in stand-up comedy. Macdonald's first job was writing for The Dennis Miller Show (1992) and then Roseanne (1988). While writing for Roseanne (1988), he was noticed by Lorne Michaels, who liked Norm's stand up, and gave him his job on Saturday Night Live (1975).
Macdonald became widely popular when he became the Weekend Update anchor with his trademark line, "And now the fake news". He lasted from September 24, 1994 until December 13, 1997, when he was fired by Don Ohlmeyer, president of NBC on the west coast. His last weekend update was December 13, 1997 and he officially left the show in March 1998. His movie, Dirty Work (1998), which he began working on in the summer of 1997, came out 2 months later. In March 1999, his show, called Norm (1999), came out on ABC and had a 3-season run. During that time, he also starred in the movie Screwed (2000), opposite Dave Chappelle.- Actor
- Writer
- Producer
Karl Pilkington is best known as the star of Sky 1 travel documentary series An Idiot Abroad and The Moaning of Life. Karl is also a Sunday Times best-selling author, having written seven books. Hist first scripted comedy series Sick of It debuted on Sky 1 in 2018 and series 2 will launch in 2019.
The Moaning of Life saw Karl set off around the world to experience how other cultures faced up to life's big issues as he made plans for his future, and it continues to be heralded as one of Sky1's most popular ever programs and has now been seen by millions of viewers around the world.
An Idiot Abroad saw Karl being sent around the world by Ricky Gervais and Stephen Merchant on a journey of self discovery. The An Idiot Abroad brand has grown from strength to strength. The second series was nominated for a BAFTA® Television Award, adding to previous nods from the British Comedy, National Television, Royal Television Society, Broadcast and Broadcasting Press Guild awards.
An Idiot Abroad have been sold to over 200 territories worldwide. The accompanying DVDs (distributed by BBC Worldwide) have sold over a million copies and books (published by Canongate) have sold over a million copies in the UK alone, with the first book hitting the Top Ten in hardback in the autumn of 2010 and the No.1 spot on the paperback list in the autumn of 2011. The books have spent 50 weeks in total in the Sunday Times Top 10 bestseller lists. Most recently the accompanying The Moaning of Life book also spent 10 weeks in the Sunday Times best seller list in both hardback and paperback.
The Ricky Gervais Show started out life as a radio program on London station XFM, which began in 2001. Karl was an off-air producer for Ricky and Stephen but he didn't stay off-air for long and his antics and opinions along with his fascination for odd stuff, distrust of animals and dislike of crowds meant that he became a much more vocal part of the show and became the cult hero of the XFM broadcasts.
A series of record-breaking podcasts with Ricky and Stephen followed, making Karl a household name around the world. The podcasts went to number 1 in 14 countries including America and became the most downloaded in history according to Guinness World Records, having gained an average of 261,670 downloads per episode during its first month. The podcasts have remained at the top of the charts, having been downloaded over 300 million times. The podcasts were eventually animated for both HBO in the US and E4 in the UK.
Karl is the author of seven books: The World of Karl Pilkington; Happyslapped by a Jellyfish; Karlology; An Idiot Abroad; The Further Adventures of An Idiot Abroad, The Moaning of Life and More Moaning.- Writer
- Animation Department
- Director
Vivienne Medrano or Vivziepop is a Salvadoran-American cartoonist, voice actress and writer known for creating Hazbin Hotel, Helluva Boss and Zoophobia. Ever since she first watched Bambi on VHS, she became an aspiring animator. She likes casting people who were involved in musicals and her favorite cartoons such as Alex Brightman of Beetlejuice fame and Richard Steven Horvitz of Grim & Evil and Invader Zim fame. Due to the success of her Hazbin and Helluva pilots, she has gained a big following for animators and the LGBT community.- Producer
- Director
- Writer
Todd Phillips is an American film director, producer, and screenwriter.
Growing up on Long Island, New York, Todd Phillips fell in love with feature film teen comedies made in the 1980s, and claims they were his biggest influence in becoming a filmmaker. While studying film at New York University, he made a documentary called Hated (1994), using his credit cards to finance the filmâEUR(TM)s $13,000 budget. About an excessive punk rocker, GG Allen, the student film won an award at the New Orleans Film Festival and went on to be released both theatrically and on DVD. Phillips' next project was a documentary called Frat House (1998), which followed the trials of young men trying to get accepted into a fraternity. The film won the Grand Jury Prize at the Sundance Film Festival, but soon became banned from public viewing when the young men involved objected, and lawyers for their families stepped in.
While working on a commercial for Pepsi, Phillips met comedian Tom Green. He was writing the screenplay for his new film, Road Trip, and asked Green if he would be in it. Green agreed on the spot, and Phillips went on to make his first fictional movie, an homage to the types of films he grew up with. Road Trip was made on a budget of $15.6 million, and nearly made the money back in its opening weekend despite mixed reviews, most of which agreed it was in bad taste, with some finding that funny while others found it offensive.
Phillips continued on in the same genre with Old School (2003), about three grown men who try to return to their frat boy days. Phillips says, "Things go in cycles and right now people use the term gross out of comedy a lot and I find it very dismissive. I think it's very easy to be gross and very hard to be funny. The ones that work are actually very funny at their root. I, as a director, want to stick with comedies for a little while. It's the movies I grew up on and the stuff I like to see."
Phillips' next project was action comedy Starsky & Hutch, based on the hit television series that ran from 1975 to 1979. The film, starring Owen Wilson and Ben Stiller, is also set in the '70s. He's hoping to turn another '70s TV show, The Six Million Dollar Man, into a feature film starring Jim Carrey, but in the meantime, filmed the comedy School for Scoundrels (2006), starring Jon Heder and Billy Bob Thornton. His next film, The Hangover 2009, was an enormous success, spawning a 2011 sequel that he also directed. In between those two movies he directed Robert Downey Jr. and Hangover star Zach Galifianakis in the comedy Due Date 2010.
More recent films include The Hangover Part II (2011), The Hangover Part III (2013), and War Dogs (2016).
Move away from his favorite genre, he next took on the film Joker (2019), starring Joaquin Phoenix in the title role. The film debuted to much acclaim, and both Joaquin and Phillips received numerous award nominations, including Best Director nods for Phillips from the Academy Awards, Golden Globes and the BAFTAs.- Cinematographer
- Director
- Writer
William Eubank was born on 15 November 1982. He is a cinematographer and director, known for The Signal (2014), Love (2011) and Underwater (2020).- Music Artist
- Writer
- Actor
Robert Bartleh Cummings, more famously known as Rob Zombie, was born in Haverhill, Massachusetts on January 12, 1965. He is the oldest son of Louise and Robert Cummings, and has a younger brother, Michael David (aka Spider One; b. 1968), who is the lead singer of Powerman 5000. Growing up, Zombie loved horror movies, which have greatly influenced his music and filmmaking career; in 1983, he graduated from Haverhill High School. After graduating, he moved to New York City to attend Parsons School of Design, also briefly working as a production assistant on Pee-wee's Playhouse (1986).
Zombie and his then-girlfriend, Sean Yseult, co-founded the band White Zombie, named after the Bela Lugosi classic horror film of the same name (White Zombie (1932)). The band released their debut studio album, 'Soul-Crusher', in 1987; their second, 'Make Them Die Slowly', followed in 1989, but generated little buzz.
Following the release of their fourth extended play, however, White Zombie caught the attention of Geffen Records, who in 1992 went on to release their third studio album, 'La Sexorcisto: Devil Music Volume One'. This album sold over two million copies in the U.S., becoming the band's breakout hit. White Zombie's fourth and final album, 'Astro-Creep: 2000 - Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head', was released in 1995 to critical and commercial success, ultimately becoming their most successful album. The band released a remix album in 1996 and disbanded the same year, officially breaking up in 1998.
Rob Zombie began working on a debut album in 1997; 'Hellbilly Deluxe: 13 Tales of Cadaverous Cavorting Inside the Spookshow International' came out in 1998, selling over three million copies. Zombie formed his own record label, Zombie-A-Go-Go Records, in 1998.
Zombie composed the original score for the video game Twisted Metal III (1998) and designed a haunted attraction for Universal Studios in 1999. In 2000, he began working on his directional debut, House of 1000 Corpses (2003). Inspired mainly by classics such as The Texas Chain Saw Massacre (1974), the film was delayed until 2003 due to distributional issues. Though criticized for its explicit depictions of violence and gore, it went on to gross over $16 million and has garnered a cult following.
Zombie's second studio album, 'The Sinister Urge', was released in 2001 and sold over a million copies. In 2002, he married his longtime girlfriend Sheri Moon Zombie, who has appeared in all of his movies to date and often accompanies him on tour to choreograph dance routines and create costumes. Zombie released a sequel to 'House of 1000 Corpses' in 2005, entitled The Devil's Rejects (2005). Although it received much more positive reviews than its predecessor, it was still criticized for its violent content. He released his third studio album, 'Educated Horses', the following year.
In 2007, Zombie decided to focus on his work as a filmmaker for a while; the same year, he would release his most polarizing movie to date: Halloween (2007), a remake of the 1978 classic of the same name (Halloween (1978)). It received a mixed reception, but was a box office hit, and still currently resides as the top Labor Day weekend grosser. Zombie directed a fictitious trailer entitled 'Werewolf Women of the SS' (inspired by the exploitation flick Ilsa: She Wolf of the SS (1975)) for Grindhouse (2007). In 2009, Zombie directed Halloween II (2009), which was critically panned, and The Haunted World of El Superbeasto (2009), which was based upon one of his comic book series.
Also in 2009, Zombie began working on a new album; 'Hellbilly Deluxe 2: Noble Jackals, Penny Dreadfuls and the Systematic Dehumanization of Cool' came out the following year. In 2011, he directed a horror-themed commercial for Woolite, and began work on a new film, The Lords of Salem (2012). Unlike Zombie's previous efforts, 'The Lords of Salem' focused more on building suspense and a nightmarish, surreal atmosphere and less on brutal violence and excessive profanity. It ultimately received mixed reviews; just after its release, Zombie came out with his fifth studio album, 'Venomous Rat Regeneration Vendor', his lowest-selling to date.
Zombie lent his voice to the superhero movie Guardians of the Galaxy (2014). He also began work on 31 (2016), which tells the story of five carnival workers who are trapped and forced to fight for survival against a gang of murderous clowns. It premiered at the 2016 Sundance Film Festival in January, and will be released in September. In April, Zombie's sixth studio album, 'The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser', was released. Additionally, he has signed on to direct a film on the life of zany comic Groucho Marx, though a release date is uncertain.
Zombie is most recognized for his heavy metal style of music, influenced by his love of classic horror, and his exploitation/splatter-type movies. Overall, he has sold an estimated fifteen million albums worldwide, and his films have grossed over $150 million in total.- Actor
- Producer
- Director
Clinton Eastwood Jr. was born May 31, 1930 in San Francisco, to Clinton Eastwood Sr., a bond salesman and later manufacturing executive for Georgia-Pacific Corporation, and Ruth Wood (née Margret Ruth Runner), a housewife turned IBM clerk. He grew up in nearby Piedmont. At school Clint took interest in music and mechanics, but was an otherwise bored student; this resulted in being held back a grade. In 1949, the year he is said to have graduated from high school, his parents and younger sister Jeanne moved to Seattle. Clint spent a couple years in the Pacific Northwest himself, operating log broncs in Springfield, Oregon, with summer gigs life-guarding in Renton, Washington. Returning to California in 1951, he did a two-year stint at Fort Ord Military Reservation and later enrolled at L.A. City College, but dropped out to pursue acting.
During the mid-1950s he landed uncredited bit parts in such B-films as Revenge of the Creature (1955) and Tarantula (1955) while digging swimming pools and driving a garbage truck to supplement his income. In 1958, he landed his first consequential acting role in the long-running TV show Rawhide (1959) with Eric Fleming. Although only a secondary player the first seven seasons, he was promoted to series star when Fleming departed--both literally and figuratively--in its final year, along the way becoming a recognizable face to television viewers around the country.
Eastwood's big-screen breakthrough came as The Man with No Name in Sergio Leone's trilogy of excellent spaghetti westerns: A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966). The movies were shown exclusively in Italy during their respective copyright years with Enrico Maria Salerno providing the voice of Eastwood's character, finally getting American distribution in 1967-68. As the last film racked up respectable grosses, Eastwood, 37, rose from a barely registering actor to sought-after commodity in just a matter of months. Again a success was the late-blooming star's first U.S.-made western, Hang 'Em High (1968). He followed that up with the lead role in Coogan's Bluff (1968) (the loose inspiration for the TV series McCloud (1970)), before playing second fiddle to Richard Burton in the World War II epic Where Eagles Dare (1968) and Lee Marvin in the bizarre musical Paint Your Wagon (1969). In Two Mules for Sister Sara (1970) and Kelly's Heroes (1970), Eastwood leaned in an experimental direction by combining tough-guy action with offbeat humor.
1971 proved to be his busiest year in film. He starred as a sleazy Union soldier in The Beguiled (1971) to critical acclaim, and made his directorial debut with the classic erotic thriller Play Misty for Me (1971). His role as the hard edge police inspector in Dirty Harry (1971), meanwhile, boosted him to cultural icon status and helped popularize the loose-cannon cop genre. Eastwood put out a steady stream of entertaining movies thereafter: the westerns Joe Kidd (1972), High Plains Drifter (1973) and The Outlaw Josey Wales (1976) (his first of six onscreen collaborations with then live-in love Sondra Locke), the Dirty Harry sequels Magnum Force (1973) and The Enforcer (1976), the action-packed road adventures Thunderbolt and Lightfoot (1974) and The Gauntlet (1977), and the prison film Escape from Alcatraz (1979). He branched out into the comedy genre in 1978 with Every Which Way But Loose (1978), which became the biggest hit of his career up to that time; taking inflation into account, it still is. In short, The Eiger Sanction (1975) notwithstanding, the 1970s were nonstop success for Eastwood.
Eastwood kicked off the 1980s with Any Which Way You Can (1980), the blockbuster sequel to Every Which Way but Loose. The fourth Dirty Harry film, Sudden Impact (1983), was the highest-grossing film of the franchise and spawned his trademark catchphrase: "Make my day." He also starred in Bronco Billy (1980), Firefox (1982), Tightrope (1984), City Heat (1984), Pale Rider (1985) and Heartbreak Ridge (1986), all of which were solid hits, with Honkytonk Man (1982) being his only commercial failure of the period. In 1988, he did his fifth and final Dirty Harry movie, The Dead Pool (1988). Although it was a success overall, it did not have the box office punch the previous films had. About this time, with outright bombs like Pink Cadillac (1989) and The Rookie (1990), it seemed Eastwood's star was declining as it never had before. He then started taking on low-key projects, directing Bird (1988), a biopic of Charlie Parker that earned him a Golden Globe, and starring in and directing White Hunter Black Heart (1990), an uneven, loose biopic of John Huston (both films had a limited release).
Eastwood bounced back big time with his dark western Unforgiven (1992), which garnered the then 62-year-old his first ever Academy Award nomination (Best Actor), and an Oscar win for Best Director. Churning out a quick follow-up hit, he took on the secret service in In the Line of Fire (1993), then accepted second billing for the first time since 1970 in the interesting but poorly received A Perfect World (1993) with Kevin Costner. Next was a love story, The Bridges of Madison County (1995), where Eastwood surprised audiences with a sensitive performance alongside none other than Meryl Streep. But it soon became apparent he was going backwards after his brief revival. Subsequent films were credible, but nothing really stuck out. Absolute Power (1997) and Space Cowboys (2000) did well enough, while True Crime (1999) and Blood Work (2002) were received badly, as was Midnight in the Garden of Good and Evil (1997), which he directed but didn't appear in.
Eastwood surprised again in the mid-2000s, returning to the top of the A-list with Million Dollar Baby (2004). Also starring Hilary Swank and Morgan Freeman, the hugely successful drama won four Academy Awards, including Best Picture and Best Director for Eastwood. He scored his second Best Actor nomination, too. His next starring vehicle, Gran Torino (2008), earned almost $30 million in its opening weekend and was his highest grosser unadjusted for inflation. 2012 saw him in a rare lighthearted movie, Trouble with the Curve (2012), as well as a reality show, Mrs. Eastwood & Company (2012).
Between acting jobs, he chalked up an impressive list of credits behind the camera. He directed Mystic River (2003) (in which Sean Penn and Tim Robbins gave Oscar-winning performances), Flags of Our Fathers (2006), Letters from Iwo Jima (2006) (nominated for the Best Picture Oscar), Changeling (2008) (a vehicle for Angelina Jolie), Invictus (2009) (again with Freeman), Hereafter (2010), J. Edgar (2011), Jersey Boys (2014), American Sniper (2014) (2014's top box office champ), Sully (2016) (starring Tom Hanks as hero pilot Chesley Sullenberger) and The 15:17 to Paris (2018). Back on screens after a considerable absence, he played an unlikely drug courier in The Mule (2018), which reached the top of the box office with a nine-figure gross, then directed Richard Jewell (2019). At age 91, Eastwood made history as the oldest actor to star above the title in a movie with the release of Cry Macho (2021).
Away from the limelight, Eastwood has led an aberrant existence and is described by biographer Patrick McGilligan as a cunning manipulator of the media. His convoluted slew of partners and children are now somewhat factually acknowledged, but for the first three decades of his celebrity, his personal life was kept top secret, and several of his families were left out of the official narrative. The actor refuses to disclose his exact number of offspring even to this day. He had a longtime relationship with similarly abstruse co-star Locke (who died aged 74 in 2018, though for her entire public life she masqueraded about being younger), and has fathered at least eight children by at least six different women in an unending string of liaisons, many of which overlapped. He has been married only twice, however, with a mere three of his progeny coming from those unions.
His known children are: Laurie Murray (b. 1954), whose mother is unidentified; Kimber Eastwood (b. 1964) with stuntwoman Roxanne Tunis; Kyle Eastwood (b. 1968) and Alison Eastwood (b. 1972) with his first ex-wife, Margaret Neville Johnson; Scott Eastwood (b. 1986) and Kathryn Eastwood (b. 1988) with stewardess Jacelyn Reeves; Francesca Eastwood (b. 1993) with actress Frances Fisher; and Morgan Eastwood (b. 1996) with his second ex-wife, Dina Eastwood. The entire time that he lived with Locke she was legally married to sculptor Gordon Anderson.
Eastwood has real estate holdings in Bel-Air, La Quinta, Carmel-by-the-Sea, Cassel (in remote northern California), Idaho's Sun Valley and Kihei, Hawaii.- Producer
- Additional Crew
- Director
Timothy Walter Burton was born in Burbank, California, to Jean Rae (Erickson), who owned a cat-themed gift shop, and William Reed Burton, who worked for the Burbank Park and Recreation Department. He spent most of his childhood as a recluse, drawing cartoons, and watching old movies (he was especially fond of films with Vincent Price). When he was in the ninth grade, his artistic talent was recognized by a local garbage company, when he won a prize for an anti-litter poster he designed. The company placed this poster on all of their garbage trucks for a year. After graduating from high school, he attended California Institute of the Arts. Like so many others who graduated from that school, Burton's first job was as an animator for Disney.
His early film career was fueled by almost unbelievable good luck, but it's his talent and originality that have kept him at the top of the Hollywood tree. He worked on such films as The Fox and the Hound (1981) and The Black Cauldron (1985), but had some creative differences with his colleagues. Nevertheless, Disney recognized his talent, and gave him the green light to make Vincent (1982), an animated short about a boy who wanted to be just like Vincent Price. Narrated by Price himself, the short was a critical success and won several awards. Burton made a few other short films, including his first live-action film, Frankenweenie (1984). A half-hour long twist on the tale of Frankenstein, it was deemed inappropriate for children and wasn't released. But actor Paul Reubens (aka Pee-Wee Herman) saw Frankenweenie (1984), and believed that Burton would be the right man to direct him in his first full-length feature film, Pee-wee's Big Adventure (1985). The film was a surprise success, and Burton instantly became popular. However, many of the scripts that were offered to him after this were essentially just spin-offs of the film, and Burton wanted to do something new.
For three years, he made no more films, until he was presented with the script for Beetlejuice (1988). The script was wild and wasn't really about anything, but was filled with such artistic and quirky opportunities, Burton couldn't say no. Beetlejuice (1988) was another big hit, and Burton's name in Hollywood was solidified. It was also his first film with actor Michael Keaton. Warner Bros. then entrusted him with Batman (1989), a film based on the immensely popular comic book series of the same name. Starring Michael Keaton and Jack Nicholson, the film was the most financially successful film of the year and Burton's biggest box-office hit to date. Due to the fantastic success of his first three films, he was given the green light to make his next film, any kind of film he wanted. That film was Edward Scissorhands (1990), one of his most emotional, esteemed and artistic films to date. Edward Scissorhands (1990) was also Burton's first film with actor Johnny Depp. Burton's next film was Batman Returns (1992), and was darker and quirkier than the first one, and, while by no means a financial flop, many people felt somewhat disappointed by it. While working on Batman Returns (1992), he also produced the popular The Nightmare Before Christmas (1993), directed by former fellow Disney Animator Henry Selick. Burton reunited with Johnny Depp on the film Ed Wood (1994), a film showered with critical acclaim, Martin Landau won an academy award for his performance in it, and it is very popular now, but flopped during its initial release. Burton's subsequent film, Mars Attacks! (1996), had much more vibrant colors than his other films. Despite being directed by Burton and featuring all-star actors including Jack Nicholson, Glenn Close, Pierce Brosnan and Michael J. Fox, it received mediocre reviews and wasn't immensely popular at the box office, either.
Burton returned to his darker and more artistic form with the film Sleepy Hollow (1999), starring Johnny Depp, Christina Ricci and Casper Van Dien. The film was praised for its art direction and was financially successful, redeeming Burton of the disappointment many had felt by Mars Attacks! (1996). His next film was Planet of the Apes (2001), a remake of the classic of the same name. The film was panned by many critics but was still financially successful. While on the set of Planet of the Apes (2001), Burton met Helena Bonham Carter, with whom he has two children. Burton directed the film Big Fish (2003) - a much more conventional film than most of his others, it received a good deal of critical praise, although it disappointed some of his long-time fans who preferred the quirkiness of his other, earlier films. Despite the fluctuations in his career, Burton proved himself to be one of the most popular directors of the late 20th century. He directed Johnny Depp once again in Charlie and the Chocolate Factory (2005), a film as quirky anything he's ever done.- Writer
- Producer
- Director
Jeff Tremaine was born a military brat and hustled from state to state until finally settling in Rockville, Maryland. There, he quickly gravitated towards the alternative world of skateboarding, BMX, reggae music, and art... pursuits that would shape a career to come.
After attending Washington University, Tremaine headed out West, where he slid into the layout jockey position at Go magazine. From there, he became the art/editorial director for Big Brother. At the magazine, Tremaine, Spike Jonze, and Johnny Knoxville laid the seeds for jackass, a television series that would become a cultural phenomenon, spawning a franchise that includes jackass: the movie, jackass number two, jackass 2.5, and jackass 3D, which Paramount Pictures released in October 2010.
Beyond jackass, Tremaine has created and executive produced a number of television series' including MTV's Wildboyz, Rob & Big, Nitro Circus, Rob Dyrdek's Fantasy Factory, Dudesons in America, and the new series, Ridiculousness.
In 2009, he produced Steve-O: Demise and Rise, an MTV documentary about addiction and the road to recovery. He went on to executive produce The Wild and Wonderful Whites of West Virginia, a feature-length documentary about a family of outlaws that Tribeca Film acquired and distributed theatrically in 2010.
Most recently, Tremaine directed and produced ESPN 30 For 30's The Birth of Big Air, an inspirational documentary about BMX legend Mat Hoffman. He has also directed music videos for Turbonegro, Andrew WK, The Sahara Hot Nights, and Weezer.- Writer
- Producer
- Actor
Trevor Moore was born on 4 April 1980 in Montclair, New Jersey, USA. He was a writer and producer, known for The Whitest Kids U'Know (2007), Just Roll with It (2019) and Walk the Prank (2016). He was married to Aimee Carlson. He died on 6 August 2021 in Los Angeles, California, USA.- Director
- Writer
- Producer
Stanley Kubrick was born in Manhattan, New York City, to Sadie Gertrude (Perveler) and Jacob Leonard Kubrick, a physician. His family were Jewish immigrants (from Austria, Romania, and Russia). Stanley was considered intelligent, despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's father sent him in 1940 to Pasadena, California, to stay with his uncle, Martin Perveler. Returning to the Bronx in 1941 for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an important device for Kubrick in later years, often as a tool for dealing with recalcitrant actors, but also as an artistic motif in his films.
Jack Kubrick's decision to give his son a camera for his thirteenth birthday would be an even wiser move: Kubrick became an avid photographer, and would often make trips around New York taking photographs which he would develop in a friend's darkroom. After selling an unsolicited photograph to Look Magazine, Kubrick began to associate with their staff photographers, and at the age of seventeen was offered a job as an apprentice photographer.
In the next few years, Kubrick had regular assignments for "Look", and would become a voracious movie-goer. Together with friend Alexander Singer, Kubrick planned a move into film, and in 1950 sank his savings into making the documentary Day of the Fight (1951). This was followed by several short commissioned documentaries (Flying Padre (1951), and (The Seafarers (1953), but by attracting investors and hustling chess games in Central Park, Kubrick was able to make Fear and Desire (1952) in California.
Filming this movie was not a happy experience; Kubrick's marriage to high school sweetheart Toba Metz did not survive the shooting. Despite mixed reviews for the film itself, Kubrick received good notices for his obvious directorial talents. Kubrick's next two films Killer's Kiss (1955) and The Killing (1956) brought him to the attention of Hollywood, and in 1957 he directed Kirk Douglas in Paths of Glory (1957). Douglas later called upon Kubrick to take over the production of Spartacus (1960), by some accounts hoping that Kubrick would be daunted by the scale of the project and would thus be accommodating. This was not the case, however: Kubrick took charge of the project, imposing his ideas and standards on the film. Many crew members were upset by his style: cinematographer Russell Metty complained to producers that Kubrick was taking over his job. Kubrick's response was to tell him to sit there and do nothing. Metty complied, and ironically was awarded the Academy Award for his cinematography.
Kubrick's next project was to direct Marlon Brando in One-Eyed Jacks (1961), but negotiations broke down and Brando himself ended up directing the film himself. Disenchanted with Hollywood and after another failed marriage, Kubrick moved permanently to England, from where he would make all of his subsequent films. Despite having obtained a pilot's license, Kubrick was rumored to be afraid of flying.
Kubrick's first UK film was Lolita (1962), which was carefully constructed and guided so as to not offend the censorship boards which at the time had the power to severely damage the commercial success of a film. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) was a big risk for Kubrick; before this, "nuclear" was not considered a subject for comedy. Originally written as a drama, Kubrick decided that too many of the ideas he had written were just too funny to be taken seriously. The film's critical and commercial success allowed Kubrick the financial and artistic freedom to work on any project he desired. Around this time, Kubrick's focus diversified and he would always have several projects in various stages of development: "Blue Moon" (a story about Hollywood's first pornographic feature film), "Napoleon" (an epic historical biography, abandoned after studio losses on similar projects), "Wartime Lies" (based on the novel by Louis Begley), and "Rhapsody" (a psycho-sexual thriller).
The next film he completed was a collaboration with sci-fi author Arthur C. Clarke. 2001: A Space Odyssey (1968) is hailed by many as the best ever made; an instant cult favorite, it has set the standard and tone for many science fiction films that followed. Kubrick followed this with A Clockwork Orange (1971), which rivaled Lolita (1962) for the controversy it generated - this time not only for its portrayal of sex, but also of violence. Barry Lyndon (1975) would prove a turning point in both his professional and private lives. His unrelenting demands of commitment and perfection of cast and crew had by now become legendary. Actors would be required to perform dozens of takes with no breaks. Filming a story in Ireland involving military, Kubrick received reports that the IRA had declared him a possible target. Production was promptly moved out of the country, and Kubrick's desire for privacy and security resulted in him being considered a recluse ever since.
Having turned down directing a sequel to The Exorcist (1973), Kubrick made his own horror film: The Shining (1980). Again, rumors circulated of demands made upon actors and crew. Stephen King (whose novel the film was based upon) reportedly didn't like Kubrick's adaptation (indeed, he would later write his own screenplay which was filmed as The Shining (1997).)
Kubrick's subsequent work has been well spaced: it was seven years before Full Metal Jacket (1987) was released. By this time, Kubrick was married with children and had extensively remodeled his house. Seen by one critic as the dark side to the humanist story of Platoon (1986), Full Metal Jacket (1987) continued Kubrick's legacy of solid critical acclaim, and profit at the box office.
In the 1990s, Kubrick began an on-again/off-again collaboration with Brian Aldiss on a new science fiction film called "Artificial Intelligence (AI)", but progress was very slow, and was backgrounded until special effects technology was up to the standard the Kubrick wanted.
Kubrick returned to his in-development projects, but encountered a number of problems: "Napoleon" was completely dead, and "Wartime Lies" (now called "The Aryan Papers") was abandoned when Steven Spielberg announced he would direct Schindler's List (1993), which covered much of the same material.
While pre-production work on "AI" crawled along, Kubrick combined "Rhapsody" and "Blue Movie" and officially announced his next project as Eyes Wide Shut (1999), starring the then-married Tom Cruise and Nicole Kidman. After two years of production under unprecedented security and privacy, the film was released to a typically polarized critical and public reception; Kubrick claimed it was his best film to date.
Special effects technology had matured rapidly in the meantime, and Kubrick immediately began active work on A.I. Artificial Intelligence (2001), but tragically suffered a fatal heart attack in his sleep on March 7th, 1999.
After Kubrick's death, Spielberg revealed that the two of them were friends that frequently communicated discreetly about the art of filmmaking; both had a large degree of mutual respect for each other's work. "AI" was frequently discussed; Kubrick even suggested that Spielberg should direct it as it was more his type of project. Based on this relationship, Spielberg took over as the film's director and completed the last Kubrick project.
How much of Kubrick's vision remains in the finished project -- and what he would think of the film as eventually released -- will be the final great unanswerable mysteries in the life of this talented and private filmmaker.- Animation Department
- Director
- Writer
Victoria Vincent is known for A Dog That Smokes Weed (2020), Catopolis (2022) and We the People (2021).- Director
- Animation Department
- Writer
Ralph Bakshi worked his way up from Brooklyn and became an animation legend. He was born on October 29, 1938, in Haifa, Israel, the son of Mina (Zlotin) and Eliezar Bakshi, and is of Krymchak Jewish descent. He was raised in Brownsville, after his family came to New York to escape World War II. Bakshi attended the Thomas Jefferson High School and was later transferred to the High School of Industrial Arts and graduated with an award in cartooning in 1957.
At the Terrytoons studio, he started as a cel polisher then graduated to cel painting. Practicing nights and weekends, he quickly became an inker and then an animator. There, he worked on such shows as Mighty Mouse, Heckle and Jeckle, Deputy Dawg, Foofle and Lariat Sam. At 28 he created and directed a series of superhero spoof cartoons called The Mighty Heroes.
In 1967, Bakshi moved to Paramount Studios. Working with producer Steve Krantz, Bakshi worked on episodes of the Spider-Man TV series and several short films. In the 1970s, Bakshi set out to produce films using his innovative vision for how animated films should be. Krantz suggested Robert Crumb's "Fritz the Cat" comic book as Bakshi's first feature. The two set out to meet with Crumb and get the film rights. In 1972, the film premiered and was extremely successful, as the first feature-length animated film to receive an X rating by the American rating system (when it was distributed worldwide, it generally received lower ratings the equivalent of an R rating, and was released as being unrated on DVD).
The success of "Fritz the Cat" allowed Bakshi to produce films featuring his own characters and ideas, and so "Heavy Traffic" and "Coonskin" were produced, both of which were extremely controversial, but were praised by critics. During the same period, he shot and completed another feature titled "Hey Good Lookin'" for the Warner Brothers studio, who didn't think that a combination of live-action and animation would sell, and forced Bakshi to go back and animate the live action sequences.
During this period, Bakshi also produced two very successful fantasy films, "Wizards" and part one of an animated film adaptation of J.R.R. Tolkien's "The Lord of the Rings." Although these films were financially successful, they were misunderstood by critics, and United Artists, the studio that produced "The Lord of the Rings" refused to fund the second part, or sequel to Bakshi's ambitious adaptation.
During the 1980s, animation went into a decline. "American Pop," done using the same style of realistic animation as "The Lord of the Rings" was not successful financially, and critics did not see the point of the film being animated. The finished version of "Hey Good Lookin'" was released during the same year as "American Pop," but was also unsuccessful financially. Bakshi's last film of the decade, "Fire & Ice," a collaboration with famed artist Frank Frazetta, was a flop.
Bakshi produced several television features with mixed results before returning to film with what would eventually become "Cool World" - the script was rewritten several times during production without Bakshi's knowledge until it came to the point where Bakshi did not recognize his own work. The film was critically scorned, and was a box office flop. Fans feel that the film is not a true Bakshi film.
Since then, the Internet and DVD releases of Bakshi's work have brought him a new generation of fans and increased interest, encouraging Bakshi to produce another film. "Last Days of Coney Island" is in production. Bakshi lives in New Mexico. A three-day retrospective was held at American Cinematheque at Grauman's Egyptian Theatre in Hollywood, California and the Aero Theater in Santa Monica, California in April, 2005.- Director
- Writer
- Producer
Director. Writer. Producer. Actor. Poet. He studied history, literature and theatre for some time, but didn't finish it and founded instead his own film production company in 1963. Later in his life, Herzog also staged several operas in Bayreuth, Germany, and at the Milan Scala in Italy. Herzog has won numerous national and international awards for his poetic feature and documentary films.- Director
- Writer
- Producer
Fritz Lang was born in Vienna, Austria, in 1890. His father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. From 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse, the Gambler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.
In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.- Writer
- Director
- Actor
Sergio Corbucci was born on December 6, 1926, in Rome, Italy. He entered grade school with thoughts of becoming a businessman, but after earning a college degree in economics he took an abrupt detour into the world of cinema. Corbucci began his career as a film critic, first for the Italian film journal magazine "Schermi del Mondo" and later for the US Army newspaper "Stars and Stripes" during World War II.
Corbucci made his directorial debut with Salvate mia figlia (1951) and quickly made a name for himself as a capable and efficient filmmaker. His ability to make large-scale action sequences with a minimal budget kept him in demand as an assistant director as well. It was on one such assignment, while filming with a second unit in Spain for friend and director Sergio Leone on The Last Days of Pompeii (1959), that Corbucci claims that the idea for the so-called "spaghetti western" was born. Seeing the landscape of Spain with its wild horses, extraordinary canyons and semi-desert landscapes--which looked a lot like Mexico or Texas--Corbucci suggested making an American Wild West-themed film in Spain. He then directed his first western in Spain just before Leone completed the ground-breaking A Fistful of Dollars (1964).
Corbucci found early success in Italy by directing films in a number of different genres, as disparate as Totò, Peppino e... la dolce vita (1961)--a slapstick comedy spoof of Federico Fellini's box-office hit La Dolce Vita (1960)--as well as Duel of the Titans (1961) (aka "Duel of the Titans") and Goliath and the Vampires (1961). He also wrote screenplays for a few seminal horror films, such as Castle of Blood (1964) starring Barbara Steele, which he also co-directed. However, it was his Massacre at Grand Canyon (1964) that began a new path to his career to direct more spaghetti westerns. "Massacre at Grand Canyon"--which Corbucci co-directed, under the pseudonym Stanley Corbett. with Albert Band--differed little from the American westerns of that time, but his subsequent films would set a new and bold standard for on-screen violence and establish him as one of the most influential Italian directors of the Spaghetti Western.
Minnesota Clay (1964), starring Cameron Mitchell, was Corbucci's next film in the genre and and his first Spaghetti Western to be distributed in the US under the director's own name. It was a moderate success, but Corbucci's next Spaghetti Western would break box-office records worldwide and brand his name in Western history alongside Sergio Leone. "A Fistful of Dollars' may have sparked the international popularity of the Spaghetti Western, but Corbucci's Django (1966) brought an entirely new level of style to the genre. The ultra-violent masterpiece not only signaled a move toward an even grittier and more nihilistic brand of Western, but it picture established a lasting relationship between Corbucci and the film's star, Franco Nero.
After the success of "Django", Corbucci embarked on a trail of directing more Italian Western films and quickly became one of the more prolific filmmakers in the genre. His subsequent Spaghetti Westerns, Ringo and His Golden Pistol (1966) (Johnny Oro), The Hellbenders (1967) (Hellbenders) and Navajo Joe (1966) were filmed and released in quick succession to great success in Italy. His next Western was The Great Silence (1968), which referred to Django as an "anti-Western" with the hero moving through cold rather than heat and fighting in the mud and snow rather than sweat and dust. It starred Jean-Louis Trintignant as a mute gunslinger and Klaus Kinski as a sadistic bounty hunter. The innovative script, which was co-written by Corbucci, makes great use of mountain locations (it was filmed in northern Italy in the snow-covered area of Cortina), and showed Corbucci edging close to the new type of political Westerns he is best known for.
His next Western film was The Mercenary (1968), which would began his semi-genre with what he called the "Zapata-Spaghetti Westerns" or proletarian fables, where the bad guys are on the right and the good guys are on the left. By setting the story in Mexico and fleshing out his characters with political awareness, Corbucci's intent became more clear and his left-wing political statements became more explicit. After directing the semi-successful The Specialists (1969), Corbucci re-teamed up with Franco Nero again with Compañeros (1970), which was his last box-office success and stands as one of the most accomplished Spaghetti Westerns, with a combination of humor, pathos, comic book-style action, and political commentary.
During the 1970s Corbucci made three more Spaghetti Westerns, but the popularity of the genre began to die out. Of the three, only Sonny and Jed (1972) stands out as one of the best in the late series genre Italian Westerns as a Bonnie & Clyde type fable. What Am I Doing in the Middle of a Revolution? (1972) is almost a parody of his Zapata-Spaghetti Westerns, while The White, the Yellow, and the Black (1975) is married by racial stereotypes of Japanese characters and was not well received.
By the late 1970s, with the era of Spaghetti Westerns over, Corbucci turned his film making career to comedy and found some success with, The Con Artists (1976) and Super Fuzz (1980). He continued to work off and on during the 1980s with comedies, until his death from a sudden heart attack on the late evening of December 1, 1990 at age 63. His last film was the made-for-Italian-TV-movie Donne armate (1991), which was completed a few months before his death as his health was starting to fail. Sergio Corbucci is remembered for revolutionizing the Spaghetti Western genre which was popularized by his friend Sergio Leone, who passed away a little over a year before Corbucci.- Writer
- Director
- Actor
Lucio Fulci, born in Rome in 1927, remains as controversial in death as he was in life. A gifted craftsman with a sharp tongue and a wicked sense of dark humor, Fulci achieved some measure of notoriety for his gore epics of the late 1970s and early 1980s, but respect was long in coming.
Abandoning his early career as a med student, Fulci entered the film industry as a screenwriter and assistant director, working alongside such directors as Steno and Riccardo Freda. Granted his debut feature in 1959, with a seldom seen comedy called I ladri (1959) (The Thieves), Fulci quickly established himself as a prolific craftsman adept at musicals, comedies and westerns.
In 1968, Fulci made his first mystery thriller, One on Top of the Other (1969), and its success was sufficient to garner the backing for his pet project The Conspiracy of Torture (1969). Based on a true story, the film details the trial of a young woman accused of murdering her sexually abusive father amid fear and superstition in 16th Century Italy. A scathing commentary on church and state, the film was the first to give voice to its director's passionate hatred of the Catholic Church. Predictably, the film was misunderstood, and Fulci's career was thrown into jeopardy. Deciding it would be best to leave his political feelings on the back burner, Fulci pressed on with a series of slickly commercial ventures.
In 1971 and 1972, Fulci re-established himself in the thriller arena, directing two excellent giallos: the haunting A Lizard in a Woman's Skin (1971) and the disturbing Don't Torture a Duckling (1972). The former, with its vivid hallucinations involving murderous hippies and vivisected canines, and the latter, with its psychotic religious zealots and brutal child killings, were -- to say the least -- controversial. In particular, Don't Torture a Duckling (1972), despite a huge box-office success, painted too graphic a portrait of perverted Catholicism, and Fulci's career was derailed... some would say, permanently. Blacklisted (albeit briefly) and despised in his homeland, Fulci at least found work in television and with the adventure genre with two financially successful Jack London 'White Fang' adventure movies in 1973 and 1974 which were Zanna Bianca, and Il ritorno di Zanna Bianca. Also during the mid and late 1970s, Fulci also directed two 'Spaghetti Westerns'; The Four of the Apocalypse... (1975) and Silver Saddle (1978), (Silver Saddle) and another 'giallo'; The Psychic (1977), as well as a few sex-comedies which include the political spoof The Eroticist (1972) (aka: The Eroticist), and the vampire spoof Dracula in the Provinces (1975) (aka: Young Dracula), and the violent Mafia crime-drama Contraband (1980).
In 1979, Fulci's film making career hit another high point with him breaking into the international market with Zombie (1979), an in-name-only sequel to George A. Romero's Dawn of the Dead (1978), which had been released in Italy as 'Zombi'. With its flamboyant imagery, graphic gore and moody atmospherics, the film established Fulci as a gore director par excellence. It was a role he accepted, but with some reservations.
Over the next three years, Fulci plied his trade with finesse and flair, rivaling even the popularity of his "opponent" Dario Argento, with such sanguine classics as City of the Living Dead (1980) and The Beyond (1981). Frequently derided as sheer sensationalism, these films, as well as the reviled The New York Ripper (1982) are actually intelligently crafted, with sound commentaries on everything from American life to religion. High on vivid imagery and pure cinematic style, Fulci's films from this period of the early 1980s represent some of his most popular work in America and abroad, even if they do pale in comparison to his 1972 masterpiece and personal favorite Don't Torture a Duckling (1972) (an impossible act to follow, as it happens).
In the mid-1980s, at the peak of his most prolific period, Fulci became beset with personal problems and worsening health. Much of his work from the mid-1980s onward is disappointing, to say the least, but flashes of his brilliance can be seen in works like Murder-Rock: Dancing Death (1984) and The Devil's Honey (1986). A Cat in the Brain (1990), one of Fulci's last works, remains one of his most original. Though strapped by budgetary restraints and marred by mediocre photography, the film is wickedly subversive and comical. With Fulci playing the lead role (as more or less himself, no less -- a harried horror director who fears that his obsession with sex and violence is a sign of mental disease), Fulci also proves to be an endearing and competent actor (he also has cameos in many of his films, frequently as a detective or doctor figure).
By the 1990s, Fulci went on a hiatus with film making for further health and personal reasons as the Italian cinema market went into a further decline. While in pre-production for the Dario Argento-produced The Wax Mask (1997), Lucio Fulci passed away at his home on March 13, 1996 at the age of 68. A serious diabetic most of his adult life, he inexplicably forgot to take his insulin before retiring to bed; some consider his death a suicide, others consider it an accident, but his many fans all consider it to be a tragedy. Whether one considers him to be a hack or a genius, there's no denying that he was unique.- Director
- Writer
- Actor
Jean Rollin was born on 3 November 1938 in Neuilly-sur-Seine, Hauts-de-Seine, France. He was a director and writer, known for The Night of the Hunted (1980). He was married to Simone Rollin. He died on 15 December 2010 in Paris, France.- Director
- Second Unit Director or Assistant Director
- Editor
Born in Paris in 1904, Tourneur went to Hollywood with his father, director Maurice Tourneur around 1913. He started out as a script clerk and editor for his father, then graduated to such jobs as directing shorts (often with the pseudonym Jack Turner), both in France and America. He was hired to run the second unit for David O. Selznick's A Tale of Two Cities (1935), where he first met Val Lewton. In 1942, when Lewton was named to head the new horror unit at RKO, he asked Tourneur to be his first director. The result was the highly artistic (and commercially successful) Cat People (1942). Tourneur went on to direct masterpieces in many different genres, all showing a great command of mood and atmosphere.- Writer
- Producer
- Director
Wes Craven has become synonymous with genre bending and innovative horror, challenging audiences with his bold vision.
Wesley Earl Craven was born in Cleveland, Ohio, to Caroline (Miller) and Paul Eugene Craven. He had a midwestern suburban upbringing. His first feature film was The Last House on the Left (1972), which he wrote, directed, and edited. Craven reinvented the youth horror genre again in 1984 with the classic A Nightmare on Elm Street (1984), a film he wrote and directed. And though he did not direct any of its five sequels, he deconstructed the genre a decade later, writing and directing the audacious New Nightmare (1994), which was nominated as Best Feature at the 1995 Independent Spirit Awards, and introduced the concept of self-reflexive genre films to the world.
In 1996 Craven reached a new level of success with the release of Scream (1996). The film, which sparked the phenomenal trilogy, was the winner of MTV's 1996 Best Movie Award and grossed more than $100 million domestically, as did Scream 2 (1997). Between Scream 2 and Scream 3 (2000), Craven, offered the opportunity to direct a non-genre film for Miramax, helmed Music of the Heart (1999), a film that earned Meryl Streep an Academy Award nomination for Best Actress. That same year, in the midst of directing, Craven completed his first novel, "The Fountain Society," published by Simon & Shuster. Recent works include the 2005 psychological thriller Red Eye (2005), and a short rom-com segment for the ensemble product, Paris, I Love You (2006).
In later years, Craven also produced remakes of two of his earlier films for his genre fans, The Hills Have Eyes (2006) and The Last House on the Left (2009). Craven has always had an eye for discovering fresh talent, something that contributes to the success of his films. While casting A Nightmare on Elm Street, Craven discovered the then unknown Johnny Depp. Craven later cast Sharon Stone in her first starring role for his film Deadly Blessing. He even gave Bruce Willis his first featured role in an episode of TV's mid-80's edition of The Twilight Zone. In My Soul to Take (2010), Craven once again brought together a cast of up-and-coming young teens, including Max Thieriot, in whom he saw the spark of stardom. The film marked Craven's first collaboration with wife and producer Iya Labunka, who also produced with him the highly anticipated production of Scream 4.
Craven's Scream 4 (2011) reunited the director with Dimension Films and Kevin Williamson, as well as with stars Neve Campbell, Courteney Cox and David Arquette, to re-boot the beloved franchise. Craven again exhibited his knack for spotting important talent, with a cast of young actors bringing us a totally new breed of Woodsboro high schoolers, including Emma Robert and Hayden Pannetierre.- Writer
- Director
- Editor
Jack Hill, sometimes referred to as a legendary cult-film director, grew up around movies--his father was a set designer for Warner Brothers since 1925, and later for Walt Disney Studios, where he eventually designed the Disneyland Castle. Jack went to the University of California to study film, where he was a classmate of Francis Ford Coppola--they worked together on student productions and later both apprenticed with Roger Corman, working on The Terror, among other films. While Coppola went on to Oscardom, Jack continued with low-budget exploitation films, several of which were highly profitable, especially The Big Doll House, which initiated the short-lived women-in-prison genre. His so-called "blaxploitaton" films Coffy and Foxy Brown were major hits. Nowadays his films are hailed as cult classics, thanks primarily to Quentin Tarantino, who saw Jack Hill's work as it made its way to video, with almost all of his films now available for viewing on various streaming channels as well as DVD releases.- Director
- Producer
- Writer
Richard firmly established his credentials with such epics as The Vikings (1958) , 20,000 Leagues Under the Sea (1954) and Barabbas (1961) and also proved to be a master of intimate drama with Compulsion (1959) , which won Cannes Festival awards for the male stars. He won an Academy Award for one of his earliest films - a documentary Design for Death (1947) . In 1947 the rapidly rising director met Stanley Kramer and Carl Foreman who hired him for their first film together So This Is New York (1948) , One of his most memorable accomplishments 20,000 Leagues Under the Sea (1954) which grossed well over $25 million since it's release in 1953.- Director
- Writer
- Cinematographer
Born in New York City in 1938, Paul Morrissey studied literature at Fordham University. In the early 1960s, following a stint in the Army and jobs in insurance and as a social worker, he began directing short independent films.
In 1965, he was introduced to Andy Warhol, who asked him to contribute ideas and bring new direction to the film experiments he had been recently begun presenting -- others had been suggesting, and in a very limited sense, directing these early experiments, but they remained in a static, relatively primitive state. From then on, Morrissey not only directed all of the films but signed a management contract with Warhol putting him in charge of all operations at the Warhol studio with the exception of the sales of artwork. It was Morrissey's idea that Warhol's celebrity name be used to promote a rock n' roll group; to that end, he discovered 'the Velvet Underground', added Nico to the band and signed them all to a management contract. While administering the very successful early years of the group, he continued to add story ideas, casting, cinematography and direction to all of the film experiments that Warhol presented from My Hustler (1965) and Chelsea Girls (1966) through Imitation of Christ (1967) and Bike Boy (1967); Morrissey acted as the films' distributor as well.
After Lonesome Cowboys (1968), which was written, produced and directed by Morrissey from start to finish, he assumed total control of all subsequent films presented by Andy Warhol -- from the art house/cult classics Flesh (1968), Trash (1970) and Heat (1972) to his more mainstream successes with the Carlo Ponti/Jean-Pierre Rassam productions Flesh for Frankenstein (1973) and Blood for Dracula (1974).
Morrissey parted company with Warhol in 1975 when the artist chose to concentrate on his painting and business activities. Morrissey went on to pursue financing for his later films, one of the very few American film directors to remain independent of any Hollywood film companies, independent or otherwise.
He was always responsible for his films in their entirety, working consistently with mostly young unknown actors, writing and directing with no outside interference of any kind. Once financing from "independent" sources no longer allowed him the freedom from interference that he previously enjoyed, he stopped making films.- Actor
- Writer
- Director
Growing up in Baltimore in the 1950s, John Waters was not like other children; he was obsessed by violence and gore, both real and on the screen. With his weird counter-culture friends as his cast, he began making silent 8mm and 16mm films in the mid-'60s; he screened these in rented Baltimore church halls to underground audiences drawn by word of mouth and street leafleting campaigns. As his filmmaking grew more polished and his subject matter more shocking, his audiences grew bigger, and his write-ups in the Baltimore papers more outraged. By the early 1970s he was making features, which he managed to get shown in midnight screenings in art cinemas by sheer perseverance. Success came when Pink Flamingos (1972) - a deliberate exercise in ultra-bad taste - took off in 1973, helped no doubt by lead actor Divine's infamous dog-crap eating scene.
Waters continued to make low-budget shocking movies with his Dreamland repertory company until Hollywood crossover success came with Hairspray (1988), and although his movies nowadays might now appear cleaned up and professional, they retain Waters' playfulness, and reflect his lifelong obsessions.- Director
- Producer
- Editorial Department
Don Siegel was educated at Cambridge University, England. In Hollywood from the mid-'30s, he began his career as an editor and second unit director. In 1945 he directed two shorts (Hitler Lives (1945) and Star in the Night (1945)) which both won Academy Awards. His first feature as a director was 1946's The Verdict (1946). He made his reputation in the early and mid-'50s with a series of tightly made, expertly crafted, tough but intelligent "B" pictures (among them The Lineup (1958), Riot in Cell Block 11 (1954), Invasion of the Body Snatchers (1956)), then graduated to major "A" films in the 1960s and early 1970s. He made several "side trips" to television, mostly as a producer. Siegel directed what is generally considered to be Elvis Presley's best picture, Flaming Star (1960). He had a long professional relationship and personal friendship with Clint Eastwood, who has often said that everything he knows about filmmaking he learned from Don Siegel.- Writer
- Director
- Actor
Alejandro Jodorowsky was born in Tocopilla, Chile on February 17, 1929. In 1939 he moved to Santiago where he attended university, was a circus clown and a puppeteer. In 1953 he went to Paris and studied mime with Marcel Marceau. He worked with Maurice Chevalier there and made a short film, La cravate (1957). He also befriended the surrealists Roland Topor and Fernando Arrabal, and in 1962 these three created the "Panic Movement" in homage to the mythical god Pan. As part of this group Jodorowsky wrote several books and theatrical pieces. In the later 1960s he directed avant-garde theater in Paris and Mexico City, created the comic strip "Fabulas Panicas", and made his first "real" film, the surrealist love story Fando and Lis (1968), based on a play by Arrabal. In 1971, El Topo (1970) was released and became a cult classic, as did The Holy Mountain (1973). In 1975 he returned to France to begin work on a film that was never made: a colossal adaptation of Frank Herbert's "Dune", which was to star Orson Welles, Salvador Dalí and others, was to be scored by Pink Floyd, and which brought together the visionary talents of H.R. Giger, Dan O'Bannon, and 'Jean "Moebius' Giraud' (Giger and O'Bannon later collaborated on Alien (1979).) The project's financiers backed out, and "Dune" was eventually filmed by David Lynch. Jodorowsky's next film was 1979's Tusk (1980), a story of a young girl's friendship with an elephant, which quickly faded into obscurity. In the early 1980s he began working with Moebius and other artists on various comic strips, graphic novels and cartoons, and wrote several more books. He returned to film with 1989's Santa Sangre (1989), which was critically acclaimed and widely distributed. In 1990 he directed Omar Sharif and Peter O'Toole in the fantasy film The Rainbow Thief (1990). Throughout the 1990s he continued to produce cartoons with a variety of graphic artists and is reportedly to begin work on another film, the long-awaited "Sons Of El Topo", sometime in 2002 or 2003. Jodorowsky's wife Valerie and sons Brontis, Axel and Adan have all at times appeared in his films.- Producer
- Director
- Actor
William Lustig was born on February 1, 1955 in Bronx, New York. During his teenage years, Lustig avidly watched a huge volume of lowdown trashy exploitation fare at numerous 42nd Street grind house theaters in Manhattan and also worked as a movie theater usher in Fort Lee, New Jersey. After graduating from high school, he took a few film classes at New York University.
Lustig began his film career in his mid to late teens, working behind-the-scenes in various minor production capacities on a handful of hardcore X-rated porno pictures as well as a production assistant on both "The Seven Ups" and "Death Wish." He made his debut as a director, producer and editor with the hardcore porn features "Hot Honey" and "The Violation of Claudia." Lustig directed both of these movies under the alias Billy Bagg.
In 1980, Lustig found himself at the center of a storm of controversy when he made the grim, gory and disturbing slasher sleaze splatter landmark "Maniac," which boasts an incredibly intense performance by the legendary character actor Joe Spinell as a vicious depraved psychopath and plenty of hideously graphic and gruesome make-up effects by horror genre icon Tom Savini. In 1982, Lustig followed up "Maniac" with the tough, gritty and exciting New York urban revenge opus "Vigilante." In 1988, he delivered another winner with the terrific "Maniac Cop," a violent horror action flick about an undead New York police officer on a killing spree which was the first of several cinematic collaborations with fellow maverick independent filmmaker Larry Cohen.
Lustig followed up with the 1989 stirring action item "Hit List" and the suspenseful serial killer thriller "Relentless" were likewise on the money excellent and entertaining offerings. However, the two "Maniac Cop" sequels were strictly hit-or-miss affairs: the second one was a worthy successor to the superior original and the third one was a regrettably mediocre entry in the series. Lustig's last film as a director to date was the nifty and enjoyable fright flick "Uncle Sam."
Since 1997, William Lustig went on to initially produce retrospective DVD documentaries for Anchor Bay and now currently runs the outstanding DVD label Blue Underground which restores and re-releases popular and little seen cult movies and other grind house action, drama, and horror films.- Actor
- Writer
- Director
His father, Richard Head Welles, was a well-to-do inventor, his mother, Beatrice (Ives) Welles, a beautiful concert pianist; Orson Welles was gifted in many arts (magic, piano, painting) as a child. When his mother died in 1924 (when he was nine) he traveled the world with his father. He was orphaned at 15 after his father's death in 1930 and became the ward of Dr. Maurice Bernstein of Chicago. In 1931, he graduated from the Todd School in Woodstock, Illinois. He turned down college offers for a sketching tour of Ireland. He tried unsuccessfully to enter the London and Broadway stages, traveling some more in Morocco and Spain, where he fought in the bullring.
Recommendations by Thornton Wilder and Alexander Woollcott got him into Katharine Cornell's road company, with which he made his New York debut as Tybalt in 1934. The same year, he married, directed his first short, and appeared on radio for the first time. He began working with John Houseman and formed the Mercury Theatre with him in 1937. In 1938, they produced "The Mercury Theatre on the Air", famous for its broadcast version of "The War of the Worlds" (intended as a Halloween prank). His first film to be seen by the public was Citizen Kane (1941), a commercial failure losing RKO $150,000, but regarded by many as the best film ever made. Many of his subsequent films were commercial failures and he exiled himself to Europe in 1948.
In 1956, he directed Touch of Evil (1958); it failed in the United States but won a prize at the 1958 Brussels World's Fair. In 1975, in spite of all his box-office failures, he received the American Film Institute's Lifetime Achievement Award, and in 1984, the Directors Guild of America awarded him its highest honor, the D.W. Griffith Award. His reputation as a filmmaker steadily climbed thereafter.- Director
- Cinematographer
- Writer
Russell Albion Meyer was born in San Leandro, California, to Lydia Lucinda (Hauck), a nurse, and William Arthur Meyer, a police officer, who divorced during his childhood. His parents were both of German descent. Meyer began winning prizes at 15 with his amateur films. He spent World War II in Europe as a combat cameraman. After the war, he became a professional photographer, shooting some of the earliest Playboy centerfolds. He made his film directorial debut with Mr. Tease and His Playthings (1959), the first nudie (softcore sex) film to make a profit over a million dollars, which led to a string of self-financed films that gradually became more bizarre, violent, and cartoonish. In the mid-1960s, he established his style with his Gothic period, a quartet of black-and-white films: Russ Meyer's Lorna (1964), Mudhoney (1965), Motorpsycho! (1965), and Faster, Pussycat! Kill! Kill! (1965) that many consider to be his best work. After the blockbusting Vixen! (1968), he was hired by 20th-Century Fox to make studio pictures. The first of these, Beyond the Valley of the Dolls (1970), was an enormous hit, but after the lukewarm reception of the uncharacteristically serious The Seven Minutes (1971), Meyer returned to the sex-and-violence films that made his name, culminating in the delirious Beneath the Valley of the Ultra-Vixens (1979). He spent the 1980s working on various autobiographies, both in film (Breast of Russ Meyer) and print ("A Clean Breast").- Director
- Actor
- Writer
Born in the Bronx, Ferrara started making amateur films on Super 8 in his teens before making his debut with violent exploitation films such as 'Driller Killer' and 'Ms.45'. Good reviews for the latter helped create his cult reputation, leading to larger budgets, studio funding and 'name' actors (Christopher Walken, Harvey Keitel), but he still likes taking his camera out onto the meanest streets of New York, as the ultra-cheap, highly controversial 'Bad Lieutenant' demonstrates.- Director
- Writer
- Producer
Honored with many awards for his films and achievement in the horror genre, Tobe Hooper is truly one of the Masters of Horror (2005).
Tobe Hooper was born in Austin, Texas, to Lois Belle (Crosby) and Norman William Ray Hooper, who owned a theater in San Angelo. He spent the 1960s as a college professor and documentary cameraman. In 1974, he organized a small cast that was made up of college teachers and students, and then he and Kim Henkel made The Texas Chain Saw Massacre (1974), featuring the maniacal chainsaw-wielder Leatherface (Gunnar Hansen). This film changed the horror film industry and became an instant classic, remaining on many lists of top horror films of all time. Hooper based it upon the real-life killings of Ed Gein, a cannibalistic killer responsible for the grisly murders of several people in 1950s Wisconsin. Rex Reed said, "It's the scariest film I have ever seen." Leonard Maltin wrote, "While not nearly as gory as its title suggests, 'Massacre' is a genuinely terrifying film made even more unsettling by its twisted but undeniably hilarious black comedy." It is in the Permanent Collection of the Museum of Modern Art, and was officially selected at the Cannes Film Festival of 1975 for Directors Fortnight.
Hooper's success with "Chainsaw" landed him in Hollywood. Hooper rejoined the cast of "Texas" and with Kim Henkle again for Eaten Alive (1976), a gory horror film with Mel Ferrer, Carolyn Jones, William Finley, and Marilyn Burns (who played the lead in "Chainsaw"). The film centered around a caretaker of a motel who feeds his guests to his pet alligator. Also in the film was Robert Englund, whom Hooper helped advance his career and worked with him again in the future. "Eaten Alive" also won many awards at Horror Film Festivals, receiving the first Saturn Award. Also in the film, making his debut, was Robert Englund.
Hooper was assigned to the Film Ventures International production of The Dark (1979), a science-fiction thriller. After only three day, he was fired from the film and replaced with John 'Bud' Cardos. Instead, Hooper had greater success with Stephen King's 1979 mini series Salem's Lot (1979). In 1981, Hooper directed the teen slasher film The Funhouse (1981) for Universal Pictures. Despite its success, "The Funhouse" was a minor disappointment. In 1982, Hooper found greater success when Steven Spielberg hired him to direct his production, haunted house shocker Poltergeist (1982), for MGM. It quickly became a top-ranking major motion picture, but Hooper's reputation was waylaid by uncorroborated and spurious rumors spread throughout the film's press coverage that Spielberg had largely directed the film.
"Poltergeist" was perhaps a greater success than "Texas Chainsaw Massacre," but it was three years until Hooper found work again. He signed a three-year contract with Menahem Golan and Yoram Globus's Cannon Group, and directed more films, including Lifeforce (1985), with Patrick Stewart for TriStar; the minor remake Invaders from Mars (1986); and the disappointing sequel The Texas Chainsaw Massacre 2 (1986), with Dennis Hopper. During the mid-1980s, Hooper also directed several television projects, including episodes of Amazing Stories (1985), The Equalizer (1985), Freddy's Nightmares (1988) and Tales from the Crypt (1989) with Whoopi Goldberg.
In the 1990s, Hooper continued working in both film and television: I'm Dangerous Tonight (1990), Nowhere Man (1995), Dark Skies (1996), Perversions of Science (1997) with Jamie Kennedy and Jason Lee, The Apartment Complex (1999) with Amanda Plummer for Showtime, Night Terrors (1993) and The Mangler (1995) for New Line, the latter two with Robert Englund. In the new century Hooper's career grew stronger, with Night Visions (2001), Shadow Realm (2002) and the pilot episode for Steven Spielberg's award-winning miniseries Taken (2002).
In 2003, Hooper co-produced the successful remake of The Texas Chainsaw Massacre (2003) for New Line. His final three films as director were Toolbox Murders (2004), with Angela Bettis, released through Lions Gate; Mortuary (2005), a zombie film with Dan Byrd; and evil genie tale Djinn (2013).
Tobe Hooper died on August 26, 2017, in Sherman Oaks, Los Angeles.
Leatherface (2017), technically the eighth film in Hooper's Chainsaw franchise, was slated for release just weeks after his death.- Writer
- Director
- Actor
Born in Massa Marittima, Italy on August 6, 1931, Umberto Lenzi was a movie enthusiast since his early grade school years. During those years, he founded various film fan clubs while studying law. Lenzi started out as a journalist for various local newspapers and magazines. Lenzi put off his law studies to pursue the technical arts of filmmaking at the Centro Sperimentale de Cinematografia.
After graduation from the school, Lenzi continued working as a writer and film critic. He found employment as an assistant director before making his directorial debut with Queen of the Seas (1961). Other pirate/sword flicks followed, starting with I pirati della Malesia (1964) (Pirates of Malaysia), which was part of the height of the career of fictitious tales of historic legendary characters including Robin Hood, Catherine the Great, Zorro, Sandokan and Maciste. For the movie Kriminal (1966), Lenzi turned to the new wave of adult-oriented comic books (known as fumetti) for fresh inspiration and initiated a popular trend.
After directing a war film and two "spaghetti westerns," Lenzi turned to the giallo gene with Paranoia (1969) (originally called "Orgasmo"), starring Carroll Baker and Lou Castel, which was the first of his thrillers and one of his personal favorites. Retitled Paranoia for its USA release, Orgasmo caused some confusion since Lenzi directed a movie with the same name, Paranoia, in 1970 also with Carroll Baker. During the 1970s, Lenzi directed a number of giallo thrillers among them So Sweet... So Perverse (1969), Seven Blood-Stained Orchids (1972) and Eyeball (1975). None of them were particularly successful since Lenzi blamed his tight budgets and poor scripts, which he believed no director could do well with.
In the late 1970s, Lenzi turned to the police thrillers (polizieschi), which rejuvenated his confidence and his popularity. Titles like Almost Human (1974), Tough Cop (1976) (Free Hand For a Tough Cop), and Brothers Till We Die (1978) (Brothers Till We Die) were the most popular and brutal of the thrillers. Prior to the polizieschi, Lenzi directed Sacrifice! (1972) (Man from Deep River), which was the start of the Italian cannibal sub-genre. A re-telling of the western A Man Called Horse (1970), with a south Asia setting, set the stage for a later group of extremely gory cannibal sub-genre movies most noteworthy being Ruggero Deodato's Last Cannibal World (1977) which featured a potent combination of extreme violence in a documentary realism. Lenzi responded with two very gory jungle cannibal features, Eaten Alive! (1980) and Cannibal Ferox (1981) (Make Them Die Slowly), which attempted to outdo Deodato's thrillers. The excess of Cannibal Ferox, which was banned in 31 countries, made Lenzi distance himself from the cannibal genre.
In between Eaten Alive and Cannibal Ferox, Lenzi directed Nightmare City (1980), a zombie flick, with Lenzi rejected the slow-moving zombies of the Romero and Fulci movies for a more type of fast-moving, weapons toting, super zombies with action and an anti-nuclear message.
During the 1980s and early 1990s, Lenzi turned his attention to other genres: action-adventure, war films and even made-for-TV dramas, although he directed the occasional thriller most notable in that time was Ghosthouse (1988). His movie Le porte dell'inferno (1989) is a seldom-seen horror film, which makes the most of its low budget. Lenzi claimed to have shot it in three weeks at a cost of 300 million lire, whereas low-budget Italian horror films shot in Italy or abroad cost an average of a billion lire or more. It represented a personal challenge for Lenzi since the entire movie takes place in a cave and the suspense is maintained for the entire 90 minutes.
As his budgets and financing for his films dwindled, so did his output. The 1990s saw Lenzi directing a number of TV productions that were never broadcast, causing him lament upon the change in Italian film industry. After 40 years and directing over 60 films, Lenzi more or less retired from film directing and left his mark as one of the most creative and inexhaustible cult film directors of Italy.
Umberto Lenzi died on October 19, 2017 at a hospital in the Ostia district of Rome, Italy at age 86.- Additional Crew
- Production Designer
- Director
Franco Zeffirelli is an Italian director and producer of operas, films and television. He was also a senator from 1994 until 2001 for the Italian center-right Forza Italia party. Some of his operatic designs and productions have become worldwide classics.
He was known for several of the movies he directed, especially the 1968 version of Romeo and Juliet (1968), for which he received an Academy Award nomination. His 1967 version of The Taming of The Shrew (1967) with Elizabeth Taylor and Richard Burton remains the best-known film adaptation of that play as well. His mini-series Jesus of Nazareth (1977) won both national and international acclaim.
In 1999, Zeffirelli received the Crystal Globe award for outstanding artistic contribution to world cinema at the Karlovy Vary International Film Festival. In November 2004, he was awarded an honorary knighthood by the United Kingdom. He was awarded the Premio Colosseo in 2009 by the city of Rome.- Producer
- Director
- Actor
Roger William Corman was born April 5, 1926, in Detroit, Michigan. Initially following in his father's footsteps, Corman studied engineering at Stanford University, but, while in school, he began to lose interest in the profession and developed a growing passion for film. Upon graduation, he worked a total of three days as an engineer at US Electrical Motors, which cemented his growing realization that engineering wasn't for him. He quit and took a job as a messenger for 20th Century Fox, eventually rising to the position of story analyst.
After a term spent studying modern English literature at England's Oxford University and a year spent bopping around Europe, Corman returned to the US, intent on becoming a screenwriter/producer. He sold his first script in 1953, "The House in the Sea," which was eventually filmed and released as Highway Dragnet (1954).
Horrified by the disconnect between his vision for the project and the film that eventually emerged, Corman took his salary from the picture, scraped together a little capital and set himself up as a producer, turning out Monster from the Ocean Floor (1954). Corman used his next picture, The Fast and the Furious (1954), to finagle a multi-picture deal with a fledgling company called American Releasing Corp. (ARC). It would soon change its name to American-International Pictures (AIP) and with Corman as its major talent behind the camera, would become one of the most successful independent studios in cinema history.
With no formal training, Corman first took to the director's chair with Five Guns West (1955) and over the next 15 years directed 53 films, mostly for AIP. He proved himself a master of quick, inexpensive productions, turning out several movies as director and/or producer in each of those years--nine movies in 1957, and nine again in 1958. His personal speed record was set with The Little Shop of Horrors (1960), which he shot in two days and a night.
In the early 1960s, he began to take on more ambitious projects, gaining a great deal of critical praise (and commercial success) from a series of adaptations of Edgar Allan Poe stories, most of them starring Vincent Price. His film The Intruder (1962) was a serious look at racial integration in the South, starring a very young William Shatner. Critically praised and winning a prize at the Venice Film Festival, the movie became Corman's first--and, for many years, only--commercial flop. He called its failure "the greatest disappointment in my career." As a consequence of the experience, Corman opted to avoid such direct "message" films in the future and resolved to express his social and political concerns beneath the surface of overt entertainments.
Those messages became more radical as the 1960s wound to a close and after AIP began re-editing his films without his knowledge or consent, he left the company, retiring from directing to concentrate on production and distribution through his own newly formed company, New World Pictures. In addition to low-budget exploitation flicks, New World also distributed distinguished art cinema from around the world, becoming the American distributor for the films of Ingmar Bergman, Akira Kurosawa, Federico Fellini, François Truffaut and others. Selling off New World in the 1980s, Corman has continued his work through various companies in the years since--Concorde Pictures, New Horizons, Millenium Pictures, New Concorde. In 1990, after the publication of his biography "How I Made A Hundred Movies in Hollywood And Never Lost A Dime"--one of the all-time great books on filmmaking--he returned to directing but only for a single film, Frankenstein Unbound (1990)
With hundreds of movies to his credit, Roger Corman is one of the most prolific producers in the history of the film medium and one of the most successful--in his nearly six decades in the business, only about a dozen of his films have failed to turn a profit. Corman has been dubbed, among other things, "The King of the Cult Film" and "The Pope of Pop Cinema" and his filmography is packed with hundreds of remarkably entertaining films in addition to dozens of genuine cult classics. Corman has displayed an unrivaled eye for talent over the years--it could almost be said that it would be easier to name the top directors, actors, writers and creators in Hollywood who DIDN'T get their start with him than those who did. Among those he mentored are Francis Ford Coppola, Ron Howard, Martin Scorsese, Jack Nicholson, James Cameron, Robert De Niro, Peter Bogdanovich, Joe Dante and Sandra Bullock. His influence on modern American cinema is almost incalculable. In 2009, he was honored with an Academy Award for Lifetime Achievement.- Director
- Second Unit Director or Assistant Director
- Writer
Ruggero Deodato was born on May 7, 1939, in Potenza, Italy, and grew up outside Rome. One of his close friends at the time was Renzo Rossellini, the son of famed Italian director Roberto Rossellini. Knowing Ruggerio's love for the movies, Renzo persuaded him to work as a second unit director on some of his father's productions. From 1958-67 Deodato worked as a second unit director for several cult film directors such as Anthony M. Dawson (Antonio Margheriti), Riccardo Freda and Joseph Losey. Deodato's directorial debut was the action-fantasy Hercules, Prisoner of Evil (1964), replacing Margheriti who quit the production. Deodato's claim to fame was the spaghetti western Django (1966). His career took off in 1968 when he directed a number of films based on comic-book characters and musicals. It was while shooting one of these films that Deodato met, and later married, Silvia Dionisio.
From 1971-75 Deodato worked in television, directing the series All'ultimo minuto (1971) as well as TV commercials, including ones for Esso Oil, Band-Aid and Fanta. Deodato returned to filmmaking with an erotic melodrama and a police thriller. At the same time his marriage fell apart. In 1977 Deodato directed the notorious Last Cannibal World (1977) and later Cannibal Holocaust (1980). Deodato traveled to New York City and directed the disturbing thriller House on the Edge of the Park (1980), a semi-follow-up to Wes Craven's The Last House on the Left (1972). Deodato made House on the Edge of the Park (1980) in just 19 days on a tiny budget. He then returned to directing action and horror flicks.
Deodato lives in Rome with his current partner, Micaela Rocco, and still works in movies and occasional TV series. He is rumored to be planning a sequel to "Cannibal Holocaust".- Director
- Second Unit Director or Assistant Director
- Producer
Lamberto Bava was born in Rome, Italy, and was the first of a third generation of Italian filmmakers. His grandfather, Eugenio Bava (1886-1966), was a cameraman and optics effects artist during the early days of Italian silent cinema. His father, Mario Bava (1914-1980), was a legendary cinematographer, special effects designer and director. Lamberto entered the cinema as his father's personal assistant, starting with Planet of the Vampires (1965). Bit by bit he gained experience from his father, who made him the assistant director for most of the rest of his films. He even co-wrote the screenplay for Shock (1977) ("Shock"), Mario's last theatrical film where. In poor health during the shoot, Mario often feigned illness so Lamberto could direct a few scenes, uncredited, to gain further experience.
Both Lamberto and Mario directed the made-for-TV drama La Venere d'Ille (1979). Both worked on the Dario Argento horror flick Inferno (1980), for which Mario designed some of the color set pieces, including the underwater ballroom, and created all the visual special effects, while Lamberto worked as Argento's assistant director. Late in 1979 Lamberto made his solo directorial debut with Macabre (1980), a tense drama-horror flick loosely based on a 1977 incident in New Orleans about a woman who keeps her lover's severed head in her freezer. According to Lamberto, the project started by chance when producer Pupi Avati approached him to direct as well as write the screenplay, which took just six weeks to write and direct. "Macabro" was released in Italy in February 1980 to mixed reviews, but won him recognition by his father Mario. Just two months later Mario Bava died, and an era in Italian film making came to a close.
'Macabro" was not the box-office hit and, as a result, Lamberto went back to assistant directing. He worked with Dario Argento again in 1982 with Tenebrae (1982). In 1983 Lamberto was offered to direct another film, titled A Blade in the Dark (1983), which was a violent mystery thriller shot in only three weeks on a tight budget and filmed almost entirely in a producer friend's house. Next he directed the action-flick Blastfighter (1984), which was filmed in the state of Georgia, and immediately afterwards directed the Jaws (1975)-like thriller Devil Fish (1984), which was shot in Florida. On both films Lamberto was purely a director for hire and had nothing to do with the script or production end. He used the pseudonym of "John Old Jr." for this film, which was a tribute to his father Mario, who often used the pseudonym "John M. Old".
He enjoyed his best commercial success to date with Demons (1985) ("Demons"), produced by Dario Argento, co-written by Dardano Sacchetti and filmed in West Berlin, Germany. This films international success allowed him to co-write, produce and direct a sequel, Demons 2 (1986). Lamberto returned to "giallo" thrillers with Delirium (1987).
In the late 1980s the Italian cinema turned moribund. Lamberto, like most of his colleagues, turned to making films for Italian television. He also directed a remake of his father's Black Sunday (1960), which was titled The Mask of Satan (1989).
Nowadays Lamberto Bava continues to divide his time between TV work and a few movies, acknowledging his inspiration from his late father, Mario.- Director
- Producer
- Writer
Jack Arnold reigns supreme as one of the great directors of 1950s science-fiction features. His films are distinguished by moody black and white cinematography, solid acting, smart, thoughtful scripts, snappy pacing, a genuine heartfelt enthusiasm for the genre and plenty of eerie atmosphere.
Arnold was born on October 14, 1912, in New Haven, Connecticut. He began his show business career as an actor in both on- and off-Broadway stage productions in the late 1930s and early 1940s; among the plays he appeared in are "The Time of Your Life," "Juke Box Jenny," "Blind Alibi," "China Passage," and "We're on the Jury." Arnold served in the US Army in the Signal Corps during World War II. He apprenticed under famous documentary filmmaker Robert J. Flaherty. Following his tour of duty Jack started making short films and documentaries. One short, With These Hands (1950), was nominated for an Academy Award as Best Documentary Feature. Arnold made his theatrical movie debut with the B picture Girls in the Night (1953). He then did his first foray into the science-fiction genre: the supremely spooky It Came from Outer Space (1953). Jack achieved his greatest enduring cult popularity with Creature from the Black Lagoon (1954), a scary yet poetic reworking of "Beauty and the Beast". Revenge of the Creature (1955) was a worthy sequel. Tarantula (1955) was likewise a lot of fun. The Incredible Shrinking Man (1957) rates highly as Arnold's crowning cinematic achievement; it's an intelligent and entertaining classic that's lost none of its potency throughout the years.
Arnold's final two genre entries were the enjoyable Monster on the Campus (1958) and the offbeat The Space Children (1958). His other movies are a pretty varied and interesting bunch, including the hugely successful The Mouse That Roared (1959) (which helped to establish Peter Sellers as an international star), the teen exploitation gem High School Confidential! (1958), the superior Audie Murphy western No Name on the Bullet (1959), the goofy comedy Hello Down There (1969) and the silly softcore romp The Bunny Caper (1974).
In addition to his film work, Arnold also directed episodes of such TV shows as Science Fiction Theatre (1955), Peter Gunn (1958), Perry Mason (1957), Rawhide (1959), Gilligan's Island (1964), Mod Squad (1968), Wonder Woman (1975), The Love Boat (1977), The Bionic Woman (1976) and Buck Rogers in the 25th Century (1979).
The father of producer/casting director Susan Arnold, Jack Arnold died at age 79 on March 17, 1992.- Director
- Writer
- Editor
An important British filmmaker, David Lean was born in Croydon on March 25, 1908 and brought up in a strict Quaker family (ironically, as a child he wasn't allowed to go to the movies). During the 1920s, he briefly considered the possibility of becoming an accountant like his father before finding a job at Gaumont British Studios in 1927. He worked as tea boy, clapper boy, messenger, then cutting room assistant. By 1935, he had become chief editor of Gaumont British News until in 1939 when he began to edit feature films, notably for Anthony Asquith, Paul Czinner and Michael Powell. Amongst films he worked on were Pygmalion (1938), Major Barbara (1941) and One of Our Aircraft Is Missing (1942).
By the end of the 1930s, Lean's reputation as an editor was very well established. In 1942, Noël Coward gave Lean the chance to co-direct with him the war film In Which We Serve (1942). Shortly after, with the encouragement of Coward, Lean, cinematographer Ronald Neame and producer 'Anthony Havelock-Allan' launched a production company called Cineguild. For that firm Lean first directed adaptations of three plays by Coward: the chronicle This Happy Breed (1944), the humorous ghost story Blithe Spirit (1945) and, most notably, the sentimental drama Brief Encounter (1945). Originally a box-office failure in England, "Brief Encounter" was presented at the very first Cannes film festival (1946), where it won almost unanimous praises as well as a Grand Prize.
From Coward, Lean switched to Charles Dickens, directing two well-regarded adaptations: Great Expectations (1946) and Oliver Twist (1948). The latter, starring Alec Guinness in his first major movie role, was criticized by some, however, for potential anti-Semitic inflections. The last two films made under the Cineguild banner were The Passionate Friends (1949), a romance from a novel by H.G. Wells, and the true crime story Madeleine (1950). Neither had a significant impact on critics or audiences.
The Cineguild partnership came to an end after a dispute between Lean and Neame. Lean's first post-Cineguild production was the aviation drama The Sound Barrier (1952), a great box-office success in England and his most spectacular movie so far. He followed with two sophisticated comedies based on theatrical plays: Hobson's Choice (1954) and the Anglo-American co-production Summertime (1955). Both were well received and "Hobson's Choice" won the Golden Bear at the 1954 Berlin film festival.
Lean's next movie was pivotal in his career, as it was the first of those grand-scale epics he would become renowned for. The Bridge on the River Kwai (1957) was produced by Sam Spiegel from a novel by 'Pierre Boulle', adapted by blacklisted writers Michael Wilson and Carl Foreman. Shot in Ceylon under extremely difficult conditions, the film was an international success and triumphed at the Oscars, winning seven awards, most notably best film and director.
Lean and Spiegel followed with an even more ambitious film, Lawrence of Arabia (1962), based on "Seven Pillars of Wisdom", the autobiography of T.E. Lawrence. Starring relative newcomer Peter O'Toole, this film was the first collaboration between Lean and writer Robert Bolt, cinematographer Freddie Young and composer Maurice Jarre. The shooting itself took place in Spain, Morocco and Jordan over a period of 20 months. Initial reviews were mixed and the film was trimmed down shortly after its world première and cut even more during a 1971 re-release. Like its predecessor, it won seven Oscars, once again including best film and director.
The same team of Lean, Bolt, Young and Jarre next worked on an adaptation of Boris Pasternak's novel "Dr. Zhivago" for producer Carlo Ponti. Doctor Zhivago (1965) was shot in Spain and Finland, standing in for revolutionary Russia and, despite divided critics, was hugely successful, as was Jarre's musical score. The film won five Oscars out of ten nominations, but the statuettes for film and director went to The Sound of Music (1965).
Lean's next movie, the sentimental drama Ryan's Daughter (1970), did not reach the same heights. The original screenplay by Robert Bolt was produced by old associate Anthony Havelock-Allan, and Lean once again secured the collaboration of Freddie Young and Maurice Jarre. The shooting in Ireland lasted about a year, much longer than expected. The film won two Oscars; but, for the most part, critical reaction was tepid, sometimes downright derisive, and the general public didn't really respond to the movie.
This relative lack of success seems to have inhibited Lean's creativity for a while. But towards the end of the 1970s, he started to work again with Robert Bolt on an ambitious two-part movie about the Bounty mutiny. The project fell apart and was eventually recuperated by Dino De Laurentiis. Lean was then approached by producers John Brabourne and Richard Goodwin to adapt E.M. Forster's novel "A Passage to India", a book Lean had been interested in for more than 20 years. For the first time in his career; Lean wrote the adaptation alone, basing himself partly on Santha Rama Rau's stage version of the book. Lean also acted as his own editor. A Passage to India (1984) opened to mostly favourable reviews and performed quite well at the box-office. It was a strong Oscar contender, scoring 11 nominations. It settled for two wins, losing the trophy battle to Milos Forman's Amadeus (1984).
Lean spent the last few years of his life preparing an adaptation of Joseph Conrad's meditative adventure novel "Nostromo". He also participated briefly in Richard Harris' restoration of "Lawrence of Arabia" in 1988. In 1990, Lean received the American Film Institute's Life Achievement award. He died of cancer on April 16, 1991 at age 83, shortly before the shooting of "Nostromo" was about to begin.
Lean was known on sets for his extreme perfectionism and autocratic behavior, an attitude that sometimes alienated his cast or crew. Though his cinematic approach, classic and refined, clearly belongs to a bygone era, his films have aged rather well and his influence can still be found in movies like The English Patient (1996) and Titanic (1997). In 1999, the British Film Institute compiled a list of the 100 favorite British films of the 20th century. Five by David Lean appeared in the top 30, three of them in the top five.- Director
- Writer
- Producer
One of seven children, Frank Capra was born on May 18, 1897, in Bisacquino, Sicily. On May 10, 1903, his family left for America aboard the ship Germania, arriving in New York on May 23rd. "There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be," Capra said about his Atlantic passage. "Oh, it was awful, awful. It seems to always be storming, raining like hell and very windy, with these big long rolling Atlantic waves. Everybody was sick, vomiting. God, they were sick. And the poor kids were always crying."
The family boarded a train for the trip to California, where Frank's older brother Benjamin was living. On their journey, they subsisted on bread and bananas, as their lack of English made it impossible for them to ask for any other kind of foodstuffs. On June 3, the Capra family arrived at the Southern Pacific station in Los Angeles, at the time, a small city of approximately 102,000 people. The family stayed with Capra's older brother Benjamin, and on September 14, 1903, Frank began his schooling at the Castelar Elementary school.
In 1909, he entered Los Angeles' Manual Arts High School. Capra made money selling newspapers in downtown L.A. after school and on Saturdays, sometimes working with his brother Tony. When sales were slow, Tony punched Frank to attract attention, which would attract a crowd and make Frank's papers sell quicker. Frank later became part of a two-man music combo, playing at various places in the red light district of L.A., including brothels, getting paid a dollar per night, performing the popular songs. He also worked as a janitor at the high school in the early mornings. It was at high school that he became interested in the theater, typically doing back-stage work such as lighting.
Capra's family pressured him to drop out of school and go to work, but he refused, as he wanted to partake fully of the American Dream, and for that he needed an education. Capra later reminisced that his family "thought I was a bum. My mother would slap me around; she wanted me to quit school. My teachers would urge me to keep going....I was going to school because I had a fight on my hands that I wanted to win."
Capra graduated from high school on January 27, 1915, and in September of that year, he entered the Throop College of Technology (later the California Institute of Technology) to study chemical engineering. The school's annual tuition was $250, and Capra received occasional financial support from his family, who were resigned to the fact they had a scholar in their midst. Throop had a fine arts department, and Capra discovered poetry and the essays of Montaigne, which he fell in love with, while matriculating at the technical school. He then decided to write.
"It was a great discovery for me. I discovered language. I discovered poetry. I discovered poetry at Caltech, can you imagine that? That was a big turning point in my life. I didn't know anything could be so beautiful." Capra penned "The Butler's Failure," about an English butler provoked by poverty to murder his employer, then to suicide."
Capra was singled out for a cash award of $250 for having the highest grades in the school. Part of his prize was a six-week trip across the U.S. and Canada. When Capra's father, Turiddu, died in 1916, Capra started working at the campus laundry to make money.
After the U.S. Congress declared War on Germany on April 6, 1917, Capra enlisted in the Army, and while he was not a naturalized citizen yet, he was allowed to join the military as part of the Coastal Artillery. Capra became a supply officer for the student soldiers at Throop, who have been enrolled in a Reserve Officers Training Corps program. At his enlistment, Capra discovered he was not an American citizen; he became naturalized in 1920.
On September 15, 1918, Capra graduated from Throop with his bachelor's degree, and was inducted into the U.S. Army on October 18th and shipped out to the Presidio at San Francisco. An armistice ending the fighting of World War One would be declared in less than a month. While at the Presidio, Capra became ill with the Spanish influenza that claimed 20 million lives worldwide. He was discharged from the Army on December 13th and moved to his brother Ben's home in L.A. While recuperating, Capra answered a cattle call for extras for John Ford's film "The The Outcasts of Poker Flat (1919) (Capra, cast as a laborer in the Ford picture, introduced himself to the film's star, Harry Carey. Two decades later, Capra, designated the #1 director in Hollywood by "Time" magazine, would cast Carey and his movie actress wife Olive in Mr. Smith Goes to Washington (1939) for which Carey won a Best Supporting Actor Oscar nomination).
While living at his mother's house, Capra took on a wide variety of manual laboring jobs, including errand boy and ditch digger, even working as an orange tree pruner at 20 cents a day. He continued to be employed as an extra at movie studios and as a prop buyer at an independent studio at Sunset Boulevard and Gower Street, which later became the home of Columbia Pictures, where Capra would make his reputation as the most successful movie director of the 1930s. Most of his time was spent unemployed and idle, which gave credence to his family's earlier opposition to him seeking higher education. Capra wrote short stories but was unable to get them published. He eventually got work as a live-in tutor for the son of "Lucky" Baldwin, a rich gambler. (He later used the Baldwin estate as a location for Dirigible (1931)).
Smitten by the movie bug, in August of that year, Capra, former actor W. M. Plank, and financial backer Ida May Heitmann incorporated the Tri-State Motion Picture Co. in Nevada. Tri-State produced three short films in Nevada in 1920, Don't Change Your Husband (1919), The Pulse of Life (1917), and The Scar of Love (1920), all directed by Plank, and possibly based on story treatments written by Capra. The films were failures, and Capra returned to Los Angeles when Tri-State broke up. In March 1920, Capra was employed by CBC Film Sales Co., the corporate precursor of Columbia Films, where he also worked as an editor and director on a series called "Screen Snapshots." He quit CBC in August and moved to San Francisco, but the only jobs he could find were that of bookseller and door-to-door salesman. Once again seeming to fulfill his family's prophecy, he turned to gambling, and also learned to ride the rails with a hobo named Frank Dwyer. There was also a rumor that he became a traveling salesman specializing in worthless securities, according to a "Time" magazine story "Columbia's Gem" (August 8, 1938 issue, V.32, No. 6).
Still based in San Francisco in 1921, producer Walter Montague hired Capra for $75 per week to help direct the short movie The Ballad of Fisher's Boarding House (1922), which was based on a poem by Rudyard Kipling. Montague, a former actor, had the dubious idea that foggy San Francisco was destined to become the capital of movies, and that he could make a fortune making movies based on poems. Capra helped Montague produced the one-reeler, which was budgeted at $1,700 and subsequently sold to the Pathe Exchange for $3,500. Capra quit Montague when he demanded that the next movie be based upon one of his own poems.
Unable to find another professional filmmaking job, Capra hired himself out as a maker of shorts for the public-at-large while working as an assistant at Walter Ball's film lab. Finally, in October 1921, the Paul Gerson Picture Corp. hired him to help make its two-reel comedies, around the time that he began dating the actress Helen Edith Howe, who would become his first wife. Capra continued to work for both Ball and Gerson, primarily as a cutter. On November 25, 1923, Capra married Helen Howell, and the couple soon moved to Hollywood.
Hal Roach hired Capra as a gag-writer for the "Our Gang" series in January, 1924. After writing the gags for five "Our Gang" comedies in seven weeks, he asked Roach to make him a director. When Roach refused (he somewhat rightly felt he had found the right man in director Bob McGowan), Capra quit. Roach's arch rival Mack Sennett subsequently hired him as a writer, one of a six-man team that wrote for silent movie comedian Harry Langdon, the last major star of the rapidly disintegrating Mack Sennett Studios, and reigning briefly as fourth major silent comedian after Charles Chaplin, Buster Keaton, and Harold Lloyd. Capra began working with the Harry Langdon production unit as a gag writer, first credited on the short Plain Clothes (1925).
As Harry Langdon became more popular, his production unit at Sennett had moved from two- to three-reelers before Langdon, determined to follow the example of Chaplin, Keaton, and Lloyd, went into features. After making his first feature-length comedy, His First Flame (1927) for Sennett, Langdon signed a three-year contract with Sol Lesser's First National Pictures to annually produce two feature-length comedies at a fixed fee per film. For a multitude of reasons Mack Sennett was never able to retain top talent. On September 15, 1925, Harry Langdon left Sennett in an egotistical rage, taking many of his key production personnel with him. Sennett promoted Capra to director but fired him after three days in his new position. In addition to the Langdon comedies, Capra had also written material for other Sennett films, eventually working on twenty-five movies.
After being sacked by Sennett, Capra was hired as a gag-writer by Harry Langdon, working on Langdon's first First National feature-length film, Tramp, Tramp, Tramp (1926). The movie was directed by Harry Edwards who had directed all of Harry Langdon's films at Sennett. His first comedy for First National, Tramp, Tramp, Tramp (1926) did well at the box office, but it had ran over budget, which came out of Langdon's end. Harry Edwards was sacked, and for his next picture, The Strong Man (1926), Langdon promoted Capra to director, boosting his salary to $750 per week. The movie was a hit, but trouble was brewing among members of the Harry Langdon company. Langdon was increasingly believing his own press.
His marriage with Helen began to unravel when it is discovered that she had a life-threatening ectopic pregnancy that had to be terminated. In order to cope with the tragedy, Capra became a work-a-holic while Helen turned to drink. The deterioration of his marriage was mirrored by the disintegration of his professional relationship with Harry Langdonduring the making of the new feature, Long Pants (1927).
The movie, which was released in March 1927, proved to be Capra's last with Harry Langdon, as the comedian soon sacked Capra after its release. Capra later explained the principle of Langdon comedies to James Agee, "It is the principal of the brick: If there was a rule for writing Langdon material, it was this: his only ally was God. Harry Langdon might be saved by a brick falling on a cop, but it was verboten that he in any way motivated the bricks fall."
During the production of Long Pants (1926), Capra had a falling out with Langdon. Screenwriter Arthur Ripley's dark sensibility did not mesh well with that of the more optimistic Capra, and Harry Langdon usually sided with Ripley. The picture fell behind schedule and went over budget, and since Langdon was paid a fixed fee for each film, this represented a financial loss to his own Harry Langdon Corp. Stung by the financial set-back, and desiring to further emulate the great Chaplin, Harry Langdon made a fateful decision: He fired Capra and decided to direct himself. (Langdon's next three movies for First National were dismal failures, the two surviving films being very dark and grim black comedies, one of which, The Chaser (1928), touched on the subject of suicide. It was the late years of the Jazz Age, a time of unprecedented prosperity and boundless bonhomie, and the critics, and more critically, the ticket-buying public, rejected Harry. In 1928, First National did not pick up his contract. The Harry Langdon Corp. soon went bankrupt, and his career as the "fourth major silent comedian" was through, just as sound was coming in.)
In April of 1927, Capra and his wife Helen split up, and Capra went off to New York to direct For the Love of Mike (1927) for First National, his first picture with Claudette Colbert. The director and his star did not get along, and the film went over budget. Subsequently, First National refused to pay Capra, and he had to hitchhike back to Hollywood. The film proved to be Capra's only genuine flop.
By September 1927, he was back working as a writer for Mack Sennett, but in October, he was hired as a director by Columbia Pictures President and Production Chief Harry Cohn for $1,000. The event was momentous for both of them, for at Columbia Capra would soon become the #1 director in Hollywood in the 1930s, and the success of Capra's films would propel the Poverty Row studio into the major leagues. But at first, Cohn was displeased with him. When viewing the first three days of rushes of his first Columbia film, That Certain Thing (1928), Cohn wanted to fire him as everything on the first day had been shot in long shot, on the second day in medium shot, and on the third day in close-ups.
"I did it that way for time," Capra later recalled. "It was so easy to be better than the other directors, because they were all dopes. They would shoot a long shot, then they would have to change the setup to shoot a medium shot, then they would take their close-ups. Then they would come back and start over again. You lose time, you see, moving the cameras and the big goddamn lights. I said, 'I'll get all the long shots on that first set first, then all the medium shots, and then the close-ups.' I wouldn't shoot the whole scene each way unless it was necessary. If I knew that part of it was going to play in long shot, I wouldn't shoot that part in close-up. But the trick was not to move nine times, just to move three times. This saved a day, maybe two days."
Cohn decided to stick with Capra (he was ultimately delighted at the picture and gave Capra a $1,500 bonus and upped his per-picture salary), and in 1928, Cohn raised his salary again, now to to $3,000 per picture after he made several successful pictures, including Submarine (1928). The Younger Generation (1929), the first of a series of films with higher budgets to be directed by Capra, would prove to be his first sound film, when scenes were reshot for dialogue. In the summer of that year, he was introduced to a young widow, Lucille Warner Reyburn (who became Capra's second wife Lou Capra). He also met a transplanted stage actress, Barbara Stanwyck, who had been recruited for the talkie but had been in three successive unsuccessful films and wanted to return to the New York stage. Harry Cohn wanted Stanwyck to appear in Capra's planned film, Ladies of Leisure (1930), but the interview with Capra did not go well, and Capra refused to use her.
Stanwyck went home crying after being dismissed by Capra, and her husband, a furious Frank Fay, called Capra up. In his defense, Capra said that Stanwyck didn't seem to want the part. According to Capra's 1961 autobiography, "The Name Above the Title," Fay said, "Frank, she's young, and shy, and she's been kicked around out here. Let me show you a test she made at Warner's." After viewing her Warners' test for The Noose (1928), Capra became enthusiastic and urged Cohn to sign her. In January of 1930, Capra began shooting Ladies of Leisure (1930) with Stanwyck in the lead. The movies the two made together in the early '30s established them both on their separate journeys towards becoming movieland legends. Though Capra would admit to falling in love with his leading lady, it was Lucille Warner Reyburn who became the second Mrs. Capra.
"You're wondering why I was at that party. That's my racket. I'm a party girl. Do you know what that is?"
Stanwyck played a working-class "party girl" hired as a model by the painter Jerry, who hails from a wealthy family. Capra had written the first draft of the movie before screenwriter Jo Swerling took over. Swerling thought the treatment was dreadful. According to Capra, Swerling told Harry Cohn, when he initially had approached about adapting the play "Ladies of the Evening" into Capra's next proposed film, "I don't like Hollywood, I don't like you, and I certainly don't like this putrid piece of gorgonzola somebody gave me to read. It stunk when Belasco produced it as Ladies of Leisure (1930), and it will stink as Ladies of Leisure, even if your little tin Jesus does direct it. The script is inane, vacuous, pompous, unreal, unbelievable and incredibly dull."
Capra, who favored extensive rehearsals before shooting a scene, developed his mature directorial style while collaborating with Stanwyck, a trained stage actress whose performance steadily deteriorated after rehearsals or retakes. Stanwyck's first take in a scene usually was her best. Capra started blocking out scenes in advance, and carefully preparing his other actors so that they could react to Stanwyck in the first shot, whose acting often was unpredictable, so they wouldn't foul up the continuity. In response to this semi-improvisatory style, Capra's crew had to boost its level of craftsmanship to beyond normal Hollywood standards, which were forged in more static and prosaic work conditions. Thus, the professionalism of Capra's crews became better than those of other directors. Capra's philosophy for his crew was, "You guys are working for the actors, they're not working for you."
After "Ladies of Leisure," Capra was assigned to direct Platinum Blonde (1931) starring Jean Harlow. The script had been the product of a series of writers, including Jo Swerling (who was given credit for adaptation), but was polished by Capra and Robert Riskin (who was given screen credit for the dialogue). Along with Jo Swerling, Riskin would rank as one of Capra's most important collaborators, ultimately having a hand in 13 movies. (Riskin wrote nine screenplays for Capra, and Capra based four other films on Riskin's work.)
Riskin created a hard-boiled newspaperman, Stew Smith for the film, a character his widow, the actress Fay Wray, said came closest to Riskin of any character he wrote. A comic character, the wise-cracking reporter who wants to lampoon high society but finds himself hostage to the pretensions of the rich he had previously mocked is the debut of the prototypical "Capra" hero. The dilemma faced by Stew, akin to the immigrant's desire to assimilate but being rejected by established society, was repeated in Mr. Deeds Goes to Town (1936) and in Meet John Doe (1941).
Capra, Stanwyck, Riskin and Jo Swerling all were together to create Capra's next picture, The Miracle Woman (1931), a story about a shady evangelist. With John Meehan, Riskin wrote the play that the movie is based on, "Bless You, Sister," and there is a possibly apocryphal story that has Riskin at a story conference at which Capra relates the treatment for the proposed film. Capra, finished, asked Riskin for his input, and Riskin replied, "I wrote that play. My brother and I were stupid enough to produce it on Broadway. It cost us almost every cent we had. If you intend to make a picture of it, it only proves one thing: You're even more stupid than we were."
Jo Swerling adapted Riskin's play, which he and his brother Everett patterned after Sinclair Lewis' "Elmer Gantry." Like the Lewis novel, the play focuses on the relationship between a lady evangelist and a con man. The difference, though, is that the nature of the relationship is just implied in Riskin's play (and the Capra film). There is also the addition of the blind war-vet as the moral conscience of the story; he is the pivotal character, whereas in Lewis' tale, the con artist comes to have complete control over the evangelist after eventually seducing her. Like some other Capra films, The Miracle Woman (1931) is about the love between a romantic, idealizing man and a cynical, bitter woman. Riskin had based his character on lady evangelist Uldine Utley, while Stanwyck based her characterization on Aimee Semple McPherson.
Recognizing that he had something in his star director, Harry Cohn took full advantage of the lowly position his studio had in Hollywood. Both Warner Brothers and mighty MGM habitually lent Cohn their troublesome stars -- anyone rejecting scripts or demanding a pay raise was fodder for a loan out to Cohn's Poverty Row studio. Cohn himself was habitually loathe to sign long-term stars in the early 1930s (although he made rare exceptions to Peter Lorre and The Three Stooges) and was delighted to land the talents of any top flight star and invariably assigned them to Capra's pictures. Most began their tenure in purgatory with trepidation but left eagerly wanting to work with Capra again.
In 1932, Capra decided to make a motion picture that reflected the social conditions of the day. He and Riskin wrote the screenplay for American Madness (1932), a melodrama that is an important precursor to later Capra films, not only with It's a Wonderful Life (1946) which shares the plot device of a bank run, but also in the depiction of the irrationality of a crowd mentality and the ability of the individual to make a difference. In the movie, an idealistic banker is excoriated by his conservative board of directors for making loans to small businesses on the basis of character rather than on sounder financial criteria. Since the Great Depression is on, and many people lack collateral, it would be impossible to productively lend money on any other criteria than character, the banker argues. When there is a run on the bank due to a scandal, it appears that the board of directors are rights the bank depositors make a run on the bank to take out their money before the bank fails. The fear of a bank failure ensures that the failure will become a reality as a crowd mentality takes over among the clientèle. The board of directors refuse to pledge their capital to stave off the collapse of the bank, but the banker makes a plea to the crowd, and just like George Bailey's depositors in It's a Wonderful Life (1946), the bank is saved as the fears of the crowd are ameliorated and businessmen grateful to the banker pledge their capital to save the bank. The board of directors, impressed by the banker's character and his belief in the character of his individual clients (as opposed to the irrationality of the crowd), pledge their capital and the bank run is staved off and the bank is saved.
In his biography, "The Name Above the Picture," Capra wrote that before American Madness (1932), he had only made "escapist" pictures with no basis in reality. He recounts how Poverty Row studios, lacking stars and production values, had to resort to "gimmick" movies to pull the crowds in, making films on au courant controversial subjects that were equivalent to "yellow journalism."
What was more important than the subject and its handling was the maturation of Capra's directorial style with the film. Capra had become convinced that the mass-experience of watching a motion picture with an audience had the psychological effect in individual audience members of slowing down the pace of a film. A film that during shooting and then when viewed on a movieola editing device and on a small screen in a screening room among a few professionals that had seemed normally paced became sluggish when projected on the big screen. While this could have been the result of the projection process blowing up the actors to such large proportions, Capra ultimately believed it was the effect of mass psychology affecting crowds since he also noticed this "slowing down" phenomenon at ball games and at political conventions. Since American Madness (1932) dealt with crowds, he feared that the effect would be magnified.
He decided to boost the pace of the film, during the shooting. He did away with characters' entrances and exits that were a common part of cinematic "grammar" in the early 1930s, a survival of the "photoplays" days. Instead, he "jumped" characters in and out of scenes, and jettisoned the dissolves that were also part of cinematic grammar that typically ended scenes and indicated changes in time or locale so as not to make cutting between scenes seem choppy to the audience. Dialogue was deliberately overlapped, a radical innovation in the early talkies, when actors were instructed to let the other actor finish his or her lines completely before taking up their cue and beginning their own lines, in order to facilitate the editing of the sound-track. What he felt was his greatest innovation was to boost the pacing of the acting in the film by a third by making a scene that would normally play in one minute take only 40 seconds.
When all these innovations were combined in his final cut, it made the movie seem normally paced on the big screen, though while shooting individual scenes, the pacing had seemed exaggerated. It also gave the film a sense of urgency that befitted the subject of a financial panic and a run on a bank. More importantly, it "kept audience attention riveted to the screen," as he said in his autobiography. Except for "mood pieces," Capra subsequently used these techniques in all his films, and he was amused by critics who commented on the "naturalness" of his direction.
Capra was close to completely establishing his themes and style. Justly accused of indulging in sentiment which some critics labeled "Capra-corn," Capra's next film, Lady for a Day (1933) was an adaptation of Damon Runyon's 1929 short story "Madame La Gimp" about a nearly destitute apple peddler whom the superstitious gambler Dave the Dude (portrayed by Warner Brothers star Warren William) sets up in high style so she and her daughter, who is visiting with her finance, will not be embarrassed. Dave the Dude believes his luck at gambling comes from his ritualistically buying an apple a day from Annie, who is distraught and considering suicide to avoid the shame of her daughter seeing her reduced to living on the street. The Dude and his criminal confederates put Annie up in a luxury apartment with a faux husband in order to establish Annie in the eyes of her daughter as a dignified and respectable woman, but in typical Runyon fashion, Annie becomes more than a fake as the masquerade continues.
Robert Riskin wrote the first four drafts of Lady for a Day (1933), and of all the scripts he worked on for Capra, the film deviates less from the script than any other. After seeing the movie, Runyon sent a telegraph to Riskin praising him for his success at elaborating on the story and fleshing out the characters while maintain his basic story. Lady for a Day (1933) was the favorite Capra film of John Ford, the great filmmaker who once directed the unknown extra. The movie cost $300,000 and was the first of Capra's oeuvre to attract the attention of the Academy of Motion Picture Arts & Sciences, getting a Best Director nomination for Capra, plus nods for Riskin and Best Actress. The movie received Columbia's first Best Picture nomination, the studio never having attracted any attention from the Academy before Lady for a Day (1933). (Capra's last film was the flop remake of Lady for a Day (1933) with Bette Davis and Glenn Ford, Pocketful of Miracles (1961))
Capra reunited with Stanwyck and produced his first universally acknowledged classic, The Bitter Tea of General Yen (1932), a film that now seems to belong more to the oeuvre of Josef von Sternberg than it does to Frank Capra. With "General Yen," Capra had consciously set out to make a movie that would win Academy Awards. Frustrated that the innovative, timely, and critically well-received American Madness (1932) had not received any recognition at the Oscars (particularly in the director's category in recognition of his innovations in pacing), he vented his displeasure to Columbia boss Cohn.
"Forget it," Cohn told Capra, as recounted in his autobiography. "You ain't got a Chinaman's chance. They only vote for that arty junk."
Capra set out to boost his chances by making an arty film featuring a "Chinaman" that confronted that major taboo of American cinema of the first half of the century, miscegenation.
In the movie, the American missionary Megan Davis is in China to marry another missionary. Abducted by the Chinese Warlord General Yen, she is torn away from the American compound that kept her isolated from the Chinese and finds herself in a strange, dangerous culture. The two fall in love despite their different races and life-views. The film ran up against the taboo against miscegenation embedded in the Motion Picture Producers and Distributors Association's Production Code, and while Megan merely kisses General Yen's hand in the picture, the fact that she was undeniably in love with a man from a different race attracted the vituperation of many bigots.
Having fallen for Megan, General Yen engenders her escape back to the Americans before willingly drinking a poisoned cup of tea, his involvement with her having cost him his army, his wealth, and now his desire to live. The Bitter Tea of General Yen (1932) marks the introduction of suicide as a Capra theme that will come back repeatedly, most especially in George Bailey's breakdown on the snowy bridge in It's a Wonderful Life (1946).
Despair often shows itself in Capra films, and although in his post-"General Yen" work, the final reel wraps things up in a happy way, until that final reel, there is tragedy, cynicism, heartless exploitation, and other grim subject matter that Capra's audiences must have known were the truth of the world, but that were too grim to face when walking out of a movie theater. When pre-Code movies were rediscovered and showcased across the United States in the 1990s, they were often accompanied by thesis about how contemporary audiences "read" the films (and post-1934 more Puritanical works), as the movies were not so frank or racy as supposed. There was a great deal of signaling going on which the audience could read into, and the same must have been true for Capra's films, giving lie to the fact that he was a sentimentalist with a saccharine view of America. There are few films as bitter as those of Frank Capra before the final reel.
Despair was what befell Frank Capra, personally, on the night of March 16, 1934, which he attended as one of the Best Director nominees for Lady for a Day (1933). Capra had caught Oscar fever, and in his own words, "In the interim between the nominations and the final voting...my mind was on those Oscars." When Oscar host Will Rogers opened the envelope for Best Director, he commented, "Well, well, well. What do you know. I've watched this young man for a long time. Saw him come up from the bottom, and I mean the bottom. It couldn't have happened to a nicer guy. Come on up and get it, Frank!"
Capra got up to go get it, squeezing past tables and making his way to the open dance floor to accept his Oscar. "The spotlight searched around trying to find me. 'Over here!' I waved. Then it suddenly swept away from me -- and picked up a flustered man standing on the other side of the dance floor - Frank Lloyd!"
Frank Lloyd went up to the dais to accept HIS Oscar while a voice in back of Capra yelled, "Down in front!"
Capra's walk back to his table amidst shouts of "Sit down!" turned into the "Longest, saddest, most shattering walk in my life. I wished I could have crawled under the rug like a miserable worm. When I slumped in my chair I felt like one. All of my friends at the table were crying."
That night, after Lloyd's Cavalcade (1933), beat Lady for a Day (1933) for Best Picture, Capra got drunk at his house and passed out. "Big 'stupido,'" Capra thought to himself, "running up to get an Oscar dying with excitement, only to crawl back dying with shame. Those crummy Academy voters; to hell with their lousy awards. If ever they did vote me one, I would never, never, NEVER show up to accept it."
Capra would win his first of three Best Director Oscars the next year, and would show up to accept it. More importantly, he would become the president of the Academy in 1935 and take it out of the labor relations field a time when labor strife and the formation of the talent guilds threatened to destroy it.
The International Academy of Motion Picture Arts & Sciences had been the brainchild of Louis B. Mayer in 1927 (it dropped the "International" soon after its formation). In order to forestall unionization by the creative talent (directors, actors and screenwriters) who were not covered by the Basic Agreement signed in 1926, Mayer had the idea of forming a company union, which is how the Academy came into being. The nascent Screen Writers Union, which had been created in 1920 in Hollywood, had never succeeded in getting a contract from the studios. It went out of existence in 1927, when labor relations between writers and studios were handled by the Academy's writers' branch.
The Academy had brokered studio-mandated pay-cuts of 10% in 1927 and 1931, and massive layoffs in 1930 and 1931. With the inauguration of President Franklin D. Roosevelt on March 4, 1933, Roosevelt took no time in attempting to tackle the Great Depression. The day after his inauguration, he declared a National Bank Holiday, which hurt the movie industry as it was heavily dependent on bank loans. Louis B. Mayer, as president of the Association of Motion Picture Producers, Inc. (the co-equal arm of the Motion Picture Producers and Distributors Association charged with handling labor relations) huddled with a group from the Academy (the organization he created and had long been criticized for dominating, in both labor relations and during the awards season) and announced a 50% across-the-board pay cut. In response, stagehands called a strike for March 13th, which shut down every studio in Hollywood.
After another caucus between Mayer and the Academy committee, a proposal for a pay-cut on a sliding-scale up to 50% for everyone making over $50 a week; which would only last for eight weeks, was inaugurated. Screen writers resigned en masse from the Academy and joined a reformed Screen Writers Guild, but most employees had little choice and went along with it. All the studios but Warner Bros. and Sam Goldwyn honored the pledge to restore full salaries after the eight weeks, and Warners production chief Darryl F. Zanuck resigned in protest over his studio's failure to honor its pledge. A time of bad feelings persisted, and much anger was directed towards the Academy in its role as company union.
The Academy, trying to position itself as an independent arbiter, hired the accounting firm of Price Waterhouse for the first time to inspect the books of the studios. The audit revealed that all the studios were solvent, but Harry Warner refused to budge and Academy President 'Conrad Nagel' resigned, although some said he was forced out after a vote of no-confidence after arguing Warner's case. The Academy announced that the studio bosses would never again try to impose a horizontal salary cut, but the usefulness of the Academy as a company union was over.
Under Roosevelt's New Deal, the self-regulation imposed by the National Industrial Relations Act (signed into law on June 16th) to bring business sectors back to economic health was predicated upon cartelization, in which the industry itself wrote its own regulatory code. With Hollywood, it meant the re-imposition of paternalistic labor relations that the Academy had been created to wallpaper over. The last nail in the company union's coffin was when it became public knowledge that the Academy appointed a committee to investigate the continued feasibility of the industry practice of giving actors and writers long-term contracts. High salaries to directors, actors, and screen writers was compensation to the creative people for producers refusing to ceded control over creative decision-making. Long-term contracts were the only stability in the Hollywood economic set-up up creative people,. Up to 20%-25% of net earnings of the movie industry went to bonuses to studio owners, production chiefs, and senior executives at the end of each year, and this created a good deal of resentment that fueled the militancy of the SWG and led to the formation of the Screen Actors Guild in July 1933 when they, too, felt that the Academy had sold them out.
The industry code instituted a cap on the salaries of actors, directors, and writers, but not of movie executives; mandated the licensing of agents by producers; and created a reserve clause similar to baseball where studios had renewal options with talent with expired contracts, who could only move to a new studio if the studio they had last been signed to did not pick up their option.
The SWG sent a telegram to FDR in October 1933 denouncing this policy, arguing that the executives had taken millions of dollars of bonuses while running their companies into receivership and bankruptcy. The SWG denounced the continued membership of executives who had led their studios into financial failure remaining on the corporate boards and in the management of the reorganized companies, and furthermore protested their use of the NIRA to write their corrupt and failed business practices into law at the expense of the workers.
There was a mass resignation of actors from the Academy in October 1933, with the actors switching their allegiance to SAG. SAG joined with the SWG to publish "The Screen Guilds Magazine," a periodical whose editorial content attacked the Academy as a company union in the producers' pocket. SAG President Eddie Cantor, a friend of Roosevelt who had bee invited to spend the Thanksgiving Day holiday with the president, informed him of the guild's grievances over the NIRA code. Roosevelt struck down many of the movie industry code's anti-labor provisions by executive order.
The labor battles between the guilds and the studios would continue until the late 1930s, and by the time Frank Capra was elected president of the Academy in 1935, the post was an unenviable one. The Screen Directors Guild was formed at King Vidor's house on January 15, 1936, and one of its first acts was to send a letter to its members urging them to boycott the Academy Awards ceremony, which was three days away. None of the guilds had been recognized as bargaining agents by the studios, and it was argued to grace the Academy Awards would give the Academy, a company union, recognition. Academy membership had declined to 40 from a high of 600, and Capra believed that the guilds wanted to punish the studios financially by depriving them of the good publicity the Oscars generated.
But the studios couldn't care less. Seeing that the Academy was worthless to help them in its attempts to enforce wage cuts, it too abandoned the Academy, which it had financed. Capra and the Board members had to pay for the Oscar statuettes for the 1936 ceremony. In order to counter the boycott threat, Capra needed a good publicity gimmick himself, and the Academy came up with one, voting D.W. Griffith an honorary Oscar, the first bestowed since one had been given to Charles Chaplin at the first Academy Awards ceremony.
The Guilds believed the boycott had worked as only 20 SAG members and 13 SWG members had showed up at the Oscars, but Capra remembered the night as a victory as all the winners had shown up. However, 'Variety' wrote that "there was not the galaxy of stars and celebs in the director and writer groups which distinguished awards banquets in recent years." "Variety" reported that to boost attendance, tickets had been given to secretaries and the like. Bette Davis and Victor McLaglen had showed up to accept their Oscars, but McLaglen's director and screenwriter, John Ford and Dudley Nichols, both winners like McLaglen for The Informer (1935), were not there, and Nichols became the first person to refuse an Academy Award when he sent back his statuette to the Academy with a note saying he would not turn his back on his fellow writers in the SWG. Capra sent it back to him. Ford, the treasurer of the SDG, had not showed up to accept his Oscar, he explained, because he wasn't a member of the Academy. When Capra staged a ceremony where Ford accepted his award, the SDG voted him out of office.
To save the Academy and the Oscars, Capra convinced the board to get it out of the labor relations field. He also democratized the nomination process to eliminate studio politics, opened the cinematography and interior decoration awards to films made outside the U.S., and created two new acting awards for supporting performances to win over SAG.
By the 1937 awards ceremony, SAG signaled its pleasure that the Academy had mostly stayed out of labor relations by announcing it had no objection to its members attending the awards ceremony. The ceremony was a success, despite the fact that the Academy had to charge admission due to its poor finances. Frank Capra had saved the Academy of Motion Picture Arts and Sciences, and he even won his second Oscar that night, for directing Mr. Deeds Goes to Town (1936). At the end of the evening, Capra announced the creation of the Irving Thalberg Memorial Award to honor "the most consistent high level of production achievement by an individual producer." It was an award he himself was not destined to win.
By the 1938 awards, the Academy and all three guilds had buried the hatchet, and the guild presidents all attended the ceremony: SWG President Dudley Nichols, who finally had accepted his Oscar, SAG President Robert Montgomery, and SDG President King Vidor. Capra also had introduced the secret ballot, the results of which were unknown to everyone but the press, who were informed just before the dinner so they could make their deadlines. The first Irving Thalberg Award was given to long-time Academy supporter and anti-Guild stalwart Darryl F. Zanuck by Cecil B. DeMille, who in his preparatory remarks, declared that the Academy was "now free of all labor struggles."
But those struggles weren't over. In 1939, Capra had been voted president of the SDG and began negotiating with AMPP President 'Joseph Schenck', the head of 20th Century-Fox, for the industry to recognize the SDG as the sole collective bargaining agent for directors. When Schenck refused, Capra mobilized the directors and threatened a strike. He also threatened to resign from the Academy and mount a boycott of the awards ceremony, which was to be held a week later. Schenck gave in, and Capra won another victory when he was named Best Director for a third time at the Academy Awards, and his movie, You Can't Take It with You (1938), was voted Best Picture of 1938.
The 1940 awards ceremony was the last that Capra presided over, and he directed a documentary about them, which was sold to Warner Bros' for $30,000, the monies going to the Academy. He was nominated himself for Best Director and Best Picture for Mr. Smith Goes to Washington (1939), but lost to the Gone with the Wind (1939) juggernaut. Under Capra's guidance, the Academy had left the labor relations field behind in order to concentrated on the awards (publicity for the industry), research and education.
"I believe the guilds should more or less conduct the operations and functions of this institution," he said in his farewell speech. He would be nominated for Best Director and Best Picture once more with It's a Wonderful Life (1946) in 1947, but the Academy would never again honor him, not even with an honorary award after all his service. (Bob Hope, in contrast, received four honorary awards, including a lifetime membership in 1945, and the Jean Hersholt Humanitarian award in 1960 from the Academy.) The SDG (subsequently renamed the Directors Guild of America after its 1960 with the Radio and Television Directors Guild and which Capra served as its first president from 1960-61), the union he had struggled with in the mid-1930s but which he had first served as president from 1939 to 1941 and won it recognition, voted him a lifetime membership in 1941 and a Lifetime Achievement Award in 1959.
Whenever Capra convinced studio boss Harry Cohn to let him make movies with more controversial or ambitious themes, the movies typically lost money after under-performing at the box office. The Bitter Tea of General Yen (1932) and Lost Horizon (1937) were both expensive, philosophically minded pictures that sought to reposition Capra and Columbia into the prestige end of the movie market. After the former's relative failure at the box office and with critics, Capra turned to making a screwball comedy, a genre he excelled at, with It Happened One Night (1934). Bookended with You Can't Take It with You (1938), these two huge hits won Columbia Best Picture Oscars and Capra Best Director Academy Awards. These films, along with Mr. Deeds Goes to Town (1936), Mr. Smith Goes to Washington (1939), and It's a Wonderful Life (1946) are the heart of Capra's cinematic canon. They are all classics and products of superb craftsmanship, but they gave rise to the canard of "Capra-corn." One cannot consider Capra without taking into account The Bitter Tea of General Yen (1932), American Madness (1932), and Meet John Doe (1941), all three dark films tackling major issues, Imperialism, the American plutocracy, and domestic fascism. Capra was no Pollyanna, and the man who was called a "dago" by Mack Sennett and who went on to become one of the most unique, highly honored and successful directors, whose depictions of America are considered Americana themselves, did not live his cinematic life looking through a rose-colored range-finder
In his autobiography "The Name Above the Title," Capra says that at the time of American Madness (1932), critics began commenting on his "gee-whiz" style of filmmaking. The critics attacked "gee whiz" cultural artifacts as their fabricators "wander about wide-eyed and breathless, seeing everything as larger than life." Capra's response was "Gee whiz!"
Defining Hollywood as split between two camps, "Mr. Up-beat" and "Mr. Down-beat," Capra defended the up-beat gee whiz on the grounds that, "To some of us, all that meets the eye IS larger than life, including life itself. Who ca match the wonder of it?"
Among the artists of the "Gee-Whiz:" school were Ernest Hemingway, Homer, and Paul Gauguin, a novelist who lived a heroic life larger than life itself, a poet who limned the lives of gods and heroes, and a painter who created a mythic Tahiti, the Tahiti that he wanted to find. Capra pointed to Moses and the apostles as examples of men who were larger than life. Capra was proud to be "Mr. Up-beat" rather than belong to "the 'ashcan' school" whose "films depict life as an alley of cats clawing lids off garbage cans, and man as less noble than a hyena. The 'ash-canners,' in turn, call us Pollyannas, mawkish sentimentalists, and corny happy-enders."
What really moves Capra is that in America, there was room for both schools, that there was no government interference that kept him from making a film like American Madness (1932). (While Ambassador to the Court of St. James, Joseph P. Kennedy had asked Harry Cohn to stop exporting Mr. Smith Goes to Washington (1939) to Europe as it portrayed American democracy so negatively.) About Mr. Up-beat and Mr-Downbeat and "Mr. In-between," Capra says, "We all respect and admire each other because the great majority freely express their own individual artistry unfettered by subsidies or strictures from government, pressure groups, or ideologists."
In the period 1934 to 1941, Capra the created the core of his canon with the classics It Happened One Night (1934), Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939) and Meet John Doe (1941), wining three Best Director Oscars in the process. Some cine-historians call Capra the great American propagandist, he was so effective in creating an indelible impression of America in the 1930s. "Maybe there never was an America in the thirties," John Cassavetes was quoted as saying. "Maybe it was all Frank Capra."
After the United States went to war in December 1941, Frank Capra rejoined the Army and became an actual propagandist. His "Why We Fight" series of propaganda films were highly lauded for their remarkable craftsmanship and were the best of the U.S. propaganda output during the war. Capra's philosophy, which has been variously described as a kind of Christian socialism (his films frequently feature a male protagonist who can be seen a Christ figure in a story about redemption emphasizing New Testament values) that is best understood as an expression of humanism, made him an ideal propagandist. He loved his adopted country with the fervor of the immigrant who had realized the American dream. One of his propaganda films, The Negro Soldier (1944), is a milestone in race relations.
Capra, a genius in the manipulation of the first form of "mass media," was opposed to "massism." The crowd in a Capra film is invariably wrong, and he comes down on the side of the individual, who can make a difference in a society of free individuals. In an interview, Capra said he was against "mass entertainment, mass production, mass education, mass everything. Especially mass man. I was fighting for, in a sense, the preservation of the liberty of the individual person against the mass."
Capra had left Columbia after "Mr. Smith" and formed his own production company. After the war, he founded Liberty Films with John Ford and made his last masterpiece, It's a Wonderful Life (1946). Liberty folded prior to its release (another Liberty film, William Wyler's masterpiece, The Best Years of Our Lives (1946) was released through United Artists). Though Capra received his sixth Oscar nomination as best director, the movie flopped at the box office, which is hard to believe now that the film is considered must-see viewing each Christmas. Capra's period of greatness was over, and after making three under-whelming films from 1948 to '51 (including a remake of his earlier Broadway Bill (1934)), Capra didn't direct another picture for eight years, instead making a series of memorable semi-comic science documentaries for television that became required viewing for most 1960's school kids. His last two movies, A Hole in the Head (1959) and Pocketful of Miracles (1961) his remake of Lady for a Day (1933) did little to enhance his reputation.
But a great reputation it was, and is. Capra's films withstood the test of time and continue to be as beloved as when they were embraced by the movie-going "masses" in the 1930s. It was the craftsmanship: Capra was undeniably a master of his medium. The great English novelist Graham Greene, who supported himself as a film critic in the 1930s, loved Capra's films due to their sense of responsibility and of common life, and due to his connection with his audience. (Capra, according to the 1938 "Time" article, believed that what he liked would be liked by moviegoers). In his review of Mr. Deeds Goes to Town (1936), Greene elucidated the central theme of Capra's movies: "Goodness and simplicity manhandled in a deeply selfish and brutal world."
But it was Capra's great mastery over film that was the key to his success. Comparing Capra to Dickens in a not wholly flattering review of You Can't Take It with You (1938), Green found Capra "a rather muddled and sentimental idealist who feels -- vaguely -- that something is wrong with the social system" (807). Commenting on the improbable scene in which Grandpa Vanderhof persuades the munitions magnate Anthony P. Kirby to give everything up and play the harmonica, Greene stated:
"It sounds awful, but it isn't as awful as all that, for Capra has a touch of genius with a camera: his screen always seems twice as big as other people's, and he cuts as brilliantly as Eisenstein (the climax when the big bad magnate takes up his harmonica is so exhilarating in its movement that you forget its absurdity). Humour and not wit is his line, a humor that shades off into whimsicality, and a kind of popular poetry which is apt to turn wistful. We may groan and blush as he cuts his way remorselessly through all finer values to the fallible human heart, but infallibly he makes his appeal - to that great soft organ with its unreliable goodness and easy melancholy and baseless optimism. The cinema, a popular craft, can hardly be expected to do more."
Capra was a populist, and the simplicity of his narrative structures, in which the great social problems facing America were boiled down to scenarios in which metaphorical boy scouts took on corrupt political bosses and evil-minded industrialists, created mythical America of simple archetypes that with its humor, created powerful films that appealed to the elemental emotions of the audience. The immigrant who had struggled and been humiliated but persevere due to his inner resolution harnessed the mytho-poetic power of the movie to create proletarian passion plays that appealed to the psyche of the New Deal movie-goer. The country during the Depression was down but not out, and the ultimate success of the individual in the Capra films was a bracing tonic for the movie audience of the 1930s. His own personal history, transformed on the screen, became their myths that got them through the Depression, and when that and the war was over, the great filmmaker found himself out of time. Capra, like Charles Dickens, moralized political and economic issues. Both were primarily masters of personal and moral expression, and not of the social and political. It was the emotional realism, not the social realism, of such films as Mr. Smith Goes to Washington (1939), which he was concerned with, and by focusing on the emotional and moral issues his protagonists faced, typically dramatized as a conflict between cynicism and the protagonist's faith and idealism, that made the movies so powerful, and made them register so powerfully with an audience.- Additional Crew
- Writer
- Director
The most famous Soviet film-maker since Sergei Eisenstein, Andrei Tarkovsky (the son of noted poet Arseniy Tarkovsky) studied music and Arabic in Moscow before enrolling in the Soviet film school VGIK. He shot to international attention with his first feature, Ivan's Childhood (1962), which won the top prize at the Venice Film Festival. This resulted in high expectations for his second feature Andrei Rublev (1966), which was banned by the Soviet authorities for two years. It was shown at the 1969 Cannes Film Festival at four o'clock in the morning on the last day, in order to prevent it from winning a prize - but it won one nonetheless, and was eventually distributed abroad partly to enable the authorities to save face. Solaris (1972), had an easier ride, being acclaimed by many in Europe and North America as the Soviet answer to Kubrick's '2001' (though Tarkovsky himself was never too fond of his own film nor Kubrick's), but he ran into official trouble again with Mirror (1975), a dense, personal web of autobiographical memories with a radically innovative plot structure. Stalker (1979) had to be completely reshot on a dramatically reduced budget after an accident in the laboratory destroyed the first version, and after Nostalghia (1983), shot in Italy (with official approval), Tarkovsky defected to Europe. His last film, The Sacrifice (1986) was shot in Sweden with many of Ingmar Bergman's regular collaborators, and won an almost unprecedented four prizes at the Cannes Film Festival. He died of lung cancer at the end of the year. Two years later link=Sergei Parajanov dedicated his film Ashik Kerib to Tarkovsky.- 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.- Actor
- Director
- Writer
John Cassavetes was a Greek-American actor, film director, and screenwriter. He is considered a pioneer of American independent film, as he often financed his own films.
Cassavetes was born in New York City in 1929 to Nicholas John Cassavetes (1893-1979) and his wife, Katherine Demetre (1906-1983). Nicholas was an immigrant from Greece, while Katherine was Greek-American who had been born in New York City. The Cassavetes family moved back to Greece in the early 1930s, and John learned Greek as his primary language. The family moved back to the United States around 1936, possibly to evade Greece's new dictatorship, the 4th of August Regime (1936-1941). Young John had to learn to speak English. He spent his late childhood and most of his teenage years in Long Island, New York. From 1945-47, he attended the Port Washington High School. He wrote for the school newspaper and the school yearbook. The 18-year-old Cassavetes was then transferred to the Blair Academy, a boarding school located in Blairstown, New Jersey. When the time came for him to start college, Cassavetes enrolled at Champlain College (in Burlington, Vermont) but was expelled owing to poor grades.
After a brief vacation to Florida, Cassavetes enrolled at the American Academy of Dramatic Arts (AADA), in New York City. Several of his old friends were already students there and had recommended it to Cassavetes, who would be mentored by Don Richardson (1918-1996). After graduating, he began to regularly perform on stage while also appearing in small roles in films and television shows.
Cassavetes's first notable film role was that of Robert Batsford, one of the three villains (along with Vince Edwards and David Cross) in The Night Holds Terror (1955). His next major role was juvenile delinquent Frankie Dane in the crime film "Crime in the Streets" (1956). He won a lead role in Edge of the City (1957) as drifter Axel Nordmann. His co-star for the film was Sidney Poitier, who played stevedore Tommy Tyler. The film helped break new ground, portraying a working-class interracial friendship. Cassavetes gained critical acclaim for his role, and film critics compared him to Marlon Brando. Cassavetes's success as an actor led to his becoming a contract player for MGM. In 1959, he directed his first film, Shadows (1958). It depicted the lives of three African-American siblings in New York City. It won the Critics Award at the Venice Film Festival.
His next directing effort, Too Late Blues (1961), was about the professional and romantic problems of a struggling jazz musician. The film was poorly received at the time, though its autobiographical elements are considered remarkable. Cassavetes then directed A Child Is Waiting (1963), which depicted life in a state institution for mentally handicapped and emotionally disturbed children. The film was a documentary-style portrayal of problems in the social services. It was praised by critics but failed at the box office.
In 1968, Cassavetes had a comeback as a director with Faces (1968), which depicts a single night in the life of a middle-aged married couple. After 14 years of marriage, the two feel rather miserable and seek happiness in the company of friends and the beds of younger lovers, but neither manages to cure their sense of misery. The film gained critical acclaim, and, in 2011, was selected for preservation in the United States National Film Registry.
Cassavetes returned to the theme of a midlife crisis in his next film, Husbands (1970). The film depicts three middle-aged men, professionally successful and seemingly happily married. The death of a close childhood friend reminds them of their own mortality, and of their fading memories of youth. They flee their ordinary lives with a shared vacation to London, but their attempts to rejuvenate themselves fail. This film attracted mixed reviews, with some critics praising its "moments of piercing honesty" and others finding fault with its rambling dialogue.
Cassavetes's next film was Minnie and Moskowitz (1971), about the romantic relationship between a seemingly incompatible couple, jaded museum curator Minnie Moore and the temperamental drifter Seymour Moskowitz. It was well received and garnered Cassavetes a Writers Guild of America Award for Best Comedy Written Directly for the Screen. His next film was A Woman Under the Influence (1974), concerning the effects of mental illness on a working-class family. In the film, ordinary housewife Mabel Longhetti starts displaying signs of a mental disorder. She undergoes psychiatric treatment for six months while her husband, Nick Longhetti, attempts to play the role of a single father. But Nick seems to be a social misfit in his own right, and neither parent seems to be "normal". Cassavetes was nominated for an Academy Award for Best Director for this film, but the award was won by Francis Ford Coppola.
Cassavetes next directed the gritty crime film, The Killing of a Chinese Bookie (1976). In the film, Korean War veteran and cabaret owner Cosmo Vittelli owes a large debt to a criminal organization and is coerced to serve as their hit-man in an assassination scheme. He has been told that the target is an insignificant bookie, but after the assassination Vittelli learns that he just killed a high-ranking crime boss of the Chinese mafia and that he himself is now a target for assassination. The film gained good reviews and a cult following.
His next film, Opening Night (1977), was more enigmatic, mixing drama with horror elements. Protagonist Myrtle Gordon (played by Cassavetes's wife, Gena Rowlands) is a famous actress, but aging and dissatisfied with the only theatrical role available to her. After seeing teenager Nancy Stein, one of her obsessive fans , get killed in a car accident, Myrtle starts having visions of Nancy's ghost. As she keeps fighting the ghost, drinking heavily and chain-smoking, the film ends without explaining what seems to be going wrong with Myrtle's perception of reality. The film was a hit in Europe but flopped in the United States.
Cassavetes had another directing comeback with "Gloria" (1980). In the film, Gloria Swenson (formerly a gangster's girlfriend) is asked to protect Phil Dawn, the young son of an FBI informant within a New York crime family. After the apparent assassination of Phil's parents, Gloria finds herself targeted by gangsters and wanted by the police as a kidnapping suspect. The film won the Golden Lion award at the Venice Film Festival, and protagonist Gena Rowlands was nominated for several acting awards.
Cassavetes's 11th directing effort was the rather unconventional drama Love Streams (1984), about the relationship between two middle-aged siblings. In the film, Sarah Lawson suffers from depression following a messy divorce and moves in with her brother, Robert Harmon, an alcoholic writer with self-destructive tendencies. Though estranged from his ex-wife and his only son and unable to protect himself from violent foes, in the end Robert finally has someone for whom to care. The film won the Golden Bear at the Berlin International Film Festival.
Cassavetes' swan song as a director was the comedy Big Trouble (1986), replacing the much younger Andrew Bergman. The film concerns an insurance agent who needs $40,000 for college tuition for his three daughters. He agrees to cooperate in an insurance scam with the wife of one of his clients, though the plan may require them to murder her husband. Several elements of the film were recycled from the plot of the iconic film noir Double Indemnity (1944), and "Big Trouble" served as its unofficial remake. The film was unsuccessful, and Cassavetes himself reportedly disliked the script.
In the late 1980s, Cassavetes suffered from health problems and his career was in decline. He died in 1989 from cirrhosis of the liver caused by many years of heavy drinking. He was only 59 years old. He is buried at the Westwood Village Memorial Park in Los Angeles, having left more than 40 unproduced screenplays and an unpublished novel. His son, Nick Cassavetes, eventually used one of the unproduced screenplays to direct a new film, the romantic drama, She's So Lovely (1997). It was released eight years after the death of John Cassavetes, and was well received by critics.- Director
- Producer
- Writer
What do the classic films Scarface (1932), Twentieth Century (1934), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), Sergeant York (1941), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948) Gentlemen Prefer Blondes (1953) and Rio Bravo (1959) have in common? Aside from their displays of great craftsmanship, the answer is director Howard Hawks, one of the most celebrated of American filmmakers, who ironically, was little celebrated by his peers in the Academy of Motion Picture Arts and Sciences during his career.
Although John Ford--his friend, contemporary and the director arguably closest to him in terms of his talent and output--told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Hawks is one of the faces of American film and would be carved on any film pantheon's Mt. Rushmore honoring America's greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French "Cahiers du Cinema" critics to teach America to appreciate one of its own masters, and it was to the Academy's credit that it recognized the great Hawks in his lifetime.
Hawks' career spanned the freewheeling days of the original independents in the 1910s, through the studio system in Hollywood from the silent era through the talkies, lasting into the early 1970s with the death of the studios and the emergence of the director as auteur, the latter a phenomenon that Hawks himself directly influenced. He was the most versatile of American directors, and before his late career critical revival he earned himself a reputation as a first-rate craftsman and consummate Hollywood professional who just happened, in a medium that is an industrial process, to have made some great movies. Recognition as an influential artist would come later, but it would come to him before his death.
He was born Howard Winchester Hawks in Goshen, Indiana, on Decoration Day, May 30, 1896, the first child of Franklin Winchester Hawks and his wife, the former Helen Brown Howard. The day of his birth the local sheriff killed a brawler at the town saloon; the young Hawks was not born on the wild side of town, though, but with the proverbial silver spoon firmly clenched in his young mouth. His wealthy father was a member of Goshen's most prominent family, owners of the Goshen Milling Co. and many other businesses, and his maternal grandfather was one of Wisconsin's leading industrialists. His father's family had arrived in America in 1630, while his mother's father, C.W. Howard, who was born in Maine in 1845 to parents who emigrated to the U.S. from the Isle of Man, made his fortune in the paper industry with his Howard Paper Co. Ironically, almost a half-year after Howard's birth, the first motion picture was shown in Goshen, just before Christmas on December 10, 1896. Billed as "the scientific wonder of the world," the movie played to a sold-out crowd at the Irwin Theater. However, it disappointed the audience, and attendance fell off at subsequent showings. The interest of the boy raised a Presbyterian would not be piqued again until his family moved to southern California.
Before that move came to pass, though, the Hawks family relocated from Goshen to Neenah, Wisconsin, when Howard's father was appointed secretary/treasurer of the Howard Paper Co. in 1898. Howard grew up a coddled and spoiled child in Goshen, but in Neenah he was treated like a young prince. His maternal grandfather C.W. lavished his grandson with expensive toys. C.W. had been an indulgent father, encouraging the independence and adventurousness of his two daughters, Helen and Bernice, who were the first girls in Neenah to drive automobiles. Bernice even went for an airplane ride (the two sisters, Hawks' mother and aunt, likely were the first models for what became known as "the Hawksian women" when he became a director). Brother Kenneth Hawks was born in 1898, and was looked after by young Howard. However, Howard resented the birth of the family's next son, William B. Hawks, in 1902, and offered to sell him to a family friend for ten cents. A sister, Grace, followed William. Childbirth took a heavy toll on Howard's mother, and she never quite recovered after delivering her fifth child, Helen, in 1906. In order to aid her recovery, the family moved to the more salubrious climate of Pasadena, California, northeast of Los Angeles, for the winter of 1906-07. The family returned to Wisconsin for the summers, but by 1910 they permanently resettled in California, as grandfather C.W. himself took to wintering in Pasadena. He eventually sold his paper company and retired. He continued to indulge his grandson Howard, though, buying him whatever he fancied, including a race car when the lad was barely old enough to drive legally. C.W. also arranged for Howard to take flying lessons so he could qualify for a pilot's license, an example followed by Kenneth.
The young Howard Hawks grew accustomed to getting what he wanted and believed his grandfather when C.W. told him he was the best and that he could do anything. Howard also likely inherited C.W.'s propensity for telling whopping lies with a straight face, a trait that has bedeviled many film historians ever since. C.W. also was involved in amateur theatrics and Howard's mother Helen was interested in music, though no one in the Hawks-Howard family ever was involved in the arts until Howard went to work in the film industry.
Hawks was sent to Philips Exeter Academy in Exeter, New Hampshire, for his education, and upon graduation attended Cornell University, where he majored in mechanical engineering. In both his personal and professional lives Hawks was a risk-taker and enjoyed racing airplanes and automobiles, two sports that he first indulged in his teens with his grandfather's blessing.
The Los Angeles area quickly evolved into the center of the American film industry when studios began relocating their production facilities from the New York City area to southern California in the middle of the 1910s. During one summer vacation while Howard was matriculating at Cornell, a friend got him a job as a prop man at Famous Players-Lasky (later to become Paramount Pictures), and he quickly rose trough the ranks. Hawks recalled, "It all started with Douglas Fairbanks, who was off on location for some picture and phoned in to say they wanted a modern set. There was only one art director . . . and he was away on another location. I said, 'Well, I can build a modern set.' I'd had a few years of architectural training at school. So I did, and Fairbanks was pleased with it. We became friends, and that was really the start."
During other summer vacations from Cornell, Hawks continued to work in the movies. One story Hawks tells is that the director of a Mary Pickford film Hawks was working on, A Little Princess (1917), became too inebriated to continue working, so Hawks volunteered to direct a few scenes himself. However, it's not known whether his offer was taken up, or whether this was just one more of his tall tales. During World War I Hawks served as a lieutenant in the Signal Corps and later joined the Army Air Corps, serving in France. After the Armistice he indulged in his love of risk, working as an aviator and a professional racing car driver. Drawing on his engineering experience, Hawks designed racing cars, and one of his cars won the Indianapolis 500. These early war and work experiences proved invaluable to the future filmmaker.
He eventually decided on a career in Hollywood and was employed in a variety of production jobs, including assistant director, casting director, script supervisor, editor and producer. He and his brother Kenneth shot aerial footage for motion pictures, but Kenneth tragically was killed during a crash while filming. Howard was hired as a screenwriter by Paramount in 1922 and was tasked with writing 40 story lines for new films in 60 days. He bought the rights for works by such established authors as Joseph Conrad and worked, mostly uncredited, on the scripts for approximately 60 films. Hawks wanted to direct, but Paramount refused to indulge his ambition. A Fox executive did, however, and Hawks directed his first film, The Road to Glory (1926) in 1926, also doubling as the screenwriter.
Hawks made a name for himself by directing eight silent films in the 1920s, His facility for language helped him to thrive with the dawn of talking pictures, and he really established himself with his first talkie in 1930, the classic World War I aviation drama The Dawn Patrol (1930). His arrival as a major director, however, was marked by 1932's controversial and highly popular gangster picture Scarface (1932), a thinly disguised bio of Chicago gangster Al Capone, which was made for producer Howard Hughes. His first great movie, it catapulted him into the front rank of directors and remained Hawks' favorite film. Unnder the aegis of the eccentric multi-millionaire Hughes, it was the only movie he ever made in which he did not have to deal with studio meddling. It leavened its ultra-violence with comedy in a potent brew that has often been imitated by other directors.
Though always involved in the development of the scripts of his films, Hawks was lucky to have worked with some of the best writers in the business, including his friend and fellow aviator William Faulkner. Screenwriters he collaborated with on his films included Leigh Brackett, Ben Hecht, John Huston and Billy Wilder. Hawks often recycled story lines from previous films, such as when he jettisoned the shooting script on El Dorado (1966) during production and reworked the film-in-progress into a remake of Rio Bravo (1959).
The success of his films was partly rooted in his using first-rate writers. Hawks viewed a good writer as a sort of insurance policy, saying, "I'm such a coward that unless I get a good writer, I don't want to make a picture." Though he won himself a reputation as one of Hollywood's supreme storytellers, he came to the conclusion that the story was not what made a good film. After making and then remaking the confusing The Big Sleep (1946) (1945 and 1946) from a Raymond Chandler detective novel, Hawks came to believe that a good film consisted of at least three good scenes and no bad ones--at least not a scene that could irritate and alienate the audience. He said, "As long as you make good scenes you have a good picture--it doesn't matter if it isn't much of a story."
It was Hawks' directorial skills, his ability to ensure that the audience was not aware of the twice-told nature of his films, through his engendering of a high-octane, heady energy that made his films move and made them classics at best and extremely enjoyable entertainments at their "worst." Hawks' genius as a director also manifested itself in his direction of his actors, his molding of their line-readings going a long way toward making his films outstanding. The dialog in his films often was delivered at a staccato pace, and characters' lines frequently overlapped, a Hawks trademark. The spontaneous feeling of his films and the naturalness of the interrelationships between characters were enhanced by his habit of encouraging his actors to improvise. Unlike Alfred Hitchcock, Hawks saw his lead actors as collaborators and encouraged them to be part of the creative process. He had an excellent eye for talent, and was responsible for giving the first major breaks to a roster of stars, including Paul Muni, Carole Lombard (his cousin), Lauren Bacall, Montgomery Clift and James Caan. It was Hawks, and not John Ford, who turned John Wayne into a superstar, with Red River (1948) (shot in 1946, but not released until 1948). He proceeded to give Wayne some of his best roles in the cavalry trilogy of Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950), in which Payne played a broad range of diverse characters.
During the 1930s Hawks moved from hit to hit, becoming one of the most respected directors in the business. As his fame waxed, Hawks' image replaced the older, jodhpurs-and-megaphone image of the Hollywood director epitomized by Cecil B. DeMille. The new paradigm of the Hollywood director in the public eye was, like Hawks himself, tall and silver-haired, a Hemingwayesque man of action who was a thorough professional and did not fail his muse or falter in his mastery of the medium while on the job. The image of Hawks as the ultimate Hollywood professional persists to this day in Hollywood, and he continues to be a major influence on many of today's filmmakers. Among the directors influenced by Hawks are Robert Altman, who used Hawksian overlapping dialog and improvisation in M*A*S*H (1970) and other films. Peter Bogdanovich, who wrote a book about Hawks, essentially remade Bringing Up Baby (1938) as What's Up, Doc? (1972). Brian De Palma remade "Scarface" (Scarface (1983)). Other directors directly indebted to Hawks are John Carpenter and Walter Hill.
Hawks was unique and uniquely modern in that, despite experiencing his career peak in an era dominated by studios and the producer system in which most directors were simply hired hands brought in to shoot a picture, he also served as a producer and developed the scripts for his films. He was determined to remain independent and refused to attach himself to a studio, or to a particular genre, for an extended period of time. His work ethic allowed him to fit in with the production paradigms of the studio system, and he eventually worked for all eight of the major studios. He proved himself to be, in effect, an independent filmmaker, and thus was a model for other director-writer-producers who would arise with the breakdown of the studio system in the 1950s and 1960s and the rise of the director as auteur in the early 1970s. Hawks did it first, though, in an environment that ruined or compromised many another filmmaker.
Hawks was not interested in creating a didactic cinema but simply wanted to tell, give the public, a good story in a well-crafted, entertaining picture. Like Ernest Hemingway, Hawks did have a philosophy of life, but the characters in his films were never intended to be role models. Hawks' protagonists are not necessarily moral people but tend to play fair, according to a personal or professional code. A Hawks film typically focuses on a tightly bound group of professionals, often isolated from society at large, who must work together as a team if they are to survive, let alone triumph. His movies emphasize such traits as loyalty and self-respect. Air Force (1943), one of the finest propaganda films to emerge from World War II, is such a picture, in which a unit bonds aboard a B-17 bomber and the group is more than the sum of the individuals.
Aside from his interest in elucidating human relationships, Hawks' main theme is Hemingwayesque: the execution of one's job or duty to the best of one's ability in the face of overwhelming odds that would make an average person balk. The main characters in a Hawks film typically are people who take their jobs with the utmost seriousness, as their self-respect is rooted in their work. Though often outsiders or loners, Hawksian characters work within a system, albeit a relatively closed system, in which they can ultimately triumph by being loyal to their personal and professional codes. That thematic paradigm has been seen by some critics and cinema historians as being a metaphor for the film industry itself, and of Hawks' place within it.
In a sense, Hawks' oeuvre can be boiled down to two categories: the action-adventure films and the comedies. In his action-adventure movies, such as Only Angels Have Wings (1939), the male protagonist, played by Cary Grant (a favorite actor of his who frequently starred in his films between 1947 and 1950), is both a hero and the top dog in his social group. In the comedies, such as Bringing Up Baby (1938), the male protagonist (again played by Grant) is no hero but rather a victim of women and society. Women have only a tangential role in Hawks' action films, whereas they are the dominant figures in his comedies. In the action-adventure films society at large often is far away and the male professionals exist in an almost hermetically sealed world, whereas in the comedies are rooted in society and its mores. Men are constantly humiliated in the comedies, or are subject to role reversals (the man as the romantically hunted prey in "Baby," or the even more dramatic role reversal, including Cary Grant in drag, in I Was a Male War Bride (1949)). In the action-adventure films in which women are marginalized, they are forced to undergo elaborate courting rituals to attract their man, who they cannot get until they prove themselves as tough as men. There is an undercurrent of homo-eroticism to the Hawks action films, and Hawks himself termed his A Girl in Every Port (1928) "a love story between two men." This homo-erotic leitmotif is most prominent in The Big Sky (1952).
By the time he made "Rio Bravo," over 30 years since he first directed a film, Hawks not only was consciously moving towards parody but was in the process of revising his "closed circle of professionals" credo toward the belief that, by the time of its loose remake, "El Dorado" in 1966, he was stressing the superiority of family loyalties to any professional ethic. In "Rio Bravo" the motley group inside the jailhouse eventually forms into a family in which the stoical code of conduct of previous Hawksian groups is replaced by something akin to a family bond. The new "family" celebrates its unity with the final shootout, which is a virtual fireworks display due to the use of dynamite to overcome the villains who threaten the family's survival. The affection of the group members for each other is best summed up in the scene where the great character actor Walter Brennan, playing Wayne's deputy Stumpy, facetiously tells Wayne that he'll have tears in his eyes until he gets back to the jailhouse. The ability to razz Wayne is indicative of the bond between the two men.
The sprawl of Hawks' oeuvre over multiple genres, and their existence as high-energy examples of film as its purest, emphasizing action rather than reflection, led serious critics before the 1970s to discount Hawks as a director. They generally ignored the themes that run through his body of work, such the dynamics of the group, male friendship, professionalism, and women as a threat to the independence of men. Granted, the cinematic world limned by Hawks was limited when compared to that of John Ford, the poet of the American screen, which was richer and more complex. However, Hawks' straightforward style that emphasized human relationships undoubtedly yielded one of the greatest crops of outstanding motion pictures that can be attributed to one director. Hawks' movies not only span a wide variety of genres, but frequently rank with the best in those genres, whether the war film ("The Dawn Patrol"), gangster film ("Scarface"), the screwball comedy (His Girl Friday (1940)), the action-adventure movie ("Only Angels Have Wings"), the noir (The Big Sleep (1946)), the Western ("Red River") and "Rio Bravo"), the musical-comedy (Gentlemen Prefer Blondes (1953)) and the historical epic (Land of the Pharaohs (1955)). He even had a hand in creating one of the classic science-fiction films, The Thing from Another World (1951), which was produced by Hawks but directed by Christian Nyby, who had edited multiple Hawks films and who, in his sole directorial effort, essentially created a Hawks film (though rumors have long circulated that Hawks actually directed the film rather than Nyby, that has been discounted by such cast members as Kenneth Tobey and James Arness, who have both stated unequivocally that it was Nyby alone who directed the picture).
Though Howard Hawks created some of the most memorable moments in the history of American film a half-century ago, serious critics generally eschewed his work, as they did not believe there was a controlling intelligence behind them. Seen as the consummate professional director in the industrial process that was the studio film, serious critics believed that the great moments of Hawks' films were simply accidents that accrued from working in Hollywood with other professionals. In his 1948 book "The Film Till Now," Richard Griffin summed this feeling up with "Hawks is a very good all rounder."
Serious critics at the time attributed the mantle of "artist" to a director only when they could discern artistic aspirations, a personal visual style, or serious thematic intent. Hawks seemed to them an unambitious director who, unlike D.W. Griffith or the early Cecil B. DeMille, had not made a major contribution to American film, and was not responsible for any major cinematic innovations. He lacked the personal touch of a Charles Chaplin, a Hitchcock or a Welles, did not have the painterly sensibility of a John Ford and had never matured into the master craftsman who tackled heavy themes like the failure of the American dream or racism, like George Stevens. Hawks was seen as a commercial Hollywood director who was good enough to turn out first-rate entertainments in a wide variety of genre films in a time in which genre films such as the melodrama, the war picture and the gangster picture were treated with a lack of respect.
One of the central ideas behind the modernist novel that dominated the first half of the 20th-century artistic consciousness (when the novel and the novelist were still considered the ultimate arbiters of culture in the Anglo-American world) was that the author should begin something new with each book, rather than repeating him-/herself as the 19th century novelists had done. This paradigm can be seen most spectacularly in the work of James Joyce. Of course, it is easy to see this thrust for "something new" in the works of D.W. Griffith and C.B. DeMille, the fathers of the narrative film, working as they were in a new medium. In the post-studio era, a Stanley Kubrick (through Barry Lyndon (1975), at least) and Lars von Trier can be seen as embarking on revolutionary breaks with their past. Howard Hawks was not like this, and, in fact, the latter Hawks constantly recycled not just themes but plots (so that his last great film, "Rio Bravo," essentially was remade as "El Dorado (1966)" and Rio Lobo (1970)). He did not fit the "modernist" paradigm of an artist.
The critical perception of Hawks began to change when the auteur theory--the idea that one intelligence was responsible for the creation of superior films regardless of their designation as "commercial" or "art house"--began to influence American movie criticism. Commenting on Hawks' facility to make films in a wide variety of genres, critic Andrew Sarris, who introduced the auteur theory to American movie criticism, said of Hawks, "For a major director, there are no minor genres." A Hawks genre picture is rooted in the conventions and audience expectations typical of the Hollywood genre. The Hawks genre picture does not radically challenge, undermine or overthrow either the conventions of the genre or the audience expectations of the genre film, but expands it the genre by revivifying it with new energy. As Robert Altman said about his own McCabe & Mrs. Miller (1971), he fully played on the conventions and audience expectations of the Western genre and, in fact, did nothing to challenge them as he was relying on the audience being lulled into a comfort zone by the genre. What Altman wanted to do was to indulge his own artistry by painting at and filling in the edges of his canvas. Thus, Altman needed the audience's complicity through the genre conventions to accomplish this.
As a genre director, Hawks used his audience's comfort with the genre to expound his philosophy on male bonding and male-female relationships. His movies have a great deal of energy, invested in them by the master craftsman, which made them into great popular entertainments. That Hawks was a commercial filmmaker who was also a first-rate craftsman was not the sum total of his achievement as a director, but was the means by which he communicated with his audience.
While many during his life-time would not have called Hawks an artist, Robin Wood compared Hawks to William Shakespeare and Wolfgang Amadeus Mozart, both of whom created popular entertainments that could also appeal to elites. According to Wood, "The originality of their works lay not in the evolution of a completely new language, but in the artist's use and development of an already existing one; hence, there was common ground from the outset between artist and audience, and 'entertainment' could happen spontaneously without the intervention of a lengthy period of assimilation."
The great French filmmaker Jean-Luc Godard, who began his cinema career as a critic, wrote about Hawks, "The great filmmakers always tie themselves down by complying with the rules of the game . . . Take, for example, the films of Howard Hawks, and in particular 'Rio Bravo'. That is a work of extraordinary psychological insight and aesthetic perception, but Hawks has made his film so that the insight can pass unnoticed without disturbing the audience that has come to see a Western like all the others. Hawks is the greater because he has succeeded in fitting all that he holds most dear into a well-worn subject."
A decade before Godard's insight on Hawks, in the early 1950s, the French-language critics who wrote for the cinema journal "Cahiers du Cinema" (many of whom would go on to become directors themselves) elevated Howard Hawks into the pantheon of great directors (the appreciation of Hawks in France, according to Cinématheque Francaise founder Henri Langlois, began with the French release of "Only Angels Have Wings." The Swiss Éric Rohmer, who would one day become a great director himself, in a 1952 review of Hawks' "The Big Sky" declared, "If one does not love the films of Howard Hawks, one cannot love cinema." Rohmer was joined in his enthusiasm for Hawks by such fellow French cineastes as Claude Chabrol, François Truffaut and Jacques Rivette. The Cahiers critics claimed that a handful of commercial Hollywood directors like Hawks and Alfred Hitchcock had created films as artful and fulfilling as the masterpieces of the art cinema. André Bazin gave these critics the moniker "Hitchcocko-Hawksians".
Rivette wrote in his 1953 essay, "The Genius of Howard Hawks," that "each shot has a functional beauty, like a neck or an ankle. The smooth, orderly succession of shots has a rhythm like the pulsing of blood, and the whole film is like a beautiful body, kept alive by deep, resilient breathing." Hawks, however, considered himself an entertainer, not an "artist." His definition of a good director was simply "someone who doesn't annoy you." He was never considered an artist until the French New Wave critics crowned him one, as serious critics had ignored his oeuvre. He found the adulation amusing, and once told his admirers, "You guys know my films better than I do."
Commenting on this phenomenon, Sarris' wife Molly Haskell said, "Critics will spend hours with divining rods over the obviously hermetic mindscape of [Ingmar Bergman], [Michelangelo Antonioni], etc., giving them the benefit of every passing doubt. But they will scorn similar excursions into the genuinely cryptic, richer, and more organic terrain of home-grown talents."
Hawks' visual aesthetic eschews formalism, trick photography or narrative gimmicks. There are no flashbacks or ellipses in his films, and his pictures are usually framed as eye-level medium shots. The films themselves are precisely structured, so much so that Langlois compared Hawks to the great modernist architect Walter Gropius. Hawks strikes one as an Intuitive, unselfconscious filmmaker.
Hawks' definition of a good director was "someone who doesn't annoy you." When Hawks was awarded his lifetime achievement Academy Award, the citation referred to the director as "a giant of the American cinema whose pictures, taken as a whole, represent one of the most consistent, vivid, and varied bodies of work in world cinema." It is a fitting epitaph for one of the greatest directors in the history of American, and world cinema.- Writer
- Director
- Producer
French director François Truffaut began to assiduously go to the movies at age seven. He was also a great reader but not a good pupil. He left school at 14 and started working. In 1947, aged 15, he founded a film club and met André Bazin, a French critic, who became his protector. Bazin helped the delinquent Truffaut and also when he was put in jail because he deserted the army. In 1953 Truffaut published his first movie critiques in "Les Cahiers du Cinema." In this magazine Truffaut, and some of his friends as passionate as he was, became defenders of what they call the "author policy". In 1954, as a test, Truffaut directed his first short film. Two years afterwords he assisted Roberto Rossellini with some later abandoned projects.
The year 1957 was an important one for him: he married Madeleine Morgenstern, the daughter of an important film distributor, and founded his own production company, Les Films du Carrosse; named after Jean Renoir's The Golden Coach (1952). He also directed The Mischief Makers (1957), considered the real first step of his cinematographic work. His other big year was 1959: the huge success of his first full-length film, The 400 Blows (1959), was the beginning of the New Wave, a new way of making movies in France. This was also the year his first daughter, Laura Truffaut, was born.
From 1959 until his death, François Truffaut's life and films are mixed up. Let's only note he had two other daughters Eva Truffaut (b. 1961) and Josephine (b. 1982, with French actress Fanny Ardant). Truffaut was the most popular and successful French film director ever. His main themes were passion, women, childhood and faithfulness.- Director
- Producer
- Editor
Robert Earl Wise was born on September 10, 1914 in Winchester, Indiana, the youngest of three sons of Olive R. (Longenecker) and Earl Waldo Wise, a meat packer. His parents were both of Pennsylvania Dutch (German) descent. At age nineteen, the avid moviegoer came into the film business through an odd job at RKO Radio Pictures. A head sound effects editor at the studio recognized Wise's talent, and made Wise his protégé. Around 1941, Orson Welles was in need of an editor for Citizen Kane (1941), and Wise did a splendid job. Welles really liked his work and ideas. Wise started as a director with some B-movies, and his career went on quickly, and he made many classic movies. His last theatrical film, Rooftops (1989), proved that he was a filmmaker still in full command of his craft in his 80s. The carefully composed images, tight editing, and unflagging pace make one wish that Wise had not stayed away from the camera for very long. Robert Wise died of heart failure on September, 14, 2005, just four days after his 91st birthday.- Writer
- Director
- Actor
The name "Melville" is not immediately associated with film. It conjures up images of white whales and crackbrained captains, of naysaying notaries and soup-spilling sailors. It is the countersign to a realm of men and their deeds, both heroic and villainous. It is the American novel, with its Ishmaels and its Claggarts a challenge to the European canon. It is Herman Melville. And yet, for over three decades, it was also worn by one of the French cinema's brightest lights, Jean-Pierre Melville, whose art was as revolutionary as that of the eponymous author.
Jean-Pierre Grumbach was born on October 20, 1917, to a family of Alsatian Jews. In his youth he studied in Paris, where he was first exposed to great films, among them Robert J. Flaherty's and W.S. Van Dyke's silent documentary White Shadows in the South Seas (1928). It left so deep a mark upon the pubescent Grumbach that he became a regular at the cinema, an obsession that would benefit him in adulthood. His own earliest efforts, 16mm home movies, were made with a camera given to him by his father in this period. In 1937, however, his career was forestalled when he began obligatory service in the French army. He was still in uniform when the Nazis invaded in 1940; under the nom de guerre of Melville, he aided the Resistance and was eventually forced to flee to England. There he joined the Free French forces and took part in the Allies' liberation of continental Europe. After the war, despite a desire to revert to Grumbach, he found that pseudonym had stuck.
Eager to earn his place in the movie industry, Melville applied to the French Technicians' Union but was denied membership. Undaunted by what he regarded as party politics, he set up his own production company in 1946 and started releasing films outside the system. The first, a low-budget short titled 24 Hours in the Life of a Clown (1946), was a success, inspired by his boyhood love for the circus. His feature-length debut, The Silence of the Sea (1949), was highly innovative. An intimate piece on the horrors of World War II, it starred unknown actors and was filmed by a skeleton crew. Its schedule was unusual: It was shot over 27 days in the course of a year. Its production was unusual: it incorporated "on-location" scenes--rarities in that era--done without vital permits. Its provenance was unusual: it was adapted from a book before the author's consent was obtained. Above all, its style was unusual. Its dark, claustrophobic sets and bottom-lit close-ups signaled a departure from the highly cultured cinema of René Clair, Marcel Pagnol, Abel Gance and Jacques Feyder. It was neither comedietta nor costume drama nor avant-garde "cinéma pur." Where its roots may have been in Jean Renoir's The Grand Illusion (1937), it was clearly something new.
Over the following 12 years Melville continued to create films that would influence the auteurs of La Nouvelle Vague (i.e., the French New Wave.) In 1950 he collaborated with Jean Cocteau on an unsatisfying version of The Terrible Children (1950), the tale of a strange, incestuous relationship between siblings. When You Read This Letter (1953), with French and Italian backing, was his first commercial project. While it was unprofitable, the fee he received allowed him to establish a studio outside of Paris. His next work, Bob the Gambler (1956), featured Roger Duchesne, a popular leading man of the 1930s who had drifted into the underworld during the war. As such, he was a uniquely apt choice for the role of the fashionable, self-immolating Bob. His supporting cast included Daniel Cauchy as toadying sidekick Paolo and newcomer Isabelle Corey as the temptress Anne. Although the picture was not a hit, it was a favorite of the aficionados that frequented Henri Langlois' Cinémathèque Français. Among them were the young savants Jean-Luc Godard and François Truffaut, the latter of whom used Guy Decomble of "Bob le flambeur" in his The 400 Blows (1959) that ushered in the "New Wave" era. They adored the hip, new rendering of a tired scenario, much of it shot in the streets with hidden cameras. They viewed it as fresh and daring, a "freeing up" through the rejection of high-minded literary adaptations and the embracing of pop culture. Simply put, Melville refused to play by the rules, and they followed suit.
In retrospect, "Bob le flambeur" seems straightforward: A reformed mobster turned high-stakes gambler comes out of retirement to pull one last job. Its genius lies in its simplicity. Melville admired American culture, as his alias indicated. He drove around Paris in an enormous Cadillac, sporting a Stetson hat and aviator sunglasses. He drank Coca-Cola and listened to American radio. The works of American directors John Ford and Howard Hawks were appealing to him, as they were ageless sagas of heroes and villains. Melville strove to build his own pantheon by blending the American ethos with his postwar sensibilities. As he perceived it, it was America that had valiantly rescued France from German occupation. Still, for a young man with Alsatian roots, the line separating good guys and bad guys had been breached, and one can see this disillusionment from The Silence of the Sea (1949) onward. Thus, while he borrowed from the American noir's revolt against the dichotomous Hollywood creations of the 1930s, the artist was forging his own apocryphal brand of dark tragedy. In his paradigm, a criminal could be a kind of hero within his milieu, so long as he stuck by his word and his allegiances. It was his personal style and his adherence to the code of honor that defined a "good guy"; obversely, it was his faith in others that was his downfall. It is a universe without the possibility for salvation, in which love and friendship are brief interludes in the cat-and-mouse games that lead to certain destruction. In that sense, Bob is a crucial link between Julien Duvivier's Pépé le Moko (1937) and Godard's Breathless (1960), in which Melville gave a brilliant cameo performance.
Jean-Pierre Melville is often regarded as the godfather of the Nouvelle Vague. Nonetheless, it is worth mentioning that had it not been for his aforementioned passion for American film, he might have shown us a very different "Bob le flambeur". Originally conceived as a hard-boiled gangster flick about the step-by-step plotting of a heist, Melville was forced to rethink its narrative after watching John Huston's remarkably similar The Asphalt Jungle (1950). It was only then that he had the idea to turn Bob into the comedy of manners that so delighted the cinephiles of the day. For this and other debts of gratitude, his next picture, Two Men in Manhattan (1959), was "a love letter to New York" and the America he revered. It was also his third straight box-office flop, however, and it caused Melville to break away from a New Wave movement that he felt catered to the cognoscenti. He later said, "If . . . I have consented to pass for their adopted father for a while, I do not wish it anymore, and I have put some distance in between us."
The first step in this split came with Léon Morin, Priest (1961), a wartime piece about a priest's endeavors to bring redemption to the inhabitants of a small town. Produced by Carlo Ponti, it was a big-budget affair with Jean-Paul Belmondo and Emmanuelle Riva, both household names by then. On the strength of its favorable reception, Melville released four consecutive cops-and-robbers movies, the most notable of which were The Informer (1962) and The Samurai (1967). Belmondo again headlined in "Le Doulous", not as a clergyman but as the fingerman Silien, whose loyalty to his old mob cronies entangles him in a web of intrigue and disaster. During the making of "Le Samouraï", a hauntingly minimalist film about a doomed assassin, Melville's studio burned to the ground and the project was completed in rented facilities. Regardless, it was a critical and commercial success. Presenting Alain Delon as ultra-cool assassin Jef Costello, it was considered one of the most meticulously-crafted pictures in the history of the cinema. Delon would later star in a second masterpiece, The Red Circle (1970), featuring the ultimate onscreen jewel heist. His Charles Bronson-cum-Jack Lord sang-froid toughness served as a counterpoint in Melville's oeuvre to the lighter and less predictable Belmondo. Another memorable production was Army of Shadows (1969), an austere portrait of perfidy within the ranks of the French Resistance.
It is trite to say that a particular artist is "not for everyone." In Melville's case, this statement could not be more fitting. Despite a round belly and an unattractive face, he was a notorious womanizer, and his chauvinism is painfully obvious in his movies. They are cynical, male-driven works in which women are devoid of nobility, merely functioning as beautiful chess pieces. His men also lack spiritual depth, diligently playing out their roles toward the final showdown. A "profound moment" inevitably occurs before a mirror, a cliché for which many critics do not share the creator's enthusiasm. As a result of these peccadilloes, as well as its lack of back-stories and character motivations, Melville's later output has been accused of stiffness, with its wooden troupe of cops, crooks and general mauvais sujets. Further, well-structured plots notwithstanding, Melville films are methodically paced with tremendous attention paid to time and place. Hollywoodphiles often find them slow, with an overemphasis on tone and style.
Some have gone as far as to claim that the réalizateur's genius was outstripped by his importance to the development of the medium. They look to him as a sort of Moses figure, helping to guide the Nouvelle Vague to the promised land without partaking in its fruits. At his death by heart attack in 1973, the 55-year-old had directed just 14 projects, at least six of which are acknowledged classics. Aside from Godard and Truffaut, luminaries such as John Woo, Quentin Tarantino, Michael Mann, Volker Schlöndorff, Johnnie To and Martin Scorsese have pointed to him as an key influence. If a man's legacy is best measured not only by its quality but by the respect of his colleagues, Jean-Pierre Melville's contribution to cinema surely ranks with the greatest.- Director
- Actor
- Writer
Lindsay was born in Bangalore, India but educated in England at Cheltenham College and Wadham College, Oxford where he was a classical scholar. He then spent 3 years war time service in the Kings Royal Rifle Corps. His career in the theatre started at the Royal Court in the late 1950's where he was responsible for the premiere productions of The Long and the Short and the Tall, Sergeant Musgrave's Dance, Billy Liar and The Bed Before Yesterday. His collaboration with David Storey began with the film This Sporting Life followed by the plays In Celebration, Home, The Changing Room, Early Days and his last, in 1992, Stages He also contributed to the Times, Observer and New Statesman newspapers.- Director
- Writer
- Second Unit Director or Assistant Director
After school, Amelio studied philosophy. He graduated with a doctorate. Amelio developed a keen interest in film at a young age. In 1970 he began working as a cameraman for the Italian state television RAI. A little later, Amelio worked as an assistant director for RAI. In 1970 he directed his first television film: "La fine del gioco". He then also took part in the production of several TV commercials, for example for the state-owned airline Alitalia. In the 1970s, Amelio first attracted attention in international cinema with films such as "La città del sole" (1973), "La morte al lavoro" (1978) and "Il piccolo Archimede" (1979).
Amelio celebrated his breakthrough as an internationally recognized film director in 1990 with "Porte aperte". With "Il ladro di bambini" in 1992, Gianni Amelio impressively staged the conflicts of conscience of a carabinieri officer in today's Italian society. In 1994 he came to the public with the film "Lamerica", which dealt with the current refugee problem between Albania and Italy and exposed the unscrupulous dealings with the plight of refugees by the smuggling organizations. The director has been honored with several international awards for his film work.
He received an Oscar nomination in 1991 for "Porte aperte". In 1992, Amelio was awarded the Nastro d'Argento, the Felix Award and the Cannes Grand Prix for "Il ladro di bambini". Another silver ribbon (Nastro d'Argento) at the Venice Film Festival followed in 1994 for "Lamerica". In the same year he received the Grolla d'Oro for his life's work. In 1996 the Spanish Goya Film Prize also followed for "Lamerica". The director also published a book under the same title in 1994 about the film "Lamerica". At the same time, Amelio also worked as a theater director: in 1995 he staged the play "I pagliacci" in Genoa's Carlo Felice Theater. The director's other successful films were "Così ridevano" in 1998 and "Le chiavi di casa" in 2004.
In 2008 he took over the management of the Torino Film Festival from Nanni Moretti.- 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.
- Director
- Second Unit Director or Assistant Director
- Writer
Juan Luis Buñuel was born on 9 November 1934 in Paris, France. He was a director and assistant director, known for Expulsion of the Devil (1973), Viridiana (1961) and Calanda (1967). He was married to Joyce Buñuel. He died on 6 December 2017 in Paris, France.