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1-19 of 19
- Visual Effects
- Special Effects
- Art Department
Albert Whitlock was one of the most skilled matte artists in the history of motion pictures, with his work seen in more than 500 films and television shows. His very long career began in London in 1929, when, at the age of 14, he was a fetch-and-carry fellow at Gaumont Studios. He went on to build sets and worked as a grip. Trained as a sign painter, Whitlock began a life-long association with Alfred Hitchcock, doing all of the signs for The 39 Steps (1935) and then assisting in the miniature effects for The Man Who Knew Too Much (1934). The two maintained a close personal and professional relationship, working together upon several films through Hitchcock's final film, Family Plot (1976).
During World War II Al started doing matte work. His first solo glass shot was a ballroom scene appearing in The Bad Lord Byron (1949). He apprenticed alongside Peter Ellenshaw, under W. Percy Day (aka Pop). Admiring Al's work done within Walt Disney's British studio in the early 50s, Walt Disney, convinced Al to re-locate to America. Upon doing so in 1954, his first work was designing the titles for 20,000 Leagues Under the Sea (1954). Ellenshaw had preceded him, and was in charge of the Disney matte department.
At Disney, Whitlock successfully mastered his impressionistic approach to matte painting. Like the works of French Impressionism, they are not detailed upon close inspection. However, on the screen they are very realistic. He remained at Disney for seven years, helping with the design of Disneyland as well as film work.
Moving to Universal in 1961, and would head up the matte department there. Many considered Al the greatest master of the matte starting from this time to his retirement. He efficiently aided film productions by being able to supply masterful effects for films varying greatly in budget, often taking very little time to do so. His effects for the $10 million feature The Hindenburg (1975), cost just $180,000 (Paramount spent more than $20 million for the special effects on Star Trek: The Motion Picture (1979) just four years later). Like other matte artists, he blocked-out parts of shots into which the painting was inserted. However, Al developed a trademark technique of doing it all on the original negative, so his matte work was all first generation. The original negative of the live action was left undeveloped except for a portion used to guide the creation of the matte painting. The painting was then exposed on the negative and combined with the original photography. He also typically added moving elements such as clouds or waves to give more life to mattes (a skyline of Manhattan from an aerial perspective in The Hindenburg (1975) is a good example of this). The opening shot of 1930s Chicago in The Sting (1973) incorporated an elevated train into a skyline matte painting with live-action traffic, buses and pedestrians. For the dust-storm sequence in Bound for Glory (1976), three large balls of cotton dyed the color of dust were mounted on cardboard and rotated at different speeds. Portions of each matte were half-exposed, once with dust moving toward the camera and then with it moving away from the camera. This produced the effect of eddying dust.
After all the other studios closed their matte departments, Universal frequently loaned out Whitlock and his staff. Working with director of photography Conrad L. Hall, Whitlock produced matte paintings for the climactic scenes of The Day of the Locust (1975) at Paramount. Mel Brooks gave Al the chance to act in High Anxiety (1977) and cast him as a used chariot dealer in History of the World: Part I (1981).
Whitlock retired from Universal in 1985, but continued working on occasional productions for a few more years.- Art Director
- Production Designer
- Art Department
Alexander Golitzen was a legendary art director, a field in which most worker's names remain relatively unknown. His prolific work in hundreds of films, predominantly at Universal, made his name familiar to many film-goers, at least among those who read credits. Possibly only Cedric Gibbons, at MGM, shared a similar fame. Golitzen was nominated for Academy Awards fourteen times, winning on three occasions.
Golitzen's family, noble descendants of princes of Lithuania, fled Moscow following the Russian Revolution, so he found himself in America at the age of 16. The family settled in Seattle and Alexander earned a degree in architecture from the University of Washington. He moved to Los Angeles in 1933 and became an assistant to the fellow Russian-born art director, Alexander Toluboff at MGM working as an illustrator for Queen Christina (1933). He became an art director in 1935, and went on to work at various studios for independent producers, including Samuel Goldwyn and Walter Wanger. His older sister, Natalie Galitzine, appeared in two Hollywood films, including Cecil B. DeMille's King of Kings.
Golitzen was Oscar-nominated for his work on Hitchcock's Foreign Correspondent (1940) before Wanger brought Golitzen to work with him at Universal on the film Arabian Nights (1942) for which he earned his first Academy Award nomination. He continued to show his flair for the design of Technicolor films at this studio, and won his first academy award the very next year for Phantom of the Opera (1943).
In 1954 Alexander was named Supervising Art Director at Universal, a title he held until his retirement in 1974. Although considered a genius for his work in color films, with his contributions adding considerably to the impact of diverse film subjects, including westerns, musicals, and even the science fiction film, This Island Earth (1955), he was also adept in black & white, earning an Oscar for To Kill a Mockingbird (1962). Golitzen also did some notable work for television series such as The Twilight Zone (1959) and One Step Beyond (1959). He retired on a high note, with his very last work, on the film Earthquake (1974), being Oscar-nominated.- Actress
- Producer
- Executive
Amy Lou Adams was born in Vicenza, Veneto, Italy, to American parents, Kathryn (Hicken) and Richard Kent Adams, a U.S. serviceman who was stationed at Caserma Ederle in Italy at the time. She was raised in a Mormon family of seven children in Castle Rock, Colorado, and has English, as well as smaller amounts of Danish, Swiss-German, and Norwegian, ancestry.
Adams sang in the school choir at Douglas County High School and was an apprentice dancer at a local dance company, with the ambition of becoming a ballerina. However, she worked as a greeter at The Gap and as a Hooters hostess to support herself before finding work as a dancer at Boulder's Dinner Theatre and Country Dinner Playhouse in such productions as "Brigadoon" and "A Chorus Line". It was there that she was spotted by a Minneapolis dinner-theater director who asked her to move to Chanhassen, Minnesota for more regional dinner theatre work.
Nursing a pulled muscle that kept her from dancing, she was free to audition for a part in Drop Dead Gorgeous (1999), which was filming nearby in Minnesota. During the filming, Kirstie Alley encouraged her to move to Los Angeles, where she soon won a part in the Fox television version of the film, Cruel Intentions (1999), in the part played in the film by Sarah Michelle Gellar, "Kathryn Merteuil". Although three episodes were filmed, the troubled series never aired. Instead, parts of the episodes were cobbled together and released as the direct-to-video Cruel Intentions 2 (2000). After more failed television spots, she landed a major role in Catch Me If You Can (2002), playing opposite Leonardo DiCaprio. But this did not provide the break-through she might have hoped for, with no work being offered for about a year. She eventually returned to television, and joined the short-lived series, Dr. Vegas (2004).
Her role in the low-budget independent film Junebug (2005) (which was shot in 21 days) got her real attention, including an Academy Award nomination for Best Supporting Actress as well as other awards. The following year, her ability to look like a wide-eyed Disney animated heroine helped her to be chosen from about 300 actresses auditioning for the role of "Giselle" in the animated/live-action feature film, Enchanted (2007), which would prove to be her major break-through role. Her vivacious yet innocent portrayal allowed her to use her singing and dancing talents. Her performance garnered a Golden Globe Award nomination for Best Actress in a Motion Picture Musical or Comedy.
Adams next appeared in the major production, Charlie Wilson's War (2007), and went on to act in the independent film, Sunshine Cleaning (2008), which premiered at the 2008 Sundance Film Festival. Her role as "Sister James" in Doubt (2008) brought her a second Academy Award nomination for Best Supporting Actress, as well as nominations for a Golden Globe, a Screen Actors Guild award, and a British Academy Film award. She appeared as Amelia Earhart in Night at the Museum: Battle of the Smithsonian (2009) and as a post-9/11 hot line counselor, aspiring writer, amateur cook and blogger in Julie & Julia (2009). In the early 2010s, she starred with Jason Segel in The Muppets (2011), with Philip Seymour Hoffman in Paul Thomas Anderson's The Master (2012), and alongside Clint Eastwood and Justin Timberlake in Trouble with the Curve (2012). She played reporter Lois Lane in Man of Steel (2013) and con artist Sydney Prosser in American Hustle (2013), before portraying real-life artist Margaret Keane in Tim Burton's biopic Big Eyes (2014).
In 2016, she reprised her role as Lane in Batman v Superman: Dawn of Justice (2016), and headlined Denis Villeneuve's science fiction drama Arrival (2016) and Tom Ford's dark thriller Nocturnal Animals (2016). In 2018, she received another Oscar nomination, her sixth, for starring as Lynne Cheney in the biographical drama Vice (2018), opposite Christian Bale as Dick Cheney.- Visual Effects
- Animation Department
- Art Department
Working as one of the most proficient effects animators during the past three decades, Bruce Heller is especially notable for carrying on the tradition of classical animation that had originally flowered in the Walt Disney Studio.
Bruce gained an early appreciation of art and design from his family, who moved to northern California in the late 1950s where his father worked as a carpenter and his mother a costume designer for many shows including Shipstad & Johnson's Ice Follies and The Ice Capades. From an early age Bruce showed an aptitude for artistic expression as he started to dabble in drawing, sculpting and painting. As he grew older he went on to study the design of stop-motion armatures and constructed some since he had a great admiration for stop-motion animation as perfected by Ray Harryhausen. However, he made a choice to pursue a career in cel animation and in early 1980 was hired as a special effects apprentice for a newly formed company set up to produce The Secret of NIMH (1982). He was mentored by Dorse A. Lanpher, who had been schooled in hand-drawn effects animation at the Disney Studios before leaving along with other Disney animators such as Don Bluth, Gary Goldman, and John Pomeroy when they formed this company in late 1979. Soon after Bruce's arrival, work on NIMH was temporarily delayed when the opportunity to animate a short sequence in Xanadu (1980) arose. Working with seven other character and effects animators, the "Don't Walk Away" segment was put together in sixteen weeks at a cost of $360,000. This segment is considered by many to be the highlight of the film. The Secret of NIMH (1982) took two full years to complete with a studio staff of fewer than 50 people. The total cost was about 6.5 million dollars. This early project allowed him to become adept at varied effects, including his specialties of animated "pixie dust" and fire and water effects. Bruce's work included doing in-betweening for Dorse's cobwebs at the entrance of an owl's cave, some shadows, the opening candle shot, some electricity effects in the rat pit, bubbles on a cat frantically trying to surface after falling underwater, shots of lanterns descending, etc.
A stint at Filmation Associates found him working upon the TV series She-Ra: Princess of Power (1985). He advanced to being the supervisor of effects animation for the feature Pinocchio and the Emperor of the Night (1987) and the Snow White sequel, Happily Ever After (1989).
Soon after Bluth moved his studio to Dublin, Bruce followed and worked on a couple of shots for the nearly complete The Land Before Time (1988) and then completed a lot of work on All Dogs Go to Heaven (1989) before returning to California after a year. A second wing or annex of the Buth operation had been setup in Burbank, California when Gary Goldman desired to repatriate and it was there that Bruce worked upon Rock-A-Doodle (1991),Thumbelina (1994), and A Troll in Central Park (1994) before being sought by the Disney Studio as they ramped up their operation in an attempt to dominate the production of animated films.
Bruce joined other ex-Bluth animators, Dorse Lanpher and John Pomeroy in working upon Fantasia 2000 (1999) and provided extensive effects in multiple sequences of this film, including water effects with whales in the "Pines of Rome" segment and fire and water scenes for "The Firebird Suite" segment. He burned up a tree in one very complex scene. He then went on to do extensive work on Atlantis: The Lost Empire (2001) and Treasure Planet (2002) at Disney. Since Treasure Planet (2002) was a hybrid animated feature, with 3D elements added to its 2D design, Bruce gained experience in digital compositing and computer animation. When Disney dissolved their 2D animation units in 2002, Bruce decided to pursue some of his other interests, such as restoring a couple of vintage 3-Strip Technicolor Cameras utilizing his abilities as a machinist and extensive knowledge of the dye-transfer process.
Bruce started his own freelance studio in Boise, Idaho with capabilities to do stop motion and cel animation as well as digital compositing and computer controlled Oxberry graphic animation, but has now re-located back in southern California.- An actor remembered as much for the legacy of his Christian ministry work in the entertainment industry as for his appearances in theater, television, and films, David Schall actually started out with a career in politics. He was born, raised, and educated in Pennsylvania, serving as president of his senior class at Indiana University of Pennsylvania where he studied political science and psychology. He was the Indiana County campaign manger for Milton J. Shapp in the successful campaign for governor of Pennsylvania in 1970. David served in Shapp's administration in a number of capacities such as executive assistant, and in 1974 he was Public Relations Director for the governor's re-election campaign. Ironically, he was later turned down for the part of a campaign manager in a stage revival of "The Best Man" despite his considerable "hands on" experience.
In 1976 David moved to New York City to pursue a childhood dream of an acting career. After training at various acting studios, he was cast in numerous Off-Broadway and dinner theater productions as well as daytime TV dramas, commercials and industrial films. He maintained high moral standards, and once turned down a plum stage role that required nudity. Acting upon his beliefs, he began the "Actors Fellowship" in Manhattan in February, 1981 and within three years this group grew to include hundreds of actors, singers, and dancers who attended a variety of Christian churches. Finding himself involved in ministry, David started formal seminary training, attending classes at New York's General Seminary, New York Theological Seminary and the Trinity Episcopal School for Ministry in Ambridge, Pennsylvania. He pursued three years of part-time studies before deciding to relocate to Los Angeles in January, 1986 where he resided in the Hollywood Hills. He joined the Hollywood First Presbyterian Church and served as the Executive Director of the Department of Entertainment Ministries. He co-founded "Actors Co-op" in 1987, a company of professional Christian actors headquartered at that church. This organization still performs a full season of major theater productions each year. He founded "Inter-Mission" later that same year, and it expanded to other cities a decade later. Its thousands of Christian professionals in the entertainment industry are pledged to maintain high moral standards within popular culture. David also founded "Act One: Writing for Hollywood" for aiding Christian screenwriters and facilitated the formation of the "Hollywood Prayer Network" to pray for Christians in entertainment.
David was good at both comic and tragic roles shown respectively by the harried radio station manager in "The 1940s Radio Hour" and Jo Keller in "All My Sons." His television credits include L.A. Law (1986), Murder, She Wrote (1984). Just a few days after his death he fittingly appeared as a pastor presiding at a funeral in an episode of ER (1994) on May 1st, 2003.
His death apparently occurred about 1-1/2 hours before the opening night curtain of Chekhov's "Uncle Vanya" (performed by "The Actors Co-op") in which he was due to play the title role. Members of his company found him in his locked car, a victim of a heart attack. David had appeared in just two preview performances. The show's opening night was canceled as there was no understudy for his role and members of the company simply shared stories of Schall on that night. - Actress
- Producer
- Composer
It would seem that 2004, the year of her 18th birthday, will be remembered as pivotal for Emmy Rossum due to her appearance in two very different films, The Day After Tomorrow (2004) and The Phantom of the Opera (2004). Emmy's performance in the latter film gained her a Golden Globe nomination.
Emmanuelle Grey Rossum was born in New York City, where she was raised by her single mother, Cheryl Rossum, a corporate photographer (she has only met her father a few times). Her mother is of Russian Jewish descent and her father has English and Dutch ancestry. After passing an audition at the Metropolitan Opera when she was 7 years old, Rossum performed in more than 20 operas in six different languages at Lincoln Center, alongside such figures as Plácido Domingo and Luciano Pavarotti. She was directed by Franco Zeffirelli in "Carmen." She left the opera when she entered her teenage years, as she had grown too tall to perform as a child. Emmy also appeared in a Carnegie Hall presentation of "The Damnation of Faust." She graduated from the Spence School, a private institution in Manhattan, in 1996 and then earned a high school diploma when 15 years old by taking online extension courses offered by Stanford University (Education Program for Gifted Youth). She later enrolled at Columbia University and studied art history and French.
In a change of venue, Emmy created the role of Abigail Williams in the daytime soap opera As the World Turns (1956) in 1997 and branched out in performances in the made-for-television movies Genius (1999) and The Audrey Hepburn Story (2000), in which she played the title character as a young teenager. Other television work included Snoops (1999), Law & Order (1990), and The Practice (1997).
Emmy made her theatrical feature debut in the indie film Songcatcher (2000), with her good friend Rhoda Griffis, which won the Special Jury Award for Outstanding Ensemble Performance at the Sundance Film Festival in January 2000. Rossum received an Independent Spirit Award nomination in the category of Best Debut Performance for her performance as an Appalachian orphan. She played an aspiring songwriter (the title character) in the romantic comedy Nola (2003). Cast as the ill-fated daughter of a small-business owner in Clint Eastwood's Mystic River (2003), she projected an aura of innocence that made her character's tragic death memorable and heartbreaking. This was her first major studio film.
After six months of filming her role as the fresh-faced but highly intelligent teenage damsel in distress The Day After Tomorrow (2004) in Montreal, she returned to New York and screen-tested for the role of Christine in The Phantom of the Opera (2004) in full costume and makeup, and was finally selected for the part by Andrew Lloyd Webber after singing for him at his home. Although she was surprised to be chosen ahead of many better-known and older actresses considered for the part, the combination of her vulnerable, fragile beauty and fine, classically trained singing voice ultimately proved that she was perfectly cast. In preparation for the role, she took ballet classes for two months and started polishing her singing. Emmy has commented that, in her approach to acting, she draws heavily upon her own experiences, so she visited locations in Paris and conjured up what she terms "past memories" to draw upon in making her performance emotionally realistic. She stood on the roof of the Opéra Garnier, where Christine sings "All I Ask of You," and went underneath the opera house, where there is actually a gloomy, dark lake. She studied Degas's paintings of ballerinas in the Musée d'Orsay to learn how to stand like one.
Her next project Poseidon (2006) was a mainstream effort, but since its release, she has been more true to advice she obtained from Sean Penn when making Mystic River (2003), that she should be picky and only accept roles that are fun to do, such as Dragonball Evolution (2009).- Francis L. Urry was a Utah-based actor. His career in speech and drama began in 1937 as a private teacher, and then he worked at radio station KSL in Salt Lake City for many years. As his career progressed, he performed on network radio and television, and appeared in live theater productions. Urry chose to remain in Utah rather than seeking a more visible career in Los Angeles or New York for that is where he wished to raise his family. This led to his appearance in several films produced by Brigham Young University for the Church of Jesus Christ of Latter Day Saints. In these films he commonly was one of the few professional actors in the cast, often playing "fatherly" roles. He is probably best known today for his role as a trader running a small store on a small Polynesian island during the 19th Century in the inspirational short film Johnny Lingo (1969). Although this film did not deal with religious subjects and was widely shown in public schools, Catholic schools, and even within corporations, it became principally viewed by multiple generations of Mormon high school students in religious "Seminary" classes and has become part of Latter Day Saint culture. Urry's most notable film performance was in the central role of Windows of Heaven (1963) where he portrayed the aged, 85 year old president of the Mormon Church Lorenzo Snow. His performance was made more remarkable by the fact that he realistically played a figure about 30 years older than himself. Urry also worked as a narrator for some programs with The Mormon Tabernacle Choir and appeared in independent feature films such as The Hideout (1977) .
- Actor
- Additional Crew
- Writer
George Takei was born Hosato Takei in Los Angeles, California. His mother was born in Sacramento to Japanese parents & his father was born in Japan. Following the attack on Pearl Harbor, he & his family were relocated from Los Angeles to the Rohwer Relocation Center in Arkansas. Later, they were moved to a camp at Tule Lake in Northern California. His first-hand knowledge of the unjust internment of 120,000 Japanese Americans in World War II, poignantly chronicled in his autobiography, created a lifelong interest in politics & community affairs.
After graduating from Los Angeles High School in 1956, he studied architecture at UC Berkeley. An ad in a Japanese community paper led to a summer job on the MGM lot where he dubbed 8 characters from Japanese into English for Rodan (1956). Bitten by the acting bug, he transferred to UCLA as a theater arts major. Contacting an agent he had met at MGM led to his appearance as an embittered soldier in postwar Japan in the Playhouse 90 (1956) production. Being spotted in a UCLA theater production by a Warner Bros. casting director led to his feature film debut in Ice Palace (1960), various roles in Hawaiian Eye (1959) &other feature work. In June 1960, he completed his degree at UCLA and studied at the Shakespeare Institute at Stratford-Upon-Avon in England that summer.
After starting a master's degree program at UCLA, he was cast in the socially relevant stage musical production Fly Blackbird! but was replaced when the show moved to New York. He took odd jobs until returning to his role at the end of the run. Getting little work in Manhattan, he returned to Los Angeles to continue his studies, once again appearing in TV & films. He earned his master's in 1964. Wanting a multi-racial crew, Gene Roddenberry cast him in Where No Man Has Gone Before, the second Star Trek (1966) pilot. Mr. Sulu remained a regular character when the series went into production. In the hiatus after the end of shooting the first season, he worked on The Green Berets (1968), playing a South Vietnamese Special Forces officer.
After Star Trek (1966) was canceled, he did guest stints in several TV shows, voiced Sulu for the animated Star Trek series & regularly appeared at Star Trek conventions. He also produced & hosted a public affairs show Expression East/West, which aired in Los Angeles from 1971-1973. That year, he ran for the L.A. City Council. Although he lost by a small margin, Mayor Tom Bradley appointed him to the board of directors of the Southern California Rapid Transit District, where he served until 1984 & contributed to plans for the subway. During this period, he co-wrote a sci-fi novel Mirror Friend, Mirror Foe. He campaigned to get more respect for his character in the Star Trek features, resulting in Sulu finally obtaining the rank of captain in Star Trek VI: The Undiscovered Country (1991), a role reprised in the Star Trek: Voyager (1995) episode Flashback.
He has run several marathons and was in the 1984 Los Angeles Olympic Torch Relay. He received a star on Hollywood Boulevard's Walk of Fame in 1986. He also left his signature & hand print in cement at the Chinese Theater in 1991. His 1994 autobiography, To the Stars, was well-received. He remains active as a stage, TV & film actor as well as as an advocate for the interests of Japanese Americans.- Gila Golan's career started as an Israeli fashion model, which led to appearances as a film actress. She was apparently born in Krakow, Poland, for she was discovered there in a train station during the German occupation in 1940. She was adopted by a Roman Catholic couple and later sent to a boarding school in France before emigrating to Israel after World War II where she changed her name from Zusia Sobetzcki to Miriam Goldberg. She became interested in fashion and her being spotted by an American photographer led to appearing in the Israeli magazine La'isha. It was a natural step for her to extend her fashion activities into the 1960 competition which led to her being crowned "Na'arat Israel" - Israel's Maiden of Beauty (IMB) - or using international usage, "Miss Israel." For this competition she changed her name to Gila Golan. Such a change of names to one more typically Israeli was common at the time, but she may have done this to prevent any embarrassment to her religiously conservative family and friends. She went on to place second in the Miss World competition held later that year in London where she met the Columbia Pictures executive William Cohan and his wife. This led to her entrance into films with a debut in Ship of Fools (1965). Cohen and his wife came to view her as sort of a foster daughter. She married three times and has several children and reportedly she now runs an investment business.
- Actor
- Director
- Producer
The burly character actor Gordon Jump will probably be best remembered for the role of the radio station manager Arthur Carlson in the TV sitcom WKRP in Cincinnati (1978). This is coincidental since, in the first part of his working life, he was found either behind a microphone or camera in stints with radio and TV stations in the Midwest, including producing jobs at stations in Kansas and Ohio.
Moving to Los Angeles in 1963, he quickly became involved in stage productions with Nathan Hale and Ruth Hale, a couple who had opened a small theater in Glendale, California, several years earlier, in order to make ends meet. The Hales preferred the stage to film, and they abandoned Hollywood film hopes when their theater was successful. Others developing their acting talents with the Hales included Mike Farrell and Connie Stevens. Jump always credited Ruth Hale for the real start of his career as an actor, and it has been said that Jump remained most passionate about acting in live theater.
He soon started appearing in numerous TV series, including Daniel Boone (1964), Get Smart (1965), and Green Acres (1965). Through his association with the Hale clan, he became a member of The Church of Jesus Christ of Latter-Day Saints, which led to appearances in educational and religious short films produced and directed by Judge Whitaker at Brigham Young University in the 1960s. He played a Mormon bishop in "You Make the Difference", a thoughtful husband in Marriage: What Kind for You? (1967), and even the Apostle Peter in Mormon Temple Film (1969). Ruth was instrumental in getting Jump to give up smoking, and she also admonished him to turn down offers to do beer commercials. To the end of his life, he took his membership in his faith seriously, including its health codes. He also was in other LDS church films including When Thou Art Converted 1967, What about Thad? 1969, The Guilty 1978 and Families are Forever 1982.
Gordon remained predominantly a television actor throughout a long career in the arts, but he did appear in some small parts in feature films such as Conquest of the Planet of the Apes (1972). He also had a cameo appearance in The Singles Ward (2002), a comedy involving young Latter-Day Saint cultural experiences, which was written and directed by Kurt Hale, the grandson of Ruth and Nathan.
Beyond his acting career, Gordon produced The Tony Randall Show (1976) and directed an episode of WKRP in Cincinnati (1978). In the last years of his life, he was readily recognizable as the lonely Maytag Washer repairman in commercials that ran on television for several years starting in 1989. He effectively portrayed Ol' Lonely until retiring from the role just before his death. (The repairman was lonely because the machines never broke down.) As is often the case for actors with a flair for comedy, he was also adept at playing dramatic roles. As is also often the case with character actors, his face is recognizable to many who never knew his name.- Cinematographer
- Camera and Electrical Department
- Director
Almost universally considered one of the greatest cinematographers of all time, Jack Cardiff was also a notable director. He described his childhood as very happy and his parents as quite loving. They performed in music hall as comedians, so he grew up with the fun that came with their theatrical life in pantomime and vaudeville. His father once worked with Charles Chaplin. His parents did occasional film appearances, and young Jack appeared in some of their films, such as My Son, My Son (1918), at the age of four. He had the lead in Billy's Rose (1922) with his parents playing his character's parents in the film. Jack was a production runner, or what he would call a "general gopher", for The Informer (1929) in which his father appeared. For one scene he was asked by the first assistant cameraman to "follow focus", which he said was his first real brush with photography of any kind, but he claimed that it was the lure of travel that led to him joining a camera department making films in a studio. He had, however, become impressed with the use of light and color in paintings by the age of seven or eight, and described how he watched art directors in theaters painting backdrops setting lights. His friend Ted Moore was also a camera assistant in this period when both worked in a camera department run by Freddie Young, who would also become a legendary cinematographer. He worked for Alfred Hitchcock during the filming of The Skin Game (1931).
By 1936 Cardiff had risen to being a camera operator at Denham Studios when the Technicolor Company hired him on the basis of what he told them in interview about the use of light by master painters. This led to his operating camera for the first Technicolor film shot in Britain, Wings of the Morning (1937). He finally was offered the full position of director of photography by Michael Powell for A Matter of Life and Death (1946), ironically working in B&W for the first time in some sequences. His next assignment was on Black Narcissus (1947), where he acknowledged the influence of painters Vermeer and Caravaggio and their use of shadow. He won the Academy Award for best color cinematography for this film. Jack certainly got to travel when it was decided to shoot The African Queen (1951) on location in the Congo. Errol Flynn offered Jack the chance to direct The Story of William Tell (1953) that would star Flynn. It would have been the second film made in CinemaScope had it been completed, but the production ran out of money part way through filming in Switzerland.
It has been said that Marilyn Monroe requested that Jack photograph The Prince and the Showgirl (1957). Although he had already directed some small productions, he had a critical breakthrough with Sons and Lovers (1960). He continued directing other films through the 1960s, including the commercial hit Dark of the Sun (1968), but for the most part returned to working for other directors as a very sought-after cinematographer in the 1970s and beyond. He continued to work into the new century, almost until his death. He was made an OBE in 2000 and received a lifetime achievement award at the 73rd Academy Awards.- Animation Department
- Producer
- Director
Judge Whitaker was an animator that went on to become a pioneering producer & director of educational and religious films at Brigham Young University, where he is credited with establishing a motion picture studio. In many ways his life would parallel that of Walt Disney, who would become his long-term employer.
Judge moved with his family to Brigham City, Utah just before his fifth birthday and then to Denver, Colorado about the time of his tenth birthday. At South Denver High he would be student body president, one of the staff artists for the yearbook, and captain of the football team. Upon finishing high school Judge followed his family to Huntington Park, California and obtained a job utilizing his artistic talents in the display department at Western Auto Supply. A few months later he landed a position in the promotion department of Montgomery Wards retail stores in Chicago doing silk screen work and enrolled in an art class at the American Academy of Art. He returned to California after only a year and bought into a cleaning and pressing business hoping to earn enough money to marry his girlfriend Doris.
The cleaning business barely broke even each month so he returned to the promotion department of Montgomery Wards where he spent most of his time cartooning and enrolled in night classes at The Chicago Art Institute. Although enjoying his work, he thought his $27.50 income was insufficient to contemplate marriage, so he accepted an offer with The St. Louis Times at $40.00 a week. He would later say his title of Art Director was "extravagant." In July, 1932 the paper was absorbed by the rival St. Louis Star and the Times staff were all released. In the midst of the Great Depression, Judge could only find freelance art work that did not quite pay all the bills. After reading an article about Walt Disney in Liberty magazine, Judge was inspired to want to work for him. After sending samples of his work he received a letter saying that the studio was not hiring at the moment, but they would be pleased to see him if he were ever in Los Angeles. With little to lose, Judge and Doris returned to Huntington Park, California and when Judge was given an interview by Ben Sharpsteen he was offered $16.00 a week as a trainee. After only a few weeks Judge and all the other new employees received pink slips. At first he took a job in Huntington Park helping to clean up after the earthquake of March, 1933. Then two weeks later hearing of a couple of jobs at the Charles Mintz Studio, he and his brother Scott Whitaker applied and were accepted.
The Disney Studio would later call and offer $25.00 a week, but when Judge went to give notice, Charles Mintz offered him $27.50 to stay. Scott went to Disney, but Judge remained with Mintz for over a year until negotiating a $35.00 a week offer from Disney in 1936 as an assistant animator assigned to working on a new character named Donald Duck. Some of the more promising new animators were given a test project. Judge's was judged the best, and he was promoted to be a full-fledged animator with a nice raise in salary.
Judge would mainly work as a character animator on Donald Duck shorts in his career with Disney, but he also worked upon several animated features beginning with The Three Caballeros (1944) working on the sequence with Pablo, a cold-blooded penguin and ending up with Peter Pan (1953) for which Judge helped animate The Lost Boys.
In 1946 Judge suggested that Mormons in the film industry might be willing to donate their time to make a promotional church film. Two years of spare time work resulted in two completed films about the LDS welfare program, "Welfare in Action" and "The Lord's Way." Eric Larson directed the first, Judge the second, and Judge and Scott created the animation sequences.
Judge took a year's leave of absence from Disney in early 1952 to join with his brothers, Berlin, Ferrin, and Scott to develop The Homestead Resort at the site of some natural hot springs in the Heber Valley near Park City, Utah. After Judge described the plans to build up the resort Walt replied, "All my life I have wanted to do something like that, and here I am stuck with this," waving to indicate the studio. "Take your year, then come back and your job will be waiting." Interestingly enough Walt Disney would form WED in December, 1952 to explore the design for Disneyland and Judge's plan may have had more than a passing interest to Walt.
While working on the Homestead project, Judge was given the offer to head a newly created Department of Motion Picture production at Brigham Young University beginning in January, 1953. Judge sent a letter of resignation to Walt Disney and began to establish the film studio from scratch, buying some basic equipment in California and also visiting some studios and UCLA's Department of Cinematography to get some helpful advice. BYU reportedly joined UCLA that year as the second of only two university film production facilities that existed at the time.
Although rough in the beginning, productions became more ambitious and polished through the years with Man's Search for Happiness (1964) shot in 35mm and released with 4-track stereophonic sound and "In The Holy Place" (1968) shot in 65mm. Both films were intended for special exhibition in Mormon visitor's centers (the first showing at the New York World's Fair).
More than 150 films were produced during his 22 years as director and producer at the studio. Some were produced for the various auxiliaries of the Church of Jesus Christ of Latter Day Saints, with other educational films produced for the university and commercially released for use in schools or industry. He is probably best known for Windows of Heaven (1963) and Johnny Lingo (1969). Wetzel received an honorary doctorate of fine arts from BYU in 1971, and retired in 1974. Like Walt Disney he started his career drawing and animating and ended it as a producer at a studio he had founded and nurtured.- A ruggedly handsome actor, Nathan was also a producer, and a theater owner. Teamed with his wife, Ruth Hale, he founded community theaters in California and Utah. His children and grandchildren continue in this family legacy of the stage to this day, and some grandsons have become successful film directors.
Soon after Nathan met and married Ruth, they were asked to serve as drama leaders in their ward (Mormon church congregation). They began writing their own plays to avoid paying royalties, with Ruth doing most of the writing, and for 8 years they staged their productions around the Salt Lake Valley. Already having four children, Nathan was not eligible for the draft, but he also was not happy with his job at Utah Copper, with the dust and grime of the mining operation. After reading in the paper about a lack of leading men in Hollywood due to WW II military service, Ruth mentioned that he might make a go at professional acting. Nathan replied that she had a better chance with her acting and plays. Despite the negative reaction from family and friends, they decided to move to southern California in 1943. Nathan took a job as a milkman leaving days and evenings available for acting work. He had some roles with the Altadena Players at the Pasadena Playhouse, but film work remained elusive. However, the Hales did participate in the production of two films in 1946 about the Mormon welfare program, made in spare time by a team of Mormons in the film industry assembled by Disney animator Judge Whitaker. This was the start of film production within the Mormon Church.
With film careers not materializing, they opened the Glendale Centre Theatre in Glendale, Ca. in 1947 (125 seats) to provide a venue for their acting. Their success soon led to a move and expansion. They staged plays that were free of profanity and illicit love affairs, leading to bookings of entire performances by church groups of various denominations. Ruth drew from her personal experiences in writing, and Nathan's favorite role was playing his own feisty English father-in-law in "Thank You Papa" penned by Ruth. Several actors would get their start at the Hale's theater including Gordon Jump, Mike Farrell, Connie Stevens, Richard Hatch, and Melissa Gilbert.
The Hales did initiate some film work of their own, independently producing three Mormon-themed films from 1955 to 1957 assisted by their nephew William Hale, and many members of the Glendale West Ward. "Choice Land" was a 20 minute film about America, including Book of Mormon scenes such as Lehi leaving Jerusalem (shot in the desert) and one with Jaredites. The earthquake leveling Zarahemla at the time of Christ's crucifixion was shot using a model of the city on a ping pong table. The Pilgrims were shot wading knee deep in snow at Mr. Wilson. "Oliver Cowdery" was filmed for $2,500 with a ten minute court scene rehearsed and shot in one evening. A third film was entitled "Is Fast Day a Headache ?"
Nathan and his children would all later appear in one or more films produced for use by The Mormon Church. Nathan was well-cast as a leader of a Mormon colony in Mexico facing a threat from Pancho Villa in the film And Should We Die (1966), and as the grandfather in the 1986 re-make of Man's Search for Happiness (1964).
In 1983 the Hales retired to Utah, leaving their daughter Sandra and her husband running the Glendale theater. Soon bored, they decided to open the Salt Lake Hale Center Theatre with other family members. Hale Center theaters have continued to be opened elsewhere after Nathan's death. Grandsons Kurt Hale and Will Swenson have entered the ranks of directors in LDS Cinema with The Singles Ward (2002) and Sons of Provo (2004). - Actress
- Producer
- Additional Crew
Paula Patton was born in Los Angeles, California, to Joyce (Vanraden) and Charles Patton. Her father is African-American and her mother, who is caucasian, has German, English, and Dutch ancestry. Her family lived across the street from the 20th Century Fox lot when she was growing up and she was a fan of films from her earliest years. Her mother, who also appreciated good films, was a schoolteacher, and her father was a lawyer. Paula claims that as a girl she would escape by "pretending to be someone else" so it was not a surprise that she acted in high school plays at Hamilton Magnet Arts High School. Her favorite role was that of "Abigail" in "The Crucible". However, she went on to study film at the University of Southern California in a summer program, and won a 3-month assignment making documentaries for PBS. This led to her working as a production assistant for TV documentaries, and also for Howie Mandel's talk show. She progressed to actually producing documentary segments for Medical Diaries (2000) airing on Discovery Health Channel. Paula now professes that she liked what she was doing, but her dream remained the same as when she was small so she took acting lessons and shifted gears to become a performer. She was almost immediately successful and, within three years, had played parts in major features, Hitch (2005) and Idlewild (2006) and the female lead in Deja Vu (2006) opposite Denzel Washington.- Writer
- Actor
Richard L. Evans is best known for his inspirational messages given in the long-running weekly radio program "Music and the Spoken Word" with the The Tabernacle Choir at Temple Square. As a General Authority of the Mormon Church, he was one of their most senior leaders.
Evans was the last child born to John A. Evans and Florence Neslen, for when he was only 10 weeks old his father died leaving a widow with nine children to rear. However, with determination and a scholarship, he sought higher education first at L.D.S. University and then at the University of Utah. Taking time away from university study, he served as a Mormon missionary in Great Britain from 1926 to 1929, where he acted as associate editor of the Mormon newspaper the "Millennial Star" under James E. Talmadge and Dr. John A. Widtsoe. In addition to gaining journalistic skills, he also polished his speaking talents through the experience of speaking in street meetings and even at the speaker's corner in Hyde Park, London. Returning to the University of Utah after his mission, he received his BA degree in 1931 and MA degree in 1932.
Evans became employed at KSL Radio in Salt Lake City as a staff announcer in 1930. This began his long association with the The Tabernacle Choir at Temple Square, for he announced the titles of compositions and gave station identification for the broadcast of programs that included hymns and choral works backed by The Tabernacle Organ. In time he began to include some short thoughts associated with the musical selections. These were well received and soon evolved into non-denominational inspirational "sermonettes" usually less than two minutes, about moral principles, the inter-relationships of people, and the proper approach to life. His messages were ecumenical in nature, pointing out that the differences between people are not as great as what they have in common. Selected messages appeared in a weekly syndicated newspaper column circulated nationally and were also published in a series of books. Evans was instrumental in having "Music and the Spoken Word" come to television in 1949. He also accompanied the Choir when it traveled to sing in concert halls worldwide, acting as the choir announcer and introducing and bridging the musical selections with warm commentary and humor.
Evan's other duties centered around church service. He became the managing editor of the Mormon periodical magazine, The Improvement Era, in April, 1935 and was sustained to a place within the First Council of Seventy on Oct. 7, 1938. Mormon president David O. McKay ordained him an Apostle in the Council of the Twelve on October 8, 1953. He narrated some short films such as "The Morning Breaks" (1964), Man's Search for Happiness (1964), and "Christmas On Temple Square" (1966). He became involved with the film Man's Search for Happiness (1964) because he was on the committee working on the Mormon Pavilion where it would appear at the New York World's Fair. He did some polishing on the script, making word or phrase changes. He also served as the president of Rotary International (1966-67).
Richard L. Evans would give over two thousand "Spoken Word" messages before his unexpected death in 1971, and although the program continues to this day (the world's longest-running continuous network broadcast) he is still fondly remembered for the legacy he left behind. Portions of his messages are still included in collections of famous quotations. His death was sudden, and he worked right up to the end. He was only sixty-five years old when he died in a hospital bed from a viral infection, just hours after listening to the pre-recorded Sunday morning broadcast of his last show. His message spoke of enduring to the end. He was mourned not only by Mormons, but also by the millions who listened regularly to his radio ministry.- Cinematographer
- Art Department
- Art Director
Robert W. Stum was head cinematographer at the Brigham Young University Motion Picture Studio for many years, beginning almost from its inception when he was learning his craft on the job. He had become a keen photographer while in high school and attending college at BYU (taking art classes) and then studied photography at the Art Center in Los Angeles. In the late 1940s he was working as a professional photographer in the Los Angeles area when he became involved with films co-produced for the LDS church by Eric Larson and Judge Whitaker both using their spare time away from "Walt Disney Pictures [us]". Bob also volunteered his time taking stills of the film crew at work on two films that were made to explain the welfare programs of the LDS (Mormon) Church. Moving to Provo, Utah, Bob was a partner in Biddulph Stum Photography when Judge asked him to fill in for Frank S. Wise doing camera work on a film entitled 'The Bishop' that was underway in 1954 (Judge founded the BYU Motion Picture studio in 1953). Frank had been the first professional to join the BYU Studio staff, and had also been the cinematographer on the earlier welfare films. Bob's initial sound-stage work came on a three camera operation for 'The Story of Chamber Music' when Frank found that trying operate one camera by remote control and the others himself was not proving satisfactory. Bob was called in to help out again. After this Bob started spending half days at BYU, but finally a manager was hired for his portrait studio and he joined the staff full time as Frank Wise started to devote most of his time to film editing (and some occasional script writing). As the studio's films became more ambitious, Judge decided to bring in experienced cinematographers temporarily, in a large part to tutor Bob in the craft. Bob would later say that he cherished these experiences as much as any he had at the studio, as they helped him to be "launched in the right way" in cinematography.
John W. Boyle was a veteran of many films such as Madame Du Barry (1917) and Jack London (1943) when he assumed the post of director of photography with Bob as his assistant on one film. Glen MacWilliams who photographed Lifeboat (1944) for Alfred Hitchcock fulfilled a similar role on the 50 min. drama "How Near to the Angels". Judge later said that Bob's extensive experience as a still cameraman, his natural ability, and his experience with lighting helped him to adapt quickly to motion picture techniques.
Bob filmed some 140 motion pictures for the BYU studio, including Johnny Lingo (1969), Windows of Heaven (1963), and 'Man's Search for Happiness (1965)'. He also shot the independent feature Seven Alone (1974). Looking back decades later, Judge would call him one of the "towers of strength" during his years as the head of the studio, along with Frank S. Wise, and Judge's brother Scott Whitaker. He said that Bob was "almost as talented in designing and building some of our earlier sets as he was with the camera." Bob served twice with his wife as a missionary for the LDS Church. In 1981 he received the National Award for outstanding service to professional photography from the Professional Photographers of America.- Actress
- Writer
Ruth Hale thought of herself as predominantly a writer, and she wrote over 70 plays, but she was better known as an actress and theatre owner. Starting with her husband Nathan, she and her family founded community theatres in California, Utah, and Arizona. Her children and grandchildren continue in the family legacy to this day.
After studying at the University of Utah for two years, Ruth taught school until she was 19 years old and then left for a religious mission in the eastern United States for the LDS (Mormon) Church. Upon her return to Utah, she met and married Nathan Hale , and they were asked to be drama leaders in their ward (Mormon congregation). They began writing their own plays to avoid paying royalties and for 8 years they toured around the Salt Lake Valley appearing in their plays. But Nathan was not happy with his job at Utah Copper, so Ruth suggested that he might be able to break into movies due to a shortage of leading men in Hollywood due to WW II. Moving to southern California in 1943, Nathan took a job as a milkman so his days and evenings would be available for acting work. He appeared with the Altadena Players at the Pasadena Playhouse and Ruth continued writing plays, selling some at $100 a piece. The Hales did participate in the production of two films in 1946 about the Mormon welfare program, with a team assembled by Judge Whitaker. This was the real start of film production within the Mormon Church.
With other film work not materializing, they opened the Glendale Centre Theatre in Glendale, Ca. in 1947 with 125 seats. They soon moved and expanded due to success due in part to staging plays free of profanity and illicit love affairs. This led to bookings of entire performances by church groups of various denominations. The Hale's children found themselves cast in productions and also finding that furniture in their house changed rather routinely as it was required on stage. Ruth drew from her personal experiences in writing, and "Lilacs in the Rain" was based on a young man that had wanted to marry Ruth before she left on her mission. "Thank You Papa" was about life with Ruth's feisty English father. Several actors would get their start at the Hale's theater including Gordon Jump, Mike Farrell, Connie Stevens, Richard Hatch, and Melissa Gilbert.
As they had done with plays, the Hales initiated their own film work and produced three Mormon-themed films from 1955 to 1957 assisted by their nephew William Hale, and many members of the Glendale West Ward. The first, "Choice Land" was a 20 minute film about America, with many Book of Mormon scenes including Lehi leaving Jerusalem (shot in the desert) and Jaredites. The earthquake levelling Zarahemla at the time of Christ's crucifixion was shot using a model of the city on a ping pong table. The Pilgrims were shot wading knee deep in snow at Mr. Wilson. "Oliver Cowdery" was filmed for $2,500 with a ten minute court scene rehearsed and shot in one evening. A third film was entitled "Is Fast Day a Headache ?" They and their six children would all later appear in one or more films produced for use by The Mormon Church. Ruth wrote the story for the controversial 'Til Death Do Us Part (1960) in which daughter Sherry played a young woman contemplating an inter-faith marriage. In 1983 the Hales retired to Utah, leaving their daughter Sandra and her husband running the theater. Soon bored, they decided to open the Salt Lake Hale Center Theater with other family members. Hale Center theaters were subsequently opened elsewhere. Starting the year Nathan died, Ruth added some appearances in TV movies and theatrical films to her stage performances. She continued to act in her 90s, even appearing in a wheelchair after a major stroke in February, 2001. She appears in a cameo in The Singles Ward (2002), the directorial debut of grandson Kurt Hale. Another grandson Will Swenson has also entered the ranks of directors in LDS Cinema with Sons of Provo (2004).- Writer
- Director
- Additional Crew
Scott Whitaker's contributions to filmmaking were mainly as a story man and script writer, but he also directed some short films in a 22 year tenure with the film studio at Brigham Young University that he helped to establish. His education included English classes at George Washington University and cinema writing courses at the University of Southern California. In the early part of his career he worked as a special effects animator at RKO and as a story artist and writer at Walt Disney Studios.
In 1946 three senior Mormon leaders (Harold B. Lee, Mark E. Peterson, and Mathew Cowley) were taken on a tour of The Walt Disney Studio by Scott's brother, Judge Whitaker, a Disney animator and fellow employee. Viewing morale-building training films made at the studio during the war sparked a discussion about producing church films in a similar fashion. Judge proposed that he and other Mormons in the film industry make a film in their spare time. Two years later this resulted in two films about the LDS welfare program, "Welfare in Action" and "The Lord's Way." Eric Larson directed the first, Judge the second, Scott did some live action direction in The Lord's Way, with Judge and Scott creating the animation sequences. The success of these films would ultimately alter the lives and careers of both brothers.
As children Scott and Judge visited the Schneitter Hot Pots (natural hot springs in the Heber Valley, Utah). Finding it for sale in 1951, four Whitaker brothers acquired the property as a family business and started to create "The Homestead" as a year-round resort. Judge asked for a leave of absence from Disney to help remodel the property. Now relatively close to BYU, Judge became involved with establishing a studio at the university, officially heading the new Department of Motion Picture Production starting in January, 1953. The following year Scott joined as well, splitting his time for a few years by working winters for the studio and summers at the family resort before devoting his time completely at BYU.
Casting was difficult for an early film about a man gone astray until faithful Mormons help lead him back into church activity, and Judge finally asked Scott to play the lead. With the strict ban against smoking among members of the LDS Church, Scott had to overcome his wife's concern that his smoking in the picture would raise eyebrows, especially since he had been a member of a Mormon bishopric. Ultimately Scott's performance in "Come Back, My Son" elicited tears when the film was shown in The Tabernacle in Salt Lake City during the General Conference of October, 1954.
Scott did considerable background research for the historical film Windows of Heaven (1963), finding enough material for a full length feature in the course of writing a shooting script. Ultimately the budget limited it to 50 mins. In 1963 Scott developed a story concerning the negative effects of alcohol within communities of the Navajo people by living briefly among them on the reservation in New Mexico and sleeping in a Hogan. He went on to direct his Bitter Wind (1963) script on location in New Mexico and Arizona. As a director Scott would often look for opportunities to improve upon his scripts. He suggested that he and Robert W. Stum "take our sleeping bags and sleep with the sheep" to get the best possible shot of a flock far away from their hotel, which would only be possible at sunrise.
As Supervising Story Editor for the BYU studio he had the opportunity to mentor young writers such as Carol Lynn Pearson and Claire Whitaker (Judge and Scott's niece), both would have long and successful writing careers following their contributions to BYU short films.
Enjoying location work also made Scott a world traveler, and he directed two film projects he had long advocated in widely separated parts of the globe. He climbed over many archeological sites in Central & South America to film Ancient America Speaks (1974) and arranged to film Where Jesus Walked (1978) in Israel during March to maximize the presence of green grass and flowers. Due to the timing of the production, Scott was able to accept the invitation to give the key Easter sermon upon the Mount of Olives to the local Mormon community in Jerusalem. In the address he expressed gratitude for his family and co-workers, perhaps knowing that his work was almost through. Having been plagued by a persistent backache during the entire trip, and with the film almost complete, he returned to Utah where he was diagnosed with bone cancer that had spread to his liver. He quietly died six weeks later, and this, his final film, carried a formal dedication to him. He was buried in the Midway City Cemetery.- Writer
- Director
- Editor
Having received his education at Yokohama National University, Shunji Iwai started out in the entertainment industry by directing music videos and television dramas, including the likes of Maria, Lunatic Love and Fireworks, for which he received the award for Best Newcomer from the Japanese Director's Association. He eventually moved onto larger things with his short film Undo (1994), later followed by the hit Swallowtail Butterfly (1996) starring Japanese pop singer, Chara.
As his career progressed, he received even more awards, especially for his films Love Letter (1995) and All About Lily Chou-Chou (2001) (All About Lily Chou-Chou). Shunji Iwai resides in Japan.