Oscar Legends 2: Other Legends
Other directors and writers that I forgot in number 1 and I have add famous movie producers on this list now.
New Updated: I have now added Christopher Guest, Anne Fletcher and Adam Shankman who also help with the Academy Awards' ceremonies while making some Academy Award nominated films
New Updated: I have now added Christopher Guest, Anne Fletcher and Adam Shankman who also help with the Academy Awards' ceremonies while making some Academy Award nominated films
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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.The Prizefighter and the Lady
Barbary Coast
Come and Get It
Only Angels Have Wings
Sergeant York
Ball of Fire
Air Force
Red River
The Big Sky
Hatari!- Writer
- Actor
- Director
The comic genius Jacques Tati was born Taticheff, descended from a noble Russian family. His grandfather, Count Dimitri, had been a general in the Imperial Army and had served as military attaché to the Russian Embassy in Paris. His father, Emmanuel Taticheff, was a well-to-do picture framer who conducted his business in the fashionable Rue de Castellane and had taken a Dutch-Italian woman, Marcelle Claire van Hoof, as his wife. To Emmanuel's lasting dismay, Jacques had no intention of following in the family trade of framing and restoration. Instead, he went on to pursue an education (specialising in arts and engineering) at the military academy of Lycée de Saint Germain-en-laye. After graduating, his main preoccupation became sports. He already boxed and played tennis and was introduced to rugby during a sojourn in London. Back in Paris, he joined the Racing Club de France (1925-30), and for some time seriously contemplated a career as a professional rugby player. However, Jacques also had an uncanny talent for pantomime, imitating athletes at his school to the amusement of classmates and teachers. By the time he had reached the age of 24, encouraged by his success as an entertainer in the annual revue of the Racing Club, he suddenly decided to combine his two passions and, without further ado, entered the world of show business.
From 1931, Jacques toured the Parisian music halls, theatres and circuses with his impersonations, acrobatics, drunk waiter and comic tennis routines (the latter would be famously re-enacted by his alter ego, Monsieur Hulot). He had by this time changed his name to 'Tati' in order to accommodate theatre bills.The French magazine "Le Jour" was among the first to acknowledge his growing popularity, describing Jacques as "a clown of great talent". At the same time, he made his screen debut in a series of short featurettes, tailored to show off his practised gags, notably Oscar, champion de tennis (1932) and Watch Your Left (1936) ("Watch your left", a very funny boxing sketch). The Second World War, military service and inherent strictures resulting from the German occupation put a temporary halt to his career. Then, in 1946, through a friend, the writer-director Claude Autant-Lara, Jacques obtained a small role in the whimsical fantasy Sylvie et le fantôme (1946), about a girl (Odette Joyeux) in love with a ghost (Tati).
The small township of Sainte-Sévère, where Tati had taken refuge during the occupation, served as inspiration for his first film, initially conceived as a one-reeler entitled "L'Ecole des facteurs" (School for Postmen). Unable to find widespread distribution, Tati decided to re-shoot the bucolic comedy --with himself in the central role -- as a feature film, using the villagers as extras and filming everything on location. And thus, Jour de Fête (1949) and Francois the village postman came into being. However, the film was soon overshadowed by his next enterprise and a critic of the satirical publication Le Canard Enchainé even proposed to fight a duel with anyone who would prefer "Jour de Fete" to Monsieur Hulot's Holiday (1953)!
With "Holiday", Tati reinvented the visual comedy of the silent era in a style not dissimilar to that of Max Linder. There is hardly any dialogue, except for background chatter, but natural and human noises are enhanced whenever required for the desired comic effect. The film is almost plotless, essentially comprised of a series of vignettes (to the recurring musical motif of Alain Romans's breezy 1952 composition "Quel temps fait-il à Paris?") at a seaside resort frequented by assorted holiday makers. All are stereotypical of their respective social class, as are the villagers themselves. Their inability to escape social conditioning and the stress they endure in the process of 'enjoying themselves' are observed with a keen satirical eye through their interaction with each other. At the centre is the ever-present character of the bumbling Monsieur Hulot, who arrives in a rickety 1924 Amilcar. Tall and reedy, clad in a poplin coat, wearing a crumpled hat, striped socks, trousers which are patently too short, rolled umbrella, a pipe firmly clenched between his teeth and perambulating with an odd stiff-legged gait, Hulot cuts an ungainly, yet hilarious figure. Well-meaning though he is, he invariably leaves disaster in his wake and departs the scene quickly as things go wrong, letting others sort out the mess. "Holiday" is more than just a brilliant collection of sight gags, but also an ironic observation of the foibles of human nature. Tati acknowledged the influence of both Buster Keaton and W.C. Fields in the creation of Hulot. Very much like Keaton or Charles Chaplin, he was also a consummate perfectionist who micro-managed each scene with unerring precision. Comedy for Tati was a serious business.
In Tati's subsequent ventures, Hulot became relegated from being the focus of the story to merely subordinate to its concept. As just one of many characters, Hulot weaves in and out of My Uncle (1958) and Playtime (1967), his simple, old-fashioned world contrasted sharply against the coldness of mechanisation, obsessive consumerism and the growing uniformity of houses and cities. "Playtime", shot in 70mm, took six years to make and required the creation of a massive glass and concrete high-rise set with myriad corridors and cubicles (dubbed 'Tativille' and built at a cost of $800,000) which raised the picture's total budget to $3 million and left Tati bankrupt. His next project, Trafic (1971), a satire of modern man's love of cars, failed to recoup these losses. Creditors impounded Tati's films, which were not re-released until 1977, when a canny Parisian distributor expunged his outstanding debts. Throughout his career, Tati remained obdurately committed to his artistic integrity and to his independence as a film maker. He was one of few directors who consistently employed non-professional actors. He turned down offers from Hollywood for a 15-minute series of television comedies, following the success of "Mon Oncle". He summed it all up by declaring "I could have satisfied the producers of the world by making a whole series of little Hulot films, and I would have made a lot of money. But I would not have been able to do what I like - work freely". (NY Times, November 6, 1982)Les vacances de Monsieur Hulot
Mon Oncle
The Illusionist (2010 film)- Director
- Writer
- Producer
King Vidor was an American film director, film producer, and screenwriter of Hungarian descent. He was born in Galveston, Texas to lumberman Charles Shelton Vidor and his wife Kate Wallis. King's paternal grandfather Károly (Charles) Vidor had fled Hungary as a refugee following the failed Hungarian Revolution of 1848 (1849-1849). The Kingdom of Hungary had attempted to gain independence from the Austrian Empire, but the revolutionary troops failed against the allied armies of the Austrian Empire and the Russian Empire. After the restoration of Habsburg power, Hungary was placed under brutal martial law. Karoly fled the country and settled in Galveston, Texas by the early 1850s.
During his childhood, King Vidor was a witness of the 1900 Galveston hurricane, the deadliest natural disaster in United States history. The hurricane caused between 6,000 and 12,000 fatalities in the United States, based on varying estimates. Most of these deaths occurred in the vicinity of Galveston. Every house in the city sustained damage, about 3600 houses were completely destroyed, and an estimated 10,000 people were left homeless, out of a population of about 38,000. King Vidor would later give a somewhat fictionalized account of his hurricane experience in a 1935 interview.
By the early 1910s, Vidor was working as a freelance newsreel cameraman and cinema projectionist. In 1913, he directed the short film "The Grand Military Parade", his directing debut. In 1915, Vidor moved to Hollywood, California and was hired as a screenwriter and short-film director by Judge Willis Brown (1881-1931), owner of the Boy City Film Company in Culver City. Brown had gained fame as a judge of the Utah Juvenile Court and a progressive expert on boys' reformation, but had been kicked out of service when it was discovered that he did not actually have a law degree. Brown had established himself as a film producer in order to produce films depicting his main concerns about American society: juvenile delinquency and racial discrimination. Vidor served as a screenwriter and director of at least 10 films with these topics, while working for Brown.
In 1919, Vidor directed his first feature film: "The Turn in the Road". It was a silent drama film, depicting a businessman who loses his faith in God and any interest in industry, when his beloved wife dies in childbirth. Vidor's first major hit was the feature "Peg o' My Heart" (1922), an adaptation of a popular Broadway theatrical play. Following this success, Vidor was signed to a long-term contract for the studio Goldwyn Pictures. The studio was under the administration of Polish-American producer Samuel Goldwyn (1879-1974). In 1924, Goldwyn Pictures merged with Metro Pictures and Louis B. Mayer Pictures into a new company: Metro-Goldwyn-Mayer. Vidor remained on contract with this new company.
In the 1920s, Vidor's most famous silent feature films were the war film "The Big Parade" (1925), the Academy-Award nominated drama "The Crowd" (1928), the comedy "Show People"" (1928), and the comedy-drama "The Patsy" (1928). His first sound film was the drama "Hallelujah" (1929), about the life of sharecroppers. It was one of the first Hollywood films with a cast consisting fully of African-Americans. Vidor expressed an interest in "showing the Southern Negro as he is" and attempted to depict African-American life beyond the popular stereotypes of the era.
Vidor faced no problem in transitioning from silent film to sound film, and continued regularly working on feature films until the late 1950s. His last major film was the Biblical-romance "Solomon and Sheba" (1959), featuring love, court intrigues, and military invasions during the reign of legendary Solomon, King of Israel (estimated to the 10th century BC). Afterwards he worked on short films and documentaries, his last film being the documentary "The Metaphor" (1980). The 86-year-old Vidor chose to retire from filmmaking in 1980.
In 1982, Vidor died at his ranch in Paso Robles, California, from an unspecified heart disease. He was 88-years-old and well past his prime. His remains were cremated and his ashes were scattered in his ranch.
Vidor was nominated 5 times for the Academy Award for Best Director, without ever winning. He was nominated for the feature films "The Crowd" (1928), "Hallelujah" (1929), "The Champ" (1931), "The Citadel" (1938), and "War and Peace" (1956). He won an Academy Honorary Award in 1979. Part of his modern fame rests on an uncredited part as an assistant director. Vidor directed the scenes set in Kansas for the novel adaptation "The Wizard of Oz" (1939).The Crowd
Hallelujah
The Champ
The Texas Rangers
Stella Dallas
The Citadel
Comrade X
Duel in the Sun
War and Peace- Director
- Producer
- Editor
Mark Robson studied political science and economics at the University of California. He then took a law course at Pacific Coast University, and, at one time, also attended the U.S. Naval Academy in Annapolis. Ultimately, his interests led him elsewhere, since he ended up in the movie business as a part-time assistant set dresser in the property department of 20th Century Fox. Asking studio boss Darryl F. Zanuck for a promotion turned out to be a bad move, since he was promptly fired. Playing golf with RKO executive Herman Zobel, conversely, opened the door to a position at the studio's film library, where he was to earn a meager 66 cents per hour. Undeterred, Robson eventually moved up to the position of assistant editor and worked (uncredited) on Orson Welles' s Citizen Kane (1941) and The Magnificent Ambersons (1942) for $1.25 per hour, but slaving over a gruelling 110 to 120 hour-week. When "Ambersons" and Journey Into Fear (1943) ran into production difficulties, Welles and his Mercury Group fell out of favour at RKO and Robson was re-assigned by Lou L. Ostrow to a B-unit, headed by Val Lewton.
Within the relaxed atmosphere of Lewton's company, Robson was employed as full-time editor between 1941 and 1943. He became noted for his outstanding work on Cat People (1942). In one famous scene, he originated a technique called 'the bus', abruptly cutting from the face of a person in terror (in this case Simone Simon) to a bus stopping violently with hissing airbrakes, thus effectively jolting the audience in their seats. The 'bus', of course, could be substituted for any other sudden event, intended as a red herring in order to shock the viewer. It is still a widely used practice today, particularly in horror movies or thrillers.
After editing I Walked with a Zombie (1943) and The Leopard Man (1943), Robson was promoted by Lewton to director as a replacement for Jacques Tourneur. Robson's first film was The Seventh Victim (1943), a tale of Satanists operating in Greenwich Village. This was followed by three more entries in Lewton's series of low budget horror thrillers: The Ghost Ship (1943), Isle of the Dead (1945) and Bedlam (1946). All of these modest ventures recouped their investment fourfold. In the long run, however, it was not enough to save struggling RKO. Robson lost his job and found himself on the bread line for the next two years. In 1949, he was head-hunted by independent producer Stanley Kramer to direct the boxing drama Champion (1949), starring Kirk Douglas as a callous boxing champ on his way to the top. This prestige production marked the turning point in Robson's career. Bosley Crowther, the leading New York Times reviewer, praised the director for providing "a wealth of pictorial interest and exciting action of a graphic, colourful sort" (NY Times, April 11 1949). Robson made another film for Kramer, Home of the Brave (1949), which dealt with the results of racial prejudice.
Suddenly finding himself much in demand, Robson worked briefly under contract for Samuel Goldwyn, before launching the second phase of his career as a director of big budget commercial hits, among them the charismatic The Bridges at Toko-Ri (1954); another hard-hitting tale of corruption in the world of boxing, The Harder They Fall (1956); the stylishly-made small-town melodrama Peyton Place (1957); and the unabashedly sentimental, romanticised 'true-life' story of an English missionary in China, The Inn of the Sixth Happiness (1958) (filmed in North Wales !). One of his best later films was the Paul Newman thriller The Prize (1963), directed by Robson in a style entirely reminiscent of Alfred Hitchcock, filled with rollicking action and witty dialogue. That same year, Robson established his own production company, Red Lion. He made several patchy films under this banner, including a stodgy, fictionalised account of the Ghandi assassination Nine Hours to Rama (1963); and a dull, forgettable anti-war drama, Lost Command (1966). The lurid, but slickly-made melodrama Valley of the Dolls (1967) rekindled Robson's career, which was rounded out with the all-star blockbuster disaster movie Earthquake (1974), filmed in 'Sensurround' for greater impact. A massive box-office hit, it eventually grossed in excess of 80 million dollars. Robson died of a heart attack just weeks after completing work on the action thriller Avalanche Express (1979).Champion
My Foolish Heart
Bright Victory
I Want You
The Bridge at Toko-Ri
Trial
The Harder They Fall
Peyton Place
The Inn of the Sixth Happiness
Von Ryan's Express
Valley of the Dolls
Earthquake- Actor
- Director
- Producer
Sidney Poitier was a native of Cat Island, Bahamas, although born, two months prematurely, in Miami during a visit by his parents, Evelyn (Outten) and Reginald James Poitier. He grew up in poverty as the son of farmers, with his father also driving a cab in Nassau. Sidney had little formal education and at the age of 15 was sent to Miami to live with his brother, in order to forestall a growing tendency toward delinquency. In the U.S., he experienced the racial chasm that divides the country, a great shock to a boy coming from a society with a majority of African descent.
At 18, he went to New York, did menial jobs and slept in a bus terminal toilet. A brief stint in the Army as a worker at a veterans' hospital was followed by more menial jobs in Harlem. An impulsive audition at the American Negro Theatre was rejected so forcefully that Poitier dedicated the next six months to overcoming his accent and improving his performing skills. On his second try, he was accepted. Spotted in rehearsal by a casting agent, he won a bit part in the Broadway production of "Lysistrata", for which he earned good reviews. By the end of 1949, he was having to choose between leading roles on stage and an offer to work for Darryl F. Zanuck in the film No Way Out (1950). His performance as a doctor treating a white bigot got him plenty of notice and led to more roles. Nevertheless, the roles were still less interesting and prominent than those white actors routinely obtained. But seven years later, after turning down several projects he considered demeaning, Poitier got a number of roles that catapulted him into a category rarely if ever achieved by an African-American man of that time, that of leading man. One of these films, The Defiant Ones (1958), earned Poitier his first Academy Award nomination as Best Actor. Five years later, he won the Oscar for Lilies of the Field (1963), the first African American to win for a leading role.
He remained active on stage and screen as well as in the burgeoning Civil Rights movement. His roles in Guess Who's Coming to Dinner (1967) and To Sir, with Love (1967) were landmarks in helping to break down some social barriers between blacks and whites. Poitier's talent, conscience, integrity, and inherent likability placed him on equal footing with the white stars of the day. He took on directing and producing chores in the 1970s, achieving success in both arenas.No Way Out
Blackboard Jungle
The Defiant Ones
Porgy and Bees
Paris Blues
Lilies of the Field
The Greatest Story Ever Told
A Patch of Blue
The Slender Thread
In the Heart of the Night
Guess Who's Coming to Dinner
For Love of Ivy
King: A Filmed Record... Montgomery to Memphis- Director
- Writer
- Producer
Born in Egypt to Armenian parents, he was raised in Western Canada. Both his parents were painters, and he planned to be a playwright, but after making a short film, he became hooked on telling stories visually. Returned to ethnic "homeland" when he filmed Calendar (1993) in Armenia. Won attention at the Sundance Film Festival for earlier work, then broke through critically and commercially with Exotica (1994). Afterwards, The Sweet Hereafter (1997) led him to receive two Academy Award nominations, and then Chloe (2009) became his biggest moneymaker ever (after the film's DVD/Blu-ray release).The Sweet Hereafter
Barney's Version- 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.The 400 Blows
Stolen Kisses
Day for Night
The Story of Adele H
Close Encounters of the Third Kind
The Last Metro- Director
- Producer
- Writer
Arthur Penn was born on 27 September 1922 in Philadelphia, Pennsylvania, USA. He was a director and producer, known for Bonnie and Clyde (1967), Little Big Man (1970) and The Miracle Worker (1962). He was married to Peggy Maurer. He died on 28 September 2010 in Manhattan, New York City, New York, USA.The Miracle Worker
Bonnie and Clyde
Alice's Restaurant
Little Big Man- Writer
- Actor
- Director
James Bridges was born on 3 February 1936 in Paris, Arkansas, USA. He was a writer and actor, known for The China Syndrome (1979), Perfect (1985) and The Paper Chase (1973). He died on 6 June 1993 in Los Angeles, California, USA.The Baby Maker
The Paper Chase
The China Syndrome- Actress
- Writer
- Producer
Emma Thompson was born on April 15, 1959 in Paddington, London, into a family of actors - father Eric Thompson and mother Phyllida Law, who has co-starred with Thompson in several films. Her sister, Sophie Thompson, is an actor as well. Her father was English-born and her mother is Scottish-born. Thompson's wit was cultivated by a cheerful, clever, creative family atmosphere, and she was a popular and successful student. She attended Cambridge University, studying English Literature, and was part of the university's Footlights Group, the famous group where, previously, many of the Monty Python members had first met.
Thompson graduated in 1980 and embarked on her career in entertainment, beginning with stints on BBC radio and touring with comedy shows. She soon got her first major break in television, on the comedy skit program Alfresco (1983), writing and performing along with her fellow Footlights Group alums Stephen Fry and Hugh Laurie. She also worked on other TV comedy review programs in the mid-1980s, occasionally with some of her fellow Footlights alums, and often with actor Robbie Coltrane.
Thompson found herself collaborating again with Fry in 1985, this time in his stage adaptation of the play "Me and My Girl" in London's West End, in which she had a leading role, playing Sally Smith. The show was a success and she received favorable reviews, and the strength of her performance led to her casting as the lead in the BBC television miniseries Fortunes of War (1987), in which Thompson and her co-star, Kenneth Branagh, play an English ex-patriate couple living in Eastern Europe as the Second World War erupts. Thompson won a BAFTA Award for her work on the program. She married Branagh in 1989, continued to work with him professionally, and formed a production company with him. In the late 80s and early 90s, she starred in a string of well-received and successful television and film productions, most notably her lead role in the Merchant-Ivory production of Howards End (1992), which confirmed her ability to carry a movie on both sides of the Atlantic and appropriately showered her with trans-Atlantic honors - both an Oscar and a BAFTA award.
Since then, Thompson has continued to move effortlessly between the art film world and mainstream Hollywood, though even her Hollywood roles tend to be in more up-market productions. She continues to work on television as well, but is generally very selective about which roles she takes. She writes for the screen as well, such as the screenplay for Ang Lee's Sense and Sensibility (1995), in which she also starred as Elinor Dashwood, and the teleplay adaptation of Margaret Edson's acclaimed play Wit (2001), in which she also starred.
Thompson is known for her sophisticated, skillful, though her critics say somewhat mannered, performances, and of course for her arch wit, which she is unafraid to point at herself - she is a fearless self-satirist. Thompson and Branagh divorced in 1994, and Thompson is now married to fellow actor Greg Wise, who had played Willoughby in Ang Lee's Sense and Sensibility (1995). Thompson and Wise have one child, Gaia, born in 1999. She was appointed Dame Commander of the Order of the British Empire at the 2018 Queen's Birthday Honours for her services to drama.Henry V
Howard's End
The Remains of the Day
In the Name of the Father
Junior
Sense and Sensibility
Primary Colors
Treasure Planet
Harry Potter and the Prisoner of Azkaban
Pride & Prejudice
An Education
Harry Potter and the Deathly Hallows: Part 2
Brave
Saving Mr. Banks- 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.What Dreams May Come
Encounters at the End of the World
The Act of Killing
The Wind Rises- Director
- Producer
- Writer
Wim Wenders is an Oscar-nominated German filmmaker who was born Ernst Wilhelm Wenders on August 14, 1945 in Düsseldorf, which then was located in the British Occupation Zone of what became the Bundesrepublik Deutschland (Federal Republic of Germany, known colloquially as West Germany until reunification). At university, Wenders originally studied to become a physician before switching to philosophy before terminating his studies in 1965. Moving to Paris, he intended to become a painter.
He fell in love with the cinema but failed to gain admission to the French national film school. He supported himself as an engraver while attending movie houses. Upon his return to West Germany in 1967, he was employed by United Artists at its Düsseldorf office before he was accepted by the University of Television and Film Munich school for its autumn 1967 semester, where he remained until 1970. While attending film school, he worked as a newspaper film critic. In addition to shorts, he made a feature film as part of his studies, Summer in the City (1971).
Wenders gained recognition as part of the German New Wave of the 1970s. Other directors that were part of the New German Cinema were Rainer Werner Fassbinder and Werner Herzog. His second feature, a film made from Peter Handke's novel The Goalie's Anxiety at the Penalty Kick (1972), brought him acclaim, as did Alice in the Cities (1974) and Kings of the Road (1976). It was his 1977 feature The American Friend (1977) ("The American Friend"), starring Dennis Hopper as Patricia Highsmith's anti-hero Tom Ripley, that represented his international breakthrough. He was nominated for the Palme d'Or at the 1977 Cannes Film Festival for "The American Friend", which was cited as Best Foreign Film by the National Board of Review in the United States.
Francis Ford Coppola, as producer, gave Wenders the chance to direct in America, but Hammett (1982) (1982) was a critical and commercial failure. However, his American-made Paris, Texas (1984) (1984) received critical hosannas, winning three awards at Cannes, including the Palme d'Or, and Wenders won a BAFTA for best director. "Paris, Texas" was a prelude to his greatest success, 1987's Wings of Desire (1987) ("Wings of Desire"), which he made back in Germany. The film brought him the best director award at Cannes and was a solid hit, even spawning an egregious Hollywood remake.
Wenders followed it up with a critical and commercial flop in 1991, Until the End of the World (1991) ("Until the End of the World"), though Faraway, So Close! (1993) won the Grand Prize of the Jury at Cannes. Still, is reputation as a feature film director never quite recovered in the United States after the bomb that was "Until the End of the World." Since the mid-1990s, Wenders has distinguished himself as a non-fiction filmmaker, directing several highly acclaimed documentaries, most notably Buena Vista Social Club (1999) and Pina (2011), both of which brought him Oscar nominations.Buena Vista Social Club
Pina
The Salt of the Earth- Producer
- Writer
- Director
Morgan Spurlock was born on 7 November 1970 in Parkersburg, West Virginia, USA. He is a producer and writer, known for Super Size Me (2004), The Greatest Movie Ever Sold (2011) and Mansome (2012). He has been married to Sara Bernstein since 2 May 2016. He was previously married to Alexandra Jamieson and Mary P. Sommer.Super Size Me
GasLand- Director
- Writer
- Producer
Hany Abu-Assad a Palestinian/Dutch movie director and writer. From the famous movies Abu-Assad has directed so far are : Rana's Wedding (2002), Paradise Now (2005) and Omar (2013), The mountains between us (2017). He has been nominated twice for Academy Awards for his movies 'Paradise Now' in 2006 and 'Omar' in 2014.Paradise Now
Omar- Actor
- Producer
- Writer
Actor Stanley Tucci was born on November 11, 1960, in Peekskill, New York. He is the son of Joan (Tropiano), a writer, and Stanley Tucci, an art teacher. His family is Italian-American, with origins in Calabria.
Tucci took an interest in acting while in high school, and went on to attend the State University of New York's Conservatory of Theater Arts in Purchase. He began his professional career on the stage, making his Broadway debut in 1982, and then made his film debut in Prizzi's Honor (1985).
In 2009, Tucci received his first Academy Award nomination for his turn as a child murderer in The Lovely Bones (2009). He also received a BAFTA nomination and a Golden Globe nomination for the same role. Other than The Lovely Bones, Tucci has recently had noteworthy supporting turns in a broad range of movies including Lucky Number Slevin (2006), The Devil Wears Prada (2006) and Captain America: The First Avenger (2011). Tucci reached his widest audience yet when he played Caesar Flickerman in box office sensation The Hunger Games (2012).
While maintaining an active career in movies, Tucci received major accolades for some work in television. He won an Emmy and a Golden Globe for his role in TV movie Winchell (1998), an Emmy for a guest turn on Monk (2002), and a Golden Globe for his role in HBO movie Conspiracy (2001).
Tucci has also had an extensive career behind the camera. His directorial efforts include Big Night (1996), The Impostors (1998), Joe Gould's Secret (2000) and Blind Date (2007), and he did credited work on all of those screenplays with the exception of Joe Gould's Secret (2000).
Tucci has three children with Kate Tucci, who passed away in 2009. Tucci married Felicity Blunt in August 2012.Prizzi's Honor
Deconstructing Harry
Road to Perdition
The Devil Wears Prada
Julie & Julia
The Lovely Bones
Margin Call
The Wind Rises- Director
- Writer
- Producer
A hard-working director throughout his long and varied career, Robert Clouse was best-known for his two most successful films: Enter the Dragon (1973) and Game of Death (1978). Born in 1928, he was a director. After being hired by Warner Bros. and Golden Harvest to direct Enter the Dragon (1973), Clouse was escalated into the realm of profitable directors. But, unlike others in this category, doors in Hollywood were not entirely open to him. In 1974, he was hired to direct Black Belt Jones (1974) for Warner Brothers Pictures. The film proved to be a moderate success.
In 1978, Clouse returned to Hong Kong where he was hired by Golden Harvest's Raymond Chow to direct a comeback movie for Martial Artist Bruce Lee, despite the fact that Lee had died five years earlier. Clouse was given the incomplete footage from Lee's original version of Game of Death, but decided that only a small amount of this footage should be used (mainly because the original film's plot had been re-created countless times in Hong Kong cinema since Lee's death). With the help of Sammo Kam-Bo Hung and Robert Wall, among others, Clouse shot several Bruce Lee lookalikes and stand-ins as well as cutting back to footage from other Lee movies and, of course, the original Game of Death takes. Clouse was never able to match the success of his two Lee films later in his career. He died in 1997, aged 68.The Cadillac
The Legend of Jimmy Blue Eyes- 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.The Four Feathers
The Diary of Anne Frank
Black Narcissus
The Red Shoes
The Black Rose
The African Queen
The Barefoot Contessa
War and Peace
The Brave One
Sons and Lovers
Fanny
My Geisha
Death on the Nile
Rambo: First Blood Part II- Editor
- Editorial Department
- Director
Stuart Baird was born on 14 January 1947 in Uxbridge, Middlesex, England, UK. He is an editor and director, known for Skyfall (2012), Casino Royale (2006) and Superman (1978).Tommy
The Omen
Superman
Altered States
Outland
Ladyhawke
Lethal Weapon
Gorillas in the Mist
Scrooged
Lethal Weapon 2
Robin Hood: Prince of Thieves
Maverick
Monster's Ball
Salt
Skyfall- Cinematographer
- Camera and Electrical Department
- Additional Crew
Multiple award-winning cinematographer Dean Cundey, ASC, CSC who was nominated for an Oscar for "Who Framed Roger Rabbit" and took home the BAFTA for the same film, has a career spanning decades with awards and nominations including a Primetime Emmy (2023 "The Mandalorian") a Daytime Emmy (2001 "The Face: Jesus in Art"), a Chicago Film Critics Association award ("Apollo 13"), to American Society of Cinematographers awards ("Apollo 13," "Hook"). His prolific career also includes a Lifetime Achievement Award from the ASC and a President's Award from the SOC, and he's still not done shooting. Born in Alhambra, California, Cundey spent his childhood building miniature sets and reading "American Cinematographer." Following graduation from UCLA film school, where he was taught by James Wong Howe, ASC, Cundey's first job on set was as a makeup artist on Roger Corman's "Gas!" or "It Became Necessary to Destroy the World in Order to Save It." Cundey's first assignment as a director of photography was on the revenge film "The No Mercy Man." He continued with other horror and exploitation movies, then began a collaboration with director John Carpenter on five films for which he received accolades: "Halloween," "The Fog," "Escape from New York," "The Thing" and "Big Trouble in Little China." Cundey transitioned into a collaboration with Robert Zemeckis on impressive features such as "Romancing the Stone," all three "Back to the Future" films, "Who Framed Roger Rabbit" and "Death Becomes Her." Not content to settle for that, he also dabbled in directing with his debut on "Honey, We Shrunk Ourselves" and was also the second-unit director on "Deep Rising" and "Garfield: A Tail of Two Kitties." .Romancing of the Stone
Back to the Future
Who Framed Roger Rabbit
Back to the Future Part II
Hook
Death Becomes Her
Jurassic Park
Apollo 13- Director
- Producer
- Writer
Mel Damski has directed dozens movies and hundreds of hours of series television, from M*A*S*H (1972) to Boston Legal (2004) to Psych (2006) and _Scorpion_. For the past several years he served as the producer/director of Psych (2006) for USA network.
He has been nominated for an Oscar, two Emmy Awards and earned a Christopher Award for Everybody's Baby: The Rescue of Jessica McClure (1989).
A graduate of the American Film Institute Center for Advanced Film Studies, Mel has taught at AFI, USC and the Tisch School at NYU. He is the founder of Cascadia Film Workshops, which launched in June, 2014 on the campus of Western Washington University.
A former Newsday reporter, Mel writes a column, If I Ran The Zoo, which was recently awarded first place by the Washington Newspaper Publisher's Association. His columns can be found at IfMelRanTheZoo.com.
Mel is a member of the Motion Picture Academy of Arts and Sciences and the Director's Guilds of America and Canada.Still Kicking: The Fabulous Palm Follies- Director
- Producer
- Writer
Susan Seidelman was born on 11 December 1952 in Philadelphia, Pennsylvania, USA. She is a director and producer, known for Desperately Seeking Susan (1985), Sex and the City (1998) and Smithereens (1982).The Dutch Master- Producer
- Director
- Writer
Charles Guggenheim was born into a wealthy Cincinnati family (his father was a furniture manufacturer). While studying agriculture in college in 1943, Guggenheim was drafted into the army. Upon discharge from the service he decided against an agricultural career and moved to New York to pursue a career in broadcasting. He founded Charles Guggenheim and Associates, a film production company. He developed an interest in politics, and soon moved the company from New York to Washington, DC, where he became a media adviser to many Democratic political figures. After Robert F. Kennedy's assassination, Guggenheim put together a tribute to him culled from the thousands of feet of film he had shot of Kennedy over the years. The resulting film, Robert Kennedy Remembered (1968), won an Academy Award for Best Live Action Short. Although Guggenheim occasionally ventured into feature film production, he stayed mostly with documentaries, where he received his first Academy Award for 1964's Nine from Little Rock (1965), about the desegregation effort in Little Rock, Arkansas, in 1957. He won two more Oscars for documentary filmmaking, in 1989 and 1994. His last documentary, Berga: Soldiers of Another War (2003), was about a group of 350 American soldiers captured by the Nazis during the Battle of the Bulge who, because they were either Jewish or the Nazis thought they "looked Jewish", were sent to concentration camps instead of POW camps (Guggenheim had been assigned to the unit that was captured, but a severe illness resulted in his being left behind when it was sent to the front lines so he was not with them when the men were captured). He finished the film just a few months before his death in October of 2002.Monument to the Dream
Robert Kennedy Remembered
The Klan: A Legacy of Hate in America
High Schools
The Johnstown Flood
D-Day Remembered
A Time for Justice
The Shadow of Hate
A Place in the Land- Cinematographer
- Director
- Writer
George Stevens, a filmmaker known as a meticulous craftsman with a brilliant eye for composition and a sensitive touch with actors, is one of the great American filmmakers, ranking with John Ford, William Wyler and Howard Hawks as a creator of classic Hollywood cinema, bringing to the screen mytho-poetic worlds that were also mass entertainment. One of the most honored and respected directors in Hollywood history, Stevens enjoyed a great degree of independence from studios, producing most of his own films after coming into his own as a director in the late 1930s. Though his work ranged across all genres, including comedies, musicals and dramas, whatever he did carried the hallmark of his personal vision, which is predicated upon humanism.
Although the cinema is an industrial process that makes attributions of "authorship" difficult if not downright ridiculous (despite the contractual guarantees in Directors Guild of America-negotiated contracts), there is no doubt that George Stevens is in control of a George Stevens picture. Though he was unjustly derided by critics of the 1960s for not being an "auteur," an auteur he truly is, for a Stevens picture features meticulous attention to detail, the thorough exploitation of a scene's visual possibilities and ingenious and innovative editing that creates many layers of meanings. A Stevens picture contains compelling performances from actors whose interactions have a depth and intimacy rare in motion pictures. A Stevens picture typically is fully engaged with American society and is a chronicled photoplay of the pursuit of The American Dream.
George Stevens was nominated five times for an Academy Award as Best Director, winning twice, and six of the movies he produced and directed were nominated for Best Picture Oscars. In 1953 he was the recipient of the Irving Thalberg Memorial Award for maintaining a consistent level of high-quality production. He served as president of the Academy of Motion Picture Arts & Sciences from 1958 to 1959. Stevens won the Directors Guild of America Best Director Award three times as well as the D.W. Griffith Lifetime Achievement Award. He made five indisputable classics: Swing Time (1936), a Fred Astaire-Ginger Rogers musical; Gunga Din (1939), a rousing adventure film; Woman of the Year (1942), a battle-of-the-sexes comedy; A Place in the Sun (1951), a drama that broke new ground in the use of close-ups and editing; and Shane (1953), a distillation of every Western cliché that managed to both sum up and transcend the genre. His Penny Serenade (1941), The Talk of the Town (1942), The More the Merrier (1943), I Remember Mama (1948) and Giant (1956) all live on in the front rank of motion pictures.
George Cooper Stevens was born on December 18, 1904, in Oakland, California, to actor Landers Stevens and his wife, actress Georgie Cooper, who ran their own theatrical company in Oakland, Ye Liberty Playhouse. Cooper herself was the daughter of an actress, Georgia Woodthorpe (both ladies' Christian names offstage were Georgia, though their stage names were Georgie). Georgie Cooper appeared as Little Lord Fauntleroy as a child along with her mother at Los Angeles' Burbank Theater. George's parents' company performed in the San Francisco Bay area, and as individual performers they also toured the West Coast as vaudevillians on the Opheum circuit. Their theatrical repertoire included the classics, giving the young George the chance to forge an understanding of dramatic structure and what works with an audience. In 1922 Stevens' parents abandoned live theater and moved their family, which consisted of George and his older brother John Landers Stevens (later to be known as Jack Stevens), south to Glendale, California, to find work in the movie industry.
Both of Stevens' parents gained steady employment as movie actors. Landers appeared in Little Caesar (1931), The Public Enemy (1931) and Citizen Kane (1941) in small parts. His brother was Chicago Herald-American drama critic Ashton Stevens (1872-1951), who was hired by William Randolph Hearst for his San Francisco Examiner after Ashton had taught him how to play the banjo. An interviewer of movie stars and a notable man-about-town, Ashton mentored the young Orson Welles, who based the Jedediah Leland character in Citizen Kane (1941) on him. Georgie Cooper's sister Olive Cooper became a screenwriter after a short stint as an actress. Jack became a movie cameraman, as did their second son.
Stevens' movie adaptation of "I Remember Mama," the chronicle of a Norwegian immigrant family trying to assimilate in San Francisco circa 1910, could be a mirror on the Stevens family's own move to Los Angeles circa 1922. In "Mama", the members of the Hanson family feel like outsiders, a theme that resonates throughout Stevens' work. Acting was considered an insalubrious profession before the rise of Ronald Reagan's generation of actors into the halls of power, and being a member of an acting family necessarily marked one as an outsider in the first half of the 20th century. Young George had to drop out of high school to drive his father to his acting auditions, which would have further enhanced his sense of being an outsider. To compensate for his lack of formal education, Stevens closely studied theater, literature and the emerging medium of the motion picture.
Soon after arriving in Hollywood, the 17-year-old Stevens got a job at the Hal Roach Studios as an assistant cameraman; it was a matter of being in the right place at the right time. Of that period, when the cinema was young, Stevens reminisced, "There were no unions, so it was possible to become an assistant cameraman if you happened to find out just when they were starting a picture. There was no organization; if a cameraman didn't have an assistant, he didn't know where to find one."
As part of Hal Roach's company, Stevens learned the art of visual storytelling while the form was still being developed. Part of his visual education entailed the shooting of low-budget westerns, some of which featured Rex. Within two years Stevens became a director of photography and a writer of gags for Roach on the comedies of Stan Laurel and Oliver Hardy.
His first credited work as a cameraman at the Roach Studios was for the Stan Laurel short Roughest Africa (1923). Stevens was a terrific cameraman, most notably in Laurel & Hardy's comedies (both silent and talkies), and it was as a cameraman that his aesthetic began to develop. The cinema of George Stevens was rooted in humanism, and he focused on telling details and behavior that elucidated character and relationships. This aesthetic started developing on the Laurel & Hardy comedies, where he learned about the interplay of relationships between "the one who is looked at" and "the one doing the looking." Verisimilitude, always a hallmark of a Stevens picture, also was part of the Laurel and Hardy curricula; Oliver Hardy once said, "We did a lot of crazy things in our pictures, but we were always real."
From a lighting cameraman, Stevens advanced to a director of short subjects for Roach at Universal. Within a year of moving to RKO in 1933, he began directing comedy features. His break came in 1935 at RKO, when house diva Katharine Hepburn chose Stevens as the director of Alice Adams (1935). Based on a Booth Tarkington novel about a young woman from the lower-middle class who dares to dream big, the movie injected the theme of class aspiration and the frustrations of the pursuit of happiness while dreaming the American dream into Stevens' oeuvre. Before there was cinema of "outsiders" recognized in the late 1970s, there were Stevens' outsiders, fighting against their atomization and alienation through their not-always-successful interactions with other people.
Stevens created his first classic in 1936, when RKO assigned him to helm the sixth Astaire-Rogers musical, Swing Time (1936). Stevens' past as a lighting cameraman prepared him for the innovative visuals of this musical comedy. Through his control of the camera's field of vision, Stevens as a director creates an atmosphere that engenders emotional effects in his audience. In one scene Astaire opens a mirrored door that the scene's reflection in actuality is being shot on, and being keyed into the illusion emotionally introduces the audience into the picture, in sly counterpoint to Buster Keaton's walk into the screen in his _Sherlock, Jr. (1924)_ . Stevens' use of light in "Swing Time" is audacious. He freely introduces light into scenes, with the effect that it enlivens them and gives them a "light" touch, such as the final scene where "sunlight" breaks out over the painted backdrop. The film never drags and is a brilliant showcase for the dancing team. Rogers claimed it was her favorite of all her pictures with Astaire.
Stevens' next classic was the rip-roaring adventure yarn Gunga Din (1939), based on the Rudyard Kipling poem. Though no longer politically correct in the 21st century, the picture still works in terms of action and star power, as three British sergeants--Cary Grant, Victor McLaglen and Douglas Fairbanks Jr.--try to put down a rampage by a notorious death cult in 19th-century colonial India.
Having learned his craft in the improvisational milieu of silent pictures, Stevens would often wing it, shooting from an underdeveloped screenplay that was ever in flux, finding the film as he shot it and later edited it. With filmmaking becoming more and more expensive in the 1930s due to the studios' penchant for making movies on a vaster scale than they had previously, Stevens' methods led to anxiety for the bean-counters in RKO's headquarters. His improvisatory crafting of "Gunga Din" resulted in the film's shooting schedule almost doubling from 64 to 124 days, with its cost reaching a then-incredible $2 million (few sound films had grossed more than $5 million up to that point, and a picture needed to gross from two to 2-1/2 times its negative cost to break even).
Studio executives were driven to distraction by Stevens' methods, such as his taking nearly a year to edit the footage he shot for "Shane." His films typically were successful, though, and in the late 1930s he became his own producer, earning him greater latitude than that enjoyed by virtually any other filmmaker with the obvious exceptions of Cecil B. DeMille and Frank Capra. He made three significant comedies in the early 1940s: Woman of the Year (1942), the darker-in-tone The Talk of the Town (1942) (a film that touches on the subject of civil rights and the miscarriage of justice) and The More the Merrier (1943) before going off to war.
Joining the Army Signal Corps, Stevens headed up a combat motion picture unit from 1944 to 1946. In addition to filming the Normandy landings, his unit shot both the liberation of Paris and the liberation of the Nazi extermination camp Dachau, and his unit's footage was used both as evidence in the Nuremberg trials and in the de-Nazification program after the war. Stevens was awarded the Legion of Merit for his services. Many critics claim that the somber, deeply personal tone of the movies he made when he returned from World War II were the result of the horrors he saw during the war. Stevens' first wife, Yvonne, recalled that he "was a very sensitive man. He just never dreamed, I'm sure, what he was getting into when he enlisted." Stevens wrote a letter to Yvonne in 1945, telling her that "if it hadn't been for your letters . . . there would have been nothing to think cheerfully about, because you know that I find much [of] this difficult to believe in fundamentally."
The images of war and Dachau continued to haunt Stevens, but it also engendered in him the belief that motion pictures had to be socially meaningful to be of value. Along with fellow Signal Corps veterans Frank Capra and William Wyler, Stevens founded Liberty Films to produce his vision of the human condition. The major carryover from his prewar oeuvre to his postwar films is the affection the director has for his central characters, emblematic of his humanism.
Stevens' second postwar film, A Place in the Sun (1951), was his adaptation of Theodore Dreiser's "An American Tragedy," updated to contemporary America. Released three years after his family film I Remember Mama (1948), it features an outsider, George Eastman, trapped in the net of the American Dream, the pursuit of which dooms him. Sergei Eisenstein had written an adaptation for Paramount of "An American Tragedy" (the title a sly reversal of "The American Dream"), but Eisenstein's participation in the project was jettisoned when the studio came under attack by right-wing politicians and organizations for hiring a "Communist", and the U.S. government deported Eisenstein shortly afterward. His script was unceremoniously dumped, and Josef von Sternberg eventually made the picture, but his vision was so far from Dreiser's that the old literary lion sued the studio. The film was recut and proved to be both a critical and box-office failure.
Alfred Hitchcock maintained that it was far easier to make a good picture from a mediocre or bad drama or book than it was from a good work or a masterpiece. It remained for George Stevens to turn a literary masterpiece into a cinematic one--a unique trick in Hollywood. What was revolutionary about "A Place in the Sun," in terms of technique, is Stevens' use of close-ups. Charlton Heston has pointed out that no one had ever used close-ups the way Stevens had in the picture. He used them more frequently than was the norm circa 1950, and he used extreme close-ups that, when combined with his innovative, slow-dissolve editing, created its own atmosphere, its own world that brought the audience into George Eastman's world, even into his embrace with the girl of his dreams, and also into the rowboat on that fateful day that would forever change his life. The editing technique of slow-lapping dissolves slowed down time and elongated the tempo of a scene in a way never before seen on screen.
Stevens' mastery over the art of the motion picture was recognized with his first Academy Award for direction, beating out Elia Kazan for that director's own masterpiece, A Streetcar Named Desire (1951) and Stanley Donen and Gene Kelly for THEIR masterpiece, An American in Paris (1951), for the Best Picture Oscar winner that year (most observers had expected "Sun" or "Streetcar" to win, but they had split the vote and allowed "American" to nose them out at the finish line. MGM's publicity department acknowledged as much when it ran a post-Oscar ad featuring Leo the Lion with copy that began, "I was standing in the Sun waiting for a Streetcar when . . . ").
Stevens' theme of the outsider continued with his next classic, Shane (1953). The eponymous gunman is an outsider, but so is the Starrett family he has decided to defend, as are the "sodbusters", and even the range baron who is now outside his time, outside his community and outside human decency. Giant (1956), Stevens' sprawling three-hour epic based on Edna Ferber's novel about Texas, also features outsiders: sister Luz Benedict, hired-hand transformed into millionaire oilman Jett Rink, transplanted Tidewater belle Leslie Benedict, her two rebellious children and eventually her husband Bick Benedict, a near-stereotypical Texan who finally steps outside of his parochialism and is transformed into an outsider when he decides to fight, physically, against discrimination against Latinos as a point of honor. The Otto Frank family and their compatriots in hiding in The Diary of Anne Frank (1959), American cinema's first movie to deal with the Holocaust, are outsiders, while Christ in his The Greatest Story Ever Told (1965)--subtle, complex and unknowable--is the ultimate outsider. The Only Game in Town (1970)--Stevens' last film with Elizabeth Taylor, his female lead in "A Place in the Sun" and "Giant"--was about two outsiders, an aging chorus girl and a petty gambler.
Stevens' reputation suffered after the 1950s, and he didn't make another film until halfway into the 1960s. The film he did produce after that long hiatus was misunderstood and underappreciated when it was released. The Greatest Story Ever Told (1965), a picture about the ministry and passion of Christ, was one of the last epic films. It was maligned by critics and failed at the box office. It was on this picture that Stevens' improvisatory method began to take a toll on him. It took six years from the release of "Anne Frank," which had garnered Oscar nominations for Best Picture and Best Director, until the release of "Greatest Story." There had been a long gestation period for the film, and it was renowned as a difficult shoot, so much so that David Lean helped out a man he considered a master by shooting some ancillary scenes for the picture. The film has a look of vastness that many critics misunderstood as emptiness rather than as a visual correlative of the soul. Stevens' script is inspired by the three Synoptic Gospels, particular the Gospel According to St. John. John stresses the interior relation between the self and things beyond its knowledge. Though misunderstood by critics at the time of its release, the film has become more appreciated some 40 years later. Stevens is a master of the cinema, and is fully in command of the dissolves and emotive use of sound he used so effectively in "A Place in the Sun."
His last film, The Only Game in Town (1970), also was not a critical or box-office success, as Elizabeth Taylor's star had gone into steep decline as the 1970s dawned. Frank Sinatra had originally been slated to be her co-star, but Ol' Blue Eyes, notorious for preferring one-take directors, likely had second thoughts about being in a film directed by Stevens, who had a (well-deserved) reputation for multiple takes. His filmmaking method entailed shooting take after take of a scene during principal photography from every conceivable angle and from multiple focal points, so he'd have a plethora of choices in the editing room, which is where he made his films (unlike John Ford, famous for his lack of coverage, who had a reputation of "editing" in the camera, shooting only what he thought necessary for a film). Warren Beatty, typically underwhelming in films in which he wasn't in control, proved a poor substitute for Sinatra, and the film tanked big-time when it was released, further tarnishing Stevens' reputation.
In a money-dominated culture in which the ethos "What Have You Done For Me Lately?" is prominent, George Stevens was relegated to has-been status, and the fact that he had established himself as one of the greats of American cinema was ignored, then forgotten altogether in popular culture. Donald Richie's 1984 biography "George Stevens: An American Romantic" tags Stevens with the "R" word, but it is too simplistic a generalization for such a complicated artist. Stevens' films demand that the audience remain in the moment and absorb all the details on offer in order to fully understand the morality play he is telling. James Agee had been a great admirer of Stevens the director, but Agee died in the 1950s and the 1960s was a new age, an iconoclastic age, and George Stevens and the classical Hollywood cinema he was a master of were considered icons to be smashed. Film critic Andrew Sarris, who introduced the "auteur" theory to America, disrespected Stevens in his 1968 book "The American Cinema." Stevens was not an auteur, Sarris wrote, and his latter films were big and empty. He became the symbol of what the new, auteurist cinema was against.
The Cahiers du Cinema critics attacked Stevens by elevating Douglas Sirk. Sirk's Magnificent Obsession (1954), so the argument went, was a much better and more cogent exegesis of America than "Giant," which was "big and empty" as was the country they attacked (though they loved its films). The point of iconoclasm is to smash idols, no matter what the reason--and Stevens, the master craftsman, was an idol. However, to say "Giant" was empty is absurd. To imply that George Stevens did not understand America is equally absurd. "Giant" contains what is arguably the premier moment in America cinema of the immediate postwar years, and it is an "American" moment--the confrontation between patrician rancher Bick Benedict and diner owner Sarge (Robert J. Wilke). Many critics and cinema historians have commented on the scene, favorably, but many miss the full import of it.
The film has been built up to this climax. Benedict has shared the prejudices of his class and his race. All his life he has exploited the Mexicans whom he has lived with in a symbiotic relationship on HIS ranch, giving little thought to the injustice his class of overlords has wrought on Latinos, on poor whites, or on his own family. His wife, an Easterner, is appalled by the poverty and state of peonage of the Mexicans who work on the ranch and tries to do something about it. Her idealism is echoed in her son, who becomes a doctor, rejects his father's rancher heritage, and marries a Mexican-American woman, giving his father an Anglo/Mexican-American grandson.
While out on a ride with his wife, daughter, daughter-in-law and her child, they stop at a roadside diner. Sarge, the proprietor, initially balks at serving them because of the Latinos in their party. He backs down, but when more Latinos come into his diner, he moves to throw them out. Benedict decides to intervene in a display of noblesse oblige, and also out of family duty. Sarge is unimpressed by Benedict's pedigree, and a fight breaks out between the hardened veteran--recently returned from the war, we are meant to understand--and the now aged Benedict. Bick first holds his own and Sarge crashes into the jukebox, setting off the song "The Yellow Rose of Texas" while he recovers and then sets out to systematically demolish Mr. Bick Benedict, the overlord. As the song plays on in ironic counterpoint, shots of his distraught daughter and other family members are undercut with the cinematic crucifixion of Bick Benedict, the overlord, by the former Centurion. After Sarge has finished thrashing Benedict, he takes a sign off of the wall and throws it on Benedict's prostrate body: "The management reserves the right to refuse service to anyone". This is not only America of the 1950s, but America of the 21st century. For just as Sarge is defending racism, he is also defending his once-constitutional right to free association, as well as exerting his belief in Jeffersonian-Jacksonian democracy in thrashing a plutocrat. This is a type of yahooism that Bruce Catton, in his Pulitzer Prize-winning history of the Civil War, attributed to the rebellion. There had always been a very well developed strain of reckless, individualistic violence in America, frequently encouraged, ritualized and sanctified by the state. The diner scene in "Giant" could only have been created by a man with a thorough knowledge of what America and Americans were (and continue to be). Sarge will try to accommodate Benedict, who has stepped out of his role as racist plutocrat into that of paternalistic pater familias, just as the sons of the robber barons of the 19th century--who justified their economic depravities with the doctrine of social Darwinism--did in the 20th century, endowing foundations that tried to right many wrongs, including racism, but Sarge will only go so far. When he is stretched beyond his limit, when his giving in is then "pushed too far," he reacts, and reacts violently.
This scene sums up American democracy and the human condition in America perhaps better than any other. America is a violent society, a gladiator society, in which progress is measured in, if not gained by, violence. Yes, Sarge is standing up for racism and segregation (a huge topic after the 1954 Brown v. Board of Education Supreme Court ruling outlawing segregation), but he is also standing up for himself, and his beliefs, something he has recently fought for in World War II. The ironies are rich, just as the irony of American democracy, which excluded African-Americans and women and the native American tribes from the very first days of the U.S. Constitution, is rich. This is America, the scene in Sarge's diner says, and it is a critique only an American with a thorough knowledge of and sympathy for America could create. It is much more effective and philosophically true than the petty neo-Nazi caricatures of Lars von Trier's Dogville (2003), who are cowards. Characters in a George Stevens film may be reluctant, they may be hesitant, they may be conflicted, but they aren't cowardly.
Another ironic scene in "Giant" features Mexican children singing the National Anthem during the funeral of Angel, who in counterpoint to Bick's son, his contemporary in age, is of the land, to the manor born, so to speak, but lacking those rights because of the color of his skin. Angel had gone off to war, and he returns to the Texas in which he was born on a caisson, in a coffin, starkly silhouetted against the Texas sky as the Benedict mansion had been earlier in the film when Leslie had first come to this benighted land. Angel, who had experienced racial bigotry due to his birth into poverty on the Benedict ranch, had fought Adolf Hitler. He is the only hero in "Giant," and his death would be empty and meaningless without Bick Benedict's reluctant conversion to integration through fisticuffs.
The great turning points in American cinema typically have involved race. The biggest, most significant movies of the first 50 years of the American cinema death with race: Uncle Tom's Cabin (1903), Edwin S. Porter's major movie before his The Great Train Robbery (1903) and the first film to feature inter-titles; The Birth of a Nation (1915), D.W. Griffith's racist masterpiece--which was a filming of a notorious pro-Ku Klux Klan book called "The Clansman"--in which a non-sectarian America is formed in the linking of Southern and Northern whites to fight the African-American freedman; The Jazz Singer (1927), in which a Jewish cantor's son achieves assimilation by donning blackface and disenfranchising black folk by purloining their music, which he deracinates, while turning his back on his Jewish identity by marrying a Gentile; and Gone with the Wind (1939), the greatest Hollywood movie of all time--in which the Klan is never shown and the "N" word is never used, although the entire movie takes place in the immediate post-Civil War South--a sweeping, romantic masterpiece in which a reactionary, ultra-racist plutocracy is made out to be the flower of American chivalry and romance.
Stevens' "Giant" was a major film of its time, and remains a motion picture of the first rank, but it was not the cultural blockbuster these movies were. Yet it more than any other Hollywood film of its time, aside from Elia Kazan's rather whitebread Gentleman's Agreement (1947) and Pinky (1949), directly addresses the great American dilemma, race, and its implications, and not from the familiar racist, white supremacist point of view that had been part of American movies since the very beginning. Those attitudes had been rooted in the American psyche even before the days of The Perils of Pauline (1914) serials (simultaneously serialized in the white supremacist Hearst newspapers), in which many a sweet young thing was threatened with death or--even worse, the loss of her maidenhead--by a sinister person of color (always played by a Caucasian in yellow or brown face).
A 1934 "Fortune Magazine" story about the rosy financial prospects of the Technicolor Corp.'s new three-strip process contained a startling metaphor for a 21st-century reader: "Then - like the cowboy bursting into the cabin just as the heroine has thrown the last flowerpot at the Mexican - came the three-color process to the rescue." It was this endemic, accepted racism that Stevens challenged in "Giant," which is at the root of America's expansionist philosophy of manifest destiny, and which was at the root of much of the southern and western economies. Those who died in World War II had to have died for something, not just the continuation of the status quo. It was a direct and knowing challenge to the system by someone who thoroughly knew and thoroughly cared about America and Americans.
George Stevens died of a heart attack on March 8, 1975, in Lancaster, California. He would have been 100 years old in 2004, and in that year he was celebrated with screenings by The Academy of Motion Picture Arts and Sciences, London's British Film Institute, and the Museum of Modern Art in New York. His legacy lives on in the directorial work of fellow two-time Oscar-winning Best Director Clint Eastwood, particularly in Pale Rider (1985), which suffers from being too-close a "Shane" clone, and most memorably in his masterpiece, Unforgiven (1992).Alice Adams
Swing Time
Quality Street
A Damsel in Distress
Vivacious Lady
Gunga Din
Penny Serenade
Woman of the Year
The Talk of the Town
The More Merrier
I Remember Mama
A Place in the Sun
Shane
Giant
The Diary of Anne Frank
The Greatest Story Ever Told- 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.The Dirty Dozen
Rosemary's Baby
Faces
A Woman Under the Influence
Two-Minute Warning
Gloria- Producer
- Director
- Writer
Bob Rafelson was an American film director, writer and producer. He is regarded as one of the founders of the New Hollywood movement in the 1970s. Among his best-known films are Five Easy Pieces (1970), The King of Marvin Gardens (1972), and The Postman Always Rings Twice (1981). He was also one of the creators of the pop group and TV series The Monkees (1965).
Rafelson's debut as a director was Head, a feature film starring the Monkees. Co-written with friend Jack Nicholson, and featuring appearances by Nicholson, Victor Mature, Teri Garr, Carol Doda, Annette Funicello, Frank Zappa, Sonny Liston, Timothy Carey, Ray Nitschke, and Dennis Hopper. Rafelson did six films with Jack Nicholson, Head (1968), Five Easy Pieces (1970), The King of Marvin Gardens (1972), The Postman Always Rings Twice (1981), Man Trouble (1992), and Blood and Wine (1996).Easy Rider
Five Easy Pieces
The Last Picture Show- Additional Crew
- Art Department
- Animation Department
Saul Bass was born in New York City in 1920 and is a widely acclaimed graphic designer with a career spanning over 40 years. Among his most famous works are the title sequences for such classic films as The Man with the Golden Arm (1955), North by Northwest (1959), and Psycho (1960). Bass used his innovative ideas and unique perspective of the world to influence his art, engaging his audiences and developing the graphic design industry in the process. Hitchcock's famous shower-murder scene in Psycho owes its success to the design work of Bass' storyboards. Bass' short documentary Why Man Creates (1968) was spotlighted on the premiere episode of 60 Minutes (1968) in 1968. He is also responsible for the logos of many prominent corporations like AT&T, United Airlines, and Dixie. Bass died in Los Angeles in 1996.Carmen Jones
The Man with the Golden Arm
Around the World in 80 Days
Cowboy
Vertigo
The Big Country
Anatomy of Murder
North by Northwest
Psycho
Spartacus
The Facts of Life
Exodus
One, Two, Three
West Side Story
Walk on the Wild Side
It's a Mad, Mad, Mad, Mad World
The Cardinal
In Harm's Way
Seconds
Grand Prix
Why Man Creates
Notes on the Popular Arts
Alien
The Solar Film
Broadcast News
Big
Goodfellas
Cape Fear
Mr. Saturday Night
The Age of Innocence
Casino- Producer
- Production Manager
- Director
Andrew Sugerman is a veteran film producer, having been involved in a diverse range of motion pictures and television shows over the past thirty years. He has worked with many of the major studios, including Warner Bros, Sony, 20th Century-Fox, Disney, Netflix and Miramax. These projects have budgets ranging from $4 million to $55 million, with a cumulative total of over $300 million. He has worked with major talent, including Steve Martin, Sandra Bullock, Bruce Willis, Hilary Swank, Antonio Banderas, Kevin Bacon, Jessica Lange, Michelle Williams and Sam Rockwell, to name a few. Once nominated for and Oscar, he is a member of Academy of Motion Picture Arts and Sciences, as well as The Producers Guild of America and the Directors Guild of America.
Recently he has been involved as the producer of the films such as "The Goat" a 2023 international drama from Egypt and "You Are My Home" a 2020 Christmas movie on Netflix, as well as the executive producer of the 2020 nature documentary "Wild Daze" and the 2020 feature film "Home" starring Jake McLaughlin, Kathy Bates, James Jordan, and Lil Rel Howery.
He was a producer on the 2019 feature film, "Foster Boy," a compelling drama based on a true story about an attorney taking on the issue of child abuse in the foster care system, which was directed by Youssef Delara and starring Mathew Modine and Lou Gossett Jr.
He also produced the 2015 feature film, "Any Day," directed by Rustam Branaman and starring Sean Bean, Eva Longoria, Tom Arnold, and Kate Walsh.
Additionally, Mr. Sugerman was a co-executive producer of the one-hour drama series, "The Divide," for AMC Studios and WEtv, with the pilot written by Richard LaGravenese and directed by Tony Goldwyn, which premiered in July, 2014.
In 2010 Fox Searchlight released his own based-on-a-true-story production, "Conviction," starring Hilary Swank, Sam Rockwell, and Minnie Driver, directed by Tony Goldwyn, and received many awards and critical praise.
As an executive producer Mr. Sugerman was involved in many films, including "Shopgirl," (2005) which was released by Disney, starring Steve Martin, Claire Danes, and Jason Schwartzman, and directed by Anand Tucker; "Death Sentence" (2007), starring Kevin Bacon, directed by James Wan, released by Twentieth Century-Fox; the 2007 thriller "Premonition" with Sandra Bullock, which was a highly successful release from Sony-TriStar; and the 2006 comedy "Grilled" for New Line Cinema/ Warner Bros, starring Ray Romano and Kevin James, directed by Jason Ensler.
As an executive producer, he produced the 2011 release, "Judy Moody and the Not Bummer Summer," based on the best-selling children's book series starring Heather Graham, directed by John Schultz. He also executive produced the 2013 "Crazy Kind of Love," starring Virginia Madsen, Anthony LaPaglia and Eva Longoria, directed by Sarah Siegel-Magness. In 2006 he executive produced the hit family road-trip comedy "Johnson Family Vacation" starring Cedric the Entertainer, Vanessa Williams, and Bow Wow, for Fox Searchlight. Mr. Sugerman produced Walter Hill's 2002 boxing drama "Undisputed," starring Wesley Snipes, Ving Rhames, and Peter Falk, released by Miramax. He also produced the 2002 comedy "Boat Trip," starring Cuba Gooding Jr., Roger Moore, Vivica A. Fox and Horatio Sanz, released by Lionsgate.
He served as line producer on the 2004 caper comedy "The Whole Ten Yards," starring Bruce Willis, Matthew Perry and Amanda Peet, directed by Howard Deutch, and released by Warner Bros, which followed the 2002 action-thriller "Ballistic: Ecks vs. Sever," starring Antonio Banderas and Lucy Liu, directed by Kaos, also from Warners. He also line produced the 2001 drama "Prozac Nation," based on the Elizabeth Wurtzel novel, starring Christina Ricci, Jessica Lange, Anne Heche, Jonathan Rhys-Meyers, and Jason Biggs, directed by Erik Skoldbjaerg, released by Miramax.
Mr. Sugerman's extensive line-producing credits also include "The Prophet's Game," (2000) starring Dennis Hopper, Stephanie Zimbalist, and Sondra Locke; "Kimberly," starring Gabrielle Anwar, Sean Astin, Molly Ringwald, Patty Duke, and Lainie Kazan; "The Sterling Chase," (1999) starring Alanna Ubach, Jack Noseworthy and Nicholle Tom; "The Apostate," starring Dennis Hopper and Richard Greico, "Blue Motel," (1997) starring Sean Young, Soleil Moon Frye and Robert Vaughn; and "Spiders" (2000) starring Lana Perillo and Josh Green.
He also executive produced "Love Kills," (1998) starring Mario Van Peebles, Leslie Ann Warren, Daniel Baldwin and Louise Fletcher.
As a producer and executive producer, Mr. Sugerman's credits also include "McCinsey's Island,"(1998) "Another House on Mercy Street," (1997) "Somebody Is Waiting," (1996) "Savate," (1995) "Spilt Milk" (1996) and "Deadly Rivals," (1993) among others.
Additionally an accomplished director and writer, Mr. Sugerman shared writing credit for the story of the 1988 NBC Family Special, "A Place at the Table," starring Danny Glover and Lukas Haas; and he directed the 1985 feature film comedy "Basic Training," starring Ann Dusenberry and Marty Brill.
His television credits include producing the 1991 TV movie thriller, "Payoff," starring Keith Carradine and Harry Dean Stanton, for Showtime; and the 1990 TV feature comedy "Working Trash," starring Ben Stiller and George Carlin, directed by Alan Metter, for Fox Network. Further TV credits include executive producing the 1992 special "The Bulkin Trail," starring David Hasselhoff, and producing and directing "The Hayburners." He also produced and directed the 1979 short "Mandy's Grandmother," starring Maureen O'Sullivan, which was released theatrically and garnered an Academy Award nomination.Mandy's Grandmother- Writer
- Additional Crew
- Director
Andrew Birkin was born on 9 December 1945 in London, England, UK. He is a writer and director, known for The Name of the Rose (1986), Burning Secret (1988) and The Cement Garden (1993).2001: A Space Odyssey
Sredni Vashtar- Director
- Producer
- Camera and Electrical Department
Dean Parisot is known for Galaxy Quest (1999), RED 2 (2013) and Bill & Ted Face the Music (2020). He was previously married to Sally Menke.The Appointments of Dennis Jennings- Director
- Writer
- Actor
Salvatores attended school in the Lombard metropolis. He started doing theater there. After graduating from high school, Salvatores enrolled in the Faculty of Law at the University of Milan in 1968. He then studied at the Accademia d''arte drammatica, a drama school at the Piccolo Teatro di Milano. He completed his training with a diploma. It was the time of the student protests, which were particularly massive in Milan in the context of the left-wing radical movement "Lotta Continua". Salvatores took an active part and was involved in the newly emerging proletarian street theater. In 1972 Salvatores was among the co-founders of the Teatro dell''Elfo in Milan. In the following 10 years he played for this theater, for which he staged 21 performances. The musical that Salvatore staged from William Shakespeare's "Sogno di una notte di mezza estate" was a particular success.
He made his first feature film under the same title in 1983, which received an award in Venice. Salvatores became known to a larger Italian cinema audience primarily through the comedies "Marrakech Express" (1989) and "Turné" (1990), which dealt with his own political and social experiences. The director made a name for himself in international film with "Mediterraneo" (1991). The tragicomic film received an Oscar for best foreign contribution and, against the backdrop of the Italian military occupation of a Greek island during the Second World War, depicts the rapprochement between the occupiers and the locals. Salvatore's next film "Puerto Escondido" (1992) is set in Italy and Latin America. With "Sud" (1993), the director finally presented a sensitive study of the Italian south, his true home.
The following films "Nirvana" (1997), "Denti" (2000) and "Amnesia" (2001) were mainly known in Italian cinema. The Italian television broadcast of Salvatore's film "Io non ho paura" (2003) in April 2005 was a complete success: 35% of viewers saw the film. In May 2005, Salvatore's "Quo vadis, baby?" before, the film adaptation of a novel by Grazia Verasani, in which a female protagonist goes in search of her sister.Mediterraneo- Writer
- Producer
- Director
W.D. Richter was born on 7 December 1945 in New Britain, Connecticut, USA. He is a writer and producer, known for Invasion of the Body Snatchers (1978), Stealth (2005) and The Adventures of Buckaroo Banzai Across the 8th Dimension (1984).Brubaker- Producer
- Director
- Actor
Art dealer who made some adventures in Hollywood by becoming a film producer and then film director. In the 1960's he founded his first gallery in Boston and a couple of years later he moved it to New York. The gallery in question was Pace Gallery which represents countless artists such as David Hockney, Tara Donovan and Kiki Smith and it also represents the estate of names like Pablo Picasso, Ad Reinhardt and Alexander Calder.
In 1982, he debuted as an actor on a small role in Robert Benton's Still of the Night (1982). By 1986, he was already producing his first feature film, the romantic comedy Legal Eagles (1986), directed by Ivan Reitman and starring Robert Redford and Debra Winger. 1988 has Arne producing two films: Leonard Nimoy's The Good Mother (1988) and the box-office hit Gorillas in the Mist (1988)~, which received several Oscar nominations.
Ten years after his entering in the film industry, Glimcher finally made it through and went on to direct his first movie, the acclaimed The Mambo Kings (1992) starring Antonio Banderas in his first Hollywood production and Armand Assante. The story of two Cuban brothers who bring Latin music to the U.S. in the 1950's conquered audiences and critics; and Glimcher received a nomination in the Best Original Song category.
He followed with the controversial thriller about death penalty Just Cause (1995) with Sean Connery, Laurence Fishburne and Ed Harris; and the comedy The White River Kid (1999), which reunited him with Banderas.
He has two sons: Marc, who is an art dealer and Paul, who is a scientist.Gorillas in the Mist
The Mambo Kings- Writer
- Director
- Actor
Juan José Campanella was born on 19 July 1959 in Buenos Aires, Argentina. He is a writer and director, known for The Secret in Their Eyes (2009), The Man of Your Dreams (2011) and The Weasel's Tale (2019).Son of the Bride
The Secret in Their Eyes- Director
- Producer
- Writer
Bruce Beresford was born in Australia and graduated from Sydney University in 1962. He served as Film Officer for the British Film Institute Production Board from 1966-1971 and as a Film Advisor to the Arts Council of Great Britain. Beresford has also directed several operas including Girl Of The Golden West (Puccini), staged for the Spoleto Festival in Charleston and Spoleto (Italy) and Elektra (Strauss), which was staged for the State Opera Company of South Australia and performed in Adelaide and Melbourne. It won the Award for Best Opera Production of 1991. Immediately prior to starting production on PARADISE ROAD, Beresford directed SWEENEY TODD for the Portland Opera in Oregon.Breaker Morant
Tender Mercies
Crimes of the Heart
Driving Miss Daisy- Director
- Cinematographer
- Camera and Electrical Department
During his last years at school he spent most of his time writing a thesis on 'the future of film' On leaving school he joined Gaumont British Studios at Lime Grove as an apprentice to a stills photographer for a year. He claimed this taught him more about the art of photography than any other form of training could. He then became a clapper boy at B.I.P. Studios at Elstree then moved to British Dominion where he became a a camera assistant. Next was a move to Pinewood and his call up for war duty much of which was spent as a one man film unit based at Aldershot where he learnt more about his craft than about soldering.. After the war he returned to Shepperton Studios to work for Alexander Korda and Powell and Pressburger. He also worked for John Huston on 'Moby Dick' for which he was responsible for all the second unit photography and special effects.Moulin Rouge
Room at the Top
Sons and Lovers
The Elephant Man
The French Lieutenant's Wife
Dune
Return to Oz
Glory
Cape Fear
The Straight Story- Director
- Producer
- Additional Crew
James Marsh was born on 30 April 1963 in Truro, Cornwall, England, UK. He is a director and producer, known for The Theory of Everything (2014), The King (2005) and Shadow Dancer (2012).Howard's End
Man on Wire
Searching for Sugar Man
Ida
The Theory of Everything- Director
- Camera and Electrical Department
- Cinematographer
Carroll Ballard was born on 14 October 1937 in Los Angeles, California, USA. He is a director and cinematographer, known for Fly Away Home (1996), Star Wars: Episode IV - A New Hope (1977) and The Black Stallion (1979).Harvest
Star Wars: Episode IV - A New Hope
The Black Stallion
Never Cry Wolf
My Family
Fly Away Home- Actress
- Director
- Soundtrack
Christine Lahti was born April 4, 1950 in Birmingham, Michigan, to Elizabeth Margaret (Tabar), a painter and nurse, and Paul Theodore Lahti, a surgeon. She is of half Finnish and half Austro-Hungarian descent. She studied fine arts at Florida State University and received a bachelors degree in drama from the University of Michigan. In New York, Christine worked as a waitress and did commercials before she found her breakthrough role in And Justice for All (1979) with Al Pacino. She received an Academy Award nomination for Best Supporting Actress for her performance in Swing Shift (1984) and won an Academy Award for Best Short Film, Live Action for Lieberman in Love (1995) in which she starred and directed. Throughout her acting career, Christine primarily focused on television, with performances in Chicago Hope (1994), and Law & Order: Special Victims Unit (1999)....And Justice for All
Swing Shift
Running on Empty
Lieberman in Love- Actor
- Director
- Writer
Dark-haired, usually-mustachioed American actor with a cheeky grin, who achieved pop culture status through his portrayal of the kooky patriarch "Gomez Addams" in the hit TV series The Addams Family (1964), John Astin was born on March 30, 1930 in Baltimore, Maryland. He studied mathematics at Johns Hopkins University, but he discovered a passion for the theater and began to perform in minor plays and do voice-over work for commercials. He first got noticed thanks to a small role in West Side Story (1961), then appeared in several other films before being cast as "Gomez Addams". While "The Addams Family" was initially a huge hit, its popularity petered out after two years, and Astin moved on to other work including the offbeat Bunny O'Hare (1971), playing a grizzled but not- particularly-bright gunfighter in the Western spoof Evil Roy Slade (1972), an appearance in the Disney comedy Freaky Friday (1976) and dual roles in National Lampoon's European Vacation (1985).
He has since lent his comedic talents to numerous appearances as "Dr. Gangreen" in several corny "Killer Tomato" movies, and has contributed his voice to recreate "Gomez Addams" in the animated series The Addams Family (1992), then played "Grandpa Addams" in the successful TV series The New Addams Family (1998). In addition, Astin has contributed voices to several animated shows, and he still appears in films regularly.West Side Story
That Touch of Mink
Period of Adjustment
Billy Rose's Jumbo
Prelude- Actor
- Producer
- Director
Sean Patrick Astin (né Duke; February 25, 1971) is an American actor, voice actor, screenwriter, director, producer, family man, author, marathon runner, political activist and philanthropist who is well known for his film debut portraying Mikey in Steven Spielberg's The Goonies (1985), for playing the title role in the critically acclaimed Rudy (1993), and for his role as the beloved Sam Gamgee in the Academy Award winning trilogy, The Lord of the Rings: The Fellowship of the Ring (2001), The Lord of the Rings: The Two Towers (2002), and The Lord of the Rings: The Return of the King (2003).
Astin was born Sean Patrick Duke on February 25, 1971 in Santa Monica, California. His mother was actress Patty Duke. At the time of his birth, his biological father was believed to be entertainer Desi Arnaz Jr., but Astin discovered through a DNA test in the 1990s that his biological father is music promoter Michael Tell, who was married to Patty Duke in 1970. Sean was raised by his stepfather, actor John Astin, who married Patty Duke in 1972 and whose surname Sean took. Sean's mother was of Irish and more distant German ancestry, and Sean's biological father is of Austrian Jewish and Polish Jewish descent.
At age nine, Sean starred with his mother in the after-school special Please Don't Hit Me, Mom (1981). Followed by Sean's feature debut The Goonies (1985) and since then, he has had a steady stream of roles. Starring in Toy Soldiers (1991), Where the Day Takes You (1992), Rudy (1993) and Harrison Bergeron (1995). He directed and co-produced the short film Kangaroo Court (1994), which was nominated in the best short film category at The 67th Annual Academy Awards (1995). Sean's adoptive father John Astin was nominated for the same award in 1969.
Sean experienced another career breakthrough with his role as the epitome of loyal sidekicks, Samwise Gamgee, in Peter Jackson's "The Lord of the Rings" trilogy, released in 2001, 2002 and 2003. Along with the many awards bestowed upon the trilogy (particularly its final installment The Return of the King), Sean received nominations for his own performance. He took home the Saturn Award for Best Supporting Actor, and awards from the Las Vegas Film Critics Society, the Seattle Film Critics, the Utah Film Critics Association, and the Phoenix Film Critics Society. As an ensemble, the Return of the King cast received awards from the National Board of Review of Motion Pictures and the Screen Actors Guild. In 2004, Sean authored the NY Times best seller "There and Back Again: An Actor's Tale," chronicling his acting career with emphasis on his experiences filming the Lord of the Rings trilogy.
Sean has been a long-distance runner since his teens. His marathons include the 2014 Marine Corps Marathon in Washington, DC, where he had the honor of officially starting the race, the 2015 Boston Marathon as a member of charity fund-raising team MR8, and the New York City Marathon in 2016. He has done numerous half marathons and countless 5Ks, 10Ks, and races of other distances. He successfully completed the Ironman World Championship Triathlon in Kona, Hawaii, in October 2015; the grueling event consisted of a 2.4 mile open ocean swim, a 112 mile bike race and a 26.2 mile marathon.
In 2012, while training for the LA Marathon, he began a Twitter campaign using #Run3rd, a way to dedicate his runs to causes and ideas that mattered not just to him, but to others. The principle of #Run3rd is that Sean runs first for himself, since running is ultimately a solitary act, second for his ever-patient and supportive family, and third for others. #Run3rd has grown to include a team of runners, walkers, and others who dedicate their activities to the causes of others. A $25,000 grant from the Ironman Foundation will allow the charity to fund after school running programs for children in under-served school districts. More information on #Run3rd, including sponsored 5Ks, is available at run3rd.com.
Sean has served as a philanthropist on the board of several non-profit organizations, including the Creative Coalition, National Center for Family Literacy, and Los Angeles Valley College's Patrons Association and Arts Council. He is a vocal advocate on many issues including literacy, mental health awareness and civic engagement. After the passing of his mother in late March 2016, Sean began fund-raising to create a foundation to carry on her life's work as an advocate for mental health
Politically, Sean has been very active having served in two non-partisan Presidential appointments. Sean also hosts a live weekly 2 hour in-studio bi-partisan political radio talk show, 'Vox Populi Radio' which was made possible by a successful crowdfunding campaign in 2013. In 2004, Sean broke into the publishing world and authored the NY Times Best Selling release of There and Back Again a memoir of his film career (co-written with Joe Layden).
In addition to acting in live action films and television, Sean is also an accomplished voice actor. He has voiced several different characters in animated series, cartoons, animated movies, anime dubs and video games. His voice is also familiar to many. He narrated the Animal Planet series "Meerkat Manor" (2006-2007), and voiced the title characters in the animated Disney Channel series "Special Agent Oso" (2009-2012) and the animated feature film "Ribbit" (2014). He was the voice of Raphael in Nickelodeon's popular "Teenage Mutant Ninja Turtles" (2012-2017) as well as it's video games. He voiced the paranoid Siamese cat Chester in "Bunnicula" (2016-2018), a Warner Brothers produced series based on children's books by James Howe and narrates "The Epic Tales of Captain Underpants" (2018-2019) a series on Netflix, based on the Dav Pilkey's children's books. He can be heard in a plethora of other animated shows, anime dubs, video games, audio dramas and narrations. More recently, Sean was the Narrator of the Documentary called Remember the Sultana, which released on March 1st, 2018.
After four decades in front of camera or microphone, Sean has ventured in front of a theater audience, first as Joseph Stalin in a multimedia stage production of "Shostakovich and the Black Monk: A Fantasy," (2018-2019) and then as Dr. Moricet in "Bang Bang!" (2018), John Cleese's adaptation of a 19th century French farce.
Sean is also comfortable behind the camera, directing episodic TV and serving as producer on several films. He directed and co-produced with his wife Christine the short film "Kangaroo Court," nominated for an Academy Award for Best Live Action Short Film in 1995. While working on "The Lord of the Rings," Sean made "The Long and Short of It." The film premiered at the 2003 Sundance Film Festival and appears on the DVD for "The Lord of the Rings: The Two Towers," along with a making-of video. He is currently working to bring "Number the Stars," based on Lois Lowry's Newbery Award winning children's classic, to the big screen.
While maintaining a career as a professional actor (in live action films and television) and a voice actor for characters in animated series, cartoons, animated movies, anime dubs and video games, Sean is also a political activist. Sean has been actively engaged in the political world since early in his life. He served in two non-partisan Presidential appointments. In 1995, under President Bill Clinton, he became a Civilian Aide to the Secretary of the Army, serving for 10 years under six secretaries in two administrations. He was appointed by President George W. Bush to his Council on Service and Civic Participation, whose mission was to promote a culture of volunteerism and civic engagement. He campaigned for presidential candidates John Kerry in 2004, and Hillary Clinton in 2008 and 2016. He also served as campaign manager for his friend, Dan Adler, in a special election for California's 36th congressional district race in 2011.
Sean attended Crossroads High School for the Arts and studied with the famous Stella Adler. He graduated with honors from UCLA; B.A. in History & B.A. in English American Literature and Culture. Sean is married to Christine Astin, his co-producer on Kangaroo Court (1994). He resides in Los Angeles, CA with his wife Christine Louise and daughters Alexandra (Ali) Louise, Elizabeth Louise, and Isabella (Bella) Louise. All of his daughters attend Harvard University.Kangaroo Court
Bulworth
The Lord of the Rings: The Fellowship of the Ring
The Lord of the Rings: The Two Towers
The Lord of the Rings: The Return of the King
Click- Director
- Cinematographer
- Producer
Mikael Salomon was born and grew up in Denmark. He is originally and primarily a cinematographer. The first feature film he shot was Fantasterne (1967) by Kirsten Stenbæk. After almost two decades as one of his country's finest in the field and only a few foreign productions, he then moved his life and his career to Hollywood. His work included smaller movies, but was led by Cameron's The Abyss (1989) and Spielberg's Always (1989), and Ron Howard's Far and Away (1992). In the mid-90s Mikael Salomon made another drastic career move: He exchanged his cinematographer career with that of the director's. He has stated, "I just thought it was time to try something new". He directed Reese Witherspoon in the adventure A Far Off Place (1993), Morgan Freeman and Christian Slater in the action thriller Hard Rain (1998), and different television work, especially the ever-important pilots. Steven Spielberg gave Salomon a qualitatively stronger project than the bulk of his direction work with two episodes of 2001's Band of Brothers (2001). Salomon has stated his intention of working on less of the tv-series and pilots that force him to compromise his visions, in favor of more qualitative features and mini-series, such as _Salem's Lot (2004) (TV)_.The Abyss
Backdraft- Visual Effects
- Director
- Producer
Robert Stromberg is known for Avatar (2009), Maleficent (2014) and Master and Commander: The Far Side of the World (2003).Cape Fear
A Few Good Men
The Age of Innocence
Addams Family Values
The Birdcage
DragonHeart
Star Trek: First Contact
Daylight
Patch Adams
Cast Away
I Am Sam
About Schmidt
Catch Me If You Can
Seabiscuit
Master and Commander: The Far Side of the World
The Aviator
Walk the Line
Memories of a Geisha
Pan's Labyrinth
The Good German
The Good Shepherd
Pirates of the Caribbean: At World's End
3:10 to Yuma
There Will Be Blood
The Golden Compass
Tropic Thunder
Avatar
Alice in Wonderland
The Way Back
Life of Pi
Maleficent- Director
- Writer
- Second Unit Director or Assistant Director
Hicks was born in Uganda and lived in Kenya, just outside Nairobi, until the age of ten. His family then moved, first to England and, when he was 14, on to Adelaide, Australia. Hicks graduated from Flinders University of South Australia (BA Honors) in 1975 and was awarded an honorary doctorate in 1997. Hicks is a member of the Academy of Motion Picture Arts and Sciences and the British Academy of Film and Television Arts. He lives with his wife and collaborator/producer Kerry Heysen in Adelaide, South Australia where they maintain their own Yacca Paddock Vineyard on the Fleurieu Peninsula. They have two sons, Scott Heysen and Jethro Heysen-Hicks. Also an accomplished photographer, Hicks has had three exhibitions of his work.Shine
Snow Falling on Cedars- Actress
- Producer
- Director
The product of a musical family, (Margaret) JoBeth Williams was born on December 6, 1948, in Houston, Texas, to Frances Faye (Adams), a dietitian, and Fredric Roger Williams, a wire/cable company manager and opera singer. Her father encouraged her early interest in theater during high school.
She made her professional debut at age 18 in a Houston-based musical production, then studied at Brown University in Providence, Rhode Island, with the intentions of becoming a child psychologist. The acting bug hit her again, however, and she decided to pursue theater after receiving her B.A. in English in 1970. Working intensely to lose her Texas twang, her early training came as a member of the Trinity Repertory Company, where she stayed for two-and-a-half years.
In New York the lovely Jobeth became a daytime regular in the mid-1970s on both Somerset (1970) and in a vixenish role on Guiding Light (1952) before making a brief but memorable impact in a highly popular film at the end of the decade. In the Dustin Hoffman starring film Kramer vs. Kramer (1979), Jobeth plays Hoffman's gorgeous sleepover who gets caught stark naked by his young, precocious son (Justin Henry) the following morning. She also impressed on the stage with major roles in "Moonchildren" and "A Coupla White Chicks Sitting Around Talking."
Her star maker would could in the form of the strong-willed mother of three who fights to save her brood from home-invading demons in Steven Spielberg's humongous critical and box-office hit Poltergeist (1982), which also made a major star out of movie husband Craig T. Nelson. Officially in the big leagues now, she joined the star ensemble cast of The Big Chill (1983), and appeared opposite Nick Nolte in Teachers (1984). Disappointing outcomes in the lackluster sequel Poltergeist II: The Other Side (1986) and the intriguing but overlooked American Dreamer (1984) prodded her to search for more challenging work on TV.
It is the small screen, in fact, that has particularly shown off the range of Jobeth's talent over the years, particularly in domestic drama. Cast in some of the finest TV-movies served up, Jobeth won deserved Emmy nominations for her real-life mother of an ill-fated missing child in Adam (1983) and real-life surrogate mother in Baby M (1988). Other monumental mini-movie efforts include her nurse in the apocalyptic drama The Day After (1983); her magnetic performance opposite Terry Kinney as an adulterous worshiper and minister who carry out plans to kill their respective spouses in the gripping suspense show Murder Ordained (1987); alcoholic James Woods' long-suffering wife in My Name Is Bill W. (1989); a social worker trying to reach a deaf girl in Breaking Through (1996); and the overbearing mother whose son turns to drugs in Trapped in a Purple Haze (2000). She continues to balance both film and TV projects into the millennium.
Behind the scenes she was nominated for an Academy Award for her directorial debut of Showtime's On Hope (1994)and continues to seek out other directing projects. It doesn't hurt being married to a director for encouragement. She and John Pasquin, who directed her in the film Jungle 2 Jungle (1997) and on the short-lived TV series Payne (1999), have two children.
Into the millennium, Jobeth starred as a psychiatrist in the offbeat crime drama The Rose Technique (2002); then played a series of mom support roles -- Drew Barrymore's in Fever Pitch (2005), Reiko Aylesworth's in Crazylove (2005) and Adam Brody's in In the Land of Women (2007); plus roles in The Big Year (2011), Songs of Alchemy (2012), Barracuda (2017), Alex & The List (2017), SGT. Will Gardner (2019) and What the Night Can Do (2020). In addition to guest appearances on such popular program as "The Guardian," "Law & Order: Special Victims Unit," "Judging Amy," "Miss Match," "Numb3rs," "Criminal Minds," "The Nine," "Dexter," "NCIS," "The Good Doctor," and recurring roles on Private Practice (2007), Hart of Dixie (2011), Marry Me (2014) and Your Family or Mine (2015), she earned kudos as Sybil's mentally disturbed mother in a revived TV movie version of Sybil (2007).Kramer vs. Kramer
Poltergeist
The Big Chill
Poltergeist II: The Other Side
On Hope
Wyatt Earp- Director
- Producer
John Crowley was born on 19 August 1969 in Cork, Ireland. He is a director and producer, known for Brooklyn (2015), Boy A (2007) and Intermission (2003). He is married to Fiona Weir. They have one child.If he gets nominated for Brooklyn at the 88th Academy Awards
Brooklyn- Director
- Producer
- Editor
Mr. Miller has both a B.A. and an M.A. in Music from Harvard, and studied conducting in Europe with Hermann Scherchen.
He has been an Educational Conductor for the Baltimore Symphony, an Associate Conductor of the Denver Symphony, and a guest conductor of several orchestras in the U.S.
He was also the founder of The Late Late Concerts at Lincoln Center, and a co-founder of Symphony Space, a Performing Arts Center on the Upper West Side of Manhattan in New York City.The Bolero
Small Wonders
Music of the Heart- Director
- Producer
- Writer
The son of a Shipley chemist he was initially connected with the stage first with the post war Shipley Young Theatre then with the Bradford Civic Theatre where he came into contact with the Bradford born author J B Priestley who recognising his potential commissioned him to write a TV documentary. from where it was a short step to directing films. His close association with another novelist, John Osborne resulted in him directing Look Back in Ange in 1959 and The Entertainer in 1960 where the location scenes were shot in Morecambe where his parents had made their home in retirement. Following the great success of Tom Jones, particularly in America and his marriage to Vanessa Redgrave having ended he moved there and co wrote the film Dead Cert. The last film he made was The Hotel New Hampshire.The Entertainer
Tom Jones
Blue Sky- Writer
- Producer
- Director
Christophe Barratier was born on 17 June 1963 in Asnières-sur-Seine, Hauts-de-Seine, France. He is a writer and producer, known for The Chorus (2004), Faubourg 36 (2008) and Team Spirit (2016).Winged Migration
The Chorus
Paris 36- Actor
- Director
- Writer
Didier Flamand was born on 12 March 1947 in Boulogne-Billancourt, Hauts-de-Seine, France. He is an actor and director, known for The Screw (1993), The Chorus (2004) and Wings of Desire (1987).The Screw
The Chorus- Actor
- Writer
- Producer
Ray McKinnon is a writer, actor, director and producer. He served from 2012 through 2016 as creator, showrunner, writer and director of the Peabody Award winning, Sundance TV series, "Rectify."
As an actor, McKinnon has created a canon of unforgettable, offbeat and richly textured characters. In a career spanning two decades, McKinnon steadily built an impressive resume, including memorable roles on FX's critically acclaimed "Sons of Anarchy" (as Lincoln Potter) and the award winning HBO series "Deadwood" (as Reverend H.W. Smith). He has also appeared in series such as "NYPD Blue," "X Files" and "Matlock." Big screen credits include "Mud", "O Brother, Where Art Thou?", "Take Shelter", "The Blind Side", "Footloose", "Apollo 13", and "Bugsy".
As a filmmaker, in 2008, he produced and starred in the critically praised indie feature, "That Evening Sun", and garnered an Independent Spirit Award nomination for Best Supporting Actor for his work as Lonzo Choat, opposite Hal Holbrook.
McKinnon has complemented his work in front of the camera with other notable turns as a writer, director and producer. He has frequently collaborated with his friend Walton Goggins and his late wife, actress Lisa Blount, under their Ginny Mule Pictures banner. Their debut film, the McKinnon-penned and titular played, "The Accountant", won an Academy Award for Best Live Action Short in 2002. Their first feature, "Chrystal" (written and directed by McKinnon and starring Ms. Blount), was selected for the Sundance Film Festival's prestigious Dramatic Film Competition in 2004.Driving Miss Daisy
Bugsy
Apollo 13
O Brother, Where Art Thou?
The Accountant
The Blind Side- Director
- Writer
- Producer
Born in Germany, to a Palestinian father and German mother, Lexi Alexander, a former World Kickboxing Champion and USMC close-quarter-combat instructor, worked her way up from stunt woman to Oscar-nominated director with her first short film Johnny Flynton, a drama about a boxer. Eager to learn a common language with actors, Lexi studied at the Piero Dusa Acting Conservatory before helming feature films including the SXSW Jury & Audience Award winning drama Green Street Hooligans, Marvel's Punisher: War Zone and Lifted. She directed episodes for TV shows such as ARROW, SUPERGIRL, SWAT and AMERICAN GOTHIC and has recently sold a movie to Blumhouse Productions & Netflix International. Lexi continues to be an avid martial artist and is currently a passionate student of the Russian style Systema.Johnny Flynton- Additional Crew
- Second Unit Director or Assistant Director
- Writer
Max Lang was born in 1982 in Duisburg, North Rhine-Westphalia, Germany. He is an assistant director and writer, known for The Gruffalo (2009), The Snail and the Whale (2019) and Room on the Broom (2012).The Gruffalo
Room on the Boom- Art Department
- Actor
- Animation Department
Teddy Newton was born on 3 March 1964 in Encino, California, USA. He is an actor, known for The Incredibles (2004), Toy Story 3 (2010) and Ratatouille (2007).The Incredibles
Cars
Ratatouille
Presto
WALL-E
Let's Pollute
Up
Day & Night
Toy Story 3- Producer
- Additional Crew
- Director
Daisuke "Dice" Tsutsumi, originally from Japan, is a filmmaker, painter and philanthropist. A graduate from The School of Visual Arts in New York, Dice has worked as a visual development/color key artist at Blue Sky Studios on Ice Age, Robots and Horton Hears a Who! He is best known for his color and lighting art direction of Pixar's Toy Story 3 and Monsters University. Dice is passionate about charity work and spearheaded both The Totoro Forest Project and Sketchtravel. Dice along with his directing partner Robert Kondo wrote and directed an animated short film The Dam Keeper which earned them their first Oscar nomination. In 2014, Dice and Robert Kondo left Pixar to start a new animation studio Tonko House.Ice Age
Toy Story 3
The Dam Keeper- Animation Department
- Director
- Writer
Fabrice Joubert is known for Safety (2019) and French Roast (2008).The Prince of Egypt
Spirit: Stallion of the Cimarron
Shark Tale
The Curse of the Were-Rabbit
French Roast
Despicable Me 2- Animation Department
- Director
- Art Department
Runaway Brain
The Hunchback of Notre Dame
Hercules
Tarzan
The Emperor's New Grove
Destino- Visual Effects
- Animation Department
- Director
Eric Armstrong was born on 11 December 1963 in Brantford, Ontario, Canada. He is a director, known for Jurassic Park (1993), Stuart Little 2 (2002) and Hollow Man (2000).Jurassic Park
Stuart Little
Hollow Man
Harry Potter and the Sorcerer's Stone
The Chubbchubbs!- Director
- Animation Department
- Producer
Hamilton Luske was an American animator and film director from Chicago, who spend most of his career at the Walt Disney Animation Studios. He served as the supervising director of several of Disney's films. He was also the supervising animator for the character of Snow White in the feature film "Snow White and the Seven Dwarfs" (1937), tasked with making the character more believably human and realistic than any previous Disney character.
Luske graduated from the University of California- Berkley, where he majored in business. He started his working life as a newspaper cartoonist in Oakland. Luske was hired by Walt Disney Animation in 1931, and received most of his training as an animator there. His early work included several of the studio's short films, both in the anthology series "Silly Symphonies" (1929-1939) and the long-running character-driven series "Mickey Mouse" (1929-1953). His first major assignment was serving as the supervising animator of Snow White in "Snow White and the Seven Dwarfs" (1937). He was rewarded for his success by becoming a supervising director in subsequent films.
Luske served as a supervising director in the feature film "Pinocchio" (1940), which he co-directed with Ben Sharpsteen. He co-directed "The Pastoral Symphony" segment of the anthology film "Fantasia" (1940), which focused on characters from Greco-Roman mythology. Luske served as the supervising director of the animated segments of the feature film "The Reluctant Dragon" (1941), while the live-action segments were directed by Alfred Werker.
Luske subsequently co-directed "Saludos Amigos" (1942), "Make Mine Music" (1946), "Fun and Fancy Free" (1947), "Melody Time" (1948), "So Dear to My Heart" (1948), "Cinderella" (1950), "Alice in Wonderland" (1951), "Peter Pan" (1953), "Lady and the Tramp" (1955), and "One Hundred and One Dalmatians" (1961). He directed an animated sequence in the live-action musical film "Mary Poppins" (1964), and won an Academy Award for Best Visual Effects for his efforts.
Luske's last significant assignment was directing the animated short film "Scrooge McDuck and Money" (1967), marking the first animated appearance of Scrooge. Scrooge McDuck had been a recurring character in Disney comics since 1947, but had received no adaptations in film until Luske's short film.
Luske died in 1968, in Bel Air, California, at the age of 64. At the time, Disney's other veteran animators had started leaving or retiring, marking an end of an era for the studio. Luske was posthumously named a Disney Legend in 1999. Luske's son Tommy Luske worked as a voice actor in the 1950s.The Tortoise and the Hare
Who Killed Cock Robin?
Snow White and the Seven Dwarfs
Ferdinand the Bull
Pinocchio
Fantasia
Saludos Amigos
So Dear to My Heart
Cinderella
Alice in Wonderland
Ben and Me
Donald in Mathmagic Land
Marry Poppins- Animation Department
- Director
- Producer
John Canemaker was born on 28 May 1943 in Waverly, Pennsylvania, USA. He is a director and producer, known for The Moon and the Son: An Imagined Conversation (2005), The World According to Garp (1982) and Bottom's Dream (1984).The World According to Garp
You Don't Have to Die
The Moon and the Son: An Imagined Conversation- Producer
- Writer
- Director
Tim Miller is an American animator, film director, creative director and visual effects artist. He was nominated for the Academy Award for Best Animated Short Film for the work on his short animated film Gopher Broke. He made his directing debut with Deadpool. Miller is also famous for creating opening sequences of The Girl with the Dragon Tattoo and Thor: The Dark World.Gopher Broke
The Girl with the Dragon Tattoo- Animation Department
- Writer
- Producer
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Bolt
Tangled
Paperman
Wreck-It Ralph
Feast- Writer
- Producer
- Director
Don Hall was born on 8 March 1969 in Glenwood, Iowa, USA. He is a writer and producer, known for Meet the Robinsons (2007), Big Hero 6 (2014) and Raya and the Last Dragon (2021).Tarzan
The Emperor's New Grove
Spirit: Stallion of the Cimarron
Bolt
The Princess and the Frog
Big Hero 6- Sound Department
- Additional Crew
- Director
Gary Rydstrom, Director of Creative Operations/Sound Designer and Mixer, joined Skywalker Sound in 1983 as an operator in the machine room. Since then, he has contributed his talents to many projects as a sound designer, re-recording mixer, effects mixer and foley mixer. In 1998, Rydstrom was appointed Director of Creative Operations for Skywalker Sound, overseeing the creative and technological direction for the facility. Apart from his feature film and commercials work, Rydstrom has completed several television projects, rides and attraction films. Rydstrom holds a graduate degree from the USC School of Cinema and Television. He is the recipient of 7 Academy Awards for Best Sound and Best Sound Effects Editing for his work on Saving Private Ryan (1998), Titanic (1997), Jurassic Park (1993), and Terminator 2: Judgment Day (1991).Indian Jones and the Temple of Doom
Cocoon
Remo Williams: The Adventures Begins
Luxo Jr.
Tin Toy
Willow
Backdraft
Terminator 2: Judgement Day
A River Runs Through
Jurassic Park
Quiz Show
Mrs. Doubtfire
Toy Story
James and the Giant Peach
Sleepers
The Lost World: Jurassic Park
Hercules
Titanic
The Horse Whisperer
A Bug's Life
Saving Private Ryan
Toy Story 2
Star Wars: Episode I - The Phantom Menace
Into the Arms of Strangers: Stories of the Kindertransport
102 Dalmatians
A.I. Artificial Intelligence
For the Birds
Monsters Inc.
Minority Report
Star Wars: Episode II - Attack of the Clones
Finding Nemo
The Village
Lifted
Presto
Up
Toy Story 3
La Luna
The Adventures of Tintin
War Horse
Brave
Lincoln
Wreck-It Ralph
The Lone Ranger
All Is Lost
The Wind Rises
Star Wars: Episode VII - The Force Awakens
Jurassic World- Director
- Art Department
- Animation Department
Steve Moore is known for Puppy Dog Pals (2017), Redux Riding Hood (1997) and Olive, the Other Reindeer (1999).The Nightmare Before Christmas
Redux Riding Hood
Coraline
Despicable Me 2- Producer
- Director
- Animation Department
Chris Bailey was born on 26 March 1962 in Portland, Oregon, USA. He is a producer and director, known for Kim Possible (2002), Deep Rising (1998) and Oliver & Company (1988).Technological Threat
The Little Mermaid
The Lion King
Runaway Brain
Hercules
Mighty Joe Young
Shrek- Actor
- Producer
- Director
Fisher Stevens moved from his native Chicago to New York at the age of 13 to pursue an acting career. He tried, unsuccessfully, to get any kind of job and was, he recalls, even rejected as extra for a Crest commercial.
When his acting teacher, Dan Fauci, lost the lease to his teaching studio, he rented Fisher's loft and built a stage in the living room. He later studied with Uta Hagen. His first professional theatrical production was playing Tiny Tim's brother, Harry, in the musical version of Dickens' "A Christmas Carol" in the basement of an off-off-off Broadway theatre when he was 14. Since then he has performed in more than 20 stage productions including 544 performances in Harvey Fierstein's "Torch Song Triology", both on and off Broadway. He also played Eugene in Neil Simon's "Brighton Beach Memories". Most recently, he played the leads in Thomas Babe's "Carrying School Children", "Almost Romance" opposite Helen Slater and Jules Feiffer's "Little Murders" with Christine Lahti. He also sang and danced in the musicals "Miami" by Wendy Wasserstein and the late Michael Bennett's Broadway production of "Scandal" with Swoosie Kurtz and Treat Williams. He also appeared in the recent New York City Shakespeare Festival production of "A Midsummer Nights Dream".
Fisher made his motion picture debut getting his fingers chopped off in the horror film The Burning (1981) when he was 16-years-old. After that he appeared in Baby It's You (1983) and The Brother from Another Planet (1984). He co-starred with Matt Dillon in the hit comedy film The Flamingo Kid (1984) where he met the then fledgling producer Gary Foster. He appeared as sidekick to Steve Guttenberg's character in Short Circuit (1986).
In television he has performed in ABC's Ryan's Hope (1975), Showtime's Tall Tales & Legends (1985) and CBS' Early Edition (1996).
Despite having lived in New York City for more than a decade, where, with some other actors, Stevens has started an off-off-off Broadway theatre company called Naked Angels, he insists that he is still a fan of the Chicago Cubs.Reversal of Fortune
The Cove
The Square
The Grand Budapest Hotel- Writer
- Director
- Producer
Robert Rossen was born on 16 March 1908 in New York City, New York, USA. He was a writer and director, known for The Hustler (1961), All the King's Men (1949) and Alexander the Great (1956). He was married to Sarah (Sue) Siegel. He died on 18 February 1966 in New York City, New York, USA.The Sea Wolf
Blues in the Night
The Strange Love of Martha Ivers
Body and Soul
All the King's Men
The Hustler
Billy Budd- Actor
- Writer
- Director
Peter Ustinov was a two-time Academy Award-winning film actor, director, writer, journalist and raconteur. He wrote and directed many acclaimed stage plays and led numerous international theatrical productions.
He was born Peter Alexander Freiherr von Ustinow on April 16, 1921 in Swiss Cottage, London, the son of Nadezhda Leontievna (née Benois) and Jona Freiherr von Ustinow. His father was of one-quarter Polish Jewish, one-half Russian, one-eighth Ethiopian, and one-eighth German descent, while his mother was of one-half Russian, one-quarter Italian, one-eighth French, and one-eighth German ancestry. Ustinov had ancestral connections to Russian nobility as well as to the Ethiopian Royal Family. His father, also known as "Klop Ustinov", was a pilot in the German Air Force during World War I. In 1919, Jona Freiherr von Ustinow joined his own mother and sister in St Petersburg, Russia, where he met his future wife, artist Nadia Benois, who worked for the Imperial Mariinsky Ballet and Opera House in St Petersburg.
In 1920, in a modest and discreet ceremony at a Russian-German church in St Petersburg, Ustinov's father married Nadia. In February 1921, when she was seven months pregnant with Peter, the couple emigrated from Russia in the aftermath of the Communist Revolution. Young Peter was brought up in a multilingual family. He was fluent in Russian, French, Italian and German, as well as English. He attended Westminster College (1934-37), took the drama and acting class under Michel St Denis at the London Theatre Studio (1937-39), and made his stage debut in 1938 at the Stage Theatre Club in Surrey. He wrote his first play at the age of 19. In 1939, he made his London stage debut in a revue sketch, then had regular performances with the Aylesbury Repertory Company. The following year, he made his film debut in Hullo, Fame! (1940).
From 1942-46, Ustinov served with the British Army's Royal Sussex Regiment. He was batman for David Niven, and the two became lifelong friends. Ustinov spent most of his service working with the Army Cinema Unit, where he was involved in making recruitment films, wrote plays and appeared in three films as an actor. At that time he co-wrote and acted in The Way Ahead (1944) (aka "The Immortal Battalion").
Ustinov had a stellar film career as actor, director, and writer. Among his numerous screen acting gems were his unparalleled, Academy Award-nominated interpretation of Nero in Quo Vadis (1951) and roles in Max Ophüls's masterpiece Lola Montès (1955), Barefoot in Athens (1966), The Comedians (1967), Robin Hood (1973) and Logan's Run (1976). He also wrote and directed such brilliant films as Billy Budd (1962), Lady L (1965) and Memed My Hawk (1984). He was awarded two Oscars for Best Supporting Actor, one for his role in Spartacus (1960) and one for his role in Topkapi (1964), and received two more Oscar nominations as an actor and writer. His career slowed down a bit in the 1970s, but made a comeback as Hercule Poirot in Death on the Nile (1978) by director John Guillermin. In the 1980s, Ustinov recreated Poirot in several subsequent television movies and theatrical films, including Evil Under the Sun (1982) and Appointment with Death (1988), while his cinema work in the 1990s also includes his superb performance as Professor Gus Nikolais in George Miller's excellent dramatic film, Lorenzo's Oil (1992), a character partially inspired by Hugo Wolfgang Moser, a research scientist who had been director of the Neurogenetics Research Center at the Kennedy Krieger Institute and Professor of Neurology and Pediatrics at Johns Hopkins University.
His expertise in dialectic and physical comedy made him a regular guest of talk show hosts and late-night comedians. His witty and multidimensional humor was legendary, and he later published a collection of his jokes and quotations summarizing his wide popularity as a raconteur. He was also an internationally acclaimed TV journalist. Ustinov covered over 100,000 miles and visited more than 30 Russian cities during the making of his well-received BBC television series Russia (1986).
In his autobiographies, "Dear Me" (1977) and "My Russia" (1996), Ustinov revealed his observations on his life, career, and his multicultural and multi-ethnic background. He wrote and directed numerous stage plays, successfully presenting them in several countries. His drama, "Photo Finish", was staged in New York, London and St. Petersburg, Russia, where Ustinov directed the acclaimed production, starring Elena Solovey and Petr Shelokhonov. Ustinov also served as a Goodwill Ambassador for UNICEF and a president of WFM, a global citizens movement. Ustinov served as Rector of Dundee University for six years. He was awarded the Benjamin Franklin Medal from the Royal Society of Arts in 1957 and was knighted in 1990.
From 1971 until his death in 2004, Ustinov's permanent residence was a château in Bursins, Vaud, Switzerland. He died of heart failure on March 28, 2004, in a clinic in Genolier, also in Vaud. His funeral service was held at Geneva's historic Cathedral of St. Pierre, and he was laid to rest in the village cemetery of Bursins. He was survived by three daughters (Tamara, Pavla, and Andrea) and one son (Igor). His epitaph may be gleaned from his comment, "I am an international citizen conceived in Russia, born in England, working in Hollywood, living in Switzerland, and touring the World".One of Our Aircraft Is Missing
Quo Vadis
Le Plaisir
The Egyptian
Spartacus
The Sundowners
Billy Budd
Topkapi
Hot Millions
Robin Hood
Logan's Run
Death on the Nile
The Great Muppet Caper
Lorenzo's Oil- Director
- Writer
- Producer
Lewis Milestone, a clothing manufacturer's son, was born in Bessarabia (now Moldova), raised in Odessa (Ukraine) and educated in Belgium and Berlin (where he studied engineering). He was fluent in both German and Russian and an avid reader. Milestone had an affinity for the theatre from an early age, starting as a prop man and background artist before traveling to the US in 1914 with $6.00 in his pocket. After a succession of odd jobs (including as a dishwasher and a photographer's assistant) he joined the Army Signal Corps in 1917 to make educational short films for U.S. troops. Following World War I, having acquired American citizenship, he went on to Hollywood to meet the director William A. Seiter at Ince Studios. Seiter started him off as an assistant cutter. Milestone quickly worked his way up the ranks to become editor, assistant director and screenwriter on many of Seiter's projects in the early 1920s, experiences that would greatly influence his directing style in years to come.
Milestone directed his first film, Seven Sinners (1925), for Howard Hughes and two years later won his first of two Academy Awards for the comedy Two Arabian Knights (1927). He received his second Oscar for what most regard as his finest achievement, the anti-war movie All Quiet on the Western Front (1930), based on a novel by Erich Maria Remarque. The film, universally praised by reviewers for its eloquence and integrity, also won the Best Picture Academy Award that year. A noted Milestone innovation was the use of cameras mounted on wooden tracks, giving his films a more realistic and fluid, rather than static, look. Other trademarks associated with his pictures were taut editing, snappy dialogue and clever visual touches, good examples being the screwball comedy The Front Page (1931), the melodrama Rain (1932)--based on a play by W. Somerset Maugham--and an adaptation of John Steinbeck's Of Mice and Men (1939). When asked in 1979 about the secret behind his success, he simply declared "Arrogance, chutzpah--in the old Hollywood at least that's the thing that gave everybody pause" (New York Times, September 27, 1980). Milestone had a history of being "difficult", having clashed with Howard Hughes, Warner Brothers and a host of studio executives over various contractual and artistic issues. Nonetheless, he remained constantly employed and worked for most of the major studios at one time or another, though never on long-term contracts. While he was not required to testify before HUAC, Milestone was blacklisted for a year in 1949 because of left-wing affiliations dating back to the 1930's. His output became less consistent during the 1950s and his career finished on a low with the remake of Mutiny on the Bounty (1962) and its incongruously cast, equally headstrong star Marlon Brando.
Milestone must be credited with a quirky sense of humor: when the producer of "All Quiet on the Western Front", Carl Laemmle Jr., demanded a "happy ending" for the picture, Milestone telephoned, "I've got your happy ending. We'll let the Germans win the war".
Having suffered a stroke, Lewis Milestone spent the last ten years of his life confined to a wheelchair. He died September 25, 1980, at the University of California Medical Center in Los Angeles.Two Arabian Knights
The Racket
All Quiet on the Western Front
The Front Page
The General Died at Dawn
Of Mice and Men
The Strange Love of Martha Ivers
Mutiny on the Bounty- Writer
- Producer
- Director
Born in 1947 in Chicago, he was educated at Goddard College, in Vermont, and studied drama at New York's Neighborhood Playhouse, before returning to Chicago and establishing the St Nicholas Theatre Company in 1972. He remained their resident writer for four years. The first of his plays to secure international recognition was 'Sexual Perversity in Chicago' (1974) and 'American Buffalo' (1975). The latter was eventually performed by Al Pacino on Broadway and London's West End earning him an 'Award Obie' when it transferred from Chicago to New York. His play 'Glengarry Glen Ross' won the Pulitzer Prize and the New York Drama Critics Circle Award for Best Play. His other plays include 'A Life in the Theatre' (1977). 'Edmond' (1982). 'The Shawl' (1985) and 'Speed the Plow' (1988). The rejection of his screen adaption of 'Sexual Perversity in Chicago' was completely rewritten and released as 'About Last Night in 1986. He soon attracted wide acclaim as a screenwriter when his version of 'The Postman Always Rings Twice' (1981) was made by Bob Rafelson and his original screenplay for 'The Verdict (1982) was nominated for an Oscar. Subsequent screenplays include 'The Untouchables' (1987), 'We're No Angels' (1990), 'Glengarry Glen Ross' (1992). He then wrote and directed 'House of Games' (1987), 'Things Change' (1988) and 'Homicide' (1991). He's also published two collections of essays 'Writing in Restaurants' (1986) and Some Freaks' (1989). In 1987, he conducted a series of classes at Columbia University Film School which were put into print as 'On Directing Film' (1992).The Verdict
The Untouchables
Glengarry Glen Ross
Hoffa
Wag the Dog- Producer
- Writer
- Director
Michael Tollin was born on 6 October 1955 in Philadelphia, Pennsylvania, USA. He is a producer and writer, known for Radio (2003), Coach Carter (2005) and Hank Aaron: Chasing the Dream (1995).Hank Aaron: Chasing the Dream
Norbit- Director
- Editor
- Editorial Department
Edward Dmytryk grew up in San Francisco, the son of Ukrainian immigrants. After his mother died when he was 6, his strict disciplinarian father beat the boy frequently, and the child began running away while in his early teens. Eventually, juvenile authorities allowed him to live alone at the age of 15 and helped him find part-time work as a film studio messenger. Dmytryk was an outstanding student in physics and mathematics and gained a scholarship to the California Institute of Technology. However, he dropped out after one year to return to movies, eventually working his way up from film editor to director. By the late 1940s, he was considered one of Hollywood's rising young directing talents, but his career was interrupted by the activities of the House Un-American Activities Committee (HUAC), a congressional committee that employed ruthless tactics aimed at rooting out and destroying what it saw as Communist influence in Hollywood. A lifelong political leftist who had been a Communist Party member briefly during World War II, Dmytryk was one of the so-called "Hollywood Ten" who refused to cooperate with HUAC and had their careers disrupted or ruined as a result. The committee threw him in prison for refusing to cooperate, and after having spent several months behind bars, Dmytryk decided to cooperate after all, and testified again before the committee, this time giving the names of people he said were Communists. He claimed to believe he had done the right thing, but many in the Hollywood community--even those who came along long after the committee was finally disbanded--never forgave him, and that action overshadowed his career the rest of his life. In the 1970s, as his directing career ground to a halt, Dmytryk recalled some advice once given him by Garson Kanin, and returned to academic life, this time as a teacher. From 1976 to 1981 he was a professor of film theory and production at the University of Texas at Austin, and in 1981, was appointed to a chair in filmmaking at the University of Southern California, a position he held until about two years before his death. During his teaching career, he also authored several books on various aspects of filmmaking, as well as two volumes of memoirs.Crossfire
The Sniper
The Caine Mutiny
Broken Lance
Raintree Country
The Young Lions
Walk on the Wild Side
Where Love Has Gone- Writer
- Director
- Art Department
One of the most distinguished (if frequently overlooked) directors ever to emerge from the British film industry, Alexander Mackendrick, was in fact born in the US (to Scottish parents), but grew up in his native Scotland, where he studied at the Glasgow School of Art. He started out as a commercial illustrator, and his first film endeavors were in animation (for advertising films) but he soon found himself attracted by live-action, shooting numerous short documentaries and writing screenplays throughout the 1940s. He made his feature debut in 1948 with the Ealing comedy classic Whisky Galore! (1949), set in his native Scotland, and more than half his total feature output would be for the studio including such masterpieces as The Man in the White Suit (1951) and The Ladykillers (1955) -- comedies with a rather darker, more satirical edge to them than the rather cosy and parochial British comedy more typical of the era. His first Hollywood film pushed this style to its limit in Sweet Smell of Success (1957), a vicious, no-holds-barred portrait of the world of ruthless New York gossip columnists. Although now acclaimed as one of the great American films, and a career high-point for Mackendrick, stars Burt Lancaster and Tony Curtis and cinematographer James Wong Howe, it was a critical and box-office disaster that, sadly, ensured that Mackendrick would never again scale such heights. After just three more films, he was offered an academic job as the Dean of the Film Department of the California Institute of the Arts, which he accepted and held from 1969 until shortly before his death.The Man in the White Suit
The Ladykillers- Actor
- Writer
- Director
Bryan Forbes was born on July 22, 1926 in Stratford, London, England as John Theobald Clarke. He was an actor, writer, and director, known for The Guns of Navarone (1961), The Whisperers (1967) and Seance on a Wet Afternoon (1964). He was married to Nanette Newman and Constance Smith. He died on May 8, 2013 in Virginia Water, Surrey, England.The Angry Silence
The L-Shaped Room
Seance of a Wet Afternoon
King Rat
The Whisperers
The Slipper and the Rose: The Story of Cinderella
Chaplin- Writer
- Producer
- Director
Initially working with a video camera and cast of toys and action figures, Geoffrey Fletcher began making films as a child. Those films in part led to his acceptance to NYU's Tisch Graduate Film Program, which he attended after his graduation from Harvard University. He has also apprenticed under Martin Scorsese and Spike Lee. Magic Markers, a short film Geoffrey wrote, directed, shot and edited, received accolades from numerous organizations including the Directors Guild of America and the Sundance Film Festival.
Geoffrey is the screenwriter of Precious (2009): Based on the Novel "Push" by Sapphire and received an Oscar for Writing (Adapted Screenplay) from the Academy of Motion Picture Arts and Sciences on March 7, 2010. He is the first African American to win an Oscar for writing, directing, or producing. Precious (2009) was presented by executive producers Oprah Winfrey and Tyler Perry and released by Lionsgate in November of 2009. Precious (2009) won the Grand Jury Prize and the Audience Awards at the 2009 Sundance Film Festival. It is only the third film to do so in the Festival's twenty-five-year history. Precious (2009) also won the People's Choice Award at the Toronto International Film Festival, making it the only film to win the top prizes at both Sundance and Toronto.
In addition to being honored by the Academy, Geoffrey was heralded by Variety as one of its "10 Screenwriters to Watch." He also received the Independent Spirit Award for Best First Screenplay; the Black Reel Award for Best Screenplay, Original or Adapted and the Best Adapted Screenplay award from the Chlotrudis, AAFCA and the Satellite Awards.
Geoffrey has an extensive background in photography and editing, and served as an adjunct professor of film at Columbia University and New York University where he taught courses ranging from "Directing the Camera" to "Developing the Screenplay". His feature directorial debut is Violet & Daisy (2011).
It stars Saoirse Ronan, Alexis Bledel, and the late James Gandolfini. Violet & Daisy (2011) received the Cinevation Award, given for imagination, inspiration and innovation in cinema from the Savannah College of Art and Design. Violet & Daisy (2011) was an official selection of the Toronto International Film Festival as well.
Genres of Geoffrey's forthcoming films include social justice, science fiction, and horror. Trial By Fire, which Geoffrey wrote for Flashlight Films and director Ed Zwick, is about a landmark death penalty case and was released theatrically in 2019 with Laura Dern and Jack O'Connell starring.Precious- Producer
- Writer
- Additional Crew
John Ridley is the author of seven published novels, the most recent, What Fire Cannot Burn from Warner Books and The Drift from Knopf. His first novel, Stray Dogs, was made into the feature film U Turn (1997) directed by Oliver Stone and starring Sean Penn, Jennifer Lopez, and Nick Nolte. Additionally, Ridley wrote the screenplays for the films Undercover Brother (2002) and Cold Around the Heart (1997) and wrote the story for Three Kings (1999).
He is a playwright as well and in 2005 produced the world premiere of his first play, Ten Thousand Years. Ridley is also a commentator for National Public Radio and a regular contributor to California Connected (2002), an award-winning, news magazine which airs throughout California on 12 Public Television stations. He was the host of Movie Club with John Ridley (2004) on AMC, a unique movie review program with a panel of critics.
Ridley also wrote, directed, and produced the popular TV show, Barbershop (2005) formerly on Showtime.12 Years a Slave- Producer
- Writer
- Director
Damien Sayre Chazelle is an American director and screenwriter. He was born in Providence, Rhode Island. His mother, Celia Sayre (Martin) Chazelle, is an American-Canadian writer and professor of history at The College of New Jersey. His father, Bernard Chazelle, is a French-American Eugene Higgins Professor of computer science at Princeton University, originally from Clamart, France. Chazelle has a sister, Anna, who is an actress and circus performer.Whiplash- Producer
- Director
- Writer
Rick Famuyiwa was born on 18 June 1973 in the USA. He is a producer and director, known for Dope (2015), The Mandalorian (2019) and The Chi (2018). He has been married to Gienita Mosley since 1999.If he gets nominated for Dope at the 88th Academy Awards
Dope- Director
- Producer
- Writer
Lynne Littman was born on 26 June 1941 in New York City, New York, USA. She is a director and producer, known for Testament (1983), Number Our Days (1976) and In Her Own Time (1985). She was previously married to Taylor Hackford.Number Our Days
Testament- Writer
- Director
- Second Unit Director or Assistant Director
Jean-Paul Rappeneau was born on 8 April 1932 in Auxerre, Yonne, France. He is a writer and director, known for Cyrano de Bergerac (1990), A Matter of Resistance (1966) and Bon Voyage (2003).That Man from Rio
Cyrano de Bergerac- Writer
- Actor
- Director
Dalton Trumbo, the Oscar-winning screenwriter, arguably the most talented, most famous of the blacklisted film professionals known to history as the Hollywood 10, was born in Montrose, Colorado to Orus Trumbo and his wife, the former Maud Tillery.
Dalton Trumbo was raised at 1124 Gunnison Ave. in Grand Junction, Colorado, where his parents moved in 1908. His father, Orus, worked in a shoe store. Dalton, the first child and only son, was later joined by sisters Catharine and Elizabeth. The young Dalton peddled the produce from his father's vegetable garden around town and had a paper route. While attending Grand Junction High School (Class of 1924), he worked at The Daily Sentinel as a cub reporter. Of his early politics, a much older Dalton Trumbo told how he asked his father for five dollars so he could join the Ku Klux Klan, a mass organization after the First World War. He didn't get the five dollars.
While at university, he realized that his calling was as a writer. He worked on the school's newspaper, humor magazine and yearbook, while also toiling for the Boulder Daily Camera. He left school his first year to follow his family to Los Angeles. The family moved due to financial difficulties after his father had been terminated by the shoe company. In L.A., Dalton enrolled at the University of Southern California but was unable to complete enough credits for a degree. Orus Trumbo died of pernicious anemia in 1926, and Dalton had to take a job to become the breadwinner for his widowed mother and two younger sisters. Dalton Trumbo took on whatever jobs were available, including repossessing motorcycles and bootlegging, which he quit because it was too dangerous. Eventually, Trumbo took a job at the Davis Perfection Bakery on the night shift and remained for nearly a decade. Trumbo continued to write, mostly short stories, becoming more and more anxious and eventually desperate to leave the bakery, fearing that he would never achieve his destiny of becoming an important writer. During this time, he sold several short stories, written his first novel and worked for the "Hollywood Spectator" as a writer, critic and editor. His work also appeared in "Vanity Fair" and "Vogue" magazines. Trumbo's first novel, "Eclipse" (1934), was set in fictional Shale City, Colorado (a thinly veiled Grand Junction) during the 1920s and 1930s, with characters who resembled notable community members. One of its main characters, John Abbott, is modeled after Trumbo's father. Dalton had tried, perhaps unfairly he admitted later, to avenge his father on the town where he had failed.
In 1934, Warner Bros. hired Trumbo as a reader, a job that entailed reading and summarizing plays and novels and advising whether they might be adapted into movies. It lead to a contract as a junior screenwriter at its B-pictures unit. In 1936, the same year he of his first screen credit for the B-move Road Gang (1936), Trumbo met his future soulmate Cleo Fincher and they married two years later. Daughter Nikola was born in 1939 and son Christopher in 1940. A daughter was added, Mitzi, the baby of the family.
He wrote the story for Columbia's Canadian-made Tugboat Princess (1936), clearly influenced by Captain January (1936), which had been made into a silent in 1924 before being remade with superstar Shirley Temple, substituting a tugboat in the original with a lighthouse. His screenplays for such films as Devil's Playground (1937) showed some concern for the plight of the disenfranchised, but the Great Depression still existed, and social commentary was inevitable in all but fantasies and musicals.
After leaving Warners, he worked for Columbia, Paramount, 20th Century-Fox, and beginning in 1937, M.G.M., the studio for which he would do some of his best work in the 1940s. By the late 1930s, he had worked himself up to better assignments, primarily for RKO (though he returned to Warners for The Kid from Kokomo (1939)), and was working on A-list pictures by the turn of the decade. He won his first Oscar nod for RKO's Kitty Foyle (1940), for which Ginger Rogers won the Academy Award for best actress as a girl from a poor family who claws her way into the upper middle class via a failed marriage to a Main Line Philadelphia swell.
By the time of America's entry into World War II, Trumbo was one of the most respected, highest paid screenwriters in Hollywood. He had also established a name for himself as a left-wing political activist whose sympathies coincided with those of the American Communist Party (CPUSA), which hewed to the line set by Moscow.
Trumbo was part of the anti-fascist Popular Front coalition of communists and liberals in the late 1930s, at the time of the Spanish Civil War. The Popular Front against Nazism and Fascism was been torn asunder in August 1939 when the USSR signed a non-aggression pact with Nazi Germany. Many party members quit the CPUSA in disgust, but the true believers parroted the party line, which was now pro-peace and against US involvement in WWII.
Trumbo reportedly did not join the Party until 1943 and harbored personal reservations about its policies as regards enforcing ideological conformity. However, the publication of his anti-war novel "Johnny Got His Gun" in 1939 coincided with the shift of the CPUSA's stance from anti-Hitler to pro-peace, and his novel was embraced by the Party as the type of literature needed to keep the US out of the war. Trumbo agreed with the Party's pro-peace platform. The book, about a wounded World War One vet who has lost his limbs, won the American Book Sellers Award (the precursor to the National Book Award) in 1939. In a speech made in February 1940, four months before the Nazi blitzkrieg knocked France out of the war, Trumbo said, "If they say to us, 'We must fight this war to preserve democracy,' let us say to them, 'There is no such thing as democracy in time of war. It is a lie, a deliberate deception to lead us to our own destruction. We will not die in order that our children may inherit a permanent military dictatorship.'"
His speech was a rebuke to New Deal liberals. The Party began demonizing President Franklin D. Roosevelt, who hated Hitler and was pro-British, as a war-monger. The Party ordered its members to henceforth be pro-peace and anti-FDR in their work and statements. In June 1941, after Nazi Germany invaded the USSR, the CPUSA shifted gears to become pro-war, supportive of FDR's aggressive behavior towards Nazi Germany.
Shortly after the German invasion, Trumbo instructed his publisher to recall all copies of "Johnny Got His Gun" and to cease publication of the book. After the Japanese attack on Pearl Harbor and the German declaration of war against the U.S. catapulted the U.S. into both the Asian and European theaters of World War II, the book - always popular with peace-lovers and isolationists who opposed America's involvement in foreign wars - suddenly became popular among native fascists, too. However, it proved hard to get a copy of the book during the war years.
Trumbo joined the CPUSA in 1943, the same year Victor Fleming's great patriotic war movie A Guy Named Joe (1943), with a Trumbo screenplay, appeared on screens. In 1944, Original Story was a separate Oscar category and David Boehm and Chandler Sprague were nominated in that category for an Academy Award. Trumbo's screenplay was overlooked. Like other communist screenwriters, he proved to be an enthusiastic writer of pro-war propaganda, though except for the notorious pro-Stalin Mission to Moscow (1943), few films displayed any overt communist ideas or propaganda. One that did was Tender Comrade (1943) , which Trumbo wrote as a Ginger Rogers vehicle for RKO. Directed by his future Hollywood 10 comrade Edward Dmytryk, it depicted a mild form of socialism and collectivization among women working in the defense industry. He also wrote the patriotic classic Thirty Seconds Over Tokyo (1944) for M.G.M., which was based on the Doolittle Raid of 1942.
Trumbo voluntarily invited FBI agents to his house in 1944 and showed them letters he had received from what he perceived were pro-fascist peaceniks who had requested copies of "Johnny Got His Gun", then out-of-print due to Trumbo's orders to his publisher. He turned those letters over to the FBI and later kept in contact with the Bureau, a fact that would later haunt blacklisted leftists, urging that the F.B.I. deal with them. His actions conformed to the CPUSA policy of denouncing anyone who opposed the war.
In 1945, the last year of the war, MGM released the Margaret O'Brien / Edward G. Robinson vehicle, Our Vines Have Tender Grapes (1945), penned by Trumbo. Robinson was a future member of the Hollywood "gray-list" with those, like Henry Fonda who were suspected of leftist sympathies or for being Fellow Travelers, but who could not be officially blacklisted. Drawing on his own rural childhood, it was a picture of a young girl's life on a farm in rural Wisconsin. The year 1945 was crucial for Trumbo and other Hollywood party members in terms of the CPUSA's desire to have their work reflect the party's ideological agenda.
HCUA was originally created in 1934 as the Special Committee on Un-American Activities to look into the activities of fascist and pro-Nazi organizations. Then popularly known as the McCormack-Dickstein Committee, the Special Committee on Un-American Activities exposed fascist organizations, including a planned coup d'etat against President Franklin D. Roosevelt, the so-called Business Plot. Later on, it became known as the House Un-American Activities Committee or the Dies Committee after the new chairman, Martin Dies. HCUA originally was tasked with investigating the involvement of German Americans with the Nazis and the Ku Klux Klan.
HCUA became a standing committee in 1946, still tasked with investigating suspected threats of subversion or propaganda that attacked "the form of government guaranteed by our Constitution." The focus was solely on the communists and their allies, so-called Fellow Travelers who made common cause with communists during the War Years. Fellow Travelers was a loose term that seemed to embrace many liberal FDR New Deal Democrats.
HCUA subpoenaed suspected communists in the entertainment industry. Trumbo's screenplay for Tender Comrade (1943), which concerned three Army wives who pool their resources while their husbands are away fighting was denounced as communist propaganda. However, writer-producer James Kevin McGuinness, a conservative who was a friendly witness before HCUA, testified that left-wing screenwriters did not inject propaganda into their movie scripts during World War II. McGuiness testified "[The movie industry] profited from reverse lend-lease because during the [war] the Communist and Communist-inclined writers in the motion picture industry were given leave of absence to be patriotic. During that time...under my general supervision Dalton Trumbo wrote two magnificent patriotic scripts, A Guy Named Joe (1943) and Thirty Seconds Over Tokyo (1944)."
Appearing before HCUA in October 1947 with Alvah Bessie, Herbert J. Biberman, Lester Cole, John Howard Lawson, 'Ring Lardner Jr' , Albert Maltz, Adrian Scott, and Samuel Ornitz, Trumbo - like the others - refused to answer any questions. In a defense strategy crafted by CPUSA lawyers, the soon-to-be-known-as "Hollywood 10" claimed that the First Amendment to the U.S. Constitution gave them the right to refuse to answer inquiries into their political beliefs as well as their professional associations. One line of questioning of HCUA was to ask if the subpoenaed witnesses were members of the Screen Writers Guild in order to smear the SWG. It was a gambit played by the Committee as it knew that which of the 10 were in the unions, and it knew which were communist. As Arthur Miller has pointed out, HCUA left the Broadway theater alone, despite the fact that there were communists working in it, because no one outside of the Northeastern U.S. really cared about theater or knew who theatrical professionals were, and thus, it could not generate the publicity that HCUA members craved and courted through their hearings.
HCUA cited them for contempt of Congress, and the Hollywood 10 were tried and convicted on the charge. All were fined and jailed, with Trumbo being sentenced to a year in federal prison and a fine of $1,000. He served 10 months of the sentence. The Hollywood 10 were blacklisted by the Hollywood studios, a blacklist enforced by the very guilds they helped create. Trumbo and the other Hollywood 10 screenwriters were kicked out of the Screen Writers Guild (John Howard Lawson had been one of the founders of the SWG and its first president), which meant, even if they weren't blacklisted, they could not obtain work in Hollywood. Those who continued to write for the American cinema had to do so under assumed names or by using a "front", a screenwriter who would take credit for their work and pass on all or some of the fee to the blacklisted writer. Later, as one of the Hollywood Ten, Trumbo claimed for himself the mantle of "Martyr for Freedom of Speech" and attacked, as rats, those who became informers for HCUA by naming names. In 1949, Arthur Schlesinger Jr., wrote in The Saturday Review of Books, that Trumbo was in fact NOT a free speech martyr since he would not fight for freedom of speech for ALL the people, such as right-wing conservatives, but only for the freedom of speech of CPUSA members. The anti-communist Schlesinger, a Pulitzer Prize-winning Harvard historian, thought Trumbo and others like him were doctrinaire communists and hypocrites. In response, Trumbo wrote a scathing letter to The Saturday Review to defend himself, characterizing himself as a paladin championing free speech for all Americans under the aegis of the First Amendment, which the Hollywood 10 claimed gave them the right to refuse to cooperate with HCUA.
After his blacklisting and failure of the Hollywood 10's appeals, the Trumbo family exiled themselves to Mexico. In Mexico, chain-smoking in the bathtub in which he always wrote, usually with a parrot given to him by 'Kirk Douglas' perched on his shoulder, Trumbo wrote approximately thirty scripts under pseudonyms and using fronts who relayed the money to him. His works included the film noir classic Gun Crazy (1950) (AKA Gun Crazy), co-written under the pseudonym Millard Kaufman, Oscar-winning Roman Holiday (1953) (with screenwriter Ian McLellan Hunter as a front), and The Court-Martial of Billy Mitchell (1955) for director Otto Preminger and upon which blacklisted Oscar-winning screenwriter Michael Wilson also worked).
At the 1957 Academy Awards, Robert Rich won the Oscar for best original story of 1956 for The Brave One (1956). Rich was not present to accept the award, which was accepted on his behalf by Jesse Lasky Jr. of the Screen Writers Guild. When journalists began digging in to the background of the phantom Mr. Rich, they found out he was the nephew of a producer. Suspicion then arose that Rich was a pseudonym for the blacklisted Trumbo.
Though Hollywood has always been inundated with writers, Trumbo, even while blacklisted, was prized as a good writer who was fast, reliable and could write in many genres. Despite being a communist, Trumbo's favorite themes were more in the vein of populism than Marxism. Trumbo celebrated the individual rebelling against the powers that be.
With rumors circulating that Trumbo had written the Oscar-winning The Brave One (1956), it triggered a discussion in the industry about the propriety of the blacklist, since so many screenplays were being written by blacklisted individuals who were being denied screen credit. The blacklist only worked to suppress the prices of screenplays by these talented writers. In 1958, Pierre Boulle won the Oscar for the screenplay adapted from his novel The Bridge on the River Kwai (1957), which was unusual since Boulle could not speak nor write in English, which may have been the reason he did not attend the awards ceremony to pick up the Oscar in person. It was immediately realized that the screenplay had likely been written by a blacklisted screenwriter. It was - Michael Wilson and Carl Foreman.
Kirk Douglas hired Trumbo to write the script for Spartacus in 1958. In the summer of 1959 Otto Preminger hired Trumbo to write the script for Exodus. On January 20, 1960, the New York Times carried the story that Otto Preminger had hired Dalton Trumbo to write the script for Exodus, and that he would start shooting in April. On August 8, of the same year Kirk Douglas announced in Variety that Trumbo had written the script for Spartacus. Both pictures opened in the winter of 1960.
Trumbo wrote many more screenplays for A-list films, including Lonely Are the Brave (1962), The Sandpiper (1965), Hawaii (1966) , and _Fixer, The (1968). In 1970, he was awarded the Laurel Award for lifetime achievement by the Screen Writers Guild. He made a famous speech that many saw as a reconciliation of the two sides of fight. In 1971, he wrote and directed the movie adaptation of his famous anti-war novel, Johnny Got His Gun (1971). His last screenwriting credit on a feature film was for Papillon (1973), in which he also had a cameo role.
A six-pack-a-day smoker, he developed lung cancer in 1973. Two years later, the president of the Academy of Motion Picture Arts & Sciences (which had supported the black list), Walter Mirisch, personally delivered a belated Oscar to Trumbo for his The Brave One (1956) script, now officially recognized by AMPAS as his creation. Eighteen years later, AMPAS would award him a posthumous Oscar for Roman Holiday (1953).
Dalton Trumbo died from a heart attack in California on September 10, 1976. At his memorial service, Ring Lardner Jr., his close friend and fellow Hollywood 10 member, delivered an amusing eulogy. "At rare intervals, there appears among us a person whose virtues are so manifest to all, who has such a capacity for relating to every sort of human being, who so subordinates his own ego drive to the concerns of others, who lives his whole life in such harmony with the surrounding community that he is revered and loved by everyone with whom he comes in contact. Such a man Dalton Trumbo was not."Kitty Foyle
I Married a Witch
A Guy Named Joe
Thirty Seconds Over Tokyo
Roman Holiday
The Court-Martial of Billy Mitchell
The Brave One
Cowboy
Career
Exodus
Spartacus
The Sandpiper
Hawaii
The Way We Were
Papillon- Producer
- Writer
- Director
Irwin Rosten was born on 10 September 1924 in Brooklyn, New York City, New York, USA. He was a producer and writer, known for The Incredible Machine (1975), The Wolf Men (1969) and National Geographic Specials (1965). He was married to Marilyn Ryan. He died on 23 May 2010 in Hollywood, California, USA.The Wolf Men
Birds Do It, Bees Do It
The Incredible Machine- Producer
- Director
- Sound Department
Barbara Kopple was born on 30 July 1946 in New York City, New York, USA. She is a producer and director, known for Harlan County U.S.A. (1976), American Dream (1990) and Shut Up & Sing (2006).Harlan County U.S.A.
American Dream
Hoop Dreams
Capturing the Friedmans- Producer
- Director
- Writer
Bill Couturié is known for Earth and the American Dream (1992), Dear America: Letters Home from Vietnam (1987) and Vietnam Requiem (1982).Common Threads: Stories from the Quilt
Memorial: Letters from American Soldiers- Producer
- Writer
- Director
Charlie Siskel, is an Academy Award nominated and Emmy nominated TV and film writer, director and producer. His work in film includes the documentaries Bowling for Columbine, Religulous and Finding Vivian Maier. Among his TV credits are The Awful Truth with Michael Moore, Crossballs, Important Things with Demetri Martin, Tosh.0 and Review. Siskel, a former lawyer, lives in Los Angeles.Bowling for Columbine
Finding Vivian Maier- Director
- Writer
- Producer
Kirby Dick is a two time Emmy-award winning and two-time Academy award-nominated documentary film director. His most recent film, The Hunting Ground (2015), a monumental exposé about sexual assault on college campuses, premiered at the 2015 Sundance Film Festival, was released by Radius/The Weinstein Company and CNN, is the 2016 recipient of the Producer Guild of America's Stanley Kramer award, and was nominated for the Academy Award for Best Original Song. His previous film, The Invisible War (2012), a groundbreaking investigation into the epidemic of rape within the US military, won two Emmy Awards for Best Documentary and Outstanding Investigative Journalism, the 2012 Independent Spirit Award 2012 for Best Documentary, a Peabody Award, and was nominated for an Academy Award. He also directed Twist of Faith (2004), the story of a man confronting the trauma of his past sexual abuse by a Catholic priest, which was also nominated for an Academy Award. Other films include Outrage (2009), nominated for an Emmy Award for Outstanding Investigative Journalism, This Film Is Not Yet Rated (2006), a breakthrough investigation of the MPAA's secretive film ratings system, and Derrida (2002), a complex portrait of the world-renowned French philosopher Jacques Derrida. He is the 2012 recipient of the Nestor Almendros Prize for Courage and Filmmaking and the 2013 Ridenhour Documentary Film Prize.Twist of Faith
The Invisible War- Director
- Producer
- Editor
Leon Gast was born on 30 March 1936 in Jersey City, New Jersey, USA. He was a director and producer, known for When We Were Kings (1996), Smash His Camera (2010) and The Trials of Muhammad Ali (2013). He was married to Geri Spolan. He died on 8 March 2021 in Woodstock, New York, USA.When We Were Kings- Director
- Producer
- Cinematographer
Joshua Oppenheimer was born on 23 September 1974 in Texas, USA. He is a director and producer, known for The Act of Killing (2012), The Entire History of the Louisiana Purchase (1998) and The Look of Silence (2014).The Act of Killing- Music Department
- Producer
- Director
Andrew Jarecki is an American filmmaker, musician, and entrepreneur. He is best known for the Emmy-winning 2015 HBO documentary series "The Jinx: The Life and Deaths of Robert Durst" that led to the arrest and imprisonment of Mr. Durst. He is also known for documentary film "Capturing the Friedmans," which won eighteen international prizes including the Grand Jury Prize at the Sundance Film Festival and the New York Film Critics Circle award, and was nominated for an Academy Award. He produced the documentary film "Catfish" and the eponymous MTV television series. With JJ Abrams, he co-wrote and performed the theme song for the WB Network television series Felicity (1998), and with CrabCorps, he produced music for the film "Silver Linings Playbook." He also co-founded Moviefone and created the KnowMe iOS platform. He is a graduate of Princeton University where he was a theatrical director. He resides in New York City.Capturing the Friedmans- Producer
- Director
- Writer
Alex Gibney was born on 23 October 1953 in New York City, New York, USA. He is a producer and director, known for Enron: The Smartest Guys in the Room (2005), Taxi to the Dark Side (2007) and Going Clear: Scientology & the Prison of Belief (2015). He has been married to Anne Gibney since 14 August 1982. They have three children.Enron: The Smartest Guys in the Room
Taxi to the Dark Side- Director
- Producer
- Editor
Steve James was born in Hampton, Virginia, USA. He has been based in Chicago, Illinois, USA for his entire career. He is known for the documentary films Hoop Dreams (1994), Stevie (2002), The Interrupters (2011), Life Itself (2014) and Abacus: Small Enough to Jail (2016). His documentary series works include America to Me (2018), City So Real (2020) and most recently, The Luckiest Guy in the World (2023).Hoop Dreams
The Invisible War- Writer
- Director
- Actor
One of Québec's most politically aware filmmakers, Denys Arcand studied history at Université de Montréal, where he co-directed Seul ou avec d'autres (1962) with Denis Héroux and co-written with Stéphane Venne. He joined the National Film Board (NFB) in 1963, where his feature-length documentary on the textile industry, On est au coton (1970), was so controversial it was suppressed for 6 years. He made another fine documentary, Québec: Duplessis et après... (1972), before leaving the NFB for the private sector. La maudite galette (1972), Réjeanne Padovani (1973) and Gina (1975) were distinctive views of Québec society, original and provocative. All 3 used the gangster film as a source while distorting many of its conventions. He then moved to TV, scripting the Duplessis (1978) series for Radio-Canada and directing 3 episodes of Empire, Inc. (1983). He returned to the NFB to make a documentary on the 1980 referendum, Le confort et l'indifférence (1982), which revealed growing cynicism about the political process. It won the Québec Critics Prize.
He returned to commercial filmmaking after a hiatus of 10 years with The Crime of Ovide Plouffe (1984), before achieving major success with the scathing comedy about sexual mores, The Decline of the American Empire (1986) (The Decline of the American Empire), a film that won numerous prizes, including the prestigious Critic's Prize at the Cannes Film Festival. The New York Film Critics voted it Best Foreign Film in 1986 and it won Best Picture, Best Director and Best Original Screenplay at the 1987 Genies. It was also nominated as Best Foreign Film by the Academy of Motion Picture Arts and Science. Jesus of Montreal (1989) confirmed Arcand's international reputation, winning the Jury prize at the Cannes Film Festival. It won 10 Genies, including Best Picture and Director, and was nominated in the Best Foreign Film category by the Academy. Arcand then moved into English-language production in an attempt to break into a larger international market. Love and Human Remains (1993), his first feature in English, was followed by Stardom (2000), a film that looked at the world of fashion. Neither achieved the subtlety and texture of his earlier work.
The overwhelming success of The Barbarian Invasions (2003), which marked both a return to the French language and to the characters who had peopled The Decline of the American Empire (1986), showed that Arcand had lost none of his powers of observation. The film won two awards at the Cannes Film Festival (best screenplay, and best actor for Marie-Josée Croze), Best Canadian Feature Film at the Toronto International Film Festival and the prestigious Oscar for Best Foreign Film. In 2005 Arcand was named Companion of the Order of Canada, which recognizes individuals for exceptional achievements of national or international significance.The Decline of the American Empire
Jesus of Montreal
The Barbarian Invasions
Barney's Version- Writer
- Producer
- Director
Russell Rouse was born on 20 November 1913 in New York City, New York, USA. He was a writer and producer, known for The Well (1951), The Thief (1952) and Pillow Talk (1959). He was married to Beverly Michaels and Ethel Frank. He died on 2 October 1987 in Los Angeles, California, USA.The Well
The Thief
Pillow Talk
A House Is Not a Home
The Oscar- Writer
- Producer
- Director
Christopher McQuarrie is an acclaimed producer, director and an Academy Award® winning writer. McQuarrie grew up in Princeton Junction, New Jersey and in lieu of college, he spent the first five years out of school traveling and working at a detective agency. He later moved to Los Angeles to pursue a career in film.
In 1995, his screenplay for The Usual Suspects, directed by childhood pal, Bryan Singer, garnered him the Academy Award® and the BAFTA Award for "Best Original Screenplay". McQuarrie also went on to win the Edgar Allan Poe Award and the Independent Spirit Award. The Usual Suspects has been named one of the greatest screenplays of all time by the Writer's Guild of America.
In the years following, McQuarrie directed The Way of the Gun, starring Ryan Phillippe, Benicio Del Toro and James Caan. In 2008, he collaborate with Singer once again to produce and co-write Valkyrie, starring Tom Cruise. This film would lead to many more McQuarrie-Cruise collaborations. McQuarrie re-teamed with Cruise in 2012 for his sophomore directorial outing, Jack Reacher Within hours of completing the film, he was at work with Cruise again, this time re-writing the script for Doug Liman's Edge of Tomorrow. It was while working together on the sci-fi action film that Cruise suggested McQuarrie direct what would become Mission: Impossible - Rogue Nation. The highly anticipated fifth installment of the Ethan Hunt saga, written also by McQuarrie, garnered the biggest opening in the history of the Mission: Impossible franchise, was the highest-grossing 2D Hollywood film ever at the Chinese box office, earning $124 million, and garnered over $680 million worldwide. McQuarrie is confirmed to write and direct the sixth chapter in the franchise, making him the first repeat director in the film's two-decade history.The Usual Suspects
Paradise Now- Writer
- Producer
- Director
Richard LaGravenese was born on 30 October 1959 in Brooklyn, New York, USA. He is a writer and producer, known for Freedom Writers (2007), Paris, I Love You (2006) and Behind the Candelabra (2013). He is married to Ann Weiss. They have one child.The Fisher King
A Little Princess
The Bridge of Madison County
Unstrung Heroes
The Mirror Has Two Faces
The Horse Whisperer
Beloved
Unbroken- Actor
- Producer
- Art Department
John Wayne was born Marion Robert Morrison in Iowa, to Mary Alberta (Brown) and Clyde Leonard Morrison, a pharmacist. He was of English, Scottish, Ulster-Scots, and Irish ancestry.
Clyde developed a lung condition that required him to move his family from Iowa to the warmer climate of southern California, where they tried ranching in the Mojave Desert. Until the ranch failed, Marion and his younger brother Robert E. Morrison swam in an irrigation ditch and rode a horse to school. When the ranch failed, the family moved to Glendale, California, where Marion delivered medicines for his father, sold newspapers and had an Airedale dog named "Duke" (the source of his own nickname). He did well at school both academically and in football. When he narrowly failed admission to Annapolis he went to USC on a football scholarship 1925-7. Tom Mix got him a summer job as a prop man in exchange for football tickets. On the set he became close friends with director John Ford for whom, among others, he began doing bit parts, some billed as John Wayne. His first featured film was Men Without Women (1930). After more than 70 low-budget westerns and adventures, mostly routine, Wayne's career was stuck in a rut until Ford cast him in Stagecoach (1939), the movie that made him a star. He appeared in nearly 250 movies, many of epic proportions. From 1942-43 he was in a radio series, "The Three Sheets to the Wind", and in 1944 he helped found the Motion Picture Alliance for the Preservation of American Ideals, a Conservative political organization, later becoming its President. His conservative political stance was also reflected in The Alamo (1960), which he produced, directed and starred in. His patriotic stand was enshrined in The Green Berets (1968) which he co-directed and starred in. Over the years Wayne was beset with health problems. In September 1964 he had a cancerous left lung removed; in 1977 when Star Wars: Episode IV - A New Hope was being made, John Waynes archive voice was used for the character Garindan ezz Zavor, later in March 1978 there was heart valve replacement surgery; and in January 1979 his stomach was removed. He received the Best Actor nomination for Sands of Iwo Jima (1949) and finally got the Oscar for his role as one-eyed Rooster Cogburn in True Grit (1969). A Congressional Gold Medal was struck in his honor in 1979. He is perhaps best remembered for his parts in Ford's cavalry trilogy - Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950).Stagecoach
Dark Command
The Long Voyage Home
Reap the Wild Wind
The Spoilers
In Old Oklahoma
The Fighting Seabees
Flame of Barbary Coast
They Were Expendable
Red River
She Wore a Yellow Ribbon
Sands of Iwo Jima
The Quiet Man
Hondo
The High and the Mighty
The Alamo
The Man Who Shot Liberty Valance
Hatari!
The Longest Day
How the West Was Won
The Greatest Story Ever Told
In Harm's Way
True Grit
The Shootist- Writer
- Producer
- Director
A graduate of New York's Columbia School of Journalism, Irwin Allen was a magazine editor, the producer/director of a radio show and the owner of an advertising agency before entering film production in the 1950s. His documentary, The Sea Around Us (1953), won an Academy Award. A successful TV series producer (The Time Tunnel (1966), Lost in Space (1965)), Allen was nicknamed "The Master of Disaster" in the 1970s due to the tremendous success of his two special effects-laden epics, The Poseidon Adventure (1972) and The Towering Inferno (1974).The Sea Around Us
The Poseidon Adventure
The Towering Inferno
The Swarm
When Time Ran Out...