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Probably the most ambitious and visually distinctive filmmaker to emerge from Denmark since Carl Theodor Dreyer over 60 years earlier, Lars von Trier studied film at the Danish Film School and attracted international attention with his very first feature, The Element of Crime (1984). A highly distinctive blend of film noir and German Expressionism with stylistic nods to Dreyer, Andrei Tarkovsky and Orson Welles, its combination of yellow-tinted monochrome cinematography (pierced by shafts of blue light) and doom-haunted atmosphere made it an unforgettable visual experience. His subsequent features Epidemic (1987) and Europa (1991) have been equally ambitious both thematically and visually, though his international fame is most likely to be based on The Kingdom (1994), a TV soap opera blending hospital drama, ghost story and Twin Peaks (1990)-style surrealism that was so successful in Denmark that it was released internationally as a 280-minute theatrical feature.- Director
- Writer
- Editor
Jean-Luc Godard was born in Paris on December 3, 1930, the second of four children in a bourgeois Franco-Swiss family. His father was a doctor who owned a private clinic, and his mother came from a preeminent family of Swiss bankers. During World War II Godard became a naturalized citizen of Switzerland and attended school in Nyons, Switzerland. His parents divorced in 1948, at which time he returned to Paris to attend the Lycée Rohmer. In 1949 he studied at the Sorbonne to prepare for a degree in ethnology. However, it was during this time that he began attending with François Truffaut, Jacques Rivette, and Éric Rohmer.
In 1950 Godard, with Rivette and Rohmer, founded "Gazette du cinéma", which published five issues between May and November. He wrote a number of articles for the journal, often using the pseudonym "Hans Lucas". After Godard worked on and financed two films by Rivette and Rohmer, Godard's family cut off their financial support in 1951, and he resorted to a Bohemian lifestyle that included stealing food and money when necessary. In January 1952 he began writing film criticism for "Les cahiers du cinéma". Later that year he traveled to North and South America with his father and attempted to make his first film (of which only a tracking shot from a car was ever accomplished).
In 1953 he returned to Paris briefly before securing a job as a construction worker on a dam project in Switzerland. With the money from the job, he made a short film in 1954 about the building of the dam called Operation Concrete (1958). Later that year his mother was killed in a motor scooter accident in Switzerland. In 1956 Godard began writing again for "Les cahiers du cinéma" as well as for the journal "Arts". In 1957 Godard worked as the press attache for "Artistes Associés", and made his first French film, All Boys Are Called Patrick (1959).
In 1958 he shot Charlotte and Her Boyfriend (1958), his homage to Jean Cocteau. Later that year he took unused footage of a flood in Paris shot by Truffaut and edited it into a film called A Story of Water (1961), which was an homage to Mack Sennett. In 1959 he worked with Truffaut on the weekly publication "Temps de Paris". Godard wrote a gossip column for the journal, but also spent much time writing scenarios for films and a body of critical writings which placed him firmly in the forefront of the "nouvelle vague" aesthetic, precursing the French New Wave.
It was also in that year Godard began work on Breathless (1960). In 1960 he married Anna Karina in Switzerland. In April and May he shot The Little Soldier (1963) in Geneva and was preparing the film for a fall release in Paris. However, French censors banned it due to its references to the Algerian war, and it was not shown until 1963. In March 1960 Breathless (1960) premiered in Paris. It was hugely successful both with the film critics and at the box office, and became a landmark film in the French New Wave with its references to American cinema, its jagged editing and overall romantic/cinephilia approach to filmmaking. The film propelled the popularity of male lead Jean-Paul Belmondo with European audiences.
In 1961 Godard shot A Woman Is a Woman (1961), his first film using color widescreen stock. Later that year he participated in the collective effort to remake the film The Seven Deadly Sins (1962), which was heralded as an important project in artistic collaboration. In 1962 Godard shot Vivre sa vie (1962) in Paris, his first commercial success since "Breathless". Later that year he shot a segment entitled "Le Nouveau Monde" for the collective film Ro.Go.Pa.G. (1963), another important work in the history of collaborative multiple-authored art.
In 1963 Godard completed a film in homage to Jean Vigo entitled The Carabineers (1963), which was a resounding failure with the public and stirred furious controversy with film critics. Also that year he worked on a couple of collective films: The World's Most Beautiful Swindlers (1964) (from which Godard's sequence was later cut) and Six in Paris (1965). In 1964 Godard and his wife Anna Karina formed their own production company, Anouchka Films. They shot a film called A Married Woman (1964), which censors forced them to re-edit due to a topless sunbathing scene shot by Jacques Rozier. The censors also made Godard change the title to "Une femme marié" so as to not give the impression that this "scandalous" woman was the typical French wife. Later in the year, two French television programs were produced in devotion to Godard's work.
In the spring of 1965 Godard shot Alphaville (1965) in Paris; in the summer he shot Pierrot the Fool (1965) in Paris and the south of France. Shortly thereafter he and Anna Karina separated. Following their divorce, Godard shot Made in U.S.A (1966), "Deux ou trois choses que je sais d'elle (1966)", "L'amour en l'an 2000" (1966) (a sequel to "Alphaville" shot as a sketch for the collective film "L'amour travers les ages" (1966)).
In 1967 Godard shot The Chinese (1967) in Paris with Anne Wiazemsky, who was the granddaughter of French novelist François Mauriac. During the making of the film Godard and Wiazemsky were married in Paris. Later in the year he was prevented from traveling to North Vietnam for the shooting of a sequence for the collective film Far from Vietnam (1967). He instead shot the sequence in Paris, entitled "Camera-Oeil". Also during 1967 Godard participated (as the only Frenchman) on an Italian collective film called Love and Anger (1969).
In 1968 Godard was commissioned by French television to make Joy of Learning (1969). However, television producers were so outraged by the product Godard produced that they refused to show it. In May of that year Henri Langlois was fired by the head of the French Jean-Pierre Gorin to form the Dziga-Vertov group, infuriating Godard. He became increasingly concerned with socialist solutions to an idealist cinema, especially in providing the proletariat with the means of production and distribution. Along with other militantly political filmmakers in the Dziga-Vertov group, Godard published a series of 'Ciné-Tracts' outlining these viewpoints. In the summer of 1968 Godard traveled to New York City and Berkeley, California, to shoot the film "One American Movie", which was never completed. In September he made a trip to Canada to start another film called "Communication(s)", which also went unfinished, and then made a visit to Cuba before returning to France.
In 1969 Godard traveled to England, where he made the film See You at Mao (1970) for BBC Weekend Television, but the network later refused to show it. In the late spring he traveled with the Dziga-Vertov group to Prague to secretly shoot the film "Pravda". Later that year he shot Lotte in Italia (1971) ("Struggle for Italy") for Italian television. It was never shown, either.
In 1970 Godard traveled to Lebanon to shoot a film for the Palestinian Liberation Organization entitled "Jusque à la victoire" (1970) ("Until Victory"). Later that year he traveled to dozens of American universities trying to raise money for the film. In spite of his efforts, it was never released.- Writer
- Director
- Actor
Woody Allen was born on November 30, 1935, as Allen Konigsberg, in The Bronx, NY, the son of Martin Konigsberg and Nettie Konigsberg. He has one younger sister, Letty Aronson. As a young boy, he became intrigued with magic tricks and playing the clarinet, two hobbies that he continues today.
Allen broke into show business at 15 years when he started writing jokes for a local paper, receiving $200 a week. He later moved on to write jokes for talk shows but felt that his jokes were being wasted. His agents, Charles Joffe and Jack Rollins, convinced him to start doing stand-up and telling his own jokes. Reluctantly he agreed and, although he initially performed with such fear of the audience that he would cover his ears when they applauded his jokes, he eventually became very successful at stand-up. After performing on stage for a few years, he was approached to write a script for Warren Beatty to star in: What's New Pussycat (1965) and would also have a moderate role as a character in the film. During production, Woody gave himself more and better lines and left Beatty with less compelling dialogue. Beatty inevitably quit the project and was replaced by Peter Sellers, who demanded all the best lines and more screen-time.
It was from this experience that Woody realized that he could not work on a film without complete control over its production. Woody's theoretical directorial debut was in What's Up, Tiger Lily? (1966); a Japanese spy flick that he dubbed over with his own comedic dialogue about spies searching for the secret recipe for egg salad. His real directorial debut came the next year in the mockumentary Take the Money and Run (1969). He has written, directed and, more often than not, starred in about a film a year ever since, while simultaneously writing more than a dozen plays and several books of comedy.
While best known for his romantic comedies Annie Hall (1977) and Manhattan (1979), Woody has made many transitions in his films throughout the years, transitioning from his "early, funny ones" of Bananas (1971), Love and Death (1975) and Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972); to his more storied and romantic comedies of Annie Hall (1977), Manhattan (1979) and Hannah and Her Sisters (1986); to the Bergmanesque films of Stardust Memories (1980) and Interiors (1978); and then on to the more recent, but varied works of Crimes and Misdemeanors (1989), Husbands and Wives (1992), Mighty Aphrodite (1995), Celebrity (1998) and Deconstructing Harry (1997); and finally to his films of the last decade, which vary from the light comedy of Scoop (2006), to the self-destructive darkness of Match Point (2005) and, most recently, to the cinematically beautiful tale of Vicky Cristina Barcelona (2008). Although his stories and style have changed over the years, he is regarded as one of the best filmmakers of our time because of his views on art and his mastery of filmmaking.- Producer
- Writer
- Actor
Quentin Jerome Tarantino was born in Knoxville, Tennessee. His father, Tony Tarantino, is an Italian-American actor and musician from New York, and his mother, Connie (McHugh), is a nurse from Tennessee. Quentin moved with his mother to Torrance, California, when he was four years old.
In January of 1992, first-time writer-director Tarantino's Reservoir Dogs (1992) appeared at the Sundance Film Festival. The film garnered critical acclaim and the director became a legend immediately. Two years later, he followed up Dogs success with Pulp Fiction (1994) which premiered at the Cannes film festival, winning the coveted Palme D'Or Award. At the 1995 Academy Awards, it was nominated for the best picture, best director and best original screenplay. Tarantino and writing partner Roger Avary came away with the award only for best original screenplay. In 1995, Tarantino directed one fourth of the anthology Four Rooms (1995) with friends and fellow auteurs Alexandre Rockwell, Robert Rodriguez and Allison Anders. The film opened December 25 in the United States to very weak reviews. Tarantino's next film was From Dusk Till Dawn (1996), a vampire/crime story which he wrote and co-starred with George Clooney. The film did fairly well theatrically.
Since then, Tarantino has helmed several critically and financially successful films, including Jackie Brown (1997), Kill Bill: Vol. 1 (2003), Kill Bill: Vol. 2 (2004), Inglourious Basterds (2009), Django Unchained (2012) and The Hateful Eight (2015).- Writer
- Director
- Producer
Originally planning to become a lawyer, Billy Wilder abandoned that career in favor of working as a reporter for a Viennese newspaper, using this experience to move to Berlin, where he worked for the city's largest tabloid. He broke into films as a screenwriter in 1929 and wrote scripts for many German films until Adolf Hitler came to power in 1933. Wilder immediately realized his Jewish ancestry would cause problems, so he emigrated to Paris, then the US. Although he spoke no English when he arrived in Hollywood, Wilder was a fast learner and thanks to contacts such as Peter Lorre (with whom he shared an apartment), he was able to break into American films. His partnership with Charles Brackett started in 1938 and the team was responsible for writing some of Hollywood's classic comedies, including Ninotchka (1939) and Ball of Fire (1941). The partnership expanded into a producer-director one in 1942, with Brackett producing and the two turned out such classics as Five Graves to Cairo (1943), The Lost Weekend (1945) (Oscars for Best Picture, Director and Screenplay) and Sunset Boulevard (1950) (Oscars for Best Screenplay), after which the partnership dissolved. (Wilder had already made one film, Double Indemnity (1944) without Brackett, as the latter had refused to work on a film he felt dealt with such disreputable characters.) Wilder's subsequent self-produced films would become more caustic and cynical, notably Ace in the Hole (1951), though he also produced such sublime comedies as Some Like It Hot (1959) and The Apartment (1960) (which won him Best Picture and Director Oscars). He retired in 1981.- Director
- Cinematographer
- Producer
Victor Fleming entered the film business as a stuntman in 1910, mainly doing stunt driving - which came easy to him, as he had been a mechanic and professional race-car driver. He became interested in working on the other side of the camera, and eventually got a job as a cameraman on many of the films of Douglas Fairbanks. He soon began directing, and his first big hit was The Virginian (1929). It was the movie that turned Gary Cooper into a star (a fact Cooper never forgot; he and Fleming remained friends for life). Fleming's star continued to rise during the '30s, and he was responsible for many of the films that would eventually be considered classics, such as Red Dust (1932), Bombshell (1933), Treasure Island (1934), and the two films that were the high marks of his career: Gone with the Wind (1939) and The Wizard of Oz (1939). Ironically Fleming was brought in on both pictures to replace other directors and smooth out the troubled productions, a feat he accomplished masterfully. His career took somewhat of a downturn in the '40s, and most of his films, with the exception of Dr. Jekyll and Mr. Hyde (1941), weren't particularly successful. He ended his career with the troubled production Joan of Arc (1948), which turned out to be a major critical and financial failure.- Director
- Producer
- Writer
Alfred Joseph Hitchcock was born in Leytonstone, Essex, England. He was the son of Emma Jane (Whelan; 1863 - 1942) and East End greengrocer William Hitchcock (1862 - 1914). His parents were both of half English and half Irish ancestry. He had two older siblings, William Hitchcock (born 1890) and Eileen Hitchcock (born 1892). Raised as a strict Catholic and attending Saint Ignatius College, a school run by Jesuits, Hitch had very much of a regular upbringing. His first job outside of the family business was in 1915 as an estimator for the Henley Telegraph and Cable Company. His interest in movies began at around this time, frequently visiting the cinema and reading US trade journals.
Hitchcock entering the film industry in 1919 as a title card designer. It was there that he met Alma Reville, though they never really spoke to each other. It was only after the director for Always Tell Your Wife (1923) fell ill and Hitchcock was named director to complete the film that he and Reville began to collaborate. Hitchcock had his first real crack at directing a film, start to finish, in 1923 when he was hired to direct the film Number 13 (1922), though the production wasn't completed due to the studio's closure (he later remade it as a sound film). Hitchcock didn't give up then. He directed The Pleasure Garden (1925), a British/German production, which was very popular. Hitchcock made his first trademark film in 1927, The Lodger: A Story of the London Fog (1927) . In the same year, on the 2nd of December, Hitchcock married Alma Reville. They had one child, Patricia Hitchcock who was born on July 7th, 1928. His success followed when he made a number of films in Britain such as The Lady Vanishes (1938) and Jamaica Inn (1939), some of which also gained him fame in the USA.
In 1940, the Hitchcock family moved to Hollywood, where the producer David O. Selznick had hired him to direct an adaptation of 'Daphne du Maurier''s Rebecca (1940). After Saboteur (1942), as his fame as a director grew, film companies began to refer to his films as 'Alfred Hitchcock's', for example Alfred Hitcock's Psycho (1960), Alfred Hitchcock's Family Plot (1976), Alfred Hitchcock's Frenzy (1972).
Hitchcock was a master of pure cinema who almost never failed to reconcile aesthetics with the demands of the box-office.
During the making of Frenzy (1972), Hitchcock's wife Alma suffered a paralyzing stroke which made her unable to walk very well. On March 7, 1979, Hitchcock was awarded the AFI Life Achievement Award, where he said: "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen and their names are Alma Reville." By this time, he was ill with angina and his kidneys had already started to fail. He had started to write a screenplay with Ernest Lehman called The Short Night but he fired Lehman and hired young writer David Freeman to rewrite the script. Due to Hitchcock's failing health the film was never made, but Freeman published the script after Hitchcock's death. In late 1979, Hitchcock was knighted, making him Sir Alfred Hitchcock. On the 29th April 1980, 9:17AM, he died peacefully in his sleep due to renal failure. His funeral was held in the Church of Good Shepherd in Beverly Hills. Father Thomas Sullivan led the service with over 600 people attended the service, among them were Mel Brooks (director of High Anxiety (1977), a comedy tribute to Hitchcock and his films), Louis Jourdan, Karl Malden, Tippi Hedren, Janet Leigh and François Truffaut.- Director
- Animation Department
- Producer
Émile Reynaud was a French inventor born in Montreuil, Paris to Brutus Reynaud, an engineer who moved to Paris from Le Puy-en-Velay in 1842, and Marie-Caroline Bellanger, a former schoolteacher who educated Émile at home and taught him drawing and painting techniques. By 1862 he started his own career as a photographer in Paris. When his father died, him and mother both left Paris for Le Puy-en-Velay. He was taught Latin, Greek, physics, chemistry, mechanics, and natural sciences by his uncle, a doctor in the area. After reading a series of 1876 articles about optical illusion devices, he created the praxinoscope (an animation device) out of a cookie box and patented it in 1877. He started production on the device in Paris and was a financial success. He perfected the praxinoscope and invented Théâtre Optique (Optical Theatre), an animated moving picture system, which is also notable for the first known use of film perforations, and patented it in 1888. Its first regular public screenings started on 28 October 1892 with his series of animated films called Pantomimes Lumineuses. In 1895 he created the photo-scénographe, a version of the théâtre optique that could take photographs, but it was overshadowed by the cinematograph of Auguste Lumière and Louis Lumière. Later, due to the success of other filmmakers the popularity of Reynaud's showings was reduced and they ended on 1 March 1900. He destroyed the théâtre optique during a fit of despair and years later he threw most of his films into the Siene. On 16 October 1902 he patented the stéréo-cinéma, a stereo camera that could take 3D film. He made several films with the camera, but was unable to find financial backing. During World War I he lived in hospitals and nursing homes before dying on 9 January 1918.- Director
- Actor
- Producer
Georges Méliès was a French illusionist and film director famous for leading many technical and narrative developments in the earliest days of cinema.
Méliès was an especially prolific innovator in the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color.
His films include A Trip to the Moon (1902) and An Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films.
Méliès died of cancer on 21 January 1938 at the age of 76.
In 2016, a Méliès film long thought lost, A Wager Between Two Magicians, or, Jealous of Myself (1904), was discovered in a Czechoslovak film archive.- Director
- Cinematographer
- Writer
In the late 1890s Porter worked as both a projectionist and mechanic, eventually becoming director and cameraman for the Edison Manufacturing Company. Influenced by both the "Brighton school" and the story films of Georges Méliès, Porter went on to make important shorts such as Life of an American Fireman (1903) and The Great Train Robbery (1903). In them, he helped to develop the modern concept of continuity editing, paving the way for D.W. Griffith who would expand on Porter's discovery that the unit of film structure was the shot rather than the scene. Porter, in an attempt to resist the new industrial system born out of the popularity of nickelodeons, left Edison in 1909 to form his own production company which he eventually sold in 1912.- Writer
- Actor
He is a professor of semiotics, the study of communication through signs and symbols, at the University of Bologna. Also a philiosopher, a historian, literary critic, and an aesthetician. He is an avid book collector and owns more than 30,000 volumes. The subjects of his scholarly investigations range from St. Thomas Aquinas, to James Joyce, to Superman. He lives in Milan.- Writer
- Actor
One of the most important Argentinian writers of all time, Julio Cortazar was born in Belgium. When he was a child he went with his parents to Argentina. She stayed in Buenos Aires until 1951, when he went to Paris and he stayed in France until his death. His first book of short stories was "Bestiario" published in 1951. After this, he wrote many books of short stories like "Final del Juego" (1956), "Todos los fuegos el fuego" (1966), "Las armas secretas" (1964). In this last book he wrote the story "El perseguidor" based in the life of the great alto sax player Charlie Parker. His most celebrated book was the novel "Rayuela" (1963). His short story "Las Babas del Diablo" was adapted by Michelangelo Antonioni into the the movie Blow-Up (1966). "La autopista del sur" inspired the movie Weekend (1967) directed by Jean-Luc Godard.- Writer
- Actor
- Soundtrack
Borges was born into an upper class family, and received his education in Buenos Aires, Cambridge, and Geneva. He began writing as a student, and when in 1918 he settled in Spain, it was as a member of an experimental literary group. He returned to Argentina in 1921, and had his first poems published in 1923. He loved Buenos Aires. He lost his eyesight during the 1950's, but continued to write prolifically. His works have been translated into many languages. Brilliant, courtly, and thoughtful, Borges was director of the National Library of Argentina for many years. A month before his death he married Maria Kodama, with whom he had collaborated on his last book.- Actress
- Writer
- Producer
Ángeles Mastretta is known for Tear This Heart Out (2008), Tabacotla (2008) and Made In Mexico (2012).- Producer
- Additional Crew
- Director
Timothy Walter Burton was born in Burbank, California, to Jean Rae (Erickson), who owned a cat-themed gift shop, and William Reed Burton, who worked for the Burbank Park and Recreation Department. He spent most of his childhood as a recluse, drawing cartoons, and watching old movies (he was especially fond of films with Vincent Price). When he was in the ninth grade, his artistic talent was recognized by a local garbage company, when he won a prize for an anti-litter poster he designed. The company placed this poster on all of their garbage trucks for a year. After graduating from high school, he attended California Institute of the Arts. Like so many others who graduated from that school, Burton's first job was as an animator for Disney.
His early film career was fueled by almost unbelievable good luck, but it's his talent and originality that have kept him at the top of the Hollywood tree. He worked on such films as The Fox and the Hound (1981) and The Black Cauldron (1985), but had some creative differences with his colleagues. Nevertheless, Disney recognized his talent, and gave him the green light to make Vincent (1982), an animated short about a boy who wanted to be just like Vincent Price. Narrated by Price himself, the short was a critical success and won several awards. Burton made a few other short films, including his first live-action film, Frankenweenie (1984). A half-hour long twist on the tale of Frankenstein, it was deemed inappropriate for children and wasn't released. But actor Paul Reubens (aka Pee-Wee Herman) saw Frankenweenie (1984), and believed that Burton would be the right man to direct him in his first full-length feature film, Pee-wee's Big Adventure (1985). The film was a surprise success, and Burton instantly became popular. However, many of the scripts that were offered to him after this were essentially just spin-offs of the film, and Burton wanted to do something new.
For three years, he made no more films, until he was presented with the script for Beetlejuice (1988). The script was wild and wasn't really about anything, but was filled with such artistic and quirky opportunities, Burton couldn't say no. Beetlejuice (1988) was another big hit, and Burton's name in Hollywood was solidified. It was also his first film with actor Michael Keaton. Warner Bros. then entrusted him with Batman (1989), a film based on the immensely popular comic book series of the same name. Starring Michael Keaton and Jack Nicholson, the film was the most financially successful film of the year and Burton's biggest box-office hit to date. Due to the fantastic success of his first three films, he was given the green light to make his next film, any kind of film he wanted. That film was Edward Scissorhands (1990), one of his most emotional, esteemed and artistic films to date. Edward Scissorhands (1990) was also Burton's first film with actor Johnny Depp. Burton's next film was Batman Returns (1992), and was darker and quirkier than the first one, and, while by no means a financial flop, many people felt somewhat disappointed by it. While working on Batman Returns (1992), he also produced the popular The Nightmare Before Christmas (1993), directed by former fellow Disney Animator Henry Selick. Burton reunited with Johnny Depp on the film Ed Wood (1994), a film showered with critical acclaim, Martin Landau won an academy award for his performance in it, and it is very popular now, but flopped during its initial release. Burton's subsequent film, Mars Attacks! (1996), had much more vibrant colors than his other films. Despite being directed by Burton and featuring all-star actors including Jack Nicholson, Glenn Close, Pierce Brosnan and Michael J. Fox, it received mediocre reviews and wasn't immensely popular at the box office, either.
Burton returned to his darker and more artistic form with the film Sleepy Hollow (1999), starring Johnny Depp, Christina Ricci and Casper Van Dien. The film was praised for its art direction and was financially successful, redeeming Burton of the disappointment many had felt by Mars Attacks! (1996). His next film was Planet of the Apes (2001), a remake of the classic of the same name. The film was panned by many critics but was still financially successful. While on the set of Planet of the Apes (2001), Burton met Helena Bonham Carter, with whom he has two children. Burton directed the film Big Fish (2003) - a much more conventional film than most of his others, it received a good deal of critical praise, although it disappointed some of his long-time fans who preferred the quirkiness of his other, earlier films. Despite the fluctuations in his career, Burton proved himself to be one of the most popular directors of the late 20th century. He directed Johnny Depp once again in Charlie and the Chocolate Factory (2005), a film as quirky anything he's ever done.- Writer
- Producer
- Director
Guillermo del Toro was born October 9, 1964 in Guadalajara, Jalisco, Mexico. Raised by his Catholic grandmother, del Toro developed an interest in filmmaking in his early teens. Later, he learned about makeup and effects from the legendary Dick Smith (The Exorcist (1973)) and worked on making his own short films. At the age of 21, del Toro executive produced his first feature, Dona Herlinda and Her Son (1985). Del Toro spent almost 10 years as a makeup supervisor, and formed his own company, Necropia in the early 1980s. He also produced and directed Mexican television programs at this time, and taught film.
Del Toro got his first big break when Cronos (1992) won nine Ariel Awards (the Mexican equivalent of the Oscars), then went on to win the International Critics Week Prize at Cannes. Following this success, del Toro made his first Hollywood film, Mimic (1997), starring Mira Sorvino.
Del Toro had some unfortunate experiences working with a demanding Hollywood studio on Mimic (1997), and returned to Mexico to form his own production company, The Tequila Gang.
Next for del Toro, was The Devil's Backbone (2001), a Spanish Civil War ghost story. The film was hailed by critics and audiences alike, and del Toro decided to give Hollywood another try. In 2002, he directed the Wesley Snipes vampire sequel, Blade II (2002).
On a roll, Del Toro followed up Blade II (2002) with another successful comic-book inspired film, Hellboy (2004), starring one of Del Toro's favorite actors, Ron Perlman.
Del Toro is divorced, has a daughter and a son and lives in Los Angeles and Toronto.- Producer
- Director
- Writer
Francis Ford Coppola was born in 1939 in Detroit, Michigan, but grew up in a New York suburb in a creative, supportive Italian-American family. His father, Carmine Coppola, was a composer and musician. His mother, Italia Coppola (née Pennino), had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as sound-man, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola's first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of "This Property is Condemned" by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning? (1966) and Patton (1970), the film for which Coppola won a Best Original Screenplay Academy Award. In 1966, Coppola's 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George Lucas established American Zoetrope, an independent film production company based in San Francisco. The company's first project was THX 1138 (1971), produced by Coppola and directed by Lucas. Coppola also produced the second film that Lucas directed, American Graffiti (1973), in 1973. This movie got five Academy Award nominations, including one for Best Picture. In 1971, Coppola's film The Godfather (1972) became one of the highest-grossing movies in history and brought him an Oscar for writing the screenplay with Mario Puzo The film was a Best Picture Academy Award-winner, and also brought Coppola a Best Director Oscar nomination. Following his work on the screenplay for The Great Gatsby (1974), Coppola's next film was The Conversation (1974), which was honored with the Golden Palm Award at the Cannes Film Festival, and brought Coppola Best Picture and Best Original Screenplay Oscar nominations. Also released that year, The Godfather Part II (1974), rivaled the success of The Godfather (1972), and won six Academy Awards, bringing Coppola Oscars as a producer, director and writer. Coppola then began work on his most ambitious film, Apocalypse Now (1979), a Vietnam War epic that was inspired by Joseph Conrad's Heart of Darkness (1993). Released in 1979, the acclaimed film won a Golden Palm Award at the Cannes Film Festival, and two Academy Awards. Also that year, Coppola executive produced the hit The Black Stallion (1979). With George Lucas, Coppola executive produced Kagemusha: The Shadow Warrior (1980), directed by Akira Kurosawa, and Mishima: A Life in Four Chapters (1985), directed by Paul Schrader and based on the life and writings of Yukio Mishima. Coppola also executive produced such films as The Escape Artist (1982), Hammett (1982) The Black Stallion Returns (1983), Barfly (1987), Wind (1992), The Secret Garden (1993), etc.
He helped to make a star of his nephew, Nicolas Cage. Personal tragedy hit in 1986 when his son Gio died in a boating accident. Francis Ford Coppola is one of America's most erratic, energetic and controversial filmmakers.- Producer
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Taika Waititi, also known as Taika Cohen, hails from the Raukokore region of the East Coast of the North Island of New Zealand, and is the son of Robin (Cohen), a teacher, and Taika Waititi, an artist and farmer. His father is Maori (Te-Whanau-a-Apanui), and his mother is of Ashkenazi Jewish, Irish, Scottish, and English descent. Taika has been involved in the film industry for several years, initially as an actor, and now focusing on writing and directing.
Two Cars, One Night is Taika's first professional film-making effort and since its completion in 2003 he has finished another short "Tama Tu" about a group of Maori Soldiers in Italy during World War 2. As a performer and comedian, Taika has been involved in some of the most innovative and successful original productions seen in New Zealand. He regularly does stand-up gigs in and around the country and in 2004 launched his solo production, "Taika's Incredible Show". In 2005 he staged the sequel, "Taika's Incrediblerer Show". As an actor, Taika has been critically acclaimed for both his Comedic and Dramatic abilities. In 2000 he was nominated for Best Actor at the Nokia Film Awards for his role in the Sarkies Brother's film "Scarfies".
Taika is also an experienced painter and photographer, having exhibited both mediums in Wellington and Berlin, and a fashion designer. He attended the Sundance Writers Lab with "Choice", a feature loosely based on "Two Cars, One Night".
Taika became a blockbuster director with his film Thor: Ragnarok (2017), and received critical acclaim, and a Best Adapted Screenplay Oscar, for his film Jojo Rabbit (2019).- Writer
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Best known for his cerebral, often nonlinear, storytelling, acclaimed Academy Award winner writer/director/producer Sir Christopher Nolan CBE was born in London, England. Over the course of more than 25 years of filmmaking, Nolan has gone from low-budget independent films to working on some of the biggest blockbusters ever made and became one of the most celebrated filmmakers of modern cinema.
At 7 years old, Nolan began making short films with his father's Super-8 camera. While studying English Literature at University College London, he shot 16-millimeter films at U.C.L.'s film society, where he learned the guerrilla techniques he would later use to make his first feature, Following (1998), on a budget of around $6,000. The noir thriller was recognized at a number of international film festivals prior to its theatrical release and gained Nolan enough credibility that he was able to gather substantial financing for his next film.
Nolan's second film was Memento (2000), which he directed from his own screenplay based on a short story by his brother Jonathan Nolan. Starring Guy Pearce, the film brought Nolan numerous honors, including Academy Award and Golden Globe Award nominations for Best Original Screenplay. Nolan went on to direct the critically acclaimed psychological thriller, Insomnia (2002), starring Al Pacino, Robin Williams and Hilary Swank.
The turning point in Nolan's career occurred when he was awarded the chance to revive the Batman franchise in 2005. In Batman Begins (2005), Nolan brought a level of gravitas back to the iconic hero, and his gritty, modern interpretation was greeted with praise from fans and critics alike. Before moving on to a Batman sequel, Nolan directed, co-wrote, and produced the mystery thriller The Prestige (2006), starring Christian Bale and Hugh Jackman as magicians whose obsessive rivalry leads to tragedy and murder.
In 2008, Nolan directed, co-wrote, and produced The Dark Knight (2008). Co-written with by his brother Jonathan, the film went on to gross more than a billion dollars at the worldwide box office. Nolan was nominated for a Directors Guild of America (D.G.A.) Award, Writers Guild of America (W.G.A.) Award and Producers Guild of America (P.G.A.) Award, and the film also received eight Academy Award nominations. The film is widely considered one of the best comic book adaptations of all times, with Heath Ledger's performance as the Joker receiving an extremely high acclaim. Ledger posthumously became the first Academy Award winning performance in a Nolan film.
In 2010, Nolan captivated audiences with the Sci-Fi thriller Inception (2010), starring Leonardo DiCaprio in the lead role, which he directed and produced from his own original screenplay that he worked on for almost a decade. The thought-provoking drama was a worldwide blockbuster, earning more than $800,000,000 and becoming one of the most discussed and debated films of the year, and of all times. Among its many honors, Inception received four Academy Awards and eight nominations, including Best Picture and Best Screenplay. Nolan was recognized by his peers with a W.G.A. Award accolade, as well as D.G.A. and P.G.A. Awards nominations for his work on the film.
As one of the best-reviewed and highest-grossing movies of 2012, The Dark Knight Rises (2012) concluded Nolan's Batman trilogy. Due to his success rebooting the Batman character, Warner Bros. enlisted Nolan to produce their revamped Superman movie Man of Steel (2013), which opened in the summer of 2013. In 2014, Nolan directed, wrote, and produced the Science-Fiction epic Interstellar (2014), starring Matthew McConaughey, Anne Hathaway and Jessica Chastain. Paramount Pictures and Warner Bros. released the film on November 5, 2014, to positive reviews and strong box-office results, grossing over $670 million dollars worldwide.
In July 2017, Nolan released his acclaimed War epic Dunkirk (2017), that earned him his first Best Director nomination at the Academy Awards, as well as winning an additional 3 Oscars. In 2020 he released his mind-bending Sci-Fi espionage thriller Tenet (2020) starring John David Washington in the lead role. Released during the COVID-19 pandemic, the movie grossed relatively less than Nolan's previous blockbusters, though it did do good numbers compared to other movies in that period of time. Hailed as Nolan's most complex film yet, the film was one of Nolan's less-acclaimed films at the time, yet slowly built a fan-base following in later years.
In July 2023, Nolan released his highly acclaimed biographic drama Oppenheimer (2023) starring Nolan's frequent collaborator Cillian Murphy- in the lead role for the first time in a Nolan film. The movie was a cultural phenomenon that on top of grossing almost 1 billion dollars at the Worldwide Box office, also swept the 2023/2024 award-season and gave Nolan his first Oscars, BAFTAs, Golden Globes, D.G.A. and P.G.A. Awards, as well as a handful of regional critics-circles awards and a W.G.A. nomination. Cillian's performance as quantum physicist J. Robert Oppenheimer was highly acclaimed as well, and became the first lead performance in a Nolan film to win the Academy Award.
During 2023, Nolan also received a fellowship from the British Film Institute (BFI). In March 2024, it was announced that Nolan is to be knighted by King Charles III and from now on will go by the title 'Sir Christopher Nolan'.
Nolan resides in Los Angeles, California with his wife, Academy Award winner producer Dame Emma Thomas, and their children. Sir Nolan and Dame Thomas also have their own production company, Syncopy.- Director
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F.W. Murnau was a German film director. He was greatly influenced by Schopenhauer, Nietzsche, Shakespeare and Ibsen plays he had seen at the age of 12, and became a friend of director Max Reinhardt. During World War I he served as a company commander at the eastern front and was in the German air force, surviving several crashes without any severe injuries.
One of Murnau's acclaimed works is the 1922 film Nosferatu, an adaptation of Bram Stoker's Dracula. Although not a commercial success due to copyright issues with Stoker's novel, the film is considered a masterpiece of Expressionist film.
He later emigrated to Hollywood in 1926, where he joined the Fox Studio and made three films: Sunrise (1927), 4 Devils (1928) and City Girl (1930). The first of these three is widely regarded as one of the greatest films ever made.
In 1931 Murnau travelled to Bora Bora to make the film Tabu (1931) with documentary film pioneer Robert J. Flaherty, who left after artistic disputes with Murnau, who had to finish the movie on his own. A week prior to the opening of the film Tabu, Murnau died in a Santa Barbara hospital from injuries he had received in an automobile accident that occurred along the Pacific Coast Highway near Rincon Beach, southeast of Santa Barbara. Only 11 people attended his funeral. Among them were Robert J. Flaherty, Emil Jannings, Greta Garbo and Fritz Lang, who delivered the eulogy.
Of the 21 films Murnau directed, eight are considered to be completely lost.
In July 2015 Murnau's grave was broken into, the remains disturbed and the skull removed by persons unknown. Wax residue was reportedly found at the site, leading some to speculate that candles had been lit, perhaps with an occult or ceremonial significance. As this disturbance was not an isolated incident, the cemetery managers are considering sealing the grave.- Second Unit Director or Assistant Director
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Sergio Leone was virtually born into the cinema - he was the son of Roberto Roberti (A.K.A. Vincenzo Leone), one of Italy's cinema pioneers, and actress Bice Valerian. Leone entered films in his late teens, working as an assistant director to both Italian directors and U.S. directors working in Italy (usually making Biblical and Roman epics, much in vogue at the time). Towards the end of the 1950s he started writing screenplays, and began directing after taking over The Last Days of Pompeii (1959) in mid-shoot after its original director fell ill. His first solo feature, The Colossus of Rhodes (1961), was a routine Roman epic, but his second feature, A Fistful of Dollars (1964), a shameless remake of Akira Kurosawa's Yojimbo (1961), caused a revolution. It was the first Spaghetti Western, and shot T.V. cowboy Clint Eastwood to stardom (Leone wanted Henry Fonda or Charles Bronson but couldn't afford them). The two sequels, For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966), were shot on much higher budgets and were even more successful, though his masterpiece, Once Upon a Time in the West (1968), in which Leone finally worked with Fonda and Bronson, was mutilated by Paramount Pictures and flopped at the U.S. box office. He directed Duck, You Sucker! (1971) reluctantly (as producer he hired Peter Bogdanovich to direct but he left before shooting began), and turned down offers to direct The Godfather (1972) in favor of his dream project, which became Once Upon a Time in America (1984). He died in 1989 after preparing an even more expensive Soviet co-production on the World War II siege of Leningrad.- Producer
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Terrence Malick was born in Ottawa, Illinois. His family subsequently lived in Oklahoma and he went to school in Austin, Texas. He did his undergraduate work at Harvard, graduating summa cum laude with a degree in philosophy in 1965.
A member of the Phi Beta Kappa honor society, he attended Magdalen College, Oxford on a Rhodes scholarship, but did not finish his thesis on Martin Heidegger, allegedly because of a disagreement with his advisor. Returning to the States, he taught philosophy at M.I.T. and published a translation of Heidegger's "Vom Wesen des Grundes" as "The Essence of Reasons". Malick did not get his PhD in philosophy: Instead, he attended the American Film Institute Conservatory in its inaugural year (1969), taking a Masters of Fine Arts degree in film-making. His masters thesis was the seventeen-minute comedy short Lanton Mills (1969), which starred Warren Oates and Harry Dean Stanton. Malick himself acted in the short.
At A.F.I., Malick made a lasting association with Jack Fisk, who would establish himself as an Oscar-nominated art director and production designer and serve as art director on all of Malick's films. He also picked up Mike Medavoy as an agent, who got Malick work doctoring scripts and marketed his original ones. He wrote the screenplay for the 1972 Alan Arkin trucker movie Deadhead Miles (1972), which was many miles from Harvard let along Oxford, and for the 1972 Paul Newman-Lee Marvin contemporary oater Pocket Money (1972), another departure from fields of academia. "Deadhead Miles" was dumped by Paramount as unreleasable and "Pocket Money", despite being headlined by two Top Ten Box Office stars, flopped. It was an inauspicious start to a legendary career, but it influenced Malick to begin directing his own scripts.
His first two films were the now critically acclaimed Badlands (1973) and Days of Heaven (1978). He then took a self-imposed retirement of nearly two decades from film-making before lensing his 1998 adaptation of James Jones's The Thin Red Line (1998), which was nominated for 7 Academy Awards, including nods for Malick for directing and adapted screenplay.
Adopting a Kubrickian pace of movie-making, he directed The New World (2005) and the autobiographical The Tree of Life (2011) with gaps of only seven and six years, respectively, between release. However, he reportedly was working on ideas for "The Tree of Life" since the late 70s, including exposing footage that found its way into his finished film.
In an unprecedented burst of productivity, he shot his next four films, To the Wonder (2012), Knight of Cups (2015), an as-yet unnamed drama and the cosmic documentary Voyage of Time: Life's Journey (2016) back-to-back during and immediately after completing the long editing process of "Tree of Life". Like Stanley Kubrick, Malick usually takes well over a year to edit his films. All three are highly anticipated by cineastes the world over.- Writer
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The father of cinematic Surrealism and one of the most original directors in the history of the film medium, Luis Buñuel was given a strict Jesuit education (which sowed the seeds of his obsession with both religion and subversive behavior), and subsequently moved to Madrid to study at the university there, where his close friends included Salvador Dalí and Federico García Lorca.
After moving to Paris, Buñuel did a variety of film-related odd jobs in Paris, including working as an assistant to director Jean Epstein. With financial assistance from his mother and creative assistance from Dalí, he made his first film, the 17-minute Un chien andalou (1929), in 1929, and immediately catapulted himself into film history thanks to its shocking imagery (much of which - like the sliced eyeball at the beginning - still packs a punch even today). It made a deep impression on the Surrealist Group, who welcomed Buñuel into their ranks.
The following year, sponsored by wealthy art patrons, he made his first feature, the scabrous witty and violent L'Age d'Or (1930), which mercilessly attacked the church and the middle classes, themes that would preoccupy Buñuel for the rest of his career. That career, though, seemed almost over by the mid-1930s, as he found work increasingly hard to come by and after the Spanish Civil War he emigrated to the US where he worked for the Museum of Modern Art and as a film dubber for Warner Bros.
Moving to Mexico in the late 1940s, he teamed up with producer Óscar Dancigers and after a couple of unmemorable efforts shot back to international attention with the lacerating study of Mexican street urchins in The Young and the Damned (1950), winning him the Best Director award at the Cannes Film Festival.
But despite this new-found acclaim, Buñuel spent much of the next decade working on a variety of ultra-low-budget films, few of which made much impact outside Spanish-speaking countries (though many of them are well worth seeking out). But in 1961, General Franco, anxious to be seen to be supporting Spanish culture invited Buñuel back to his native country - and Bunuel promptly bit the hand that fed him by making Viridiana (1961), which was banned in Spain on the grounds of blasphemy, though it won the Palme d'Or at the Cannes Film Festival.
This inaugurated Buñuel's last great period when, in collaboration with producer Serge Silberman and writer Jean-Claude Carrière he made seven extraordinary late masterpieces, starting with Diary of a Chambermaid (1964). Although far glossier and more expensive, and often featuring major stars such as Jeanne Moreau and Catherine Deneuve, the films showed that even in old age Buñuel had lost none of his youthful vigour.
After saying that every one of his films from Belle de Jour (1967) onwards would be his last, he finally kept his promise with That Obscure Object of Desire (1977), after which he wrote a memorable (if factually dubious) autobiography, in which he said he'd be happy to burn all the prints of all his films- a classic Surrealist gesture if ever there was one.
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Edgar Allan Poe was born on January 19, 1809, in Boston, Massachusetts. His father, named David Poe Jr., and his mother, named Elizabeth Arnold Hopkins Poe, were touring actors. Both parents died in 1811, and Poe became an orphan before he was 3 years old. He was adopted by John Allan, a tobacco merchant in Richmond, Virginia, and was sent to a boarding school in London, England. He later attended the University of Virginia for one year, but dropped out and ran up massive gambling debts after spending all of his tuition money. John Allan broke off Poe's engagement to his fiancée Sarah Royster. Poe was heartbroken, traumatized, and broke. He had no way out and enlisted in the army in May of 1827. At the same time Poe published his first book, "Tamerlane and Other Poems" (1827). In 1829, he became a West Point cadet, but was dismissed after 6 months for disobedience. By that time he published "Al Aaraf" (1929) and "Poems by Edgar A. Poe" (1831), with the funds contributed by his fellow cadets. His early poetry, though written in the manner of Lord Byron, already shows the musical effects of his verses.
Poe moved in with his widowed aunt, Maria Clemm, and her teenage daughter, Virginia Eliza Clemm, whom he married before she was 14 years old. He earned respect as a critic and writer. In his essays "The Poetic Principle" and "The Philosophy of Composition," Poe formulated important literary theories. But his career suffered from his compulsive behavior and from alcoholism. He did produce, however, a constant flow of highly musical poems, of which "The Raven" (1845) and "The Bells" (1849) are the finest examples. Among his masterful short stories are "Ligeia" (1838), "The Fall of the House of Usher"(1839) and "The Masque of the Red Death". Following his own theory of creating "a certain unique or single effect", Poe invented the genre of the detective story. His works: "The Murder in the Rue Morgue" (1841) is probably the first detective story ever published.
Just when his life began to settle, Poe was devastated by the death of his wife Virginia in 1847. Two years later he returned to Richmond and resumed a relationship with his former fiancée, Sarah Royster, who, by that time, was a widow. But shortly after their happy reconciliation he was found unconscious on a street in Baltimore. Poe was taken to the Washington College Hospital where Doctor John Moran diagnosed "lesions on the brain" (the Doctor believed Poe was mugged). He died 4 days later, briefly coming in and out of consciousness, just to whisper his last words, "Lord, help my poor soul." The real cause of his death is still unknown and his death certificate has disappeared. Poe's critic and personal enemy, named Rufus Griswold, published an insulting obituary; later he visited Poe's home and took away all of the writer's manuscripts (which he never returned), and published his "Memoir" of Poe, in which he forged a madman image of the writer.
The name of the woman in Poe's poem "Annabel Lee" was used by Vladimir Nabokov in 'Lolita' as the name for Humbert's first love, Annabelle Leigh. Nabokov also used in 'Lolita' some phrases borrowed from the poem of Edgar Allan Poe. "The Fall of the House of Usher" was set to music by Claude Debussy as an opera. Sergei Rachmaninoff created a musical tribute to Poe by making his favorite poem "The Bells" into the eponymous Choral Symphony.- Writer
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Stephen Edwin King was born on September 21, 1947, at the Maine General Hospital in Portland. His parents were Nellie Ruth (Pillsbury), who worked as a caregiver at a mental institute, and Donald Edwin King, a merchant seaman. His father was born under the surname "Pollock," but used the last name "King," under which Stephen was born. He has an older brother, David. The Kings were a typical family until one night, when Donald said he was stepping out for cigarettes and was never heard from again. Ruth took over raising the family with help from relatives. They traveled throughout many states over several years, finally moving back to Durham, Maine, in 1958.
Stephen began his actual writing career in January of 1959, when David and Stephen decided to publish their own local newspaper named "Dave's Rag". David bought a mimeograph machine, and they put together a paper they sold for five cents an issue. Stephen attended Lisbon High School, in Lisbon, in 1962. Collaborating with his best friend Chris Chesley in 1963, they published a collection of 18 short stories called "People, Places, and Things--Volume I". King's stories included "Hotel at the End of the Road", "I've Got to Get Away!", "The Dimension Warp", "The Thing at the Bottom of the Well", "The Stranger", "I'm Falling", "The Cursed Expedition", and "The Other Side of the Fog." A year later, King's amateur press, Triad and Gaslight Books, published a two-part book titled "The Star Invaders".
King made his first actual published appearance in 1965 in the magazine Comics Review with his story "I Was a Teenage Grave Robber." The story ran about 6,000 words in length. In 1966 he graduated from high school and took a scholarship to attend the University of Maine. Looking back on his high school days, King recalled that "my high school career was totally undistinguished. I was not at the top of my class, nor at the bottom." Later that summer King began working on a novel called "Getting It On", about some kids who take over a classroom and try unsuccessfully to ward off the National Guard. During his first year at college, King completed his first full-length novel, "The Long Walk." He submitted the novel to Bennett Cerf/Random House only to have it rejected. King took the rejection badly and filed the book away.
He made his first small sale--$35--with the story "The Glass Floor". In June 1970 King graduated from the University of Maine with a Bachelor of Science degree in English and a certificate to teach high school. King's next idea came from the poem by Robert Browning, "Childe Roland to the Dark Tower Came." He found bright colored green paper in the library and began work on "The Dark Tower" saga, but his chronic shortage of money meant that he was unable to further pursue the novel, and it, too, was filed away. King took a job at a filling station pumping gas for the princely sum of $1.25 an hour. Soon he began to earn money for his writings by submitting his short stories to men's magazines such as Cavalier.
On January 2, 1971, he married Tabitha King (born Tabitha Jane Spruce). In the fall of 1971 King took a teaching job at Hampden Academy, earning $6,400 a year. The Kings then moved to Hermon, a town west of Bangor. Stephen then began work on a short story about a teenage girl named Carietta White. After completing a few pages, he decided it was not a worthy story and crumpled the pages up and tossed them into the trash. Fortunately, Tabitha took the pages out and read them. She encouraged her husband to continue the story, which he did. In January 1973 he submitted "Carrie" to Doubleday. In March Doubleday bought the book. On May 12 the publisher sold the paperback rights for the novel to New American Library for $400,000. His contract called for his getting half of that sum, and he quit his teaching job to pursue writing full time. The rest, as they say, is history.
Since then King has had numerous short stories and novels published and movies made from his work. He has been called the "Master of Horror". His books have been translated into 33 different languages, published in over 35 different countries. There are over 300 million copies of his novels in publication. He continues to live in Bangor, Maine, with his wife, and writes out of his home.
In June 1999 King was severely injured in an accident, he was walking alongside a highway and was hit by a van, that left him in critical condition with injuries to his lung, broken ribs, a broken leg and a severely fractured hip. After three weeks of operations, he was released from the Central Maine Medical Center in Lewiston.- Director
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Louis Delluc was born on 14 October 1890 in Le Buisson-de-Cadouin, Dordogne, France. He was a director and writer, known for Fumée noire (1920), L'inondation (1924) and The Woman from Nowhere (1922). He was married to Ève Francis. He died on 22 March 1924 in Paris, France.- Director
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Jean Epstein was born on 25 March 1897 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. He was a director and writer, known for The Fall of the House of Usher (1928), Mauprat (1926) and Le lion des Mogols (1924). He died on 2 April 1953 in Paris, France.- Director
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The daughter of a cavalry captain, she was raised by a grandmother in Paris, where she studied various forms of art with an emphasis on music and the opera. In 1905 she married engineer-novelist Marie-Louis Albert-Dulac and under his influence veered toward journalism. As one of the leading radical feminists of her day, she was editor of La Française, the organ of the French suffragette movement. She also doubled as theater and cinema critic of the publication and became increasingly enamored with film as an art form. In 1915 she formed, with her husband, a small production company, Delia Film, and began directing highly inventive, small-budget pictures. Chronologically, she was the second woman director in French films, after Alice Guy, a contemporary of Georges Méliès. With La fête espagnole (1920) and her masterpiece, _Souriante Madame Beudet, La (1922)_, Dulac emerged as a leading figure in the impressionist movement in French films. In the late 20s, she was an important part of the "second avant-garde" of the French cinema with the surrealistic _Coquille et le Clergyman, La (1927)_ and a number of other experimental films. In these as well as in her theoretical writing, her goal was "pure" cinema, free from any influence from literature, the stage, or even the other visual arts. She talked of "musically constructed" films, or "films made according to the rules of visual music." Dulac was also instrumental in the development of cinema clubs throughout France in the mid-20s. Sound put an end to her experimentations and her career as a director. From 1930 until her death she was in charge of newsreel production at Pathé, then at Gaumont.- Writer
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Born an illegitimate son of a wealthy physician, Abel Flamant, and a working class mother, Francoise Perethon. He was raised by his mother and her boyfriend, who later became her husband, Adolphe Gance. Pressured by his parents, he began his working career as a lawyer's clerk in hopes of achieving a prosperous career in law. But his passion for the theatre lured him to the stage and at 19 he made his stage debut in Brussels. Within a year, after returning to Paris, he made his screen debut as an actor in Moliere (1909). He made other film appearances in minor roles as well as taking a crack at screen-writing.
Living in poverty during this period in his life, he suffered from starvation and tuberculosis. But he regained strength enough to form a production company in 1911, and made his debut as a director that same year with La Digue (1911). However, like the rest of his early films, it was unsuccessful and as a consequence, he returned to the stage with a five-hour long play, Victoire de Samothrace, which he wrote himself. It was due to be a success with Sarah Bernhardt in the lead role, but the sudden outbreak of WWI canceled the premiere.
Due to his ill health he was kept out of most of the war. During this time he managed to achieve a profitable status at the Film d'Arte company as a director. He turned out such successful films as Mater Dolorosa (1917) and La Dixieme Symphonie (1918), but he gained a reputation at Film d'Arte as a wild experimentalist - using such outlandish techniques for the time as close-ups and dolly shots. As a consequence, he was frequently at odds with the management. At the point of being one of the most well known film directors in France, he entered the tail end of WWI. He was discharged shortly after due to mustard gas poisoning. But he requested that he be redrafted so that he could shoot on-location battle scenes for his latest idea for a film J'accuse! (1919). The three-hour long, triangular melodrama about the "futility of war" became a box-office smash all over Europe. It was Europe's first fictional film to show authentic footage of the catastrophes of war. Being an experimentalist, he employed a rapid cutting technique that is said to have influenced such Russian filmmakers as Sergei Eisenstein and Pudovkin.
During the making of his next film, The Wheel (1923), he and his second wife, Ida Danis, fell ill with the flu. Although he recovered and worked on the film in stages, his wife did not - she died shortly before the film's release. Grieved by death of his wife and friend, actor Severin Mars, who starred in many of his films, he fled Europe and sailed to America. The trip turned out to be a nationwide promotion of I Accuse. He recalls that he did not like the Hollywood filmmaking system and refused an offer from MGM to direct for a hefty sum. The happiest moment was D.W. Griffith's praise of I Accuse at a screening in New York.
Returning to France, Gance released the final cut of La Roue to much acclaim, especially for its montage sequence. His most important and outstanding film is Napoleon (1927). Considered to be a dictionary of all the techniques of the silent film era and an introduction to some techniques to come. It was shot using a three-camera panoramic process that involves the use of three projectors and a curved windscreen to create a deep, vast panoramic look. A couple thousand extras were used to fill the shots. Being the experimentalist that he was, he shot scenes in color, more than a decade before Hollywood would make The Wizard of Oz (1939) and Gone with the Wind (1939) in color, and in 3-D. But he decided against incorporating them into the film in fear that they would jar the audience's attention. The film received a standing ovation the night of its premiere at the Paris Opera. It was then shown only in 8 European cities due to the expensive and technical apparatus and large size theatre needed to project the film. In the US, MGM purchased the distribution rights and elected not to show the film using the three projector windscreen equipment, claiming that it would interfere with the introduction of sound. Nonetheless, that doesn't explain why MGM decided to drastically cut the film and rearrange it. As a consequence, the general release in the US was a not a success, audiences laughed at the film and critics panned it. It was the last film of Gance's career that was to possess that magnitude of creativeness. His sound films were mainly done for studios, where he lacked the ability to be creative. He would return to Napoleon a couple times in his career. In 1934 he added stereophonic sound effects to the original film using a Pictographe. He had criticized film historians throughout the rest of his life for not giving his film Napoleon (1927) the attention it deserves. Finally, British director Kevin Brownlow spent two decades doing the arduous task of putting the film back together in its original format. It was first screened in London using the three projector format with a score composed and conducted by Carl Davis in 1979. Francis Ford Coppola produced the screenings at the Radio City Hall in the US, in 1981 to much acclaim. His father Carmine Coppola, composed and conducted the score in the US. Finally, Napoleon (1927) and its director received the respect they deserve.- Director
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Marcel L'Herbier was born on 23 April 1888 in Paris, France. He was a director and writer, known for L'inhumaine (1924), Le bonheur (1934) and Sacrifice d'honneur (1935). He was married to Marcelle Pradot. He died on 26 November 1979 in Paris, France.- Director
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Lev Kuleshov was a Russian director who used the editing technique known as the "Kuleshov effect." Although some of the editing innovations, such as crosscutting were used by other directors before him, Kuleshov was the first to use it in the Soviet Russia. he was driving a Ford sports car amidst hard situation in the post-Civil war USSR, and remained a controversial figure who joined the Soviet communist party and destroyed archives of rare silent movies during his experiments, thus clearing way for his own works: documentaries and feature films ranging from political cinema to timeless gems.
He was born Lev Vladimirovich Kuleshov on 1 January, 1899, in Tambov, Russia. His father, Vladimir Kuleshov, belonged to Russian landed gentry, was a patron of arts and owner of a private estate in Central Russia. His mother, Pelagea Shubina, was a teacher before she married his father. His parents understood his weaknesses (poor speaking ability and bouts of depression) and strengths (a sharp eye, persistence and determination). His forte was the ability to see what for others remained unseen. Young Kuleshov received exclusive private education at the home of his father who had a degree from Moscow Art College. After the death of his father, 15-year-old Kuleshov and his mother moved to Moscow. There he studied art and history at the prestigious Stroganov School, then continued his studies at Moscow School of Painting, Architecture and Sculpture focusing on oil painting.
In 1916 he started his film career as a set designer at the Moscow film studio of Aleksandr Khanzhonkov and occasionally acted in some of its productions. He played a young lover opposite Emma Bauer, a stunning beauty, whom he truly fell in love with even before the filming started. That was the silent film Za schastem (1917). Watching himself on the silver screen, young Kuleshov was disappointed with the comic effect of his acting conflicting with naturalism of his true feelings. He decided to focus on directing and developing the style of his own. His new friend, experienced film-maker Akhramovich-Ashmarin, introduced him to American school of film-making, which also influenced his work.
With the help from Khanzhonkov's leading cinematographer, Yevgeny Bauer, Kuleshov made his first experimental works in editing. In 1917, he made his first publication in 'Vestnik Kinematografii': in three consecutive articles Kuleshov trashed the "salon" traditions of his employer by writing about an artist's role in converting film industry into a new form of art. His directorial career began under the patronage of Bauer, with whom Kuleshov worked as art director on such films, as Nabat (1917) and Za schastem (1917), and completed the latter as director after the original director Bauer died. In 1918, Kuleshov made his directorial debut with 'Project of Engineer Prite', and the film brought him attention of film studio executives who gave the 19-year-old beginner a chance to participate in documenting the early history of the Civil War-era Russia.
Following the Russian revolution of 1917, Kuleshov joined the Bolsheviks and sided with the Red Army in the Russian Civil War of 1918-1919, which was a continuation of the First World War. He covered the war on the Eastern front with a documentary crew. After the end of the Civil War, the Communist Party solidified control of the country, thus helping Kuleshov's career. His friend, Vladimir Gardin, appointed him instructor at the Moscow Film School. There he made a career as director and teacher. In 1920, he directed a war film Na krasnom fronte (1920), a government sponsored film about the Red Army. For some time Kuleshov continued wearing the Red Army uniform, to show his loyalty to the new government.
He studied the techniques of Hollywood directors, particularly D.W. Griffith and Mack Sennett and introduced such innovations as crosscutting in editing and montage into Russian cinema. For his experiments Kuleshov was cutting old silent films from the archives of Khanzhonkov, Bauer and other private studios nationalized by the socialist govenment. Kuleshov used the archives of old silent movies for his own cutting experiments and thus most of the film archives was destroyed. Kuleshov remained quiet about this part of his career when he experimented with editing technique. He focused on putting two shots together to achieve a new meaning.
The "Kuleshov effect" is using the Pavlovian physiology to manipulate the impression made by an image and thus to spin the viewer's perception of that image. To demonstrate such manipulation, Kuleshov took a shot of popular Russian actor Ivan Mozzhukhin's expressionless face from an early silent film. He then edited the face together with three different endings: a plate of soup, a seductive woman, a dead child in a coffin. The audiences believed that Ivan Mozzhukhin acted differently looking at the food, the girl, or the coffin, showing an expression of hunger, desire, or grief respectively. Actually the face of Ivan Mozzhukhin in all three cases was one and the same shot repeated over and over again. Viewers own emotional reactions become involved in manipulation. Images spin those who are prone to be spun. Although editing and montage have already been used in art, architecture, fashion, politics, book publishing, theatrical productions and religious events (just look at placement of icons in churches, or photos in books, or pictures at exhibitions), the use of such editing in silent films was innovative and eventually led to more advanced visual effects.
Vsevolod Pudovkin, who claimed to have been the co-creator of Kuleshov's experiment, later described how the audience "raved about the acting... the heavy pensiveness of Ivan Mozzhukhin's mood over the soup, the deep sorrow with which he looked on the dead child, and the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same." Kuleshov demonstrated the effect of editing that was successfully used in montage of such films, as Battleship Potemkin (1925) and Konets Sankt-Peterburga (1927) among other Soviet films. Kuleshov's good education, as well as his connections among Russian intellectual elite also helped his career.
At that time, Kuleshov and a group of his students, among them actress Aleksandra Khokhlova, collaborated on several movies that are now generally regarded as seminal films in Russian cinema. Among them are The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), a satire on clash of civilizations showing naive American Christian pastor who comes to Russia just to be robbed twice, but then helped by exemplary Soviet policeman. In 1926 he produced his most popular film, By the Law (1926), based on a Jack London story. The movie was successful in Russia and especially in Europe. In 1933, he directed The Great Consoler (1933), based on biography of American writer O. Henry. The film was highly praised by Osip Brik and Lilya Brik. It was an interesting advancement in Kuleshov's experimental style.
In 1936, he received his Ph.D and became professor of directing and Moscow Film School. In 1941, Kuleshov's book 'Osnovy kinorezhissury' (aka... Fundamentals of Film Direction) was published in Moscow. Kuleshov was promoted to high position within the Soviet film industry and was designated Doctor of Science for the book, which was translated in several languages and became regarded among filmmakers worldwide.
During WWII, Kuleshov made two films. One, made in collaboration with writer Arkadiy Gaydar, was Klyatva Timura (1942). To complete the film, Kuleshov with his film crew was moved on Soviet government expense from cold Moscow to warm Stalinabad, the capital of Turkmenistan. There, in 1943, together with his wife, Aleksandra Khokhlova, he directed his last movie, We from the Urals (1944), a film about young Soviet boys making heroic efforts in the Eastern Front of WWII. After that, he returned from Central Asia back to Moscow. The Soviet capital was recovering after attacks of Nazi armies. For his contribution to art, and also for his dedication to communist ideas, a prestigious position as Artistic Director of the Moscow Film Institute (VGIK) where he worked for the next 25 years. Over the course of his career, his students were hundreds of Soviet filmmakers, such as directors Vsevolod Pudovkin, Boris Barnet, Mikhail Kalatozov and many others. His most trusted and devoted friend was Sergei Eisenstein.
Kuleshov visited Paris and presented a retrospective of his films in 1962. There he enjoyed much attention from international media. His friends in the Western world included many celebrities, such as Yves Montand, Louis Aragon, Elsa Triolet among others. Kuleshov was member of the Jury at 1966 Venice Film Festival and attended other film festivals as a special guest. He made several exclusive trips outside of the Soviet Union.Kuleshov was a friend of the State security chief, KGB General V.N. Merkulov.
Kuleshov was awarded Order of Lenin, Order of Red Banner, was designated People's Artist of Russia (1969), and received other decorations and perks from the Soviet government.
Outside of his film career, Lev Kuleshov was fond of hunting, he owned a collection of exclusive hunting guns and often used them to kill game outside of Moscow and in Southern Russia. He also spent much time at Mediterranean resort near Yalta in Crimea and often made hunting trips in that area. Kuleshov was married to his student Aleksandra Khokhlova, and lived with his wife in a prestigious block on Lenin Prospect in central Moscow. There he died in 1970, and was laid to rest in Moscow's most prestigious Novodevichy Cemetery. Kuleshov's funeral took place while the Soviet Union was celebrating the centennial anniversary of the former leader Vladimir Lenin.- Director
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The son of an affluent architect, Eisenstein attended the Institute of Civil Engineering in Petrograd as a young man. With the fall of the tsar in 1917, he worked as an engineer for the Red Army. In the following years, Eisenstein joined up with the Moscow Proletkult Theater as a set designer and then director. The Proletkult's director, Vsevolod Meyerhold, became a big influence on Eisenstein, introducing him to the concept of biomechanics, or conditioned spontaneity. Eisenstein furthered Meyerhold's theory with his own "montage of attractions"--a sequence of pictures whose total emotion effect is greater than the sum of its parts. He later theorized that this style of editing worked in a similar fashion to Marx's dialectic. Though Eisenstein wanted to make films for the common man, his intense use of symbolism and metaphor in what he called "intellectual montage" sometimes lost his audience. Though he made only seven films in his career, he and his theoretical writings demonstrated how film could move beyond its nineteenth-century predecessor--Victorian theatre-- to create abstract concepts with concrete images.- Writer
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Roland Barthes was born on 12 November 1915 in Cherbourg, France. He was a writer and actor, known for Mouvements du désir (1994), The Brontë Sisters (1979) and Let the Sunshine In (2017). He died on 25 March 1980 in Paris, France.- Director
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Charles Bryant Pierce was an independent filmmaker from Arkansas whose movies have become cult classics. Films that he wrote, directed and/or produced were not only made in Arkansas with local actors but also drew their inspiration from Arkansas themes. He is believed to be the source of one of the most famous lines in American film history from the 1983 film 'Sudden Impact': "Go ahead, make my day."
Charles B. Pierce was born in Hammond, IN, on June 16, 1938, the son of Mack McKenny Pierce and Mayven Bryant Pierce. When he was a few months old the family moved to Hampton, Calhoun County, in the south-central part of Arkansas. Living in Hampton, Pierce grew up next door to Harry Thomason, who later became successful as a producer and director of such projects as TV's "Designing Women" (1986).
According to Pierce's family, one of his chores growing up was mowing the lawn. His father came home one day at lunchtime and asked if the boy planned to mow the yard anytime soon, adding, "When I come home tonight and the yard has not been mowed, you're gonna make my day." Later in life, Pierce would use the admonition to great advantage.
In the mid-1960s, Pierce was working as an art director at KTAL-TV in Shreveport, LA, and later became a weatherman and hosted a children's cartoon program at the small independent-owned TV station. Returning to Arkansas, he started an advertising business on State Line Avenue in Texarkana, Miller County, in addition to playing a character called Mayor Chuckles on a local television show.
In 1971, there were local headlines about a Sasquatch-like creature sighted in the wetlands vicinity around the nearby town of Fouke in Miller County. The "Fouke Monster" was reportedly seen in the Boggy Creek area and was suspected of attacking dogs and livestock as well as a local family. In mid 1972, while still working in advertising, Pierce created a semi-documentary film originally titled "Tracking the Fouke Monster"--later renamed 'The Legend of Boggy Creek.' Pierce shot the movie with a 16mm camera he assembled himself at home. Much of the movie was filmed in Fouke and Texarkana with local residents and students as actors and/or crew. Estimates place the cost of making the film at about $165,000. Becoming popular as a drive-in horror feature around the country, it became one of the top ten highest-grossing movies of the year, earning over $20 million.
Earning several hundred thousand dollars in residuals from the film, Pierce used his new found wealth to write and direct several other films, which included the crime comedy-drama Bootleggers (1974), the westerns Winterhawk (1975) and The Winds of Autumn (1976), the true-life horror flick The Town that Dreaded Sundown (1976), the western Grayeagle (1977), the viking adventure The Norseman (1978), another true-life thriller The Evictors (1979), the western Sacred Ground (1983), a sequel to "Boggy Creek" titled Boggy Creek II (1985), the violent western Hawken's Breed (1987), the family drama Renfroe's Christmas (1997) and Chasing the Wind (1998). His earlier films in particular were shot in Arkansas and/or featured Arkansas themes and local residents in their production.
After moving to California in the early 1980s to further his career, he became friends with actor/director Clint Eastwood while living in Carmel, where Eastwood was elected mayor in 1986. After sharing a story treatment that Eastwood liked, Pierce became a writer for the fourth in the Dirty Harry series, Sudden Impact (1983), which Eastwood directed. Its most famous line, "Go ahead, make my day," has been ranked in the top ten of the American Film Institute's top movie quotes of all time.
Returning to his own independent;y produced films, Pierce was the star, writer, director and co-producer of The Barbaric Beast of Boggy Creek, Part II, (1985), a sequel to "Boggy Creek" that was eventually re-titled Boggy Creek II: And the Legend Continues (1985). The movie also contains footage of a University of Arkansas (UA) Razorback football game in Fayetteville, Washington County), complete with hog-hatted fans.
Pierce acquired the nickname "Sparkplug" due to his energy; he was always thinking about his next project while completing another. Pierce was married to Florence Lyons, a Tennessee native, for ten years and they had three children, one of whom was Charles Pierce Jr. They eventually divorced. Pierce's second wife was Cindy Butler; they also later divorced. While filming "Hawken's Breed" in 1987 with Peter Fonda (I) in the area around Dover, TN, Pierce met his third wife Beth Pulley; they married the following year.
Along with starring and directing Boggy Creek II, Pierce acted in several of his films, in small roles; these included "Bootleggers," "The Winds of Autumn," and "The Town that Dreaded Sundown." Pierce directed a number of noted character actors, such as Slim Pickens (I), Jack Elam, Kathleen Freeman (I), Woody Strode and L.Q. Jones, along with lead actors including Jaclyn Smith (I), Dawn Wells (I), Andrew Prine, Lee Majors (I), Cornel Wilde, Mel Ferrer (I), Vic Morrow, Michael Parks (I) and Academy Award winner Ben Johnson (I).
Suffering from poor health later in life, Charles B. Pierce died on March 5, 2010, at the Signature Care nursing home in Dover, TN, at age 71, where he had been living for the past seven years. He is buried at Stewart Memorial Gardens near his home in Dover. Two years before his death, the frail-looking Pierce attended and was spotlighted by the Little Rock Film Festival in 2008 with a retrospective, received the Arkansas Arts Council's Judges Special Recognition award in 2009, honored annually by the Little Rock Film Festival through the Charles B. Pierce Award for Best Film Made in Arkansas. He was inducted into the Arkansas Entertainers Hall of Fame in 2010.- Ricciotto Canudo is known for L'autre aile (1923).
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Álex de la Iglesia is one of the most popular and respected European filmmakers of his generation. Considered a genre of his own, based on his skill and originality in a range of cinematographic art styles, he has currently finished shooting the second season of "30 Coins", the successful HBO Max series. 2022 saw the release of two feature films directed by de la Iglesia: the slasher "Veneciafrenia" (part of The Fear Collection) and the romantic road movie "Four's a Crowd", alongside "Venus" by Jaume Balagueró, which was produced by Álex de la Iglesia, in association with Sony Pictures and Amazon Prime Video.
Born in Bilbao, Álex de la Iglesia started out in the world of comics and he has never lost this side to him throughout his career in film. He began as a director in "Mutant Action" and "The Day of the Beast", movies that changed the face of Spanish fantastique genre forever. Among his most renowned works are "The Last Circus" - praised by The New York Times the same day it was released in the US -"Ferpect Crime", "Witching and Bitching", "My Big Night" and "The Bar".
With Pokeepsie Films, the production company De la Iglesia created with his wife, prestigious producer Carolina Bang, he has contributed as a producer to nurturing a new generation of filmmakers, such as Paul Urkijo, Eduardo Casanova, Zoe Berriatúa, Juanfer Andrés and Esteban Roel.
With Bang and De La Iglesia as producers, Pokeepsie Films had great success with movies such as "70 Big Ones" by Koldo Serra and "Perfect Strangers" and "Veneciafrenia", both directed by Álex de la Iglesia himself. "Four's a crowd" is his latest release as a feature director, while as a producer he has also been part of "La Pietà", by Eduardo Casanova, and the aforementioned "Venus", directed by Jaume Balagueró.
In 2023, Pokeepsie Films has released the HBO Max series, "Headless chickens", starring Hugo Silva, the Prime Video original feature film "My fault" (the most watched non-English language movie in the history of the platform), and has started shooting "1992", a Netflix series directed by Álex de la Iglesia.