Manoj Nelliyattu Shyamalan, known professionally as M. Night Shyamalan, is an Indian-born, American filmmaker and screenwriter, known for making movies with contemporary supernatural plots that climax with a twist ending, (though only a third of his features actually do so). He is also known for filming his movies (and staging his plots) in and around Philadelphia, Pennsylvania, where he was raised. Shyamalan released his first film, Praying with Anger, in 1992 while he was a New York University student. His second movie, the major feature film Wide Awake, made in 1996 but not released until three years later, failed to find financial success.
Shyamalan gained international recognition when he wrote and directed 1999’s The Sixth Sense, which was a commercial success and nominated for six Academy Awards, including: Best Picture, Best Director and Best Original Screenplay. He followed The Sixth Sense by writing and directing Unbreakable, released in 2000, which received mixed reviews… read more
At a Q&A in Philly last month, Shyamalan revealed that he may finally get around to directing his unproduced script, Labor of Love. It was sold to Fox in the mid-90s and originally, it was supposed to star Dustin Hoffman. Now, according to Shyamalan, Denzel Washington might be attached. Aside from being a very moving script, it showcases a lot of Shyamalan's emerging style at the time. Here's a link to the script: http://www.imsdb.com/scripts/Labor-of-Love.html
"I love Shyamalan; Lady in the Water, The Village, The Happening..." [Apichatpong Weerasethakul, when asked by a writer from the French magazine Les Inrockuptibles about his favourite directors, 2010]
A roundtable on Shyamalan from The Vulgar Cinema: http://thevulgarcinema.blogspot.com/2013/06/roundtable-m-night-shyamalan.html
I see it as a brilliant mash-up of things. A brilliant (PURPOSEFUL) comedy ("Hot dogs get a bad rap!"). A great satire of post 9-11 America and media, especially how the media can be prone to showing violence in an overly dramatic, ridiculous way while at the same time desensitizing us ("Sure glad I don't live there" or "Glad it wasn't me" paralleled by horror film voyeurism and excitement/mockery of stupid deaths). But most importantly, I love how it stares into the void of the unknown and with touches of Carpenter (and as Jack Lehtonen says, Tourneur) comes back with some interesting shit.