Quote: “Acting feels like a congenital condition to me – it’s in my genes.”
Burstyn debuted on Broadway in 1957 and joined Lee Strasberg’s The Actors Studio in New York City, New York, in 1967. In 1975, she won a Tony Award for Best Performance by a Leading Actress in a Play for her performance in the comedy Same Time, Next Year (a role she would reprise in the film version in 1978). Until 1970, she was credited as Ellen McRae in nearly all her film and television appearances.
Burstyn received Academy Award nominations for Best Supporting Actress in 1971 for her role in the drama film The Last Picture Show and for Best Actress in 1973 for the horror film The Exorcist. She won the Academy Award for Best Actress in 1974 for her performance in the drama Alice Doesn’t Live Here Anymore, directed by Martin Scorsese. She also received Best Actress nominations in 1978 for Same Time, Next Year, in 1980 for the fantasy-drama Resurrection, and for the drama Requiem for a Dream in 2000.
In the early to mid 1960s, Burstyn played Dr. Kate Bartok on the NBC television soap opera The Doctors. She worked on several primetime television shows of the 1960s, including guest appearances on Perry Mason, The Virginian, Maverick, Wagon Train, 77 Sunset Strip, The Big Valley and Gunsmoke. She hosted NBC’s Saturday Night Live, a late-night sketch comedy and variety show, in 1980.
In 1986, she had her own ABC television situation comedy, The Ellen Burstyn Show costarring Megan Mullally as her daughter and Elaine Stritch as her mother; it was canceled after one season. From 2000 to 2002, Burstyn appeared in the CBS television drama That’s Life. In 2006, she starred as a Epicopalian bishop in the controversial NBC comedy-drama series The Book of Daniel; although eight episodes from taped, it was canceled after four episodes.
In 2006, Burstyn appeared in the drama-romance film The Fountain, directed by Darren Aronofsky, with whom she worked in Requiem for a Dream. Since 2007, she has had an occasional recurring role on the HBO television drama series Big Love, playing the mother of polygamist wife Barbara Henrickson.
She provided a supporting role as the mother of two sons in the drama-romance film The Elephant King . The film originally premièred at the 2006 Tribeca Film Festival but did not open in U.S. theaters until October 2008. At the time, it was credited as receiving the highest per-screen opening gross as any film in the country.
Burstyn returned to the stage from March 18–May 4, 2008, in an Off-Broadway production of Stephen Adly Guirgis’s The Little Flower of East Orange, directed by Philip Seymour Hoffman in a co-production by LAByrinth Theater Company and The Public Theater; Burstyn played the title role of Marie Therese.
In addition to her stage work, Burstyn portrayed former First Lady Barbara Bush in director Oliver Stone’s biographical film W in 2008.
In 2009, she won a Primetime Emmy Award for Outstanding Guest Actress in a Drama Series for her portrayal of the bipolar estranged mother of Detective Elliot Stabler on NBC’s police procedural Law & Order: Special Victims Unit. With this win, Burstyn became the eighteenth actor to win the “triple crown of acting” — an Academy, Emmy and Tony Award.
Quote: “I don’t like my voice that much. I think I’m a much better actress than singer. Singing is like going to a party at someone else’s house. Acting is like having the party at your own house. When you go to someone else’s house for a party, it’s not your responsibility at all, but when you have the party at your own house, there’s a lot of responsibility. Everyone has to have a good time. So for me, acting is deeper.”
Mini Bio form IMDb:
The beat goes on … and on … and as strong as ever for this superstar entertainer who has well surpassed the four-decade mark while improbably transforming herself from an artificial, über-glossy “flashionplate” singer into a serious, Oscar-worthy, dramatic actress … and back again! With more ups and downs than the 2008 Dow Jones Industrial Average, Cher managed to rise like a phoenix from the ashes each time she was down and counted out, somehow re-inventing herself with every changing decade and finding herself on top all over again. As a singer Cher is the only performer to have earned “top 10” hit singles in four consecutive decades; as an actress, she and Barbra Streisand are the only two Best Actress Oscar winners to have a #1 hit song on the Billboard charts. At age 62, Cher has yet to decide to get completely off her fabulous rollercoaster ride, although she has threatened to on occasion.
The daughter of an Armenian truck driver, John Sarkisian, and an Arkansas-born mother, Georgia Holt (the former Jackie Jean Crouch), Cher was born in El Centro, California, on May 20, 1946. She and sister Georganne LaPiere are part Cherokee and French. The father deserted the family when both were young and they were raised by their mother who later married Gilbert LaPiere, a banker. Cher’s mother, who had aspirations of being an actress and model herself, paid for Cher’s acting classes despite her daughter having undiagnosed dyslexia, which acutely affected her studies. Frustrated, Cher quit Fresno High School at the age of 16 in search of her dream.
Meeting the quite older (by 11 years) Sonny Bono in 1962 changed the 16-year-old’s life forever. Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood at the time and managed to persuade Spector to hire Cher as a session singer. As such, she went on to record backup on such Spector classics as “You’ve Lost That Lovin’ Feeling” and “Be My Baby”. The couple’s relationship eventually shifted from soulmates to lovers and she and Sonny married on October 27, 1964.
At first Cher sang solo with Sonny behind the scenes writing, arranging and producing her songs. The records went nowhere. Sonny then decided they needed to perform as a team so they put out two songs in 1964 under the recording names of Caesar and Cleo (“The Letter” and “Baby Don’t Go”). Again, no success. The changing of their names, however, seemed to make a difference and in 1965, they officially took on the music world as Sonny & Cher and earned instant rewards.
The now 19-year-old Cher and 30-year-old Sonny became huge hits following the release of their first album, “Look at Us” (summer, 1965), which contained the hit single “I Got You Babe”. With the song catapulting to #1, they decided to re-release their earlier single “Baby Don’t Go”, and it also raced up the charts to #8. An assembly line of mild hits dotted the airwaves over the next year or two, culminating in the huge smash hit “The Beat Goes On” (#6, 1967). Between 1965 and 1972 Sonny & Cher charted a total of six “Top 10” hits.
The kooky couple became icons of the late ‘60s “flower power” scene, wearing garish garb and outlandish hairdos and makeup. However, they found a way to make it trendy and were embraced around the world. TV musical variety and teen pop showcases relished their contrasting styles — the short, excitable, mustachioed, nasal-toned simp and the taller, exotic, unflappable fashionista. They found a successful formula with their repartee, which became a central factor in their live concert shows, even more than their singing. With all this going on, Sonny still endeavored to promote Cher as a solo success. Other than such hits with “All I Really Want to Do” (#16) and “Bang, Bang” (#2), she struggled to find a separate identity. Sonny even arranged film projects for her but Good Times (1967), an offbeat fantasy starring the couple and directed by future powerhouse William Friedkin, and Cher’s serious solo effort Chastity (1969) both flickered out and died a quick death.
By the end of the 1960s, Sonny & Cher’s career had stumbled as they witnessed the American pop culture experience a drastic evolutionary change. The couple maintained their stage act and all the while Sonny continued to polish it up in a shrewd gamble for TV acceptance. While Sonny on stage played the ineffectual object of Cher’s stinging barbs on stage, he was actually the highly motivated mastermind off stage and, amazingly enough, his foresight and chutzpah really paid off. Although the couple had lost favor with the new 70s generation, Sonny encouraged TV talent scouts to catch their live act.
The network powers-that-be saw potential in the duo as they made a number of guest TV appearances in specials and on variety and talk shows and in what was essentially “auditioning” for their own TV vehicle. “The Sonny and Cher Comedy Hour” (1971) was given the green light as a summer replacement series and was an instant sensation when it earned its own time spot that fall season. The show received numerous Emmy Award nominations during its run and the couple became stars all over again. Their lively, off-the-wall comedy sketch routines, her outré Bob Mackie fashions and their harmless, edgy banter were the highlights of the hour-long program. Audiences took strongly to the couple who appeared to have a deep-down sturdy relationship. Their daughter Chastity Bono occasionally added to the couple’s loving glow on the show. Cher’s TV success also generated renewed interest in her as a solo recording artist and she came up with three #1 hits during this time (“Gypsys, Tramps & Thieves,” “Half-Breed” and “Dark Lady”).
Behind the scenes, though, it was a different story. A now-confident Cher yearned to be free of husband Sonny’s Svengali-like control over her life and career. The marriage split at the seams in 1974 and they publicly announced their separation. The show, which had earned Cher a Golden Globe Award, took a fast tumble as the separation and divorce grew more acrimonious. Eventually they both tried to launch their own solo variety shows, but both failed to even come close to their success as a duo. Audiences weren’t interested in Cher without Sonny, and vice versa.
In June of 1975, only three days after the couple’s divorce, Cher married rock musician Gregg Allman of The Allman Brothers Band. That marriage imploded rather quickly amid reports of out-of-control drug use on his part. They were divorced by 1977 with only one bright outcome — son Elijah Allman.
In 1976 Sonny and Cher attempted to “make up” again, this time to the tune of a second “The Sonny and Cher Show” (1976). Audiences, however, did not accept the “friendly” divorced couple after so much tabloid nastiness. After the initial curiosity factor wore off, the show was cancelled amid poor ratings. Moreover, the musical variety show format was on its way out as well. Once again, another decade was looking to end badly for Cher.
Cher found a mild success with the “top 10” disco hit “Take Me Home” in 1979, but not much else. Not one to be counted out, however, the ever resourceful singer decided to lay back and focus on acting instead. At age 36, Cher made her Broadway debut in 1992 in what was essentially her first live acting role with “Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean”. Centering around a reunion of girlfriends from an old James Dean fan club, her performance was critically lauded. This earned her the right to transfer her stage triumph to film alongside Karen Black and Sandy Dennis. Cher earned critical raves for Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982), her first film role since 1969.
With film #2 came a Best Supporting Actress Oscar nomination and a Golden Globe win for her portrayal of a lesbian toiling in a nuclear parts factory in Silkwood (1983), starring Meryl Streep and Kurt Russell. This in turn was followed by her star turn in Mask (1985) as the blunt, footloose mother of a son afflicted with a rare disease (played beautifully by Eric Stoltz). Once again Cher received high praise and copped a win from the Cannes Film Festival for her poignant performance.
Fully accepted by this time as an actress of high-caliber, she integrated well into the Hollywood community. Proving that she could hold up a film outright, she was handed three vehicles in 1987 to star in, highlighted by her sparkling, Oscar-winning turn in the romantic comedy Moonstruck (1987). Along with all this newfound Hollywood celebrity came interest in her as a singer and recording artist again. "If I Could Turn Back Time (#3) and the Peter Cetera duet “After All” (#6) placed her back on the Billboard charts.
During the 1990s Cher continued to veer back and forth among films, TV specials and expensively mounted concerts. In January of 1998, tragedy struck when Cher’s ex-husband Sonny Bono, who had forsaken an entertainment career for California politics and became a popular Republican congressman in the process, was killed in a freak skiing accident. That same year the duo received a star on the Hollywood Walk of Fame for their contribution to television. In the meantime an astounding career adrenalin rush came in the form of a monstrous, disco-flavored hit single (“Believe”). The song became a #1 hit and the same-titled album the biggest hit of her career. “Believe” reached #1 in 23 different countries.
Having little to prove anymore to anyone, Cher decided to embark on a “Farewell Tour” in the early part of the millennium and, after much stretching, her show finally closed in 2005 in Los Angeles. It didn’t take long, however, for Cher to return from this self-imposed exile. In 2008 she finalized a deal with Las Vegas’ Caesars Palace for the next three years to play the Colosseum. Never say never.
In other facets of her life, Cher has been involved with many humanitarian groups and charity efforts over the years, particularly her work as National Chairperson and Honorary Spokesperson of the Children’s Craniofacial Association, which was inspired by her work in Mask (1985).
Liljeberg’s mother was relatively young when Rebecka was born, and Liljeberg’s parents divorced when she was one year old. At the age of 9 (1991), Liljeberg began her acting career when she won a role in the series Sunes jul. Between 1993 and 1997, she became involved in amateur theatre, which she continued with until gaining a role in the film Närkontakt later in 1997. However, it was the following year when she won her breakthrough role in the Lukas Moodysson film Show Me Love. She also quit high school to take up the role, which ultimately won her the 1999 Guldbagge Award for Best Actress, together with Alexandra Dahlström.
After her roles in Show Me Love and Sherdil, Liljeberg began an adult education course in order to graduate from high school. While studying, she also starred in the relatively successful arthouse film Bear’s Kiss, and voiced a character in the Swedish version of IMAX film T-Rex: Back to the Cretaceous. In 2002, she completed the adult education course, and then went on to study medicine at the Karolinska Institute. She graduated in 2009.
Liljeberg is known to enjoy working with computers, and has been working at a small computer firm for some years while studying. However, she has suggested that this is not something she wants to do in the long-term.
She wrote a semi-regular column for Swedish newspaper Svenska Dagbladet for some time. Liljeberg also contributed to UNESCO’s Utrymme anthology of twenty works from young writers around the world.
She now lives in Stockholm with her boyfriend Alexander Skepp. They have three children: Harry Teodor, born in June 2002, Vera, born on January 1, 2005 and Kerstin born June 2009. While she has suggested that she aims to concentrate on a medical career, Liljeberg has not ruled out the prospect of acting in more films if she receives the right offer. She has also expressed a desire to work with director Lukas Moodysson again.
Quote: “If you look at any great fashion photograph out of context, it will tell you just as much about what’s going on in the world as a headline in The New York Times.”
Wikipedia:
Anna Wintour, OBE (born November 3, 1949) is a British fashion editor and the editor-in-chief of American Vogue, a position she has held since 1988. She became interested in fashion as a teenager. Her father, Charles, editor of the Evening Standard, often consulted with her on how to make the newspaper’s coverage relevant to the youth of mid-1960s London. After dropping out of school at 16, she began a career in fashion journalism. Her career took her across the Atlantic, with stints at New York and House & Garden. She returned home for a year to turn around British Vogue, and later assumed control of the franchise’s magazine in New York. She revived a stagnant publication, earning her wide acclaim in the industry.
Like one of her predecessors, Diana Vreeland, she has become a fashion icon. Her pageboy bob haircut and frequently-worn sunglasses have become a common sight in the front row of many fashion shows. Away from the cameras, she has become as much an institution in the fashion world as her magazine. Widely praised for her eye for fashion trends and support for younger designers, her aloof and demanding persona has earned her the nickname “Nuclear Wintour” and alienated some associates. She has also drawn both praise and criticism for her willingness to use the magazine and its cachet to shape the industry as a whole. Animal rights activists have also singled her out for her continued promotion of fur, and other critics have charged her with using the magazine to promote elitist views of femininity and beauty, focusing on rich and thin women.
A former personal assistant, Lauren Weisberger, wrote the 2003 bestselling roman à clef The Devil Wears Prada, later made into a successful film starring Meryl Streep as Miranda Priestly, a fashion editor widely believed to be based on Wintour. In 2009 she was herself the focus of a film, R.J. Cutler’s documentary The September Issue, a documentary about the making of the magazine’s landmark issue in September 2007. The film chronicles her work on the five-pound (2 kg) 840-page issue, the largest issue Vogue ever sent to press.
Quote: “Acting, for me, is the last vestige of doing something that I would like to feel really naive about.”
IMDb:
Holly Hunter was born in Conyers, Georgia, the youngest of seven children whose father was a part-time sporting goods company representative and part-time farmer with a 250 acre farm. Her parents encouraged in her talent at an early age, and her first acting part was as Helen Keller in a fifth-grade play. In 1976 she went to Pittsburgh to pursue a degree in drama from Carnegie Mellon University. After graduating in 1980, she went to New York City, where she met playwright Beth Henley in a stalled elevator. Hunter went on to get roles in a number of Henley’s southern gothic plays, including Crimes of the Heart and The Miss Firecracker Contest. In 1982 the actress went to Los Angeles. She landed her first starring role in the movies in the Coen brothers’ Raising Arizona (1987), a part that is said to have been written with her in mind. She gained stardom in 1987 when she played the driven TV news producer Jane Craig in James L. Brooks’ Broadcast News (1987). In 1993 she earned an Academy Award and worldwide acclaim with her performance as a mute bride to a New Zealand planter in The Piano (1993).
Quote: [Commenting on Jim Henson’s Muppets:] “He has the best possible actors. If you have a disagreement with them, you can always use them to wash your car.”
IMDb Mini Bio:
Zero Mostel was born Samuel Joel Mostel on February 28, 1915 in Brooklyn, New York, one of eight children of an Orthodox Jewish family. Raised in the Lower East Side of Manhattan, the young Zero, known as Sammy, developed his talent for painting and drawing at art classes provided by the Educational Alliance, an institution serving Jewish immigrants and their children. Sammy often would go to the Metropolitan Museum of Art to copy the paintings.
Sam Mostel matriculated at the City College of New York, then entered a master’s program in art at New York University after graduating from CCNY in 1935. He dropped out after a year and worked at odd jobs before being hired by the Works Progress Administration’s Federal Art Project to teach drawing and painting at the 92nd Street “Y”, the famous Young Men and Young Women’s Hebrew Association located on Manhattan’s 92nd St., in 1937.
Mostel married Clara Sverd, a CCNY classmate, in 1939, but the marriage was troubled due to personality conflicts. The couple separated in 1941 and divorced in 1944. While still teaching, Mostel supplemented his income by providing gallery lectures at various museums under the aegis of the WPA. His lectures were full of jokes as Mostel personally was a clown, and subsequently he was hired to perform at private parties.
Mostel auditioned as a comedian at the downtown nightclub Cafe Society in late 1941, a jazz club. Initially rejected, owner Barney Josephson hired Mostel after Pearl Harbor, figuring his patrons, now at war, could use some laughs. It was Ivan Black, the club’s press agent, who gave Sam Mostel the nickname Zero, explaining, “Here’s a guy who’s starting from nothing.”
Debuting at the Cafe Society on February 16, 1942, Zero was a hit with audiences and the critics, Simultaneously, Zero began appearing in the play “Cafe Crown” at the Cort Theatre, which opened on January 23, 1942 and played through May 23rd, closing after 141 performances. Zero made some impromptu appearances on stage, but he wasn’t officially part of the cast of the play, which was staged by Elia Kazan and starred Morris Carnovsky, Sam Jaffe (a future blacklistee), Whit Bissell, and Sam Wanamaker. Zero made his formal Broadway debut in “Keep ’em Laughing” on April 24, 1942 at the 44th Street Theatre. The show ran for 77 performances.
Within a year, he was touring the national nightclub circuit and appearing on radio. He had a brief stint in the Army in 1943, but was quickly discharged due to an unspecified physical disability. Zero spent the rest of the war entertaining the troops overseas.
Zero married Kathryn Harkin, a former Radio City Music Hall Rockette, on July 2, 1944, an act that ruined his relationship with his Orthodox Jewish parents as his new wife was a gentile. The two remained a married couple until his death and produced two sons: Josh Mostel, who was born in 1946, and Tobias, who was born in 1949.
In the post-war years, Zero began to branch-out as a straight actor. On October 19, 1948, he made his television debut in the series “Off the Record,” which was broadcast on the DuMont network, following it up with an appearance on October 26, 1948. He later appeared in the “The Ford Theatre Hour” (1948) episode “The Man Who Came to Dinner,” which was broadcast on January 16, 1949 on NBC. He was reunited with his “Cafe Crown” director Elia Kazan in the Oscar-winner’s movie Panic in the Streets (1950) (1950). In the movies, Zero often played heavies due to his physique, roles that downplayed his unique gift for comedy.
Zero had long been a leftist politically, and had made contributions to progressive causes. His nightclub act lampooned the red-baiters rampant at the time, and featured the character of a pompous senator called Polltax T. Pellagra. When he and the wife of his good friend ‘Jack Gilford’ were named by Jerome Robbins before the House Un-American Activities Committee as being communists, Zero was subpoenaed to testify by HUAC.
Mostel testified before the House Un-American Activities Committee on October 14, 1955. In a playful mood, he told the Committee that he was employed by “19th Century-Fox.” Zero denied he was a Communist, but refused to name names. He told the Committee that he would gladly discuss his own conduct but was prohibited by religious convictions from naming others. Consequently, he was blacklisted during the 1950s. Shut-out from the movies, he also lost many lucrative nightclub gigs, and he had to make due by playing gigs for meager salaries and by selling his paintings.
In the 1950s, Mostel bumped into Elia Kazan on the street in New York City, and the two reminisced. Kazan said Mostel chided him for putting Mostel through the paces in “Panic in the Streets,” forcing him to run more than he ever had. The two retired to a bar, and as they began to drink, s Mostel kept muttering, in reference to Kazan’s naming names before HUAC, “Ya shouldn’t a done that. Ya shouldn’t a done that.”
There was no blacklist in the theater, and his friend Burgess Meredith, a noted liberal, offered Zero the lead role in his 1958 Off-Broadway production of “Ulysses in Nighttown,” based on the Nighttown episode of James Joyce’s novel “Ulysses,” that Meredith was directing. Mostel’s performance as Leopold Bloom, Joyce’s Jewish Everyman, was a great hit with audiences and critics alike, and he won an “Obie,” the Off-Broadway equivalent of a Tony. Zero also starred in productions of “Nighttown” in London and Paris.
By the end of 1959, Zero again was appearing on television, cast in the “Play of the Week” episode “The World of Sholom Aleichem,” which was broadcast on December 14, 1959 in syndication. He also was cast in a Broadway play, “The Good Soup.”
Zero never opened in the play as he was hit by a bus on January 13, 1960. His left leg was severely injured, and required four operations. Zero was in the hospital for five months but regained the use of the leg.
He made a triumphant return to Broadway in the fall of 1960, starring in Ionesco’s absurdist tour-de-force “Rhinoceros,” for which he won a Tony award. He was cast in another “Play of the Week” episode, this time in Samuel Beckett’s “Waiting for Godot,” which was broadcast on April 3, 1961 in syndication.
Zero and his friend Jack Gilford, who had also been blacklisted due to Jerome Robbins having named names and hadn’t worked for many years, were both cast in the Broadway musical “A Funny Thing Happened on the Way to the Forum.” However, the show, under director George Abbott, was troubled. When Stephen Sondheim pitched Robbins to producer Harold Prince as the savior of “Forum,” which was floundering in its out-of-town tryouts, Prince phoned Mostel to ask whether he would be prepared to work with Robbins.
“Are you asking me to eat with him?” asked Mostel.
“I’m just asking you to work with him,” Prince replied.
“Of course I’ll work with him,” Mostel said. “We of the left do not blacklist.”
When Robbins showed up at his first rehearsal, everyone was terrified of him because of his reputation as a tough taskmaster and perfectionist. Robbins made the rounds of the cast, shaking hands. When he got to Mostel, there was silence. Then Mostel boomed, “Hiya, Loose Lips!”
Everyone burst out laughing, including Robbins, and the show went on. Robbins was uncredited for staging and choreographing “Forum,” which opened at the Alvin Theatre on May 8, 1962. “Forum” was a great hit, running for 964 performances at the Alvin and at the Mark Hellinger Theatre and later at the Majestic, closing on August 29, 1964. “Forum” won six Tony awards, including Best Musical and Best Director for George Abbott. Mostel won his second Tony and Gilford was nominated for the Tony for Best Featured Actor.
Zero followed up this triumph with his legendary turn as Tevye, the milkman with marriageable daughters in “Fiddler on the Roof,” based on the stories of Sholom Aleichem. With direction and choreography credited to Jerome Robbins, “Fiddler on the Roof” opened at the Imperial Theatre on September 22, 1964 and did not close until almost eight years later, at the Broadway Theatre on July 2, 1972, with a stop at the Majestic in between during the late ‘60s. After seven previews, “Fiddler” racked up a total of 3,242 performances, making it one of the greatest Broadway smashes ever. After wining nine Tony awards in 1965, including Best Musical, Best Director, and Best Actor in A Musical (Zero’s third Tony), the show was awarded a 10th Tony, a Special Award in 1972 when “Fiddler” became the longest-running musical in Broadway history.
Zero was cast in the 1966 movie version of A Funny Thing Happened on the Way to the Forum (1966), and then concentrated on movies and television for the rest of his career. Most of his projects, with the exception of Mel Brooks’ The Producers (1968), did not fully utilize his talents. It was a major blow when director Norman Jewison cast the Israeli actor Topol as Tevye in his movie adaptation of Fiddler on the Roof (1971), passing over the legend who had created the role. Topol got an Oscar nomination, but faded quickly out of American movies. The movie of “Fiddler,” a huge roadshow hit in 1971, also faded out of American consciousness. One wonders if with Zero in the role, the movie would now be considered a classic and constantly revived on television.
In 1974, Zero reprised his Leopold Bloom in a Broadway production of “Ulysses in Nighttown,” again directed by Burgess Meredith, which netted him a Tony Award nomination as Best Actor in a Play. He turned in an affecting performance as a blacklisted comedian in Martin Ritt’s movie about the blacklist, The Front (1976). He also had a success with a Broadway revival of “Fiddler on the Roof” in December 1976.
Zero was cast as Shylock in Arnold Wesker’s “The Merchant,” a pro-Jewish reimagining of ‘William Shakespeare’’s “The Merchant of Venice.” Mostel had great hopes that his Shylock would be the crowning achievement of his career and put him back on top. His huge talent and larger-than-life persona seemed to do better on stage.
This was not to come to pass. He fell ill after a tryout performance in Philadelphia in September and was hospitalized. On September 8, 1977, Zero Mostel died from an aortic aneurysm at the age of sixty-two. One of the greatest, most unique, and definitely irreplaceable talents to grace the American stage and movies had passed away. We are unlikely to look on his likes again.
Quote: “I enjoy making things that are different. It makes for a better career. I don’t want to do the same thing twice. I love the different roles I’ve played. I don’t ever want to be pigeonholed! That’s the great thing about acting — all these different people I can play, as long as audiences are willing to see them. The more different roles I do, the more different roles I will get.”
Official website:
As the granddaughter of illustrious author Ernest Hemingway, Mariel appeared predestined to be well known and publicly recognized. However, at the tender age of 13, Mariel became famous in her own right when she made her silver screen debut in “Lipstick.” Four years later, her work in Woody Allen’s “Manhattan” earned her an Oscar nomination. She has since made 30 films as well as numerous television appearances in series and as a host of environmental and humanitarian documentaries.
Now 47, Mariel is the mother of two daughters: Dree, 22 and Langley, 20. She is also the fond caretaker of anywhere from two to six delightful dogs at a time. For over 20 years, Mariel has been pursuing her passion for yoga and health and is now seen as a voice of holistic and balanced health and well-being. As part of that role she has lead wellness retreats all over America, sharing her insights about movement, home, silence, and nutrition. In 2003, Mariel published her powerful bestselling memoir, Finding My Balance, the insightful and inspiring story of her life’s journey as viewed through a lens honed by yoga and meditation. Her highly successful second book, Mariel Hemingway’s Healthy Living from the Inside Out (Harper Collins, San Francisco, 2007), is a how-to guide for finding and enhancing personal balance and health through the utilization of self-empowering lifestyle techniques. The book is a valuable boon for those who incorporate Mariel’s sage and thoughtful advice. Most recently, Mariel published her third book, Mariel’s Kitchen: Simple Ingredients for a Delicious and Satisfying Life, in which she offers you ways to easily and deliciously turn your kitchen into the heart of your home. Read more about Mariel’s latest book here.
Her latest exciting project is Mariel’s Kitchen… a company that will produce real food products with a real life message! Mariel believes that caring for the health of the body, mind and spirit is the first step in becoming conscious of the health and well-being of the environment that surrounds us. Eating real food, grown organically and locally, may help us get more in touch with who we are and how we interact with our communities. Begin educating yourself about Mariel’s message and her mission in the pages of this site and begin to build a bridge between how you care for yourself and your world.
Quote: “Anyone can be confident with a full head of hair. But a confident bald man – there’s your diamond in the rough.”
Biography.com:
Producer, writer, actor. Born July 2, 1947 in Brooklyn, New York. David attended the University of Maryland and started doing stand-up comedy in New York night clubs in 1974. In 1979, he was hired to write and perform for the comedy variety show Fridays, which was modeled after Saturday Night Live. He stayed with the show until 1982 when he was hired as a writer for Saturday Night Live, where he worked for a year.
In 1989, David received a call from fellow New York comedian Jerry Seinfeld who was working with NBC to develop a comedy pilot. Together, they developed the legendary “show about nothing” starring Seinfeld, Julia Louis-Dreyfus, Michael Richards and Jason Alexander. Though not initially successful, Seinfeld would become one of the most successful and influential shows in television history. With a talented cast and daring storylines, the show won legions of loyal fans. According to David, the character of George Costanza was modeled after himself, a cheap, neurotic and ultimately selfish bald man.
David wrote and produced Seinfeld until 1996, when he left the show to pursue feature screenwriting. He returned for the season finale in 1998 and made frequent guest appearances throughout the show’s run. David also acted in bit roles in Woody Allen’s Radio Days (1987) and New York Stories (1989). In 1998, David wrote and directed the feature film Sour Grapes, an irreverent look at the pitfalls of wealth and greed.
The following year, David proved his Midas touch once again when he created the hugely successful semi-scripted series Curb Your Enthusiasm for HBO. Originally airing as a special, the show featured David playing himself as a nervous stand-up comic returning to do a television special after a long absence from the stage. The popularity of the special resulted in a weekly HBO series. Partially improvised, the show proved to be another groundbreaking television experiment winning a Golden Globe in 2003 for Best Comedy Series.
David married Laurie Lennard in 1993. The couple has two daughters.
Quote: “All the great writers root their characters in true human behavior.”
Wikipedia:
Kingsley began his acting career on stage, but made a transition to film roles early on. Despite this focus on film, he continued to act on the stage, playing Mosca in Peter Hall’s 1977 production of Ben Jonson’s Volpone for the Royal National Theatre, and in Peter Brook’s acclaimed production of A Midsummer Night’s Dream. At about this time, he changed his name from Krishna Bhanji to Ben Kingsley, fearing that a foreign name would hamper his career; he took his stage surname from his paternal grandfather’s nickname, “King Clove”.
Kingsley’s first film role was a supporting turn in Fear Is the Key, released in 1972. Kingsley continued starring in bit roles in both film and television, including a role as Ron Jenkins on the soap opera Coronation Street from 1966 to 1967 and regular appearances as a defence counsel in the long-running British legal programme Crown Court. In 1975 he starred as Dante Gabriel Rossetti in the BBCs historical drama The Love School. He found fame only years later, starring as Mohandas Gandhi in the Academy Award-winning film Gandhi in 1982, his best-known role to date. The audience agreed with the critics, and Gandhi was a box-office success. Kingsley won the Academy Award for Best Actor for his portrayal.
Kingsley has since appeared in a variety of roles. His credits included the films Turtle Diary, Maurice, Pascali’s Island, Without a Clue (as Dr. Watson alongside Michael Caine’s Sherlock Holmes), Suspect Zero, Bugsy, which led to an Oscar nomination for Best Supporting Actor, Sneakers, Dave, Searching for Bobby Fischer, Schindler’s List, Silas Marner, Death and the Maiden, Sexy Beast, for which he received another Academy Award nomination for Best Supporting Actor, and House of Sand and Fog, which led to yet another Oscar nomination for Best Actor. He won a Crystal Globe award for outstanding artistic contribution to world cinema at the Karlovy Vary International Film Festival in 2001.
In 1997, he provided voice talent for the video game Ceremony of Innocence. In July 2006, he received an Emmy nomination for his performance in the made-for-TV film Mrs. Harris, in which he played famed cardiologist Herman Tarnower, who was murdered by his jilted lover, Jean Harris. Later that year, Kingsley appeared in an episode of The Sopranos entitled “Luxury Lounge”, playing himself. In the show, Christopher Moltisanti and Carmine Lupertazzi offer him a role in the fictional slasher film “Cleaver”, which he turns down. Lupertazzi offers him the role on the basis of Kingsley’s real-life performance in Sexy Beast. In 2007, Kingsley appeared as a Polish American mobster in the Mafia comedy You Kill Me, and a Middle Eastern oil minister in War, Inc. In 2010, Kingsley starred alongside Leonardo DiCaprio in Shutter Island, directed by Martin Scorsese.
Kingsley’s SBK-Pictures has been planning to bring the story of the Native American Conley Sisters to the big screen in Whispers Like Thunder, with Kingsley playing the role of Charles Curtis, the first part-Native American to become vice-president of the United States.
I know this has probably been asked before (and I’m not about to sift through 150+ pages looking for the answer, sorry), but what programs do you use for these?
“(On why did he not record an audio commentary for 21 Grams) I don’t like them. I feel that if you have to explain something it loses strength. It’s like a magician trying to explain his magic, in a way.”
Makes sense to me, like the whole, “If you have to explain the joke, it’s not funny.”
This is a question that has been raised on the film page and has not yet been answered. I’ve seen the Lumière Card Party and cannot seem to find the Méliès Card Party anywhere.
Here’s what I’ve seen:
Here’s the still on the page:
And, as I mentioned on the wall posting for Card Party, the men and woman do not appear to be the same in the picture as in the film above.
I’m definitely looking forward to Dissolution, but I’m looking for something to watch until it comes out on DVD. I’m gonna check out The Bloody Child first, since it’s more economically feasible, followed by Queen of Diamonds, and then Phantom Love, if I can manage to find it when it comes out.
The Auteurs Film & Cast Member Database about 3 years ago
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Ellen Burstyn
Quote: “Acting feels like a congenital condition to me – it’s in my genes.”
Burstyn debuted on Broadway in 1957 and joined Lee Strasberg’s The Actors Studio in New York City, New York, in 1967. In 1975, she won a Tony Award for Best Performance by a Leading Actress in a Play for her performance in the comedy Same Time, Next Year (a role she would reprise in the film version in 1978). Until 1970, she was credited as Ellen McRae in nearly all her film and television appearances.
Burstyn received Academy Award nominations for Best Supporting Actress in 1971 for her role in the drama film The Last Picture Show and for Best Actress in 1973 for the horror film The Exorcist. She won the Academy Award for Best Actress in 1974 for her performance in the drama Alice Doesn’t Live Here Anymore, directed by Martin Scorsese. She also received Best Actress nominations in 1978 for Same Time, Next Year, in 1980 for the fantasy-drama Resurrection, and for the drama Requiem for a Dream in 2000.
In the early to mid 1960s, Burstyn played Dr. Kate Bartok on the NBC television soap opera The Doctors. She worked on several primetime television shows of the 1960s, including guest appearances on Perry Mason, The Virginian, Maverick, Wagon Train, 77 Sunset Strip, The Big Valley and Gunsmoke. She hosted NBC’s Saturday Night Live, a late-night sketch comedy and variety show, in 1980.
In 1986, she had her own ABC television situation comedy, The Ellen Burstyn Show costarring Megan Mullally as her daughter and Elaine Stritch as her mother; it was canceled after one season. From 2000 to 2002, Burstyn appeared in the CBS television drama That’s Life. In 2006, she starred as a Epicopalian bishop in the controversial NBC comedy-drama series The Book of Daniel; although eight episodes from taped, it was canceled after four episodes.
In 2006, Burstyn appeared in the drama-romance film The Fountain, directed by Darren Aronofsky, with whom she worked in Requiem for a Dream. Since 2007, she has had an occasional recurring role on the HBO television drama series Big Love, playing the mother of polygamist wife Barbara Henrickson.
She provided a supporting role as the mother of two sons in the drama-romance film The Elephant King . The film originally premièred at the 2006 Tribeca Film Festival but did not open in U.S. theaters until October 2008. At the time, it was credited as receiving the highest per-screen opening gross as any film in the country.
Burstyn returned to the stage from March 18–May 4, 2008, in an Off-Broadway production of Stephen Adly Guirgis’s The Little Flower of East Orange, directed by Philip Seymour Hoffman in a co-production by LAByrinth Theater Company and The Public Theater; Burstyn played the title role of Marie Therese.
In addition to her stage work, Burstyn portrayed former First Lady Barbara Bush in director Oliver Stone’s biographical film W in 2008.
In 2009, she won a Primetime Emmy Award for Outstanding Guest Actress in a Drama Series for her portrayal of the bipolar estranged mother of Detective Elliot Stabler on NBC’s police procedural Law & Order: Special Victims Unit. With this win, Burstyn became the eighteenth actor to win the “triple crown of acting” — an Academy, Emmy and Tony Award.
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The Auteurs Film & Cast Member Database about 3 years ago
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Cher
Quote: “I don’t like my voice that much. I think I’m a much better actress than singer. Singing is like going to a party at someone else’s house. Acting is like having the party at your own house. When you go to someone else’s house for a party, it’s not your responsibility at all, but when you have the party at your own house, there’s a lot of responsibility. Everyone has to have a good time. So for me, acting is deeper.”
Mini Bio form IMDb:
The beat goes on … and on … and as strong as ever for this superstar entertainer who has well surpassed the four-decade mark while improbably transforming herself from an artificial, über-glossy “flashionplate” singer into a serious, Oscar-worthy, dramatic actress … and back again! With more ups and downs than the 2008 Dow Jones Industrial Average, Cher managed to rise like a phoenix from the ashes each time she was down and counted out, somehow re-inventing herself with every changing decade and finding herself on top all over again. As a singer Cher is the only performer to have earned “top 10” hit singles in four consecutive decades; as an actress, she and Barbra Streisand are the only two Best Actress Oscar winners to have a #1 hit song on the Billboard charts. At age 62, Cher has yet to decide to get completely off her fabulous rollercoaster ride, although she has threatened to on occasion.
The daughter of an Armenian truck driver, John Sarkisian, and an Arkansas-born mother, Georgia Holt (the former Jackie Jean Crouch), Cher was born in El Centro, California, on May 20, 1946. She and sister Georganne LaPiere are part Cherokee and French. The father deserted the family when both were young and they were raised by their mother who later married Gilbert LaPiere, a banker. Cher’s mother, who had aspirations of being an actress and model herself, paid for Cher’s acting classes despite her daughter having undiagnosed dyslexia, which acutely affected her studies. Frustrated, Cher quit Fresno High School at the age of 16 in search of her dream.
Meeting the quite older (by 11 years) Sonny Bono in 1962 changed the 16-year-old’s life forever. Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood at the time and managed to persuade Spector to hire Cher as a session singer. As such, she went on to record backup on such Spector classics as “You’ve Lost That Lovin’ Feeling” and “Be My Baby”. The couple’s relationship eventually shifted from soulmates to lovers and she and Sonny married on October 27, 1964.
At first Cher sang solo with Sonny behind the scenes writing, arranging and producing her songs. The records went nowhere. Sonny then decided they needed to perform as a team so they put out two songs in 1964 under the recording names of Caesar and Cleo (“The Letter” and “Baby Don’t Go”). Again, no success. The changing of their names, however, seemed to make a difference and in 1965, they officially took on the music world as Sonny & Cher and earned instant rewards.
The now 19-year-old Cher and 30-year-old Sonny became huge hits following the release of their first album, “Look at Us” (summer, 1965), which contained the hit single “I Got You Babe”. With the song catapulting to #1, they decided to re-release their earlier single “Baby Don’t Go”, and it also raced up the charts to #8. An assembly line of mild hits dotted the airwaves over the next year or two, culminating in the huge smash hit “The Beat Goes On” (#6, 1967). Between 1965 and 1972 Sonny & Cher charted a total of six “Top 10” hits.
The kooky couple became icons of the late ‘60s “flower power” scene, wearing garish garb and outlandish hairdos and makeup. However, they found a way to make it trendy and were embraced around the world. TV musical variety and teen pop showcases relished their contrasting styles — the short, excitable, mustachioed, nasal-toned simp and the taller, exotic, unflappable fashionista. They found a successful formula with their repartee, which became a central factor in their live concert shows, even more than their singing. With all this going on, Sonny still endeavored to promote Cher as a solo success. Other than such hits with “All I Really Want to Do” (#16) and “Bang, Bang” (#2), she struggled to find a separate identity. Sonny even arranged film projects for her but Good Times (1967), an offbeat fantasy starring the couple and directed by future powerhouse William Friedkin, and Cher’s serious solo effort Chastity (1969) both flickered out and died a quick death.
By the end of the 1960s, Sonny & Cher’s career had stumbled as they witnessed the American pop culture experience a drastic evolutionary change. The couple maintained their stage act and all the while Sonny continued to polish it up in a shrewd gamble for TV acceptance. While Sonny on stage played the ineffectual object of Cher’s stinging barbs on stage, he was actually the highly motivated mastermind off stage and, amazingly enough, his foresight and chutzpah really paid off. Although the couple had lost favor with the new 70s generation, Sonny encouraged TV talent scouts to catch their live act.
The network powers-that-be saw potential in the duo as they made a number of guest TV appearances in specials and on variety and talk shows and in what was essentially “auditioning” for their own TV vehicle. “The Sonny and Cher Comedy Hour” (1971) was given the green light as a summer replacement series and was an instant sensation when it earned its own time spot that fall season. The show received numerous Emmy Award nominations during its run and the couple became stars all over again. Their lively, off-the-wall comedy sketch routines, her outré Bob Mackie fashions and their harmless, edgy banter were the highlights of the hour-long program. Audiences took strongly to the couple who appeared to have a deep-down sturdy relationship. Their daughter Chastity Bono occasionally added to the couple’s loving glow on the show. Cher’s TV success also generated renewed interest in her as a solo recording artist and she came up with three #1 hits during this time (“Gypsys, Tramps & Thieves,” “Half-Breed” and “Dark Lady”).
Behind the scenes, though, it was a different story. A now-confident Cher yearned to be free of husband Sonny’s Svengali-like control over her life and career. The marriage split at the seams in 1974 and they publicly announced their separation. The show, which had earned Cher a Golden Globe Award, took a fast tumble as the separation and divorce grew more acrimonious. Eventually they both tried to launch their own solo variety shows, but both failed to even come close to their success as a duo. Audiences weren’t interested in Cher without Sonny, and vice versa.
In June of 1975, only three days after the couple’s divorce, Cher married rock musician Gregg Allman of The Allman Brothers Band. That marriage imploded rather quickly amid reports of out-of-control drug use on his part. They were divorced by 1977 with only one bright outcome — son Elijah Allman.
In 1976 Sonny and Cher attempted to “make up” again, this time to the tune of a second “The Sonny and Cher Show” (1976). Audiences, however, did not accept the “friendly” divorced couple after so much tabloid nastiness. After the initial curiosity factor wore off, the show was cancelled amid poor ratings. Moreover, the musical variety show format was on its way out as well. Once again, another decade was looking to end badly for Cher.
Cher found a mild success with the “top 10” disco hit “Take Me Home” in 1979, but not much else. Not one to be counted out, however, the ever resourceful singer decided to lay back and focus on acting instead. At age 36, Cher made her Broadway debut in 1992 in what was essentially her first live acting role with “Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean”. Centering around a reunion of girlfriends from an old James Dean fan club, her performance was critically lauded. This earned her the right to transfer her stage triumph to film alongside Karen Black and Sandy Dennis. Cher earned critical raves for Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982), her first film role since 1969.
With film #2 came a Best Supporting Actress Oscar nomination and a Golden Globe win for her portrayal of a lesbian toiling in a nuclear parts factory in Silkwood (1983), starring Meryl Streep and Kurt Russell. This in turn was followed by her star turn in Mask (1985) as the blunt, footloose mother of a son afflicted with a rare disease (played beautifully by Eric Stoltz). Once again Cher received high praise and copped a win from the Cannes Film Festival for her poignant performance.
Fully accepted by this time as an actress of high-caliber, she integrated well into the Hollywood community. Proving that she could hold up a film outright, she was handed three vehicles in 1987 to star in, highlighted by her sparkling, Oscar-winning turn in the romantic comedy Moonstruck (1987). Along with all this newfound Hollywood celebrity came interest in her as a singer and recording artist again. "If I Could Turn Back Time (#3) and the Peter Cetera duet “After All” (#6) placed her back on the Billboard charts.
During the 1990s Cher continued to veer back and forth among films, TV specials and expensively mounted concerts. In January of 1998, tragedy struck when Cher’s ex-husband Sonny Bono, who had forsaken an entertainment career for California politics and became a popular Republican congressman in the process, was killed in a freak skiing accident. That same year the duo received a star on the Hollywood Walk of Fame for their contribution to television. In the meantime an astounding career adrenalin rush came in the form of a monstrous, disco-flavored hit single (“Believe”). The song became a #1 hit and the same-titled album the biggest hit of her career. “Believe” reached #1 in 23 different countries.
Having little to prove anymore to anyone, Cher decided to embark on a “Farewell Tour” in the early part of the millennium and, after much stretching, her show finally closed in 2005 in Los Angeles. It didn’t take long, however, for Cher to return from this self-imposed exile. In 2008 she finalized a deal with Las Vegas’ Caesars Palace for the next three years to play the Colosseum. Never say never.
In other facets of her life, Cher has been involved with many humanitarian groups and charity efforts over the years, particularly her work as National Chairperson and Honorary Spokesperson of the Children’s Craniofacial Association, which was inspired by her work in Mask (1985).
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The Auteurs Film & Cast Member Database about 3 years ago
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Wikipedia:
Liljeberg’s mother was relatively young when Rebecka was born, and Liljeberg’s parents divorced when she was one year old. At the age of 9 (1991), Liljeberg began her acting career when she won a role in the series Sunes jul. Between 1993 and 1997, she became involved in amateur theatre, which she continued with until gaining a role in the film Närkontakt later in 1997. However, it was the following year when she won her breakthrough role in the Lukas Moodysson film Show Me Love. She also quit high school to take up the role, which ultimately won her the 1999 Guldbagge Award for Best Actress, together with Alexandra Dahlström.
After her roles in Show Me Love and Sherdil, Liljeberg began an adult education course in order to graduate from high school. While studying, she also starred in the relatively successful arthouse film Bear’s Kiss, and voiced a character in the Swedish version of IMAX film T-Rex: Back to the Cretaceous. In 2002, she completed the adult education course, and then went on to study medicine at the Karolinska Institute. She graduated in 2009.
Liljeberg is known to enjoy working with computers, and has been working at a small computer firm for some years while studying. However, she has suggested that this is not something she wants to do in the long-term.
She wrote a semi-regular column for Swedish newspaper Svenska Dagbladet for some time. Liljeberg also contributed to UNESCO’s Utrymme anthology of twenty works from young writers around the world.
She now lives in Stockholm with her boyfriend Alexander Skepp. They have three children: Harry Teodor, born in June 2002, Vera, born on January 1, 2005 and Kerstin born June 2009. While she has suggested that she aims to concentrate on a medical career, Liljeberg has not ruled out the prospect of acting in more films if she receives the right offer. She has also expressed a desire to work with director Lukas Moodysson again.
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Anna Wintour
Quote: “If you look at any great fashion photograph out of context, it will tell you just as much about what’s going on in the world as a headline in The New York Times.”
Wikipedia:
Anna Wintour, OBE (born November 3, 1949) is a British fashion editor and the editor-in-chief of American Vogue, a position she has held since 1988. She became interested in fashion as a teenager. Her father, Charles, editor of the Evening Standard, often consulted with her on how to make the newspaper’s coverage relevant to the youth of mid-1960s London. After dropping out of school at 16, she began a career in fashion journalism. Her career took her across the Atlantic, with stints at New York and House & Garden. She returned home for a year to turn around British Vogue, and later assumed control of the franchise’s magazine in New York. She revived a stagnant publication, earning her wide acclaim in the industry.
Like one of her predecessors, Diana Vreeland, she has become a fashion icon. Her pageboy bob haircut and frequently-worn sunglasses have become a common sight in the front row of many fashion shows. Away from the cameras, she has become as much an institution in the fashion world as her magazine. Widely praised for her eye for fashion trends and support for younger designers, her aloof and demanding persona has earned her the nickname “Nuclear Wintour” and alienated some associates. She has also drawn both praise and criticism for her willingness to use the magazine and its cachet to shape the industry as a whole. Animal rights activists have also singled her out for her continued promotion of fur, and other critics have charged her with using the magazine to promote elitist views of femininity and beauty, focusing on rich and thin women.
A former personal assistant, Lauren Weisberger, wrote the 2003 bestselling roman à clef The Devil Wears Prada, later made into a successful film starring Meryl Streep as Miranda Priestly, a fashion editor widely believed to be based on Wintour. In 2009 she was herself the focus of a film, R.J. Cutler’s documentary The September Issue, a documentary about the making of the magazine’s landmark issue in September 2007. The film chronicles her work on the five-pound (2 kg) 840-page issue, the largest issue Vogue ever sent to press.
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The Auteurs Film & Cast Member Database about 3 years ago
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The Auteurs Film & Cast Member Database about 3 years ago
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The Auteurs Film & Cast Member Database about 3 years ago
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Holly Hunter
Quote: “Acting, for me, is the last vestige of doing something that I would like to feel really naive about.”
IMDb:
Holly Hunter was born in Conyers, Georgia, the youngest of seven children whose father was a part-time sporting goods company representative and part-time farmer with a 250 acre farm. Her parents encouraged in her talent at an early age, and her first acting part was as Helen Keller in a fifth-grade play. In 1976 she went to Pittsburgh to pursue a degree in drama from Carnegie Mellon University. After graduating in 1980, she went to New York City, where she met playwright Beth Henley in a stalled elevator. Hunter went on to get roles in a number of Henley’s southern gothic plays, including Crimes of the Heart and The Miss Firecracker Contest. In 1982 the actress went to Los Angeles. She landed her first starring role in the movies in the Coen brothers’ Raising Arizona (1987), a part that is said to have been written with her in mind. She gained stardom in 1987 when she played the driven TV news producer Jane Craig in James L. Brooks’ Broadcast News (1987). In 1993 she earned an Academy Award and worldwide acclaim with her performance as a mute bride to a New Zealand planter in The Piano (1993).
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Jennifer Esposito
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Zero Mostel
Quote: [Commenting on Jim Henson’s Muppets:] “He has the best possible actors. If you have a disagreement with them, you can always use them to wash your car.”
IMDb Mini Bio:
Zero Mostel was born Samuel Joel Mostel on February 28, 1915 in Brooklyn, New York, one of eight children of an Orthodox Jewish family. Raised in the Lower East Side of Manhattan, the young Zero, known as Sammy, developed his talent for painting and drawing at art classes provided by the Educational Alliance, an institution serving Jewish immigrants and their children. Sammy often would go to the Metropolitan Museum of Art to copy the paintings.
Sam Mostel matriculated at the City College of New York, then entered a master’s program in art at New York University after graduating from CCNY in 1935. He dropped out after a year and worked at odd jobs before being hired by the Works Progress Administration’s Federal Art Project to teach drawing and painting at the 92nd Street “Y”, the famous Young Men and Young Women’s Hebrew Association located on Manhattan’s 92nd St., in 1937.
Mostel married Clara Sverd, a CCNY classmate, in 1939, but the marriage was troubled due to personality conflicts. The couple separated in 1941 and divorced in 1944. While still teaching, Mostel supplemented his income by providing gallery lectures at various museums under the aegis of the WPA. His lectures were full of jokes as Mostel personally was a clown, and subsequently he was hired to perform at private parties.
Mostel auditioned as a comedian at the downtown nightclub Cafe Society in late 1941, a jazz club. Initially rejected, owner Barney Josephson hired Mostel after Pearl Harbor, figuring his patrons, now at war, could use some laughs. It was Ivan Black, the club’s press agent, who gave Sam Mostel the nickname Zero, explaining, “Here’s a guy who’s starting from nothing.”
Debuting at the Cafe Society on February 16, 1942, Zero was a hit with audiences and the critics, Simultaneously, Zero began appearing in the play “Cafe Crown” at the Cort Theatre, which opened on January 23, 1942 and played through May 23rd, closing after 141 performances. Zero made some impromptu appearances on stage, but he wasn’t officially part of the cast of the play, which was staged by Elia Kazan and starred Morris Carnovsky, Sam Jaffe (a future blacklistee), Whit Bissell, and Sam Wanamaker. Zero made his formal Broadway debut in “Keep ’em Laughing” on April 24, 1942 at the 44th Street Theatre. The show ran for 77 performances.
Within a year, he was touring the national nightclub circuit and appearing on radio. He had a brief stint in the Army in 1943, but was quickly discharged due to an unspecified physical disability. Zero spent the rest of the war entertaining the troops overseas.
Zero married Kathryn Harkin, a former Radio City Music Hall Rockette, on July 2, 1944, an act that ruined his relationship with his Orthodox Jewish parents as his new wife was a gentile. The two remained a married couple until his death and produced two sons: Josh Mostel, who was born in 1946, and Tobias, who was born in 1949.
In the post-war years, Zero began to branch-out as a straight actor. On October 19, 1948, he made his television debut in the series “Off the Record,” which was broadcast on the DuMont network, following it up with an appearance on October 26, 1948. He later appeared in the “The Ford Theatre Hour” (1948) episode “The Man Who Came to Dinner,” which was broadcast on January 16, 1949 on NBC. He was reunited with his “Cafe Crown” director Elia Kazan in the Oscar-winner’s movie Panic in the Streets (1950) (1950). In the movies, Zero often played heavies due to his physique, roles that downplayed his unique gift for comedy.
Zero had long been a leftist politically, and had made contributions to progressive causes. His nightclub act lampooned the red-baiters rampant at the time, and featured the character of a pompous senator called Polltax T. Pellagra. When he and the wife of his good friend ‘Jack Gilford’ were named by Jerome Robbins before the House Un-American Activities Committee as being communists, Zero was subpoenaed to testify by HUAC.
Mostel testified before the House Un-American Activities Committee on October 14, 1955. In a playful mood, he told the Committee that he was employed by “19th Century-Fox.” Zero denied he was a Communist, but refused to name names. He told the Committee that he would gladly discuss his own conduct but was prohibited by religious convictions from naming others. Consequently, he was blacklisted during the 1950s. Shut-out from the movies, he also lost many lucrative nightclub gigs, and he had to make due by playing gigs for meager salaries and by selling his paintings.
In the 1950s, Mostel bumped into Elia Kazan on the street in New York City, and the two reminisced. Kazan said Mostel chided him for putting Mostel through the paces in “Panic in the Streets,” forcing him to run more than he ever had. The two retired to a bar, and as they began to drink, s Mostel kept muttering, in reference to Kazan’s naming names before HUAC, “Ya shouldn’t a done that. Ya shouldn’t a done that.”
There was no blacklist in the theater, and his friend Burgess Meredith, a noted liberal, offered Zero the lead role in his 1958 Off-Broadway production of “Ulysses in Nighttown,” based on the Nighttown episode of James Joyce’s novel “Ulysses,” that Meredith was directing. Mostel’s performance as Leopold Bloom, Joyce’s Jewish Everyman, was a great hit with audiences and critics alike, and he won an “Obie,” the Off-Broadway equivalent of a Tony. Zero also starred in productions of “Nighttown” in London and Paris.
By the end of 1959, Zero again was appearing on television, cast in the “Play of the Week” episode “The World of Sholom Aleichem,” which was broadcast on December 14, 1959 in syndication. He also was cast in a Broadway play, “The Good Soup.”
Zero never opened in the play as he was hit by a bus on January 13, 1960. His left leg was severely injured, and required four operations. Zero was in the hospital for five months but regained the use of the leg.
He made a triumphant return to Broadway in the fall of 1960, starring in Ionesco’s absurdist tour-de-force “Rhinoceros,” for which he won a Tony award. He was cast in another “Play of the Week” episode, this time in Samuel Beckett’s “Waiting for Godot,” which was broadcast on April 3, 1961 in syndication.
Zero and his friend Jack Gilford, who had also been blacklisted due to Jerome Robbins having named names and hadn’t worked for many years, were both cast in the Broadway musical “A Funny Thing Happened on the Way to the Forum.” However, the show, under director George Abbott, was troubled. When Stephen Sondheim pitched Robbins to producer Harold Prince as the savior of “Forum,” which was floundering in its out-of-town tryouts, Prince phoned Mostel to ask whether he would be prepared to work with Robbins.
“Are you asking me to eat with him?” asked Mostel.
“I’m just asking you to work with him,” Prince replied.
“Of course I’ll work with him,” Mostel said. “We of the left do not blacklist.”
When Robbins showed up at his first rehearsal, everyone was terrified of him because of his reputation as a tough taskmaster and perfectionist. Robbins made the rounds of the cast, shaking hands. When he got to Mostel, there was silence. Then Mostel boomed, “Hiya, Loose Lips!”
Everyone burst out laughing, including Robbins, and the show went on. Robbins was uncredited for staging and choreographing “Forum,” which opened at the Alvin Theatre on May 8, 1962. “Forum” was a great hit, running for 964 performances at the Alvin and at the Mark Hellinger Theatre and later at the Majestic, closing on August 29, 1964. “Forum” won six Tony awards, including Best Musical and Best Director for George Abbott. Mostel won his second Tony and Gilford was nominated for the Tony for Best Featured Actor.
Zero followed up this triumph with his legendary turn as Tevye, the milkman with marriageable daughters in “Fiddler on the Roof,” based on the stories of Sholom Aleichem. With direction and choreography credited to Jerome Robbins, “Fiddler on the Roof” opened at the Imperial Theatre on September 22, 1964 and did not close until almost eight years later, at the Broadway Theatre on July 2, 1972, with a stop at the Majestic in between during the late ‘60s. After seven previews, “Fiddler” racked up a total of 3,242 performances, making it one of the greatest Broadway smashes ever. After wining nine Tony awards in 1965, including Best Musical, Best Director, and Best Actor in A Musical (Zero’s third Tony), the show was awarded a 10th Tony, a Special Award in 1972 when “Fiddler” became the longest-running musical in Broadway history.
Zero was cast in the 1966 movie version of A Funny Thing Happened on the Way to the Forum (1966), and then concentrated on movies and television for the rest of his career. Most of his projects, with the exception of Mel Brooks’ The Producers (1968), did not fully utilize his talents. It was a major blow when director Norman Jewison cast the Israeli actor Topol as Tevye in his movie adaptation of Fiddler on the Roof (1971), passing over the legend who had created the role. Topol got an Oscar nomination, but faded quickly out of American movies. The movie of “Fiddler,” a huge roadshow hit in 1971, also faded out of American consciousness. One wonders if with Zero in the role, the movie would now be considered a classic and constantly revived on television.
In 1974, Zero reprised his Leopold Bloom in a Broadway production of “Ulysses in Nighttown,” again directed by Burgess Meredith, which netted him a Tony Award nomination as Best Actor in a Play. He turned in an affecting performance as a blacklisted comedian in Martin Ritt’s movie about the blacklist, The Front (1976). He also had a success with a Broadway revival of “Fiddler on the Roof” in December 1976.
Zero was cast as Shylock in Arnold Wesker’s “The Merchant,” a pro-Jewish reimagining of ‘William Shakespeare’’s “The Merchant of Venice.” Mostel had great hopes that his Shylock would be the crowning achievement of his career and put him back on top. His huge talent and larger-than-life persona seemed to do better on stage.
This was not to come to pass. He fell ill after a tryout performance in Philadelphia in September and was hospitalized. On September 8, 1977, Zero Mostel died from an aortic aneurysm at the age of sixty-two. One of the greatest, most unique, and definitely irreplaceable talents to grace the American stage and movies had passed away. We are unlikely to look on his likes again.
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Seu Jorge
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Mariel Hemingway
Quote: “I enjoy making things that are different. It makes for a better career. I don’t want to do the same thing twice. I love the different roles I’ve played. I don’t ever want to be pigeonholed! That’s the great thing about acting — all these different people I can play, as long as audiences are willing to see them. The more different roles I do, the more different roles I will get.”
Official website:
As the granddaughter of illustrious author Ernest Hemingway, Mariel appeared predestined to be well known and publicly recognized. However, at the tender age of 13, Mariel became famous in her own right when she made her silver screen debut in “Lipstick.” Four years later, her work in Woody Allen’s “Manhattan” earned her an Oscar nomination. She has since made 30 films as well as numerous television appearances in series and as a host of environmental and humanitarian documentaries.
Now 47, Mariel is the mother of two daughters: Dree, 22 and Langley, 20. She is also the fond caretaker of anywhere from two to six delightful dogs at a time. For over 20 years, Mariel has been pursuing her passion for yoga and health and is now seen as a voice of holistic and balanced health and well-being. As part of that role she has lead wellness retreats all over America, sharing her insights about movement, home, silence, and nutrition. In 2003, Mariel published her powerful bestselling memoir, Finding My Balance, the insightful and inspiring story of her life’s journey as viewed through a lens honed by yoga and meditation. Her highly successful second book, Mariel Hemingway’s Healthy Living from the Inside Out (Harper Collins, San Francisco, 2007), is a how-to guide for finding and enhancing personal balance and health through the utilization of self-empowering lifestyle techniques. The book is a valuable boon for those who incorporate Mariel’s sage and thoughtful advice. Most recently, Mariel published her third book, Mariel’s Kitchen: Simple Ingredients for a Delicious and Satisfying Life, in which she offers you ways to easily and deliciously turn your kitchen into the heart of your home. Read more about Mariel’s latest book here.
Her latest exciting project is Mariel’s Kitchen… a company that will produce real food products with a real life message! Mariel believes that caring for the health of the body, mind and spirit is the first step in becoming conscious of the health and well-being of the environment that surrounds us. Eating real food, grown organically and locally, may help us get more in touch with who we are and how we interact with our communities. Begin educating yourself about Mariel’s message and her mission in the pages of this site and begin to build a bridge between how you care for yourself and your world.
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Larry David
Quote: “Anyone can be confident with a full head of hair. But a confident bald man – there’s your diamond in the rough.”
Biography.com:
Producer, writer, actor. Born July 2, 1947 in Brooklyn, New York. David attended the University of Maryland and started doing stand-up comedy in New York night clubs in 1974. In 1979, he was hired to write and perform for the comedy variety show Fridays, which was modeled after Saturday Night Live. He stayed with the show until 1982 when he was hired as a writer for Saturday Night Live, where he worked for a year.
In 1989, David received a call from fellow New York comedian Jerry Seinfeld who was working with NBC to develop a comedy pilot. Together, they developed the legendary “show about nothing” starring Seinfeld, Julia Louis-Dreyfus, Michael Richards and Jason Alexander. Though not initially successful, Seinfeld would become one of the most successful and influential shows in television history. With a talented cast and daring storylines, the show won legions of loyal fans. According to David, the character of George Costanza was modeled after himself, a cheap, neurotic and ultimately selfish bald man.
David wrote and produced Seinfeld until 1996, when he left the show to pursue feature screenwriting. He returned for the season finale in 1998 and made frequent guest appearances throughout the show’s run. David also acted in bit roles in Woody Allen’s Radio Days (1987) and New York Stories (1989). In 1998, David wrote and directed the feature film Sour Grapes, an irreverent look at the pitfalls of wealth and greed.
The following year, David proved his Midas touch once again when he created the hugely successful semi-scripted series Curb Your Enthusiasm for HBO. Originally airing as a special, the show featured David playing himself as a nervous stand-up comic returning to do a television special after a long absence from the stage. The popularity of the special resulted in a weekly HBO series. Partially improvised, the show proved to be another groundbreaking television experiment winning a Golden Globe in 2003 for Best Comedy Series.
David married Laurie Lennard in 1993. The couple has two daughters.
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The Auteurs Film & Cast Member Database about 3 years ago
Photo for Ben Kingsley
Quote: “All the great writers root their characters in true human behavior.”
Wikipedia:
Kingsley began his acting career on stage, but made a transition to film roles early on. Despite this focus on film, he continued to act on the stage, playing Mosca in Peter Hall’s 1977 production of Ben Jonson’s Volpone for the Royal National Theatre, and in Peter Brook’s acclaimed production of A Midsummer Night’s Dream. At about this time, he changed his name from Krishna Bhanji to Ben Kingsley, fearing that a foreign name would hamper his career; he took his stage surname from his paternal grandfather’s nickname, “King Clove”.
Kingsley’s first film role was a supporting turn in Fear Is the Key, released in 1972. Kingsley continued starring in bit roles in both film and television, including a role as Ron Jenkins on the soap opera Coronation Street from 1966 to 1967 and regular appearances as a defence counsel in the long-running British legal programme Crown Court. In 1975 he starred as Dante Gabriel Rossetti in the BBCs historical drama The Love School. He found fame only years later, starring as Mohandas Gandhi in the Academy Award-winning film Gandhi in 1982, his best-known role to date. The audience agreed with the critics, and Gandhi was a box-office success. Kingsley won the Academy Award for Best Actor for his portrayal.
Kingsley has since appeared in a variety of roles. His credits included the films Turtle Diary, Maurice, Pascali’s Island, Without a Clue (as Dr. Watson alongside Michael Caine’s Sherlock Holmes), Suspect Zero, Bugsy, which led to an Oscar nomination for Best Supporting Actor, Sneakers, Dave, Searching for Bobby Fischer, Schindler’s List, Silas Marner, Death and the Maiden, Sexy Beast, for which he received another Academy Award nomination for Best Supporting Actor, and House of Sand and Fog, which led to yet another Oscar nomination for Best Actor. He won a Crystal Globe award for outstanding artistic contribution to world cinema at the Karlovy Vary International Film Festival in 2001.
In 1997, he provided voice talent for the video game Ceremony of Innocence. In July 2006, he received an Emmy nomination for his performance in the made-for-TV film Mrs. Harris, in which he played famed cardiologist Herman Tarnower, who was murdered by his jilted lover, Jean Harris. Later that year, Kingsley appeared in an episode of The Sopranos entitled “Luxury Lounge”, playing himself. In the show, Christopher Moltisanti and Carmine Lupertazzi offer him a role in the fictional slasher film “Cleaver”, which he turns down. Lupertazzi offers him the role on the basis of Kingsley’s real-life performance in Sexy Beast. In 2007, Kingsley appeared as a Polish American mobster in the Mafia comedy You Kill Me, and a Middle Eastern oil minister in War, Inc. In 2010, Kingsley starred alongside Leonardo DiCaprio in Shutter Island, directed by Martin Scorsese.
Kingsley’s SBK-Pictures has been planning to bring the story of the Native American Conley Sisters to the big screen in Whispers Like Thunder, with Kingsley playing the role of Charles Curtis, the first part-Native American to become vice-president of the United States.
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Nina Menkes about 3 years ago
Now I just need a recommendation.
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MUBI!? Fatal Error Of Judgement about 3 years ago
I move to table this discussion.
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The Auteurs' Fake Criterion Covers about 3 years ago
I know this has probably been asked before (and I’m not about to sift through 150+ pages looking for the answer, sorry), but what programs do you use for these?
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mubi about 3 years ago
Pathetic:
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mubi about 3 years ago
Also pathetic: Cyber-bullying.
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Post a song you are currently listening to about 3 years ago
Chinese Translation by M. Ward
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DIRECTOR COMMENTARY ON DVDs about 3 years ago
I like the quote on Iñárritu’s page:
“(On why did he not record an audio commentary for 21 Grams) I don’t like them. I feel that if you have to explain something it loses strength. It’s like a magician trying to explain his magic, in a way.”
Makes sense to me, like the whole, “If you have to explain the joke, it’s not funny.”
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How Long Does Your DVD Player Last? about 3 years ago
I bought my Samsung DVD player in October of 2001 and it just started giving me problems in March. I guess that’s not as bad as I had though.
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Last movie you saw and rate it about 3 years ago
Pas de Deux by Norman McLaren – 9/10; 5/5
Beautiful images.
Part 1: http://www.youtube.com/watch?v=DAZFvQ1Uv9k
Part 2: http://www.youtube.com/watch?v=MHQIfPbeoBw
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I'd rather sit through _____ than watch _____ again about 3 years ago
I’d rather sit through The Cure for Insomnia than watch Twilight again.
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Georges Méliès' Card Party / Lumière Card Party about 3 years ago
This is a question that has been raised on the film page and has not yet been answered. I’ve seen the Lumière Card Party and cannot seem to find the Méliès Card Party anywhere.
Here’s what I’ve seen:
Here’s the still on the page:
And, as I mentioned on the wall posting for Card Party, the men and woman do not appear to be the same in the picture as in the film above.
Help?
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Nina Menkes about 3 years ago
I’m definitely looking forward to Dissolution, but I’m looking for something to watch until it comes out on DVD. I’m gonna check out The Bloody Child first, since it’s more economically feasible, followed by Queen of Diamonds, and then Phantom Love, if I can manage to find it when it comes out.
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Post a song you are currently listening to about 3 years ago
Sheela Na Gig by Polly Jean Harvey
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FILM DATABASE SUBMISSION MAY 2010 about 3 years ago
Alex Haley’s Roots (1977)
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