Profile pic and quote for Mark Duplass
Most people have one independent film in them, because it’s so hard. And then they’re like, “Thank God I made it through. Now I’m gonna go make studio movies.” Then they keep waiting for studio movies to be made. The thing is, I am willing to hang lights and suffer and keep doing it over and over again because I kind of like it. It’s the same thing that makes you want to go camping. You get into it.
Cecilia Dazzi (Rome, October 17th, 1969) is an italian actress
Daughter of film producer Thomas Dazzi, debuted in the Ettore Scola’s “The Family” , playing the same role played by Stefania Sandrelli, as a young woman. In 1989 he moved to New York where he studied acting with Herbert Bergof and then became assistant Carmelo Bene.
Became famous in Italy with the series “Children of the wall”, and from that moment the doors of cinema, theater and television drama are open for her .
He received the David di Donatello for Best Supporting Actress for the film and “The Wedding” of Cristina Comencini, Flaiano Prize and the Prize Gallio as Best Actress for the film “Emma’s me” by Francesco Falaschi
He has roles in these movies already in the database:
Habemus Papam (Nanni Moretti)
Il Caimano (Nanni Moretti)
Wimbledon (Richard Loncraine)
The Rite (Mikael Håfström)
Javier Adelmar Zanetti (born 10 August 1973 in Dock Sud, Buenos Aires Province) is an Argentine footballer who plays for Serie A club Internazionale. Javier Zanetti has played for Inter since 1995, taking the captain’s armband from 29 August 1999. Known for his versatility, he is adept on both the left and right wing, having played on both flanks as a fullback as well as a winger. He slots into several midfield positions with ease, particularly as a defensive or central midfielder. Internationally, he holds the record of the most capped player in the history of the Argentine national team and has played in the 1996 Olympic tournament and in two World Cups, in 1998 and 2002.
Known as “Pupi” in Argentina, Zanetti was born in Buenos Aires, picking up the nickname “El Tractor” (The Tractor) soon after his move to Italy where his strength, resilience, stamina, and his ability to run past opposing defenders when joining the attack from his right back position earned him notoriety.
Zanetti has won five Serie A titles with Inter, having earned the nickname “Il Capitano” (The Captain) among the fans and media since taking captaincy at Inter. As of the 2011-2012 season, he is the only non-Italian player to captain a Serie A team. He holds the record for the highest all-time appearances by a non-Italian born player for an Italian club and his 757 official matches for the club put him first in Inter’s all-time appearances list. Zanetti, who plans to retire with Inter and continue to work with the club thereafter, is also noted for his charity work, running a foundation to benefit disadvantaged children in Argentina. He has been named an ambassador for the SOS Children’s Villages project in Argentina by FIFA, and in 2005.
Camilla Filippi (Brescia, October 13th, 1979) is an italian actress
She debuted in the TV miniseries “Constance” (1998), directed by Gianluigi Calderone, in which she plays the role of Laura. In 2000 he participated in Matteo Garrone’s “Estate Romana”. The following year he co-starred in the horror film “The House of Chicken” Pietro Sussi.
After some investments in various TV dramas, including the miniseries coroner “Valeria” (2000) and the series “Classmates” (2001), in 2003 participates in the film but also TV miniseries in 4 episodes, “The Best of Youth” Marco Tullio Giordana, which plays the role of Sara Carats. In the same year he was among the main performers of “Ora o mai più”, directed by Lucio Pellegrini and “Prima dammi un bacio”, directed by Ambrogio Lo Giudice. In 2004 she starred in the short film “On the shore of the lake”, directed by Matteo Rovere, and co-starred in the film "The Life I Want "Giuseppe Piccioni.
In 2005 she is in the main cast of “Love me” , directed by Renato De Maria.
She is married with director Lucio Pellegrini from whom he had two sons.
If the first photo is too big:
New Image for Carlito’s Way
And Edwin Torres should be added to SCR as he wrote the books the film was based on
Nicole Grimaudo is an actress born on 22 April 1980, in Caltagirone, Sicily, Italy. She began her career on the Italian television show “Non è la Rai” in 1994-1995, and later moved to TV and cinema films and theatre.
Her theatre roles include “Il giardino dei ciliegi” in 1995 directed by G. Lavia, and “Amadeus” in 1999, directed by Roman Polanski [wikipedia]
image for Blood Tide
images and title correction for Satan’s Slave
Still replacement suggestion for Le chat dans le sac – maybe too long to fit well, though :
Here’s a picture, a quote and a bio for Anne Claire Poirier’s profile :
“My films are political, committed to the most important liberation movement of our time. But whatever subject I touch upon, be it aging, love or war, my films will always be from a woman’s point of view.”
Anne Claire Poirier has some two dozen films to her credit as a writer, editor, director and/or producer.
After earning a law degree from the University of Montreal and studying theatre at the Conservatoire d’art dramatique, she joined the French-language network of the CBC, where she worked as an actress, interviewer, host and drama critic.
In 1960, she moved to the National Film Board, initially working in Versions and then as an assistant editor and assistant director. In 1963, producer Jacques Bobet gave her a chance to write, direct and edit her first short film, 30 Minutes, Mister Plummer, a profile of Canadian actor Christopher Plummer. The following year, she directed and edited La Fin des étés, a dramatic short co-written with novelist Hubert Aquin. This second film had a complex time structure that made it stand out from other Quebec films of the period.
In 1968, Poirier made her mark with Mother-To-Be (De mère en fille), a frank exploration of the emotions and anxieties experienced by a pregnant woman. Not only was it her first feature-length film, it was the first feature ever made by a woman in Quebec. Poirier’s feminist concerns were reflected in a report she and Jeanne Morazain submitted to the NFB in 1971 calling for a separate film program co-ordinated by women, which resulted in the creation of the En tant que femmes program. Between 1972 and 1975, as head of this program, Poirier produced films by directors Mireille Dansereau, Aimée Danis and Hélène Girard to serve as conscious-raising tools for both women and men.
During this time, Poirier also directed two films of her own: They Called Us “Les Filles du Roy” (Les Filles du Roy) (1974), a history of Quebec women’s traditional role of servant and helpmate, which employed a very effective juxtaposition of different elements in a personal style that would characterize her later dramas, and Before the Time Comes (Le Temps de l’avant) (1975), a dramatic feature about abortion.
From 1975 to 1978, she served as Executive Producer of the Challenge for Change/Société nouvelle program and studio head in the French Production Branch.
In 1979, her film A Scream from Silence (Mourir à tue-tête), about rape and the individual and collective domination of women’s bodies, raised a storm of debate and propelled her to international attention. A cry of rage that still echoes today, it is arguably the most powerful film of Poirier’s career.
Her next film, La Quarantaine (1982), was a more traditional drama, followed in 1988 by Salut Victor!, a TV movie written in collaboration with Marthe Blackburn about the unlikely friendship that develops between two men living in a residence for senior citizens.
In 1989, to celebrate the 50th anniversary of the National Film Board, she made the collage film Il y a longtemps que je t’aime tracing the changing image of women in NFB films.
Poirier was appointed to the Ordre national du Québec in 1985 and received the Government of Quebec’s Albert Tessier Award for lifetime achievement in 1988.
In 1996, Anne Claire Poirier directed Tu as crié LET ME GO, a reflection on the underlying meaning of the facts and events surrounding the violent death of her daughter Yanne, a young drug addict murdered two years earlier. The film deeply touched the public when it was shown in commercial release and has also won a number of prestigious awards.
In November 2001, Anne Claire Poirier received the Governor General’s Performing Arts Awards and, in February 2002, the Jutra-Hommage Award given by La Grande Nuit du cinéma. —National Film Board of Canada
Tano Cimarosa (born Gaetano Cisco, Messina 1 January 1922 – Messina 24 May 2008) was an Italian actor, screenwriter and film director from Sicily. He participated in more than fifty movies.
Cimarosa had a long-running acting career in Italian cinema. He made his film debut in 1963 and is argueably best remembered for his memorable turn in Renato Polselli’s crazy giallo Delirium (1972), where he played a shady murder suspect who sets out to prove his innocence.
Tano Cimarosa directed inly one film, the obscure Uomini di parole (1981) with Leonora Fani and of course a role for Tano himself once again. But even though he abandoned his career as a director, Tano would continue to work as an actor – appearing in several memorable and well-received Italian films such as Cinema Paradiso (1988), A Pure Formality (1994) and The Star Maker (1995) – all for Giuseppe Tornatore
Here’s a picture, a quote and a bio for Barbara Ulrich’s profile :
“In history, whenever the right takes power in a country, its national cinema tends to disappear. It’s one of the first things that’s attacked in order to better control the vision people have of the society around them. To kill a national cinema is to kill the voice of the people.”
[…] She wasn’t destined for cinema, rather, it was him who discovered her. Him, that’s Gilles Groulx, a creative and revolutionary filmmaker who, in 1963 after several short films, tackles his first feature film (with the budget and the mandate from the NFB to make another short film, but that’s another story…). In order to let the youth of the time express themselves and the possibilities of change that it itself represents, he seeks a man who will be the voice of the working-class neighborhoods: it will be Claude Godbout (brother of Jacques Godbout, who has definitely not aged well) and an actress from the French-Canadian bourgeoisie he cannot seem to find.
Seen while leaving a party, charmed by her vivacity, Groulx finds her and gives the role to this young student in slavistic studies at the University of Montréal: Barbara Ulrich, who would enrich the character with her Jewish origin and English accent. “The shoot lasted 15 days and was filmed following the narrative continuity of the film. Every morning, we read the papers and, with Gilles, we talked about what was happening in the news. We would find an idea, a sentence, then we improvised around it”, she says.
So, it’s from that canvas of barely two pages, with the spontaneity and authenticity of words caught, that the film would become, like its female protagonist, the reflection of an era.
Action as an extension of oneself
Starting from 1966 and on, Barbara Ulrich would perform with Gilles Groulx a return to the land in the vicinity of Saint-Charles-sur-Richelieu where she would practice, long before the Peasant Union, environmentally friendly organic farming. After raising goats, she would study clothing design and would build a tailor shop in her village. All her life, through many experiences, she would implement her convictions and values.
Continuing along the same lines, she now fights for independent film-making in Québec. Since 1999, she directs the Québécois Council of Media Arts (Conseil québécois des arts médiatiques – CQAM) which promotes the activities and creations of artists and independent cinema agencies, of video and new media in Québec: “"I defend above all the artistic and editorial independence of creators, which implies that they must have access to adequate financial and human resources to create freely", she says. […] —Gabriel Anctil (L’aut’ Journal – 2002)
Godzilla vs. Mothra
For Danny in the Sky :
Add Sophie Lavallée and Barbara Ulrich in CAST and replace Éric Boutin by Eric Benton (still in CAST).
For The Duchess and the Dirtwater Fox :
Add Barbara Ulrich, Bill McLaughlin, Richard Jamison, John Alderson, E.J. André, Pat Ast, Ellyn Stern, Jerry Wills, Roy Jenson, Robert F. Hoy, Walter Scott, Jerry Gatlin in CAST.
Here’s a picture, a quote and a bio for Claude Fournier’s profile :
“It heals a lot of wounds, the laughter of the audience enjoying the film you made.”
Director, Producer, Screenwriter, Cinematographer, Composer
(b. July 23, 1931 Waterloo, Quebec)
One of the most prolific and durable filmmakers of his generation, the multi-talented Claude Fournier has had a curiously eclectic career, from contributing to direct cinema at the National Film Board (i.e. La Lutte, À Saint-Henri le cinq septembre) and directing Quebec’s most commercially successful feature (Deux femmes en or), to directing for television and composing the music for the award-winning short film L’Âme soeur (1990).
Originally a journalist, Fournier joined Radio-Canada as a news cameraman before he turned to writing drama. He joined the NFB in 1956 as a writer, left to spend a year in Europe, and returned in 1958 as a writer-director, working on several early direct-cinema films. Having decided to become a cinematographer, he left the NFB and spent eighteen months in the United States working with Richard Leacock and D.A. Pennebaker, photographing such films as Eddie Sachs: On the Pole (1960) and Playboy Bunnies. He returned to Montreal in 1963 and formed his own company, Les Films Claude Fournier, which in five years produced more than one hundred short films for television, many of them directed and/or photographed by Fournier himself.
In 1968 he merged his company with Onyx Films, becoming its vice-president, and directed his first feature, the documentary Le Dossier Nelligan (1969), followed by three fiction features, including Deux femmes en or (1970), which cost $218,000 and went on to gross $4 million at the box office. He founded Rose Films in 1973 and worked largely in television until his return to features on the comedy Hot Dogs (1980), followed by an adaptation of Gabrielle Roy’s classic Quebec novel Bonheur d’occasion/The Tin Flute (1983).
Fournier, who is also a published poet, novelist and essayist, continues to work in film and television in Quebec. He is the twin brother of screenwriter Guy Fournier. —Canadian Film Encyclopedia
Enzo Cannavale (5 April 1928 – 18 March 2011)was an Italian film actor.
He appeared in more than 100 films since 1949, including Cinema Paradiso, which won the Academy Award for Best Foreign Language Film at the 62nd Academy Awards in 1990.He was awarded the Nastro d’Argento for Best Supporting Actor in 32 dicembre (December 32nd) by Luciano De Crescenzo [wikipedia]
Sergio Castellitto (born 18 August 1953) is an Italian actor and director.
Castellitto attended the academy of dramatic art and dedicated himself to theatre soon after, working with many famous actors such as Luigi Squarzina, Aldo Trionfo and Enzo Muzii. He interpreted many films like Sembra morto…ma è solo svenuto directed by Felice Farina, Piccoli equivoci by Ricky Tognazzi and Stasera a casa di Alice by Carlo Verdone. He became more famous with the films The Great Pumpkin by Francesca Archibugi and The Star Maker by Tornatore.
Success arrived with the films La famiglia, L’ultimo bacio, Caterina in the Big City, My Mother’s Smile, Mostly Martha, and especially with Don’t Move, written by his wife Margaret Mazzantini. The last films that he interpreted were Il regista di matrimoni by Marco Bellocchio and La stella che non c’è by Gianni Amelio.
The first film that he directed is Libero burro and the last is Don’t Move. He played the role of the antagonist, King Miraz, in the film The Chronicles of Narnia: Prince Caspian.
In France Castellitto played the male lead opposite Jeanne Balibar in Jacques Rivette’s “Va savoir” (2001)
Luigi Maria Burruano
Burruano made her film debut in 1970, “L’amore coniugale” by Dacia Maraini. The theater, however, remained his principal occupation for fifteen years, until 1985, when he returned to the big screen with a small part in “Pizza Connection” by Damiano Damiani.
Then another pause – broken by minor parts in two films by Marco Risi, “Mery per sempre”(1989) and “Ragazzi fuori” (1990)
Success for Burruano arrived, however, with the participation in the television series “La piovra”.
In 2001 he was nominated for a Silver Ribbon for performance in the film “I cento passi” by Marco Tullio Giordana (2000) of the part of Luigi Impastato, Peppino’s father.
Among the other films he interpreted to be mentioned “The Star maker” of Giuseppe Tornatore (1995), “Nowhere” by Luis Sepulveda (2002), “Miracle in Palermo!” Beppe Cino (2003), “The Return of Cagliostro” of Ciprì and Maresco (2003), “Quo vadis, baby?” Gabriele Salvatores (2005)
Here’s a picture, a quote and a bio for Fred Barry’s profile :
“He, who never took anything seriously, or pretended to, counts amongst his countless comrades only sincere friends.” [Claude Jutra, From Fred Barry comédien]
Frédéric Ulric Barry, actor, singer, company director (b at Montréal 28 Oct 1887; d there 17 Aug 1964). Fred Barry, the son of modest innkeepers in Montréal’s Saint-Jean-Baptiste district, was initiated into theatre as a child, performing his first role at the age of 10 in a production by LE CERCLE MOLIÈRE, one of the many amateur groups of the period. He continued his on-the-job training until his professional debut in 1914, at the age of 26, with the Théâtre Canadien-Français company, then directed by Fernand Dhavrol.
From 1916 on, Fred Barry was director of the Imperial Theatre Company in Québec City and was also seen at the Family Theatre in Montréal. He performed in widely diverse dramatic and comic roles drawn from the repertoire in vogue – for the most part made up of French melodramas and light comedies dating from the 19th century.
Barry was a born actor with a winning nature and sound instinct. He got through the difficult years of the 1920s by taking refuge in the burgeoning field of radio, and took part in numerous reviews and operettas, as he was also a good singer. In 1929, with actor Albert Duquesne, he set up the troupe Barry-Duquesne, housed from 1930 at the Cinéma Chanteclerc (renamed Theatre Stella), a hall with 443 seats situated on rue Saint-Denis, north of Mont-Royal (now the THÉÂTRE DU RIDEAU VERT). The company combined the best elements of Montréal theatre: director Antoine Godeau; reputable actors such as Pierre Durand, Bella Ouellette, Gaston Dauriac, Jeanne Demons, Antoinette Giroux, Jacques Auger; and actors from France added periodically for reinforcement. With new productions at the rate of one per week, performed some dozen times at evenings and matinees during a 36-week season, the quality was uneven. In spite of repertoire updated to suit the Parisian taste of the day, and changes in artistic direction in an attempt to attract upper-class patrons, the Stella had to shut down after its fifth season. This was certainly due to the Depression, but also to strong competition from movies, a risky choice of plays, and assembly-line production.
After this unsuccessful attempt to establish a permanent theatre in Montréal, Fred Barry reached a major turning point in his career when 2 freelancers approached him to support their theatrical ventures. Gratien GÉLINAS engaged him as assistant director and to perform in les Fridolinades (1938-46), an annual review that was a long-term hit and led to the creation of the acclaimed play Tit-Coq in 1948. Barry was also cast in the film version that Gélinas drew from it in 1952. Then the very young Pierre Dagenais reserved a place for Barry in his productions of L’Équipe (1943-48), recognizing in him a living symbol of Canadian theatre at its best. In this way, Fred Barry practised his profession as an actor for 40 years in material conditions that were often less than favourable. This situation would not change until public authorities began to understand that theatre should not be subject to the laws of the market in order to blossom as an artistic language.
Fred Barry was justly credited with the title of acting pioneer “Canadian style” and was the subject of a documentary by Claude JUTRA (National Film Board, 1959). In 1976, the city of Montréal named a square behind the Place des Arts “Place Fred-Barry,” and the following year the Nouvelle Compagnie théâtrale similarly named the small hall adjoining Théâtre Denise-Pelletier. Fred Barry et la petite histoire du théâtre au Québec by journalist Philippe Laframboise, was published by Editions Logiques in 1996. —Gilbert David (The Canadian Encyclopedia)
Also still replacement suggestion for Maria Chapdelaine :
If you put down a list of jobs, doctor, lawyer, janitor, teacher or movie star, everybody would pick the movie star. And why? So you could lie around the pool, drink margaritas and send money to your parents. So that’s what I did.
Although Steve Guttenberg is firmly established as the star not only of hit motion pictures but of hit motion picture franchises, his roots are firmly in the theater. As a result, he has moved effortlessly between comedy and drama. His first film as director/producer/co-screenwriter/star, not surprisingly, will be the adaptation of a Broadway hit, the classic stage comedy/drama P.S. Your Cat Is Dead! (2002) by the late James Kirkwood Jr., co-author of “A Chorus Line” (and, of course, A Chorus Line (1985)). The black comedy with its frank exploration of sexual role-playing has lured and defied filmmakers for a quarter-century.
In two decades of stardom in both critical and box-office hits, Guttenberg has been the above-the-title star of six films that earned over $100,000,000 in the United States, a feat accomplished by relatively few superstars. He has also starred in four film franchises, appearing in such sequeled smash hits as Cocoon (1985), 3 Men and a Baby (1987), Police Academy (1984), and Short Circuit (1986), taking his films’ box-office grosses into the billions. The comic timing and charm with which he illuminated those films and the dramatic invention which he displayed in such other major successes as Diner (1982), The Bedroom Window (1987), The Boys from Brazil (1978), and a string of historic television films all derive from his firm theater training.
His studies, which include years with famed teacher Herbert Berghof and with one of the most fertile schools of improvisational comedy, The Groundlings, took him to such renowned theaters as the Helen Hayes on Broadway, where he created the lead role in “Prelude To A Kiss” and “The Comedy” in London’s West End, where he starred in “The Boys Next Door.” He recently won kudos again in the world stage premiere production of “Furthest From the Sun,” which Woody Harrelson directed and co-authored. Guttenberg has carved as vivid a body of work on TV as he has on the big screen. His television films include the critically acclaimed Miracle on Ice (1981) (TV), To Race the Wind (1980) (TV), Something for Joey (1977) (TV), and the controversial nuclear holocaust picture, The Day After (1983) (TV), which more than 20 years after its original airing remains the highest-rated made-for-television movie in history.
Fiercely dedicated to improving opportunities for the homeless and for young people, Guttenberg has created Guttenhouse, an apartment complex he has funded to accommodate young people after their graduation from foster child status, with on-site social worker direction to assist their assuming adult responsibilities. The Entertainment Industry Foundation, Hollywood’s charity arm, selected him to be Ambassador for Children’s Issues because of his dedicated work on behalf of children and the homeless. In this capacity, he is spearheading Sight for Students, a $7-million program in which, together with VSP and Altair Eyeglasses, he will help provide glasses for 50,000 underprivileged and visually challenged children throughout their school years. Part of his unique ability to Pied Piper children to better lives comes from the fact that he is as affectionately regarded by young audiences as by adults, having starred in such kids’ favorites as Casper: A Spirited Beginning (1997) (V), It Takes Two (1995), and Zeus and Roxanne (1997).
His interest in the welfare of youngsters is reflected in his work as a producer and director. He executive-produced “Gangs,” a “CBS Schoolbreak Special” (1984), which earned an Emmy nomination, and he debuted as a director with another critically acclaimed “CBS Schoolbreak Special” (1984), “Love Off Limits” (1993). Born in Brooklyn, New York (his production company, Mr. Kirby Productions, is named after his high school drama teacher) he grew up in Massapequa, Long Island. Guttenberg’s crowded spare time includes his charitable activities for such kids-oriented agencies as Friends of the Children/Bridges, The Starlight Foundation as well as the Entertainment Industry Foundation. He is also an avid surfer and golfer and a passionate devoted dog owner. (IMDb)
Hemingway & Gellhorn is directed by this guy, not this mysterious “Phillip”.
double page, delete this one
Found some info about The Central Park Five from both the Cannes page and this article (pending the creation of an IMDb page for the film):
Runtime: 120 Min
DIR Ken Burns, Sarah Burns, David McMahon
PROD Ken Burns, Sarah Burns, David McMahon
And of course, it’s screening as a Special Screening at Cannes this year.
Also, missing Cannes Classics citations for: Lawrence of Arabia, Jammin’ the Blues, Woody Allen: A Documentary and Runaway Train.
Add John Barth, author of the novel, to the credits for End of the Road.
A better still for Christoph Waltz:
A better still for My Brother’s Wedding