The Auteurs Film & Cast Member Database
Folco Quilici
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Folco Quilici ( Ferrara , 9 April 1930 ) is a documentary film and television writer Italian.
Son of journalist Nello Quilici and painter Emma Buzzacchi , after starting work in film industry, he specialized in underwater filming, becoming very popular even beyond national borders. He studied directing at the Experimental Centre of Cinematography . His first feature was The Sixth Continent of 1954 , full of fascinating underwater images dedicated to the southern seas. Follow in the years feature films that have made history, including: “The last paradise”, “Tikoyo and the Shark,” “Ocean”, “Brother sea.” Then he alternated the documentary film to journalist, doing special services on the environment and civilization. The son Brando Quilici is also a noted documentary filmmaker, father and son have built some features.
Feature Films
Sixth Continent ( 1954 )
The last paradise ( 1956 )
From the Apennines to the Andes ( 1960 )
Tikoyo and the Shark ( 1960 )
The slaves still exist , co-directed with Maleno Malenotti and Malenotti Roberto ( 1964 )
Ocean ( 1971 )
The god beneath the skin ( 1974 )
Brother Sea ( 1975 )
Hunters of ships ( 1990 ).
Awards
Berlin Film Festival 1957 : Silver Bear for Best Documentary – Last Paradise
David di Donatello 1972 : David Special Director – Ocean
from wikipedia
IMDB
http://www.imdb.com/name/nm0703559/
Folco Quilici was born in Ferrara in 1930, the son of Nello Quilici, historian and journalist, and the painter Mimi Buzzacchi.
For many years, Folco Quilici’s name has been connected with the relationship between man and the sea, with films like Blue Continent (Venice Film Festival Special Award 1954), Last Paradise (Berlin Film Festival Silver Bear 1956), Tikoyo and the Shark (Unesco Award for Culture 1961), The Voyage of Tanai ( Taormina Festival Special Award 1971, David Donatello Award 1972) and Brother Sea (First Prize at the International Sea Cinema Festival, Cartaghena,1974), Danger Adrift, (Umbria Fiction Prize, 1992).
Also worthy of mention are his medium-length cultural films, presented as non-competing works at the Venice Film Festival; Gauguin (1957) and The Angel and the Mermaid (1980). Highly successful: La Primavera del Botticelli, 1982. In 1970, he edited three films, I Mille giorni di Firenze, on the flood of 1967 and the endeavours to save the city’s cultural heritage. Folco Quilici received an Oscar nomination in 1971 for Tuscany, one of the sixteen films of the Italy from the Sky series, which saw the cooperation of some of the great names of contemporary Italian literature, such as Calvino, Sciascia, Silone, Praz, Piovene and Comisso. In 2000, for Arté, the feature films Kolossal (2002) and Il Mondo di Pinocchio (2003). In 2004, for the Luce, the feature film L’Impero di Marmo (Which took an award at the International Festival of archaeological films, Greece, 2006).
Folco Quilici has also been actively engaged in cultural programmes produced for Italian and foreign TV Companies: from Tre volti del deserto (‘57), In Search of Africa (1964/65), Malimba (1966), India (1966/67), Islam (1968/69), The Dawn of Man (1970/75), The Mediterranean (1971/76), I mari dell’Uomo (‘71/’74), European Man (1976/80), Festa Barocca (1980/1982), La Grande Epoque (1983/1985), Risk and Obedience (1990/92), The Archives of Time (1988/93), Adventure and Discovery (1990/93), Journey into History (1992/93), Archipelagos (1993/95), Italia Infinita (1996/2002), Alpi (1998/2004), Di Isola in Isola (2004/2005)..
For the thirteen films of the Mediterranean series and the eight of European Man, Quilici was assisted by one of the leading historians of our time, Fernand Braudel and the anthropologist, Lèvi-Strauss. The archaeologist, Sabatino Moscati assisted Quilici in the series dedicated to underwater archaeology (Mare Museo 1988-92, Phoenecians Splendour and Collapse 1987-88). Together with the archaeologist George Vallet, he made I Greci d’Occidente.
Between 1992 and 1999, he directed L’Italia del XX secolo, 65 films based on the writings of historians De Felice, Castronovo and Scoppola.
Between 1971 and 1989, Folco Quilici edited the TV programme GEO RAI Network 3.
Since 2002, he has worked for major SKY TV programmes (Marco Polo) which resulted in his being appointed “personality of the year” in 2006.
International awards have acknowledged his commitment towards cultural TV programmes. From the French Critics’ Award for the direction of the Mediterranée Series to the Italian Critics’ Award for India (1966), The Dawn of Man (1975) and Baroque (1983). His most recent award is the European Gold Plaque (1995) for his commitment in the field of historical-cultural films. In 1976, he received a prize at the “Festival dei Popoli” for his work on the primitive world.
Alongside his endeavours as a filmmaker, since 1954 he has also published numerous non-fiction works – Mala Kebir (1955), Mille Fuochi (1964), Sesto Continente (1965), Gli ultimi primitivi (1972), Magia (1977), Il Riflesso dell’Islam (1983), L’Uomo Europeo (1983), India (1990), I Mari del Sud (1991), Il Mio Mediterraneo (1992), Le Americhe (1993), La mia Africa (1992), Tobruk 1940 (2004). Between 1976 and 1979, he edited The Great Encyclopaedia of the Sea. In 1974/75, he co-authored the two volumes La Mediterranée, along with Fernand Braudel. Together with his wife Anna, he has published two “adventure biographies”: Amundsen (1998) and Jack London (2000), Premio Chianciano and Premio Castiglioncello. Since 2002, he has been working on a series of books together with Luca Tamagnini (Published by Phoatlante), dedicated to the protected marine areas of Italy.
He has also written several novels, published both in Italy and abroad – Cacciatori di Navi (1985), translated in the U.S.A., Cielo Verde (1997), which immediately became a best-seller in Italy, and Naufraghi (1998). In 1999, his novel Alta Profondità began the narrative sequel consisting of L’Abisso di Hatutu (2001), Mare Rosso (2002) (which took the Scanno Prize for Literature in 2003), I Serpenti di Melqart (2003) and La Fenice del Bajkal (2005).
In 1955, the Marzotto Prize for literature with Sesto Continente (translated in the USA, republished in 2000), in 1981 the Malta Prize with Mediterraneo, in 1985 the Fregene Prize with Cacciatori di Navi, in 1993 the Estense Prize with Africa and the Scanno Prize for literature with Mare Rosso. In 1997, the “Premio Internazionale Cultura del Mare”, and in 2000 the “Tridente d’Oro alla Carriera”, from the Underwater Science Arts Academy.In 2002, the NEOS Prize from the Travel Journalists’ Association and, together with Corrado Ruggeri (in 2006), the non-fiction work Sì, viaggiare.
Since 1954, Quilici has contributed to the Italian and international press – Life, Epoca, Panorama, Europeo and the daily newspapers La Stampa, Il Corriere della Sera and Il Giornale. In this field, he won the 1969 “Premio Italia” prize for journalism and the 1990 “European Journalism Award”. In 1994, he was awarded the “Penna d’Oro” for his articles on Latin America. In 1997, he won the “Marforio-Campidoglio Award to the Career, for cultural works”, and in 1999, the “San Giorgio Prize” for his works as a whole. In 1983, he was awarded the “Gold Medal” for cultural merits by Italian President Pertini.
He has held courses on the history of cultural films at Bologna University (1966/67), at Berlin University (1991), at the Experimental Film Centre (1995) at the Catholic University of Milan (1998), at Rome’s Third University (2001-2002) and at Padua University (2004-2005). Between 1985 and 1989 he taught at the ORAO, (Cultural Image Training Centre), with courses continued through 1997 and into 1998.
Between February 2003 and June 2006, he was President of ICRAM, Central Institute for Applied Marine Research, and was editor of the Institute’s monthly journals. Previously, between 1995 and 1996, he had been editor of the monthly “Mondo Sommerso”.
He is one of the founder-members of the H.D.S. (Historical Diving Society) and of the MAREVIVO Environmentalist Association. Since 2001 he has been a member of the ITALIAN GEOGRAPHIC SOCIETY.
He has been a photographer since 1949, and has put together a photographic library comprising over one million colour and black and white images. In 1998, he was proclaimed “Great Master for creative excellence” by the International Photo Contest.
In 2006, thanks to his books on the environment and culture, FORBES magazine included Folco Quilici among the one hundred most influential writers in the world.
from http://www.folcoquilici.com/en/biografia.html
Fratello Mare (1975) – Brother Sea
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[img]http://www.folcoquilici.com/en/img/fratello_mare1.jpg[/img]
[img]http://www.folcoquilici.com/en/img/fratello_mare2.jpg[/img]
Director: Folco Quilici
Writers: Folco Quilici, Augusto Frassineti, Ottavio Alessi
Producers: Anna Quilici, Folco Quilici
Production: Shamsa
Music: Piero Piccioni
Editing: Armando Portone
Cinematography: Marco Scarpelli, Riccardo Grassetti, Vittorio Dragonetti
81 min color
Documentary
Country: Italy
Language: Italian
The story behind the production of this film is particularly interesting. Folco Quilici, who was 25 years old, after making Sesto Continente, successfully presented at the Venice Film Festival (1954), set off with an Arriflex 35 mm camera and 10 × 120 metre reels of film to the Tuamutú islands in Polynesia. He filmed various scenes of a world still totally faithful unto itself. Back in Italy, he was selected to shoot a film in the Congo and then appointed to direct Ultimo Paradiso, “Silver Bear” at the Berlin Festival (1956). The following years were hectic ones for him and he ended up forgetting the film material shot in Polynesia, by himself, in 1954.
In 1972, an old film disposal company informed him they had found, among a quantity of material to be destroyed, 9 × 35 mm boxes containing 120 metres of developed and intact film. Twenty years afterwards, Quilici again came into possession of film reels showing islands that had meanwhile been rapidly transformed by tourism and the fishing industry. Convinced of the rarity and preciousness of those films, he shot a film based on the tale of an old fisherman who evoked his sea as it was when he was a child. This film, entitled Fratello Mare, was ready in 1975 and was presented at the “Teheran International Festival”, where it took a Special Prize, and at the “Cartaghena International Festival” (Spain) where it won the Grand Prix.
In 1976, the film was bought by a Japanese producer and was successful in various countries of the East. After the Japanese company closed down, the negative of Fratello Mare was lost again and not recovered until Folco Quilici visited Japan in 2002. He decided to restore the film and save the seriously damaged 35 mm negative. After restoration, in 2006, the 35mm negative of Fratello Mare was transferred onto digital master.
Still suggestion for The Empire Strikes Back:
Profile picture for Paul Guèvremont :
Profile picture for Denise Pelletier :
Profile picture for René Lévesque :
Also, please merge Félix Leclerc 1 and Félix Leclerc 2
Better still for Fred Barry comédien :
Duplicate entries:
http://mubi.com/cast_members/54716
and
http://mubi.com/cast_members/244245
stills for Creepshow 3
Giorgio Colangeli (Rome, December 14, 1949) is an actor of film, theater and television
Rosa Pianeta (Turin, 23 September 1955) is an Italian actress.
Iaia Forte (Naples, 16 March 1962) is an actress in film and theater
Giada Colagrande (born 16 October 1975) is an Italian film director and actress.
Colagrande was born in Pescara, Abruzzo. She studied in Italy, Switzerland and Australia, and in 1995 she moved to Rome where she began making videoart and documentaries on the work of contemporary artists. From 1997 to 2000 she joined the art project VOLUME, where she made videos on Jannis Kounellis, Alfredo Pirri, Bernhard Rüdiger, Nunzio, Raimund Kummer, Gianni Dessí, Maurizio Savini and Sol Lewitt. In 1997 she directed her first short film Carnaval (13’, 35mm); in 1998 her second, Fetus – 4 Brings Death (23’, 35mm); in 2000 N.3 (7’, video).
In 2001 she wrote, directed and starred in her first feature film, “Aprimi il Cuore” (Open My Heart), which opened at the Venice Film Festival 2002, and then was selected by many international film festivals, such as the Tribeca Film Festival 2003, in competition, and Paris Cinéma 2003, where it won the award Prix de l’avenir. Giada was also nominated for Best New Director at Nastri d’Argento 2003. Open my Heart was released in Italy by Lucky Red and in the USA by Strand Releasing.
In 2005 she directed her second feature “Before it Had a Name”, which she co-wrote and co-starred in with Willem Dafoe. The film opened at the Venice Film Festival 2005 and was then showed in San Sebastián and other international film festivals. Before it Had a Name was distributed in USA and internationally with the title Black Widow.
“A WOMAN”, written and directed by Colagrande, starring Willem Dafoe and Jess Weixler, is her third feature film and her third participation in the Venice Film Festival.
Colagrande married actor Willem Dafoe on 25 March 2005__Wikipedia
Bernd Alois Zimmermann
Composer
Pic :
Bio :
Bernd Alois Zimmermann (20 March 1918, Bliesheim, Rhine Province – 10 August 1970 ; full name Bernhard Alois Zimmermann) was a post-WWII West German composer. He is perhaps best known for his opera Die Soldaten which is regarded as one of the most important operas of the 20th century. As a result of his individual style, it is hard to label his music as avant-garde, serial or postmodern. His music employs a wide range of methods including the twelve-tone row and musical quotation.
Zimmermann was born in Bliesheim (now part of Erftstadt) near Cologne. He grew up in a rural Catholic community in western Germany. His father worked for the German Reichsbahn (Imperial Railway) and was also a farmer. In 1929, Zimmermann began attending a private Catholic school, where he had his first real encounter with music. After the National Socialists (or Nazis) closed all private schools, he switched to a public Catholic school in Cologne where, in 1937, he received his Abitur, the German equivalent of a high school diploma.
In the same year, he fulfilled his duty for the Reichsarbeitsdienst and spent the 1937/1938 winter semester studying pedagogy at the Hochschule für Lehrerausbildung (lit. University for Teacher Training) in Bonn.
He began studying Music Education, Musicology and Composition in the winter of 1938 at the University for Music in Cologne. In 1940, he was drafted in the Wehrmacht (the German Army) but was released in 1942 due to a severe skin illness. After he returned to his studies, he didn’t receive a degree until 1947 due to the ending of the war. However, he was already busy as a free-lance composer in 1946, predominantly for radio. From 1948 to 1950, he was a participant in the Kranichsteiner/Darmstädter Ferienkursen für Neue Musik (lit. Kranichstein/Darmstadt Vacation Course for New Music) where he studied under René Leibowitz and Wolfgang Fortner, among others.
In 1957, he received a scholarship to spend time at the German Academy Villa Massimo in Rome. He also assumed the position of Professor of Composition (from Frank Martin) as well as Film and Broadcast Music at the Cologne Music University. In the 60s, he received more attention and success as a composer (including a second scholarship to the Villa Massimo in 1963 and a fellowship in the Berlin Academy of the Arts), especially after his opera Die Soldaten (The Soldiers) finally premiered in 1965. The opera had previously not been performed due to the enormous number of people required and the musical difficulty—the Cologne Opera had considered it “unspielbar” (not performable). He was living in Grosskönigsdorf near Cologne. Nevertheless, his depressive tendencies increased to a more physical level, compounded by a quickly deteriorating eye problem. On 10 August 1970, Zimmermann committed suicide, just five days after completing the score to Ich wandte mich um und sah alles Unrecht das geschah unter der Sonne. At the time, he was preparing another opera, Medea.
In his own compositional growth, he took his place in the progression of new music, from which the German composers were mostly separated during the Nazi regime. He began writing works in the neoclassical style, continued with free atonality and twelve-tone music and eventually arrived at serialism (in 1956). His affection for jazz can sometimes be heard in some of his compositions (more so in his Violin Concerto or Trumpet Concerto).
In contrast to the so called Darmstadt School (Stockhausen, Boulez, Nono, etc.), Zimmermann did not make a radical break with tradition. At the end of the 1950s, he developed his own personal compositional style, the pluralistic “Klangkomposition” (German word referring to the compositional style that focuses on planes – or areas – of sound and tone-colors). The combination and overlapping of layers of musical material from various time periods (from Medieval to Baroque and Classical to Jazz and Pop music) using advanced musical techniques is characteristic of Klangkomposition. Zimmermann’s use of this technique ranged from the embedding of individual musical quotes (seen somewhat in his orchestral work Photoptosis) to pieces that are built entirely as a collage (the ballet Musique pour les soupers du Roi Ubu). In his vocal works, especially his Requiem, the text is used to progress the piece by overlapping texts from various sources. He created his own musical stance using the metaphor “the spherical form of time”.
http://en.wikipedia.org/wiki/Bernd_Alois_Zimmermann
G-Legs
L’ultimo giorno di scuola prima delle vacanze di Natale should have an English title or subtitle as ‘The Last Day of School Before Christmas Holidays’.