The Auteurs Film & Cast Member Database
http://mubi.com/films/heart-of-a-dog
The author of the novel on which it is based is Mikhail Bulgakov.
Quote:
I originally developed the Chicken Fries for my fans. They have been so popular we made Buffalo Bites to add to the excitement.
Bio:
Since the start of his music career, Dwight Yoakam has proven he’s more than just another guy with a guitar and a hat. He has risen from hot country star to being one of country music’s biggest influences. While doing that, he has also become a critically acclaimed actor. Dwight Yoakam was born in the coal mining community of Pikeville, Kentucky, October 23, 1956. Soon after his birth, his family moved to Columbus, Ohio, where he was raised. As part of the Drama Club in his days at Northland High School in Columbus, he acted in school plays. He played Helen Keller’s brother in his sophomore year in the school’s production of “The Miracle Worker.” He followed that his Junior year playing the lead as Charlie in “Flowers for Algernon.” He capped off his high school acting career as Richard Bravo in The “Demon Seed.” In 1977, Dwight moved to Nashville to pursue a career in music. At the time, Nashville was moving away from the traditional country sound that he was playing. After a brief time there, he moved to California, which was more receptive to the music he was doing. He hooked up with producer/guitar virtuoso Pete Anderson in 1982. That began a musical relationship that became country music’s equivalent to rock’s Glimmer Twins (Mick Jagger and Keith Richards). Financial backing to make a high-quality recording came from Dwight’s sister and brother-in-law, an insurance check that was meant to fix Dwight’s El Camino and money raised from a benefit classical music concert staged by UCLA music professor Dr. Robert Winter. With the EP (extended play) that captured the “Dwight Yoakam sound.” In 1984, Dwight released the six-song EP “Guitars, Cadillacs, Etc., Etc.” on the independent Oak label, and then hit the road with such artists as Los Lobos and Violent Femmes. Playing traditional country music, Dwight gained a following among not only country fans but punk rockers and rockabilly fans as well. This eclectic fan base brought him to the attention of many record labels. Warner Brothers signed him to its newly revived Reprise Record label in 1985. The EP’s title and tracks were kept intact and more songs added to make a full album. At the time, country music was in the waning days of its Urban Cowboy (1980) phase, and fans of country were hungry for something “new.” This new sound was a return to a more traditional style that had been abandoned when John Travolta put on a cowboy hat. After establishing himself in the music industry, Dwight set his sights on his second love, acting. In 1991 he appeared as a stuntman/country singer in an episode of “P.S.I. Luv U” (1991). This became the beginning of his professional acting career. In 1992, he appeared on the big screen for the first time in the Nicolas Cage/Dennis Hopper film Red Rock West (1993). In 1993, Dwight released what is considered his masterpiece, the album “This Time.” He supported the album with a tour that lasted over a year and covered the world. In 1994, he received his first Grammy for the album’s single, “Ain’t That Lonely Yet.” In 1996, he co-starred in Billy Bob Thornton’s film Sling Blade (1996). His work as the evil Doyle Hargraves left audiences speechless and critics hailing his performance. Dwight was included with the cast who were among the nominees for “Best Cast” by the Screen Actors Guild awards. As the 1990s drew to a close, Dwight proved that his music didn’t have to suffer as he pursued more ventures into movies. While filming The Newton Boys (1998), he wrote what many consider his most personal album, “A Long Way Home.” All the tracks were written solely by Dwight. He began 1999 with a Grammy win for his contribution to the track “Same Old Train” from the various artists’ album “Tribute to Tradition.” He then added two new items to his resume: director and screenwriter. In South of Heaven, West of Hell (2000), he not only starred, he made his directorial debut with a screenplay he authored. Dwight Yoakam continues to prove that he is able to successfully have careers in both film and music, without either profession suffering. (IMDb)
Still suggestion for Summer with Monika
Quote:
I’ll quit coffee. It won’t be easy drinking my Bailey’s straight, but I’ll get used to it. It’ll still be the best part of waking up.
Bio:
Megan is an only child born in Los Angeles, California. Her mother, Martha, was a model. Her father, Carter Mullally Jr., is a retired contract player for Paramount. Megan first entered Northwestern University intending to study acting, but switched to English literature. However, she still ended up starring in several campus musicals, which gained attention from producers and prompted her to drop out of school. In 1985, she moved to Los Angeles with no particular success. But, in 1994, she co-starred in “Grease” with Rosie O’Donnell and, in 1995, in “How To Succeed In Business” with Matthew Broderick. Her star has been rising ever since. (IMDb)
Quote:
“Balanchine used to rehearse us in ‘Cotillon’ and say we should dance until our eyes popped out. We’d do anything he’d tell us because when somebody is so talented, you don’t mind.”
Bio:
Riabouchinska was born in Moscow on May 23, 1917. She was educated at the Fenelon School in Paris and her ballet training started with Alexander Volinine and Mathilda Kschessinska. Riabouchinska made her debut in Paris with the Chauve-Souris revue. In 1932, at the request of George Balanchine, she joined the Ballets Russes de Monte Carlo as one of the three baby ballerinas, she was 15. The publicity of the three “baby ballerinas” helped revive interest in the ballet after Serge Diaghilev’s death left Europe without a major ballet company.
Riabouchinska remained with the Ballet Russe until 1942, and was a guest ballerina with Ballet Theatre, the Original Ballet Russe, Ballet des Champs-Elysées, Teatro Colon, Buenos Aires, and the London Festival Ballet. Riabouchinska created the role of the Florentine beauty in Paganni, the Junior girl in Graduation Ball, title roles in Coq d’Or and Cinderella. She danced the Blue Bird in Aurora’s Wedding and the Prelude in Les Sylphides.
Tatiana married David Lichine (choreographer of Graduation Ball and many other ballets). Riabouchinska settled in Los Angeles and passed away on August 24, 2000 only hours after teaching her final ballet class.—androsonballerina.com
Please add Nini Theilade to the cast of A Midsummer Night’s Dream (1935).
Quote:
”They must learn to understand the music. What more can I do than teach them that?”
Bio:
Theilade was born in Java, Indonesia. Considered a child prodigy, she embarked on a series of solo recital dance tours in Europe and America at the age of 14. Theilade was discovered at one of these recitals by Max Reinhardt, who cast her as Queen of the Fairies in his film, A Midsummer Night’s Dream. Theilade herself created some of the choreography in this film, most notably the pas de duex that she danced with Mickey Rooney. Theilade joined the Ballet Russe de Monte Carlo in 1938 and danced leading roles in Leonide Massine’s Nobilissima Visione, Bacchanale, and St. Francis. She left the company during the war to return to Europe, where she continued to dance and choreograph. Theilade is credited with introducing symphonic ballet to Denmark. Nini Theilade lives in Denmark where she teaches at a university dance department.—balletsrusses.com
Quote:
“The artistic, economic, scientific and social ambitions of the film industry are so strong that its potential is limitless. It should be one of our most important domestic industries. But to get French film back on top, a place it never should have lost, and to assure its global expansion, the domestic film industry has to have a global vision in its subject matter, artisanship and casting.”
Bio:
Léonce Perret (May 13, 1880 – August 14, 1935) was a prolific and innovative French film actor, director and producer. He also worked as a stage actor and director. Often described as avant-garde for his unorthodox directing methods, Léonce Perret introduced innovative camera, lighting and film scoring techniques to French cinema.
Léonce Perret began his career as a relatively undistinguished stage actor. He was recruited to the film industry by the Gaumont Film Company. His numerous short films gained significant accolade in French cinematography. Until his emigration to the United States in 1917, he was a fixture of the Gaumont Film Company. On American soil, he produced several popular films, the most notable being Lest We Forget (N’oublions jamais) in 1918.
After returning to France, he directed the successful Koenigsmark in 1923. His film Madame Sans-Gêne (1925), starring Gloria Swanson, was the first joint Franco-American film production. In addition, Léonce Perret collaborated with many of the French and American idols of his generation such as Abel Gance, Gloria Swanson, Gaby Morlay, René Cresté, Arletty, Suzanne Grandais, Mae Murray, and Huguette Duflos.—Wikipedia
Otomo Yoshihide is also listed as Ohtomo – although the “O” is a long vowel, I’ve never seen that spelling used anywhere; these profiles should be combined under the correct spelling.
Also he should be added (composer) to the crew of The Blue Kite
Still for Amazons (1986) http://mubi.com/films/amazons
New photo and quote for Michele Mercier:
Quote:
“All the men who have made the court of me, tried to seduce Angélique… not me. But then one day I understood that Angelique could not make more harm to me, therefore I have learned to consider she’s like a little sister, with whom I had to live hand in hand.”
Bio:
Leslie Brooks (July 13, 1922 – July 1, 2011), born Virginia Leslie Gettman, was an American film actress.
At the beginning of her career she appeared as “Lorraine Gettman”. As Leslie Brooks, she began appearing in movie bit roles in 1941. Brooks started landing more sizable parts in such movies as Nine Girls (1944), Cover Girl (1944) and the lead in the film noir classic Blonde Ice (1948). Brooks retired from films in 1949.
Brooks had four daughters: one (Leslie Victoria) by her first husband, and three (Dorena Marla, Gina and Darla) by her second husband.—Wikipedia
Still for Hot Lead and Cold Feet
Also the title seems to be messed up, random numbers mixed in the middle.
Also some additional information:
Producers
Kevin Corcoran
Christopher Hibler
Ron Miller
DP:
Frank V. Phillips
Music:
Evelyn Kennedy
Walter Sheets
Script:
Joseph L. McEveety
Arthur Alsberg
Don Nelson
Rod Piffath
Still for Aandhi (http://mubi.com/films/aandhi)
Still for Guddi (http://mubi.com/films/guddi)
Still for Johnny Gaddaar (http://mubi.com/films/johnny-gaddaar)
Still for Luck by Chance (http://mubi.com/films/luck-by-chance)
Still for Mausam, 1975 (http://mubi.com/films/mausam)
Still for Teesri Kasam (mubi.com/films/teesri-kasam)
Please correct the english title for La Voce Stratos (The Stratos Voice is the right title)
Quote:
“My life is about as private as an exhibit at the World’s Fair. But I like the limelight. I’m the girl who yearned to be an actress and got her wish.”
Bio:
Born as Dorothea Sally Eilers in New York City to a Jewish-American mother, Paula (née Schoenberger), and an Irish-American father, Hio Peter Eilers (who was an inventor),12 she was educated in Los Angeles and went into films because so many of her friends were in pictures. She studied for the stage, specialising in dancing. Her first try was a failure so she tried typing but then went back into pictures and succeeded.
She made her film debut in 1927 in The Red Mill, directed by Roscoe Arbuckle. After several minor roles as an extra, she found work with Mack Sennett, perhaps as one of his Sennett Bathing Beauties, in several comedy short subjects, along with Carole Lombard, who had been a school friend. In 1928 she was voted as one of the WAMPAS Baby Stars, a yearly list of young actresses nominated by exhibitors based on their box-office appeal.
Eilers was a popular figure in early-1930s Hollywood, known for her high spirits and vivacity. Her films were mostly comedies and crime melodramas such as Quick Millions (1931) with Spencer Tracy and George Raft. She was married for a short time to Hoot Gibson, though the marriage ended in divorce in 1933.
By the end of the decade her popularity had waned, and her subsequent film appearances were few. She made her final film appearance in 1950.
During her final years, Eilers suffered poor health, and died from a heart attack in Woodland Hills, California, at the age of 69.—Wikipedia
Quote:
“I have always felt that Jack might have become one of the screen’s great actors if he hadn’t been born Mary Pickford’s brother.” [Louella Parsons]
Bio:
Jack Pickford (August 18, 1896 – January 3, 1933) was a Canadian-born American actor, brother of early filmstar Mary Pickford.
After their father deserted the family, all three Pickford children had to take work as child actors. When Mary broke into films, Jack went to Hollywood with her, but was never in her league. When she signed her first $1 million contract, he was mostly playing the boy-next-door in B-films. Some claimed that he had great talent, but suffered from living in her shadow. At any rate, his life of drink, drugs, syphilis and scandal ruled out any career success, and his three marriages to showgirls all ended in failure. Pickford died in Paris of progressive multiple neuritis, aged thirty-six.
Born John Charles Smith in Toronto, Ontario, Canada to John Charles Smith and Charlotte Hennessy Smith in 1896. His alcoholic father left the family while Pickford was a young child. This incident left the family impoverished. In desperation Charlotte Hennessy allowed Pickford and his two sisters Gladys and Lottie to appear onstage. This proved a good source of income and by 1900 the family was based in New York City acting in plays across the United States.
Due to the work the family was constantly separated until 1910 when Gladys signed with Biograph Studios. By that time his sister ‘Gladys Smith’ had been transformed into Mary Pickford (Marie her middle name, Pickford an old family name). Following suit, the Smiths changed their stage names to ‘Pickford’.
Soon after signing with Biograph, Mary secured jobs for all the family, including the then-fourteen-year-old Jack. When the Biograph Company headed West to Hollywood, CA, only Mary was to go, until Jack pleaded he could join the company as well. Much to Mary’s protest, Charlotte threw him on the train as it left the station. The company arrived in Hollywood where Jack acted in bit parts during the stay.
Mary soon became a well-known star, and by 1917 had signed a contract for $1 million with First National Pictures. As part of her contract, Mary saw to it that her family was brought along, giving the now-named “Jack Pickford” a lucrative contract with the company as well.
By the time he signed with First National, Pickford had played bit parts in 95 shorts and films. Though Pickford was considered a good actor, he was seen as someone who ‘never lived up to his potential.’, In 1917 he starred in one of his first major roles as “Pip” in the adaptation of Charles Dickens’ Great Expectations, as well as the title role in Mark Twain’s Tom Sawyer.
After his stint in the Navy, Pickford continued making films. By 1923, his roles had gone from several a year to one. In 1928, he finished his last film, Gang War, as Clyde Baxter. Through the years he dabbled in writing and directing; however, he never pursued either form further.
Most of his films were considered B movies, though he was able to make a name for himself. Pickford’s image was that of the All-American boy or the boy next door.
Despite his image of the “boy next door,” Pickford’s private life was one of alcohol, drugs, and womanizing, culminating in the severe alcoholism and syphilis that would eventually kill him. In the early days of Hollywood, movie studios were able to cover up almost all of their stars’ misbehavior, but within the Hollywood crowd, Jack Pickford’s behind-the scenes antics made him a behind-the-scenes legend in his own time. He spent money frivolously and frequently had to suffer the humiliation of asking his mother or sister for money. As his reckless lifestyle worsened, the number of movies he made declined and, therefore, his own income.
In early 1918, after the United States entered World War I, Pickford joined the United States Navy. Using the famous Pickford name, he soon became involved in a scheme that allowed rich young men to pay bribes to avoid military service, as well as reportedly procuring young women for officers. For his involvement, Pickford came close to being dishonorably discharged; it is speculated that Mary arranged for him to give evidence to the authorities in exchange for a medical discharge. However, this was never proven.
Pickford’s relationships were cause for tabloid scandal. All three of his marriages were to former Ziegfeld girls who had become popular movie stars. The most infamous scandal was the death of his first wife, Olive Thomas, in 1920. Both Pickford and Thomas were constantly traveling and had little time to spend together. For many years the Pickfords had intended to vacation together and with their marriage on the rocks, the couple decided to take a second honeymoon.
In August 1920 the pair headed for Paris, hoping to combine a vacation with some film preparations. On the night of September 5, 1920, the couple went out for a night of entertainment and partying at the famous bistros in the Montparnasse Quarter of Paris. Returning to their room in the Hôtel Ritz around 3:00 a.m., Pickford either fell asleep or was outside the room for a final round of drugs. It was rumored Thomas may have taken cocaine that night, though it was never proven.
An intoxicated and tired Thomas ingested a large dose of mercury bichloride, which had been prescribed for Pickford’s chronic syphilis. She had either thought the flask contained drinking water or sleeping pills; accounts vary. The label was in French, which may have added to the confusion. She was taken to the American Hospital in the Paris suburb of Neuilly, where Pickford, together with her former in-law Owen Moore, remained at her side until she succumbed to the poison a few days later. Rumors floated that she had either tried to commit suicide or had been murdered. A police investigation followed, as well as an autopsy, and Thomas’ death was ruled accidental.
Pickford brought Thomas’ body back to the United States. Several accounts state Pickford tried to commit suicide en route, but was talked out of it. According to Mary Pickford’s autobiography Sunshine and Shadows, “Jack crossed the ocean with Ollie’s body. It wasn’t until several years later that he confessed to Mother how one night during the voyage back he put on his trousers and jacket over his pajamas, went up on deck, and was climbing over the rail when something inside him said: ‘You can’t do this to your mother and sisters. It would be a cowardly act. You must live and face the future.’”
Pickford was outlived by both of his sisters. From a young age he and Lottie had been closest; while Mary by her own admission assumed a “parental role.” Mary herself suspected there was some resentment towards her, though the family maintained close contact their entire lives.
Pickford was seen as someone with great talent, though he rarely had ambition to use it. Some[who?] believe that if he had not been Mary Pickford’s brother, he would have aspired to be a great actor in his own right. However, he enjoyed partying and a dangerous lifestyle far too much to focus on his talents. He suffered from alcoholism, which ran in the family. When he would run out of money he would head over to Pickfair and find the alcohol Mary had secretly hidden. He was a drug user as well, though the extent of this is not known.
Pickford met actress and Ziegfeld girl Olive Thomas at a beach cafe on the Santa Monica Pier. Thomas was just as wild as Pickford, possibly having an alcohol problem herself. Screenwriter Frances Marion remarked “…I had seen her often at the Pickford home, for she was engaged to Mary’s brother, Jack. Two innocent-looking children, they were the gayest, wildest brats who ever stirred the stardust on Broadway. Both were talented, but they were much more interested in playing the roulette of life than in concentrating on their careers.”
Pickford eloped with Thomas on October 25, 1916 in New Jersey. None of their family was present with only Thomas Meighan as their witness. In a 1919 interview with Louella Parsons, Thomas expressed her desire to have children, “One of these days we are going to have a family. I love children.” The couple had no children of their own, though in 1920 they adopted her then-six-year-old nephew when his mother died.
Although by most accounts she was the love of Pickford’s life, the marriage was stormy and filled with highly-charged conflict, followed by lavish making up through the exchange of expensive gifts. In a March 1920 issue of Motion Picture magazine, Thomas said of the drama-fueled relationship, “He’s always sending me something and then I send him something back. You see, we have to bridge the distance in some way. At first I just couldn’t get used to the idea of living this way, but I suppose one gets used to anything, given time. When we were together we used to use up the time fighting over things. I’d say, ‘You were out with this person or that person,’ and he’d come back at me in the same way, and we’d have a lively time of it, but we’re over that now. We know that we can’t sit home by the fireside ALL the time just because we cannot be together.”
After Thomas’s death in 1920, Pickford married two more times. In 1922 he married celebrated Broadway dancer and former Ziegfeld girl Marilyn Miller. By most accounts he was not kind to her and the marriage was an abusive one. Miller eventually sought a French divorce in 1927.
His final marriage was to Mary Mulhern in 1930; though they never divorced, the pair was separated at the time of his death.
In 1932, Pickford visited Mary at Pickfair. According to Mary, he looked ill and emaciated; his clothes were hanging on him as if he were a clothes hanger. Mary Pickford recalled in her autobiography that she felt a wave of premonition that came over her while watching her brother leave. As they started down the stairs to the automobile entrance, Jack called back to her, “Don’t come down with me, Mary dear, I can go alone.” As Mary stood at the top of the stair case, an inner voice spoke to her. “That’s the last time you’ll see Jack”, she remembered hearing it say.
Jack Pickford died in American Hospital of Paris on January 3, 1933. The cause for his death was listed as “progressive multiple neuritis which attacked all the nerve centers”. Mary Pickford arranged for his body to be returned to Los Angeles, California, where he was interred in the private Pickford plot in Glendale, California’s Forest Lawn Memorial Park Cemetery.
For his contribution to the motion picture industry, Jack Pickford has a star on the Hollywood Walk of Fame at 1523 Vine Street.—Wikipedia
Still for I Bury the Living
Updates for my over-8-weeks-old submissions that have gone missing:
Libera Me (1993) Dir.: Alain Cavalier 
Synopsis:
In this film, you will see a woman’s handkerchief tied to a man’s wrist, a pig’s head well shaved, teenagers more inventive than their elders so as to fight oppression… But you will not hear any dialogue. The words don’t prepare, accompany or comment the action in the film. It is not a silent film, but only a way to keep for cinematography certain moments in life where we do not speak. The spectator will perhaps have more freedom in his interpretation and we hope, a distinctive pleasure.—Festival de Cannes
IMDb: http://www.imdb.com/title/tt0107403/
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Galaxy (1967) Dir.: Masao Adachi
Synopsis:
Produced by former members of the Film Club of Nihon University, Galaxy shows Adachi’s surrealist roots. It begins with a car breaking down on a seafront in Japan. Whilst the passengers try to fix it, a young man amongst them begins to dream and meets doubles, demons, and figures from history.—Gasworks
IMDb: http://www.imdb.com/title/tt0239429/
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Cochon qui s’en dédit (1979) Dir.: Jean-Louis le Tacon
Synopsis:
Jean-Louis le Tacon’s Cochon qui s’en dedit is a nightmarish documentary on the life of a factory farmer, Maxime. Shot on Super 8 over 3 years, the film exhibits the kind of intimacy of filmmaker and subject found in the works of Tacon’s thesis director, Jean Rouch. The film is also a late example of the kind of collaborative militant cinema that the Medvedkin Group and others pioneered in the years after May ‘68. Tacon takes the viewer straight into the hellish heart of Maxime’s world, a large hall where squealing pigs are crowded into pen after pen. This horrifying glimpse into the hidden abode of (meat) production will shock even the most committed carnivores. The pig factory in some ways resembles a concentration camp. But rather than showing the slaughter of the animals, the film focuses on Maxime’s careful management of their lives. Tacon offers a brutal allegory of modern biopower, which Foucault argues “brought life and its mechanisms into the realm of explicit calculations.” Tacon shows Maxime cut the tails and teeth off the piglets in order to prevent cannibalism in the tiny pens. Sex is regulated by slicing off the testicles of the piglets and artificially inseminating the adults by hand with a syringe. Maxime spends his days constantly shoveling shit and washing down the pens with disinfecting sprays, but disease still hits the pig population, adding to Maxime’s labor the disposal of piles of maggot-ridden corpses. At a few points in the film, Tacon uses surreal images to show the psychological effects of Maxime’s intimacy with his pigs’ lives. These constructed images include a disturbing shot of Maxime lying naked next to a pig and an even more unsettling scene of Maxime picking up and tossing back the piglet corpses that seem to be falling from the sky. At one point, Maxime, whose placid voice is heard throughout the film, reveals that he took out a large loan to start the business, and that all his efforts barely allow him to cover his interest payments.—Brian Rajski
IMDb: None yet
Hrishikesh Mukherjee has two pages in need of merging: http://mubi.com/cast_members/32405 AND http://mubi.com/cast_members/72173
Delhi-6 (http://mubi.com/films/delhi-6) has a duplicate page here: http://mubi.com/films/delhi-6—2
Maine Gandhi Ko Nahin Mara (http://mubi.com/films/maine-gandhi-ko-nahin-mara) has a duplicate page here: http://mubi.com/films/main-gandhi-ko-nahin-mara
Kaminey (http://mubi.com/films/kaminey-the-scoundrels) has a duplicate page here: http://mubi.com/films/kaminey
Dev D (http://mubi.com/films/dev-d) has a duplicate page here: http://mubi.com/films/devd
Beat Takeshi is the same as Takeshi Kitano
Quote suggestion for Peter Jackson
“The most honest form of filmmaking is to make a film for yourself. The worst type is dictated by demographics or what is hip or what kids are into.”
It is from imdb and I’m not sure if you use those quotes, but I think it is better than the current one. The second sentence probably isn’t necessary.
Quote for Bruno S.
“I have my pride, and I can think, and my thinking is clever.”
Still for this film http://mubi.com/films/re-cycle
Quote:
“After all, every actress dreams of a role that is full of contrasts. That is the only way she can prove she is not a one-track player.”
Bio:
Brenda Marshall (September 29, 1915 – July 30, 1992) was an American film actress.
Born Ardis Ankerson in Negros, Philippines, Marshall made her first film appearance in the 1939 Espionage Agent. The following year, she played the leading lady to Errol Flynn in The Sea Hawk. After divorcing actor Richard Gaines in 1940, she married the actor William Holden in 1941 and her own career quickly slowed. She starred opposite James Cagney in the 1942 film Captains of the Clouds. The Constant Nymph (1943) was a popular success but she virtually retired after this, appearing in only four more inconsequential films. Among these, she played scientist Nora Goodrich in the grade-B 1946 cult classic Strange Impersonation.
She was born Ardis Ankerson on September 29, 1915, in Negros, Philippines. Ardis Ankerson attended Texas Woman’s College for her freshman and sophomore years, 1934-1935. She was named the Freshman Class Beauty in 1934, chosen by modern dancer Ted Shawn.
Brenda Marshall was her stage name but she refused to use the name off-camera and insisted that her friends call her by her real name. First married to actor Richard Gaines (born July 23, 1904 in Oklahoma City, Oklahoma, died July 20, 1975 in North Hollywood, California), they had one daughter, Virginia. The couple divorced in 1940. In 1941, Marshall married actor William Holden, who subsequently adopted Virginia Gaines. Marshall and Holden had two additional children: Scott Porter Holden (born May 2, 1946, died January 21, 2005, of lung cancer in San Diego, California) and Peter Westfield Holden (born November 17, 1943). After several separations, Marshall and Holden were divorced in 1971. Marshall died from throat cancer in Palm Springs, California, at the age of 76.—Wikipedia
ramosbarajas
New quote suggestion for Luis Buñuel
I distrust reason and culture. In our thoughts there are images that appear suddenly, without us pondering them. In all my films, even the most conventional ones, is the tendency to irrational conduct that can not be explained logically.