the image of “The Garden” a film of Martin Sulik is wrong.
you can use this image for it.
“Maurice Tourneur was my god. I owe him everything I’ve got in the world. For me, he was the greatest man who ever lived. If it hadn’t been for him, I’d still be selling automobiles.”
The son of a cotton manufacturer, Clarence Brown moved from Massachusetts to the South when he was eleven. He attended the University of Tennessee, graduating at the age of 19 with two degrees in engineering. An early fascination in automobiles led Brown to a mechanics-expert post with the Stevens Duryea Company, then to his own Alabama-based Brown Motor Car Company. He abandoned this concern when a new interest in motion pictures began manifesting itself circa 1913. Hired by the Peerless Studio at Fort Lee, New Jersey, Brown became assistant to the great French-born director Maurice Tourneur. Until the day he died, Brown attributed his future success in films to what he had learned under Tourneur’s tutelage. After World War I service, Brown was given his first co-directing credit (with Tourneur) for 1920’s The Great Redeemer; that same year, he directed a goodly portion of The Last of the Mohicans when official director Tourneur was injured in a fall. Soloing for the first time with 1923’s Don’t Marry for Money, Brown went on to direct some of the best dramas of the silent era, among them Smouldering Fires (1924), The Goose Woman (1925), and Valentino’s The Eagle. His most felicitous screen collaboration was with Greta Garbo. He became Garbo’s favorite director, guiding her through such well-received productions as Flesh and the Devil (1927), A Woman of Affairs (1928), and the actress’ first talkie, Anna Christie (1930). From 1925 through 1952, Brown worked exclusively at MGM, save for a loan-out to 20th Century-Fox for The Rains Came. He functioned as both producer and director for many of his later films, notably Intruder in the Dust (1949), Angels in the Outfield (1951) and Plymouth Adventure (1952), his last effort. He retired a wealthy man due to his real estate investments, refusing to see any new films for fear of being galvanized into jump-starting his career. In the 1970s, the octogenarian Clarence Brown became a much-sought-after guest lecturer on the film-festival circuit, thanks in great part to his Garbo films and to his many excursions into Americana (Ah, Wilderness, Of Human Hearts, The Human Comedy). —allmovie guide
The director’s credit for The Bank Dick should be changed to Edward F. Cline
(Asked what it was like directing W.C. Fields and Mae West in My Little Chickadee, regarding reports that they battled constantly) “I wasn’t directing. I was refereeing.”
Entering films as one of Mack Sennett’s Keystone Cops in 1913, Cline began assisting Sennett and by 1916 was directing shorts at Keystone. In the early ‘20s he co-wrote and co-directed seventeen of Buster Keaton’s shorts, including such classics as The Playhouse, The Boat, and Cops, as well as Keaton’s first feature, the Intolerance-parody The Three Ages. Later in the decade he was reunited with Sennett when he directed two-reelers for such comics as Ben Turpin and Carole Lombard. In 1932 Cline directed W.C. Fields in the memorable satire Million Dollar Legs and became one of the few directors whom the irascible comedian could tolerate. Called in to helm most of Fields’ scenes in You Can’t Cheat an Honest Man (signed by George Marshall), Cline went on to direct the classic features that capped Fields’ career in the early ‘40s: My Little Chickadee (co-starring Mae West), The Bank Dick, and Never Give a Sucker an Even Break. Cline’s last important work was with Olsen and Johnson on Crazy House and Ghost Catchers. He ended his career with Monogram’s low-budget “Jiggs & Maggie” comedy programmers. —allmovie guide
Martin Sheen should be added to the cast of Gandhi-
And a quote and a biography for his profile:
“We [actors] don`t really change the world. We reflect it.”
Martin Sheen has appeared in a wide variety of films ranging from the embarrassing to the sublime. In addition to appearing in numerous productions on stage, screen, and television, Sheen is the father of a modern dynasty of actors and a tireless activist for social and environmental causes, particularly homelessness. Born Ramon Estevez on August 3, 1940, he was the seventh of ten children of a Spanish immigrant father and an Irish mother. Growing up in Dayton, OH, Sheen wanted to be an actor so badly that he purposely flunked an entrance exam to the University of Dayton so he could start his career instead. With his father’s disapproval, he borrowed cash from a local priest and moved to New York in 1959.
While continually auditioning for shows, Sheen worked at various odd jobs and changed his name to avoid being typecast in ethnic roles. “Martin” was the name of an agent/friend, while he chose “Sheen” to honor Bishop Fulton J. Sheen; until his early twenties, the actor had been a devoted Catholic. He joined the Actor’s Co-op, shared a loft, and with his roommates prepared showcase productions in hopes of attracting agents. For a while he worked backstage at the Living Theater alongside aspiring actor Al Pacino, and it was there that he got his first acting jobs. Around that time, Sheen married, and in 1963 broke into television on East Side West Side; more television would follow in the form of As the World Turns, on which he played the character Roy Sanders for a few years.
In 1964, Sheen debuted on Broadway in Never Live Over a Pretzel Factory, and that same year won considerable acclaim for his role in The Subject Was Roses, which in 1968 became a film in which he also starred. After making his feature film debut as a subway punk in The Incident (1967), Sheen moved to Southern California in 1970 with his wife and three children. During the beginning of that decade, he worked most frequently in television, but occasionally appeared in films as a supporting actor or co-lead. His movie career aroused little notice, though, until he played an amoral young killer (based on real life murderer Charles Starkweather) in Terrence Malick’s highly regarded directorial debut, Badlands (1973). Further notice came in the mid-‘70s, when the actor was cast by Francis Ford Coppola to star in a Vietnam War drama filmed in the Philippines. Two years and innumerable disasters later — including a near-fatal heart attack for Sheen — the actor’s most famous film, Apocalypse Now (1979), was complete, and it looked as if he would finally become a major star.
Although the film won a number of honors, including a Golden Palm at the Cannes Film Festival, and Sheen duly gained Hollywood’s respect, he never reached the heights of some of his colleagues. This was possibly due to the fact that during the 1970s and 1980s, he appeared in so many mediocre films. However, Sheen turned in memorable performances in such films as Gandhi (1982) — from which the actor donated his wages to charity — and Da (1988), in which he took production and starring credits. He also did notable work in a number of other films, including Wall Street (1987), The American President (1995), and Monument Ave. (1998). In 1999, he could be seen in a number of projects, including Ninth Street and Texas Funeral, which premiered at the Venice Film Festival that year; O, a modern-day adaptation of Othello; and The West Wing, a television series that cast him as the President of the United States (a role for which he would win the Best TV Series Actor in a Drama Award at the 2000 Golden Globe Awards).
In 1986, Sheen made his directorial debut with the Emmy-winning made-for-TV movie Babies Having Babies. All three of his sons, Emilio Estevez, Ramon Estevez, and Charlie Sheen (whom he directed in 1991’s Cadence), as well as his daughter, Renee Estevez, are movie and television actors. His brother, Joe Estevez, also dabbles in acting. —allmovie guide
Page 24 is up to date again.
Still for You’re Missing the Point (Ahí está el detalle)
Still for THE PEARL (La Perla 1945)
Two pages for H.G. Wells / H. G. Wells
He should also be added to the screenplay credit of:The Time MachineThe Time MachineThe Island of Dr. MoreauThe Invisible ManThe War of the Worlds
And Profile Information:
“Our battle is with cruelties and frustrations, stupid, heavy and hateful things from which we shall escape at last, less like victors conquering a world than like sleepers awaking from a nightmare in the dawn.”
H.G. Wells, born in the London suburb of Bromley in 1866, began his literary career in earnest in 1895 with the publication of his first novel, “The Time Machine.” Until this first success his life had been a patchwork of unsatisfactory drapery and chemist apprenticeships that were interrupted by stints as a teacher’s assistant, and eventually acceptance into London’s Normal School of Science where he studied biology under Darwin’s “bull dog,” the great T.H. Huxley. The 1890’s saw the publication of the “scientific romances” that were to make him the most successful author of his time. Following “The Time Machine” was “The Island of Dr. Moreau” (1896), “The Invisible Man” (1897), “The War of the Worlds” (1898), “When the Sleeper Wakes” (1899), and “The First Men in the Moon” (1901). After this point he turned his prolific pen to social topics, history, and even a bit of hopeful prophecy with books like “Anticipations” (1901), “The Discovery of the Future” (1902), “Mankind in the Making” (1903), “The Future in America” (1906), “The War in the Air” and “New Worlds for Old” (1908), “What is Coming” (1916), “War and the Future” (1917), “The Salvaging of Civilisation” (1921), “The Open Conspiracy” (1928), “The Shape of Things to Come” (1933), and “The New World Order” (1939). A revolutionary in thought and deed, Wells was often the subject of public controversy owing to his attitude on so-called “free love” and women’s rights. He was also a life-long believer in Socialism as the means to mankind’s ultimate social salvation. His particular brand had nothing to do with the retrogressive Marxist strain and also helped bring him in conflict with other leading Socialist thinkers of his day during his brief stint with The Fabian Society. The outbreak of the First World War found a heretofore pacifist Wells changing his mind to support of this Great War against the Hohenzollern “Blood and Iron” Imperial aggression. He reacted by writing a pamphlet in 1914 addressing the anti-war and pacifist elements in Britain entitled “The War That Will End War.” Its title became proverbial almost instantly and is used to refer to the First World War even today. After spending time with the British government’s War Office in the Propaganda Department and helping to define a clear set of war aims, he resigned and returned to writing propaganda his way. Even before the Great War began he published “The World Set Free” early in 1914. It was a prophetic novel about a world war against Imperial Germany and her “Central European Allies” which included a remarkably accurate forecast of atomic warfare and even coined the term “atomic bomb.” He was among the first to call for a post war League of Nations but was bitterly disappointed with and critical of the actual League that developed. He spent the early part of the 1920’s writing “The Outline of History,” which like so many of his previous works was also enormously successful on both sides of the Atlantic. The 1930’s found H.G. profoundly disturbed by the rising din of Nietzschean nationalism from Nazi Germany and Fascism in Italy. His critical writings on the aggressive “Krupp cum Kaiser” Imperial Germany coupled with his outright vicious attacks on Adolf Hitler and his accomplices earned H.G. Wells the distinction of having his “anti-German” books burned by Goebbels during the infamous book bonfires at German universities. The name “H.G. Wells” also appeared very near the top of a list compiled by the SS/SD command staff of those intellectuals and politicians slated for immediate liquidation upon the invasion of Britain by the Nazis. Winston Churchill was also named. He remained at his London flat off Regent’s Park throughout the war and walked his own fire watch, even as his equally wealthy neighbors fled the Luftwaffe’s Blitz to their comfortable country estates. He died quietly at home on 13 August 1946. In any appraisal the 20th century, H.G. Wells must be considered among its very most important and influential thinkers and authors. Evidence of his influence can be found in Hollywood to this day in recent films such as “The Island of Dr. Moreau,” the Dreamworks version of “The Time Machine;” and also the unspoken but obvious (and rather clumsy) copying of his original ideas and themes in films like “Independence Day” and “Hollow Man.” —IMDb
Hans Richter needs director status.
Better still for LAS ISLAS MARIAS
I put this in the submission page and was told it belonged here. The title of Ross McElwee’s “Sherman’s March, or…” is misspelled. It should be ‘meditation’ and not ‘mediation.’ It is also misspelled on IMDb. The subtitle as written in the film itself, however, disputes what we currently have.
Honestly, I think the subtitle should be nixed altogether leaving only “Sherman’s March,” but I’m not going to argue that.
Luis Enríquez Bacalov and Luis Bacalov are the same person, and both names are currently listed as composer for Il Postino.
Also, the original, correct and intended english title for A Fistful Of Dynamite is “Duck, You Sucker”. “A Fistful Of Dynamite” is just a cash in alternate title.
Damn, you guys are fast… Thanks!
better/improved still recommendations for consideration –
Catch Me If You Can
The Roaring Twenties
The Rules of Attraction
I hope I don’t post too many. Merci! E.C.
Better, higher quality still for Inglourious Basterds:
Better still for Amadeus
“It`s a marvellous life, a gregarious life that we`ve had. We`re very lucky in that way. Unlike writers or painters, we don`t sit down in front of a blank canvas and say, `How do I start? Where do I start?`”
Throughout his acting career, Albert Finney has impressed critics with his protean ability to step into a role and wear a character’s persona no matter the age, nationality, or métier. In stage, film, and television productions over more than 40 years, Finney has portrayed a Polish pope, a Belgian detective, an Irish gangster, a British miser, a gruff American lawyer, a Scottish King, a German religious reformer, and an Roman warrior — all with convincing authenticity.
Finney was born on May 9, 1936, in the working-class town of Salford, Lancashire, England. After graduating from the Royal Academy of Dramatic Arts in 1955, he performed Shakespeare and quickly earned a coveted spot as understudy for the great Laurence Olivier in Shakespeare productions at Stratford-upon-Avon. On one occasion, he stepped into Olivier’s shoes to play the lead role in Coriolanus, a play about the downfall of a proud Roman soldier, and won recognition that led to film roles.Finney’s upbringing in Lancashire, a region of mills and smokestacks, exposed him to the kind of social injustice and economic hardship that helped prepare him for his role as a nonconformist factory worker in the 1960 film Saturday Night and Sunday Morning, a milestone in the development of British realist cinema. Critics — who hardly noticed him in the bit-part role he played in his first film, The Entertainer — universally praised his vibrant performance in Saturday Night. This success earned him the lead role in director Tony Richardson’s 1963 film Tom Jones, adapted by screenwriter John Osborne from the Henry Fielding novel of the same name. As the wenching country boy Jones, Finney was a bawdy, rollicking, uproarious success, helping the film win four Academy awards.
Rather than abandon live stage drama, Finney continued to pursue it with the National Theatre Company at the Old Vic in London, performing in Shakespeare productions and plays by other authors. He won Tony nominations for Luther and A Day in the Death of Joe Egg, as well as a best actor Oliver for Orphans. When he made his next film in 1967, he starred opposite Audrey Hepburn in Stanley Donen’s Two for the Road, a comedy-drama about marital mayhem, and again won high critical praise. If there was a pattern to the types of roles he selected, it was that there was no pattern. For example, after playing a 20th century art enthusiast in 1969’s Picasso Summer, he took on the role of a 19th century Dickens character in Scrooge (1970), then played a bickering husband in Alpha Beta (1973), Belgian sleuth Hercule Poirot in Murder on the Orient Express (1974), a Napoleon-era Frenchman in The Duellists (1978), a werewolf hunter in Wolfen (1981), and a plastic surgeon/murder suspect in the ludicrous Looker (1981).
After winning an Academy award nomination for his performance in 1982’s Shoot the Moon, Finney delivered another outstanding performance in Peter Yates’ 1983 film The Dresser, which earned five Oscar nominations, including a nomination for Finney as best actor. In the film, Finney plays a boozing Shakespearean actor whose life strangely parallels the tragic life of one of the characters he portrays, King Lear. In 1984, Finney won still another Oscar nomination, as well as a Golden Globe nomination, for his role as a self-defeating alcoholic in director John Huston’s Under the Volcano. In the same year, critics praised him highly for his dynamic portrayal of Pope John Paul II in an American TV production.Finney continued to take on diverse and challenging roles in the late 1980s and during the 1990s, primarily in small, independent productions. Among the films that earned him more accolades were the Coen brothers’ gangster epic Miller’s Crossing (1990) — for which Finney replaced actor Trey Wilson after his untimely death — as well as A Man of No Importance (1994), The Browning Version (1995), and Simpatico (1999). Also in 1999, he won the BAFTA TV award for best actor for his role in A Rather English Marriage.
2000’s Erin Brockovich exposed Finney to the widest audience he’d seen in years: playing the hangdog attorney Ed Masry, Finney proved to be the perfect comic foil to Julia Roberts’ brassy heroine, and in the process secured himself Golden Globe and Academy award nominations for best supporting actor. Though a Golden Globe Award eluded him that year, he returned in two years and won for his portrayal of Winston Churchill in the made-for-television film The Gathering Storm. 2003 saw Finney in his biggest role since Erin Brockovich. In Tim Burton’s Big Fish, he played Edward Bloom in present-day scenes, while Ewan McGregor assumed the role of the eccentric storyteller in flashbacks. The actor once again proved to be a favorite of the Hollywood Foreign Press when he received yet another Golden Globe nomination for his work. 2006 found the now veteran actor appearing in the Ridley Scott dramedy A Good Year, in which he played the uncle to a younger version of Russell Crowe through flashbacks. He also signed on to appear in Before the Devil Knows You’re Dead, a thriller staring Philip Seymour Hoffman and Marisa Tomei. —allmovie guide
A better still for Life with Father
I didn’t realize submitted better stills had to be in the correct size (448 × 252). find below my submissions in the correct sizes and please delete my previous post. apologies!
“I don’t have a lot of respect for talent. Talent is genetic. It’s what you do with it that counts.”
American film director Martin Ritt started out as a Broadway actor. Ritt’s stage role as “Gleason” in Winged Victory brought him to Hollywood for the film version, for which the studio publicity billed him, along with the rest of the male cast, by the rank he held in the Army (Private First Class Martin Ritt). A victim of the Hollywood blacklist, Ritt’s career came to a standstill in the early 1950s. He reemerged, not as an actor, but as a director for the 1956 film Edge of the City. A favorite of actor Paul Newman, Ritt directed Newman in The Long Hot Summer (1958), Paris Blues (1961), Hemingway’s Adventures of a Young Man (1962), Hud (1963), The Outrage (1964) and Hombre (1967). Other Ritt-directed films of note were Pete ‘n’ Tillie (1972), Cross Creek (1984), Murphy’s Romance (1985), and, his last film, Stanley and Iris (1990). If there doesn’t seem to be a central throughline in these films it was because Ritt steadfastly refused to be typecast as a director. One project that brought him immense satisfaction was The Front (1976), a comedy-drama of the blacklist years in which Ritt worked with fellow blacklistees Martin Balsam, Zero Mostel, Joshua Shelley, Herschel Bernardi, Lloyd Gough, and screenwriter Walter Bernstein. In 1985, Ritt made a surprising but delightful return to acting in the role of an excitable baseball manager in the otherwise disposable The Slugger’s Wife (1985). —allmovie guide
“In our culture we have such respect for musical instruments, they are like part of God.”
Ravi Shankar (born 7 April 1920), often referred to by the title Pandit, is an Indian musician and composer who plays the plucked string instrument sitar. He has been described as the one of the most well known contemporary Indian musicians. Shankar was born in Varanasi and spent his youth touring Europe and India with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the Apu Trilogy by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956. In 1956, he began to tour Europe and America playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his association with violinist Yehudi Menuhin and George Harrison of The Beatles. Shankar engaged Western music by writing concerti for sitar and orchestra and toured the world in the 1970s and 1980s. From 1986 to 1992 he served as a nominated member of the upper chamber of the Parliament of India. Shankar was awarded India’s highest civilian honor, the Bharat Ratna, in 1999, and received three Grammy Awards. He continues to perform in the 2000s, often with his daughter Anoushka. —Wikipedia
“Somebody said to me, ‘But the Beatles were anti-materialistic.’ That’s a huge myth. John and I literally used to sit down and say, ‘’Now let’s write a swimming pool.’”
In tandem with John Lennon, musician Paul McCartney is responsible for composing most of the songs in the nine-year history of the Beatles. While still a member of the group, McCartney wrote the score for the 1966 film The Family Way; it would be his last solo gig until the Beatles’ breakup in 1970. So prolific and popular was McCartney in his post-Beatle years that it became a standard joke amongst post-postwar kids to query “You mean that Paul McCartney was in a band before Wings?” Also grist for the humor mill was McCartney’s incredible wealth; his legal ownership of virtually every song ever written (including such state anthems as “On Wisconsin”); and the strict vegetarian edicts of his wife and business partner Linda Eastman McCartney. Paul McCartney has also kept active in the film world, penning the theme for the 1973 James Bond flick Live And Let Die, and producing, scoring and acting in the 1984 vanity project Give My Regards to Broad Street, in which viewers were offered the unlikely premise that McCartney would face bankruptcy if he didn’t locate a lost record album. —allmovie guide
“I make movies for grownups. When Hollywood starts making them again, I’ll start acting in them again.”
An elegant, blonde beauty once considered the American equivalent to Bridgit Bardot, Lee Remick was a star of stage, screen, and television. Before launching her acting career on-stage and in television in the 1950s, Remick was a professional dancer. She made quite a splash as a sexy young drum majorette in Elia Kazan’s A Face in the Crowd (1957). Early in her career, Remick excelled in playing saucy flirts; she eventually matured into a versatile actress noted for the subtle depth she gave her characterizations and specialized in playing manipulators in films such as The Long Hot Summer (1957) and Anatomy of a Murder (1959). She also did well as a victim in films like Days of Wine and Roses (1962). When not busy in films, Remick was building her reputation on stage and television. On Broadway, Remick was most closely associated with Frederick Knott’s Wait Until Dark, a role that won her a Tony nomination. During the ‘70s, Remick became a familiar face in numerous television movies and miniseries, the phase of her career for which she is perhaps best remembered. She specialized in real-life dramas. Highlights of her television career include A Delicate Balance (1973), A Girl Named Sooner (1975), and The Women’s Room (1980). Her feature-film career however became more sporadic. With James Garner and Peter Duchow, Remick formed a production company in 1988. For much of her career, Remick had battled cancer. She finally succumbed to it in 1991 at the age of 55. —allmovie guide
“America: It’s like Britain, only with buttons.”
Fresh from a nondescript Liverpudlian musical group known as Rory Storme and the Hurricanes, Ringo Starr made the quantum leap to superstardom in 1962 when he replaced Pete Best as drummer for the burgeoning Beatles. Starr was regarded by many music aficionados as the least creative of the foursome, though he may well have enjoyed the largest fan following — especially among young ladies who felt the urge to “mother” the diminutive Mr. Starr (though he appeared to be the baby of the group, Ringo was in fact the oldest of the Fab Four). In the Beatles’ first two films, A Hard Day’s Night (1964) and Help! (1965), most of the comedy material went to Ringo, whose Chaplinesque demeanor and droll, deadpan dialogue delivery paid off in big laughs. Upon the group’s breakup in 1970, it was Ringo who fared best as a solo screen actor. He had already brightened up the dull proceedings of Candy (1968) and The Magic Christian (1970); after the Beatles’ split, he was seen to good advantage as the Pope in Ken Russell’s Lisztomania (1975), as one of Mae West’s bewildered amours in Sextette (1978) and as a bumbling Cro-Magnon in Caveman (1979), in which he co-starred with his second wife, Barbara Bach. In 1973, Ringo produced the bizarre horror movie spoof Son of Dracula, appearing onscreen with fellow rock icon Harry Nilsson. A big draw all over again in the 1980s thanks to his All-Star Band tours, Ringo Starr remains a most welcome, if infrequent TV guest star. —allmovie guide
Kim Hunter needs to be added to the cast of The Seventh Victim
Plus picture, quote and bio.
“That’s fairly accurate, I think, for a great number of us. Becoming a star wouldn’t have bothered me, but what is a star? A star isn’t anything. An actor acts. That’s the important thing.” (on being an actress instead of a star)
Born Janet Cole, American actress Kim Hunter trained at the Actors Studio. At age 17, she debuted onscreen in The Seventh Victim (1943) before appearing in several subpar films. Her popularity was renewed with her appearance in the British fantasy A Matter of Life and Death (1946), and, in 1947, she created the role of Stella Kowalski on Broadway in Tennessee Williams’ A Streetcar Named Desire, reprising the role in the 1951 film version, for which she won the Best Supporting Actress Oscar. But her career was dealt a terrible blow when her name appeared without cause in Red Channels, a Red-scare pamphlet during the McCarthy Era, and she was blacklisted. Several years later, she was called as the star witness in a court case instigated by another Red Channels victim, and her testimony discredited the publication and made it possible for dozens of other performers to reclaim their careers. She returned to films sporadically after this, and also did much work on stage and television; among her roles was appearing as a female ape in three Planet of the Apes films. She also wrote Loose in the Kitchen, a combination autobiography-cookbook. Hunter was married to writer Robert Emmett from 1951 until her death in 2002. —allmovie guide
“I’ve made so many movies playing a hooker that they don’t pay me in the regular way anymore. They leave it on the dresser.”
Shirley MacLaine was born Shirley MacLean Beaty on April 24, 1934, to Virginia native Ira Owens Beaty and his wife, Kathlyn. Before Shirley was three years old, her and rival Warren Beatty was born on March 30, 1937. Shirley was the tallest in her ballet classes at the Washington School of Ballet. Just after she graduated from Washington-Lee High School, she packed her bags and headed for New York. While auditioning for Richard Rodgers and Oscar Hammerstein II’s “Me and Juliet”, the producer kept mispronouncing her name. She then changed her name from Shirley MacLean Beaty to Shirley MacLaine. She later had a role in “The Pajama Game,” as a member of the chorus and understudy to Carol Haney. A few months into the run, Shirley was going to leave the show for the lead role in “Can-Can”. She left for the theatre after being 15 minutes late because the train broke down. Following her arrival, Shirley discovered that Haney had broken her ankle and could not perform. She would fill in for Carol again three months later following another injury. Shirley knew her lines this time and knocked them dead. Movie producer Hal B. Wallis was in the audience that night and signed her to a five-year contract to Paramount Pictures. Three months later she was off to shoot The Trouble with Harry (1955). She then took roles in Hot Spell (1958) and Around the World in Eighty Days (1956), completed not too long before her daughter Sachi Parker (born Stephanie) was born. With Shirley’s career on track, she played one of her most challenging roles: Ginny Moorhead in Some Came Running (1958), for which she received her first Academy Award nomination for Best Actress. She went on to do The Sheepman (1958) and The Matchmaker (1958). In 1960 she got her second Academy Award nomination for The Apartment (1960). Three years later she received a third nomination for Irma la Douce (1963). In 1969 she brought her friend Bob Fosse from Broadway to direct her in Sweet Charity (1969), from which she got her “signature” song, “If My Friends Could See Me Now”. After a five-year hiatus Shirley made a documentary on China called The Other Half of the Sky: A China Memoir (1975), for which she received an Oscr nomination for best documentary. In 1977 she got her fourth Best Actress Oscar nomination for The Turning Point (1977). In 1979 she worked with Peter Sellers in Being There (1979) shortly before his death. After 20 years in the film industry, she finally took home the Best Actress Oscar for Terms of Endearment (1983). After a five-year hiatus, Shirley made Madame Sousatzka (1988), a critical and financial hit that took top prize at the Venice Film Festival. In 1989 she starred with Dolly Parton, Sally Field and Julia Roberts in Steel Magnolias (1989). She received rave reviews playing Meryl Streep’s mother in Postcards from the Edge (1990) and for Guarding Tess (1994). In 1996 she reprised her role from “Terms of Endearment” as Aurora Greenway in The Evening Star (1996), which didn’t repeat its predecessor’s success at the box office. In mid-1998 she directed Bruno (2000), which starred Alex D. Linz. In February 2001 Shirley worked with close friends once again in These Old Broads (2001) (TV), and co-starred with Julia Stiles in Carolina (2003/I) and with Kirstie Alley in Salem Witch Trials (2002) (TV). She created her own website, www.shirleymaclaine.com, in June 2000, which includes her own radio show and interviews, the Encounter Board, and Independent Expression, a members-only section of the site. In the past few years Shirley starred in a CBS miniseries based on the life of cosmetics queen Mary Kay Ash—Hell on Heels: The Battle of Mary Kay (2002) (TV), and wrote two more books, “The Camino” in 2001, and “Out On A Leash” in 2003. After taking a slight hiatus from motion pictures, Shirley returned with roles in the movies that were small, but wonderfully scene-stealing: Bewitched (2005) with Nicole Kidman and Will Ferrell, In Her Shoes (2005) with Cameron Diaz and Toni Collette, in which Shirley was nominated for a Golden Globe in the best supporting actress category, and Rumor Has It… (2005) with Jennifer Aniston and Kevin Costner. Shirley completed filming of Closing the Ring (2007), directed by Sir Richard Attenborough, in 2007. Her latest book is entitled ‘Saging and Aging’; Shirley’s next film is ’Valentine’s Day,’ debuting in theaters February 12, 2010. —IMDb
“The best actors in the world are those who feel the most and show the least.”
Jean-Louis Trintignant (born 11 December 1930) is a French actor who has enjoyed an international acclaim. He won the Best Actor award at the 1969 Cannes Film Festival. At the age of twenty, Trintignant moved to Paris to study drama, and made his theatrical debut in 1951 going on to be seen as one of the most gifted French actors of the post-war era. After touring in the early 1950s in several theater productions, his first motion picture appearance came in 1955 and the following year he gained stardom with his performance opposite Brigitte Bardot in Roger Vadim’s And God Created Woman. Trintignant’s acting was interrupted for several years by mandatory military service. After serving in Algiers, he returned to Paris and resumed his work in film. Trintignant had the leading male role in the art-house classic Un homme et une femme, which at the time was the most successful French film ever screened in the foreign market. In Italy, he was always dubbed into Italian, and his work stretched into collaborations with renowned Italian directors, including Valerio Zurlini in Summer Violent and The Desert of the Tartars, Ettore Scola in La terrazza, Bernardo Bertolucci in The Conformist, and Dino Risi in the cult film The Easy Life. Throughout the 1970s Trintignant starred in numerous films and in 1983 he made his first English language feature film, Under Fire. Following this, he starred in François Truffaut’s final film, Confidentially Yours. In 1994, he starred in Krzysztof Kieślowski’s last film, Three Colors: Red. Though he takes an occasional film role, he has, as of late, been focusing essentially on his stage work. —Wikipedia
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“Acting is not a competition to me. One of the first things I learned about acting was, the only person you compete against is yourself. "
Bearing sharp, blue-eyed features and the outward demeanor of an everyday Joe, Ed Harris possesses a quiet, charismatic strength and intensity capable of electrifying the screen. During the course of his lengthy career, he has proven his talent repeatedly in roles both big and small, portraying characters both villainous and sympathetic. Born Edward Allen Harris in Tenafly, NJ, on November 28, 1950, Harris was an athlete in high school and went on to spend two years playing football at Columbia University. His interest in acting developed after he transferred to the University of Oklahoma, where he studied acting and gained experience in summer stock. Harris next attended the California Institute of the Arts, graduating with a Fine Arts degree. He went on to find steady work in the West Coast theatrical world before moving to New York. In 1983, he debuted off-Broadway in Sam Shepard’s Fool for Love in a part especially written for him. His performance won him an Obie for Best Actor. Three years later, he made his Broadway debut in George Firth’s Precious Sons and was nominated for a Tony. During the course of his career, Harris has gone on to garner numerous stage awards from associations on both coasts.
Harris made his screen debut in 1977’s made-for-television movie The Amazing Howard Hughes. The following year, he made his feature-film debut with a small role in Coma (1978), but his career didn’t take off until director George Romero starred Harris in Knightriders (1981). The director also cast him in his next film, Creepshow (1982). Harris’ big break as a movie star came in 1983 when he was cast as straight-arrow astronaut John Glenn in the film version of Tom Wolfe’s The Right Stuff. Twelve years later, Harris would again enter the world of NASA, this time playing unsung hero Gene Krantz (and earning an Oscar nomination) in Ron Howard’s Apollo 13. The same year he starred in The Right Stuff, Harris further exhibited his range in his role as a psychopathic mercenary in Under Fire. The following year, he appeared in three major features, including the highly touted Places in the Heart. In addition to earning him positive notices, the film introduced him to his future wife, Amy Madigan, who also co-starred with him in Alamo Bay (1985). In 1989, Harris played one of his best-known roles in The Abyss (1989), bringing great humanity to the heroic protagonist, a rig foreman working on a submarine. He did further notable work in David Mamet’s Glengarry Glen Ross, and turned in a suitably creepy performance as Christof, the manipulative creator of Truman Burbank’s world in Peter Weir’s The Truman Show (1998). Harris earned a Best Supporting Actor Oscar nomination for his work. The following year, he could be seen in The Third Miracle, starring as a Catholic priest who finds his faith sorely tested.
The new millennium found Harris’ labor of love, the artist biopic Pollock, seeing the light of day after nearly a decade of development. Spending years painting and researching the modernist painter, Harris carefully and lovingly oversaw all aspects of the film, including directing, producing, and starring in the title role. The project served as a turning point in Harris’ remarkable career, showing audiences and critics alike that there was more to the man of tranquil intensity than many may have anticipated; Harris was nominated for a Best Actor Academy Award for his work. 2001 saw Harris as a German sniper with his targets set on Jude Law in the wartime suspense-drama Enemy at the Gates, and later as a bumbling Army captain in the irreverent Joaquin Phoenix vehicle Buffalo Soldiers. With his portrayal of a well known author succumbing to the ravages of AIDS in 2002’s The Hours, Harris would receive his fourth Oscar nomination. —allmovie guide