Profile information for Roy Andersson:
Quote: “Seriousness and patience, and above all you should not try to fit what people are waiting for, or what they are expecting. You should be very genuine to yourself.”
Roy Andersson (born 31 March 1943) is a Swedish film director, best known for his films A Swedish Love Story and Songs from the Second Floor. More than any other, Songs from the Second Floor succeeded in cementing his personal style — a style characterized by long takes, absurdist comedy, stiff caricaturing of Swedish culture and Felliniesque grotesque. He has spent much of his professional life working on advertisement spots, directing over 400 commercials and two short films, but only directing four feature-length films in three decades. His latest film is You, the Living from 2007.
Profile Information for Christopher Guest
Comedy is like music. You have to know the key and you have to find players with good chops.
US-born actor, director, writer, musician, and composer best known for his hilarious mockumentaries, poking fun at heavy metal music, small town theater, dog shows and folk music. Christopher Haden-Guest was born February 5th, 1948, in New York City to an American mother and a British father, Peter Haden-Guest, the fourth Baron of Saling in the County of Essex.
He received his dramatic arts training at New York City’s High School of Arts and Music and at Bard College, and Guest first appeared in minor film roles in a mixture of film genres including The Hot Rock (1972), Death Wish (1974), Lemmings (1973) (V), and The Long Riders (1980). However, he was also dabbling in writing for several TV shows, and when filming Million Dollar Infield (1982) (TV), Guest became acquainted with writer-director Rob Reiner and the two collaborated, along with Michael McKean and Harry Shearer, to pen the script and music for the sleeper hit This Is Spinal Tap (1984).
The mockumentary also starred Guest as dizzy lead guitarist Nigel Tufnel, whose most famous line is surely, “These go to eleven,” when referring to the volume settings on the band’s rather unique Marshall amplifiers!
Guest then busied himself for several years in the 1980’s as a regular performer on “Saturday Night Live” (1975) and, along with fellow Spinal Tap band members lead singer David St. Hubbins, aka Michael McKean; and bassist Derek Smalls, aka Harry Shearer, they regularly appeared as Spinal Tap. In 1992, they released Spinal Tap: Break Like the Wind – The Videos (1992) (V), plus A Spinal Tap Reunion: The 25th Anniversary London Sell-Out (1992) (TV).
Guest had a minor acting role in the courtroom drama of A Few Good Men (1992), before returning to poke fun at wannabe actors in the howlingly funny Waiting for Guffman (1996) with Guest taking center stage as high-strung choreographer Corky St. Clair. He made a return to heavy metal with Spinal Tap: The Final Tour (1998) (V) and Catching Up with Marty DiBergi (2000) (V) before turning his comedic pen to the world of championship dog shows for the sensational comedy Best in Show (2000). The latest mockumentary from Guest and co-writer-actor Eugene Levy was again met with critical praise, and movie fans just loved it, too! In 2003, Guest and Eugene Levy took aim at the folk-music world, and successfully collaborated to write the comedy A Mighty Wind (2003) about the reunion of the Folksmen, a fictional 1960s folk music group.
Guest is married to well-known actress Jamie Lee Curtis with two children, Annie Guest and Thomas, plus he is the brother of actor Nicholas Guest. – IMDb
Profile Information for Sam Raimi
I look at myself as an entertainer, more than anything else. I wanted to make the movie a little more different than the previous films. … That was less about me growing as a craftsman. That was more about me trying to provide an element to the audience that I thought they might need something different, that came from a different place.
Samuel Marshall “Sam” Raimi (born October 23, 1959) is an American film director, producer, actor and writer. He is best known for directing cult horror films like the Evil Dead series and Drag Me To Hell, as well as the blockbuster Spider-Man films and the producer of the successful TV series Hercules: The Legendary Journeys and Xena: Warrior Princess.
Raimi became fascinated with making films when his father brought a movie camera home one day and he began to make Super 8 movies with childhood friend Bruce Campbell. In college, he teamed up with his brother’s roommate Robert Tapert and Campbell to shoot Within the Woods (1978), a 32-minute horror film which raised $350,000, as well as the short comedic film It’s Murder!. Through family, friends, and a network of investors Raimi was able to finance production of the highly successful horror film The Evil Dead (1981) which became a cult hit and effectively launched Raimi’s career. He began work on his second film Crimewave (1985), intended as a live-action comic book—the film was not successful, due in part to unwanted studio intervention. Raimi returned to the horror genre with the seminal Evil Dead II (which toned down the savageness of the original in favour of slapstick, showcasing his love of the Three Stooges). A long-time comic book buff, he attempted to adapt “The Shadow” into a movie, but was unable to secure the rights, so he created his own super-hero, Darkman (1990). The film was his first major studio picture, and was only moderately successful, but he was still able to secure funding for Army of Darkness, which turned away almost totally from horror in favor of fantasy and comedy elements.
In the 1990s Raimi moved into other genres, directing such films as the western The Quick and the Dead, the critically-acclaimed crime thriller A Simple Plan (1998) (starring Bill Paxton and Billy Bob Thornton), and the romantic drama For Love of the Game (1999) (starring Kevin Costner). Raimi achieved great critical and commercial success with the blockbuster Spider-Man (2002), which was adapted from the comic book series of the same name. The movie has grossed over $800 million worldwide, spawning two sequels: Spider-Man 2 and Spider-Man 3, both directed by Raimi and both grossing roughly $800 million each. After the completion of the third Spider-Man film, Raimi is slated to direct a film adaptation of The Wee Free Men by Terry Pratchett. Prior to directing the Spider-Man films, Raimi lobbied to direct Batman Forever when Tim Burton was ousted from the director’s chair, but was rejected in favor of Joel Schumacher, whose reputation at the time outshone Raimi’s.
Raimi frequently collaborates with Joel and Ethan Coen, beginning when Joel was one of the editors of Evil Dead. The Coens co-wrote Crimewave and The Hudsucker Proxy with Raimi in the mid-1980s (though Hudsucker was not filmed for almost a decade). Raimi made cameo appearances in Miller’s Crossing, The Hudsucker Proxy, as well as with Joel Coen in Spies Like Us. The Coen brothers gave Raimi advice on shooting in snow for A Simple Plan, based on their experiences with Fargo. He has also worked in front of the camera with Miller’s Crossing as a coldblooded gunman, The Stand as a dimwitted hitman, John Carpenter’s Body Bags in an unusual role as a gas station attendant (all three roles saw Raimi dying in distinct ways), and Indian Summer in what is perhaps his biggest role as a bumbling assistant to Alan Arkin. The film was written by his childhood friend writer-director Mike Binder and shot at the camp that they both attended when they were younger. He also produced The Grudge, The Grudge 2 and The Grudge 3. According to Entertainment Weekly, Raimi had expressed an interest in directing a film version of The Hobbit, the prequel to the Lord of the Rings trilogy. In 2008, Guillermo del Toro was selected as the director, with Peter Jackson as the executive producer. Raimi may direct By Any Means Necessary, the next film based on the “Jack Ryan” CIA character created by Tom Clancy. Disney also approached him to direct W.I.T.C.H.: The Movie, based on the popular same-name comic.
Blizzard Entertainment announced on July 22, 2009 that Sam Raimi will be directing a film based on the Warcraft universe.
On 23 September 2009 he became the producer for the British supernatural thriller “Refuge” which is directed by Corin Hardy and published by Mandate Pictures. He will produce the remake of the Danish thriller The Substitute which will be directed by Scott Dickerson under his new Label Spooky Pictures. – wikipedia
Profile Information for Roberto Benigni
Charlie Chaplin used his ass better than any other actor. In all his films his ass is practically the protagonist. For a comic, the ass has incredible importance.
Roberto Remigio Benigni, Cavaliere di Gran Croce OMRI (born 27 October 1952) is an Italian actor, comedian, screenwriter and director of film, theatre and television.
Benigni was born in Manciano, Castiglion Fiorentino, Italy, the son of Isolina Papini, a fabric inspector, and Remigio Benigni, a bricklayer, carpenter, and farmer. His first experiences as a theatre actor took place in 1972, in Prato. During that autumn he moved to Rome where he took part in some experimental theatre shows, some of which he also directed. In 1975, Benigni had his first theatrical success with Cioni Mario di Gaspare fu Giulia, written by Giuseppe Bertolucci.
Benigni became famous in Italy in the 1970s for a shocking TV series called Onda Libera, on RAI2, by Renzo Arbore, in which he interpreted the satirical piece “anthem of the melt body” (L’inno del corpo sciolto, a hymn to defecation). A great scandal for the time, the series was suspended due to censorship. His first film was 1977’s Berlinguer ti voglio bene, also by Giuseppe Bertolucci.
Afterwards, he appeared during a public political demonstration by the Italian Communist Party, with which he was a sympathiser, and on this occasion he took in his arms and dangled the national leader Enrico Berlinguer, a very serious figure. It was an unprecedented act, given that until that moment Italian politicians were proverbially serious and formal. It represented a breaking point, after which politicians experimented with newer habits and “public manners”, attended fewer formal events and, generally speaking, modified their lifestyle in order to exhibit a more popular behaviour. Benigni was censored again in the 1980s for calling the Pope John Paul II something impolite during an important live TV show (“Wojtylaccio”, meaning “Bad Wojtyla” in Italian).
His popularity increased with L’altra domenica (1978), another TV show by Arbore in which Benigni portrays a lazy film critic who never watches the films he’s asked to review.
Benigni’s first film as director was Tu mi turbi (You upset me, 1983). On the set he met the Cesenate actress Nicoletta Braschi, who was to become his wife, and who has starred in most of the films he directed.
In 1984, he played in Non ci resta che piangere (“Nothing left to do but cry”) with the very popular comic actor Massimo Troisi. The story was a fable in which the protagonists are suddenly thrown back in time to the 15th century, just a little before 1492. They start looking for Columbus in order to stop him from discovering the Americas (although for very personal love reasons), but are not able to reach him.
Beginning in 1986, Benigni starred in three films by American director Jim Jarmusch. In Down By Law (1986) (which in Italy had its title spelled “Daunbailò”, in Italian phonetics) he played Bob, the innocent abroad, convicted for murder, whose irrepressible good humour and optimism help him escape and find love (also starring Braschi as his beloved.) In Night on Earth, (1991) he plays a cabbie in Rome, causing his passenger, a priest, great discomfort and a heart attack by confessing his bizarre sexual experiences. Later, he also starred in the first of Jarmusch’s series of short films, Coffee and Cigarettes (2003).
In 1993, he starred in Son of the Pink Panther, directed by veteran Blake Edwards. There, he played Peter Sellers’ Inspector Clouseau’s illegitimate son who is assigned to save the Princess of Lugash. The film bombed in the US, but was a hit in Italy, his home country.
A serious role was in Federico Fellini’s last film, La voce della luna (1989). In earlier years Benigni had started a long-lasting collaboration with screenwriter Vincenzo Cerami, for a series of films which scored great success in Italy: Il piccolo diavolo (“The little devil”, with Walter Matthau), Johnny Stecchino (“Johnny Toothpick”), and Il mostro (“The Monster”).
Benigni is probably best known outside Italy for his 1997 tragicomedy Life Is Beautiful (La vita è bella), filmed in Arezzo, also written by Cerami. The film is about an Italian Jewish man who tries to protect his son’s innocence during his internment at a Nazi concentration camp, by telling him that the Holocaust is an elaborate game and he must adhere very carefully to the rules to win. Benigni’s father had spent two years in a concentration camp in Bergen-Belsen, and La vita è bella is based in part on his father’s experiences. Although the story and presentation of the film had been discussed during production with different Jewish groups to limit the offense it might cause, the film was attacked by many critics who accused it of presenting the holocaust without much suffering, and some who considered that “laughing at everything” was not remotely appropriate, let alone credible. More favorable critics praised Benigni’s artistic daring and skill to create a sensitive comedy involving the tragedy, a challenge that Charles Chaplin confessed he would not have done with The Great Dictator had he been aware of the horrors of the Holocaust.
In 1998, the film was nominated for seven Academy Awards. At the 1999 ceremony Benigni received the award for Best Actor (the first for a male performer in a non-English-speaking role, and only the third overall acting Oscar for non-English-speaking roles), the score by Nicola Piovani won Best Original Dramatic Score, and the film was awarded the Oscar for Best Foreign Language Film, which Benigni accepted as the film’s director.
Famously, in the midst of being so giddy with delight after Life Is Beautiful was announced as the Best Foreign Film, Benigni climbed over and then stood on the backs of the seats in front of him and applauded the audience before proceeding to the stage. And after winning his Best Actor Oscar later in the evening, he said in his acceptance speech, “There must be some terrible mistake, I used up all my English!” At the following year’s ceremony, when he read the nominees for Best Actress (won by Hilary Swank for Boys Don’t Cry), host Billy Crystal playfully appeared behind him with a large net to restrain Benigni if he got excessive with his antics again.
Benigni played one of the main characters in Asterix and Obelix vs Caesar as Detritus, a corrupted Roman tax collector who wants to kill Julius Caesar, thereby seizing control of the Roman Republic.
As a director, his 2002 film Pinocchio, one of the costliest films in Italian cinema, performed well in Italy but bombed in North America with a 0% critics’ score at Rotten Tomatoes.
That same year, he gave a typically energetic and revealing interview to Canadian filmmaker Damian Pettigrew for Fellini: I’m a Born Liar (2002), a cinematic portrait of the maestro that was nominated for Best Documentary at the European Film Awards, Europe’s equivalent of the Oscars. The film went on to win the prestigious Rockie Award for Best Arts Documentary at the Banff World Television Festival (2002) and the Coup de Coeur at the International Sunnyside of the Doc Marseille (2002).
In 2003, Benigni was honored by the National Italian American Foundation (NIAF), receiving the Foundation’s NIAF Special Achievement Award in Entertainment.
Benigni’s latest film is La tigre e la neve (The Tiger and the Snow, 2005), a love story set during the initial stage of the Iraq War. – wikipedia
Danny Aiello could use director status. He just directed Anyone’s Son.
He could use a pic:
A Qoute from brainyqoute.com: “You don’t have to be worried about labeling me.”
and a bio from wikipedia:
Danny Aiello, the second youngest of six children, was born in Manhattan,2 the son of Italian American parents Frances (née Pietrocova), a seamstress who was a native of Naples, Italy, and Daniel Louis Aiello, Sr., a laborer. Aiello’s father deserted the family even though his wife had gone blind. For many years, Aiello had publicly condemned his father’s desertion of his children and his blind wife. Aiello reconciled with his father in 1993, but to this day harbors a resentment of his father’s conduct.134 He moved to the South Bronx when he was age 7 and later attended James Monroe High School.4 At 16-years-old, Aiello lied about his age in order to enlist in the U.S. Army. After serving for three years, he returned to New York City and did various jobs in order to support himself and later his family. Aiello also once served as a union representative for Greyhound bus workers and was a night club bouncer.
Danny Aiello broke into films in the early 1970s. One of his earliest roles came as a ballplayer in the 1973 baseball drama, Bang the Drum Slowly, with Robert DeNiro. Aiello had a walk-on as small-time hood Tony Rosato in The Godfather Part II (1974), ad-libbing the famous line “Michael Corleone says hello!” during a hit on a rival gangster Frank Pentangelli (Michael V. Gazzo).
He was paired with DeNiro again for the 1984 Sergio Leone gangster epic, Once Upon a Time in America, as a police chief whose name was also, “Aiello.” His many film appearances included three for director Woody Allen, who cast him in, The Purple Rose of Cairo, Broadway Danny Rose and Radio Days. He received considerable acclaim for playing a racist New York City cop in Fort Apache the Bronx (1981) with Paul Newman.
Although his characters have often been vulgar and violent, Aiello has also portrayed sensitive, kindly men with an earthy sense of humor. He gained recognition as the befuddled fiance of Cher opposite her Oscar-winning performance in Moonstruck (1987), and the actor made a comic appearance in drag for the Robert Altman fashion-industry film Pret-a-Porter. He also had sympathetic roles in Jacob’s Ladder and 29th Street.
He played nightclub owner and Lee Harvey Oswald assassin Jack Ruby in the 1992 biopic Ruby and a political bigshot with mob ties in City Hall, starring Al Pacino.
Aiello has a fine singing voice, which has been on display in films such as Hudson Hawk, Once Around; and Remedy that starred his son Ricky Aiello and Jon Doscher. He has released several albums featuring a big-band sound including “I Just Wanted To Hear The Words” from 2004 and “Live From Atlantic City” from 2008. Aiello and EMI songwriter Hasan Johnson are releasing an album in 2009 of standards fused with rap entitled, “Bridges.”
Jack Nicholson has directed 3 films how about director status
Omar Sharif could use a photo:
a qoute from brainyqoute.com: "There are lots of wonderful old Italian actors. You don’t need to take an Egyptian to play an Italian actor. "
and a bio from http://www.allmovie.com/artist/omar-sharif-64847
Born into a wealthy Lebanese-Egyptian family, Omar Sharif was a math and physics major at Cairo’s Victory College. He worked briefly in his father’s lumber business before pursuing an acting career. Entering movies in 1953 as Omar El-Sharif, the young actor’s popularity zoomed when he married popular Egyptian star Faten Hamama (the marriage ended in 1974). Well established in his native country, Sharif made his English-language film debut (with one of the longest and most impressive “delayed entrances” ever filmed) as Sherif Ali Ibn El Karish in David Lean’s Lawrence of Arabia (1962). Sharif’s next film for Lean, Doctor Zhivago (1965), launched the “superstar” phase of the actor’s career. When he was cast as Nicky Arnstein opposite Barbra Streisand’s Fanny Brice in Funny Girl (1968), Sharif’s films were banned in his native Egypt because he made love to a Jewish woman onscreen. As Sharif’s starring career began its slow downward slide in the mid-’70s, he began devoting more and more time to his one great passion in life: bridge. Today Sharif is best known in card-playing circles as that famous bridge expert who happens to show up in movies from time to time.
Robert Duvall could use Director status (2 features and a documentary)
And a Qoute from brainyqoute.com: "Being a star is an agent’s dream, not an actor’s. "
plus a bio from http://www.allmovie.com/artist/robert-duvall-88530/bio:
One of Hollywood’s most distinguished, popular, and versatile actors, Robert Duvall possesses a rare gift for totally immersing himself in his roles. Born in San Diego, CA, in 1931 and raised by an admiral, Duvall fought in Korea for two years after graduating from Principia College. Upon his Army discharge, he moved to New York to study acting at the Neighborhood Playhouse, where he won much acclaim for his portrayal of a longshoreman in A View From the Bridge. He later acted in stock and off-Broadway, and had his onscreen debut as Gregory Peck’s simple-minded neighbor Boo Radley in To Kill a Mockingbird (1962).
With his intense expressions and chiseled features, Duvall frequently played troubled, lonely characters in such films as The Chase (1966) during his early film career. Whatever the role, however, he brought to it an almost tangible intensity tempered by an ability to make his characters real (in contrast to some contemporaries who never let viewers forget that they were watching a star playing a role). Though well-respected and popular, Duvall largely eschewed the traditionally glitzy life of a Hollywood star; at the same time, he worked with some of the greatest directors over the years. This included a long association with Francis Ford Coppola, for whom he worked in two Godfather movies (in 1972 and 1974) and Apocalypse Now (1979). The actor’s several Oscar nominations included one for his performance as a dyed-in-the-wool military father who victimizes his family with his disciplinarian tirades in The Great Santini (1980). For his portrayal of a has-been country singer in Tender Mercies — a role for which he composed and performed his own songs — Duvall earned his first Academy Award for Best Actor. He also directed and co-produced 1983’s Angelo My Love and earned praise for his memorable appearance in Rambling Rose in 1991. One of Duvall’s greatest personal triumphs was the production of 1997’s The Apostle, the powerful tale of a fallen Southern preacher who finds redemption. He had written the script 15 years earlier, but was unable to find a backer, so, in the mid-’90s, he financed the film himself. Directing and starring in the piece, Duvall earned considerable acclaim, including another Best Actor Oscar nomination.
The 1990s were a good decade for Duvall. Though not always successful, his films brought him steady work and great variety. Not many other actors could boast of playing such a diversity of characters: from a retired Cuban barber in 1993’s Wrestling Ernest Hemingway to an ailing editor in The Paper (1994) to the abusive father of a mentally impaired murderer in the harrowing Sling Blade (1996) to James Earl Jones’s brother in the same year’s A Family Thing (which he also produced). Duvall took on two very different father roles in 1998, first in the asteroid extravaganza Deep Impact and then in Robert Altman’s The Gingerbread Man. Throughout his career, Duvall has also continued to work on the stage. In addition, he occasionally appeared in such TV miniseries as Lonesome Dove (1989) and Stalin (1992), and has even done voice-over work for Lexus commercials. In the early 2000s, he continued his balance between supporting roles in big-budget films and meatier parts in smaller efforts. He supported Nicolas Cage in Gone in 60 Seconds and Denzel Washington in John Q., but he also put out his second directorial effort, Assassination Tango (under the aegis of old friend Coppola), which allowed him to film one of his life’s great passions — the tango. In 2003, $|EKEVIN|COSTNER|GAVKevin Costner gave Duvall an outstanding role in his old-fashioned Western OPEN|RANGE,|ANDUVOpen Range, and $|EDUVALL">DUVOpen Range, and $|EDUVALL\">OPEN|RANGE,|ANDUVOpen Range, and $|EDUVALL|RESPONDuvall responded with one of his most enjoyable performances.
Duvall subsequently worked in a number of additional films, including playing opposite Will Ferrell in the soccer comedy Kicking & Screaming, as well as adding a hilarious cameo as a tobacco king in the first-rate satire Thank You For Smoking. In 2006 he scored a hit in another western. The made for television Broken Trail, co-starring Thomas Haden Church, garnered strong ratings when it debuted on the American Movie Classics channel. That same year he appeared opposite Drew Barrymore and Eric Bana in $Curtis Hanson’s #Lucky You.
Danny Devito could use a qoute from brainyqoutes.com:
“It’s fun to be on the edge. I think you do your best work when you take chances, when you’re not safe, when you’re not in the middle of the road, at least for me, anyway. "
A bio from http://www.allmovie.com/artist/danny-devito-17602/bio
Perhaps no Hollywood actor continually stirs up more of a gleeful admixture of feelings in his viewers than Danny DeVito. Singlehandedly portraying characters with mile-long, obnoxious jerk streaks that are nonetheless somehow loveable, DeVito — with his diminutive stature, balding head, and broad Jersey accent — recalls a line that he himself used (about a character) in his big-screen directorial debut, Throw Momma From the Train: “Maybe [he] would be someone you’d like to kill.” No question about it: DeVito has made an art form out of playing endearingly loathsome little men.
Born November 17, 1944, in Neptune, NJ, Daniel Michael DeVito Jr. survived a Catholic school upbringing and started his career from the ground up, laboring as a cosmetician in his sister’s beauty parlor. Working under the name “Mr. Danny,” DeVito decided to enter New York’s American Academy of Dramatic Arts for the purpose of acquiring additional makeup expertise. However, he soon discovered his true theatrical calling and made his screen debut with a small part in the 1968 drama Dreams of Glass. After a few discouraging experiences within the film industry, DeVito decided to concentrate on stage work. During this time, he met actress Rhea Perlman, whom he later married in 1982.
In 1972, the actor made his way back into films with a role in Lady Liberty, a comedy starring Sophia Loren. His first notable film part came three years later, when he reprised his stage role of Martini, a sweet-natured mental patient, in Milos Forman’s screen version of One Flew Over the Cuckoo’s Nest. Produced by DeVito’s old friend Michael Douglas (the two roomed together when DeVito was starting out) and co-scripted by Lawrence Hauben and Bo Goldman, the film won wide acclaim and nine Oscar nominations, eventually gleaning five statuettes (including Best Picture). Despite the adulation surrounding the film, DeVito’s screen career remained lackluster, but he skyrocketed to fame three years later with his role as the obnoxious dispatcher Louie on the long-running television sitcom Taxi. According to legend, the actor walked into the audition, script in hand, and yelled, “Who wrote this sh*t?!” Jim Brooks hired him on the spot.
From there, DeVito’s career swung upward and he spent the next decade playing similarly repugnant characters with enormous success. He reunited with Douglas for Romancing the Stone (1984) and its 1985 sequel, Jewel of the Nile, teamed up with co-star Joe Piscopo and director Brian De Palma (as a scam artist on the run) in Wise Guys (1986), and signed with Disney’s R-rated offshoot, Touchstone, for two comedies, the 1986 Ruthless People (as a wealthy husband overjoyed to discover that his obnoxious wife has been kidnapped) and the 1987 Barry Levinson-directed Tin Men (in which he plays one of two conniving Cadillac salesmen, opposite Richard Dreyfuss).
As mentioned, Throw Momma from the Train (1987) marked DeVito’s premier directorial outing. (His premier cinematic outing: he had previously helmed numerous episodes of Taxi and the 1984 cable telemovie The Ratings Game.) A madcap farce directed from a script by Benson and Soap scribe Stu Silver, Momma cast DeVito as Owen, a dim-bulb student living under the castrating thumb of his loudmouthed mother, who is enrolled in a writing course taught by failing novelist Larry Donner (Billy Crystal). Stumbling into a repertory screening of Strangers on a Train one night, Owen has the not-so-bright idea of emulating the film, by bumping off Larry’s conniving ex-wife in exchange for having Larry rub out his momma — without asking Larry first.
DeVito immediately established his own signature authorial stamp on the film, with what became a trademark use of bizarre, almost absurdly expressionistic camera angles. Throw Momma from the Train opened during the Christmas season of December 1987 and received mixed reviews. (Roger Ebert complained, “[Momma] is a series of missed opportunities and unexploited situations, a movie that wants to have genuine nastiness at its heart, but never quite works up the energy or the nerve to be truly heartless.”) The picture nonetheless became a massive hit — a real crowd-pleaser — grossing upwards of 57 million dollars, and thus paving the way for future DeVito-directed efforts. The War of the Roses (1989) — marked by the same stylistic approach — recast DeVito with his Romancing the Stone and Jewel of the Nile co-stars, Michael Douglas and Kathleen Turner, but could not have been any more different in terms of theme, content, tone, or intended audience. Co-adapted by Warren Adler and Michael Leeson (from Adler’s novel), this acerbic, black-as-coal comedy tells the story of Oliver and Barbara Rose, a seemingly happy and well-adjusted married couple whose nuptials descend into a violent hell when Barbara announces that she wants a divorce — and Oliver refuses to give her one. DeVito plays the cherubic lawyer who relays their story to another client, and famously reflects, “If love is blind, then marriage must be like having a stroke.” The picture instantly grossed dollar one, garnered legions of fans, and delighted critics across the board.
Ida Random produced Momma, and DeVito’s Taxi collaborator, James L. Brooks, produced War, but by the early ‘90s, DeVito gained additional autonomy by branching out into production duties himself, with the establishment of his own Jersey Films. Some of Jersey’s more successful endeavors were 1994’s Pulp Fiction (on which DeVito served as executive producer), Reality Bites (1994), Get Shorty (1995), Gattaca (1997), Out of Sight (1998), and Living Out Loud (1998).
In the meantime, DeVito continued to act in a number of movies throughout the late ‘80s and ’90s, his most notable being Twins (1988, in which he played the “twin” of Arnold Schwarzenegger), the disappointing Jack the Bear (1993, playing a goofy father attempting to raise his sons in a dark and disturbing world, in the early ’70s), the delightful Other People’s Money (1991, for which he took on the role of corporate monster Larry the Liquidator), Barry Sonnenfeld’s Get Shorty, the screen adaptation of Roald Dahl’s Matilda (1996, which he also directed and produced), L.A. Confidential (1997), and Living Out Loud. For the last of these DeVito won particular acclaim, impressing critics with his touching, sympathetic portrayal of a lonely elevator operator. In 1999, he added to his already impressive resumé with a role in Milos Forman’s biopic of Taxi co-star Andy Kaufman, Man on the Moon, and a supporting turn in Sofia Coppola’s The Virgin Suicides.
Despite solid performances in a series of recent high-profile hits and decades of big-screen success, the millennial turnover found DeVito’s star somewhat clouded as such efforts as Screwed (2000), What’s the Worst That Could Happen? (2001), Death to Smoochy (2002), and Duplex (2003) failed to live up to box-office potential. Smoochy dealt a particularly crushing blow. That film stars funnyman Robin Williams as Rainbow Randolph, the sicko host of a kiddie show, who plots to wipe out his Barney-like competitor (Ed Norton). It appeared and disappeared instantly; Maitland McDonough provided one of the kinder reactions, in TV Guide, calling it “a misfire of spectacular proportions.”
DeVito fared only slightly better as producer of the critically acclaimed 2003 television series Karen Sisco and the ugly Get Shorty sequel, Be Cool. He also acted as executive producer for the acclaimed Zach Braff dramedy Garden State and could be spotted in director Tim Burton’s imaginative fable Big Fish. As 2005 rolled around, audiences could spot DeVito in films such as The OH in Ohio, as well as on television as the actor found himself accepting a role in the quirky, Arrested Development-esque series It’s Always Sunny in Philadelphia.
During 2006, DeVito balanced a full plate of work, temporarily retiring from the director’s chair, but juggling small roles in no less than three A-list features. These include Brad Silberling’s 10 Items or Less, a drama about the unlikely friendship that evolves between a has-been Hollywood star (Morgan Freeman) and a supermarket checkout clerk (Paz Vega); Jake Paltrow’s directorial debut, The Good Night, a slice-of-life dramedy starring Gwyneth Paltrow and Penélope Cruz; and the holiday comedy Deck the Halls. The latter stars DeVito and Matthew Broderick as neighbors who go to “war” with competing decorations at Christmastime to see who can be the first to make his house visible from space. The film co-stars Kristin Davis and Kristin Chenoweth. Meanwhile, Jersey Films geared up to produce the 2007 Freedom Writers, directed by Richard LaGravenese — a kind of retread of Stand and Deliver and Dangerous Minds, with Hilary Swank as a teacher determined to break through to her difficult students.
And a pic:
“The past is what you remember, imagine you remember, convince yourself you remember, or pretend you remember”
Harold Pinter, CH, CBE (10 October 1930 – 24 December 2008), was an English playwright, screenwriter, actor, director, political activist and poet. He was among the most influential British playwrights of modern times. In 2005 he was awarded the Nobel Prize for Literature.12 After publishing poetry and acting in school plays as a teenager in London, Pinter began his professional theatrical career in 1951, touring Ireland and then performing in repertory throughout England for several years. Beginning with his first play, The Room (1957), Pinter’s writing career spanned over 50 years and produced 29 original stage plays, 27 screenplays, many dramatic sketches, radio and TV plays, poetry, one novel, short fiction, essays, speeches, and letters. His best-known plays include The Birthday Party (1957), The Caretaker (1959), The Homecoming (1964), and Betrayal (1978), each of which he adapted to film. His screenplay adaptations of others’ works include The Servant (1963), The Go-Between (1970), The French Lieutenant’s Woman (1981), The Trial (1993), and Sleuth (2007). He directed almost 50 stage, television, and film productions and acted extensively in radio, stage, television, and film productions of his own and others’ works.3
Pinter’s dramas often involve strong conflicts between ambivalent characters who struggle for verbal and territorial dominance and for their own versions of the past. Stylistically, these works are marked by theatrical pauses and silences, comedic timing, irony, and menace. Thematically ambiguous, they raise complex issues of individual identity oppressed by social forces, language, and vicissitudes of memory.45 In 1981, Pinter stated that he was not inclined to write plays explicitly about political subjects; yet in the mid-1980s he began writing overtly political plays. This “new direction” in his work and his left-wing political activism stimulated additional critical debate. Pinter, his work, and his politics have been the subject of voluminous critical commentary.6
Pinter received numerous awards, including the Tony Award for Best Play in 1967 for The Homecoming, the BAFTA awards, the French Légion d’honneur and 20 honorary degrees. Festivals and symposia have been devoted to him and his work. In awarding the Nobel Prize, the Swedish Academy noted, “That he occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: ‘Pinteresque’”.7
Despite frail health after being diagnosed with oesophageal cancer in December 2001, Pinter continued to act on stage and screen, last performing the title role of Samuel Beckett’s one-act monologue Krapp’s Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October 2006.2 He died from liver cancer on 24 December 2008. He was buried the following week at Kensal Green Cemetery in North West London.
-Information taken from wikipedia
johnny depp and marlon brando could use director status
James Stewart could use a pic:
and a bio from http://www.allmovie.com/artist/james-stewart-68236/bio
James Stewart was the movies’ quintessential Everyman, a uniquely all-American performer who parlayed his easygoing persona into one of the most successful and enduring careers in film history. On paper, he was anything but the typical Hollywood star: Gawky and tentative, with a pronounced stammer and a folksy “aw-shucks” charm, he lacked the dashing sophistication and swashbuckling heroism endemic among the other major actors of the era. Yet it’s precisely the absence of affectation which made Stewart so popular; while so many other great stars seemed remote and larger than life, he never lost touch with his humanity, projecting an uncommon sense of goodness and decency which made him immensely likable and endearing to successive generations of moviegoers.
Born May 20, 1908, in Indiana, PA, Stewart began performing magic as a child. While studying civil engineering at Princeton University, he befriended Joshua Logan, who then headed a summer stock company, and appeared in several of his productions. After graduation, Stewart joined Logan’s University Players, a troupe whose membership also included Henry Fonda and Margaret Sullavan. He and Fonda traveled to New York City in 1932, where they began winning small roles in Broadway productions including Carrie Nation, Yellow Jack, and Page Miss Glory. On the recommendation of Hedda Hopper, MGM scheduled a screen test, and soon Stewart was signed to a long-term contract. He first appeared onscreen in a bit role in the 1935 Spencer Tracy vehicle The Murder Man, followed by another small performance the next year in Rose Marie.
Stewart’s first prominent role came courtesy of Sullavan, who requested he play her husband in the 1936 melodrama Next Time We Love. Speed, one of six other films he made that same year, was his first lead role. His next major performance cast him as Eleanor Powell’s paramour in the musical Born to Dance, after which he accepted a supporting turn in After the Thin Man. For 1938’s classic You Can’t Take It With You, Stewart teamed for the first time with Frank Capra, the director who guided him during many of his most memorable performances. They reunited a year later for Mr. Smith Goes to Washington, Stewart’s breakthrough picture; a hugely popular modern morality play set against the backdrop of the Washington political system, it cemented the all-American persona which made him so adored by fans, earning a New York Film Critics’ Best Actor award as well as his first Oscar nomination.
Stewart then embarked on a string of commercial and critical successes which elevated him to the status of superstar; the first was the idiosyncratic 1939 Western Destry Rides Again, followed by the 1940 Ernst Lubitsch romantic comedy The Shop Around the Corner. After The Mortal Storm, he starred opposite Katherine Hepburn and Cary Grant in George Cukor’s sublime The Philadelphia Story, a performance which earned him the Best Actor Oscar. However, Stewart soon entered duty in World War II, serving as a bomber pilot and flying 20 missions over Germany. He was highly decorated for his courage, and did not fully retire from the service until 1968, by which time he was an Air Force Brigadier General, the highest-ranking entertainer in the U.S. military.
Stewart’s combat experiences left him a changed man; where during the prewar era he often played shy, tentative characters, he returned to films with a new intensity. While remaining as genial and likable as ever, he began to explore new, more complex facets of his acting abilities, accepting roles in darker and more thought-provoking films. The first was Capra’s 1946 perennial It’s a Wonderful Life, which cast Stewart as a suicidal banker who learns the true value of life. Through years of TV reruns, the film became a staple of Christmastime viewing, and remains arguably Stewart’s best-known and most-beloved performance. However, it was not a hit upon its original theatrical release, nor was the follow-up Magic Town — audiences clearly wanted the escapist fare of Hollywood’s prewar era, not the more pensive material so many other actors and filmmakers as well as Stewart wanted to explore in the wake of battle.
The 1948 thriller Call Northside 777 was a concession to audience demands, and fans responded by making the film a considerable hit. Regardless, Stewart next teamed for the first time with Alfred Hitchcock in Rope, accepting a supporting role in a tale based on the infamous Leopold and Loeb murder case. His next few pictures failed to generate much notice, but in 1950, Stewart starred in a pair of Westerns, Anthony Mann’s Winchester 73 and Delmer Daves’ Broken Arrow. Both were hugely successful, and after completing an Oscar-nominated turn as a drunk in the comedy Harvey and appearing in Cecil B. De Mille’s Academy Award-winning The Greatest Show on Earth, he made another Western, 1952’s Bend of the River, the first in a decade of many similar genre pieces.
Stewart spent the 1950s primarily in the employ of Universal, cutting one of the first percentage-basis contracts in Hollywood — a major breakthrough soon to be followed by virtually every other motion-picture star. He often worked with director Mann, who guided him to hits including The Naked Spur, Thunder Bay, The Man From Laramie, and The Far Country. For Hitchcock, Stewart starred in 1954’s masterful Rear Window, appearing against type as a crippled photographer obsessively peeking in on the lives of his neighbors. More than perhaps any other director, Hitchcock challenged the very assumptions of the Stewart persona by casting him in roles which questioned his character’s morality, even his sanity. They reunited twice more, in 1956’s The Man Who Knew Too Much and 1958’s brilliant Vertigo, and together both director and star rose to the occasion by delivering some of the best work of their respective careers.
Apart from Mann and Hitchcock, Stewart also worked with the likes of Billy Wilder (1957’s Charles Lindbergh biopic The Spirit of St. Louis) and Otto Preminger (1959’s provocative courtroom drama Anatomy of a Murder, which earned him yet another Best Actor bid). Under John Ford, Stewart starred in 1961’s Two Rode Together and the following year’s excellent The Man Who Shot Liberty Valance. The 1962 comedy Mr. Hobbs Takes a Vacation was also a hit, and Stewart spent the remainder of the decade alternating between Westerns and family comedies. By the early ‘70s, he announced his semi-retirement from movies, but still occasionally resurfaced in pictures like the 1976 John Wayne vehicle The Shootist and 1978’s The Big Sleep. By the 1980s, Stewart’s acting had become even more limited, and he spent much of his final years writing poetry; he died July 2, 1997.
Glenn Ford needs a qoute from brainyqoute.com:
“If they try to rush me, I always say, I’ve only got one other speed and it’s slower. "
Glenn Ford could use a picture
and a bio from http://www.allmovie.com/artist/glenn-ford-24236/bio
The son of a Canadian railroad executive, Glenn Ford first toddled on-stage at age four in a community production of Tom Thumb’s Wedding. In 1924, Ford’s family moved to California, where he was active in high-school theatricals. He landed his first professional theater job as a stage manager in 1934, and, within a year, he was acting in the West Coast company of Lillian Hellman’s The Children’s Hour. Although he made his film debut in 20th Century Fox’s Heaven With a Barbed Wire Fence (1939), Ford was signed by Columbia, which remained his home base for the next 14 years. After an apprenticeship in such B-movies as Blondie Plays Cupid (1940), Ford was promoted to Columbia’s A-list.
Outwardly a most ordinary and unprepossessing personality, Ford possessed that intangible “something” that connected with audiences. The first phase of his stardom was interrupted by World War II service in the Marines (he retained his officer’s commission long after the war, enabling him to make goodwill visits to Korea and Vietnam). Upon his return, Ford had some difficulty jump-starting his career, but, in 1946, he was back on top as Rita Hayworth’s co-star in Gilda. While he insisted that he “never played anyone but [himself] onscreen,” Ford’s range was quite extensive. He was equally effective as a tormented film noir hero (The Big Heat 1953, Human Desire 1954) as he was in light comedy (Teahouse of the August Moon 1956, The Gazebo1959). Nearly half of his films were Westerns, many of which — The Desperadoes (1943), The Fastest Gun Alive (1956), 3:10 to Yuma (1957), Cowboy (1958) — were among the best and most successful examples of that highly specialized genre. He was also quite effective at conveying courage under pressure: While it was clear that his characters in such films as The Blackboard Jungle (1955) and Ransom (1956) were terrified by the circumstances surrounding them, it was also obvious that they weren’t about to let that terror get the better of them.
In 1958, Ford was voted the number one male box-office attraction. Through sagacious career choices, the actor was able to extend his popularity long after the studio system that “created” him had collapsed. In 1971, he joined such film stars as Shirley MacLaine, Anthony Quinn, and Jimmy Stewart in the weekly television grind. While his series Cade’s County ended after a single season, in the long run it was more successful than the vintage-like programs of MacLaine, Quinn, et al., and enjoyed a healthy life in syndication. Ford went on to star in another series, The Family Holvak (1975), and hosted a weekly documentary, When Havoc Struck (1978). He also headlined such miniseries as Once an Eagle (1976) and Evening in Byzantium (1978), and delivered a particularly strong performance as an Irish-American patriarch in the made-for-TV feature The Gift (1979). He continued showing up in choice movie supporting roles into the early ‘90s; one of the best of these was as Clark Kent’s foster father in Superman: The Movie (1978).
Although illness sharply curtailed his performing activities after that, Ford was still seemingly on call during the 1980s and ‘90s whenever a cable TV documentary on Hollywood’s Golden Era required an eyewitness interview subject. In 1970, Ford published an autobiography, Glenn Ford, RFD Beverly Hills. His first wife was actress Eleanor Powell; He was also married to Kathryn Hays and Cynthia Hayward. His last film appearance was a cameo in 1993’s Tombstone; after a series of strokes later that decade, he died in 2006 at the age of 90.
Burt Reynolds needs Director Status (director of 4 films)
he needs a pic:
a qoute from thinkexist.com: “I can sing as well as Fred Astaire can act.”
and a bio from http://www.allmovie.com/artist/burt-reynolds-108069:
Charming, handsome, and easy-going, lead actor and megastar Burt Reynolds entered the world on February 11, 1936. He attended Florida State University on a football scholarship, and became an all-star Southern Conference halfback, but – faced with a knee injury and a debilitating car accident – switched gears from athletics to college drama. In 1955, he dropped out of college and traveled to New York, in search of stage work, but only turned up occasional bit parts on television, and for two years he had to support himself as a dishwasher and bouncer.
In 1957, Reynolds’s ship came in when he appeared in a New York City Center revival of Mister Roberts; shortly thereafter, he signed a television contract. He sustained regular roles in the series Riverboat, Gunsmoke, Hawk, and Dan August. Although he appeared in numerous films in the 1960s, he failed to make a significant impression. In the early ‘70s, his popularity began to increase, in part due to his witty appearances on daytime TV talk shows. His breakthrough film, Deliverance (1972), established him as both a screen icon and formidable actor. That same year, Reynolds became a major sex symbol when he posed as the first nude male centerfold in the April edition of Cosmopolitan. He went on to become the biggest box-office attraction in America for several years – the centerpiece of films such as Hustle (1975), Smokey and the Bandit (1977) (as well as its two sequels), The End (1978), Starting Over (1979), The Best Little Whorehouse in Texas (1982), and The Man Who Loved Women (1983). However, by the mid-’80s, his heyday ended, largely thanks to his propensity for making dumb-dumb bumper-smashing road comedies with guy pals such as Hal Needham (Stroker Ace, The Cannonball Run 2). Reynolds’s later cinematic efforts (such as the dismal Malone (1987)) failed to generate any box office sizzle, aside from a sweet and low-key turn as an aging career criminal in Bill Forsyth’s Breaking In (1989). Taking this as a cue, Reynolds transitioned to the small screen, and starred in the popular sitcom Evening Shade, for which he won an Emmy. He also directed several films, created the hit Win, Lose or Draw game show with friend Bert Convy, and established the Burt Reynolds Dinner Theater in Florida.
In the mid-‘90s, Reynolds ignited a comeback that began with his role as a drunken, right-wing congressman in Andrew Bergman’s Striptease (1996). Although the film itself suffered from critical pans and bombed out at the box office, the actor won raves for his performance, with many critics citing his comic interpretation of the role as one of the film’s key strengths. His luck continued the following year, when Paul Thomas Anderson cast him as porn director Jack Horner in his acclaimed Boogie Nights. Reynolds would go on to earn a Best Supporting Actor Oscar nomination, and between the twin triumphs of Striptease and Nights, critics read the resurgence as the beginning of a second wind in the Deliverance star’s career, ala John Travolta’s turnaround in 1994’s Pulp Fiction.
But all was not completely well chez Burt. A nasty conflict marred his interaction with Paul Thomas Anderson just prior to the release of Boogie Nights. It began with Reynolds’s disastrous private screening of Nights; he purportedly loathed the picture so much that he phoned his agent after the screening and fired him. When the Anderson film hit cinemas and became a success d’estime, Reynolds rewrote his opinion of the film and agreed to follow Anderson on a tour endorsing the effort, but Reynolds understandably grew peeved when Anderson refused to let him speak publicly. Reynolds grew so infuriated, in fact, that he refused to play a role in Anderson’s tertiary cinematic effort, 1999’s Magnolia.
Reynolds also attempted – in 1998 – to launch his own talk program, The Burt Reynolds Show, on a country music cable station; the endeavor involved Burt sitting around a table with his buddies, such as Harry Dean Stanton, and chatting up a storm. Audiences did not take to this, however, and the network almost immediately cancelled the program. Cinematically, Reynolds’s appearances in lackluster productions over the course of the next decade, such as the direct-to-video comedy Cloud Nine (where he plays a buffet connoisseur who organizes a bunch of female strippers into a professional volleyball team) and The Dukes of Hazzard, where Reynolds appears as Boss Hogg, drowned out the perceived “second wind” of the actor’s career. Though Reynolds woould keep things fairly light the following year with a vocal contribution to Duck Dodgers, an appearance on the Freddie Prinze, Jr. sitcom Freddie, and the straight to video Ray Romano/Kevin James comedy Grilled, he returned to both drama and the big screen with a supporting performance in the musical drama Broken Bridges; a low-key tale of a fading country music star that served as a feature debut for real-life country music singer Toby Kieth.
The early 2000s did see Reynolds undertaking one extremely successful (if small-scale) endeavor. He authored and regularly performed a one-man show at his Florida-based theater. Promoted on his website, http://www.burtreynolds.com, as, “The laughs, the loves, the lies, the legends, the lies (not necessarily in that order),” the show involved Reynolds sitting before an audience and weaving tales from his boyhood and show-business past in Garrison Keillor mode. Audiences were mesmerized by this natural born storyteller.
@DEN: re:johnny depp and marlon brando could use director status
But wouldn’t it be better if we credit a person as what he/she primarily does/is known for? What do you think…?
“But wouldn’t it be better if we credit a person as what he/she primarily does/is known for? What do you think…?”
I think a director is a director. Be it one film or 50.
actors sometimes take chances and go thru difficulties to direct a film and they would prob like to be known as directors too.
I don’t think Johnny Depp would agree tho ;)
I do tho Grey because he is directing again right now, doing a documentary on Keith Richards. plus those looks are gonna go away soon (they just have to dammit) and he will prob direct more oft then
James Garner could use a qoute from thinkexist.com:
“Everybody wants blockbusters. I like to see a few pictures now and then that have to do with people and have relationships, and that’s what I want to do films about. I don’t want to see these sci-fi movies, and I don’t want to do one of those. I don’t understand it.”
a bio from http://www.allmovie.com/artist/james-garner-25985/bio
The son of an Oklahoma carpet layer, James Garner did stints in the Army and merchant marines before working as a model. His professional acting career began with a non-speaking part in the Broadway play The Caine Mutiny Court Martial (1954), in which he was also assigned to run lines with stars Lloyd Nolan, Henry Fonda, and John Hodiak. Given that talent roster, and the fact that the director was Charles Laughton, Garner managed to earn his salary and receive a crash course in acting at the same time. After a few television commercials, he was signed as a contract player by Warner Bros. in 1956. He barely had a part in his first film, The Girl He Left Behind (1956), though he was given special attention by director David Butler, who felt Garner had far more potential than the film’s nominal star, Tab Hunter.
Due in part to Butler’s enthusiasm, Garner was cast in the Warner Bros. TV Western Maverick. The scriptwriters latched on to his gift for understated humor, and, before long, the show had as many laughs as shoot-outs. Garner was promoted to starring film roles during his Maverick run, but, by the third season, he chafed at his low salary and insisted on better treatment. The studio refused, so he walked out. Lawsuits and recriminations were exchanged, but the end result was that Garner was a free agent as of 1960. He did quite well as a freelance actor for several years, turning in commendable work in such films as Boys’ Night Out (1962) and The Great Escape (1963), but was soon perceived by filmmakers as something of a less-expensive Rock Hudson, never more so than when he played Hudson-type parts opposite Doris Day in Move Over, Darling and The Thrill of It All! (both 1963).
Garner fared rather better in variations of his Maverick persona in such Westerns as Support Your Local Sheriff (1969) and The Skin Game (1971), but he eventually tired of eating warmed-over stew; besides, being a cowboy star had made him a walking mass of injuries and broken bones. He tried to play a more peaceable Westerner in the TV series Nichols (1971), but when audiences failed to respond, his character was killed off and replaced by his more athletic twin brother (also Garner). The actor finally shed the Maverick cloak with his long-running TV series The Rockford Files (1974-1978), in which he played a John MacDonald-esque private eye who never seemed to meet anyone capable of telling the truth. Rockford resulted in even more injuries for the increasingly battered actor, and soon he was showing up on TV talk shows telling the world about the many physical activities which he could no longer perform. Rockford ended in a spirit of recrimination, when Garner, expecting a percentage of the profits, learned that “creative bookkeeping” had resulted in the series posting none.
To the public, Garner was the rough-hewn but basically affable fellow they’d seen in his fictional roles and as Mariette Hartley’s partner (not husband) in a series of Polaroid commercials. However, his later film and TV-movie roles had a dark edge to them, notably his likable but mercurial pharmacist in Murphy’s Romance (1985), for which he received an Oscar nomination, and his multifaceted co-starring stints with James Woods in the TV movies Promise (1986) and My Name Is Bill W. (1989). In 1994, Garner came full circle in the profitable feature film Maverick (1994), in which the title role was played by Mel Gibson. With the exception of such lower-key efforts as the noir-ish Twilight (1998) and the made-for-TV thriller Dead Silence (1997), Garner’s career in the ’90s found the veteran actor once again tapping into his latent ability to provoke laughs in such efforts as Space Cowboys (2000) while maintaining a successful small-screen career by returning to the role of Jim Rockford in several made-for-TV movies. Providing a voice for the popular animated feature Atlantis: The Lost Empire (2001), as well as appearing in the comedy-drama The Divine Secrets of the Ya-Ya Sisterhood (2002), ensured that, despite his age, Garner would continue to seek out film roles and maintain a place in the public eye.
and a picture
Richard Dreyfuss needs a qoute from brainyqoute.com:
“I don’t know what its like for most actors, but really clearly for myself acting has always been the fulfilment of personal fantasies. It isn’t just art, its about being a person I’ve always wanted to be, or being in a situation, or being a hero”
a bio from http://www.allmovie.com/artist/richard-dreyfuss-88268/bio
Stocky, frequently bespectacled, eventually balding, and prematurely gray, Richard Dreyfuss is an unlikely candidate for a movie star. Even so, he has been one of Hollywood’s most versatile, charismatic, and energetic leading men since the mid-‘70s. Born in Brooklyn, NY, on October 29, 1947, Dreyfuss moved to Los Angeles with his family when he was nine. There he became friends with Rob Reiner and began acting in school productions and at the Beverly Hills Jewish Community Center. He attended San Fernando Valley State College, but was expelled after getting into a heated argument with a professor over Marlon Brando’s performance in Julius Caesar (1953). Not wanting to be drafted for Vietnam, he registered as a conscientious objector and spent two years as a clerk at a Los Angeles hospital instead of enlisting.
During this time, Dreyfuss started getting a few acting jobs on network television series such as Bewitched and Big Valley; he had his first film role in 1967’s The Graduate, speaking the lines “Shall I call the cops? I’ll call the cops” to Dustin Hoffman. He continued playing bit parts in a couple more films, but did not get his first big break until he played Baby Face Nelson in the bloody biopic Dillinger (1973). A memorable leading role as an intelligent, contemplative teen in George Lucas’ American Graffiti (1973) earned Dreyfuss critical acclaim, as did his portrayal of an entrepreneurial Jewish youth in The Apprenticeship of Duddy Kravitz (1974).
In 1975, the actor’s career exploded when he starred as an arrogant shark expert in Steven Spielberg’s Jaws. He worked for Spielberg again two years later, playing an average Midwestern working stiff who learns that we are not alone in the universe in Close Encounters of the Third Kind. Further success followed that same year when Dreyfuss portrayed a failed actor in Neil Simon’s romantic comedy The Goodbye Girl. His performance won him an Oscar, making him, at the age of 29, the youngest performer ever to receive the Best Actor honor. After that, Dreyfuss was in demand and, until 1981, he continued to find steady work in a number of films. However, none of these proved particularly popular, and the actor’s career began to nosedive. Matters were worsened by his reported drug use and Hollywood party antics; in 1982, he was involved in a car accident and arrested for possession of cocaine.
Fortunately, Dreyfuss managed to turn his life around, and after appearing in the rarely seen Buddy System (1984), made a big comeback in Paul Mazursky’s hit comedy Down and Out in Beverly Hills (1986), starring opposite Bette Midler and Nick Nolte. With his reputation restored, Dreyfuss went on to appear in lead and supporting roles in numerous films of varying quality. Highlights included Rosencrantz and Guildenstern Are Dead (1990), Postcards From the Edge (1990), What About Bob? (1991), and Quiz Show (1994). In 1996, Dreyfuss played one of his finest roles as a high school music teacher who sacrifices his dream of becoming a famous composer to help his students in Mr. Holland’s Opus (1996). The role earned Dreyfuss an Oscar nomination. That same year, he won acclaim of a different sort, lending his voice to a sarcastic centipede in Tim Burton’s animated adaptation of Roald Dahl’s James and the Giant Peach. He went on to appear in Sidney Lumet’s Night Falls on Manhattan (1997) and to star in Krippendorf’s Tribe in 1998. The following year, he could be seen as titular Jewish gangster Lansky, a made-for-TV biopic scripted by David Mamet.
In 2001, with his film career struggling a bit, Dreyfuss took his first stab at series television since 1964’s short-lived sitcom Karen. The hour-long CBS drama The Education of Max Bickford starred the actor as a college history professor opposite Marcia Gay Harden and received largely positive reviews from critics. However, despite the accolades, the show failed to garner a substantial audience and was cancelled after one season.
The next few years saw little more from Dreyfuss than voice-work and a pair of forgettable made-for-TV movies. However, in 2004, he received high-marks for his performance in director John Sayles political satire Silver City, which cast the actor as a Karl Rove-esque advisor to a dimwitted politico.
And a picture:
Tobe Hooper could use a picture
a qoute from brainyqoute.com: “No matter where you’re going it’s the wrong place.”
and a bio from http://www.tcm.com/tcmdb/participant.jsp?participantId=88739|0
Though he has worked in the horror and dark fantasy genres for more than two decades, producer-writer-director Tobe Hooper’s significant contributions can all be traced to just two films: “The Texas Chainsaw Massacre” (1974) and “Poltergeist” (1982). Though produced under very different circumstances — the former was an ultra-low-budget exploitation potboiler while the latter was a major studio spectacular — both films were major commercial successes that reflected the zeitgeist of their day. Surprisingly, neither had quite the salutary effect on Hooper’s career as one might have expected. The filmmaker’s current viability, such as it is, has resulted from a canny shift to creating, producing and directing genre projects for the small screen. A popular artist who once helped set trends in entertainment evolved over time into a smooth craftsman striving to ride the wave of his genre’s acceptance into the mainstream.
The Austin, Texas native was first bitten by the film bug at age nine upon discovering his father’s 8mm camera. By the time he entered his teens, Hooper had completed “The Abyss” (1959), his first short with sound. A number of shorts followed. Hooper’s hobby became a job as he broke into professional filmmaking helming commercials and industrial films. In 1968, he gained further exposure directing a PBS documentary on the folk trio “Peter, Paul and Mary.” The legacy of coming of age in the 1960s was also conveyed by Hooper’s feature bow as producer, director and screenwriter, “Eggshells” (subtitled “An American Freak Odyssey”). This artsy take on the decline of the Peace Movement garnered a prize at the Atlanta Film Festival but failed to snare a distributor. Hooper turned up before the camera as a supporting player in “The Windsplitter” (1971), another period piece in the “Easy Rider” vein. His breakthrough came with a project whose title belied any interest in peace and love — “The Texas Chainsaw Massacre.”
One of the key works in ’70s horror cinema, this film was a grueling exercise in nightmarish terror. A group of hapless and notably unpleasant teens run astray of a degenerate family of unemployed slaughterhouse workers with a taste for tourists. Despite its notoriously evocative title, “The Texas Chainsaw Massacre” served its thrills with very little blood but lots of cinematic panache. Even those who dismissed it as sadistic exploitation had to concede its craft. The washed out colors contributed to its raw documentary feel while the overactive camera became an active participant in the mayhem. Generally noted for its emotional intensity and unsettling nihilism, this grisly work of art has garnered praise from Marxist-oriented critics for its jet black satire of class and familial relations. Produced on location in Texas for an exceedingly modest $155,000, the film reportedly grossed as much as $50 million. Due to the vagaries of distribution practices, Hooper received only a fraction of his contractual share of the profits. Nonetheless, he had made a name for himself.
Hooper next entered a period of creative frustration. He completed "Eaten Alive (aka “Death Trap/Legend of the Bayou/Horror Hotel/Starlight Slaughter)” but the producers changed the shape of his conception by recutting the film. Poorly promoted and distributed, the finished film featured stalwart character player Neville Brand as a crazed swamp dweller with a hook hand who feeds tourists to his alligator. Brit culture mag TIME OUT wrote “At its best, the film’s lurid tone matches the evocative gloom of the EC horror comics of the 50s, in particular the amazing swamp stories drawn by ‘Ghastly’ Graham Ingels. Otherwise, it’s trite and unconvincing.” Hooper was subsequently fired from his next two feature assignments “The Dark” (1979) and “Venom” (1981). In between these twin disappointments, he enjoyed his most trouble-free Hollywood project: a two-part, four-hour TV miniseries based on Stephen King’s modern day vampire tale “Salem’s Lot” (CBS, 1979). Many fans of the horror novelist still number this among the best King adaptations. The miniseries was re-edited and released theatrically in Europe.
“The Funhouse” (1981), Hooper’s stylish concession to the “slasher” movie craze which he helped initiate, also fell victim to studio interference. His fortunes seemed to change when hired by Steven Spielberg to helm a big-budget horror feature “Poltergeist.” Set in a Spielbergian suburb, the film told the story of a yuppie family that manages to fight off the forces of darkness in a crowd-pleasing FX-laden spectacle typical of the top-grossing genre product of the early ‘80s. While “Poltergeist” brought the ghost story into the modern blockbuster era, it was unfortunately perceived and promoted as a Spielberg picture. Hooper came off seeming like less than a hired hand as reports of Spielberg’s daily and active presence on the set emerged from Hollywood. The success of the film should have catapulted its ostensible director onto the A-list but it did not. Dissatisfied by the scripts he was getting, Hooper opted to helm a music video for Brit rocker Billy Idol (“Dancing With Myself”).
Hooper entered into an ill-fated three picture deal with Cannon Pictures in 1984 which resulted in a series of flops. The first, the lavishly produced “Lifeforce” (1985), was a tongue-in-cheek evocation of Great Britain’s Hammer horror series and the apocalyptic “Quatermass” films. Next up was a well-appointed remake of the 1953 sci-fi classic “Invaders From Mars” (1986). Reviewers deemed it pleasant if pointless and audiences steered clear. Hoping that lightning would strike twice, Hooper shepherded “The Texas Chainsaw Massacre Part 2” (1986) to the screen with disappointing results. Opting for easy gore and outright slapstick, the ill-conceived sequel did not help restore his flagging reputation. Hooper’s next outing, “Spontaneous Combustion” (1989) barely made it into the multiplexes before finding its true home on a video store shelf. The Israeli-lensed “Tobe Hooper’s Night Terrors” (completed in 1992), an erotic horror flick, failed to receive an American release before arriving in the UK as a 1994 video. Returning to Stephen King country for “The Mangler” (1995), Hooper suffered both critical and commercial neglect.
Fortunately TV had come to welcome dark fantasy in the wake of the success of “The X-Files.” Hooper had helmed several telefilms, episodes and specials before signing an exclusive multi-year development deal with Walt Disney TV for his production company Amberson films. He helmed the pilot and another episode of the surreal and cultish UPN suspenser “Nowhere Man” and the pilot for NBC’s period UFO drama “Dark Skies.” Several other TV projects were in the pipeline as 1996 drew to a close. Hooper was no longer in the front ranks of his field but he remained a trooper.
~ Profile info for Alexander Payne
~ Profile Picture
“I thank you for this award, though I think there may be a problem with a world in which making small, human and humorous films is ‘an achievement.’ It should be the norm”.
Constantine Alexander Payne (born February 10, 1961) is an American film director and screenwriter. His films are noted for their dark humour and satirical depictions of contemporary American society.
Payne, a Greek American (his grandfather’s family name was Anglicized from Papadopoulos), was born in Omaha, Nebraska to parents who were restaurant owners. He was the youngest of three sons and grew up in the same neighborhood as billionaire Warren Buffett. Payne attended Creighton Preparatory School high school and later Stanford University, where he double majored in Spanish and History. As a part of his Spanish degree, he studied at the University of Salamanca (Spain). Payne got his MFA in 1990 from the UCLA Film School.
Payne worked in various capacities on films and television before he wrote and directed his first full-length film Citizen Ruth in 1995. His film Election, starring Matthew Broderick and Reese Witherspoon, which takes aim at politics and education in America, attracted attention when New Yorker film critic David Denby named it the best film of 1999. Payne was nominated for an Academy Award for Writing Adapted Screenplay for Election. In 2000 he did an uncredited polish-up of the screenplay for the comedy hit Meet The Parents. In 2001 Payne wrote a draft of Jurassic Park III. In 2003 he received a Golden Globe for his screenplay for About Schmidt, which also won the Writers Guild of America Award for Best Adapted Screenplay. To the surprise of many who kept track of Hollywood news, Payne and his writing partner Jim Taylor were not nominated for an Oscar for the About Schmidt screenplay. He won both the Academy Award and Golden Globe in 2005 for Best Screenplay for Sideways while the film also won the Golden Globe for Best Picture – Musical or Comedy. In total, Sideways received five Academy Award Nominations. Payne served as an executive producer on the films King of California and The Savages. He also teamed up once again with writing partner Jim Taylor to write a draft of the screenplay for the film I Now Pronounce You Chuck and Larry, a comedy directed by Dennis Dugan starring Adam Sandler and Kevin James. Payne disliked the final product, stating that Adam Sandler rewrote so much of the story that almost all of what Payne and Taylor wrote was gone. In 2010 he directs The Descendants, a film adaptation based on the novel by Kaui Hart Hemmings.
He has scenes of historical landmarks and museums in his films, and tends to use actual people for minor roles (real cops play cops, real teachers play teachers, etc.). He frequently incorporates telephone monologues as a dramatic device. He also tends to cast actor Phil Reeves in his films. He is on the short list of directors who have final cut rights for their films. In 2005, he became a member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Directors Branch). His writing partner is Jim Taylor.
( wiki )
Film listed Twice:
The Man with the Movie CameraMan with a Movie Camera
~ Profile info for James L. Brooks
‘’The picture’s about the things we do to make ourselves safe in our prisons. I feel that if we’re not striving for a state, a life that’s better, we’re nuts. I was nuts. I’ve had a change of heart. It’s a new take on life for me, and God knows I needed one. I guess it says, sanity is optimism.’’ (on the set of “As Good As It Gets”)
One of the few producer/director/writers to handle both movie and TV assignments with equal aplomb, James L. Brooks was born May 9, 1940, in Brooklyn and spent his college years in New York City. Brooks spent much of his childhood “surviving” and reading numerous comedic and scripted works, as well as writing; he sent comedic short stories out to publishers and occasionally got positive responses although none were published, and he did not believe he could make a career as a writer. Brooks attended Weehawken High School but was not a high achiever. He was on his high school newspaper team and frequently secured interviews with celebrities including Louis Armstrong. He lists some of his influences as Sid Caesar, Jack Benny, Lenny Bruce, Mike Nichols and Elaine May, as well as writers Paddy Chayefsky and F. Scott Fitzgerald. Following an apprenticeship with CBS news, Brooks went to work for documentary producer David L. Wolper. In 1969, Brooks broke into the non-documentary end of the business with his TV series drama Room 222, which, though dated and obvious when viewed today, was an important stepping stone in improving the racial balance on prime time television. Room 222 was a “serious” effort; thus, Hollywood insiders were surprised when Brooks formed a partnership with writer Allan Burns, formerly of such raucous projects as The Bullwinkle Show and My Mother the Car, to develop sitcoms.
Brooks and Burns knew what sort of programs they wanted to do, but they were forced to fight tooth and nail with the CBS higher-ups to get what they wanted on the air. Nobody, they were told, wanted to see a show about a single woman working at a television station. Further, nobody wanted to see anyone on TV who was Jewish, had a mustache, or came from New York City. All these “unwanted” elements would be present in the Brooks/Burns project The Mary Tyler Moore Show; the show that nobody wanted ran from 1970 through 1977, earning its production team a multitude of awards. Brooks would later be on the ground floor of such TV hits as Cheers and Taxi, which more than compensated for such relative failures as The Associates.
Moving into films as a producer/scripter (Starting Over, 1979) and even an occasional actor (Albert Brooks’s Modern Romance, 1981), Brooks would end up director/producer/writer of Terms of Endearment, the Academy Award winner of 1983. He went on to direct Broadcast News (1987), a truer but no less hilarious and poignant glance at the cutthroat network news business than Mary Tyler Moore Show had been. He also found great success as a producer on such films as Big (1988), …Say Anything (1989), and Jerry Maguire (1996). During the ‘90s, Brooks has had equal parts success and failure. Among the winning projects was The Simpsons, the first successful prime time cartoon series since The Flintstones. Brooks’ less spectacular efforts have included I’ll Do Anything (1994); conceived and filmed as a return to the Big-Budget Musical genre, it tested so poorly that it was released with all the songs cut out. In 1997, however, Brooks had a major success with the Jack Nicholson/Helen Hunt vehicle As Good As It Gets, a caustic comedy with a heart of gold that provided both Hunt and Nicholson best acting kudos from the Oscars and Golden Globe ceremonies. The film won a Golden Globe for Best Picture and was nominated for several more. It also received several more Oscar nominations, including one for Best Screenplay.
( allmovie guide )
~ Profile Info for Jafar Panahi
“In a world where films are made with millions of dollars, we made a film about a little girl who wants to buy a fish for less than a dollar (in The White Balloon) – this is what we’re trying to show – humanitarian events interpreted in a poetic and artistic way. I was very conscious of not trying to play with people’s emotions; we were not trying to create tear jerking scenes, but a combination of the intellectual and emotional aspects.”
Jafar Panahi (Persian: جعفر پناهی , born July 11, 1960 in Mianeh, Iran) is an Iranian filmmaker and is one of the most influential filmmakers in the Iranian New Wave movement. He has gained recognition from film theorists and critics worldwide and received numerous awards including the Golden Lion at the Venice Film Festival and the Silver Bear at the Berlin Film Festival.
Jafar Panahi was ten years old when he wrote his first book, which subsequently won the first prize in a literary competition. At the same age, he became familiar with film making. He shot films on 8mm film, acting in one and assisting in the making of another. Later, he took up photography. During his military service, Panahi served in the Iran–Iraq War (1980-90) and made a documentary about the war during this period.
After studying film directing at the College of Cinema and Television in Tehran, Panahi made several films for Iranian television and was the assistant director of Abbas Kiarostami’s film Through the Olive Trees (1994). Since that time, he has directed several films and won numerous awards in international film festivals.
Panahi’s first feature film came in 1995, entitled White Balloon. This film won a Camera d’Or at the Cannes Film Festival. His second feature film, The Mirror, received the Golden Leopard Award at the Locarno Film Festival.
His most notable offering to date has been The Circle (2000), which criticized the treatment of women under Iran’s Islamist regime. Jafar Panahi won the Golden Lion, the top prize at the Venice Film Festival for The Circle, which was named FIPRESCI Film of the Year at the San Sebastián International Film Festival, and appeared on Top 10 lists of critics worldwide.. Panahi also directed Crimson Gold in 2003, which brought him the Un Certain Regard Jury Award at the Cannes Film Festival. During that time Panahi was detained in the JFK airport, New York, while taking a connection from Hong Kong to Montevideo, after refusing to be photographed and fingerprinted by the immigration police. After being chained and waiting for several hours, he was finally sent back to Hong Kong.
Panahi’s Offside (the story of girls who disguise themselves as boys to be able to watch a football match) was selected for competition in the 2006 Berlin Film Festival, where he was awarded with the Silver Bear (Jury Grand Prix).
On 30 July 2009, Mojtaba Saminejad, an Iranian blogger and human rights activist writing from inside Iran, reported that Panahi was arrested at the cemetery in Tehran where mourners had gathered near the grave of Neda Agha-Soltan. He was later released, but his passport was revoked and he was banned from leaving the country. In February 2010 his request to travel to the 60th Berlin Film Festival to participate in the panel discussion on “Iranian Cinema: Present and Future. Expectations inside and outside of Iran” was denied.
On 1 March 2010, Panahi was arrested again. He was taken from his home along with his wife Tahereh Saidi, daughter Solmaz Panahi and 15 of his friends by plainclothes officers and taken to the Evin Prison. Most were released 48 hours later, Mohammad Rasoulof and Mehdi Pourmoussa on 17 March 2010, but Panahi remains in ward 209 inside Evin Prison. Panahi’s arrest was confirmed by the government, but charges were not specified. Filmmakers Ken Loach, Abbas Kiarostami, Kiomars Pourahmad, Bahram Bayzai, Asghar Farhadi, Nasser Taghvai, Kamran Shirdel and Tahmineh Milani, actor Mehdi Hashemi, actresses Fatemeh Motamed-Aria and Golshifteh Farahani, Federation of European Film Directors, European Film Academy, Asia Pacific Screen Awards, Network for the Promotion of Asian Cinema, Berlin Film Festival, Karlovy Vary International Film Festival, International Film Festival Rotterdam, Febiofest and Toronto Film Critics Association have called for his release. France’s Ministry of Foreign Affairs and minister of culture and communications Frédéric Mitterrand, German foreign minister Guido Westerwelle, Canadian government and Human Rights Watch have condemned the arrest. On 8 March 2010, a group of well-known Iranian producers, directors and actors visited Panahi’s family to show their support and call for his immediate release. After more than a week in captivity, Panahi was finally allowed to call his family. On 18 March 2010 he has been allowed to have visitors, including his family and lawyer.
Panahi’s style is often described as an Iranian form of neorealism. Jake Wilson describes his films as connected by a “tension between documentary immediacy and a set of strictly defined formal parameters” in addition to “overtly expressed anger at the restrictions that Iranian society imposes”. His film Offside is so ensconced in the reality that it was actually filmed in part during the event it dramatizes – the Iran-Bahrain qualifying match for the 2006 World Cup.
Where Panahi differs from his fellow realist filmmaker Abbas Kiarostami, is in the explicitness of his social critique. Stephen Teo writes that:
“Panahi’s films redefine the humanitarian themes of contemporary Iranian cinema, firstly, by treating the problems of women in modern Iran, and secondly, by depicting human characters as “non-specific persons” – more like figures who nevertheless remain full-blooded characters, holding on to the viewer’s attention and gripping the senses. Like the best Iranian directors who have won acclaim on the world stage, Panahi evokes humanitarianism in an unsentimental, realistic fashion, without necessarily overriding political and social messages. In essence, this has come to define the particular aesthetic of Iranian cinema. So powerful is this sensibility that we seem to have no other mode of looking at Iranian cinema other than to equate it with a universal concept of humanitarianism."
Cast Member Listed Twice:
Lon Chaney Jr.Lon Chaney, Jr.
Brad Dourif should be added to the cast lists of the following:One Flew Over the Cuckoo’s NestHeaven’s GateThe Lord of the Rings: The Two TowersThe Lord of the Rings: The Return of the KingThe Bad Lieutenant: Port of Call New OrleansHalloween 2
And for his biography:
“We all have an edge. We all are floating our psyche on top with a great ocean underneath.”
This thin-approaching-gaunt actor with a receding hairline rose to prominence as the stuttering, frail Billy Bibbit in Milos Forman’s “One Flew Over the Cuckoo’s Nest” (1975), and has gone on to play a variety of both tormented characters and spine-chilling evil ones. Brad Dourif arrived in NYC after dropping out of college at age 19 and joined the Circle Repertory Company where he won his first notice as Stephen in the original company of “When You Comin’ Back Red Ryder?” in 1972. Although he had appeared in a bit part in “W.W. and the Dixie Dancekings” (1974), Dourif had his first role of consequence with “Cuckoo’s Nest,” for which he was nominated for an Academy Award as Best Supporting Actor. By the end of the 1970s, after turning down roles in “The Deer Hunter” (1978) and “Hair” (1979), he had settled into playing characters that were edgy and often mentally unbalanced like the chauffeur Tommy Ludlow in “The Eyes of Laura Mars” (1978) and the deranged preacher Hazel Motes in “Wise Blood” (1979).
Dourif began the 80s with a supporting role in Michael Cimino’s notorious “Heaven’s Gate” (1980), but had better luck reteaming with Milos Forman as the Evelyn Nesbitt-obsessed character (simply known as Younger Brother) in “Ragtime” (1981). The actor played featured roles in two David Lynch films, the overblown “Dune” (1984) and the highly praised “Blue Velvet” (1985). Under Tom Holland direction , Dourif played a nasty drug dealer in “Fatal Beauty” (1987) and developed a cult following as psycho Charles Lee Ray, whose spirit possesses a doll named Chucky, in Holland’s “Child’s Play” (1988). For the inevitable sequels (“Child’s Play 2” 1990, “Child’s Play 3” 1991 and “Bride of Chucky” 1998), Dourif provided the chilling voice of the demonic. The performer also offered a chilling turn as the villainously abusive Detective Pell in “Mississippi Burning” (1988) and was shown to good effect as a mental patient in “William Peter Blatty’s The Exorcist III” (1990).
For much of the 90s, Dourif was trapped playing his patented oddballs and psychos in genre fare (e.g., “Critters 4” 1992), parts he has readily admitted he accepted to pay the bills. On occasion, there would be an interesting role, like the TV executive seduced by visual reality in “Wild Palms” (ABC, 1993), his memorable guest spot as a death row inmate claiming psychic powers in a 1994 episode of Fox’s “The X-Files”, and the 1996 recurring role of the crew member aiding in saving the titular spaceship from aliens in “Star Trek: Voyager” (UPN).
Dourif kicked off the new millennium playing a regular role as a local townsman in the PAX-TV prequel “Ponderosa” (2001). But perhaps his biggest chance came when he accepted the part of the spy Grima Wormtongue in Peter Jackson’s anticipated tripartite adaptation of J.R.R. Tolkein’s “The Lord of the Rings” (filmed 1999-2000) which opened over three years: “The Fellowship of the Ring” (2001), “The Two Towers” (2002) and “The Return of the King” (2003). Dourif first appeared in the second instalment, bringing characteristic oddball menace to his role. He was next nominated for an Emmy as best supporting actor in a TV drama for his impressive turn as Doc Cochran in HBO’s hard-as-nails Western series “Deadwood” (2004- ).
~ Profile Info for Albert Lamorisse
French filmmaker, screenwriter and producer, Albert Lamorisse was born January 13, 1922 in Paris, France. He is best remembered for making the exquisite short The Red Balloon(1956), starring his son Pascal. It is a whimsical fantasy in which a French boy is befriended by a magical red balloon. The short earned him both a grand prize at Cannes and an American Oscar. Lamorisse started out as a photographer and began making short films in the late 1940s. The poetic simplicity of his short- and medium-length films gained him an international reputation. His 1952 short, White Mane, an account of how a young boy gentles an untameable wild white stallion, also took top prizes at Cannes and the American Oscars. He unsuccessfully tried his hand at feature-length films in the early ‘60s and then returned to making short documentaries. Tragically, while making The Lover’s Wind (1970) in Tehran, Lamorisse was killed in a helicopter crash. Using his production notes, the film was edited and released in 1978 and earned him a posthumous Oscar for “Best Feature Documentary.”
are the same actor.
either of those spellings are correct,
though Joe seems more common.
Running time of Andrei Rublev could be amended to the Criterion DVD length.
~ Profile Info for Xie Jin
“The artistic merit of Chinese cinema from the 30s and 40s is obvious. But I think we have had more than just two good decades. Our country made a number of very good movies to commemorate the 10th anniversary of the Liberation. [To cite a few, THE LIN FAMILY SHOP (Shui Hua), THE SONG OF YOUTH (Cui Wei) and THE RED DETACHMENT OF WOMEN (Xie Jin).] Had we developed from there, instead of being disrupted for the past twenty years, we could have come to a point of tremendous distinction. As it is, we have to pick up from where we were. Hopefully we are heading for a new era.”
Xie Jin (simplified Chinese: 谢晋; traditional Chinese: 謝晉; pinyin: Xiè Jìn; November 21, 1923 – October 18, 2008) was an important Chinese film director. He came to prominence in 1957 directing the film Woman Basketball Player No. 5. Most recently he was known for the direction of The Opium War.
Xie is an extremely popular director amongst the older generations of Chinese, with six of his films being voted Best Picture in the Hundred Flowers Awards.
Xie was born in Shangyu, Zhejiang Province, and spent his childhood in his hometown and attended primary school for one year there. In 1930s, he moved to Shanghai with his parents and continued his education. In 1938, he followed his father to Hong Kong and studied there for one year. When returning to Shanghai in 1939, Xie enrolled in Daxia Affiliated High School and Jishan High School. In leisure time, Xie took courses at Huaguang Drama School and Jinxing Film Training School. His teachers included Huang Zuolin and Wu Renzhi. Meanwhile, he participated students drama activities led by Yu Ling, and acted as Yue Yun in multi-stage play Yue Yun.
In 1941, Xie enrolled in the play department of Jiang’an National Drama School in Sichuan, and was educated by Cao Yu, Hong Shen, Jiao Juyin, Ma Yanxiang, Chen Liting, among other notable figures. In 1943, he voluntarily ceased his study and started working in China Youth Play Agency in Chongqing, and became stage manager, scenario writer and actor. In 1946, Xie reassumed his study at National Drama School in Nanjing, majoring in directing. In 1948, he entered Datong Film Corporation and became assistant director, and associate director.
After establishment of PRC, Xie enrolled in the research institute of politics of North China Revolutionary University. Later, he became an associate director and a director in Changjiang Film Studio and Shanghai Film Studio.
Xie directed more than 20 films in his career. His debut work, Woman Basketball Player No. 5, was the first colored sports film in PRC, which won the silver prize in 6th International Youth Film Festival in 1957, and the Silver Hat Prize in Mexico International Film Week in 1958.
The Red Detachment of Women won the Best Picture and Best Directing of the 1st Hundred Flowers Awards, and it also won the Wanlong Prize of 3rd Asia-Africa Film Festival in 1964.
Two Stage Sisters won the Sutherland Trophy of British Film Institute Awards in 24th London Film Festival. It also won prizes in Portugal and Manila international film festivals. However, it was attacked in his home country because it “advocated the reconciliation of social classes.” Xie recalled in the 2002 interview that his parents committed suicide amid the political pressure — his mother jumping off a building and his father overdosing on sleeping pills — and he had to collect their bodies himself.
Jia Zhangke remarked it was still risky for Xie to make films about this traumatic period in the 1980s, which he did, when China had started to open up and implement economic reforms.
On 23 August 2008, Xie Jin’s son died of cancer. Two months later, on the morning of 18 October 2008, Xie Jin’s body was discovered in his hotel room in Shangyu. Hundreds of celebrities and thousands of other people attended his funeral. After he died, Song Zude, known as the King of Media Hype in mainland China, made a series of derogatory statements about Xie Jin. Millions of people stood against Song Zude and in respect of the late Xie Jin.