Quote:
“In Bergman’s world I represented a sort of intellectual, skeptical, ironic person, rather cold and frustrated. When I went abroad and made films in Italy and other places, I was used in different ways. I was rather often cast as crazy people, maniacs. It was very good for me and it was fun because it is nice to play crazy people if you are not in reality. And I think perhaps that changed how Ingmar saw me. Suddenly I was on the more magical side of his world, playing the people with fantasies, variety, the artists.” – Erland Josephson (1988)
Biography:
Erland Josephson, the distinguished Swedish actor best known for his appearance in Ingmar Bergman’s films, was born in Stockholm, Sweden on June 15, 1923. Josephson’s relationship with Bergman, a long-time friend, began in the late 1930s when they first worked together in the theater.
Although he was in several motion pictures in the late 1940s and early ‘50s, including a bit part in Bergman’s “The Man With an Umbrella” (1946), Josephson confined himself to the stage during the first part of his career. After appearing in Bergman’s “The Magician” (1958) in support of Max von Sydow, Josephson did not make another movie until the late ‘60s, when he was cast in Bergman’s “Hour of the Wolf” (1968). He collaborated on two screenplays with Bergman (using the joint pseudonym of Buntel Eriksson), Alf Kjellin’s “The Pleasure Garden” (1961) and Bergman’s own “Now About These Women” (1964).
In 1966, Josepheson succeeded Bergman as creative director of the Royal Dramatic Theatre in Stockholm, a post he held until 1975. He also succeeded Max Von Sydow as Bergman’s favorite male lead in the 1970s, which brought him global fame. After co-starring with Von Sydow and Liv Ullmann in “The Passion of Anna” (1969), he had major roles in “The Touch” (1971), “Cries and Whispers” (1972), “Scenes From a Marriage” (a television mini-series edited into a film in 1973), and “Face to Face” (1976).
François Truffaut, in his guise as a film critic, wrote in 1958: “Bergman’s preeminent strength is the direction he gives his actors. He entrusts the principal roles in his films to the five or six actors he loves best, never type-casting them. They are completely different from one film to the next, often playing diametrically opposite roles.” In Bergman’s films of the 1970s, Erland Josephson engendered the neurotic, post-war 20th century man: aloof, introspective, and self-centered.
Josephson also appeared in Bergman’s “Autumn Sonata” (1978), “Fanny and Alexander” (1982) and “After the Rehearsal” (1984). After starring in “Trolösa” (2000), a film directed by frequent co-star Liv Ullmann and scripted by Bergman, it was time for him to be reunited with Ullmann as an actress under the hand of the maestro himself with “Saraband” (2003).
Josephson did not appear in a non-Swedish film until 1977, when he starred as Friedrich Nietzsche in Italian director Liliana Cavani’s “Beyond Good and Evil.” He continued to work in international cinema in the 1980s and ‘90s, appearing in Franco Brusati’s "To Forget Venice (1980), Dusan Makavejev’s “Montenegro” (1981), Philip Kaufman’s “The Unbearable Lightness of Being” (1988), István Szabó’s “Hanussen” (1988), and Peter Greenaway’s “Prospero’s Books” (1991). His most memorable non-Bergman roles were in the films of Andrei Tarkovsky, “Nostalghia” (1983) and “The Sacrifice” (1986).
Behind the camera, Josephson co-directed “One and One”, a 1978 full-length film, with fellow Bergman collaborators Ingrid Thulin and Sven Nykvist, and directed the full-length “Marmalade Revolution” (1980). Erland Josephson also is an accomplished writer: He has written screenplays for Swedish films, as well as dramas, novels, and poetry. —IMDb
“When I write a script, I have the entire film in my head, so when we start shooting, I just do it. Im more interested in the editing process, so I tend to shoot in a hurry. Maybe you don`t always have enough footage, but how you play around with it, is what is interesting.” Takeshi Kitano
Biography:
Chishu Ryu was Ozu’s lifelong friend and the most regular member of the stock company of actors he drew together. He is in Ozu’s earliest surviving film (his eighth) Wakaki hi (1929), played his first major role in Daigaku yoitoko (1936), and is in all the last 17 (and the star of many) of the director’s films. Just how consistent his contributions were in between is somewhat difficult to determine, as many of the films are lost or inaccessible. In the later works, Ryu’s appearances take on the character of a directorial trademark: if there is no star role for him, he turns up in a brief cameo, perhaps with no more than a line or two of dialogue. (Ryu’s consistent dependability was perhaps his defining quality as a professional: he was reportedly also on hand for all 45 of director Yoji Yamada’s inexplicably popular Tora-san films.)
In many of the later films the director/actor relationship becomes clearly symbiotic, in an extremely complex and fruitful way. There is no question of Ryu “playing” Ozu or being a mouthpiece for the director’s statements, yet one repeatedly senses a special sympathy between the director and the Ryu character, a sympathy which never precludes the possibility of critical distance. In Banshun and Tokyo monogatari , for example, we are made firmly aware of the character’s limitations: the film’s vision is far wider than his vision, which it contains and transcends. The limitations (and this is consistent with other late Ozu works, not necessarily starring Ryu, for example Equinox Flower ) are defined in relation to the female characters (especially those played by Setsuko Hara): Ozu’s subtle feminism has never been as acknowledged as Mizoguchi’s or Naruse’s, and Ryu’s most frequent role in Ozu’s universe as a gentle yet somewhat obtuse patriarch deserves reviewing in this light.
In his final film appearances, Ryu is an explicitly revered icon, for both his aging contemporaries (such as Kurosawa) and younger acolytes, such as Wim Wenders, whose pilgrimage to meet Ryu in Tokyo-Ga is a moving tribute to both Ozu and his favorite actor. —Film Reference
Biography:
Susumu Terajima (寺島 進 Terajima Susumu, born 12 November 1963) is a Japanese actor who has appeared in over 100 films, 15 television commercials, three PVs, and numerous television dramas in a career spanning over 20 years. He rarely is the star of the films he is in but he is widely respected for taking every job seriously and diving into his work, regardless of how minor his role might be. Terajima is best known for his portrayal of yakuza figures, most notably in the films of colleague and close friend Kitano. He often works along with Takeshi and Ren Osugi as well.
Terajima was born in Tokyo, Japan, where he still resides. He made his acting debut in 1986’s A-Homance, and has been steadily furthering his career ever since. He is part of Office Kitano, the production company of actor/director/comedian Takeshi Kitano. —Wikipedia
In Sonatine the name Susumu Terjima must be corrected to Susumu Terajima
Biography:
In 1949, Pinal started her career in film at the age of 18 in the movies La Bamba (with Carmen Montejo) and El pecado de Laura (with Meche Barba and Rafael Banquells). She gains popularity as “young lady” of the Golden age of Mexican cinema in the 1950s. She starred in some success movies like El rey del barrio with “Tin Tan” (1950), El portero, with “Cantinflas” (1951), Mis Tres Viudas Alegres (1953), with Amalia Aguilar and Un rincón cerca del cielo (1953), with Pedro Infante, winning her first Silver Ariel award. She earned two more Ariels for Locura Pasional (in 1955) and Enemiga (in 1956). She gaining recognition with some movies of the Argentinean director Tulio Demicheli, as Un extraño en la escalera (1954) or Desnudate Lucrecia (1959). After marrying Gustavo Alatriste, a businessman who invited Spanish-born film director Luis Buñuel to direct Viridiana, a controversial film depicting a nun (played by Pinal) and her affair with the character played by Spanish actor Francisco Rabal. This film is still considered the best of the cinema of Spain and won the Palme d’Or at the Cannes Film Festival. The Alatriste-Pinal-Buñuel team made two more successful films, El ángel exterminador (1962) and Simón del desierto (1965).
After the Buñuel-Pinal collaboration, Silvia starred numerous movies during the 1960s and 1970s, like Los Cuervos están de luto (1965), La soldadera (1966), La Bataille de San Sebastian (1968, in France), María Isabel (1968), El Cuerpazo del Delíto (1970, with Mauricio Garcés), Divínas Palabras (1978), Pubis Angelical (1982, in Argentina), and Modelo Antiguo (1992). —Wikipedia.
Michelangelo Antonioni
Ingmar Bergman
Luis Buñuel
Carl Theodor Dreyer
Federico Fellini
Akira Kurosawa
Louis Malle
Kenji Mizoguchi
Roberto Rossellini
Andrei Tarkovsky
The Auteurs Film & Cast Member Database almost 2 years ago
Image for Erland Josephson
Quote:
“In Bergman’s world I represented a sort of intellectual, skeptical, ironic person, rather cold and frustrated. When I went abroad and made films in Italy and other places, I was used in different ways. I was rather often cast as crazy people, maniacs. It was very good for me and it was fun because it is nice to play crazy people if you are not in reality. And I think perhaps that changed how Ingmar saw me. Suddenly I was on the more magical side of his world, playing the people with fantasies, variety, the artists.” – Erland Josephson (1988)
Biography:
Erland Josephson, the distinguished Swedish actor best known for his appearance in Ingmar Bergman’s films, was born in Stockholm, Sweden on June 15, 1923. Josephson’s relationship with Bergman, a long-time friend, began in the late 1930s when they first worked together in the theater.
Although he was in several motion pictures in the late 1940s and early ‘50s, including a bit part in Bergman’s “The Man With an Umbrella” (1946), Josephson confined himself to the stage during the first part of his career. After appearing in Bergman’s “The Magician” (1958) in support of Max von Sydow, Josephson did not make another movie until the late ‘60s, when he was cast in Bergman’s “Hour of the Wolf” (1968). He collaborated on two screenplays with Bergman (using the joint pseudonym of Buntel Eriksson), Alf Kjellin’s “The Pleasure Garden” (1961) and Bergman’s own “Now About These Women” (1964).
In 1966, Josepheson succeeded Bergman as creative director of the Royal Dramatic Theatre in Stockholm, a post he held until 1975. He also succeeded Max Von Sydow as Bergman’s favorite male lead in the 1970s, which brought him global fame. After co-starring with Von Sydow and Liv Ullmann in “The Passion of Anna” (1969), he had major roles in “The Touch” (1971), “Cries and Whispers” (1972), “Scenes From a Marriage” (a television mini-series edited into a film in 1973), and “Face to Face” (1976).
François Truffaut, in his guise as a film critic, wrote in 1958: “Bergman’s preeminent strength is the direction he gives his actors. He entrusts the principal roles in his films to the five or six actors he loves best, never type-casting them. They are completely different from one film to the next, often playing diametrically opposite roles.” In Bergman’s films of the 1970s, Erland Josephson engendered the neurotic, post-war 20th century man: aloof, introspective, and self-centered.
Josephson also appeared in Bergman’s “Autumn Sonata” (1978), “Fanny and Alexander” (1982) and “After the Rehearsal” (1984). After starring in “Trolösa” (2000), a film directed by frequent co-star Liv Ullmann and scripted by Bergman, it was time for him to be reunited with Ullmann as an actress under the hand of the maestro himself with “Saraband” (2003).
Josephson did not appear in a non-Swedish film until 1977, when he starred as Friedrich Nietzsche in Italian director Liliana Cavani’s “Beyond Good and Evil.” He continued to work in international cinema in the 1980s and ‘90s, appearing in Franco Brusati’s "To Forget Venice (1980), Dusan Makavejev’s “Montenegro” (1981), Philip Kaufman’s “The Unbearable Lightness of Being” (1988), István Szabó’s “Hanussen” (1988), and Peter Greenaway’s “Prospero’s Books” (1991). His most memorable non-Bergman roles were in the films of Andrei Tarkovsky, “Nostalghia” (1983) and “The Sacrifice” (1986).
Behind the camera, Josephson co-directed “One and One”, a 1978 full-length film, with fellow Bergman collaborators Ingrid Thulin and Sven Nykvist, and directed the full-length “Marmalade Revolution” (1980). Erland Josephson also is an accomplished writer: He has written screenplays for Swedish films, as well as dramas, novels, and poetry. —IMDb
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The Auteurs Film & Cast Member Database almost 2 years ago
Another Toy Story still
A better still for Toy Story 2
Another Toy Story 2 still
A better still for Toy Story 3
Another Toy Story 3 still
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Film Database Submission March 2010 almost 2 years ago
Suwîto rein: Shinigami no seido (Sweet Rain)
Directed by Masaya Kakei
Japan
2008
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The Auteurs Film & Cast Member Database almost 2 years ago
Another Spirited Away still
Another Akira still
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FILM DATABASE SUBMISSION JUNE 2010 almost 2 years ago
Suwîto rein: Shinigami no seido (Sweet Rain)
Directed by Masaya Kakei
Japan
2008
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The Auteurs Film & Cast Member Database almost 2 years ago
New quote for Takeshi Kitano
“When I write a script, I have the entire film in my head, so when we start shooting, I just do it. Im more interested in the editing process, so I tend to shoot in a hurry. Maybe you don`t always have enough footage, but how you play around with it, is what is interesting.” Takeshi Kitano
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The Auteurs Film & Cast Member Database almost 2 years ago
Another image for Ingrid Thulin
A better quality image for Setsuko Hara
Another image for Setsuko Hara
Image for Chishu Ryu
Another image for Chishu Ryu
Biography:
Chishu Ryu was Ozu’s lifelong friend and the most regular member of the stock company of actors he drew together. He is in Ozu’s earliest surviving film (his eighth) Wakaki hi (1929), played his first major role in Daigaku yoitoko (1936), and is in all the last 17 (and the star of many) of the director’s films. Just how consistent his contributions were in between is somewhat difficult to determine, as many of the films are lost or inaccessible. In the later works, Ryu’s appearances take on the character of a directorial trademark: if there is no star role for him, he turns up in a brief cameo, perhaps with no more than a line or two of dialogue. (Ryu’s consistent dependability was perhaps his defining quality as a professional: he was reportedly also on hand for all 45 of director Yoji Yamada’s inexplicably popular Tora-san films.)
In many of the later films the director/actor relationship becomes clearly symbiotic, in an extremely complex and fruitful way. There is no question of Ryu “playing” Ozu or being a mouthpiece for the director’s statements, yet one repeatedly senses a special sympathy between the director and the Ryu character, a sympathy which never precludes the possibility of critical distance. In Banshun and Tokyo monogatari , for example, we are made firmly aware of the character’s limitations: the film’s vision is far wider than his vision, which it contains and transcends. The limitations (and this is consistent with other late Ozu works, not necessarily starring Ryu, for example Equinox Flower ) are defined in relation to the female characters (especially those played by Setsuko Hara): Ozu’s subtle feminism has never been as acknowledged as Mizoguchi’s or Naruse’s, and Ryu’s most frequent role in Ozu’s universe as a gentle yet somewhat obtuse patriarch deserves reviewing in this light.
In his final film appearances, Ryu is an explicitly revered icon, for both his aging contemporaries (such as Kurosawa) and younger acolytes, such as Wim Wenders, whose pilgrimage to meet Ryu in Tokyo-Ga is a moving tribute to both Ozu and his favorite actor. —Film Reference
Image for Susumu Terajima
Biography:
Susumu Terajima (寺島 進 Terajima Susumu, born 12 November 1963) is a Japanese actor who has appeared in over 100 films, 15 television commercials, three PVs, and numerous television dramas in a career spanning over 20 years. He rarely is the star of the films he is in but he is widely respected for taking every job seriously and diving into his work, regardless of how minor his role might be. Terajima is best known for his portrayal of yakuza figures, most notably in the films of colleague and close friend Kitano. He often works along with Takeshi and Ren Osugi as well.
Terajima was born in Tokyo, Japan, where he still resides. He made his acting debut in 1986’s A-Homance, and has been steadily furthering his career ever since. He is part of Office Kitano, the production company of actor/director/comedian Takeshi Kitano. —Wikipedia
In Sonatine the name Susumu Terjima must be corrected to Susumu Terajima
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The Auteurs Film & Cast Member Database almost 2 years ago
A better still for Casa de Lava
Another still for Casa de Lava
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The Auteurs Film & Cast Member Database almost 2 years ago
Image for Silvia Pinal
Another image for Silvia Pinal
Biography:
In 1949, Pinal started her career in film at the age of 18 in the movies La Bamba (with Carmen Montejo) and El pecado de Laura (with Meche Barba and Rafael Banquells). She gains popularity as “young lady” of the Golden age of Mexican cinema in the 1950s. She starred in some success movies like El rey del barrio with “Tin Tan” (1950), El portero, with “Cantinflas” (1951), Mis Tres Viudas Alegres (1953), with Amalia Aguilar and Un rincón cerca del cielo (1953), with Pedro Infante, winning her first Silver Ariel award. She earned two more Ariels for Locura Pasional (in 1955) and Enemiga (in 1956). She gaining recognition with some movies of the Argentinean director Tulio Demicheli, as Un extraño en la escalera (1954) or Desnudate Lucrecia (1959). After marrying Gustavo Alatriste, a businessman who invited Spanish-born film director Luis Buñuel to direct Viridiana, a controversial film depicting a nun (played by Pinal) and her affair with the character played by Spanish actor Francisco Rabal. This film is still considered the best of the cinema of Spain and won the Palme d’Or at the Cannes Film Festival. The Alatriste-Pinal-Buñuel team made two more successful films, El ángel exterminador (1962) and Simón del desierto (1965).
After the Buñuel-Pinal collaboration, Silvia starred numerous movies during the 1960s and 1970s, like Los Cuervos están de luto (1965), La soldadera (1966), La Bataille de San Sebastian (1968, in France), María Isabel (1968), El Cuerpazo del Delíto (1970, with Mauricio Garcés), Divínas Palabras (1978), Pubis Angelical (1982, in Argentina), and Modelo Antiguo (1992). —Wikipedia.
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The Auteurs Film & Cast Member Database about 1 year ago
A better still for May Fools
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The Auteurs Film & Cast Member Database 3 months ago
New Still for Ugly, Dirty and Bad
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The Auteurs Film & Cast Member Database 3 months ago
New Still for Ugly, Dirty and Bad
http://s9.postimage.org/3l9r00xwd/bruttisporchiecattivi.jpg
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The Auteurs Film & Cast Member Database 3 months ago
Maria do Mar
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The Auteurs Film & Cast Member Database 3 months ago
Still suggestions for Antonio Gaudí
Elephant
Late Spring
The Wind Will Carry Us
Ulysses’ Gaze
Where Is the Friend’s Home?
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The Auteurs Film & Cast Member Database 3 months ago
Strike
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2011: Year in Cinema in Images 3 months ago
The Tree of Life by Terrence Malick
Pina by Wim Wenders
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Top 10 Directors. 30 days ago
In alphabetical order:
Michelangelo Antonioni
Ingmar Bergman
Luis Buñuel
Carl Theodor Dreyer
Federico Fellini
Akira Kurosawa
Louis Malle
Kenji Mizoguchi
Roberto Rossellini
Andrei Tarkovsky
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The Auteurs Film & Cast Member Database 14 days ago
A better still for Sunrise: A Song of Two Humans
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