Misogynists in Hollywood
Men who are allowed to fail upwards while making excruciatingly poor choices and whom are guilty of dehumanizing women in some way. Some are guilty of physically harming women. Some are just encouraging it. Some are just creating films representing a world privileging the experiences of men, leaving women as plot devices instead of fully fledged characters of their own. People say media doesn’t influence real life. BS.
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David Benioff was born on 25 September 1970 in New York City, New York, USA. He is a producer and writer, known for Game of Thrones (2011), The Kite Runner (2007) and 25th Hour (2002). He has been married to Amanda Peet since 30 September 2006. They have three children.- Producer
- Writer
- Director
D.B. Weiss was born on 23 April 1971 in Chicago, Illinois, USA. He is a producer and writer, known for Game of Thrones (2011), 3 Body Problem (2024) and Metal Lords (2022). He is married to Andrea Troyer.- Music Artist
- Actor
- Composer
Abel Tesfaye, professionally known as 'The Weeknd' is a Canadian singer born February 16, 1990 in Toronto. Best known for his performances in his latest album 'Starboy' (2016), and numerous other productions including 'Kissland' (2013), Beauty Behind the Madness (2015) which included the mega-hit; 'The Hills', and House of Balloons, Thursday and Echoes of Silence.- Writer
- Producer
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Sam Levinson was born on 8 January 1985 in the USA. He is a writer and producer, known for Euphoria (2019), The Idol (2023) and Malcolm & Marie (2021).- Actor
- Producer
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Mel Columcille Gerard Gibson was born January 3, 1956 in Peekskill, New York, USA, as the sixth of eleven children of Hutton Gibson, a railroad brakeman, and Anne Patricia (Reilly) Gibson (who died in December of 1990). His mother was Irish, from County Longford, while his American-born father is of mostly Irish descent.
Mel and his family moved to Australia in the late 1960s, settling in New South Wales, where Mel's paternal grandmother, contralto opera singer Eva Mylott, was born. After high school, Mel studied at the University of New South Wales in Sydney, performing at the National Institute of Dramatic Arts alongside future film thespians Judy Davis and Geoffrey Rush.
After college, Mel had a few stints on stage and starred in a few TV shows. Eventually, he was chosen to star in the films Mad Max (1979) and Tim (1979), co-starring Piper Laurie. The small budgeted Mad Max made him known worldwide, while Tim garnered him an award for Best Actor from the Australian Film Institute (equivalent to the Oscar).
Later, he went on to star in Gallipoli (1981), which earned him a second award for Best Actor from the AFI. In 1980, he married Robyn Moore and had seven children. In 1984, Mel made his American debut in The Bounty (1984), which co-starred Anthony Hopkins.
Then in 1987, Mel starred in what would become his signature series, Lethal Weapon (1987), in which he played "Martin Riggs". In 1990, he took on the interesting starring role in Hamlet (1990), which garnered him some critical praise. He also made the more endearing Forever Young (1992) and the somewhat disturbing The Man Without a Face (1993). 1995 brought his most famous role as "Sir William Wallace" in Braveheart (1995), for which he won two Oscars for Best Picture and Best Director.
From there, he made such box office hits as The Patriot (2000), Ransom (1996), and Payback (1999). Today, Mel remains an international superstar mogul, continuously topping the Hollywood power lists as well as the Most Beautiful and Sexiest lists.- Actor
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Bill Cosby is one of the world's most well-known entertainers and comedians. William Henry Cosby, Jr. was born on July 12, 1937, in Philadelphia, Pennsylvania, to Anna Pearl (Hite), a maid and William Henry Cosby, Sr., a U.S. Navy sailor. After 10th grade, Cosby joined the Navy and completed high school through a correspondence course. He later took up an athletics scholarship at Temple University, supporting himself during his studies by tending bar, where his easy going style and witty joking with the clientèle prompted suggestions that he try stand-up comedy. This he did and was soon to be discovered by the legendary Carl Reiner.
In his early twenties, he appeared on many well-known variety programs including The Ed Sullivan Show (1948). His big break came in 1965 when he appeared as "Alexander Scott" in I Spy (1965), winning numerous Emmys for his performance. He later appeared in The Bill Cosby Show (1969), playing a teacher, although originally the show only lasted for two years. He then created a Filmation cartoon based on many of his high school buddies including Weird Harold, Dumb Donald, Mushmouth, and others: the show was, of course, Fat Albert and the Cosby Kids (1972). The theme was humorous but also focused on Cosby's more educational side. He studied for many years during his career in the 1960s and 1970s, and he received a doctorate in Education from the University of Massachusetts. Cosby also starred in some highly successful movies such as Uptown Saturday Night (1974), Let's Do It Again (1975), A Piece of the Action (1977), Mother, Jugs & Speed (1976), and California Suite (1978). During his early years he also made some comedy albums that sold very well; his most notable comedy song being "Little Old Man." He was one of the original cast members of The Electric Company (1971), and he was featured in the series Pinwheel (1976) during the late 1970s and then appeared in the mediocre The Devil and Max Devlin (1981).
In 1984, 'Fat Albert and the Cosby Kids' stopped production, and The Cosby Show (1984) commenced. The show was originally intended to follow a blue-collar family, but finally ended up portraying a white-collar family. It was originally rejected by ABC, accepted by a then-floundering NBC, and was an almost instant success. From 1985 to 1987 the show broke viewing records, with Cosby becoming perhaps the strongest driving force in television during the eighties. Despite this great success, he arguably created his own downfall. The Cosby Show led what was considered by many at that time to be the best night of television: the line-up included Night Court (1984), Hill Street Blues (1981), and Family Ties (1982), which all followed The Cosby Show.
Cosby was dissatisfied with the way minorities were portrayed on television. He produced the TV series A Different World (1987) and insisted that this program should follow the Cosby Show, rather than Family Ties. A Different World was set in an historically Black college and concentrated on young people and education. Impact was felt on the show immediately; at its peak, the Cosby Show logged an estimated 70 million viewers. However, after the scheduling reshuffle, the show lost roughly 20% of its massive audience. However, Cosby was still riding high in the early nineties until massive competition from The Simpsons (1989).
The Cosby Show finally ended in 1992, conceding to The Simpsons (1989), with the final production considered to be one of the highest-rated shows of the season and featured a pleading Cosby asking for peace in riot-torn Los Angeles during the height of the Rodney King riots. Cosby never seemed able to top the success of the Cosby Show; his film Leonard Part 6 (1987) was considered to be one of the worst American films in history and may have contributed in part to his downfall as a film actor, along with his performance in Ghost Dad (1990). He did attempt a minor comeback in 1996 starring in the Robin Williams film Jack (1996), which was directed by Francis Ford Coppola; and in another show, Cosby (1996), (starring Phylicia Rashad, who appeared as his wife in the previous Cosby Show). Since then he has produced films such as Men of Honor (2000), and shows including Little Bill (1999).
Sadly, his son Ennis was murdered in 1997. Throughout the years, Bill Cosby has taken a socially conscious tone, often associated with family values, coupled with a distinctly urban spin on his style.- Producer
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A graduate of Wesleyan University, Michael Bay spent his 20s working on advertisements and music videos. His first projects after film school were in the music video business. He created music videos for Tina Turner, Meat Loaf, Lionel Richie, Wilson Phillips, Donny Osmond and Divinyls. His work won him recognition and a number of MTV award nominations. He also filmed advertisements for Nike, Reebok, Coca-Cola, Budweiser and Miller Lite. He won the Grand Prix Clio for Commercial of the Year for his "Got Milk/Aaron Burr" commercial. At Cannes, he has won the Gold Lion for The Best Beer campaign for Miller Lite, as well as the Silver for "Got Milk". In 1995, Bay was honored by the Directors Guild of America as Commercial Director of the Year. That same year, he also directed his first feature film, Bad Boys (1995), starring Will Smith and Martin Lawrence, which grossed more than $160 million, worldwide. His follow-up film, The Rock (1996), starring Sean Connery and Nicolas Cage, was also hugely successful, making Bay the director du jour.- Director
- Actor
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Roman Polanski is a Polish film director, producer, writer and actor. Having made films in Poland, Britain, France and the USA, he is considered one of the few truly international filmmakers. Roman Polanski was born in Paris in 1933.
His parents returned to Poland from France in 1936, three years before World War II began. On Germany's invasion in 1939, as a family of mostly Jewish heritage, they were all sent to the Krakow ghetto. His parents were then captured and sent to two different concentration camps: His father to Mauthausen-Gusen in Austria, where he survived the war, and his mother to Auschwitz where she was murdered. Roman witnessed his father's capture and then, at only 7, managed to escape the ghetto and survive the war, at first wandering through the Polish countryside and pretending to be a Roman-Catholic kid visiting his relatives. Although this saved his life, he was severely mistreated suffering nearly fatal beating which left him with a fractured skull.
Local people usually ignored the cinemas where German films were shown, but Polanski seemed little concerned by the propaganda and often went to the movies. As the war progressed, Poland became increasingly war-torn and he lived his life as a tramp, hiding in barns and forests, eating whatever he could steal or find. Still under 12 years old, he encountered some Nazi soldiers who forced him to hold targets while they shot at them. At the war's end in 1945, he reunited with his father who sent him to a technical school, but young Polanski seemed to have already chosen another career. In the 1950s, he took up acting, appearing in Andrzej Wajda's A Generation (1955) before studying at the Lodz Film School. His early shorts such as Two Men and a Wardrobe (1958), Le gros et le maigre (1961) and Mammals (1962), showed his taste for black humor and interest in bizarre human relationships. His feature debut, Knife in the Water (1962), was one of the first Polish post-war films not associated with the war theme. It was also the first movie from Poland to get an Oscar nomination for best foreign film. Though already a major Polish filmmaker, Polanski chose to leave the country and headed to France. While down-and-out in Paris, he befriended young scriptwriter, Gérard Brach, who eventually became his long-time collaborator. The next two films, Repulsion (1965) and Cul-de-sac (1966), made in England and co-written by Brach, won respectively Silver and then Golden Bear awards at the Berlin International Film Festival. In 1968, Polanski went to Hollywood, where he made the psychological thriller, Rosemary's Baby (1968). However, after the brutal murder of his wife, Sharon Tate, by the Manson Family in 1969, the director decided to return to Europe. In 1974, he again made a US release - it was Chinatown (1974).
It seemed the beginning of a promising Hollywood career, but after his conviction for the sodomy of a 13-year old girl, Polanski fled from he USA to avoid prison. After Tess (1979), which was awarded several Oscars and Cesars, his works in 1980s and 1990s became intermittent and rarely approached the caliber of his earlier films. It wasn't until The Pianist (2002) that Polanski came back to full form. For that movie, he won nearly all the most important film awards, including the Oscar for Best Director, Cannes Film Festival's Palme d'Or, the BAFTA and Cesar Award.
He still likes to act in the films of other directors, sometimes with interesting results, as in A Pure Formality (1994).- Producer
- Actor
- Writer
Harvey Weinstein was born on March 19, 1952, in Flushing, Queens, New York City, New York, USA, the first of two boys born to Max and Miriam Weinstein. He is a film producer, known for Pulp Fiction (1994), Shakespeare in Love (1998), and Gangs of New York (2002). He has been married and divorced twice; most recently from Georgina Chapman and previously from Eve Chilton.- Additional Crew
- Producer
- Actor
Mayer was born Lazar Meir in the Ukraine and grew up in Saint John, New Brunswick, Canada after his parents fled Russian oppression in 1886. He had a brutal childhood, raised in poverty and suffering physical and emotional abuse from his nearly-illiterate peddler father. In the early 1890s, he changed his name to Louis and fudged his birth date to reflect the more "patriotic" date of July 4, 1885. He moved to Boston in 1904 and struggled as a scrap-metal dealer until he was able to purchase a burlesque house. Although he made large sums by showing films (he made a sizable fortune off The Birth of a Nation (1915)), his early business ventures favored legitimate theater in New England. As his theater empire expanded, he had acquired and refurbished enough small movie theaters that he was able to move his business to Los Angeles and venture into movie production in 1918. Along with Samuel Goldwyn and Marcus Loew of Metro Pictures, he formed a new company called Metro-Goldwyn-Mayer (MGM).
Over the next 25 years, MGM was "the Tiffany of the studios," producing more films and movie stars than any other studio in the world. Mayer became the prime creator of the enduring Hollywood of myth, home to stars like Clark Gable, Judy Garland, Joan Crawford, and Jean Harlow. Mayer became the highest-paid man in America, one of the country's most successful horse breeders, a political force and Hollywood's leading spokesman. Both he and MGM reached their peaks at the end of World War II, and Mayer was forced out in 1951. He died of leukemia in 1957.- Writer
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Seth Woodbury MacFarlane was born in the small New England town of Kent, Connecticut, where he lived with his mother, Ann Perry (Sager), an admissions office worker, his father, Ronald Milton MacFarlane, a prep school teacher, and his sister, Rachael MacFarlane, now a voice actress and singer. He is of English, Scottish, and Irish ancestry, and descends from Mayflower passengers.
Seth attended and studied animation at the Rhode Island School of Design and, after he graduated, he was hired by Hanna-Barbera Productions (Now called Cartoon Network Studios) working as an animator and writer on the TV series Johnny Bravo (1997) and Cow and Chicken (1997). He also worked for Walt Disney Animation as a writer on the TV series Jungle Cubs (1996). He created The Life of Larry (1995) which was originally supposed to be used as an in-between on Mad TV (1995). Unfortunately the deal fell through but, a few months later, executives at FOX called him into their offices and gave him $50,000 to create a pilot for what would eventually become Family Guy (1999).
Since Family Guy's debut, MacFarlane has gone on to create two other television shows-American Dad! (2005) and The Cleveland Show (2009). MacFarlane began to establish himself as an actor, voice actor, animator, writer, producer, director, comedian, and singer throughout his career. MacFarlane has also written, directed and starred in Ted (2012) and its sequel Ted 2 (2015), and A Million Ways to Die in the West (2014). He voiced the mouse, Mike, in the animated musical Sing (2016).- Producer
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- Production Manager
He was crude, uneducated, foul and, even on his best behavior, abrasive. No major studio executive of the so-called "Golden Age" was more loathed (although at times the dictatorial Samuel Goldwyn and the hard-nosed Jack L. Warner came close) than Harry Cohn.
Born in the middle of 5 children to Joseph Cohn, a Jewish tailor, and Bella, a Polish émigré, Harry was raised on New York's rough lower-class East 88th St., where he followed his older brother Jack Cohn into show business. Harry's life and the origins of Columbia Pictures are closely associated with Jack, whose early career paved the way for Harry's own ambitions, despite the fact that the two brothers fought bitterly and each harbored deep resentment over the other's success. By 19 Jack had left a job with an advertising agency to work for Carl Laemmle's newly formed Independent Motion Picture Company (IMP), rapidly working his way from entry-level job in the processing lab and through various positions where he founded Universal Weekly, one of the first newsreel outfits, for Laemmle. Jack soon found himself in charge of IMP's shorts as an uncredited producer. He was involved in Laemmle's first stab at feature production, Traffic in Souls (1913), which returned a then-whopping $450,000 on a $57,000 negative cost, convincing Uncle Carl to head west and invest in his own studio, Universal City. During this period Jack had convinced Laemmle to hire Joe Brandt, an attorney he'd worked for in advertising. Brandt, who would become the head of Universal's East Coast operations, would later be a key factor in the brothers' success.
Harry had grown up in his brother's shadow, working for much of the first decade of the 20th century as a lowly shipping clerk for a music publishing company. In 1912 he teamed with Harry Ruby at a local nickelodeon, singing duo for $28 per week, with Ruby receiving the biggest slice of the pie. The act would split up within a year and, after a brief stint as a trolley-car fare collector, Harry hit on the idea of applying song plugging to motion pictures. He produced a handful of silent shorts in which popular songs were mimed by actors, inviting the audiences to join in. His relatively modest success at this greased the skids for his brother to recommend him for a job at Universal. At age 27 Harry was working for Laemmle.
By 1919 Jack was itching for a change and wanted to become an independent film producer--he produced a series of shorts called Screen Snapshots, which purported to show stars' lives off-screen. Their popularity encouraged Jack to jump ship and Harry, sensing an opportunity, went with him. With them went Joe Brandt. The three formed CBC Film Sales, which released shorts, mostly terrible--so terrible, in fact, they earned the studio the nickname "Corned Beef and Cabbage Productions" (Harry would explode into a rage whenever he heard this). Desperate to put distance between he and his brother, Harry headed for Hollywood to oversee CBC productions there. By design or opportunity he ended up working out of the old Balshofer Studio on Hollywood Boulevard and gradually created his own studio, renting out the Independent Studios lot on Sunset and Gower. This was the heart of "Poverty Row"--so-called because it was an area filled with the offices of low-budget production companies and fly-by-night producers, who ground out ultra-cheap programmers (mostly westerns) hoping to make a few bucks. Harry was home.
He began producing two-reelers cheaply and nearly everything he sent east made money for CBC. It soon dawned on him that the big money wasn't in shorts but features, and the company scraped $20,000 together and produced More to Be Pitied Than Scorned (1922). Through the then-complex system of exchange releasing and so-called states rights sales, CBC netted $130,000 on the picture and, even more importantly, scored a deal for five additional features. By the end of 1923 CBC had released ten features, none of which lost money--a remarkable event along Gower Gulch. Harry was extremely conscious of his place in Hollywood and took offense at the derision CBC films received. He finally had enough, and on January 10, 1924, the company's name became Columbia Pictures Corporation. The next year the company paid $150,000 for a property at 6070 Sunset Boulevard. The partners made a fateful decision about the same time: unlike most of the other major studios (and this definition certainly didn't include Columbia at the time), they opted to forego theater ownership. This decision would prove extremely wise over the next 3three decades. Under Harry, Columbia rose from the Gower Gulch ash heap. His releases rarely featured A-list stars but consistently made money. Columbia took its first tentative stab at A-list feature production with The Blood Ship (1927) (its first featuring the now-familiar torch lady logo), and even that was made using a faded star, Hobart Bosworth, who agreed to appear in the melodrama for free.
Fate smiled on Harry when former Mack Sennett writer/director Frank Capra became available, and he was able to initially secure Capra's services for $1000 per picture. Capra's importance to the fortunes of Columbia Pictures cannot be overstated and, to be fair to Cohn, he recognized it. With rare exceptions the studio utilized competent journeymen directors like Erle C. Kenton, Malcolm St. Clair or Edward LeSaint, usually assigned to projects starring capable B-level actors hired on a one-shot basis (every so often Columbia would splurge and hire an "A"-list director like Howard Hawks. With each of his features, Capra's significance to Columbia grew, and with each hit Capra was given increasing carte blanche; the congenitally tightfisted Cohn would still fight bitterly with his star director over budgets, but would usually relent to the demands of his productions. Strangely, Columbia's status as a Poverty Row outfit actually helped. The major studios loaned them temperamental stars who demanded pay raises or script approval--since working for a "low-rent" studio like Columbia was considered punishment in the class-conscious world of Hollywood--and Harry enthusiastically assigned them to Capra's pictures, a tactic that usually paid off big. A top actor from MGM or Warners was expected to suffer in the low-budget purgatory of Gower Gulch but usually left eagerly wanting to work for Capra again. One such production, It Happened One Night (1934), single-handedly propelled the studio into the ranks of the majors and garnered Columbia its first Oscars (although the studio had been nominated for productions infrequently since 1931). Cohn never looked back; signing directors to contracts was one thing, but hordes of potentially unruly actors was another thing entirely--he held firm to his long-standing belief that contract stars were nothing but trouble, after paying keen interest to Jack L. Warner's battles with James Cagney, Bette Davis and Olivia de Havilland. In 1934 he signed The Three Stooges (who would enjoy a 22-year run at Columbia) and recent German émigré Peter Lorre (Cohn was at a loss on how to utilize him and Lorre would spent most of his time at Columbia being loaned out to other studios) to long-term contracts, but wouldn't begin to build a roster of contract stars in earnest until the late 1930s, beginning with Rosalind Russell, and always he kept their numbers comparatively small (William Holden, Glenn Ford and Rita Hayworth were among the select few in the late 1930s and early 1940s).
The vast majority of Columbia's output remained at the B-level well into the 1950s, but most of its films were profitable. It took Columbia until 1946 to experience its first bona fide blockbuster with The Jolson Story (1946), which netted $8 million on a $2-million investment and resulted in a profitable sequel in 1949. Among the major studios only Paramount and Columbia eagerly welcomed the intrusion of television, and Columbia responded by creating a subsidiary, Screen Gems (created by Harry's nephew Ralph Cohn) in the early 1950s. The division would pay off handsomely over the next 20 years.
Harry and his brother Jack continued to fight fiercely over business matters until Jack's death in 1956. Harry himself died of a heart attack in 1958. Despite his undeniable crudeness--the boorish, thuggish, crooked, loudmouthed "Harry Brock" character in Garson Kanin's classic Born Yesterday (1950), memorably played by Broderick Crawford, was largely based on Cohn), Harry Cohn's Columbia Pictures never had a negative year during his 30-year-plus reign--a record only approached by Louis B. Mayer, who ruled MGM from 1924 through mid-1951. Columbia began from a far more disadvantaged position than MGM did, though, and it thrived due to Cohn's keen judge of talent and his near-fanatical adherence to early business policies that were originally ridiculed.- Writer
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While known mostly for his activities as a film producer, Maurice Buddy Adler attended both Columbia and Pennsylvania universities and wrote fiction short stories for magazines prior to becoming involved in the film industry. In 1936 he joined MGM Pictures as a writer for the regular series of short subjects that were popular at the time. He married actress Anita Louise in 1940 and served with the U.S. Army Signal Corps in World War II, attaining the rank of Lieutenant Colonel. After the war he returned to MGM as a producer for a year and then moved to Columbia Pictures as a producer from 1949 to 1953. There he earned an Academy Award as producer of the Best Picture of the Year for 1953, From Here to Eternity (1953).
He left Columbia Pictures shortly thereafter and joined 20th Century-Fox, where in 1956 he succeeded Darryl F. Zanuck as Head of Production. He remained there until his death in 1960. He was the producer at Fox on a number of very successful films, many of which still enjoy a following today. Among those are Bus Stop (1956), A Hatful of Rain (1957), South Pacific (1958), Heaven Knows, Mr. Allison (1957), The Left Hand of God (1955) and The Inn of the Sixth Happiness (1958).
Sadly both he and his wife died young, he at 51 from lung cancer and Miss Louise at 55 as the result of a stroke.- Producer
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The roots of Universal Pictures can rightfully be traced back to 1906 when Carl Laemmle returned home to Chicago after a stint as a bookkeeper in Oshkosh, Wisconsin, and opened up a chain of nickelodeons. This in turn led to the ambitious 39-year-old organizing a film exchange network he boldly called the Laemmle Film Service, which expanded west and north into Canada. Although he was an original member of the Edison Patents Company, he bristled at the idea of paying royalties to move to the next level: film production. Laemmle founded IMP (Independent Motion Picture Company) in New York in 1909 and for the next three years produced a number of economical multi-reel films while Edison's agents did their best to shut him down. Thomas Edison's General Film Company (known as "The Trust") filed incessant claims of patent infringement on those companies that refused to pay. Many of these independents (which included such future film moguls as Adolph Zukor and Jesse L. Lasky) pulled up stakes and left for California. As for Laemmle, he doggedly fought 289 legal actions brought about by GFC from 1909-12 and was ultimately victorious. IMP reformed in 1912 as Universal, filming two final productions in New York, The Dawn of Netta (1912) and a one-reeler, The Nurse (1912), before relocating his company to Los Angeles. From 1912-14 Universal operated two California studios, one in Hollywood and the Universal "Oak Crest Ranch" in the San Fernando Valley. The two operations were move to the new Universal City ("Taylor Ranch") in 1914 For a short time in 1912, the New York Film Company battled with Universal over the ownership of the Bison Motion Picture properties at Evendale and Santa Monica. New York Film Company wins the right to withdraw from Universal. Universal/Bison Evendale plant was returned to the New York Film Company. Universal was given the rights to trade names "Bison" and 101 Bison" Universal/Bison brand began production at the Providencia Ranch ( Universal Oak Crest ranch- the first Universal City) in 1912.
Universal began newsreel production in 1913 under Jack Cohn. In 1914 Laemmle acquired the Taylor Ranch on the north side of the Hollywood Hills and set about building Universal City. Damon and Pythias (1914) was Universal's first film completed there, just prior to the studio's official opening in March 1915 and, until 1925, Universal City would be the largest and most prolific studio in the world (eventually supplanted by MGM soon after its inception). Organized studio tours began in 1915 (they were discontinued in 1928 with the arrival of talkies, but resumed in 1964), which proved highly profitable. Laemmle, lacking a theater network, instituted a three-tiered branding system to market Universal's releases: Red Feather (low-budget), Bluebird (mainstream/medium budget) and Jewell (prestige releases, often roadshow attractions commanding premium prices). Heavy emphasis was placed on one-, two- and three-reel productions.
Universal became known as the most paternalistic of all the Hollywood studios. Virtually all of "Uncle" Carl's relatives (including his son Carl Laemmle Jr. and his vastly more talented nephew, William Wyler, were employed there). The studio enjoyed enormous hits during the 1920s, especially Lon Chaney's The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925) before the actor was lured away to MGM. Lacking a theater network, Universal concentrated on independent rural theatrical houses, offering affordable exhibitor's packages which allowed them to change bills numerous times per week. This marketing strategy largely concentrated on product that would appeal to rural theaters through 1930. During the 1920s Europe also became a major source of revenue, with Universal actively involved in co-productions overseas. Sound productions became the norm by 1929 and Universal responded by increasing the number of quality productions, scoring its first Academy Award for Best Picture with All Quiet on the Western Front (1930) the following year. The studio became famous for popularizing the monster craze, beginning with Dracula (1931), that remained strong into 1935. Unfortunately, the studio's other product was proving less successful as the ravages of the Depression took hold. Laemmle's emphasis on quality productions misfired in the mid-'30s and he was forced to take an unfavorable $750,000 loan from Standard Capital which, after cost overruns on the production of Show Boat (1936), resulted in his ouster from the studio. He was forcibly retired from the movie industry in 1936 and sold Universal to Standard Capital Company, headed by Charles R. Rogers, who instituted drastic cost-cutting measures that coincided with the signing of Deanna Durbin, whose popularity virtually single-handedly saved the studio from financial disaster from 1937-40, until other popular stars (notably the comedy team of Bud Abbott and Lou Costello) were added to the studio's roster by a later management team headed by J. Cheever Cowdin. Universal was also--briefly--home to displaced low-budget veteran producers Trem Carr and W. Ray Johnston, who worked there in 1936 while reforming Monogram Pictures after breaking off from an unhappy association with Republic Pictures.
While many contemporary observers disliked Rogers' handling of the so-called "New" Universal, the undeniable fact is that he saved the studio at a critical point in its history. Carl Laemmle died in 1939 of a heart attack in Los Angeles at age 72. As with most Hollywood studios, production boomed during WW2, and by 1945 the studio was averaging a release of one feature film per week. Universal merged with International Pictures, an independent studio headed by ex-20th Century-Fox executives William Goetz and Leo Spitz in 1946 and renamed Universal-International Pictures (reverted to Universal in 1963). Since the company had consciously avoided building a proprietary theater chain it was unaffected by the 1949 Supreme Court theater anti-trust decision. Indeed, the studio was actually better positioned than the other majors as it's revenue stream continued unabated. Universal was purchased by and merged with Decca Records in 1952.
While not a pioneer in television production (most majors, with the notable exception of Columbia, initially stonewalled it), the medium became a huge part of Universal City in the late 1950s. In 1962 Universal was purchased by and merged with The Music Corporation of America (MCA) and became MCA Universal. MCA's television production company, Revue Televsion Productions with its Leave It to Beaver (1957) unit, would relocate to the sprawling Universal lot. Matsushita Electrical Industrial Co. purchased MCA in 1991. The Seagram Co. purchased MCA in 1995 and MCA Universal was renamed Universal Studios. In 1998 Universal purchased the USA television network. The company merged with a French global media company, Vivendi Media Group, and became Vivendi Universal in 2000. In April 2004 Vivendi Universal was purchased by and merged with the National Broadcasting Company (NBC) and became NBC Universal.- Actor
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Roscoe Arbuckle, the youngest of nine children, reportedly weighed 16 pounds at birth in Smith Center, Kansas on March 24, 1887. His family moved to California when he was one year old. At age 8 he first appeared on the stage. His first part was with the Webster-Brown stock company. From then until 1913, Roscoe was on the stage, performing as an acrobat, a clown, and a singer. His first real professional engagement was in 1904, singing illustrated songs for Sid Grauman at the Unique Theater in San Jose, California at $17.50 a week. He later worked in the Morosco Burbank stock company and traveled through China and Japan with Ferris Hartman. His last appearance on the stage was with Hartman in Yokahama, Japan in 1913, where he played the Mikado.
Back in Hollywood, Arbuckle went to work at Mack Sennett's Keystone film studio at $40 a week. For the next 3-1/2 years he never starred or even featured, but appeared in hundreds of one-reel comedies. He would play mostly policemen, usually with the Keystone Kops, but he also played different parts. He would work with Mabel Normand, Ford Sterling, Charles Chaplin, among others, and would learn about the process of making movies from Henry Lehrman, who directed all but two of his pictures. Roscoe was a gentle and genteel man off screen and always believed that Sennett never thought that he was funny.
Roscoe never used his weight to get a laugh. He would never be found stuck in a chair or doorway. He was remarkably agile for his size and used that agility to find humor in situations. By 1914 he had begun to direct some of his one-reels. The next year he moved up to two-reels, which meant that he would need to sustain the comedy to be successful; as it turned out, he was. Among his films were Fatty Again (1914), Mabel, Fatty and the Law (1915), Mabel and Fatty's Wash Day (1915), Mabel and Fatty Viewing the World's Fair at San Francisco (1915), Fatty's Reckless Fling (1915), and many more. For "Mabel and Fatty Viewing the World's Fair at San Francisco", Keystone took the actors to the real World's Fair to use as background; the studio's cost was negligible, while the San Francisco backgrounds made the picture look expensive.
By 1917 Roscoe formed a partnership with Joseph M. Schenck, a powerful producer who was also the husband of Norma Talmadge. The company they formed was called Comique and the films that Roscoe made were released through Famous Players on a percentage basis, and soon Arbuckle was making over $1,000 a week. With his own company Roscoe had complete creative control over his productions. He also hired a young performer he met in New York by the name of Buster Keaton. Keaton's film career would start with Roscoe in The Butcher Boy (1917). Roscoe wrote his own stories first, tried them out and then devised funny twists to generate the laughs. His comedy star was second only to Charles Chaplin. With the success of Comique, Paramount asked Roscoe to move from two-reel shorts to full-length features in 1919. Roscoe's first feature was The Round-up (1920) and it was successful. It was soon followed by other features, including Brewster's Millions (1921) and Gasoline Gus (1921).
Ufortunately, tragedy struck on Labor Day on September 5, 1921 with the arrest and trial of Roscoe Arbuckle on manslaughter charges. Roscoe with friends Lowell Sherman and Fred Fishback drove to San Francisco where they checked into the St Francis Hotel threw a party and which was crashed by a "starlet" named Virginia Rappe, who fell seriously ill and died three days later from a ruptured bladder. Rappe had accused Arbuckle of raping her prior to passing away, but Rappe had a history of accusing men of rape. The newspapers, led by William Randolph Hearst, used this incident to generate Hollywood's first major scandal. Roscoe was tried not once but three times for the criminal charges; the trials began in November 1921 and lasted until April 1922; the first two ended with hung juries (the mistrial decision in the second trial was reached on February 3, 1922, the day after Arbuckle's friend and fellow Paramount director William Desmond Taylor was found murdered, and Arbuckle was visibly affected by the news). At his third and final trial in April of 1922, the jury not only returned a "not guilty" verdict but excoriated the prosecution for pursuing a flimsy case with no evidence of Arbuckle having committed any crime; it was at this final trial that the jury went further, writing a personal letter of sympathy and apology to Arbuckle for putting him through this ordeal. He kept it as a treasured memento for the rest of his life.
However, Arbuckle's acquittal marked the end of his comedic acting career. Unable to return to the screen, he later found work as a comedy director for Al St. John, Buster Keaton and others under the pseudonym "William Goodrich" (he was inspired to use this pseudonym by Keaton, who suggested Arbuckle use the name "Will B. Good"). In 1932 producer Samuel Sax signed Roscoe to appear in his very first sound comic short films for Warner Brothers, starting with Hey, Pop! (1932). He completed six shorts and showed the magic and youthful spirit that he had a decade before. With the success of the shorts, Warner Brothers signed Roscoe to a feature film contract, but he died in his sleep on June 29, 1933 , at age 46, the night after he signed the contract.- Producer
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Hal Roach was born in 1892 in Elmira, New York. After working as a mule skinner, wrangler and gold prospector, among other things, he wound up in Hollywood and began picking up jobs as an extra in comedies, where he met comedian Harold Lloyd in 1913 in San Diego. By all accounts, including his own, he was a terrible actor, but he saw a future in the movie business and in Harold Lloyd. Roach came into a small inheritance and began producing, directing and writing a series of short film comedies, under the banner of Phun Philms (soon changed to Rolin, which lasted until 1922), starring Lloyd in early 1915. Initially these were abysmal, but with tremendous effort, the quality improved enough to be nominally financed and distributed by Pathe, which purchased Roach's product by the exposed foot of film. The Roach/Lloyd team morphed through two characters. The first, nominally tagged as "Will E. Work", proved hopeless; the second, "Lonesome Luke," an unabashed imitation of Charles Chaplin, proved more successful with each new release. Lloyd's increasing dissatisfaction with the Chaplin clone character irritated Roach to no end, and the two men engaged in a series of battles, walkouts and reconciliations. Ultimately Lloyd abandoned the character completely in 1917, creating his now-famous "Glasses" character, which met with even greater box-office success, much to the relief of Roach and Pathe. This new character hit a nerve with the post-war public as both the antithesis and complement to Chaplin, capturing the can-do optimism of the age. This enabled Roach to renegotiate the deal with Pathe and start his own production company, putting his little studio on a firm financial foundation. Hal Roach Productions became a unique entity in Hollywood. It operated as a sort of paternalistic boutique studio, releasing a surprising number of wildly popular shorts series and a handful of features. Quality was seldom compromised and his employees were treated as his most valuable asset.
Roach's relationship with his biggest earner was increasingly acrimonious after 1920 (among other things, Lloyd would bristle at Roach's demands to appear at the studio daily regardless of his production schedule). After achieving enormous success with features (interestingly, his only real feature flop of the 1930s was with General Spanky (1936), a very poorly conceived vehicle for the property), Lloyd had achieved superstar status by the standards of "The Roaring Twenties" and wanted his independence. The two men severed ties, with Roach retaining re-issue rights for Lloyd's shorts for the remainder of the decade. While both men built their careers together, it was Lloyd who first recognized his need for creative freedom, no longer needing Roach's financial support. This realization irked Roach, and from this point forward he found it difficult, if not impossible, to offer unadulterated praise for his former friend and star (while Lloyd himself was far more generous in his later praise of Roach, he, too, could be critical, if more accurate, in his recollections). Lloyd went on to much greater financial success at Paramount.
Despite facing the prospect of losing his biggest earner, Roach was already preoccupied with building his kiddie comedy series, Our Gang, which became an immediate hit with the public. By the time he turned 25 in 1917, Roach was wealthy and increasingly spending time away from his studio. He traveled extensively across Europe. By the early 1920s he had eclipsed Mack Sennett as the "King of Comedy" and created many of the most memorable comic series of all time. These included the team of Stan Laurel and Oliver Hardy, Charley Chase, Edgar Kennedy, 'Snub' Pollard and especially the long-running Our Gang series (AKA "The Little Rascals" in TV distribution). Pathe, which distributed his films, shut down its U.S. operations after its domestic representative, Paul Brunet, returned to France in 1927. But Roach was able to secure an even better deal with MGM (his key competitor, Mack Sennett, was also distributed by Pathe, but he was unable to land a deal, ultimately declaring bankruptcy in 1933). For the next eleven years Roach shored up MGM's bottom line, although the deal was probably more beneficial to Roach. In the mid-'30s Roach became inexplicably enamored of 'Benito Mussolini', and sought to secure a business alliance with the fascist dictator's recently completed film complex, Cinecitta. After Roach asked for (and received) assurances from Mussolini that Italy wasn't about to seek sanctions against the Jews, the two men formed RAM ("Roach And Mussolini") Productions, a move that appalled the powers at MGM parent company, Leow's Inc. These events coincided with Roach selling off "Our Gang" to MGM and committing himself solely to feature film production. In September 1937, Il Duce's son, Vittorio Mussolini, visited Hollywood and Roach's studio threw a lavish party celebrating his 21st birthday. Soon afterward the Italian government took on an increasingly anti-Semitic stance and, in retribution, Leow's chairman Nicholas Schenck canceled his distribution deal. Roach signed an adequate deal with United Artists in May 1938 and redeemed his previous record of feature misfires with a string of big hits: Topper (1937) (and its lesser sequels), the prestigious Of Mice and Men (1939) and, most significantly, One Million B.C. (1940), which became the most profitable movie of the year. Despite the nearly unanimous condemnation by his industry peers, Roach stubbornly refused to re-examine his attitudes over his dealings with Mussolini, even in the aftermath of World War II (he proudly displayed an autographed portrait of the dictator in his home up until his death). His tried-and-true formula for success was tested by audience demands for longer feature-length productions, and by the early 1940s he was forced to try his hand at making low-budget, full-length screwball comedies, musicals and dramas, although he still kept turning out extended two-reel-plus comedies, which he tagged as "streamliners"; they failed to catch on with post-war audiences. By the 1950s he was producing mainly for television (My Little Margie (1952), Blondie (1957) and The Gale Storm Show: Oh! Susanna (1956), for example). His willingness to delve into TV production flew in the face of most of the major Hollywood studios of the day. He made a stab at retirement but his son, Hal Roach Jr., proved an inept businessman and drove the studio to the brink of bankruptcy by 1959. Roach returned and focused on facilities leasing and managing the TV rights of his film catalog.
In 1983 his company developed the first successful digital colorization process. Roach then became a producer for many TV series on the Disney Channel, and his company still produces most of their films and videos. He died peacefully just shy of his 101st birthday, telling stories right up until the end.- David Ross was born on 7 July 1891 in New York City, New York, USA. He was an actor, known for Time for Reflection (1950), Isle of Paradise (1932) and The Fight for Peace (1938). He was married to Beatrice Pons. He died on 12 November 1975 in New York City, New York, USA.
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Andrew Tate was born in Washington DC, US. Andrew is a controversial online personality, former professional kickboxer, television personality, actor known for Kings of the Internet (2022) and brother of Tristan Tate. He began offering paid courses and memberships through his website and later rose to fame as an Internet celebrity.- Producer
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New Jersey-born Eddie Mannix was a long-time studio executive at MGM. Known as "The Fixer", he had a reputation as someone who could take care of any problems caused by recalcitrant or wayward studio employees and major stars that might embarrass the company. Mannix had a rather unsavory past, and it was known that he associated with many organized-crime figures while he was in the New York/New Jersey area. Authorities on both coasts suspected that he was more than just an "associate"; when East Coast organized-crime figures tried to take over the unions representing film studio workers in Hollywood--so they could extort money from the studios in exchange for avoiding "labor trouble"--Mannix was suspected of helping to pave the way for them. In addition, he was accused of having killed his first wife in a phony car accident and was suspected of being involved in the death of MGM executive Paul Bern, husband of MGM star Jean Harlow. Years later, some speculated that he or his wife, Toni Mannix, might have murdered actor George Reeves, star of the hit TV series Adventures of Superman (1952) (Reeves had been engaged in a long-time affair with Toni, although with Mannix's blessing). While no credible evidence has ever surfaced to support such a theory, much evidence credibly undermines it.
Mannix was never charged in any of the above cases, and died in Beverly Hills in 1963.- Producer
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The younger brother of Joel, Ethan Coen is an Academy Award and Golden Globe winning writer, producer and director coming from small independent films to big profile Hollywood films. He was born on September 21, 1957 in Minneapolis, Minnesota. In some films of the brothers- Ethan & Joel wrote, Joel directed and Ethan produced - with both editing under the name of Roderick Jaynes; but in 2004 they started to share the three main duties plus editing. Each film bring its own quality, creativity, art and with one project more daring the other.
His film debut was in 1984 dark humored thriller Blood Simple (1984) starring Frances McDormand (Joel's wife) and M. Emmet Walsh in a deep story revolving a couple of romantic lovers followed by an insisting private eye. The film received critical acclaim, some award nominations to Ethan (best writing at the Film Independent Spirit Awards) and became a cult following over the years. Their second work was the comedy Raising Arizona (1987) starring Nicolas Cage and Holly Hunter as a unusual couple trying to create their family by kidnapping babies from a rich family.
Miller's Crossing (1990) was the third film of the brothers, a mob drama with heavy influences from several criminal dramas and with a stellar cast that included Gabriel Byrne, Marcia Gay Harden, Albert Finney, Steve Buscemi, John Turturro and Jon Polito (the latter three would become regular actors in the Coen's films).
Their views on the Hollywood era of the 1930's was the central theme is the great Barton Fink (1991), created from a writers block both brothers suffered during the making of their previous film. John Turturro stars as a writer who suffers from a breakdown when he's commissioned to a big budget Hollywood project. The film was a breakthrough for the Coens marking their first win at the Cannes Film Festival (Joel got the Palme d'Or) and the first time a film of their received Oscar nominations. The underrated comedy The Hudsucker Proxy (1994) was what followed; but no one could predict their next big and boldest move that would definitely put Ethan and Joel on the spotlight once and for all.
The comedy of errors Fargo (1996) was a huge critical and commercial success. With its crazed story of a man who hires two loonies to kidnap his own wife and a pregnant policewoman tracking the leads to the crime, Ethan and Joel came at their greatest moment that couldn't be missed. The film received several awards during award season and the Coen's got their first Oscar in the Best Original Screenplay category. What came next was the underrated yet hilariously good The Big Lebowski (1998) starring Jeff Bridges, John Goodman, John Turturro and Steve Buscemi. Those masterpieces made their career in the late 1990's cementing the duo as one of the greatest writers and directors of their generation, if not, from all time.
The Odyssey retold for the 1930's in O Brother, Where Art Thou? (2000); the intelligent noir The Man Who Wasn't There (2001); the comedy Intolerable Cruelty (2003) and a remake The Ladykillers (2004) marked their way into the early 2000's. Certaintly of period of minor hits and some downer moments.
The big return was with the highly acclaimed No Country for Old Men (2007), where the brothers swooped at the Oscars with three wins: Best Picture, Screenplay and Writing, an adaptation from the Cormac McCarthy's novel.
A Serious Man (2009), Burn After Reading (2008), True Grit (2010), Inside Llewyn Davis (2013), Hail, Caesar! (2016) and The Ballad of Buster Scruggs (2018) were the subsequent films, all well received by audiences or got awards recognition, mostly nominations.
A shift from tone and career move was writing with other writers and for another directors: for Angelina Jolie's Unbroken (2014), for Spielberg in Bridge of Spies (2015) and George Clooney in Suburbicon (2017).
As for personal life, Ethan has been married to Tricia Cooke since 1990. Tricia works as an assistant editor in several of the Coen brothers films.- Producer
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Joel Daniel Coen is an American filmmaker who regularly collaborates with his younger brother Ethan. They made Raising Arizona, Barton Fink, Fargo, The Big Lebowski, True Grit, O Brother Where Art Thou?, Burn After Reading, A Serious Man, Inside Llewyn Davis, Hail Caesar and other projects. Joel married actress Frances McDormand in 1984 and had an adopted son.- Writer
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Woody Allen was born on November 30, 1935, as Allen Konigsberg, in The Bronx, NY, the son of Martin Konigsberg and Nettie Konigsberg. He has one younger sister, Letty Aronson. As a young boy, he became intrigued with magic tricks and playing the clarinet, two hobbies that he continues today.
Allen broke into show business at 15 years when he started writing jokes for a local paper, receiving $200 a week. He later moved on to write jokes for talk shows but felt that his jokes were being wasted. His agents, Charles Joffe and Jack Rollins, convinced him to start doing stand-up and telling his own jokes. Reluctantly he agreed and, although he initially performed with such fear of the audience that he would cover his ears when they applauded his jokes, he eventually became very successful at stand-up. After performing on stage for a few years, he was approached to write a script for Warren Beatty to star in: What's New Pussycat (1965) and would also have a moderate role as a character in the film. During production, Woody gave himself more and better lines and left Beatty with less compelling dialogue. Beatty inevitably quit the project and was replaced by Peter Sellers, who demanded all the best lines and more screen-time.
It was from this experience that Woody realized that he could not work on a film without complete control over its production. Woody's theoretical directorial debut was in What's Up, Tiger Lily? (1966); a Japanese spy flick that he dubbed over with his own comedic dialogue about spies searching for the secret recipe for egg salad. His real directorial debut came the next year in the mockumentary Take the Money and Run (1969). He has written, directed and, more often than not, starred in about a film a year ever since, while simultaneously writing more than a dozen plays and several books of comedy.
While best known for his romantic comedies Annie Hall (1977) and Manhattan (1979), Woody has made many transitions in his films throughout the years, transitioning from his "early, funny ones" of Bananas (1971), Love and Death (1975) and Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972); to his more storied and romantic comedies of Annie Hall (1977), Manhattan (1979) and Hannah and Her Sisters (1986); to the Bergmanesque films of Stardust Memories (1980) and Interiors (1978); and then on to the more recent, but varied works of Crimes and Misdemeanors (1989), Husbands and Wives (1992), Mighty Aphrodite (1995), Celebrity (1998) and Deconstructing Harry (1997); and finally to his films of the last decade, which vary from the light comedy of Scoop (2006), to the self-destructive darkness of Match Point (2005) and, most recently, to the cinematically beautiful tale of Vicky Cristina Barcelona (2008). Although his stories and style have changed over the years, he is regarded as one of the best filmmakers of our time because of his views on art and his mastery of filmmaking.- Director
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Alfred Joseph Hitchcock was born in Leytonstone, Essex, England. He was the son of Emma Jane (Whelan; 1863 - 1942) and East End greengrocer William Hitchcock (1862 - 1914). His parents were both of half English and half Irish ancestry. He had two older siblings, William Hitchcock (born 1890) and Eileen Hitchcock (born 1892). Raised as a strict Catholic and attending Saint Ignatius College, a school run by Jesuits, Hitch had very much of a regular upbringing. His first job outside of the family business was in 1915 as an estimator for the Henley Telegraph and Cable Company. His interest in movies began at around this time, frequently visiting the cinema and reading US trade journals.
Hitchcock entering the film industry in 1919 as a title card designer. It was there that he met Alma Reville, though they never really spoke to each other. It was only after the director for Always Tell Your Wife (1923) fell ill and Hitchcock was named director to complete the film that he and Reville began to collaborate. Hitchcock had his first real crack at directing a film, start to finish, in 1923 when he was hired to direct the film Number 13 (1922), though the production wasn't completed due to the studio's closure (he later remade it as a sound film). Hitchcock didn't give up then. He directed The Pleasure Garden (1925), a British/German production, which was very popular. Hitchcock made his first trademark film in 1927, The Lodger: A Story of the London Fog (1927) . In the same year, on the 2nd of December, Hitchcock married Alma Reville. They had one child, Patricia Hitchcock who was born on July 7th, 1928. His success followed when he made a number of films in Britain such as The Lady Vanishes (1938) and Jamaica Inn (1939), some of which also gained him fame in the USA.
In 1940, the Hitchcock family moved to Hollywood, where the producer David O. Selznick had hired him to direct an adaptation of 'Daphne du Maurier''s Rebecca (1940). After Saboteur (1942), as his fame as a director grew, film companies began to refer to his films as 'Alfred Hitchcock's', for example Alfred Hitcock's Psycho (1960), Alfred Hitchcock's Family Plot (1976), Alfred Hitchcock's Frenzy (1972).
Hitchcock was a master of pure cinema who almost never failed to reconcile aesthetics with the demands of the box-office.
During the making of Frenzy (1972), Hitchcock's wife Alma suffered a paralyzing stroke which made her unable to walk very well. On March 7, 1979, Hitchcock was awarded the AFI Life Achievement Award, where he said: "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen and their names are Alma Reville." By this time, he was ill with angina and his kidneys had already started to fail. He had started to write a screenplay with Ernest Lehman called The Short Night but he fired Lehman and hired young writer David Freeman to rewrite the script. Due to Hitchcock's failing health the film was never made, but Freeman published the script after Hitchcock's death. In late 1979, Hitchcock was knighted, making him Sir Alfred Hitchcock. On the 29th April 1980, 9:17AM, he died peacefully in his sleep due to renal failure. His funeral was held in the Church of Good Shepherd in Beverly Hills. Father Thomas Sullivan led the service with over 600 people attended the service, among them were Mel Brooks (director of High Anxiety (1977), a comedy tribute to Hitchcock and his films), Louis Jourdan, Karl Malden, Tippi Hedren, Janet Leigh and François Truffaut.- Writer
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Bernardo Bertolucci, the Italian director whose films were known for their colorful visual style, was born in Parma, Italy. He attended Rome University and became famous as a poet. He served as assistant director for Pier Paolo Pasolini in the film Accattone (1961) and directed The Grim Reaper (1962). His second film, Before the Revolution (1964), which was released in 1971, received an Academy Award nomination for best screenplay. Bertolucci also received an Academy Award nomination as best director for Last Tango in Paris (1972), and the best director and best screenplay for the film The Last Emperor (1987), which walked away with nine Academy Awards.- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Writer
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Probably the most ambitious and visually distinctive filmmaker to emerge from Denmark since Carl Theodor Dreyer over 60 years earlier, Lars von Trier studied film at the Danish Film School and attracted international attention with his very first feature, The Element of Crime (1984). A highly distinctive blend of film noir and German Expressionism with stylistic nods to Dreyer, Andrei Tarkovsky and Orson Welles, its combination of yellow-tinted monochrome cinematography (pierced by shafts of blue light) and doom-haunted atmosphere made it an unforgettable visual experience. His subsequent features Epidemic (1987) and Europa (1991) have been equally ambitious both thematically and visually, though his international fame is most likely to be based on The Kingdom (1994), a TV soap opera blending hospital drama, ghost story and Twin Peaks (1990)-style surrealism that was so successful in Denmark that it was released internationally as a 280-minute theatrical feature.- Director
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Clayne Crawford was born on 20 April 1978 in Clay, Alabama, USA. He is an actor and producer, known for A Walk to Remember (2002), Lethal Weapon (2016) and The Perfect Host (2010). He has been married to Sunshine Kiki Brown since 2004. They have three children.- Writer
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A producer, writer, director and award-winning novelist. He is the author of the collection 'Between Here and the Yellow Sea' and the novel 'Galveston.' He is originally from Southwest Louisiana, and taught literature at several universities, including the University of Chicago, before going into screenwriting in 2010. His fiction has been translated into French, German, Spanish, Japanese, Italian, and 26 other languages. He is best known as the creator of HBO's "True Detective", for which he was showrunner, producer, sometime director and almost entirely sole writer for its first three seasons. As of December 2023, he is attached to direct his first feature, "Easy's Waltz", starring Vince Vaughn and Al Pacino, and as showrunner for the Amazon original series "The Magnificent Seven" among other projects. He is married to the singer/songwriter Suzanne Santo (Suzanne Pizzolatto).- Actor
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One of the greatest actors of all time, Robert De Niro was born on August 17, 1943 in Manhattan, New York City, to artists Virginia (Admiral) and Robert De Niro Sr. His paternal grandfather was of Italian descent, and his other ancestry is Irish, English, Dutch, German, and French. He was trained at the Stella Adler Conservatory and the American Workshop. De Niro first gained fame for his role in Bang the Drum Slowly (1973), but he gained his reputation as a volatile actor in Mean Streets (1973), which was his first film with director Martin Scorsese. He received an Academy Award for Best Supporting Actor for his role in The Godfather Part II (1974) and received Academy Award nominations for best actor in Taxi Driver (1976), The Deer Hunter (1978) and Cape Fear (1991). He received the Academy Award for Best Actor for his role as Jake LaMotta in Raging Bull (1980).
De Niro has earned four Golden Globe Award nominations for Best Actor - Motion Picture Musical or Comedy, for his work in New York, New York (1977), opposite Liza Minnelli, Midnight Run (1988), Analyze This (1999) and Meet the Parents (2000). Other notable performances include Brazil (1985), The Untouchables (1987), Backdraft (1991), Frankenstein (1994), Heat (1995), Casino (1995) and Jackie Brown (1997). At the same time, he also directed and starred in such films as A Bronx Tale (1993) and The Good Shepherd (2006). De Niro has also received the AFI Lifetime Achievement Award in 2003 and the Golden Globe Cecil B. DeMille Award in 2010.
As of 2022, De Niro is 79-years-old. He has never retired from acting, and continues to work regularly in mostly film.- Actor
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Thomas Jane is an American actor who is known for portraying Frank Castle from the 2004 Marvel Comics film The Punisher and the 2012 fan film Dirty Laundry. He also was in Boogie Nights, The Thin Red Line, Deep Blue Sea, The Predator, 1922, The Mist and Evening Raga of the West.- Actor
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Christian Michael Leonard Slater was born on August 18, 1969 in New York City, to Michael Hawkins, a well-known soap actor, and Mary Jo Slater (née Lawton), a casting agent. Christian started in show business early, appearing on the soap opera The Edge of Night (1956) in 1976 at the age of 7. He went on to star in many Broadway shows in the early-1980s. He rose to fame in Hollywood after landing the role of Binx Davey in The Legend of Billie Jean (1985). He moved to Los Angeles in 1987 to pursue a further acting career after dropping out of high school. After having a starring role in the cult classic Heathers (1988), he became somewhat known as the Hollywood bad-boy, having many run-ins with the law. He is also well-known for having dated stars such as Winona Ryder, Christina Applegate, Samantha Mathis and was at one time engaged to actress/model Nina Huang. In 2000, he married Ryan Haddon, the daughter of 1970s model Dayle Haddon. The couple have two children, Jaden Christopher (b. 1999) and Eliana Sophia (b. 2001). As of early 2005, they separated and later divorced, but remain dedicated to bring up their children.- Actor
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Known for his breakthrough starring role on Freaks and Geeks (1999), James Franco was born April 19, 1978 in Palo Alto, California, to Betsy Franco, a writer, artist, and actress, and Douglas Eugene "Doug" Franco, who ran a Silicon Valley business. His mother is Jewish and his father was of Portuguese and Swedish descent.
Growing up with his two younger brothers, Dave Franco, also an actor, and Tom Franco, James graduated from Palo Alto High School in 1996 and went on to attend UCLA, majoring in English. To overcome his shyness, he got into acting while studying there, which, much to his parents' dismay, he left after only one year. After fifteen months of intensive study at Robert Carnegie's Playhouse West, James began actively pursuing his dream of finding work as an actor in Hollywood. In that short time, he landed himself a starring role on Freaks and Geeks (1999). The show, however, was not a hit to its viewers at the time, and was canceled after its first year. Now, it has become a cult-hit. Prior to joining Freaks and Geeks (1999), Franco starred in the TV miniseries To Serve and Protect (1999). After that, he had a starring role in Whatever It Takes (2000).
Although he'd been working steadily, it wasn't until the TNT made-for-television movie, James Dean (2001) that James rose to fan-magazine fame and got to show off his talent. Since then, he has been working non-stop. After losing the lead role to Tobey Maguire, James settled for the part of "Harry Osborne", Spider-Man's best friend in the summer 2002 major hit Spider-Man (2002). He returned to the Osborne role for the next two films in the trilogy.
Next was Deuces Wild (2002) and City by the Sea (2002), in which Robert De Niro personally had him cast, after viewing his performance in James Dean (2001). He was seen in David Gordon Green's Pineapple Express (2008) opposite Seth Rogen, in George C. Wolfe's Nights in Rodanthe (2008), starring Richard Gere and Diane Lane and in Paul Haggis' In the Valley of Elah (2007), starring Tommy Lee Jones. Also starring opposite Sean Penn in Gus Van Sant's Milk (2008) in which his performance earned him an Independent Spirit Award for Best Supporting Actor. Definitely growing out of his shyness, James Franco is turning into a legend of his own.- Actor
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David William Duchovny was born on August 7, 1960, in New York City, New York, USA. His father, Amram Ducovny, was a writer and publicist who was from a family of Jewish immigrants (from Ukraine and Poland), and worked for the American Jewish Committee. His mother, Margaret (Miller), was a Scottish-born school teacher. David has a sister, Laurie, and an older brother, Daniel Ducovny, an award-winning director of commercials, as well as a director of photography.
David earned an undergraduate degree from Princeton University, and also attended Yale University, where he undertook a Master's Degree in English Literature. A keen poet and writer, David's work was well recognized by his peers and teachers while he was in attendance at Yale. He was even nominated for a college prize by the Academy of American Poets for his outstanding work within the literary field. While at Yale, he began commuting to New York to study acting and was soon appearing in off-Broadway plays. In 1987, he abandoned his doctoral studies at Yale to pursue acting full time.
Like any actor or celebrity, David began his career on the bottom, by acting in numerous commercials in the late-eighties. He crossed over into films with bit parts in low key films such as New Year's Day (1989) and Bad Influence (1990). Although these parts were small and somewhat insignificant, it was a start and David was able to get his foot in the door.
In 1991, David got offered the role of DEA Dennis Bryson on the acclaimed TV series, Twin Peaks (1990). He only appeared in three episodes, but at that early stage, it was his biggest claim to fame yet, as Twin Peaks (1990) was watched by millions of people worldwide. Needless to say, David's talents as an actor would finally be recognized and he would get the acknowledgment that he so richly deserved.
In the early 1990s, he got more bit parts in films, this time, however, the films weren't "low key", but hits, such as Don't Tell Mom the Babysitter's Dead (1991) and the family favorite comedy, Beethoven (1992). David's role in Beethoven (1992) was small, but it was hard to forget the poor guy who was dragged across the lawn by the giant St. Bernard!
A year later, in 1993, David got the lead role in the independent film Kalifornia (1993). The film also starred another up-and-coming young actor, Brad Pitt. In Kalifornia (1993), David played a journalist who goes on a cross-country tour of famous murder sites with his girlfriend as research for a book he is writing about serial killers. He takes Pitt's character along to help pay the bills, unaware that Pitt's character is in fact a serial killer himself. Although it did not do much business at the box office, it is still a great film and has become somewhat of a cult favorite among fans.
That same year, David was offered the role of FBI Agent Fox "Spooky" Mulder on the long-running TV series The X-Files (1993). The show was a tremendous international success and propelled David (and his co-star Gillian Anderson) into super-stardom. His character of Mulder has become somewhat of a pop culture legend and is renowned the world over for his satirical wit and dry sense of humor. Fans loved the fact that he could keep a straight face and still crack and joke in the face of extreme danger. David improvised a lot of his own lines of dialogue while on the show and even penned and directed a few episodes. The series ended in 2002 and still has a strong, dedicated following. To date, David has reprised his role of Fox Mulder in two "X Files" feature films: The X Files (1998) and The X Files: I Want to Believe (2008).
During the initial run of The X-Files (1993), David kept busy and made several films, such as: Return to Me (2000), alongside actress Minnie Driver and the comedy favorite Evolution (2001), with Julianne Moore, Seann William Scott and Orlando Jones. He even had a hysterical cameo as a self-obsessed, simple-minded hand model in the comedy-smash Zoolander (2001).
In 2007, after a few years out of the limelight, David struck gold again after landing the plum role of Hank Moody in Californication (2007). The raunchy series follows the life of womanizing writer Hank Moody (Duchovny) as he tries to juggle his career and his relationship with his daughter and his ex-girlfriend. The show has become a hit for its off-the-wall humor and Duchovny's ability to always turn in a brilliant performance.
It may have taken a while, but David has worked his way to the top and notched up an impressive resume along the way. We can expect to see a lot more of him in the future.- Writer
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Al Capp (born Alfred Gerald Caplin) was an American cartoonist and humorist from New Haven, Connecticut. He is primarily known for creating the comic strip "Li'l Abner" (1934-1977), which depicted the lives of a fictional clan of hillbillies in an impoverished mountain village. At its prime the strip had 60 million readers in more than 900 American newspapers, and was also reprinted in 28 foreign countries. Capp won the National Cartoonists Society's Reuben Award in 1947 for Cartoonist of the Year. He posthumously won their 1979 Elzie Segar Award, for his "unique and outstanding contribution to the profession of cartooning".
In 1909, Capp was born in New Haven, Connecticut to a family of Latvian Jews. His parents were Otto Philip Caplin (1885-1964) and his wife Matilda Davidson (1884-1948). Their respective families had migrated from Latvia to the United States in the 1880s, in order to escape pogroms in the Russian Empire. Capp grew up in poverty, and had several younger siblings. His brothers Elliot and Jerome went on their own careers as cartoonists, while his sister Madeline became a publicist.
In August 1919, Capp was run down by a trolley car. He had his left leg amputated above the knee, and awoke from a days-long coma to discover that he was missing a limb. Capp was eventually given a prosthetic leg, and adopted a slow way of walking. His childhood tragedy reportedly led him to develop a darker worldview, and a more sardonic sense of humor than other cartoonists of his time. Capp's father was an amateur cartoonist, and introduced his son to drawing as a form of therapy. Capp studied the art styles of the illustrator Phil May, and the then-popular comic strip cartoonists Billy DeBeck, Rudolph Dirks, Tad Dorgan, Rube Goldberg, Milt Gross, George McManus, Fred Opper, and Cliff Sterrett.
Capp attended Bridgeport High School in Bridgeport, Connecticut, but never gained a high school diploma. In adult life, he claimed that he kept failing his geometry class. Capp subsequently wished to become a professional cartoonist, and took classes in three different art schools: the Boston Museum School of Fine Arts, the Pennsylvania Academy of Fine Arts, and the Designers Art School (located in Boston). He was kicked out of all three for nonpayment of tuition. Due to his impoverished background, Capp had trouble in financing his education.
In early 1932, Capp hitchhiked his way to New York City. He settled himself in Greenwich Village, and supported himself by drawing advertising strips for a meager fee. By March 1932, Capp had been hired as a cartoonist by the Associated Press. He was disappointed that they wanted him to take over "Colonel Gilfeather", a comic strip created by Dick Dorgan, instead of allowing him to create his own strip. He revamped the strip, but eventually grew fed up with the task. Capp left the Associated Press in September 1932, and left New York City as well. He temporarily moved back to Boston, in order to marry his girlfriend Catherine Wingate Cameron. They had met as classmates in an art class.
In 1933, Capp moved back to New York City in search of a job. He reportedly only had about 5 dollars in his pocket during his return. He was hired as a ghost writer and ghost artist for the boxing-theme comic strip "Joe Palooka", while Ham Fisher remained the strip's sole credited writer. In an early story arc for this strip, Capp introduced a new character. He was Big Leviticus, an oafish mountaineer. He turned out be a crude prototype for Lil'Abner.
While still working as a ghost writer, Capp had started developing ideas about a comic strip focused on depicting mountain-dwellers. During his teen years, Capp had hitchhiked his way through rural West Virginia and the Cumberland Valley. He believed that the locals could inspire a decent strip. Capp sold "Li'l Abner" (the new strip) to the United Feature Syndicate, and was hired as its main artist. The strip was launched on August 13, 1934, printed on only 8 different newspapers. The strip soon became much more successful, because Capp had a talent for creating outlandish characters and bizarre situations. He also included both black humor and social commentary into his stories.
Until 1934, Capp still used his real name when signing a strip. His syndicate asked him to start using a simpler name which could fir into fit into a cartoon frame. He chose Al Capp as his professional name, and had his name changed legally in 1949. Capp eventually created sub-series for his comic strip, which satirized other comic strip. The most successful of these parodies was Fearless Fosdick (1942-1977), a parody version of "Dick Tracy".
Besides the popular "Li'l Abner", Capp went on to create two other comic strips. He co-created "Abbie an' Slats" (1937-1971). The strip's protagonist duo were the spinster Abigail "Abbie" Scrapple and her orphaned cousin Aubrey Eustace "Slats" Scrapple, sharing a household. Capp remained the strip's main writer from 1937 to 1945, but was then replaced by his brother Elliot Caplin. The strip was syndicated to about 400 newspapers, but never became the major hit that Capp had hoped for. Capp then went on to co-create "Long Sam" (1954-1962), featuring a tall and attractive mountain girl as a protagonist. The strip is considered an example of "good girl art" in comics, art focusing on attractive young women in skimpy or form-fitting clothing. While briefly popular in its own right, this strip faced frequent changes in writing staff which led to an early cancellation.
During the 1950s, Capp was an outspoken liberal, and satirized politician Joseph McCarthy for (in his words) "terrifying the helpless and naive". During the 1960s, Capp's favorite targets for satire included campus radicals, hippies, and counterculture icons. He harshly criticized militant antiwar demonstrators and student political groups. Capp started being viewed as reactionary by the public at large, though he vocally supported struggles for racial equality and gay rights.
In 1972, Capp was arrested in Wisconsin on charges of "attempted adultery", as adultery was a felony in this state. He was accused of propositioning a married woman. The resulting negative publicity led to hundreds of newspapers dropping his comic strip. The popularity of "Li'l Abner" further declined over the following years, largely due to a perceived decline in Capp's own humor. Capp was in poor health at the time, and he was not as inventive as he once was. Capp announced his retirement on November 13, 1977, publicly admitting that he had stayed on longer than he should have.
In November 1979, Capp died from emphysema at his home in South Hampton, New Hampshire. His illness was caused by a lifetime of chain smoking, and he was 70-years-old at the time of his death. Capp was buried in Mount Prospect Cemetery in Amesbury, Massachusetts. Capp was posthumously inducted into the Will Eisner Award Hall of Fame in 2004. Since his death in 1979, Al Capp and his work have been the subject of more than 40 books, including three biographies.- Actor
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Alfonso Arau has had a long and fruitful career both in front of and behind the camera and is one of the most prominent Latino film-makers in Hollywood. He was a drama disciple of Seki Sano--a Japanese teacher, classmate of Lee Strasberg with Konstantin Stanislavski in Russia--and traveled the world from 1964 to 1968 with his one-man show, "Pantomime Happy Madness", after studying with Etienne Decroux and Jacques Lecoq in Paris.
A renowned writer-producer-director-actor in theater and film for more than twenty years, in 1969 he directed his first feature film, El águila descalza (1971), in which he also starred. He has directed many films in Mexico, among them Inspector Calzonzin (1974) and Mojado Power (1981). He has received six Arieles--the Mexican equivalent of the Oscar--and numerous international film awards.
Arau has acted in a number of Mexican and Hollywood films, including The Wild Bunch (1969), El Topo (1970), Mojado Power (1981), Used Cars (1980), Romancing the Stone (1984), Three Amigos! (1986) and Committed (2000). In addition to Like Water for Chocolate (1992), his directing credits include A Walk in the Clouds (1995) with Keanu Reeves and Picking Up the Pieces (2000) with Woody Allen. For television he has done The Magnificent Ambersons (2002), based on the script of Orson Welles' film version (The Magnificent Ambersons (1942)) and the novel by Booth Tarkington.- Writer
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Luc Besson spent the first years of his life following his parents, scuba diving instructors, around the world. His early life was entirely aquatic. He already showed amazing creativity as a youth, writing early drafts of The Big Blue (1988) and The Fifth Element (1997), as an adolescent bored in school. He planned on becoming a marine biologist specializing in dolphins until a diving accident at age 17 which rendered him unable to dive any longer. He moved back to Paris, where he was born, and only at age 18 did he first have an urban life or television. He realized that film was a medium which he could combine all his interests in various arts together, so he began taking odd jobs on various films. He moved to America for three years, then returned to France and formed Les Films de Loups - his own production company, which later changed its name to Les Films de Dauphins. He is now able to dive again.- Producer
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David Fincher was born in 1962 in Denver, Colorado, and was raised in Marin County, California. When he was 18 years old he went to work for John Korty at Korty Films in Mill Valley. He subsequently worked at ILM (Industrial Light and Magic) from 1981-1983. Fincher left ILM to direct TV commercials and music videos after signing with N. Lee Lacy in Hollywood. He went on to found Propaganda in 1987 with fellow directors Dominic Sena, Greg Gold and Nigel Dick. Fincher has directed TV commercials for clients that include Nike, Coca-Cola, Budweiser, Heineken, Pepsi, Levi's, Converse, AT&T and Chanel. He has directed music videos for Madonna, Sting, The Rolling Stones, Michael Jackson, Aerosmith, George Michael, Iggy Pop, The Wallflowers, Billy Idol, Steve Winwood, The Motels and, most recently, A Perfect Circle.
As a film director, he has achieved huge success with Se7en (1995), Fight Club (1999) and, Panic Room (2002).- Writer
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Chuck is a low key writer who never stops writing and taking down notes to file away for future writing. Very funny, very creative and very thought provoking. His books often make you look at yourself in ways that you would never have before. Same goes for the world, he will make you notice things that you never did. He is of French and Russian descent but his last name is from Ukraine. He gained recognition with his first book "Fight Club" which was later made into a film by 20th Century Fox. He went on to gain popularity as his later novels which include Survivor, Invisible Monsters, Choke, Lullaby, and Haunted. More recently (2003) he has written a travel book about his hometown Portland, Oregon entitled "Fugitives & Refugees". His newest novel is entitled "Rant".- Writer
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- Actor
Jim Uhls was born on 25 March 1957 in Missouri, USA. He is a writer and producer, known for Fight Club (1999), Jumper (2008) and The Leviathan. He is married to Yalda Tehranian. They have two children.- Writer
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Best known for his cerebral, often nonlinear, storytelling, acclaimed Academy Award winner writer/director/producer Sir Christopher Nolan CBE was born in London, England. Over the course of more than 25 years of filmmaking, Nolan has gone from low-budget independent films to working on some of the biggest blockbusters ever made and became one of the most celebrated filmmakers of modern cinema.
At 7 years old, Nolan began making short films with his father's Super-8 camera. While studying English Literature at University College London, he shot 16-millimeter films at U.C.L.'s film society, where he learned the guerrilla techniques he would later use to make his first feature, Following (1998), on a budget of around $6,000. The noir thriller was recognized at a number of international film festivals prior to its theatrical release and gained Nolan enough credibility that he was able to gather substantial financing for his next film.
Nolan's second film was Memento (2000), which he directed from his own screenplay based on a short story by his brother Jonathan Nolan. Starring Guy Pearce, the film brought Nolan numerous honors, including Academy Award and Golden Globe Award nominations for Best Original Screenplay. Nolan went on to direct the critically acclaimed psychological thriller, Insomnia (2002), starring Al Pacino, Robin Williams and Hilary Swank.
The turning point in Nolan's career occurred when he was awarded the chance to revive the Batman franchise in 2005. In Batman Begins (2005), Nolan brought a level of gravitas back to the iconic hero, and his gritty, modern interpretation was greeted with praise from fans and critics alike. Before moving on to a Batman sequel, Nolan directed, co-wrote, and produced the mystery thriller The Prestige (2006), starring Christian Bale and Hugh Jackman as magicians whose obsessive rivalry leads to tragedy and murder.
In 2008, Nolan directed, co-wrote, and produced The Dark Knight (2008). Co-written with by his brother Jonathan, the film went on to gross more than a billion dollars at the worldwide box office. Nolan was nominated for a Directors Guild of America (D.G.A.) Award, Writers Guild of America (W.G.A.) Award and Producers Guild of America (P.G.A.) Award, and the film also received eight Academy Award nominations. The film is widely considered one of the best comic book adaptations of all times, with Heath Ledger's performance as the Joker receiving an extremely high acclaim. Ledger posthumously became the first Academy Award winning performance in a Nolan film.
In 2010, Nolan captivated audiences with the Sci-Fi thriller Inception (2010), starring Leonardo DiCaprio in the lead role, which he directed and produced from his own original screenplay that he worked on for almost a decade. The thought-provoking drama was a worldwide blockbuster, earning more than $800,000,000 and becoming one of the most discussed and debated films of the year, and of all times. Among its many honors, Inception received four Academy Awards and eight nominations, including Best Picture and Best Screenplay. Nolan was recognized by his peers with a W.G.A. Award accolade, as well as D.G.A. and P.G.A. Awards nominations for his work on the film.
As one of the best-reviewed and highest-grossing movies of 2012, The Dark Knight Rises (2012) concluded Nolan's Batman trilogy. Due to his success rebooting the Batman character, Warner Bros. enlisted Nolan to produce their revamped Superman movie Man of Steel (2013), which opened in the summer of 2013. In 2014, Nolan directed, wrote, and produced the Science-Fiction epic Interstellar (2014), starring Matthew McConaughey, Anne Hathaway and Jessica Chastain. Paramount Pictures and Warner Bros. released the film on November 5, 2014, to positive reviews and strong box-office results, grossing over $670 million dollars worldwide.
In July 2017, Nolan released his acclaimed War epic Dunkirk (2017), that earned him his first Best Director nomination at the Academy Awards, as well as winning an additional 3 Oscars. In 2020 he released his mind-bending Sci-Fi espionage thriller Tenet (2020) starring John David Washington in the lead role. Released during the COVID-19 pandemic, the movie grossed relatively less than Nolan's previous blockbusters, though it did do good numbers compared to other movies in that period of time. Hailed as Nolan's most complex film yet, the film was one of Nolan's less-acclaimed films at the time, yet slowly built a fan-base following in later years.
In July 2023, Nolan released his highly acclaimed biographic drama Oppenheimer (2023) starring Nolan's frequent collaborator Cillian Murphy- in the lead role for the first time in a Nolan film. The movie was a cultural phenomenon that on top of grossing almost 1 billion dollars at the Worldwide Box office, also swept the 2023/2024 award-season and gave Nolan his first Oscars, BAFTAs, Golden Globes, D.G.A. and P.G.A. Awards, as well as a handful of regional critics-circles awards and a W.G.A. nomination. Cillian's performance as quantum physicist J. Robert Oppenheimer was highly acclaimed as well, and became the first lead performance in a Nolan film to win the Academy Award.
During 2023, Nolan also received a fellowship from the British Film Institute (BFI). In March 2024, it was announced that Nolan is to be knighted by King Charles III and from now on will go by the title 'Sir Christopher Nolan'.
Nolan resides in Los Angeles, California with his wife, Academy Award winner producer Dame Emma Thomas, and their children. Sir Nolan and Dame Thomas also have their own production company, Syncopy.- Director
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- Second Unit Director or Assistant Director
George Cukor was an American film director of Hungarian-Jewish descent, better known for directing comedies and literary adaptations. He once won the Academy Award for Best Director, and was nominated other four times for the same Award.
In 1899, George Dewey Cukor was born on the Lower East Side of New York City. His parents were assistant district attorney Viktor Cukor and Helén Ilona Gross. His middle name "Dewey" honored Admiral George Dewey who was considered a war hero for his victory in the Battle of Manila Bay, in 1898.
As a child, Cukor received dancing lessons, and soon fell in love with the theater, appearing in several amateur plays. In 1906, he performed in a recital with David O. Selznick (1902-1965), who would later become a close friend.
As a teenager, Cukor often visited the New York Hippodrome, a well-known Manhattan theater. He often cut classes while attending high school, in order to attend afternoon matinees. He later took a job as a supernumerary with the Metropolitan Opera, and at times performed there in black-face.
Cukor graduated from the DeWitt Clinton High School in 1917. His father wanted him to follow a legal career, and had his son enrolled City College of New York. Cukor lost interest in his studies and dropped out of college in 1918. He then took a job as an assistant stage manager and bit player for a touring production of the British musical "The Better 'Ole". The musical was an adaptation of the then-popular British comic strip "Old Bill" by Bruce Bairnsfather (1887-1959).
In 1920, Cukor became the stage manager of the Knickerbocker Players, a theatrical troupe. In 1921, Cukor became the general manager of the Lyceum Players, a summer stock company. In 1925, Cukor was one of the co-founders the C.F. and Z. Production Company. With this theatrical company, Cukor started working as a theatrical director. He made his Broadway debut as a director with the play "Antonia" by Melchior Lengyel (1880-1974).
The C.F. and Z. Production Company was eventually renamed the Cukor-Kondolf Stock Company, and started recruiting up-and-coming theatrical talents. Cukor's theatrical troupe included at various times Louis Calhern, Ilka Chase, Bette Davis, Douglass Montgomery, Frank Morgan, Reginald Owen, Elizabeth Patterson, and Phyllis Povah.
Cukor attained great critical acclaim in 1926 for directing "The Great Gatsby", an adaptation of a then-popular novel by F. Scott Fitzgerald (1896-1940). He directed six more Broadway productions until 1929. At the time, Hollywood film studios were recruiting New York theater talent for sound films, and Cukor was hired by Paramount Pictures. He started as an apprentice director before the studio lent him to Universal Pictures. His first notable film work was serving as a dialogue director for "All Quiet on the Western Front" (1930).
After returning to Paramount Pictures, he worked as aco-director. His first solo directorial effort was "Tarnished Lady" (1931), and at that time he earned a weekly salary of $1500. Cukor co-directed the film "One Hour with You" (1932) with Ernst Lubitsch, but Lubitsch demanded sole directorial credit. Cukor filed a legal suit but eventually had to settle for a credit as the film's assistant director. He left Paramount in protest, and took a new job with RKO Studios.
During the 1930s, Cukor was entrusted with directing films for RKO's leading actresses. He worked often with Katharine Hepburn (1907-2003), although not always with box-office success. He did direct such box office hits as "Little Women" (1933) and "Holiday" (1938), but also notable flops such as "Sylvia Scarlett" (1935).
In 1936, Cukor was assigned to work on the film adaptation of the blockbuster novel "Gone with the Wind" by Margaret Mitchell. He spent the next two years preoccupied with the film's pre-production, and with supervising screen tests for actresses seeking to play leading character Scarlett O'Hara. Cukor reportedly favored casting either Katharine Hepburn or Paulette Goddard for the role. Producer David O. Selznick refused to cast either one, since Hepburn was coming off a string of flops and was viewed as "box office poison," while Goddard was rumored to have had a scandalous affair with Charlie Chaplin (1889-1977) and her reputation suffered for it.
Cukor did not get to direct "Gone with the Wind", as Selznick decided to assign the directing duties to Victor Fleming (1889-1949). Cukor's involvement with the film was limited to coaching actresses Vivien Leigh (1913-1967) and Olivia de Havilland (1916-). Similarly, the very same year, Cukor also failed to receive a directing credit for "The Wizard of Oz" (1939), though he was responsible for several casting and costuming decisions for this iconic classic.
In this same period, Cukor did direct an all-female cast in "The Women" (1939), as well as Greta Garbo's final motion picture performance in "Two-Faced Woman" (1941). Then his film career was interrupted by World War II, as he joined the Signal Corps in 1942. Given his experience as a film director, Cukor was soon assigned to producing training and instructional films for army personnel. He wanted to gain an officer's commission, but was denied promotion above the rank of private. Cukor suspected that rumors of his homosexuality were the reason he never received the promotion.
During the 1940s, Cukor had a number of box-office hits, such "A Woman's Face" (1941) and "Gaslight" (1944). He forged a working alliance with screenwriters Garson Kanin and Ruth Gordon, and the trio collaborated on seven films between 1947-1954.
Until the early 1950s, most of his Cukor's films were in black-and-white, and his first film in Technicolor was "A Star Is Born" (1954), with Judy Garland as the leading actress. Casting the male lead for the film proved difficult, as several major stars were either not interested in the role or were considered unsuitable by the studio. Cukor had to settle for James Mason as the male lead, but the film was highly successful and received 6 Academy Award nominations. But Cukor was not nominated for directing.
He had a handful of critical successes over the following years, such as Les Girls (1957) and "Wild Is the Wind" (1957), and also helmed the unfinished "Something's Got to Give" (1962), which had a troubled production and went at least $2 million over budget before it was terminated.
Cukor had a comeback with the critically and commercially successful "My Fair Lady," one of the highlights of his career., for which he won both an Academy Award and a Golden Globe Award for Best Director, along with the Directors Guild of America Award. However, his career very quickly slowed down, and the aging Cukor was infrequently involved with new projects.
Cukor's most notable film in the 1970s was the fantasy The Blue Bird (1976) , which was the first joint Soviet-American production. It was a box-office flop, though it received a nomination for the Saturn Award for Best Fantasy Film and was groundbreaking for its time. Cukor's swan song was "Rich and Famous" (1981), depicting the relationship of two women over a period of several decades., played by co-stars Jacqueline Bisset and Candice Bergen, Cukor's final pair of leading ladies.
He retired as a director at the age of 82, and died a year later of a heart attack in 1983. At the time of his death, his net worth was estimated to be $2,377,720. He was buried at the Forest Lawn Memorial Park in Glendale, CA. Cukor was buried next to his long-time platonic friend Frances Howard (1903-1976), the wife of legendary studio mogul Samuel Goldwyn.- Actor
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Michael Landon was born Eugene Maurice Orowitz, on Saturday, October 31st, 1936, in Forest Hills, Queens, New York. In 1941, he and his family moved to Collingswood, New Jersey.
When Eugene was in high school, he participated -- and did very well -- in track and field, especially javelin throwing, and his athletic skills earned him a scholarship to USC. However, an accident injured his arm, ending his athletic career -- and his term at USC -- and he worked a number of odd jobs and small roles to make ends meet and decided that acting was for him. However, he thought that his real name was not a suitable one for an aspiring actor, and so "Michael Landon" was born.
Two of his first big roles were as Tony Rivers in I Was a Teenage Werewolf (1957) and as Tom Dooley in the western The Legend of Tom Dooley (1959). That same year he was approached by producer David Dortort to star in a pilot called The Restless Gun (1957), which was renamed when the series was picked up to Bonanza (1959). Landon played Little Joe Cartwright, the youngest of the three Cartwright brothers, a cocky and somewhat rebellious youth nevertheless had a way with the ladies. For 14 years, Landon became the heart and soul of the show, endearing himself to both younger and older viewers, and he became a household name during the 1960s and 1970s.
In 1968, after almost ten years of playing Little Joe, he wanted an opportunity to direct and write some episodes of the show. After the season finale in 1972, Dan Blocker, who played his older brother Hoss and was also a close friend, died from a blood clot in his lung, after gall bladder surgery, but Michael decided to go back to work, revisiting his own character in a two-part episode called "Forever."
Bonanza (1959) was finally canceled in early 1973, after 14 years and 430 episodes. Michael didn't have to wait long until he landed another successful role that most TV audiences of the 1970s would thoroughly enjoy, his second TV western, for NBC, Little House on the Prairie (1974). That show was based on a popular book written by Laura Ingalls Wilder, and he played enduring patriarch and farmer Charles Ingalls. Unlike Bonanza (1959), where he was mostly just a "hired gun," on this show he served as the producer, writer, director, and executive producer. By the end of its eighth season in 1982, Landon decided to step down from his role on "Little House" as he saw his TV children grown up and moved out of their father's house, and a year later, the show was canceled. After 14 years on Bonanza (1959) and 8 years on Little House on the Prairie (1974), it was about time to focus on something else, and once again, he didn't have to wait too long before Highway to Heaven (1984) came along. Unlike the western shows that he did for 23 years, this NBC fantasy/drama show focused on Jonathan Smith, an angel whose job was to save peoples' lives and work for God, his boss. Victor French played ex-cop Mark Gordon, who turned down a fortune but had redeemed himself by meeting Jonathan.
By the end of the fifth season in 1989, French was diagnosed with lung cancer and died in June of that same year. Landon was devastated by the loss and pulled the plug on Highway to Heaven (1984). In early 1991, after 35 years of working on NBC, he was axed by the network, so he moved to CBS to star in the pilot of a two-hour movie, Us (1991), in which he played Jeff Hayes, a man freed from prison by new evidence after 18 years wrongfully spent inside. This was going to be another one of Landon's shows but, in April 1991, he was diagnosed with pancreatic cancer. He later appeared on The Tonight Show Starring Johnny Carson (1962) to talk about his battle with the disease, and many people in the audience were affected by the courage and energy he showed. Unfortunately, he was already terminally ill by that time, and on Monday, July 1st, 1991, after a three-month battle, he finally succumbed to the disease. His family, his colleagues, and his children were all by his side. His life-time: Saturday, October 31st, 1936 to Monday, July 1st, 1991, was 19,966 days, equaling 2,852 weeks & 2 days.- Additional Crew
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- Music Department
Neil Portnow was born on 5 April 1948 in Manhattan, New York City, New York, USA. He is a producer, known for A Nightmare on Elm Street: The Dream Child (1989), Great Performances (1971) and Permanent Record (1988).