Personnalités qui méritent une rétrospective
(compte tenu du contexte belge)
Et je parle de rétrospectives complètes à l'ancienne, pas d'une sélection de trois blu-ray selon la subjectivité des Flamoutchs non qualifiés qui ont détourné la « Cinematok » de Gerbik.
Et je parle de rétrospectives complètes à l'ancienne, pas d'une sélection de trois blu-ray selon la subjectivité des Flamoutchs non qualifiés qui ont détourné la « Cinematok » de Gerbik.
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- Writer
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Rowland Brown was born on 6 November 1897 in Akron, Ohio, USA. He was a writer and director, known for Angels with Dirty Faces (1938), Blood Money (1933) and Hell's Highway (1932). He was married to Karen van Ryan and Marie Helis. He died on 6 May 1963 in Costa Mesa, California, USA.- Actor
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Swiss-born actor Howard Vernon (né Mario Lippert) would make his infamous claim to fame as a stock lead player for the lowgrade, campy horror features of notorious director Jesús Franco, starring as Dr. Orloff, Dracula, and other terrorizers, most of them produced in Spain or France. Born in 1914 the son of a Swiss father and American mother, Howard received his dramatic training in both Berlin and Paris and was originally a stage and radio player (from 1945) before arriving in post-war French films. He articulated and personified a number of nefarious Nazis and sinister criminals in his five-decade career, although he could grab a sympathetic role from time such as in the French film The Silence of the Sea (1949), which remains one of his best. Occasionally a still photographer, he forged a long, non-creative association beginning in the early 1960s with cult director Jess Franco following his good showing for Fritz Lang in _Tausend Augen des Dr. Mabuse, Die (1960)_ [The 1,000 Eyes of Dr. Mabuse]. With his piercing gaze and gravely-voiced he entered into an enduring alliance with Franco, albeit in dreadful schlock. It began promisingly enough with the horror classic The Awful Dr. Orlof (1962) [The Awful Dr. Orloff] in which he portrayed the creepy title role with a slightly sympathetic countenance, but his appearances quickly degenerated into cheap exploitation, void of deserving artistic merit. He died in Paris shortly after his 82nd birthday.- Writer
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The director and screenwriter Sadao Yamanaka (1909-1938) is a key figure in the development of early Japanese cinema. Although he made 27 films over a six-year period, only three of them survived in nearly complete form: Sazen Tange and the Pot Worth a Million Ryo (1935), Humanity and Paper Balloons (1937), and Priest of Darkness (1936). These films represent the diversity of genres and elegant visual style Yamanaka chose. Moreover, he contributed to the establishment of the jidaigeki genre, or historical drama. After being drafted into the Imperial Japanese Army, Yamanaka tragically died of dysentery on the front in Manchuria aged 28.Selon l'encyclopédie vivante Rintarô, ce cinéaste est aussi important que Yasujirō Ozu.
Seulement trois de ses films sont parvenus jusqu'à nous, conséquence de la seconde guerre mondiale.- Director
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Doris Wishman was born on 1 June 1912 in New York City, New York, USA. She was a director and producer, known for Satan Was a Lady (2001), Nude on the Moon (1961) and Keyholes Are for Peeping (1972). She was married to Louis Silverman and Jack Abrahms. She died on 10 August 2002 in Miami, Florida, USA.- Cinematographer
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Italian director Mario Bava was born on July 31, 1914 in the coastal northern Italian town of Sanremo. His father, Eugenio Bava (1886-1966), was a cinematographer in the early days of the Italian film industry. Bava was trained as a painter, and when he eventually followed his father into film photography his artistic background led him to a strong belief in the importance of visual composition in filmmaking.
Other than a series of short films in the 1940s which he directed, Bava was a cinematographer until 1960. He developed a reputation as a special effects genius, and was able to use optical trickery to great success. Among the directors for whom Bava photographed films were Paolo Heusch, Riccardo Freda, Jacques Tourneur and Raoul Walsh. While working with Freda on Lust of the Vampire (1957) in 1956, the director left the project after an argument with the producers and the film mostly unfinished. Bava stepped in and directed the majority of the movie, finishing it on schedule. This film, also known as "The Devil's Commandment", inspired a wave of gothic Italian horror films. After a similar incident occurred on Freda's Caltiki, the Immortal Monster (1959), and Bava's having been credited with "saving" Tourneur's The Giant of Marathon (1959), Galatea urged Bava to direct any film he wanted with their financing.
The film that emerged, Black Sunday (1960), is one his most well known as well as one of his best. This widely influential movie also started the horror career of a beautiful but then unknown British actress named Barbara Steele. While Black Sunday is a black and white film, it was in the color milieu that the director excelled. The projects which followed began to develop stunning photography, making great use of lighting, set design, and camera positioning to compliment mise-en-scenes bathed in deep primaries. Through works such as Hercules in the Haunted World (1961), The Whip and the Body (1963), and Planet of the Vampires (1965), Bava's films took on the look of works of art. In the films The Evil Eye (1963) and Blood and Black Lace (1964), he created the style and substance of the giallo, a genre which would be perfected in the later films of Dario Argento.
Bava worked in many popular genres, including viking films, peplum, spaghetti westerns, action, and even softcore, but it is his horror films and giallo mystery films which stand out and for which he is best remembered. Recommended are Black Sunday (1960), The Whip and the Body (1963), Blood and Black Lace (1964), Kill, Baby... Kill! (1966), A Bay of Blood (1971), and Lisa and the Devil (1973). Bava's son Lamberto served as his assistant on most of his films since 1965, and since 1980 has been a director himself. Lamberto Bava's films include Macabre (1980), Demons (1985) and Body Puzzle (1992).
But after the commercial failure of his later films, as well as the unreleased works of Rabid Dogs (1974), Bava went into a decline and by 1975, retired from filmmaking all together. He was persuaded to come out of retirement at the request of his son, Lamberto, to direct Shock, as well as a made-for-Italian television movie. Mario Bava died from a sudden heart attack on April 27, 1980 at age 65. With his death, an era in Italian filmmaking had come to a close.Cela fait plus de vingt ans que j'attends désespérément une rétrospective à Bxl du plus grand maître de la couleur.
Non seulement il n'y a jamais de rétrospective, mais, de surcroît, ses films sont rarement, et même pour la plupart jamais projetés.- Director
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Brilliant, distinguished American director, particularly of Westerns, whose simple, bleak style disguises a complex artistic temperament. The adopted son of a wealthy hardware retailer, Boetticher attended Culver Military Academy and Ohio State University, where he excelled in football and boxing.
Following his schooling Boetticher, something of an adventurer, went to Mexico and transformed himself into a formidable professional matador. His school chum, Hal Roach Jr., used his film connections to get Boetticher minor jobs in the film industry, most importantly the job of technical adviser on the bullfighting romance Blood and Sand (1941). By studying the work of the film's director, Rouben Mamoulian, and from editor Barbara McLean, he gained a thorough grounding in filmmaking.
After an apprenticeship as a studio messenger and assistant director, he was given a chance to direct, first retakes of scenes from other directors' films, then his own low-budget projects. For producer John Wayne Boetticher filmed his first prominent work, a fictionalization of his own experiences in Mexico, Bullfighter and the Lady (1951), although the work was re-edited without Boetticher's approval by his mentor, John Ford (the director's cut was restored several decades later).
Following a number of sprightly but inconsequential programmers in the early 1950s, Boetticher formed a partnership with actor Randolph Scott which, with the participation of producer Harry Joe Brown and writer Burt Kennedy, led to a string of the most memorable Western films of the 1950s, including 7 Men from Now (1956) and The Tall T (1957). He directed a sharp gangster film, The Rise and Fall of Legs Diamond (1960), then, with his wife Debra Paget, left for Mexico to film a monumental documentary on famed matador Carlos Arruza. The travail of the next seven years, which Boetticher detailed in his autobiography "When In Disgrace", included near-fatal illness, divorce, incarceration in jails, hospitals and an insane asylum, and the accidental deaths of Arruza and most of the film crew. The film, Arruza (1972), was both an exquisite documentary and a testament to Boetticher's immutable drive. Though he returned to Hollywood to form a partnership with Audie Murphy, they completed only one film together before Murphy's death in 1971.
Since then Boetticher completed another documentary and had announced several feature films in preparation. He died at age 85.Réalisateur de nombreux solides westerns traditionnels de séries B en couleurs, de la fin des années 1950.
Son acteur récurent est Randolph Scott.
La plupart de ses tournages, comprenant de nombreux décors réels intelligemment filmés, duraient moins de deux semaines.
Ses films durent généralement moins de 80 minutes.
Les quatre sommets de sa carrière seraient le néo-classique "Sept homme à abattre"/"Seven Men From Now" (1956), "L'homme de l'Arizona"/"The Tall T" (1957), "La chevauchée de la vengeance"/"Ride Lonesome" (1959) et "Comanche Station" (1960), tous avec Randolph Scott.
Il y a aussi notamment "À feu et à sang"/Cimarron Kid" (1952), "Le déserteur de Fort Alamo"/"The Man from the Alamo" (1953), l'ironique "L'aventurier du Texas"/ Buchanan Rides Alone" (1958) avec Randolph Scott et "La chute d'un caïd"/"The Rise and Fall of Legs Diamond" (1960 ; biographie d'un gangster des années 1920.)
Ils ne sont jamais projetés en Belgique. Ils sont pourtant reconnus en France depuis leur sortie. Et bien cotés par les cinéphiles de tous pays.
Ses westerns ont fait la transition entre les westerns classiques et ceux de Sam Peckinpah et Sergio Leone.
Budd Boetticher a contribué à lancer la carrière d'acteurs comme Lee Marvin ou Warren Oates.
« Le chaînon manquant entre le classicisme de Hawks et la modernité d'un Monte Hellman. » (Nathalie Dray)
Un peu dans la même veine, il y aurait aussi "Rio Conchos" (1964) de Gordon Douglas.- Director
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Roy Ward Baker's first job in films was as a teaboy at the Gainsborough Studios in London, England, but within three years he was working as an assistant director. During World War II, he worked in the Army Kinematograph Unit under Eric Ambler, a writer and film producer, who, after the war, gave Baker his first opportunity to direct a film, The October Man (1947). He then went to Hollywood in 1952 and stayed for seven years, returning to Britain in 1958, when he directed one of his best films, A Night to Remember (1958). During the 1960s and 1970s, Baker directed a number of horror films for Hammer and Amicus. He also directed in British television, especially during the latter part of his career.Tout bon réalisateur de deuxième division (notamment "Don't Bother to Knock/Troublez-moi ce soir" en 1952, "A Night to Remember/Atlantique, latitude 41°" en 1958, "Quatermass and the Pit/Les monstres de l'espace" en 1967, "Dr. Jeckyll et sister Hyde" en 1971.)- Director
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Dino Risi became a movie director by chance. In 1940 he met Alberto Lattuada at a friend's boutique. Lattuada told him they needed an assistant director for the movie Piccolo mondo antico (1941). Risi accepted just for fun, not for work. Later, he became a psychiatrist and wrote some articles for a local newspaper in his spare time.
After the Second World War, he met a producer who financed his short films. One of these, Buio in sala (1950), was bought by Carlo Ponti. At that point, Risi decided to become a movie director. So he went to Rome and wrote the plot of Poor But Beautiful (1957) which made him famous. But the film that changed his life forever was The Easy Life (1962). At the opening night, Risi and producer Mario Cecchi Gori were waiting outside the movie theater. They were worried because no viewers had been coming to see the movie. So Risi went back home with much disappointment. However, the next day all the tickets were sold out and Risi became a star.- Cinematographer
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Massimo Dallamano was born on 17 April 1917 in Milan, Lombardy, Italy. He was a cinematographer and writer, known for A Fistful of Dollars (1964), Tierra mágica (1959) and What Have You Done to Solange? (1972). He died on 14 November 1976 in Rome, Lazio, Italy.- Director
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Ted Post first began thinking about a career in show business in 1938, when he was working as a weekend usher at the Loew's Pitkin Theater in Brooklyn, New York, and getting so caught up in the movies that he would sometimes forget to escort the patrons to their seats. He received some acting training at the workshop of Tamara Daykarhanova, but later set aside the dream of becoming a performer and segued into directing summer theater. In the mid- to late 1940s, Post made a name for himself in the theater and then moved into the adventurous arena of early television.
He has since directed numerous segments of TV's top series (Gunsmoke (1955), Perry Mason (1957), The Twilight Zone (1959), "Columbo," many more) and feature films ranging from Clint Eastwood's Hang 'Em High (1968) and Magnum Force (1973) to Beneath the Planet of the Apes (1970). Returning to his theater roots, Post recently directed the 2001-02 Festival of the Arts at Bel-Air's University of Judaism.- Producer
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By the early 1950s, future movie mogul Samuel Z. Arkoff was a brash 30-ish lawyer scratching out a living by representing his in-laws and the Hollywood fringe, which included many of now infamous director/angora-clad transvestite Edward D. Wood Jr.'s social circle. As a shark, Arkoff was physically imposing and capable of scaring the snot out of anyone who opposed him. One of his penny ante clients was Alex Gordon, a screenwriter who had submitted an unsolicited script to Realart Pictures, an outfit that was profitably re-releasing 20-year-old movies, often under new titles conjured up by its owner, Jack Broder. One such film, Man Made Monster (1941), had just been re-issued as "The Atomic Monster", coincidentally the same title of Gordon's screenplay. Arkoff, smelling blood in the water, paid Broder a visit and, incredibly, obtained a $500 settlement. Broder's sales manager, James H. Nicholson, was dumbfounded by Arkoff's ability to extract a dime, let alone $500, out of his notoriously tightfisted boss. He met with Arkoff and proposed a partnership, which led to the formation of American Releasing Corp. in 1954. The company's first release was Monster from the Ocean Floor (1954), a low-budget feature by 29-year-old producer'Roger Corman'. Made for less than $50,000, it netted $850,000 and Corman was brought into the fold as a silent partner. By 1955 the company was renamed American-International Pictures, generally known as AIP in the industry. Initially focusing on westerns on the premise that shooting on location was cheaper than renting space in a studio. Although the films were profitable, Arkoff was unhappy with the returns and solicited theater owners for advice on what types of films filled seats.
By the mid-'50s, thanks to television, movie audience numbers had dwindled considerably, with the key demographic now teenagers and young adults, who craved horror movies and, especially, drive-ins (where they could gather together without their parents). AIP jumped into the horror genre with both feet and made a fortune. Under the aegis of Nicholson and Arkoff, the company survived in a constricting industry by catering to the whims of the teenage trade and adapting to trends. AIP's long (350-plus) roster of kitsch classics, running the gamut from horror to rock-'n'-roll, from juvenile delinquency to Italian muscle men and from Edgar Allan Poe to Annette Funicello, have formed their own unique niche in film history. His company became infamous for clever advertising schemes that were often more entertaining than the films themselves. Arkoff never tolerated egos and his films were more often than not profitable, thanks to tight budgets and a clear understanding of the company's target market. After Nicholson's 1972 resignation, Arkoff assumed full control of the company and remained in charge until the 1979 merger with Filmways prompted his own departure. He then became the head of Arkoff International Pictures.- Producer
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Dino De Laurentiis left home at age 17 to enrol in film school, supporting himself as an actor, extra, propman, or any other job he could get in the film industry. His persistence paid off, and by the time he reached his 20th birthday he already had one produced film under his belt. After serving in the Italian army during World War II, De Laurentiis went back into film production, and in 1946 scored a critical and commercial international hit with Bitter Rice (1949) ("Bitter Rice"). He later married its star, Silvana Mangano. De Laurentiis eventually formed a partnership with producer Carlo Ponti, and the team had a string of hits, including several by director Federico Fellini. After the partnership dissolved, De Laurentiis embarked on a plan to build his own studio facilities, which would enable him to make the kind of massive spectacles he wanted to make. The studio complex, called Dinocitta', eventually was forced to close down due to a combination of hard times in the Italian film industry and a string of flops by De Laurentiis himself. De Laurentiis eventually sold the property to the Italian government and moved his base of production to the United States. He again opened up a film production complex in Wilmington, North Carolina, called DEG Studios, but was eventually forced by economic conditions to sell that, too. De Laurentiis has had some critical successes since his move to the U.S. (Ragtime (1981)), but most of his U.S. productions have been critically lambasted, although several have been commercial successes.- Director
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Arne Mattsson was born on 2 December 1919 in Uppsala, Uppsala län, Sweden. He was a director and writer, known for One Summer of Happiness (1951), För min heta ungdoms skull (1952) and Hemsöborna (1955). He was married to Elsa Prawitz. He died on 28 June 1995 in Sweden.- Director
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London-born Michael Anderson began his career in films as an office boy at Elstree studios. By 1938, he had progressed up the ladder to become assistant director for distinguished film makers Noël Coward, David Lean and Anthony Asquith. Shortly after, during wartime with the Royal Signals Corps (Army Kinematograph Service), Anderson made the acquaintance of Peter Ustinov. Upon demobilisation, the 24-year old up-and-coming director secured the release from the military of his 'favourite corporal' and mentor to work as first assistant on Secret Flight (1946) and Vice Versa (1948). For Ustinov's third venture, Private Angelo (1949), Anderson both co-directed and co-wrote the screenplay, but the picture that first put him on the map was to be the patriotic wartime drama The Dam Busters (1955), based on true events. Britain's most successful film of 1955, in turn, led to Anderson being hired by Mike Todd to direct the all-star blockbuster Around the World in 80 Days (1956). A hugely popular box-office hit and winner of five Academy Awards, it elevated Anderson into the realm of more ambitious international productions.
His strong visual style -- in no small way complemented by a fruitful and long-standing collaboration with the cinematographer Erwin Hillier -- became ideally suited for suspenseful thrillers and action subjects like Chase a Crooked Shadow (1958), the sub-Hitchcockian psychological whodunnit The Naked Edge (1961) or the underrated maritime drama The Wreck of the Mary Deare (1959) (based on a novel by Hammond Innes and originally intended for Alfred Hitchcock who went on to do North by Northwest (1959) instead). Another little gem is the intricately plotted spy thriller The Quiller Memorandum (1966), tautly directed and noteworthy for supremely well captured Berlin exteriors (a familiarity which stemmed from Anderson having spent some of his early childhood in Berlin and Hillier having worked at Ufa in the 20s before collaborating on Fritz Lang's classic thriller M (1931)). According to Hillier, Anderson also had a reputation for being "superb at handling actors". This is reflected in his films which have often featured big name stars like Gary Cooper, Charlton Heston, Laurence Olivier or Alec Guinness.
Moving into science fiction, Anderson made style triumph over content with his (for the time) expensively made dystopian thriller Logan's Run (1976). Though not a big success with critics, the picture won at the box office and helped MGM out of its financial doldrums. Also in this genre, but with less distinction, Anderson directed Millennium (1989) and a miniseries, The Martian Chronicles (1980). A foray into the world of comic strip heroes, Doc Savage: The Man of Bronze (1975), proved to be one of his rare failures. His more recent work of note has included the Gemini Award-winning TV movie Young Catherine (1991), based on the early life of Russia's Catherine the Great. Vanessa Redgrave, who played Empress Elizabeth, was also nominated for a Primetime Emmy in the Supporting Actress category.
In 1957, Anderson received the Silver Medallion for outstanding work from the Screen Director's Guild of America and was in 2012 also honoured with a Lifetime Achievement Award from the Directors Guild of Canada. A Canadian resident since the 1970s, Anderson passed away at his home on the Canadian Sunshine Coast in British Columbia on April 25 2018 at the age of 98.- Writer
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Joaquín Luis Romero Marchent was born on 26 August 1921 in Madrid, Madrid, Spain. He was a writer and director, known for Juzgado permanente (1954), Cut-Throats Nine (1972) and El juego del adulterio (1973). He was married to Ángela Caballero. He died on 16 August 2012 in Madrid, Spain.- Director
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Carlo Lizzani was born on 3 April 1922 in Rome, Lazio, Italy. He was a director and writer, known for The Violent Four (1968), Chronicle of Poor Lovers (1954) and Celluloide (1996). He was married to Edith Bieber. He died on 5 October 2013 in Rome, Lazio, Italy.- Writer
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Damiano Damiani was born on 23 July 1922 in Pasiano di Pordenone, Friuli-Venezia Giulia, Italy. He was a writer and director, known for Mafia (1968), The Reunion (1963) and Confessions of a Police Captain (1971). He died on 7 March 2013 in Rome, Lazio, Italy.- Producer
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Alex Gordon and his equally movie-crazy brother Richard Gordon haunted English movie theaters as boys before emigrating to New York in 1947. Richard remained East Coast-based as he forged a career as a film distributor and producer, while Alex set down roots in Hollywood, where he got in on the ground floor at AIP and produced the company's Day the World Ended (1955), The She-Creature (1956) and many more. He later left AIP to become an independent producer, turning out such films as The Atomic Submarine (1959), The Underwater City (1962) and the westerns The Bounty Killer (1965) and Requiem for a Gunfighter (1965). After his producing career wrapped, Alex accepted a position at 20th Century-Fox, where he instituted a film restoration program and rediscovered more than 30 Fox films that had been considered lost. In 1976, he left Fox for the Gene Autry Organization, becoming vice-president of a company owned by the B-western hero he had admired as a boy (Alex had been the president of the British Gene Autry Fan Club) and worked for as a young man (he was advance man on Autry's cross-country personal appearance tours in the 1950s).- Director
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Irvin Kershner was born on April 29, 1923 in Philadelphia, Pennsylvania. A graduate of the University of Southern California film school, Kershner began his career in 1950, producing documentaries for the United States Information Service in the Middle East. He later turned to television, directing and photographing a series of documentaries called "Confidential File". Kershner was one of the directors given his first break by producer Roger Corman, for whom he shot Stakeout on Dope Street (1958). The main theme that runs through many of his films is social alienation and human weaknesses - although his biggest commercial success was the science fiction blockbuster Star Wars: Episode V - The Empire Strikes Back (1980). Irvin Kershner died at age 87 of lung cancer in his home in Los Angeles, California on November 27, 2010.Ancien prof de cinéma de Georges Lucas. Après avoir réalisé le giallo de John Carpenter, il reprendra avec panache "Star Wars", "James Bond" et "Robocop".- Director
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Yannick Bellon was born on 6 April 1924 in Biarritz, Pyrénées-Atlantiques, France. She was a director and writer, known for La femme de Jean (1974), Somewhere, Someone (1972) and The Cheat (1984). She was married to Henri Magnan. She died on 2 June 2019 in Paris, France.- Terry Southern began writing satirical, outrageous fiction at the age of 12, when he took it upon himself to rewrite various Edgar Allan Poe stories "because they didn't go far enough". After serving as a lieutenant in the army in World War II, he began writing short stories in earnest while studying at the Sorbonne. "The Accident", published in the premier issue of The Paris Review, was the first short story to appear in that magazine. According to Peter Matthiessen, "The Sun and the Stillborn Stars", also by Terry, determined the course of The Paris Review as a venue for short fiction. He admired and befriended influential British novelist Henry Green, who convinced Andre Deutsch to publish his first novel, "Flash and Filigree" (1958). Residing with his first wife Carol in Geneva, he spent days conjuring surrealistic exploits for billionaire trickster Guy Grand in "The Magic Christian" (1958) while at the same time writing Candy (1958) for Maurice Girodias' Olympia Press. He and Gregory Corso presented William Burroughs' beat masterwork "Naked Lunch" to Girodias, convincing him to publish it. Terry published numerous short stories in England, France and America, (anthologized in "Red Dirt Marijuana and Other Tastes"), and co-edited "Writers in Revolt; an Anthology of the Most Controversial Writing in the World Today" (1962) with Alex Trocchi and Richard Seaver.
After settling in an old farmhouse in Connecticut, Terry began contributing regularly to Esquire Magazine. One of his assignments was to interview director Stanley Kubrick, who subsequently invited him to employ his satirical skills on the "Dr. Strangelove" screenplay (1964). A rewarding period in Hollywood followed, including screenplays for the films The Loved One (1965), The Collector (1965), The Cincinnati Kid (1965), Casino Royale (1967) and Barbarella (1968). Terry helped inaugurate the independent film movement by co-authoring Easy Rider (1969) and writing and co-producing The End of the Road (1976) with his old Paris/Greenwich Village hipster soulmate Aram Avakian - filmed entirely on-location in the Berkshires with Actors Studio cast and a non-union crew (including James Earl Jones, Stacy Keach and Gordon Willis). After the publication of the novel "Blue Movie" (1970), he turned to screenwriting full-time, working on original scripts, adaptations and speculative assignments throughout the 70s and 80s.
During this difficult period, when films and "quality-lit" (a phrase he coined) moved from character-driven stories to action-packed blockbuster, the IRS repeatedly attempted to reclaim over $150,000 in unpaid taxes owed from the mid-sixties. He was hired in the early-eighties by Michael O'Donoghue to write for Saturday Night Live (1975), and wrote "The Telephone" (1986) with singer-songwriter Harry Nilsson. With legitimate film work increasingly elusive, Terry taught Screenwriting at both NYU and Columbia University from the late 80s until his death in 1995. His last novel, "Texas Summer", was released by Arcade Books in 1992. His novels "The Magic Christian", "Flash and Filigree", "Blue Movie" and "Candy" are available through Grove Atlantic. A new collection, "Now Dig This; The Unspeakable Writings of Terry Southern 1950-1995" was released by Grove in 2001, as was Terry's biography by Lee Hill, "A Grand Guy, the Art and Life of Terry Southern" (Harper Collins). - Director
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After ten years as assistant director to his father 'Leopoldo Torre Rios' he co-directed two films with him. His first personal work was "Graciela (1956)", an adoption from the novel 'Nada' of 'Carmen Laforet' which was made out of reach of the censorship of 'General Perón'. Later on Torre Nilsson filmed a lot of productions based on stories of his wife Beatriz Guido; e.g. "La casa del angel (1957)", "Fin de fiesta (1960)" or "Piedra libre (1975)".- Producer
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Dick Randall was a jolly and colorful film producer who specialized in blithely trashy low-budget exploitation pictures. Randall was born as Irving Reuben on March 3, 1926, in the Catskill Mountains, New York. He started his show-business career as a writer: he penned gags for Milton Berle and contributed to various 1950s television quiz shows. Randall initially got into films as a distributor, then began producing his own features. Dick made a slew of movies all over the world in such diverse genres as mondo documentaries (Mondo Inferno (1964) The Wild Wild World of Jayne Mansfield (1968)), low-rent horror (Kong Island (1968), The Mad Butcher (1971), Frankenstein's Castle of Freaks (1974), Crocodile (1979)), giallo murder mystery thrillers (The Girl in Room 2A (1974), The French Sex Murders (1972)), martial-arts action (Snake Fist Fighter (1973), Zui she xiao zi (1980), Challenge of the Tiger (1980)), secret agent action thrillers (Death Dimension (1978), Y'ur Height Only (1981)), soft-core sleaze (Le journal érotique d'une Thaïlandaise (1980), The Daughter of Emanuelle (1975), The Erotic Adventures of Robinson Crusoe (1976)) and slasher schlock (Pieces (1982), Don't Open Till Christmas (1984), Slaughter High (1986)). Moreover, Randall also either wrote the story or co-wrote the scripts for several of his films and occasionally appeared in quirky small roles. He was married to singer Corliss Randall, who appeared in a few of his pictures and worked behind the scenes on several of them as well. His last film was the twisted horror black comedy Living Doll (1990). Dick Randall died from a stroke at age 70 on May 14, 1996, in London, England.- Producer
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Roger William Corman was born April 5, 1926, in Detroit, Michigan. Initially following in his father's footsteps, Corman studied engineering at Stanford University, but, while in school, he began to lose interest in the profession and developed a growing passion for film. Upon graduation, he worked a total of three days as an engineer at US Electrical Motors, which cemented his growing realization that engineering wasn't for him. He quit and took a job as a messenger for 20th Century Fox, eventually rising to the position of story analyst.
After a term spent studying modern English literature at England's Oxford University and a year spent bopping around Europe, Corman returned to the US, intent on becoming a screenwriter/producer. He sold his first script in 1953, "The House in the Sea," which was eventually filmed and released as Highway Dragnet (1954).
Horrified by the disconnect between his vision for the project and the film that eventually emerged, Corman took his salary from the picture, scraped together a little capital and set himself up as a producer, turning out Monster from the Ocean Floor (1954). Corman used his next picture, The Fast and the Furious (1954), to finagle a multi-picture deal with a fledgling company called American Releasing Corp. (ARC). It would soon change its name to American-International Pictures (AIP) and with Corman as its major talent behind the camera, would become one of the most successful independent studios in cinema history.
With no formal training, Corman first took to the director's chair with Five Guns West (1955) and over the next 15 years directed 53 films, mostly for AIP. He proved himself a master of quick, inexpensive productions, turning out several movies as director and/or producer in each of those years--nine movies in 1957, and nine again in 1958. His personal speed record was set with The Little Shop of Horrors (1960), which he shot in two days and a night.
In the early 1960s, he began to take on more ambitious projects, gaining a great deal of critical praise (and commercial success) from a series of adaptations of Edgar Allan Poe stories, most of them starring Vincent Price. His film The Intruder (1962) was a serious look at racial integration in the South, starring a very young William Shatner. Critically praised and winning a prize at the Venice Film Festival, the movie became Corman's first--and, for many years, only--commercial flop. He called its failure "the greatest disappointment in my career." As a consequence of the experience, Corman opted to avoid such direct "message" films in the future and resolved to express his social and political concerns beneath the surface of overt entertainments.
Those messages became more radical as the 1960s wound to a close and after AIP began re-editing his films without his knowledge or consent, he left the company, retiring from directing to concentrate on production and distribution through his own newly formed company, New World Pictures. In addition to low-budget exploitation flicks, New World also distributed distinguished art cinema from around the world, becoming the American distributor for the films of Ingmar Bergman, Akira Kurosawa, Federico Fellini, François Truffaut and others. Selling off New World in the 1980s, Corman has continued his work through various companies in the years since--Concorde Pictures, New Horizons, Millenium Pictures, New Concorde. In 1990, after the publication of his biography "How I Made A Hundred Movies in Hollywood And Never Lost A Dime"--one of the all-time great books on filmmaking--he returned to directing but only for a single film, Frankenstein Unbound (1990)
With hundreds of movies to his credit, Roger Corman is one of the most prolific producers in the history of the film medium and one of the most successful--in his nearly six decades in the business, only about a dozen of his films have failed to turn a profit. Corman has been dubbed, among other things, "The King of the Cult Film" and "The Pope of Pop Cinema" and his filmography is packed with hundreds of remarkably entertaining films in addition to dozens of genuine cult classics. Corman has displayed an unrivaled eye for talent over the years--it could almost be said that it would be easier to name the top directors, actors, writers and creators in Hollywood who DIDN'T get their start with him than those who did. Among those he mentored are Francis Ford Coppola, Ron Howard, Martin Scorsese, Jack Nicholson, James Cameron, Robert De Niro, Peter Bogdanovich, Joe Dante and Sandra Bullock. His influence on modern American cinema is almost incalculable. In 2009, he was honored with an Academy Award for Lifetime Achievement.- Writer
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Valerio Zurlini was born on March 19, 1926. During his law studies in Rome, he started working in the theatre. In 1943, he joined the Italian resistance. Zurlini became a member of the Italian Communist Party. He filmed short documentaries in the immediate post-war period and in 1954 directed his first feature film, Le ragazze di San Frediano (1955), his only comedy. In 1958, together with Leonardo Benvenuti, Piero De Bernardi and Alberto Lattuada, he won the Silver Ribbon for Best Script for Lattuada's Guendalina (1957). Zurlini made his name as a director with his second feature film, Violent Summer (1959), starring Eleonora Rossi Drago and Jean-Louis Trintignant.
In 1961 Zurlini filmed Girl with a Suitcase (1961), a successful drama, starring Claudia Cardinale and Jacques Perrin, who would become Zurlini's favorite actor. In 1962 Zurlini's film Family Diary (1962) earned him the Golden Lion at the Venice Film Festival (it tied with Andrei Tarkovsky's Ivan's Childhood (1962)). Zurlini had a masterful skill for screen adaptations Both Le ragazze di San Frediano (1955) and Family Diary (1962) were based on Vasco Pratolini's work. Zurlini admired the work of Italian novelist Giorgio Bassani and hoped to adapt his novel "The Garden of the Finzi-Continis," which was subsequently directed by Vittorio De Sica (see The Garden of the Finzi-Continis (1970)). His 1965 film The Camp Followers (1965) was entered into the 4th Moscow International Film Festival where it won the Special Silver Prize. Zurlini's last film, The Desert of the Tartars (1976), produced by Jacques Perrin and featuring an all-star ensemble, was based on Dino Buzzati's novel of the same name. The movie won both the David di Donatello for Best Director and the Silver Ribbon for Best Director.
The visual style of Zurlini's adaptations was informed by artists Giorgio De Chirico, Giorgio Morandi and Ottone Rosai. During the last years of his life, Zurlini taught at the Centro Sperimentale di Cinematografia in Rome and worked as a dubbing director for the Italian versions for such movies as The Deer Hunter (1978) and My American Uncle (1980). He died of stomach hemorrhage in Verona on October 27, 1982.- Director
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Only one film-maker can claim the title "Godfather of Gore." That peculiar but apt identification seems to be the exclusive property of Herschell Gordon Lewis. With an unusual background that included teaching English Literature to college students, producing and directing television commercials, and voicing radio and television commercials, Herschell literally - and single-handedly - established the "Splatter Film" category of motion pictures. He accomplished this by writing and directing (including the musical score) a mini-budget movie titled "Blood Feast," shot in Miami in 1963 and released theatrically the following year. As critics lambasted the primitive effects and inattention to script and sub-par acting, audiences flocked to theaters to see why friends who had reacted to the movie's fiery marketing campaign had said, "You gotta see this." Armed with boxoffice grosses, Herschell and his producer-partner David Friedman quickly decided to build onto their newly-discovered base. Herschell wrote and directed "Two Thousand Maniacs." The lead singer of the musical group hired to perform background music had a tenor voice. Herschell had written the title song, "The South Gonna Rise Ag'in." He wanted a baritone, and without hesitation he made the switch: the voice on the sound track is his. After their third splatter film, "Color Me Blood Red," David Friedman moved to California, engaging in a different type of motio0n picture. Herschell continued to grind out one success after another, with titles such as "The Gruesome Twosome," "The Wizard of Gore," and "The Gore-Gore Girls." When major film companies began to invade his splatter-turf, Herschell took a hiatus, shifting full time to his "other career," writing advertising and mailings for marketers worldwide. He became one of a handful of experts to be inducted into the Direct Marketing Association's Hall of Fame. (Author of 32 books on marketing including the classic "On the Art of Writing Copy," Herschell is often called on to lecture on copywriting, just as he is invited to sing the theme from "Two Thousand Maniacs" at horror film festivals.) Over the years, an unusual reality came into place: Herschell's old films continued to play not just on TV screens but in theatres, years after conventional movies would have disappeared altogether. The result has been renewal of his life as a film director. Thus it is that a new Herschell Gordon Lewis movie is hoving into view: "Herschell Gordon Lewis's BloodMania," produced by James Saito in Calgary, Alberta, Canada and planned for 2015 release. Both the producer and the director encapsulate their opinion of "Herschell Gordon Lewis's BloodMania" in a single word: Enthusiastic.- Director
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Norman Jewison was an award-winning, internationally acclaimed filmmaker who produced and directed some of the world's most memorable, entertaining and socially important films, exploring controversial and complicated subjects and giving them a universal accessibility. Some of his most well-known works include the pre-glasnost political satire The Russians Are Coming, The Russians Are Coming, the original The Thomas Crown Affair, the groundbreaking civil rights-era drama In the Heat of the Night (winner of five Academy Awards, including Best Picture), the first rock opera Jesus Christ Superstar, the futuristic cult hit Rollerball, hit musical comedy-drama Fiddler on the Roof, the romantic comedy Moonstruck, the courtroom drama ...And Justice For All, the military drama A Soldier's Story, the labor movement picture F.I.S.T., the war dramas The Statement and In Country, and the masterfully told story of Reuben 'Hurricane' Carter, The Hurricane, among many others.
Jewison was personally nominated for four Oscars and received three Emmy Awards; his films received 46 nominations and won 12 Academy Awards. In 1999, Jewison received the prestigious Irving G. Thalberg Memorial Award at the Academy Awards.
In Canada, his life's work has been recognized with the Governor General's Performing Arts Award, and he was named a Member of the Order of Canada, an Officer of the Order of Ontario and a Companion of the Order of Canada, Canada's highest civilian honour. In 2010, Jewison was presented with the Lifetime Achievement Award from the Directors Guild of America.
Jewison was committed to advancing the art of storytelling and filmmaking, both through his groundbreaking films, and through his creation of the Canadian Film Centre (CFC) in 1986, which opened its doors in Toronto in 1988. The CFC is a charitable cultural organization which drives the future of Canadian storytelling.- Director
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Jacques Rozier was born on 10 November 1926 in Paris, France. He was a director and writer, known for Maine Ocean (1986), Adieu Philippine (1962) and Fifi Martingale (2001). He was married to Michèle O'Glor and Lydia Feld. He died on 31 May 2023 in Théoule-sur-Mer, Alpes-Maritimes, France.- Actor
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Maurice Ronet was born on 13 April 1927 in Nice, Alpes-Maritimes, France. He was an actor and writer, known for Elevator to the Gallows (1958), The Fire Within (1963) and Purple Noon (1960). He was married to Maria Pacôme. He died on 14 March 1983 in Paris, France.- Writer
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Lucio Fulci, born in Rome in 1927, remains as controversial in death as he was in life. A gifted craftsman with a sharp tongue and a wicked sense of dark humor, Fulci achieved some measure of notoriety for his gore epics of the late 1970s and early 1980s, but respect was long in coming.
Abandoning his early career as a med student, Fulci entered the film industry as a screenwriter and assistant director, working alongside such directors as Steno and Riccardo Freda. Granted his debut feature in 1959, with a seldom seen comedy called I ladri (1959) (The Thieves), Fulci quickly established himself as a prolific craftsman adept at musicals, comedies and westerns.
In 1968, Fulci made his first mystery thriller, One on Top of the Other (1969), and its success was sufficient to garner the backing for his pet project The Conspiracy of Torture (1969). Based on a true story, the film details the trial of a young woman accused of murdering her sexually abusive father amid fear and superstition in 16th Century Italy. A scathing commentary on church and state, the film was the first to give voice to its director's passionate hatred of the Catholic Church. Predictably, the film was misunderstood, and Fulci's career was thrown into jeopardy. Deciding it would be best to leave his political feelings on the back burner, Fulci pressed on with a series of slickly commercial ventures.
In 1971 and 1972, Fulci re-established himself in the thriller arena, directing two excellent giallos: the haunting A Lizard in a Woman's Skin (1971) and the disturbing Don't Torture a Duckling (1972). The former, with its vivid hallucinations involving murderous hippies and vivisected canines, and the latter, with its psychotic religious zealots and brutal child killings, were -- to say the least -- controversial. In particular, Don't Torture a Duckling (1972), despite a huge box-office success, painted too graphic a portrait of perverted Catholicism, and Fulci's career was derailed... some would say, permanently. Blacklisted (albeit briefly) and despised in his homeland, Fulci at least found work in television and with the adventure genre with two financially successful Jack London 'White Fang' adventure movies in 1973 and 1974 which were Zanna Bianca, and Il ritorno di Zanna Bianca. Also during the mid and late 1970s, Fulci also directed two 'Spaghetti Westerns'; The Four of the Apocalypse... (1975) and Silver Saddle (1978), (Silver Saddle) and another 'giallo'; The Psychic (1977), as well as a few sex-comedies which include the political spoof The Eroticist (1972) (aka: The Eroticist), and the vampire spoof Dracula in the Provinces (1975) (aka: Young Dracula), and the violent Mafia crime-drama Contraband (1980).
In 1979, Fulci's film making career hit another high point with him breaking into the international market with Zombie (1979), an in-name-only sequel to George A. Romero's Dawn of the Dead (1978), which had been released in Italy as 'Zombi'. With its flamboyant imagery, graphic gore and moody atmospherics, the film established Fulci as a gore director par excellence. It was a role he accepted, but with some reservations.
Over the next three years, Fulci plied his trade with finesse and flair, rivaling even the popularity of his "opponent" Dario Argento, with such sanguine classics as City of the Living Dead (1980) and The Beyond (1981). Frequently derided as sheer sensationalism, these films, as well as the reviled The New York Ripper (1982) are actually intelligently crafted, with sound commentaries on everything from American life to religion. High on vivid imagery and pure cinematic style, Fulci's films from this period of the early 1980s represent some of his most popular work in America and abroad, even if they do pale in comparison to his 1972 masterpiece and personal favorite Don't Torture a Duckling (1972) (an impossible act to follow, as it happens).
In the mid-1980s, at the peak of his most prolific period, Fulci became beset with personal problems and worsening health. Much of his work from the mid-1980s onward is disappointing, to say the least, but flashes of his brilliance can be seen in works like Murder-Rock: Dancing Death (1984) and The Devil's Honey (1986). A Cat in the Brain (1990), one of Fulci's last works, remains one of his most original. Though strapped by budgetary restraints and marred by mediocre photography, the film is wickedly subversive and comical. With Fulci playing the lead role (as more or less himself, no less -- a harried horror director who fears that his obsession with sex and violence is a sign of mental disease), Fulci also proves to be an endearing and competent actor (he also has cameos in many of his films, frequently as a detective or doctor figure).
By the 1990s, Fulci went on a hiatus with film making for further health and personal reasons as the Italian cinema market went into a further decline. While in pre-production for the Dario Argento-produced The Wax Mask (1997), Lucio Fulci passed away at his home on March 13, 1996 at the age of 68. A serious diabetic most of his adult life, he inexplicably forgot to take his insulin before retiring to bed; some consider his death a suicide, others consider it an accident, but his many fans all consider it to be a tragedy. Whether one considers him to be a hack or a genius, there's no denying that he was unique.- Producer
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Legendary exploitation cinema producer and distributor Harry H. Novak was born on January 12, 1928, in Chicago, IL. He got a job with RKO Pictures distributing movie posters and press books to theaters while still in his teens. Following a tour of duty in the Army during World War II, Novak went back to RKO, this time booking and selling films as well as designing ads (amazingly, one of his primary responsibilities while working at RKO was handling the distribution arrangements for innocuous family fare made by the Walt Disney studio!).
After RKO folded in 1957, Harry went to work booking exploitation films for the JEM distribution company. He founded his own production and distribution outfit called Boxoffice International Pictures (BIP) in 1964. The first film released by BIP was the nice'n'naughty nudie cutie Kiss Me Quick! (1964). Harry went on to make and/or release a slew of entertainingly trashy flicks throughout the 1960s and 1970s that run the gamut from sexy soft-core smut (Lila (1968), The Dirty Mind of Young Sally (1973), Below the Belt (1971)) to grimy crime thrillers (Booby Trap (1970), The Godson (1971), A Scream in the Streets (1973), Date with a Kidnapper (1976), Hitch Hike to Hell (1977)) to sizzling Southern-fried hicksploitation sleaze Country Hooker (1974), Country Cuzzins (1972), The Pig Keeper's Daughter (1972), Sassy Sue (1973)) to mondo crock documentaries (Mondo Mod (1967), Mondo Keyhole (1966)) to creepy horror outings (The Mad Butcher (1971), Frankenstein's Castle of Freaks (1974), Axe (1977), Rattlers (1976), The Child (1968)_). Novak's soft-core items often featured such popular drive-in film starlets as Rene Bond, Colleen Brennan (aka Sharon Kelly), Marsha Jordan and Uschi Digard. Boxoffice International Pictures was forced to shut down in 1978. Harry subsequently launched Valiant International Pictures in the late 1970s; this particular outfit distributed such X-rated porno fare as Sissy's Hot Summer (1979), Sweet Surrender (1980) and Leather Persuasion (1980).
Novak co-directed the early 1980's hardcore movies Moments of Love (1983) and Inspirations (1982) under the pseudonym H. Hershey. Moreover, he provided several hysterically bawdy commentaries on DVD releases of his pictures on the Something Weird Video label.
Harry Novak died on March 26, 2014.- Director
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A solid and reliable filmmaker with frequent flairs of brilliance, Mackenzie gave up a career in acting because of a desire to control what he was doing. He assisted Ken Loach on his classic early TV plays such as Cathy Come Home (1966), which inspired him and gave him the best training a TV director could dream of. It also taught him how to work with local people when filming on location and how to work quickly. But his interest was more in storytelling than political filmmaking and he began directing himself, with fabulous results.
He made three features early in his career, the best being Unman, Wittering and Zigo (1971), a superb Hitchcockian thriller which proved his skill at suspense, something his no-one seemed to remember for another ten years. He returned to TV to enjoy the golden age on Play for Today (1970), and formed a fruitful collaboration with Scottish writer Peter McDougall for four brilliant films. The first, Just Another Saturday (1975), won the Prix Italia. Mackenzie also directed Dennis Potter's Double Dare (1976) superbly and produced a huge body of work including Red Shift (1978), A Passage to England (1975) and Shutdown (1973).
He always showed a brilliant ability to draw honest and natural performances from his actors, and frequently cast comedians or singers. He moved to features decisively with The Long Good Friday (1980) but a decade spent in Hollywood proved unfulfilling, artistically. Although he never achieved the recognition he richly deserved, Mackenzie was one of Britain's finest filmmakers.- Production Designer
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Bernard Evein was born on 5 January 1929 in Saint-Nazaire, Loire-Atlantique, France. He was a production designer and art director, known for The 400 Blows (1959), The Umbrellas of Cherbourg (1964) and Cléo from 5 to 7 (1962). He was married to Jacqueline Moreau. He died on 8 August 2006 in Barbâtre, Vendée, France.- Director
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Andy Milligan was born in St. Paul, Minnesota in 1929. He was a self-taught film maker, playwright, script writer and costume designer. He grew up mostly in Minnesota, but he and his family moved around the country a lot. His father, Andrew Milligan Sr. (1894-1985) was a captain in the U.S. Army who served in the military for over 50 years (retiring in the mid 1960s holding the rank of colonel). His mother, Marie Gladys Hull (1900-1953), was an overweight, neurotic-bipolar alcoholic who physically and verbally abused her husband and children. She served as the basis for scores of her son's characters when he began making films. Milligan had an older half-brother named Harley Hull (1924-1998) and a younger sister named Louise Milligan Howe (1931-2021). After finishing grade school, Milligan joined the U.S. Navy where he served four years. After his honorable discharge, he settled in New York City in 1951 where he dabbled in acting on stage and opened a dress shop.
During the 1950s Milligan became involved in the nascent off-off-Broadway theater movement where he mounted productions of plays by Lord Dunsany and Jean Genet at the Caffe Cino, a small Greenwich Village coffeehouse that served as a hothouse for rising theater talent like Lanford Wilson, Tom Eyen and John Guare. Milligan also became involved with directing low-key theater productions at Cafe La Ma Ma Experimental Theater Club. During this period he operated and designed for a clothing boutique named Ad Lib and used his crude dressmaking skills to costume many theatrical productions.
In the early 1960s Milligan turned to film making. He met some of the actors for his early films at Caffe Cino. His first released film was a 30-minute black-and-white 16 mm short drama entitled Vapors (1965). Set in the notorious gay bathhouse St. Mark's Baths, it was written by Hope Stansbury, the raven-haired beauty who would star in a few of his later films. The film, set on one Friday evening in the St. Mark's Baths, portrays an emotionally awkward and unconsummated meeting between two strangers. Milligan was later employed by producers of exploitation films, particularly William Mishkin, to direct softcore sexploitation and horror features, many featuring actors known from the off-off Broadway theater community.
Milligan then hooked up with famed sexploitation producer William Mishkin and made 11 features, all shot with a single hand-held 16mm Auricon camera on short ends (snippets of film left over from other productions). Some of those include Depraved! (1967), Seeds of Sin (1968) ("Sown in Incest! Harvested in Hate!") and Fleshpot on 42nd Street (1972). Many of these early works play like bizarre morality tales where sleazy characters get violently paid back for their excesses.
In 1966, Milligan set up shop in a Victorian mansion located on northern Staten Island, within walking distance of the ferry and his own house. The house soon became "Hollywood central," where he filmed most of his movies on budgets ranging from $5,000 to $20,000. Milligan was a one-man army--he wrote, directed, built sets and sewed costumes for his splatter epics like The Ghastly Ones (1968). His usual "stock company" (Stansbury, Neil Flanagan, Hal Borske) was often supplemented by Staten Island locals who were dragged into performing.
Milligan even married one of his actresses, Candy Hammond, who starred in a number of his films, most notably as Pussy Johnson in Gutter Trash (1969). No one took the wedding seriously, because Milligan was unabashedly homosexual and an avowed misogynist. The service took place at the Staten Island house, which was still decorated for the movie shoot Seeds. That night, Milligan cruised gay bars to celebrate.
In 1968, Milligan began to make horror movies featuring gore effects with The Ghastly Ones (1968), a 19th century period piece and his first color film which was produced by JER and titled by Sam Sherman. In 1969, he made his next horror movie, Torture Dungeon (1969), a medieval period piece after which he moved to London, England to make movies there after having made a deal with producer Leslie Elliot. After directing Nightbirds (1970) in London, his partnership with Elliot collapsed as he was working on The Body Beneath (1970). Milligan then teamed up again with William Mishkin again where Mishkin produced and Milligan directed three more period piece British horror films which were Bloodthirsty Butchers (1970), The Man with Two Heads (1972), and The Rats Are Coming! The Werewolves Are Here! (1972) (all shot in 1969) before Milligan's return to Staten Island in 1970.
On his return to New York, Milligan wrote and directed another medieval period piece titled Guru, the Mad Monk (1970), which was shot for the first time with a 35mm Arriflex camera and filmed entirely inside a Chelsea, Manhattan church. This movie was released on a double feature with The Body Beneath. Through the next years, Mishkin released Milligan's British-made pictures, some with additional scenes shot in New York. The Rats are Coming! The Werewolves are Here! was one of Mishkin's films in which he had Milligan insert new killer rat scenes shot in New York, mostly at his new Staten Island house on Corson Street where Milligan lived during that time and filmed another horror period piece there in 1973 which was titled Blood (1973).
After directing the 1972 sexploitation drama Fleshpot on 42nd Street (1972), Milligan's output was restricted mostly to gory horror movies as he moved to the southern tip of Staten Island in the Tottenville neighborhood where he lived in and owned and operated a dilapidated hotel located at the end of Main Street right next to the southern end of Staten Island Railway.
In October 1977, Milligan moved into 335 West 39th Street in Manhattan (a four-story building purchased for $50,000 by Milligan and stockholders), where he founded and ran the Troupe Theater, a seedy but fun off-off Broadway venue above which he lived in a third-floor loft until he left New York City for good in March 1985. He moved to Los Angeles, California, where he shot three more contemporary horror movies between 1987 and 1988 as well as operated another theater company, called the Troupe West, which ran until 1990.
Andy Milligan was heavily into S&M and had very few serious relationships (all with men). The few friends he did have were just as emotionally troubled and dangerously disturbed as he was. A Vietnam veteran and ex-convict named Dennis Malvasi, who once drifted into and worked at Andy's Troupe Theater in the late 1970s and early 1980s, later made news headlines in March 2001 when he and his wife were arrested for aiding the flight of fugitive James Kopp, the suspected murderer of a New York abortion doctor. One boyfriend, "human toothpick" B. Wayne Keeton (so-named for his gaunt physical build), was a good natured Louisiana hustler who appeared in a small role in Monstrosity (1987), one of Milligan's last films. Keeton's death from AIDS in June 1989 hit Milligan hard, and he soon began having his own health problems. He learned shortly afterwards that he, too, had contracted AIDS, apparently from Keeton. With no insurance, little money, and the era of exploitation films over, Andy Milligan went into a reclusive decline until his death on June 3, 1991 at age 62.- Director
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As an actor he became popular as Albert de Morcerf in a version of The Count of Monte Cristo (1954), fame and adulation followed with his Francois in Head Against the Wall (1959). As a director he became famous with anarcho-pictures, brilliant cynic comedies. His preferred actors in all decades were Michel Serrault and Jean Poiret - till the late 80s they were his leading stars. When Jeanne Moreau appeared in Le miraculé (1987), many other leading French screen-stars followed.- Director
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Monte Hellman was born on July 12, 1929, in New York City, where his parents were visiting, but he grew up in Los Angeles. He studied drama at Stanford University--on an NBC scholarship--and film at UCLA. After a few years directing in summer theater, Hellman hooked up with legendary "B" movie producer Roger Corman in the late 1950s. Corman helped finance Hellman's production of "Waiting For Godot", the the first time that Samuel Beckett's play had been staged in Los Angeles; the Los Angeles Times said it was "directed with wisdom, devotion and perception." Hellman made his film directorial debut with Beast from Haunted Cave (1959) and directed portions of Corman's The Terror (1963).
Hellman joined forces with frequent collaborator Jack Nicholson for two pictures shot back-to-back in the Philippines: Back Door to Hell (1964) and Flight to Fury (1964), then re-teamed with Nicholson for two existential westerns filmed in Utah under similar conditions: The Shooting (1966) and Ride in the Whirlwind (1966). After editing several films for Corman, including The Wild Angels (1966), Hellman directed what many consider to be his best work, Two-Lane Blacktop (1971), which starred Warren Oates and featured singer James Taylor and The Beach Boys' drummer Dennis Wilson in dramatic roles. It was included in the National Film Registry of the Library of Congress in 2012.
Hellman's next film was Cockfighter (1974), an adaptation of Charles Willeford's novel, also starring Oates. Hellman collaborated with the actor once more on the European western China 9, Liberty 37 (1978). After completing Avalanche Express (1979) following the death of its original director, Mark Robson. Hellman made Iguana (1988) and the darkly humorous Silent Night, Deadly Night 3: Better Watch Out! (1989).
Hellman's work was a major influence on Quentin Tarantino, and he served as executive producer on Tarantino's directorial debut, Reservoir Dogs (1992). After a lengthy absence from the screen, he returned to directing with the short Stanley's Girlfriend (2006), included in the horror anthology Trapped Ashes (2006), and the feature film Road to Nowhere (2010), which won a Special Golden Lion at Venice: the award was presented by jury president Tarantino, who introduced Hellman as "a great cinematic artist and a minimalist poet".
Hellman was one of 70 directors asked to contribute a 90-second movie to _Venice 70: Future Reloaded (2013), which opened the 70th Venice Film Festival in 2013. His latest project is "Love or Die", which is scheduled to commence shooting in Lisbon, Portugal, in March 2014.
-------------- Biography by Woodyanders. Corrected by A. Nonymous. Revised, corrected and updated by Brad Stevens, author of 'Monte Hellman: His Life and Films', in 2014. Corrected by A. Nonymous.- Director
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Jean Delire was born on 24 March 1930 in Châtelet, Belgium. Jean was a director and cinematographer, known for Plus jamais seuls (1969), Les contes fantastiques (1966) and Trois étranges histoires (1968). Jean died on 1 April 2000 in Brussels, Belgium.- Director
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Richard C. Sarafian was born on 28 April 1930 in New York City, New York, USA. He was a director and actor, known for Vanishing Point (1971), Bugsy (1991) and Blue Streak (1999). He was married to Helen Joan Altman. He died on 18 September 2013 in Santa Monica, California, USA.- Writer
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He was only six years old when he started composing music under the protection of his brother Enrique. After the Spanish Civil War he was able to continue his studies at the Real Conservatorio de Madrid, where he finished piano and harmony. Being a Bachelor of Law and an easy-read novel writer (under the pseudonym David Khume), he signed on to enter the Instituto de Investigaciones y Experiencias Cinematográicas (IIEC), where he stayed for only two years, while he worked simultaneously as a director and theater actor. Later he went to Paris to study directing techniques at the I.D.H.E.C. (University of Sorbonne), where he used to go into seclusion for hours to watch films at the film archive. Back in Spain he began rted his huge cinematographic work as a composer, with Cómicos (1954) and El hombre que viajaba despacito (1957), and later worked as an assistant director to Juan Antonio Bardem, León Klimovsky, Luis Saslavsky, Julio Bracho, Fernando Soler and Joaquín Luis Romero Marchent, among others. He also worked at Ágata Films S.A. as production manager and writer. His first works as a director were industrial and cultural short films. However, he soon applied all his knowledge and experience to his feature directorial debut, Tenemos 18 años (1959). From that moment on all his work was supported by co-production. His Succubus (1968) was nominated for the Festival of Berlin, and this event gave him an international reputation. His career got more and more consolidated in the following years, and his endless creativity enabled him to tackle films in all genres, from "B" horror films to pure hardcore sex films. His productions have always been low-budget, but he nevertheless managed to work extraordinarily quickly, often releasing several titles at the same time, using the same shots in more than one film. Some of his actors relate how they they were hired for one film and later saw their name in two or more different ones. As the Spanish cinema evolved, Jesús managed to adapt to the new circumstances and always maintained a constant activity, activity that gave a place in his films to a whole filming crew. Apart from his own production company, Manacoa Films, he also worked for companies like Auster Films S.L. (Paul Auster), Cinematográfica Fénix Films (Arturo Marcos), the French Comptoir Français du Film (Robert de Nesle), Eurociné (Daniel Lesoeur and Marius Lesoeur), Elite Films Productions (Erwin C. Dietrich), Spain's Fervi Films (Fernando Vidal Campos) or Golden Films Internacional S.A. He acted in almost all of his films, playing musicians, lawyers, porters and others, all of them sinister, manic and comic characters. Among the aliases he used--apart from Jesús Franco, Jess Franco or Franco Manera--were Jess Frank, Robert Zimmerman, Frank Hollman, Clifford Brown, David Khune, Frarik Hollman, Toni Falt, James P. Johnson, Charlie Christian, David Tough, Cady Coster, Lennie Hayden, Lulú Laverne and Betty Carter. Lina Romay has been almost a constant in his films, and it's very probable that in some of them she has been credited as the director instead of him. In many of the more than 180 films he's directed he has also worked as composer, writer, cinematographer and editor. His influence has been notable all over Europe (he even contacted producer Roger Corman in the US). From his huge body of work we can deduce that Jesús Franco is one of the most restless directors of Spanish cinema. Many of his films have had problems in getting released, and others have been made directly for video. His work is often a do-it-yourself effort. More than once his staunchest supporters have found his "new" films to contain much footage from one or more of his older ones. Jesús Franco is a survivor in a time when most of his colleagues tried to please the government censors. He broke with all that and got the independence he was seeking. He always went upstream in an ephemeral industry that fed opportunists and curbed the activity of many professionals. Jess Franco died in Malaga, Spain, on April 2, 2013, of a stroke.- Director
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Frank Perry was born on 21 August 1930 in New York City, New York, USA. He was a director and producer, known for Mommie Dearest (1981), David and Lisa (1962) and Last Summer (1969). He was married to Virginia Brush Ford, Barbara Goldsmith and Eleanor Perry. He died on 29 August 1995 in New York City, New York, USA.- Producer
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Erwin C. Dietrich was the most successful and influential movie "entrepreneur" in Switzerland for decades. Already in his teenage years he was interested in movies and observed all happenings in Hollywood from his home in St. Gallen. He quit his dream of becoming an actor rather early on and instead started focusing on his sense for artistic trends appealing to audiences. Starting in 1955 he began producing movies, first with his company "Urania": The movies THE MAN IN THE BLACK DERBY and MODEL HUSBAND starring popular Swiss comedian Walter Roderer turned into big successes that still haven't lost their popularity. At around the time where the "Edgar Wallace" thrillers became popular in Germany, Erwin brought NYLON NOOSE and STRANGLER OF THE TOWER starring German movie stars, such as Dietmar Schönherr, to the cinemas. Movies in the mid-60s increasingly included more sexually open themes, a trend Erwin could not and did not want to miss out on. An early example is ST. PAULI BETWEEN NIGHT AND MORNING he produced, which is characterized by an almost artistic arc between common thriller story and the newly discovered erotic appearance. It is exactly those examples that are highly respected by movie buffs around the world and are being rediscovered in his early productions. Later, Erwin achieved significant commercial success with his directorial debut in 1968, the movie adaptation of Guy De Maupassant's novel THE COLONEL'S NIECES with the same title. With this movie he hit the nerve of movie-goers and despite the massively censored scenes the audience showed up in droves. Over 45 more movies followed until 1980. Movies that he either directed or produced, often using pseudonyms such "Michael Thomas" or "Manfred Gregor" under the umbrella of newly "Elite-Film" (later: "Ascot Film GmbH"). Most of these movies came to life in a very informal environment, with a small crew in his studios in Rümlang, where the set pieces were rearranged on the fly. Some highlights can be found, in particular those starring Ingrid Steeger or French erotic star number one, Brigitte Lahaie. These movies have meanwhile advanced to cult status and are long running favorites at movie festivals and in home cinemas worldwide. Erwin often mentioned his favorite movie to be his remake of THE COLONEL'S NIECES, starring Brigitte Lahaie. Jess Franco, who for years has been ridiculed as a cheap grunge director and yet in the end received the "Goya" award, the Spanish Oscar, made 17 movies in this work period with Erwin C. Dietrich and called it the most productive and pleasant period of his career. Movies such as LOVE LETTERS OF A PORTUGUESE NUN or JACK THE RIPPER with divine performances by Klaus Kinski are now highly praised by movie buffs worldwide, incl. industry friends and fans such as Joe Dante and Quentin Tarantino (who once called Erwin the "Swiss Roger Corman"). On top of that Erwin's movie distribution business "Avis" which brought over 400 movies to local cinemas, flourished. He jumped on the "exploitation movie" bandwagon alone, yet this was not enough for movie buff Erwin. He was looking to get recognized at festivals and by the elite of film critics. And he got it. THE STORY OF PIERA produced by him and directed by Marco Ferreri, starring Isabelle Huppert and Marcello Mastroianni, may not have been a commercially comparable success to Erwin's other productions but it turned into a huge hit at the festivals, and Hanna Schygulla received the "Golden Palm" in Cannes for her performance. Even on an international level things looked up: the action spectacle THE WILD GEESE which he co-produced with Euan Lloyd from Britain, catapulted Erwin into an A-league that was unknown at that time, and garnered him international recognition. In addition, the star-studded cast that included Richard Harris, Roger Moore, Richard Burton, and Hardy Krüger did its share; the movie was seen by 4 million movie-goers in Germany alone and advanced to become a huge blockbuster in 1978, ultimately winning the "Goldene Leinwand" award. Following this success Erwin launched similar additional big productions on the big screen, including ESCAPE TO ATHENA and THE SEA WOLVES. Convinced by their success Erwin began production along with business partner Peter Baumgartner (and Peter's dubbing studios in Berlin, "Cinephon") three action spectacles to be shot in the Philippines. Emphasized by a gigantic marketing campaign (including an ecstatic Klaus Kinski dominating the promo tour) he released in the mid-80s the "mercenary trilogy" consisting of CODENAME WILDGEESE, COMMANDO LEOPARD and THE COMMANDER on the big screen. The Hollywood cast including Klaus Kinski, Ernest Borgnine, and Lee Van Cleef impressed everyone. During that time he also opened up the first cinema-multiplex in Switzerland called "Capitol". Later he expanded it with the "Cinemax". In the beginning of the 90s, after the dance movie DANCE ACADEMY 2 - DANCE TO WIN, the two Swiss comedies EIN SCHWEIZER NAMENS NÖTZLI and DER DOPPELTE NÖTZLI, as well as over 100 other productions, Erwin retired from the active movie production business and committed himself to his movie distribution company "Ascot-Elite" which was taken over by his children a few years ago and still today this largest independent movie distributor in Switzerland is managed by them. At last, Erwin C. Dietrich led the supervisory board and every morning he reviewed the box office results of the previous day. He passionately committed himself to the digital restoration of his cinematic legacy to preserve it for all future generations.- Writer
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Nelly Kaplan was born on 11 April 1931 in Buenos Aires, Argentina. She was a writer and director, known for Charles and Lucie (1979), Papa, the Lil' Boats (1971) and A Very Curious Girl (1969). She died on 12 November 2020 in Geneva, Canton de Genève, Switzerland.- Writer
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Rino Di Silvestro was an Italian writer/director who specialized in extremely raw, graphic and, in the opinion of many critics, offensive low-budget exploitation fare. He was born in 1932 and hailed from a family of Sicilian landowners. He established his own avant-garde theatre company and produced the risqué comedy play "Op Bop Pop Nip" in the 1960s. In addition, Di Silvestro was a ghostwriter who penned over 200 screenplays. He made his directorial debut with the supremely scuzzy chicks-in-chains outing Women in Cell Block 7 (1973). He followed that with the sleazy Love Angels (1974) and the nasty Nazisploitation item Deported Women of the SS Special Section (1976). Di Silvestro achieved his greatest enduring cult cinema notoriety, however, with the outrageously trashy and leering soft-core horror schlocker The Legend of the Wolf Woman (1976).
His last two pictures were the typically tawdry Hanna D. - La ragazza del Vondel Park (1984) and the crass sexploitation peplum The Erotic Dreams of Cleopatra (1985).
He died of cancer on October 3, 2009.- Director
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John Flynn was a very fine, efficient and sadly underrated director who excelled at making mean'n'lean crime pictures. His movies are distinguished by tight plots, a hard, no-nonsense tone, and a taut, streamlined and fiercely economical directorial style. John was born on March 14, 1932 in Chicago, Illinois and raised in Manhattan Beach, California. He served in the coast guard, where he studied journalism with "Roots" author Alex Haley. Flynn received a degree in journalism from UCLA. John began his cinematic career as an apprentice to director Robert Wise on "Odds Against Tomorrow" and was the script supervisor for "West Side Story." He then went on to work as a second unit director on such features as "Kid Galahad," "Two for the Seesaw," and "The Great Escape." Flynn made his debut as director with the obscure "The Sergent." He followed this film with the equally little seen "The Jerusalem File." John scored his first substantial commercial success with the superbly gritty "The Outfit." Flynn achieved his greatest enduring cult popularity with the marvelously tough and potent revenge thriller winner "Rolling Thunder." His subsequent movies are likewise solid and worthwhile; they include the exciting urban vigilante opus "Defiance," the terrific "Best Seller," the sturdy Sylvestor Stallone prison drama "Lock Up," the above average Steven Seagal action vehicle "Out for Justice," and the nifty virtual reality horror outing "Brainscan." John did two made-for-cable-TV pictures in the early 90s: the fun Dennis Hopper cop flick "Nails" and the enjoyable crime drama "Scam." His last film was the passable direct-to-video mobster item "Protection." John Flynn died at age 75 on April 4, 2007.- Director
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Mike Hodges was born on 29 July 1932 in Bristol, England, UK. He was a director and producer, known for Flash Gordon (1980), Get Carter (1971) and Black Rainbow (1989). He was married to Carol Laws and Jean Alexandrov. He died on 17 December 2022 in Dorset, England, UK.- Writer
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Derek Ford (born 6 September 1932 in Tilbury, Essex - died 19 May 1995) was a British film director and writer, most famous for exploitation films such as The Swappers (1970), Keep It Up, Jack (1974) and Diversions (1976), which was also filmed in a hardcore version.
Ford began as a writer in collaboration with his brother Donald Ford (died 1991), originally for radio before progressing to television (The Saint (1962), Adam Adamant Lives! (1966)) and film (Gutter Girls (1963), A Study in Terror (1965)). Ford's first foray into directing, "Los Tres Que Robbaran Una Banco" (1961), made in Spain in 1961, was an unhappy experience; however, around the same time he entered the exploitation field when he was asked to re-edit and film additional sequences for a Swedish sex film called The Flamboyant Sex (1962), eventually released as "Paris Playgirls". Ford's directing career began proper in the late 1960s when he entered into partnership with producer Stanley A. Long, resulting in three films including the massively successful "The Wife Swappers", released in America as "The Swappers" with the tag line, "Remember when all the guy next door wanted to borrow was your lawnmower?".
Ford's early 1970s films were mainly shot in London and Maldon, Essex, where he lived, while hardcore scenes meant for the European versions of his films were shot in secret at his own house, with his wife Valerie M. Ford acting as co-director and assistant. Interviewed in the book "Keeping the British End Up", fellow director Ray Selfe referred to Ford as "a male nymphomaniac", and themes of swinging, wife swapping and outwardly respectable people living double lives run throughout Ford's work. In the 1970s the two most well-known Ford films in America were I Am a Groupie (1970) and Diversions (1976), starring Heather Deeley, which premiered in the Kips Bay area of Manhattan and was nominated for best foreign film by the Adult Film Association of America.
In Italy he directed Eros Perversion (1978), while back in England he quit as the director of Don't Open Till Christmas (1984). In the mid-'80s he attempted to find more mainstream work and dissociate himself from his past, but what little work came his way would drag him back to exploitation film. He directed The Nudist Story (1960) in Italy in 1985, in which (returning to the themes of "The Wife Swappers") a group of Italian women join a "dare club", and co-directed a horror film in Sweden called Blood Tracks (1985), which also features a brief cameo role from Ford as a location scout for a rock video (his only other known acting role is as "Circus Santa Claus" in "Don't Open Till Christmas"). He was also involved in writing a never-made softcore sitcom called "Park Lane". Ford's final film, The Urge to Kill (1989), starring Peter Gordeno and Sarah Hope-Walker, has never been released, although clips from it appear in the documentary "The Wild, Wild World of Dick Randall".
At the close of the 1980s, with the impending recession of the early 1990s on the horizon and no work, Ford decided to opt for a quieter life and put his ideas on paper. Leaving the film business behind him for good, he attempted a second career as an author, writing two books. His experience in the world of "B" movies along with his connections in the business reflected on the theme and setting for both books. The two books were "Panic on Sunset" (1989) and "The Casting Couch" (1990) ("the true story of broken dreams, disillusionment and fallen idols"). "Panic on Sunset" concerns George Schapner, the stressed-out manager/agent of Velma Torraine, a vamp of the silent screen whose heavy Brooklyn accent spells the end of her career as the "talkie" era approaches. A visit to a Hollywood whorehouse specializing in celebrity lookalikes provides George with an unlikely solution to their problem. "The Casting Couch" was a collaborative effort with agent Alan Selwyn, and is credited under the joint pseudonym "Selwyn Ford". Confusingly, the book portrays Selwyn Ford as an actual person.
A third book, "Bella", about actress Bella Darvi and her married lover, Hollywood mogul Darryl F. Zanuck, was never completed. Ford died after a heart attack in a branch of WH Smith. According to Stanley Long's recent biography, Ford was almost penniless at the time of his death.- Director
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Michele Lupo was born on 4 December 1932 in Corleone, Sicily, Italy. He was a director and assistant director, known for Buddy Goes West (1981), The Master Touch (1972) and Goliath and the Sins of Babylon (1963). He died on 27 June 1989 in Rome, Lazio, Italy.- Writer
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Jack Hill, sometimes referred to as a legendary cult-film director, grew up around movies--his father was a set designer for Warner Brothers since 1925, and later for Walt Disney Studios, where he eventually designed the Disneyland Castle. Jack went to the University of California to study film, where he was a classmate of Francis Ford Coppola--they worked together on student productions and later both apprenticed with Roger Corman, working on The Terror, among other films. While Coppola went on to Oscardom, Jack continued with low-budget exploitation films, several of which were highly profitable, especially The Big Doll House, which initiated the short-lived women-in-prison genre. His so-called "blaxploitaton" films Coffy and Foxy Brown were major hits. Nowadays his films are hailed as cult classics, thanks primarily to Quentin Tarantino, who saw Jack Hill's work as it made its way to video, with almost all of his films now available for viewing on various streaming channels as well as DVD releases.- Producer
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Bob Rafelson was an American film director, writer and producer. He is regarded as one of the founders of the New Hollywood movement in the 1970s. Among his best-known films are Five Easy Pieces (1970), The King of Marvin Gardens (1972), and The Postman Always Rings Twice (1981). He was also one of the creators of the pop group and TV series The Monkees (1965).
Rafelson's debut as a director was Head, a feature film starring the Monkees. Co-written with friend Jack Nicholson, and featuring appearances by Nicholson, Victor Mature, Teri Garr, Carol Doda, Annette Funicello, Frank Zappa, Sonny Liston, Timothy Carey, Ray Nitschke, and Dennis Hopper. Rafelson did six films with Jack Nicholson, Head (1968), Five Easy Pieces (1970), The King of Marvin Gardens (1972), The Postman Always Rings Twice (1981), Man Trouble (1992), and Blood and Wine (1996).- Director
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Winner was an only child, born in Hampstead, London, England, to Helen (née Zlota) and George Joseph Winner (1910-1975), a company director. His family was Jewish; his mother was Polish and his father of Russian extraction. Following his father's death, Winner's mother gambled recklessly and sold art and furniture worth around £10m at the time, bequeathed to her not only for her life but to Michael thereafter. She died aged 78 in 1984.
He was educated at St Christopher School, Letchworth, and Downing College, Cambridge, where he read law and economics. He also edited the university's student newspaper, Varsity (he was the youngest ever editor up to that time, both in age and in terms of his university career, being only in the second term of his second year). Winner had earlier written a newspaper column, 'Michael Winner's Showbiz Gossip,' in the Kensington Post from the age of 14. The first issue of Showgirl Glamour Revue in 1955 has him writing another film and showbusiness gossip column, "Winner's World". Such jobs allowed him to meet and interview several leading film personalities, including James Stewart and Marlene Dietrich. He also wrote for the New Musical Express.
He began his screen career as an assistant director of BBC television programmes, cinema shorts, and full-length "B" productions, occasionally writing screenplays. In 1957 he directed his first travelogue, This is Belgium, shot largely on location in East Grinstead. His first on-screen credit was earned as a writer for the crime film Man with a Gun (1958) directed by Montgomery Tully. Winner's first credit on a cinema short was Associate Producer on the film Floating Fortress (1959) produced by Harold Baim. Winner's first project as a lead director involved another story he wrote, Shoot to Kill (1960). He would regularly edit his own movies, using the pseudonym "Arnold Crust". He graduated to first features with Play It Cool (1962), a pop musical starring Billy Fury.
Winner's first significant film was West 11 (1963), a sympathetic study of rootless drifters in the then seedy Notting Hill area of London. Filmed on location (always Winner's preference), with a script by Willis Hall and Keith Waterhouse, the film remains an interesting contribution to the working-class realism wave of the early 1960s. Following differences with his producer, Daniel Angel, Winner (who had wanted to cast Julie Christie in the main female role) resolved to produce as well as direct his films and set up his own company, Scimitar. The Girl-Getters (1964) and the hectic, dystopian I'll Never Forget What's'isname (1967) were paired pieces starring Oliver Reed that continued Winner's exploration of alienated youth adrift in a rising tide of affluence, dreaming of an alternative life they can never achieve. These films and the exuberant 'Swinging London' comedy The Jokers (1967), also starring Reed, were well-suited to Winner's restless, intrusive camera style and staccato editing. They were followed by Hannibal Brooks (1969), a witty Second World War comedy written by Dick Clement and Ian La Frenais, which attracted attention in America and led to Winner pursuing a Hollywood career in the 1970s.
Winner now developed a new reputation as an efficient maker of violent action thrillers, often starring Charles Bronson. The most successful and controversial was Death Wish (1974), with Bronson cast as a liberal architect who embraces vengeance after the murder of his wife and daughter. An intelligent analysis of the deep roots of vigilantism in American society, Death Wish is restrained in its depiction of violence. With his obsessive need to work, Winner accepted many inferior projects, including two weak Death Wish sequels, though occasionally he tried to make more prestigious films, notably The Nightcomers (1971), a prequel to Henry James' The Turn of the Screw, made in Britain with Marlon Brando; and A Chorus of Disapproval (1989), a satisfying version of Alan Ayckbourn's bittersweet comedy.
By the 1990s Winner had become less prolific, and reaped no benefit from the Lottery-prompted rise in genre film-making, which favoured the young and inexperienced. Dirty Weekend (1993), a rape-revenge movie with a female vigilante, aroused considerable controversy, but hardly enhanced Winner's reputation; Parting Shots (1998), a comedy revenge thriller suffused with allusions to Death Wish and restaurant scenes invoking Winner's current incarnation as a food critic, is perhaps his swan song.
In an interview with The Times newspaper, Winner said liver specialists had told him in summer 2012 that he had between 18 months and two years to live. He said he had researched assisted suicide offered at the Dignitas clinic in Switzerland, but found the bureaucracy of the process off-putting. Winner died at his home, Woodland House in Holland Park, on 21 January 2013, aged 77. Winner was buried following a traditional Jewish funeral at Willesden Jewish Cemetery.- Aldo Maccione was born on 27 November 1935 in Turin, Italy. He is an actor, known for Mais où est donc passée la 7ème compagnie (1973), Un ufficiale non si arrende mai, nemmeno di fronte all'evidenza. Firmato Colonnello Buttiglione (1973) and Tais-toi quand tu parles! (1981).À quand une intégrale en sa présence avec tous ses films italiens, pour la plupart inédits dans nos contrées ?
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Joël Séria was born on 13 April 1936 in Angers, France. He is a director and writer, known for Don't Deliver Us from Evil (1971), Comme la lune (1977) and Mumu (2010).- Writer
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Larry Cohen was born July 15, 1936, in New York, New York, and spent time in Kingston, a small town north of New York City. At a young age, his family moved to the Riverdale section of the Bronx, and he eventually majored in film at the historic City College of New York, from which he graduated in 1963. An independent maverick who got his start in studio-based television, he is best known for inventive low-budget horror films that combine scathing social commentary with the requisite scares and occasional laughs. He was also a major player in the Blaxploitation films of the 1970s. Later in his career, he became a sought-after screenplay writer. Although not very prolific in his screen writing, these works still combine provocative social commentary--but with more conventional storytelling. Sadly, Cohen died of cancer on March 23, 2019.- Writer
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Writer/director Stephanie Rothman was one of the few female filmmakers who specialized in low-budget drive-in exploitation fare in the '60s and '70s. Her movies are distinguished by gutsy, strong-willed and sympathetic women main characters and a radical libertarian feminist point of view. Stephanie was born on November 9, 1936 in Paterson, New Jersey (made famous by Lou Costello, who mentioned it in every one of his movies). She was the first lady to be awarded the Directors Guild of America fellowship. Rothman served as an associate producer on Queen of Blood (1966), Beach Ball (1965) and Voyage to the Prehistoric Planet (1965). She co-wrote and co-directed the fright flick Blood Bath (1966) and made her solo directorial debut with the frothy "Beach Party"-type romp It's a Bikini World (1967). Stephanie made two features for Roger Corman's New World Pictures: the excellent The Student Nurses (1970) -- which was the first and best of the popular nurse comedy cycle -- and the offbeat and inspired horror bloodsucker outing The Velvet Vampire (1971). Rothman then went to work for Dimension Pictures, in which she and her writer/producer husband Charles S. Swartz had a minority share, where she made the charming Group Marriage (1972), the delightful The Working Girls (1974) and the gritty Terminal Island (1973) (an early vehicle for Tom Selleck. Moreover, she wrote the story for the enjoyable fantasy adventure Beyond Atlantis (1973) and penned the screenplay for the amusingly inane Starhops (1978). In 2007 Stephanie was honored with a retrospective on her work at the Vienna International Film Festival.- Writer
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Jean-Pierre Lajournade was born on 19 April 1937 in Pau, Pyrénées-Atlantiques, France. He was a writer and director, known for La fin des Pyrénées (1970), Le joueur de quilles (1968) and Assommons les pauvres (1969). He was married to Fiammetta Ortega and Jacqueline Wester. He died on 8 November 1976 in Paris, France.Il joue le rôle principal de "Bartleby" (1970) de Jean-Pierre Bastid, adapté, à mi-chemin entre Kafka et anarcho-situationisme, de l'écrivain Hermann Melville ("Moby Dick").
Jean-Pierre Lajournade fut un cinéaste d'une dizaine de films de bonne réputation entre 1967 et '70. Mort en '76 à l'âge de 39 ans. Après avoir étudié à l'IDHEC avec Bastid, il entre en 1962 à l'ORTF qu'il quitte en 1968 pour réaliser des films d'auteur. Il consacre ses dernières années à l'écriture sur le cinéma, semble-t-il.
Un personnage oublié qui mérite d'être redécouvert.- Director
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Serge Leroy was born on 14 May 1937 in Paris, France. He was a director and writer, known for Le 4ème pouvoir (1985), Taxi de nuit (1993) and La traque (1975). He died on 27 May 1993 in Paris, France.- Director
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Nobuhiko Ôbayashi was born on 9 January 1938 in Onomichi, Hiroshima Prefecture, Japan. He was a director and editor, known for House (1977), Turning Point (1994) and The Discarnates (1988). He was married to Kyôko Ôbayashi. He died on 10 April 2020 in Tokyo, Japan.- Writer
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Leiji Matsumoto was born on 25 January 1938 in Fukuoka, Japan. He was a writer and director, known for Captain Harlock and the Queen of a Thousand Years (1985), Space Battleship Yamato (1974) and Farewell to Space Battleship Yamato: Warriors of Love (1978). He was married to Miyako Maki. He died on 13 February 2023 in Tokyo, Japan.- Actor
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Jean-François Adam was born on 14 February 1938 in Paris, France. He was an actor and assistant director, known for Vivre sa vie (1962), Cléo from 5 to 7 (1962) and Army of Shadows (1969). He died on 14 October 1980 in Paris, France.- Editor
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Silvano Agosti was born on 23 March 1938 in Brescia, Lombardy, Italy. He is an editor and director, known for Uova di garofano (1991), Quartiere (1987) and Fit to Be Untied (1975).- Writer
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Masao Adachi was born on 13 May 1939 in Fukuoka, Japan. He is a writer and director, known for Sain (1963), Yûheisha - terorisuto (2007) and Datai (1966).- Director
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Bob Clark was born on 5 August 1939 in New Orleans, Louisiana, USA. He was a director and writer, known for A Christmas Story (1983), Baby Geniuses (1999) and Porky's (1981). He died on 4 April 2007 in Pacific Palisades, California, USA.- Director
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Born in Tarbes Christian Gion, made his debuts as dircetor in 1967. Later he was one of the most popluar directors of french comedies they are only entertainment. His biggest and loveliest succes is The Pawn (1978) in which Henri Guybet as a pawn of a school find his love with Claude Jade as young widow and mother of his pupil. His later work includes some movies called nanar with the typical cast.- Writer
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Born in Lvov, Ukraine; then he moved with his father Miroslaw Zulawski to Czechoslovakia and later to Poland. In the late 1950s, he studied cinema in France. In the 1960s, he was an assistant of the famous Polish film director Andrzej Wajda. His feature debut The Third Part of the Night (1971) was an adaptation of his father's novel. His second feature The Devil (1972) was prohibited in Poland, and Zulawski went to France. After the success of his French debut That Most Important Thing: Love (1975) in 1975, he returned to Poland where he spent two years in making On the Silver Globe (1988). The work on this film was brutally interrupted by the authorities. After that, Zulawski moved to France where became known for his highly artistic, controversial, and very violent films. Zulawski is well known for his ability to discover and "rediscover" actresses. Romy Schneider, Isabelle Adjani and Sophie Marceau played their best parts in his films.- Director
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Jacques Davila was born on 25 December 1941 in Oran, Algeria. He was a director and writer, known for La campagne de Cicéron (1990), Certaines nouvelles (1980) and Qui trop embrasse... (1986). He died on 14 October 1991 in Paris, France.- Producer
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Hill was born in Long Beach, California and educated at Mexico City College and Michigan State University. He worked in oil drilling and construction in the 60s before becoming a 2nd assistant director in 1967. He has written and co-written screenplays, including several uncredited works. He has produced and directed films since 1975.- Cinematographer
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Philippe Théaudière was born on 9 June 1942 in Dijon, Côte-d'Or, France. He was a cinematographer and director, known for Seven Women for Satan (1976). He died on 29 December 2016 in Paris, France.Directeur de la photographie de la crème française des seventies.- Writer
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Colo Tavernier was born on 30 July 1942 in Guilford, Surrey, England, UK. She was a writer, known for Story of Women (1988), A Sunday in the Country (1984) and Beatrice (1987). She was married to Bertrand Tavernier. She died on 12 June 2020 in Paris, France.- Director
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Salvatore Samperi was born on 26 July 1943 in Padua, Veneto, Italy. He was a director and writer, known for Malicious (1973), Ernesto (1979) and Smell of Flesh (1974). He was married to Francesca Bardella. He died on 5 March 2009 in Trevignano Romano, Lazio, Italy.- Actor
- Writer
- Director
Jacques Nolot was born on 31 August 1943 in Marcillac, France and is a well known stage and character actor whose first feature film L'arrière pays (1998) won the First Film Special Distinction Award at the Montreal World Film Festival and a FIPRESCI Special Mention Award at the Venice Film Festival both in 1998. It earned a nomination for Best New Director of a Feature Film at the César Awards in 1999. His next movie The Eagle with Two Heads (1948) also was critically acclaimed. He previously shot the short film Manège (1986) and also wrote several screenplays including I Don't Kiss (1991) and La Matiouette (1983), both directed by André Téchiné and Guys in the Cafe (1988), directed by Paul Vecchiali. Nolot first appeared in Hotel America (1981) and performed in many other films including Viva la vie (1984), Scene of the Crime (1986), Les innocents (1987) or Nénette and Boni (1996).- Cinematographer
- Camera and Electrical Department
- Producer
Jan de Bont was one of 17 children born into a Roman Catholic Dutch family in Eindhoven on 22 October 1943. Credited with being creative and having a good mentality for camera techniques, he became a popular cinematographer. He worked on a huge number of films before finding himself on the production of Speed (1994), his first film as a director. He has resided in Los Angeles since 1968.
The film was a success and took him onto the next set for Twister (1996), which he also directed. But then the total flops started coming his way: firstly, Speed 2: Cruise Control (1997), which he wrote and directed but without the company of Keanu Reeves. He also directed the star-packed The Haunting (1999) but that also failed at the box office. Later, he directed Lara Croft: Tomb Raider - The Cradle of Life (2003). He is still active in cinema.- Director
- Actor
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Arturo Ripstein began his career as assistant director (unbilled) of Luis Buñuel in Ángel exterminador, El (1962). His father, Alfredo Ripstein, Jr. produced his first film, a western written by Gabriel García Márquez titled Tiempo de morir (1965). Ripstein filmography is very praised in Mexico and Europe. He is considered the best Mexican director alive. Many of his films are related with an unique subject: the loneliness of souls. So, his style re flects his main concerns. Ripstein's films are somber, slow and depressive.- Actress
- Writer
A slender, striking, red-haired, freckle-faced American leading lady, Mary Elizabeth Hartman was born in Boardman, Ohio on December 23, 1943, as the middle of three children born to building contractor Bill C. Hartman (May 7, 1914, Ohio - October 26, 1964, Youngstown, Ohio) and housewife Claire Mullaly (October 13, 1918, Youngstown, Ohio - October 28, 1997, Youngstown, Ohio). Hartman had an older sister named Janet and a younger brother named William. Hartman grew up in Youngstown, Ohio, and appeared in the play "A Clearing in the Woods" in the Youngstown Playhouse.
After graduating from Boardman High School in 1959, Hartman took a job at a Brooks Brothers store in Cleveland, and then attended Carnegie Tech in Pittsburgh in 1961, where she met her future husband Gill Dennis two years later. While in summer school in 1963, Hartman participated in "Bus Stop" with Ann B. Davis, who suggested that Hartman try Broadway. In 1964, Hartman left for New York, where she starred in the play "Everybody Out, the Castle is Sinking". While in New York, she landed the role of Selina D'Arcy, a blind, abused, uneducated white girl who falls in love with a compassionate black man played by Sidney Poitier in the racially charged drama "A Patch of Blue (1965)". For this role, she was nominated for an Academy Award and won the Golden Globe award. A week after she finished that film, Hartman began six months on location in New York as an upperclass collegiate in "The Group (1966)". Hartman married Dennis in 1968.
Other roles followed, such as a go-go dancer in Francis Ford Coppola's film "You're a Big Boy Now (1966)", a lonely, unmarried, handicapped woman in "The Fixer (1968)", a nurse who tends to Clint Eastwood in "The Beguiled (1971), "Intermission (1973)" and Pauline Pusser, the wife of sheriff Buford Pusser in "Walking Tall (1973)". Hartman also appeared in a television pilot of "Willow B: Women in Prison (1980)" (aka "Cages" ) and made numerous television appearances. She appeared in more plays, such as "Our Town" in 1969, also appearing in "The Glass Menagerie", "The Madwoman of Chaillot", "Bus Stop" and "Beckett". She also completed a road tour of the play, "Morning's at Seven".
Hartman's life was plagued by acute depression and insecurity; Hartman spent a year at the Institute of Living in Hartford in 1978. After her role as Mrs. Brisby in "The Secret of NIMH (1982)", Hartman retired from acting, and divorced her husband in 1984. Hartman was also frequently a patient at Western Psychiatric Institute and Clinic in Pittsburgh, where her sister Janet took care of her.
On June 10, 1987, Hartman called her doctor and told him that she had been feeling despondent. Just before noon that same day, Hartman committed suicide by throwing herself out of her fifth-floor studio flat window at the King Edward Apartments in the Pittsburgh neighborhood of Oakland. She was 43 years old.- Writer
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- Actor
Spanish movies director. He studied cinema in Paris at the IDHEC. He began working in cinema in 1966, though he became famous in the years of the spanish transition to the democracy with provoking films. Drugs, delinquence, terrorism and generational problems are the common subjects in his films.- Writer
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- Actor
James Toback, screenwriter and the director of nine films, was born on November 23, 1944 in New York City to a successful garment manufacturer. A 1966 graduate of Harvard College, Toback later taught creative writing at City College of New York in the early 1970s. He suffered from a gambling compulsion that still plagues him, which was the subject of his autobiographical screenplay for the Karel Reisz film The Gambler (1974) that starred James Caan as a New York University literature professor who was a compulsive gambler. The film was a success and launched Toback's career in movies. He graduated to writer-director with his movie Fingers (1978), a gritty, urban melodrama influenced by Martin Scorsese's early New York pictures starring early Scorsese collaborator Harvey Keitel as a debt collector who has ambitions to be a concert pianist (the latter a determinedly non-Scorsese theme).
Fingers (1978) revealed Toback's obsession with former football great and blaxploitation movie star Jim Brown, one of the more potent mainstream avatars of African American pride and defiance to the culture at large in the late 1960s and early '70s. In a year 2000 appearance at the National Film Theatre in London to screen and discuss Black & White (1999), his film dealing with relations between "wiggas" (Caucasian black-wannabes) and African Americans (with a cast that included former heavyweight champion Mike Tyson playing himself, counseling another African American to commit murder), Toback admitted that he revered black culture as an antidote to the sterility of middle-class white existence. Toback said that he was bored with his life and his wife after graduating from Harvard, and he saw Jim Brown as a symbol of the freedom he wanted to achieve. His explanation and the portrayal of a homosexual character in the film (played by frequent Toback star Robert Downey Jr.) did not go over well with the members of color in the audience, but Toback was undaunted by their hostility and remained in good spirits.
Long before making the controversial Black & White (1999) and Harvard Man (2001) (both of which return to his theme of gambling), Toback spent two decades after Fingers (1978) on a career rollercoaster. Love & Money (1981) and Exposed (1983) were flops, though he did redeem his reputation later in the decade with the popular The Pick-up Artist (1987) (which starred Downey, Jr. and was produced by his friend and fellow-womanizer Warren Beatty) and his highly acclaimed documentary about the meaning of existence The Big Bang (1989). In 1992, Toback's talent as a screenwriter was recognized when he was nominated for an Academy Award for for Warren Beatty's star vehicle Bugsy (1991), a modest box office success which was directed by Barry Levinson.
After reaching those heights, Toback's career again swooped downward, and none of his projects reached the screen until the late 1990s, when he wrote and directed Two Girls and a Guy (1997), starring, once again, Robert Downey, Jr.. After experiencing a career renaissance at the turn of the millennium, Toback has written and directed only one more picture, the underwhelming When Will I Be Loved (2004). He also had an earlier screenplay adapted and filmed by French writer-director Jacques Audiard (The Beat That My Heart Skipped (2005).- Actress
- Art Department
- Writer
Mimsy Farmer first began acting at age 16, when a press agent noticed her and offered her work in the film, Gidget Goes Hawaiian (1961), an unbilled bit with one line as a girl in the lobby. Her first billed film was a featured part in Spencer's Mountain (1963), starring Henry Fonda, Maureen O'Hara and James MacArthur. After her first acting role, Mimsy took acting lessons after graduation and landed a few more roles, playing featured characters in the films, Bus Riley's Back in Town (1965), Hot Rods to Hell (1966), Riot on Sunset Strip (1967) and Devil's Angels (1967). After spending a year in Canada and working in a research hospital, she returned to the USA, moved to Los Angeles, and was soon cast for a role in Roger Corman's The Wild Racers (1968), which was directed by Daniel Haller. Her experience on that film was to her 'a pleasant one' because she first traveled to Europe and experienced the various countries, and to England to visit her older brother, who worked as a math teacher at a university in London.
After appearing in the film, More (1969), Mimsy traveled to Italy for a vacation and met her future husband, screenwriter Vincenzo Cerami, who wanted to write her a part in a film. He was later fired as the scriptwriter and her role was not cast. After spending time in Italy, and disillusioned by the civil unrest and political problems with the USA and its involvement in the Vietnam War, Mimsy, a liberal left-winger, settled in Italy to continue her acting career there.
Mimsy Farmer first became an international star when Dario Argento cast her to appear alongside Michael Brandon in 'giallo' mystery-thriller, Four Flies on Grey Velvet (1971) (aka "Four Flies on Grey Velvet"), in 1971. After her success with "Four Flies on Grey Velvet" (1971), Mimsy remained in Italy and a steady stream of acting roles followed with dramatic parts in dramas and thrillers, including Allonsanfan (1974), and The Perfume of the Lady in Black (1974), directed by Francesco Barilli. One of her best roles was a starring role in the horror-mystery-thriller, Autopsy (1975) (aka "Autopsy"), directed by Armando Crispino, where she played a pathologist investigating a murder.
She also appeared in two films, directed by Ruggero Deodato, titled Concorde Affaire '79 (1979) and Body Count (1986). Lucio Fulci even cast her, in 1981, for a co-starring part in The Black Cat (1981) (aka "The Black Cat") (1981), playing the heroine/victim. She also appeared in a number of French language films and TV. After her divorce from Vincenzo Cerami in the 1980s, Mimsy and her teenage daughter, Aisha Cerami, settled in France, where she also did some French-language movie and TV roles and she considers French an easier language to learn and speak than Italian.- Director
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Jean-Marie Degèsves was born on 16 May 1945 in Huy, Belgium. He was a director and actor, known for Du bout des lèvres (1976), Salt on the Skin (1985) and L'homme au petit chien (1979). He died in 1999.- Producer
- Actor
- Writer
René Féret, a true filmmaker from the North of France, the region in which he shot all his films. Born in 1945 in La Bassée, he spent his childhood in the small town of Annequin, where the parish priest, a confirmed film buff, awakened his taste for cinema. Féret was first a theater actor (he later also acted once or twice in his own films). After studying at the Strasbourg School of Dramatic Art, he performed in various theaters in the North of France, including "Le Centre Dramatique du Nord" and Cyril Robichez's "TPF". However, he was more interested in filmmaking and in 1974, with the help of a group of fellow actors and a handful of dedicated technicians, he succeeded in making his first film, the very personal (a constant in his career) "Histoire de Paul". Not owning a penny of his own, Féret achieved his aims against all odds thanks to a sum of money lent by a friend who had inherited it as well as the advance on receipts by CNC. The Paul of the title was in fact René Féret himself who, at the age of 22, had been committed to the psychiatric hospital in Armentières. The new director had managed to transpose that traumatic experience with such talent that he won the 1975 Jean Vigo Prize. From then on, René Féret's career unfolded with regularity, obstinately inscribed in his native region, often autobiographical ("La Communion solennelle" in 1976; "Baptême" in 1988), sometimes in costume ("Nannerl", the story of Mozart's sister played by his own daughter Marie, in 2010), always sincere and as far away from any kind of fashion as can be. The producer of his own films, a precious guarantee of freedom, he also financially supported a few demanding directors such as René Allio or Robert Guédiguian. From 1995 and for fifteen years he taught cinema at the University of Lille 3 Active till the end, this great artist unfortunately died in 2015 at the premature age of 69 following a long illness.- Writer
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- Producer
Willard Huyck was born on 8 September 1945 in Los Angeles, California, USA. He is a writer and director, known for Howard the Duck (1986), American Graffiti (1973) and Indiana Jones and the Temple of Doom (1984). He was previously married to Gloria Katz.- Writer
- Director
- Producer
Bigas Luna was born on 19 March 1946 in Barcelona, Barcelona, Catalonia, Spain. He was a writer and director, known for Jamón, Jamón (1992), Caniche (1979) and Anguish (1987). He was married to Celia Orós. He died on 6 April 2013 in La Riera de Gaià, Tarragona, Catalonia, Spain.- Director
- Actor
Serge Bard is known for Destroy Yourselves (1968), Fun and Games for Everyone (1968) and Ici et maintenant (1968).- Actor
- Producer
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With an almost unpronounceable surname and a thick Austrian accent, who would have ever believed that a brash, quick talking bodybuilder from a small European village would become one of Hollywood's biggest stars, marry into the prestigious Kennedy family, amass a fortune via shrewd investments and one day be the Governor of California!?
The amazing story of megastar Arnold Schwarzenegger is a true "rags to riches" tale of a penniless immigrant making it in the land of opportunity, the United States of America. Arnold Alois Schwarzenegger was born July 30, 1947, in the town of Thal, Styria, Austria, to Aurelia Schwarzenegger (born Jadrny) and Gustav Schwarzenegger, the local police chief. From a young age, he took a keen interest in physical fitness and bodybuilding, going on to compete in several minor contests in Europe. However, it was when he emigrated to the United States in 1968 at the tender age of 21 that his star began to rise.
Up until the early 1970s, bodybuilding had been viewed as a rather oddball sport, or even a mis-understood "freak show" by the general public, however two entrepreneurial Canadian brothers Ben Weider and Joe Weider set about broadening the appeal of "pumping iron" and getting the sport respect, and what better poster boy could they have to lead the charge, then the incredible "Austrian Oak", Arnold Schwarzenegger. Over roughly the next decade, beginning in 1970, Schwarzenegger dominated the sport of competitive bodybuilding winning five Mr. Universe titles and seven Mr. Olympia titles and, with it, he made himself a major sports icon, he generated a new international audience for bodybuilding, gym memberships worldwide swelled by the tens of thousands and the Weider sports business empire flourished beyond belief and reached out to all corners of the globe. However, Schwarzenegger's horizons were bigger than just the landscape of bodybuilding and he debuted on screen as "Arnold Strong" in the low budget Hercules in New York (1970), then director Bob Rafelson cast Arnold in Stay Hungry (1976) alongside Jeff Bridges and Sally Field, for which Arnold won a Golden Globe Award for "Best Acting Debut in a Motion Picture". The mesmerizing Pumping Iron (1977) covering the 1975 Mr Olympia contest in South Africa has since gone on to become one of the key sports documentaries of the 20th century, plus Arnold landed other acting roles in the comedy The Villain (1979) opposite Kirk Douglas, and he portrayed Mickey Hargitay in the well- received TV movie The Jayne Mansfield Story (1980).
What Arnold really needed was a super hero / warrior style role in a lavish production that utilized his chiseled physique, and gave him room to show off his growing acting talents and quirky humor. Conan the Barbarian (1982) was just that role. Inspired by the Robert E. Howard short stories of the "Hyborean Age" and directed by gung ho director John Milius, and with a largely unknown cast, save Max von Sydow and James Earl Jones, "Conan" was a smash hit worldwide and an inferior, although still enjoyable sequel titled Conan the Destroyer (1984) quickly followed. If "Conan" was the kick start to Arnold's movie career, then his next role was to put the pedal to the floor and accelerate his star status into overdrive. Director James Cameron had until that time only previously directed one earlier feature film titled Piranha II: The Spawning (1982), which stank of rotten fish from start to finish. However, Cameron had penned a fast paced, science fiction themed film script that called for an actor to play an unstoppable, ruthless predator - The Terminator (1984). Made on a relatively modest budget, the high voltage action / science fiction thriller The Terminator (1984) was incredibly successful worldwide, and began one of the most profitable film franchises in history. The dead pan phrase "I'll be back" quickly became part of popular culture across the globe. Schwarzenegger was in vogue with action movie fans, and the next few years were to see Arnold reap box office gold in roles portraying tough, no-nonsense individuals who used their fists, guns and witty one-liners to get the job done. The testosterone laden Commando (1985), Raw Deal (1986), Predator (1987), The Running Man (1987) and Red Heat (1988) were all box office hits and Arnold could seemingly could no wrong when it came to picking winning scripts. The tongue-in-cheek comedy Twins (1988) with co-star Danny DeVito was a smash and won Arnold new fans who saw a more comedic side to the muscle- bound actor once described by Australian author / TV host Clive James as "a condom stuffed with walnuts". The spectacular Total Recall (1990) and "feel good" Kindergarten Cop (1990) were both solid box office performers for Arnold, plus he was about to return to familiar territory with director James Cameron in Terminator 2: Judgment Day (1991). The second time around for the futuristic robot, the production budget had grown from the initial film's $6.5 million to an alleged $100 million for the sequel, and it clearly showed as the stunning sequel bristled with amazing special effects, bone-crunching chases & stunt sequences, plus state of the art computer-generated imagery. Terminator 2: Judgment Day (1991) was arguably the zenith of Arnold's film career to date and he was voted "International Star of the Decade" by the National Association of Theatre Owners.
Remarkably, his next film Last Action Hero (1993) brought Arnold back to Earth with a hard thud as the self-satirizing, but confusing plot line of a young boy entering into a mythical Hollywood action film confused movie fans even more and they stayed away in droves making the film an initial financial disaster. Arnold turned back to good friend, director James Cameron and the chemistry was definitely still there as the "James Bond" style spy thriller True Lies (1994) co-starring Jamie Lee Curtis and Tom Arnold was the surprise hit of 1994! Following the broad audience appeal of True Lies (1994), Schwarzenegger decided to lean towards more family-themed entertainment with Junior (1994) and Jingle All the Way (1996), but he still found time to satisfy his hard-core fan base with Eraser (1996), as the chilling "Mr. Freeze" in Batman & Robin (1997) and battling dark forces in the supernatural action of End of Days (1999). The science fiction / conspiracy tale The 6th Day (2000) played to only mediocre fan interest, and Collateral Damage (2002) had its theatrical release held over for nearly a year after the tragic events of Sept 11th 2001, but it still only received a lukewarm reception.
It was time again to resurrect Arnold's most successful franchise and, in 2003, Schwarzenegger pulled on the biker leathers for the third time for Terminator 3: Rise of the Machines (2003). Unfortunately, directorial duties passed from James Cameron to Jonathan Mostow and the deletion of the character of "Sarah Connor" aka Linda Hamilton and a change in the actor playing "John Connor" - Nick Stahl took over from Edward Furlong - making the third entry in the "Terminator" series the weakest to date.
Schwarzenegger married TV journalist Maria Shriver in April, 1986 and the couple have four children.
In October of 2003 Schwarzenegger, running as a Republican, was elected Governor of California in a special recall election of then governor Gray Davis. The "Governator," as Schwarzenegger came to be called, held the office until 2011. Upon leaving the Governor's mansion it was revealed that he had fathered a child with the family's live-in maid and Shriver filed for divorce.
Schwarzenegger contributed cameo roles to The Rundown (2003), Around the World in 80 Days (2004) and The Kid & I (2005). Recently, he starred in The Expendables 2 (2012), The Last Stand (2013), Escape Plan (2013), The Expendables 3 (2014), and Terminator Genisys (2015).- Actress
- Director
Monica Swinn was born Monika Swuine on September 19, 1948 in Charleroi, Belgium. A graduate of both the IAD - Institut des Arts de Diffusion and the Universite Libre de Bruxelles, Swinn initially started acting on stage in Brussels. Monica's first few films were experimental shorts. Best known for acting in a handful of racy exploitation movies for legendary Spanish maverick filmmaker Jesús Franco that were made throughout the 1970's, Swinn was especially memorable as the sadistic monocle-wearing lesbian warden in Barbed Wire Dolls (1976). Besides Brussels, Monica has also lived in Turin, Italy and Paris, France. After a regrettably lengthy cinematic hiatus, Swinn made a welcome comeback as disapproving neighbor Lorna in The Duke of Burgundy (2014).- Writer
- Second Unit Director or Assistant Director
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Gérard Frot-Coutaz was born on 18 September 1951 in Chalon-sur-Saône, Saône-et-Loire, France. He was a writer and assistant director, known for Good Weather, But Stormy Late This Afternoon (1986), Après après-demain (1990) and Archipel des amours (1983). He died on 12 March 1992 in Créteil, Val-de-Marne, France.- Director
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Hervé Le Roux was born on 21 August 1956 in Paris, France. He was a director and writer, known for They Call This... Spring (2001), Grand bonheur (1993) and A quoi pense madame Manet (sur son canapé bleu) (2017). He died on 26 July 2017 in Poitiers, Vienne, France.- Lilli Carati was born on 23 September 1956 in Varese, Lombardy, Italy. She was an actress, known for Skin Deep (1979), A Lustful Mind (1986) and L'alcova (1985). She died on 20 October 2014 in Besano, Lombardy, Italy.
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Shin'ya Tsukamoto was born on 1 January 1960 in Shibuya, Tokyo, Japan. He is an actor and director, known for Tetsuo: The Iron Man (1989), Vital (2004) and Tokyo Fist (1995).- Director
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Takashi Miike was born in the small town of Yao on the outskirts of Osaka, Japan. His main interest growing up was motorbikes, and for a while he harbored ambitions to race professionally. At the age of 18 he went to study at the film school in Yokohama founded by renowned director Shôhei Imamura, primarily because there were no entrance exams. By his own account Miike was an undisciplined student and attended few classes, but when a local TV company came scouting for unpaid production assistants, the school nominated the one pupil who never showed up: Miike. He spent almost a decade working in television, in many different roles, before becoming an assistant director in film to, amongst others, his old mentor Imamura. The "V-Cinema" (Direct to Video) boom of the early 1990s was to be Miike's break into directing his own films, as newly formed companies hired eager young filmmakers willing to work cheap and crank out low-budget action movies. Miike's first theatrically distributed film was Shinjuku Triad Society (1995) (Shinjuku Triad Society), and from then on he alternated V-Cinema films with higher-budgeted pictures. His international breakthrough came with Audition (1999) (Audition), and since then he has an ever expanding cult following in the west. A prolific director, Miike has directed (at the time of this writing) 60+ films in his 13 years as director, his films being known for their explicit and taboo representations of violence and sex, as seen in such works as Bijitâ Q (2001) (Visitor Q), Ichi the Killer (2001) (Ichi The Killer) and the Dead or Alive Trilogy: Dead or Alive (1999), Dead or Alive 2: Birds (2000) and Dead or Alive: Final (2002).- Actor
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- Music Department
Hiroyuki Sanada was born on October 12, 1960 in Tokyo. He made his film debut when he was 5 in Rokyoku komori-uta (1965) (Shin'ichi Chiba played the lead role.) His father died when he was 11. He joined Japan Action Club, organized & run by Sonny Chiba, when he was 12. He 1st became famous as an action star for his role in Yagyu Clan Conspiracy (1978) but is now known as one of the most talented actors in Japan. From 1999-2000, he played the fool in an English-language production of "King Lear" w/ members of the Royal Shakespeare Co as the 1st Japanese actor to act w/ the RSC. He received an honorary MBE (Member of the British Empire) for this work. He & Satomi Tezuka split after 7 years in 1997.- Actor
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Van Damme was born Jean-Claude Camille François Van Varenberg in Berchem-Sainte-Agathe, Brussels, Belgium, to Eliana and Eugène Van Varenberg, an accountant. "The Muscles from Brussels" started martial arts at the age of eleven. His father introduced him to martial arts when he saw his son was physically weak. At the age of 12, Van Damme began his martial arts training at Centre National De Karate (National Center of Karate) under the guidance of Master Claude Goetz in Ixelles, Belgium. Van Damme trained for 4 years and earned a spot on the Belgium Karate Team. He won the European professional karate association's middleweight championship as a teenager, and also beat the 2nd best karate fighter in the world. His goal was to be number one but got sidetracked when he left his hometown of Brussels. In 1976 at the age of sixteen, Jean-Claude started his Martial Arts fight career.
Over the next 6-years, he competed in both full-contact and semi-contact matches. He debuted under his birth name of Jean Claude Van Varenberg. In his first match, Jean-Claude was staggered by a round-house kick thrown by fellow countryman, Toon Van Oostrum in Brussels, Belgium. Van Damme was badly stunned, but came back to knockout Van Oostrum moments later. In 1977, at the WAKO Open International in Antwerp, Belgium, Jean-Claude lost a decision to fellow team mate Patrick Teugels in a semi-contact match. At the 1978 Challenge De Espoirs Karate Tournament (1st Trials),Jean-Claude placed 2nd in the semi-contact division. He defeated twenty-five opponents during the week long tournament, but lost in the finals to Angelo Spataro from the Naha Club. Later in 1978, Jean-Claude lost a 3-round match for the Belgium Lightweight Championship (semi-contact) to his fellow team-mate to Patrick Teugels.
In 1979, Jean-Claude traveled to the United States of America, to Tampa, Florida. In his first and only match against a United States opponent, Van Damme faced 'Sherman 'Big Train'Bergman', a kick-boxer from Miami Beach, Florida. For the first and only time in his career, Jean-Claude was knocked to the canvas after absorbing a powerful left hook from Bergman. However, Jean-Claude climbed off the canvas and with a perfectly timed ax-kick, knocked Bergman out in 56 seconds of the first round. Jean-Claude was a member of the Belgium team which competed on December 26, 1979 at the La Coupe Fancois Persoons Karate Tournament which was sanctioned by the Federation bruxelloise de Karate. Van Damme's final match victory enabled his team to win the European Team Karate Championship. In Full-Contact karate, Jean-Claude knocked out England's Micheal Heming in 46 seconds of the first round. In 1980, Van Damme knocked out France's Georges Verlugels in 2 rounds of a match fought under kick-boxing rules. Jean-Claude wanted to defeat his rival Patrick Teugels. At the Forest Nationals in Brussels, on March 8, 1980, Jean-Claude knocked Teugels down and Teugels suffered a nose injury and was unable to continue. Jean-Claude was awarded a first round victory.
Jean-Claude retired from martial arts in 1982, following a knockout over Nedjad Gharbi in Brussels,Belgium. Jean-Claude posted a 18-1 (18 knockouts) Kickboxing record, and a Semi-Contact record of 41-4. He came to Hong Kong at the age of 19 for the first time and felt insured to do action movies in Hong Kong. In 1981 Van Damme moved to Los Angeles. He took English classes while working as carpet layer, pizza delivery man, limo driver, and thanks to Chuck Norris he got a job as a bouncer at a club. Norris gave Van Damme a small role in the movie Missing in Action (1984), but it wasn't good enough to get anybody's attention. Then in 1984 he got a role as a villain named Ivan in the low-budget movie No Retreat, No Surrender (1985). Then one day, while walking on the streets, Jean-Claude spotted a producer for Cannon Pictures, and showed some of his martial arts abilities which led to a role in Bloodsport (1988). But the movie, filmed in Hong Kong, was so bad when it was completed, it was shelved for almost two years. It might have never been released if Van Damme did not help them to recut the film and begged producers to release it. They finally released the film, first in Malaysia and France and then into the U.S. Shot on a meager 1.5 million dollar budget, it became a U.S box-office hit in the spring of 1988. It made about 30 million worldwide and audiences supported this film for its new sensational action star Jean-Claude Van Damme.
His martial arts assets, highlighted by his ability to deliver a kick to an opponent's head during a leaping 360-degree turn, and his good looks led to starring roles in higher budgeted movies like Cyborg (1989), Lionheart (1990), Double Impact (1991) and Universal Soldier (1992). In 1994, he scored with his big breakthrough $100 million worldwide hit Timecop (1994). But in the meantime, his personal life was coming apart. A divorce, followed by a new marriage, followed by another divorce. It began to show up in his career when his projects began to tank at the box office - The Quest (1996), which he directed; Maximum Risk (1996) and Double Team (1997). The three films made less than $50 million combined. In 1999 he remarried his ex-wife Gladys Portugues and restarted his lost career to attain new goals. With help from his family he faced his problems and made movies like Replicant (2001), Derailed (2002), and In Hell (2003) which did averagely in box office terms, but he tried to give his fans the best, his acting in those movies got better, more emotional and each movie was basically in different action tones.Un des ultimes aventuriers du cinéma populaire qui restera comme celui qui a introduit à Hollywood les plus grands cinéastes de Hong Kong pour donner naissance à des films génialement mutants, ainsi que l'interprète de "Universal Soldier", véritables allégories des débordements monstrueux de l'impérialisme ricain.
On lui a lourdement fait payer ses choix audacieux par la suite en le mettant au rancart dans des productions fauchées tournées dans des usines bulgares.- Director
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Shion Sono is a Japanese director, writer and poet. Born in Aichi Perfecture in 1961 he started his career working as a poet before taking his first steps in film directing. As a student he shot a series of short films in Super 8 and managed to make his first feature films in the late 80s and early 90s, in which he also starred. The film that helped him reach a wider international audience and establish himself as a cult director is Love Exposure (2008) , released in 2008. Ai no mukidashi is the first installment of Sono's Trilogy of Hate followed by Cold Fish (2010) and concluded with Guilty of Romance (2011). The films of Shion Sono often tell the stories of socially marginalized teenagers or young adults who end up engaging in activities that involve murders, sexual abuse and criminal behavior. Sono's films in most of the cases contain scenes filled with graphic violence and blood that echo the long pinku eiga and anime tradition of Japanese cinema.- Writer
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Hitoshi Matsumoto and his childhood friend Masatoshi Hamada teamed up as comedy duo Downtown. When they had their own TV shows in late 80s, they became phenomenal pop culture among young Japanese people. Unlike other comedy duos in Japan, they are still together, and they dominate prime time TV shows in Japan. They are most notably famous for their yearly "batsu" TV special aired on New Years Eve from 18:30 - 00:00 that has been running for 10 consecutive years which gained a large following internationally via YouTube.- Writer
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Satoshi Kon was born in 1963. He studied at the Musashino College of the Arts. He began his career as a Manga artist. He then moved to animation and worked as a background artist on many films (including Roujin Z (1991) by 'Katsuhiro Otomo'). Then, in 1995, he wrote an episode of the anthology film Memories (1995) (this Episode was "Magnetic Rose"). In 1997, he directed his first feature film: the excellent Perfect Blue (1997). In 2001, he finished work on his second feature film, Millennium Actress (2001) (aka Millennium Actress).- Director
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Laurent Achard was born on 17 April 1964 in France. He was a director and writer, known for Le dernier des fous (2006), More Than Yesterday (1998) and La peur, petit chasseur (2004). He died on 25 March 2024 in Paris, France.- Actress
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Maggie Cheung was born on September 20, 1964, in Hong Kong, and moved at the age of eight with her family to England. After finishing secondary school, she returned to Hong Kong, where she began modeling and appearing in commercials. In 1983 she participated in the Ms. Hong Kong pageant, winning first runner-up, which proved not to be a detriment since she went on to become a star of both Hong Kong television and film.- Actress
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Sandrine Bonnaire was born on 31 May 1967 in Gannat, Allier, France. She is an actress and director, known for La Cérémonie (1995), To Our Loves (1983) and Vagabond (1985). She was previously married to Guillaume Laurant.- Actress
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Naomi Ellen Watts was born on September 28, 1968 in Shoreham, England to Myfanwy Edwards "Miv" (Roberts), an antiques dealer and costume/set designer, and Peter Watts (Peter Anthony Watts), Pink Floyd's road manager. Her maternal grandfather was Welsh. Her father died when she was seven and she followed her mother and brother around England until she was 14 and they finally settled in Australia, homeland of her maternal grandmother. When they arrived, she coaxed her mother to let her take acting classes. After bit parts in commercials, she landed her first role in For Love Alone (1986). Naomi met her best friend Nicole Kidman when they both auditioned for a bikini commercial and shared a taxi ride home. In 1991, Naomi starred with Kidman in the sleeper hit Flirting (1991), directed by John Duigan. Naomi continued her career by starring in the Australian Brides of Christ (1991) co-starring Oscar-winners Russell Crowe and Brenda Fricker.
In 1993, she worked with John Duigan again in Wide Sargasso Sea (1993) and director George Miller in Gross Misconduct (1993). Tank Girl (1995), in 1995, an adaptation of the comic book was a cult hit, starred Naomi as "Jet Girl", but it didn't do at the box-office or do much for her career. Watts continued to take insignificant parts in movies including the much forgotten film Children of the Corn: The Gathering (1996). It wasn't until David Lynch cast her in the critically acclaimed film Mulholland Drive (2001) that she began to become noticed. Her part as an aspiring actress showed her strong acting ability and wide range and earned her much respect, as much as to say by some that she was overlooked for a Oscar nomination that year. Stardom finally came to Naomi in the surprise hit The Ring (2002), which grossed over $100,000,000 at the box-office and starred Watts as an investigative reporter hunting down the truth behind several mysterious deaths seemingly caused by a video tape. While the movie did not fare well with the critics, it launched her into the spotlight. In 2003, she starred in Alejandro González Iñárritu's 21 Grams (2003) which earned her - what some say is a much overdue Oscar nomination and brought others to call her one of the best in her generation of actors. The same year, she was nominated for 21 Grams (2003), Naomi was chosen to play "Ann Darrow" in director Peter Jackson's King Kong (2005) which took her to New Zealand for a five month shoot. Watts completed her first comedy in I Heart Huckabees (2004) for director David O. Russell, playing a superficial spokes model - a break from her usual intense and dramatic roles she is known for.
In 2005, she reprized her role as the protective-mother-reporter "Rachel Keller" in The Ring Two (2005). The movie, released in March, opened to $35,000,000 at the box office in the first weekend and established her as a box-office draw. Also in 2005, it was decided that her independent movie Ellie Parker (2001) would be re-released in late 2005 after its success at resurfacing at the Sundance Film Festival. The movie, which Naomi also produced, features her in the title role and is a bit biographical, but yet exaggerated take of the life of a struggling actress as she comes to Hollywood and encounters nightmares of the profession (it also features Watts' own beat-up Honda which she travels around in). In 2006, she starred with Edward Norton in The Painted Veil (2006). In July of 2007, Naomi gave birth to a boy, Alexander Pete (Sasha Schreiber) in Los Angeles with Liev Schreiber. Since then her career choices have gathered even more critical acclaim with starring roles roles in German director Michael Haneke's American remake of his thriller Funny Games (2007), David Cronenberg's Eastern Promises (2007), and the action-thriller, The International (2009), released in February 2009. In mid-2008, Watts announced she was expecting her second child with Schreiber and gave birth to second son Samuel Kai Schreiber, in New York on December 13.- Born Luz Maria Cavazos in the northern Mexican city of Monterrey, she moved with her family to Guadalajara when she was 7 years old. At the age of 15 she was bitten by the acting bug, which led her to join a theater group while still finishing her high school years. At 19 she moved to Mexico City to study drama at the National University of Mexico (UNAM) where she learned from teachers Luis de Tavira, Jose Caballero and Ludvik Margules. During her last year in school she auditioned for the role of Tita in Alfonso Arau's "Like Water for Chocolate", which would eventually give her international acclaim and recognition around the globe receiving the Best Actress Award at the Tokyo International Film Festival. This led her to pursue a more diverse career in cinema in the U.S., leaving her theater career on hold for a few years, while she was working in independent films such as Wes Anderson's "Bottle Rocket" co-starring Owen and Luke Wilson, Allison Anders' "Sugar Town", Showtime's "In the Time of the Butterflies" with Salma Hayek and Edward James Olmos, among many others. While still maintaining her interest in American cinema, she relocated to Mexico City where she is working on film and theater productions. Her last credits include "Las Buenrostro", "Atlético San Pancho" and the critically acclaimed short film "Entre Dos". Currently she's preparing for an international co-production, due to be shot at the end of 2005 in South America.
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Peter Strickland was born in 1973 in Reading, Berkshire, England, UK. He is a director and writer, known for Katalin Varga (2009), In Fabric (2018) and Berberian Sound Studio (2012).- Director
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Cinema came into Mia Hansen-Løve's life when she was seventeen, as Olivier Assayas made her start as an actress in Late August, Early September (1998). Two years later, he gave her the part of "Aline" in his Les Destinées (2000). Their artistic collaboration was coupled by a union in real life, Mia and Olivier becoming life companions. In 2001, Mia Hansen-Løve began studying at the municipal Conservatory of Dramatic Arts in Paris' 10th district but she dropped our after two years to contribute instead to the famous film magazine "Les Cahiers du Cinéma", where Olivier Assayas also wrote. In 2001, she tried her hand at directing and, as of the first day of shooting, discovered that this WAS what she wanted to do. The result was Après mûre réflexion (2004). Since then, although aged only twenty-eight, she has already made two more films, All Is Forgiven (2007) and Father of My Children (2009), both acclaimed by the critics, both showing consistent thematic and stylistic unity.