Producers who can make a lot of money
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As flamboyant as any character in his movies, Joel Silver can be credited along with Jerry Bruckheimer as practically reinventing the action film genre in the 1980s. Born in New Jersey, he attended the New York University Film School. After college, he worked at Lawrence Gordon Pictures, earning his first onscreen credit as associate producer of The Warriors (1979). He eventually became president of the motion picture division of Gordon Pictures. Together with Gordon, Silver produced 48 Hrs. (1982) and Streets of Fire (1984). In 1983 he formed Silver Pictures and initially set up shop at Universal Pictures to produce Brewster's Millions (1985) before going to Fox and continued producing hit action films such as Commando (1985), the "Lethal Weapon" franchise, the first two films of the "Die Hard" franchise and the three films of "Matrix" franchise of action films. He had then subsequently joined Warner Bros. in 1987 after leaving Fox. Despite these successes, he has hit some rough spots and has been banned from working on several studio lots. He was unable to produce the "48 Hrs" sequel Another 48 Hrs. (1990), the third "Die Hard" film, Die Hard with a Vengeance (1995) and the fourth "Matrix" installment The Matrix Resurrections (2021) because of past run-ins with studio executives. Because of his habit of wearing sport shirts and talking loudly and quickly, he has been parodied in several films, even spoofing himself in Who Framed Roger Rabbit (1988) by playing the frustrated cartoon director in the film's opening sequence. In order to perform in that role, he had to use an alias to get onto the Walt Disney lot, and his onscreen credit was not revealed to Disney executives until the very last minute. He had worked in television, setting up his own television branch with his first project Parker Kane (1990), a project that would eventually never made to series, and then worked at HBO for many years, until he found a home at Warner Bros. Television in 1998, where he had developed two UPN shows The Strip (1999) and Freedom (2000) before finding commercial success with the hit Veronica Mars (2004). In 1999, Silver Pictures had teamed up with film director/producer Robert Zemeckis to set up Dark Castle Entertainment to produce genre and horror films with the first film under Dark Castle being House on Haunted Hill (1999). Joel Silver pioneered the practice of shooting action movies in Australia with the "Matrix" films, and has been credited with either inventing or reinventing the careers of Eddie Murphy, Arnold Schwarzenegger and Steven Seagal. He was mentioned in Halle Berry's Academy Award acceptance speech. Other credits include non-action pictures, ranging from Xanadu (1980), Weird Science (1985) and Fred Claus (2007) to HBO's long-running TV series, Tales from the Crypt (1989). He had resigned from his founding production company in 2019.- Producer
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One of the most influential personalities in the history of cinema, Steven Spielberg is Hollywood's best known director and one of the wealthiest filmmakers in the world. He has an extraordinary number of commercially successful and critically acclaimed credits to his name, either as a director, producer or writer since launching the summer blockbuster with Jaws (1975), and he has done more to define popular film-making since the mid-1970s than anyone else.
Steven Allan Spielberg was born in 1946 in Cincinnati, Ohio, to Leah Frances (Posner), a concert pianist and restaurateur, and Arnold Spielberg, an electrical engineer who worked in computer development. His parents were both born to Russian Jewish immigrant families. Steven spent his younger years in Haddon Township, New Jersey, Phoenix, Arizona, and later Saratoga, California. He went to California State University Long Beach, but dropped out to pursue his entertainment career. Among his early directing efforts were Battle Squad (1961), which combined World War II footage with footage of an airplane on the ground that he makes you believe is moving. He also directed Escape to Nowhere (1961), which featured children as World War Two soldiers, including his sister Anne Spielberg, and The Last Gun (1959), a western. All of these were short films. The next couple of years, Spielberg directed a couple of movies that would portend his future career in movies. In 1964, he directed Firelight (1964), a movie about aliens invading a small town. In 1967, he directed Slipstream (1967), which was unfinished. However, in 1968, he directed Amblin' (1968), which featured the desert prominently, and not the first of his movies in which the desert would feature. Amblin' also became the name of his production company, which turned out such classics as E.T. the Extra-Terrestrial (1982). Spielberg had a unique and classic early directing project, Duel (1971), with Dennis Weaver. In the early 1970s, Spielberg was working on TV, directing among others such series as Rod Serling's Night Gallery (1969), Marcus Welby, M.D. (1969) and Murder by the Book (1971). All of his work in television and short films, as well as his directing projects, were just a hint of the wellspring of talent that would dazzle audiences all over the world.
Spielberg's first major directorial effort was The Sugarland Express (1974), with Goldie Hawn, a film that marked him as a rising star. It was his next effort, however, that made him an international superstar among directors: Jaws (1975). This classic shark attack tale started the tradition of the summer blockbuster or, at least, he was credited with starting the tradition. His next film was the classic Close Encounters of the Third Kind (1977), a unique and original UFO story that remains a classic. In 1978, Spielberg produced his first film, the forgettable I Wanna Hold Your Hand (1978), and followed that effort with Used Cars (1980), a critically acclaimed, but mostly forgotten, Kurt Russell/Jack Warden comedy about devious used-car dealers. Spielberg hit gold yet one more time with Raiders of the Lost Ark (1981), with Harrison Ford taking the part of Indiana Jones. Spielberg produced and directed two films in 1982. The first was Poltergeist (1982), but the highest-grossing movie of all time up to that point was the alien story E.T. the Extra-Terrestrial (1982). Spielberg also helped pioneer the practice of product placement. The concept, while not uncommon, was still relatively low-key when Spielberg raised the practice to almost an art form with his famous (or infamous) placement of Reese's Pieces in "E.T." Spielberg was also one of the pioneers of the big-grossing special-effects movies, like "E.T." and "Close Encounters", where a very strong emphasis on special effects was placed for the first time on such a huge scale. In 1984, Spielberg followed up "Raiders" with Indiana Jones and the Temple of Doom (1984), which was a commercial success but did not receive the critical acclaim of its predecessor. As a producer, Spielberg took on many projects in the 1980s, such as The Goonies (1985), and was the brains behind the little monsters in Gremlins (1984). He also produced the cartoon An American Tail (1986), a quaint little animated classic. His biggest effort as producer in 1985, however, was the blockbuster Back to the Future (1985), which made Michael J. Fox an instant superstar. As director, Spielberg took on the book The Color Purple (1985), with Whoopi Goldberg and Oprah Winfrey, with great success. In the latter half of the 1980s, he also directed Empire of the Sun (1987), a mixed success for the occasionally erratic Spielberg. Success would not escape him for long, though.
The late 1980s found Spielberg's projects at the center of pop-culture yet again. In 1988, he produced the landmark animation/live-action film Who Framed Roger Rabbit (1988). The next year proved to be another big one for Spielberg, as he produced and directed Always (1989) as well as Indiana Jones and the Last Crusade (1989), and Back to the Future Part II (1989). All three of the films were box-office and critical successes. Also, in 1989, he produced the little known comedy-drama Dad (1989), with Jack Lemmon and Ted Danson, which got mostly mixed results. Spielberg has also had an affinity for animation and has been a strong voice in animation in the 1990s. Aside from producing the landmark "Who Framed Roger Rabbit", he produced the animated series Tiny Toon Adventures (1990), Animaniacs (1993), Pinky and the Brain (1995), Freakazoid! (1995), Pinky, Elmyra & the Brain (1998), Family Dog (1993) and Toonsylvania (1998). Spielberg also produced other cartoons such as The Land Before Time (1988), We're Back! A Dinosaur's Story (1993), Casper (1995) (the live action version) as well as the live-action version of The Flintstones (1994), where he was credited as "Steven Spielrock". Spielberg also produced many Roger Rabbit short cartoons, and many Pinky and the Brain, Animaniacs and Tiny Toons specials. Spielberg was very active in the early 1990s, as he directed Hook (1991) and produced such films as the cute fantasy Joe Versus the Volcano (1990) and An American Tail: Fievel Goes West (1991). He also produced the unusual comedy thriller Arachnophobia (1990), Back to the Future Part III (1990) and Gremlins 2: The New Batch (1990). While these movies were big successes in their own right, they did not quite bring in the kind of box office or critical acclaim as previous efforts. In 1993, Spielberg directed Jurassic Park (1993), which for a short time held the record as the highest grossing movie of all time, but did not have the universal appeal of his previous efforts. Big box-office spectacles were not his only concern, though. He produced and directed Schindler's List (1993), a stirring film about the Holocaust. He won best director at the Oscars, and also got Best Picture. In the mid-90s, he helped found the production company DreamWorks, which was responsible for many box-office successes.
As a producer, he was very active in the late 90s, responsible for such films as The Mask of Zorro (1998), Men in Black (1997) and Deep Impact (1998). However, it was on the directing front that Spielberg was in top form. He directed and produced the epic Amistad (1997), a spectacular film that was shorted at the Oscars and in release due to the fact that its release date was moved around so much in late 1997. The next year, however, produced what many believe was one of the best films of his career: Saving Private Ryan (1998), a film about World War Two that is spectacular in almost every respect. It was stiffed at the Oscars, losing best picture to Shakespeare in Love (1998).
Spielberg produced a series of films, including Evolution (2001), The Haunting (1999) and Shrek (2001). he also produced two sequels to Jurassic Park (1993), which were financially but not particularly critical successes. In 2001, he produced a mini-series about World War Two that definitely *was* a financial and critical success: Band of Brothers (2001), a tale of an infantry company from its parachuting into France during the invasion to the Battle of the Bulge. Also in that year, Spielberg was back in the director's chair for A.I. Artificial Intelligence (2001), a movie with a message and a huge budget. It did reasonably at the box office and garnered varied reviews from critics.
Spielberg has been extremely active in films there are many other things he has done as well. He produced the short-lived TV series SeaQuest 2032 (1993), an anthology series entitled Amazing Stories (1985), created the video-game series "Medal of Honor" set during World War Two, and was a starting producer of ER (1994). Spielberg, if you haven't noticed, has a great interest in World War Two. He and Tom Hanks collaborated on Shooting War: World War II Combat Cameramen (2000), a documentary about World War II combat photographers, and he produced a documentary about the Holocaust called Eyes of the Holocaust (2000). With all of this to Spielberg's credit, it's no wonder that he's looked at as one of the greatest ever figures in entertainment.- Producer
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Jerry Bruckheimer is a film and television producer born on September 21, 1943 in Detroit. He graduated from high school in 1961 before it was moving to Arizona. He started his career in 1968 to produce television commercials and advertising for the firm BBD&O in New York.
He left the commercial industry, and branched out into film production and served as associate producer for Dick Richards on the films The Culpepper Cattle Co. (1972) and Rafferty and the Gold Dust Twins (1975). He started out his production company Jerry Bruckheimer & Associates and then served as producer on the following two films Farewell, My Lovely (1975) and March or Die (1977) before the duo broke up.
He then became an independent producer, serving his job on his films American Gigolo (1980), Defiance (1980), Thief (1981), Cat People (1982) and Young Doctors in Love (1982) throughout the early 1980s, for one of their major studios.
In 1979, Don Simpson met Bruckheimer while working on "American Gigolo" for Paramount. In 1982, Simpson left Paramount Pictures to start out its own independent company with a deal at Paramount, and weeks later, Simpson's production services were merged with Bruckheimer's. During his lifetime, he produced films in the 80s and 90s for Paramount like Flashdance (1983), Thief of Hearts (1984), Beverly Hills Cop (1984) and its sequel Beverly Hills Cop II (1987), Top Gun (1986) and Days of Thunder (1990), most of them met with success.
After the minor failure of "Days of Thunder", Simpson and Bruckheimer severed its ties with Paramount, and signed a deal with The Walt Disney Studios. In the mid 90s, both Simpson and Bruckheimer produced The Ref (1994), Bad Boys (1995), Crimson Tide (1995), Dangerous Minds (1995) and The Rock (1996). In 1995, Simpson and Bruckheimer terminated its relationship, and the next year Simpson died.
Bruckheimer expanded its activity on television with a deal at Touchstone Television. He produced two shows Dangerous Minds (1996) for ABC and Soldier of Fortune, Inc. (1997) for Rysher Entertainment and TV affiliates and two telepics Max Q (1998) and Swing Vote (1999), both for ABC.
The next few Bruckheimer productions after Simpson died in the late 90s and the early 2000s were Con Air (1997), Armageddon (1998), Enemy of the State (1998), Gone in 60 Seconds (2000) and Coyote Ugly (2000). In 1998, he established Technical Black Films to produce the film Remember the Titans (2000). In 1999, his Bruckheimer production company signed a deal with Ridley Scott and Tony Scott's Scott Free Productions to produce films over a two year period.
In 2000, Bruckheimer hit big with CSI: Crime Scene Investigation (2000). The success of the show led to spinoffs CSI: Miami (2002), CSI: NY (2004) and CSI: Cyber (2015). He followed the franchise up with the reality show The Amazing Race (2001), of which it is also an success made Bruckheimer a major producer for the CBS network. In 2001, he signed a deal with Warner Bros. Television to produce TV shows. He followed up his TV career with Without a Trace (2002) and Cold Case (2003).
In 2001, he produced two war films Pearl Harbor (2001) and Black Hawk Down (2001). The former received negative critical reaction, and the latter gained them critical acclaim. He followed up in 2002 with Bad Company (2002). Throughout the 2000s, Bruckheimer was an active entertainment producer, working on the films Kangaroo Jack (2003), Veronica Guerin (2003), King Arthur (2004), Glory Road (2006), Deja Vu (2006), Confessions of a Shopaholic (2009) and G-Force (2009) for Disney Studios, and the TV shows Profiles from the Front Line (2003), Skin (2003), E-Ring (2005), Just Legal (2005), Close to Home (2005), Justice (2006), Eleventh Hour (2008), Dark Blue (2009) and The Forgotten (2009).
He is the creative force for franchise films. In 2003, he made a sequel to his "Bad Boys", Bad Boys II (2003) and Bad Boys for Life (2020), and he launched the "Pirates of the Caribbean" franchise, starting with Pirates of the Caribbean: The Curse of the Black Pearl (2003), and spawning sequels like Pirates of the Caribbean: Dead Man's Chest (2006), Pirates of the Caribbean: At World's End (2007), Pirates of the Caribbean: On Stranger Tides (2011) and Pirates of the Caribbean: Dead Men Tell No Tales (2017) and the "National Treasure" franchise, comprising of two films National Treasure (2004) and National Treasure: Book of Secrets (2007).
In 2007, he had to partner with MTV to create a game studio, and joined the ZeniMax board of directors. In 2009, he launched Jerry Bruckheimer Games, and by 2011 rumored to be worked on three titles, before it was shut down in 2013.
By the 2010s, he was in declining force, and his films Prince of Persia: The Sands of Time (2010), The Sorcerer's Apprentice (2010), The Lone Ranger (2013), 12 Strong (2018) and Gemini Man (2019) are turned out to be box office disappointments, and his TV shows Miami Medical (2010), Chase (2010), The Whole Truth (2010), Hostages (2013), Training Day (2017) and Council of Dads (2020) turned out to be failures after one season.
In 2013, he signed a deal with Paramount Pictures to produce follow-up films to "Top Gun" and "Beverly Hills Cop" and their deal with Disney ended. Three years later, he terminated its deal with Warner Bros. Television and a year later signed with CBS Television Studios. His minor box office success rolled in with Deliver Us from Evil (2014). His only big TV hits came in from the decade were Lucifer (2016) and L.A.'s Finest (2019).
Bruckheimer was named as one of the investors of a proposed sports arena in Las Vegas, and had been rumored to be the leading choice by the National Hockey League (NHL) to own an expansion hockey team that would play in the arena. Bruckheimer was also named as one of the investors of a proposed Seattle-based NHL expansion team whose application was submitted in early 2018. The NHL Board of Governors voted to approve the team, named the Seattle Kraken, on December 4, 2018, which will start play in the 2021-22 season. Jerry Bruckheimer was part of an investment group that also included Tim Leiweke (Oak View Group) and David Bonderman (minority owner NBA's Boston Celtics).
He is currently on post-production on the sequel to his 1986 film "Top Gun", Top Gun: Maverick (2022) for Paramount Pictures.- Producer
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Jerry Weintraub was born on 26 September 1937 in Brooklyn, New York City, New York, USA. He was a producer and actor, known for The Avengers (1998), The Firm (1993) and The Next Karate Kid (1994). He was married to Jane Morgan and Janice Ivy Greenberg. He died on 6 July 2015 in Santa Barbara, California, USA.- Producer
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Harvey Weinstein was born on March 19, 1952, in Flushing, Queens, New York City, New York, USA, the first of two boys born to Max and Miriam Weinstein. He is a film producer, known for Pulp Fiction (1994), Shakespeare in Love (1998), and Gangs of New York (2002). He has been married and divorced twice; most recently from Georgina Chapman and previously from Eve Chilton.- Writer
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George Walton Lucas, Jr. was raised on a walnut ranch in Modesto, California. His father was a stationery store owner and he had three siblings. During his late teen years, he went to Thomas Downey High School and was very much interested in drag racing. He planned to become a professional racecar driver. However, a terrible car accident just after his high school graduation ended that dream permanently. The accident changed his views on life.
He decided to attend Modesto Junior College before enrolling in the University of Southern California film school. As a film student, he made several short films including Electronic Labyrinth THX 1138 4EB (1967) which won first prize at the 1967-68 National Student Film Festival. In 1967, he was awarded a scholarship by Warner Brothers to observe the making of Finian's Rainbow (1968) which was being directed by Francis Ford Coppola. Lucas and Coppola became good friends and formed American Zoetrope in 1969. The company's first project was Lucas' full-length version of THX 1138 (1971). In 1971, Coppola went into production for The Godfather (1972), and Lucas formed his own company, Lucasfilm Ltd.
In 1973, he wrote and directed the semiautobiographical American Graffiti (1973) which won the Golden Globe and garnered five Academy Award nominations. This gave him the clout he needed for his next daring venture. From 1973 to 1974, he began writing the screenplay which became Star Wars: Episode IV - A New Hope (1977). He was inspired to make this movie from Flash Gordon and the Planet of the Apes films. In 1975, he established ILM. (Industrial Light & Magic) to produce the visual effects needed for the movie. Another company called Sprocket Systems was established to edit and mix Star Wars and later becomes known as Skywalker Sound. His movie was turned down by several studios until 20th Century Fox gave him a chance. Lucas agreed to forego his directing salary in exchange for 40% of the film's box-office take and all merchandising rights. The movie went on to break all box office records and earned seven Academy Awards. It redefined the term "blockbuster" and the rest is history.
Lucas made the other Star Wars films and along with Steven Spielberg created the Indiana Jones series which made box office records of their own. From 1980 to 1985, Lucas was busy with the construction of Skywalker Ranch, built to accommodate the creative, technical, and administrative needs of Lucasfilm. Lucas also revolutionized movie theaters with the THX system which was created to maintain the highest quality standards in motion picture viewing.
He went on to produce several more movies that have introduced major innovations in filmmaking technology. He is chairman of the board of the George Lucas Educational Foundation. In 1992, George Lucas was honored with the Irving G. Thalberg Award by the Board of Governors of the Academy of Motion Picture Arts and Sciences for his lifetime achievement.
He reentered the directing chair with the production of the highly-anticipated Star Wars prequel trilogy beginning with Star Wars: Episode I - The Phantom Menace (1999) . The films have been polarizing for fans and critics alike, but were commercially successful and have become a part of culture. The animated spin-off series Star Wars: The Clone Wars (2008) was supervised by Lucas. He sold Lucasfilm to Disney in 2012, making co-chair Kathleen Kennedy president. He has attended the premieres of new Star Wars films and been generally supportive of them.- Producer
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Sir Peter Jackson made history with The Lord of the Rings trilogy, becoming the first person to direct three major feature films simultaneously. The Fellowship of the Ring, The Two Towers and The Return of the King were nominated for and collected a slew of awards from around the globe, with The Return of the King receiving his most impressive collection of awards. This included three Academy Awards® (Best Adapted Screenplay, Best Director and Best Picture), two Golden Globes (Best Director and Best Motion Picture-Drama), three BAFTAs (Best Adapted Screenplay, Best Film and Viewers' Choice), a Directors Guild Award, a Producers Guild Award and a New York Film Critics Circle Award.
As a follow up to The Lord of the Rings trilogy, in 2005, Jackson directed, wrote, and produced King Kong, for Universal Pictures. The film grossed over $500 million and won three Oscars®.
Jackson previously received widespread acclaim for his 1994 feature Heavenly Creatures, which received an Academy Award® nomination for Best Screenplay. Other film credits include The Frighteners, starring Michael J. Fox; the adult puppet feature Meet the Feebles; and Braindead, which won 16 international science fiction awards, including the Saturn. Jackson also co-directed the television documentary Forgotten Silver, which also hit the film festival circuit.
Jackson directed the Academy Award®-nominated The Lovely Bones, an adaptation of the acclaimed best-selling novel by Alice Sebold and produced the worldwide sci-fi hit District 9. He was a producer on Steven Spielberg's The Adventures of Tintin: The Secret of the Unicorn in 2011, with two more films set to come out in the future.
His most recent films include producer of 2018's action film Mortal Engines, based on a post-apocalyptic world where cities ride on wheels and consume each other to survive. Following Mortal Engines, he produced They Shall Not Grow Old, a documentary on World War I with never-before-seen footage. BAFTA nominated the film for Best Documentary, and it won the award for Outstanding Achievement in Sound Editing from the Motion Picture Sound Editors.
Jackson's next project is the music documentary The Beatles: Get Back, which he directed and produced, due to be released August, 2021.
Jackson works closely with partner Dame Fran Walsh, with whom he shares his writing and producing credits, as well as a family. Jackson has a special interest in WWI memorabilia and is the proud owner of several aircraft from that era.- Producer
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Charles Roven is an American film producer who produced dozens of films made by Warner Brothers and Atlas Entertainment. His produced films include Scooby-Doo, The Dark Knight trilogy, Wonder Woman, James Gunn's The Suicide Squad, Batman v Superman, Wonder Woman 1984, Man of Steel, Suicide Squad, Zack Snyder's Justice League, 12 Monkeys, Justice League, Get Smart and American Hustle. He was married to Dawn Steel until her death in 1997.- Producer
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A graduate of Wesleyan University, Michael Bay spent his 20s working on advertisements and music videos. His first projects after film school were in the music video business. He created music videos for Tina Turner, Meat Loaf, Lionel Richie, Wilson Phillips, Donny Osmond and Divinyls. His work won him recognition and a number of MTV award nominations. He also filmed advertisements for Nike, Reebok, Coca-Cola, Budweiser and Miller Lite. He won the Grand Prix Clio for Commercial of the Year for his "Got Milk/Aaron Burr" commercial. At Cannes, he has won the Gold Lion for The Best Beer campaign for Miller Lite, as well as the Silver for "Got Milk". In 1995, Bay was honored by the Directors Guild of America as Commercial Director of the Year. That same year, he also directed his first feature film, Bad Boys (1995), starring Will Smith and Martin Lawrence, which grossed more than $160 million, worldwide. His follow-up film, The Rock (1996), starring Sean Connery and Nicolas Cage, was also hugely successful, making Bay the director du jour.- Producer
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Stan Lee was an American comic-book writer, editor, and publisher, who was executive vice president and publisher of Marvel Comics.
Stan was born in New York City, to Celia (Solomon) and Jack Lieber, a dress cutter. His parents were Romanian Jewish immigrants. Lee co-created Spider-Man, the Hulk, Doctor Strange, the Fantastic Four, Iron Man, Daredevil, Thor, the X-Men, and many other fictional characters, introducing a thoroughly shared universe into superhero comic books. In addition, he challenged the comics' industry's censorship organization, the Comics Code Authority, indirectly leading to it updating its policies. Lee subsequently led the expansion of Marvel Comics from a small division of a publishing house to a large multimedia corporation.
He had cameo appearances in many Marvel film and television projects, with many yet to come, posthumously. A few of these appearances are self-aware and sometimes reference Lee's involvement in the creation of certain characters.
On 16 July 2017, Lee was named a Disney Legend, a hall of fame program that recognizes individuals who have made an extraordinary and integral contribution to The Walt Disney Company.
Stan was married to Joan Lee for almost 70 years, until her death. The couple had two children. Joan died on July 6, 2017. Stan died on November 12, 2018, in LA.- Producer
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Brad Grey was born on 29 December 1957 in The Bronx, New York City, New York, USA. He was a producer and writer, known for The Departed (2006), The Sopranos (1999) and The Larry Sanders Show (1992). He was married to Cassandra Huysentuyt and Jill Gutterson. He died on 14 May 2017 in Holmby Hills, Los Angeles, California, USA.- Producer
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Jeffrey Katzenberg was born on 21 December 1950 in New York City, New York, USA. He is a producer and production manager, known for Shrek (2001), Spirit: Stallion of the Cimarron (2002) and Just Like Heaven (2005). He has been married to Marilyn Katzenberg since 1975. They have two children.- Writer
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James Francis Cameron was born on August 16, 1954 in Kapuskasing, Ontario, Canada. He moved to the United States in 1971. The son of an engineer, he majored in physics at California State University before switching to English, and eventually dropping out. He then drove a truck to support his screenwriting ambition. He landed his first professional film job as art director, miniature-set builder, and process-projection supervisor on Roger Corman's Battle Beyond the Stars (1980) and had his first experience as a director with a two week stint on Piranha II: The Spawning (1982) before being fired.
He then wrote and directed The Terminator (1984), a futuristic action-thriller starring Arnold Schwarzenegger, Michael Biehn and Linda Hamilton. It was a low budget independent film, but Cameron's superb, dynamic direction made it a surprise mainstream success and it is now regarded as one of the most iconic pictures of the 1980s. After this came a string of successful, bigger budget science-fiction action films such as Aliens (1986), The Abyss (1989) and Terminator 2: Judgment Day (1991). In 1990, Cameron formed his own production company, Lightstorm Entertainment. In 1997, he wrote and directed Titanic (1997), a romance epic about two young lovers from different social classes who meet on board the famous ship. The movie went on to break all box office records and earned eleven Academy Awards. It became the highest grossing movie of all time until 12 years later, Avatar (2009), which invented and pioneered 3D film technology, and it went on to beat "Titanic", and became the first film to cost two billion dollars until 2019 when Marvel took the record.
James Cameron is now one of the most sought-after directors in Hollywood. He was formerly married to producer Gale Anne Hurd, who produced several of his films. In 2000, he married actress Suzy Amis, who appeared in Titanic, and they have three children.- Producer
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Judd Apatow is an American film director, screenwriter, producer and comedian. He directed The 40-Year Old Virgin, Knocked Up, This is 40, Funny People, Trainwreck and The King of Staten Island. He also developed the television shows Freaks and Geeks, Undeclared, Girls, Love and Crashing. He is married to Leslie Mann and has two children.- Producer
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Oscar-winning producer Graham King has worked behind the scenes with the industry's foremost creative talents in both major motion pictures and independent features. Over the last thirty years, King has produced or executive produced more than forty-five films, grossing 1.2 billion dollars at the domestic box office, and over 2.8 billion dollars worldwide. Also heralded by critics and film groups, his films have been nominated for sixty-one Academy Awards, thirty-eight Golden Globe Awards, and fifty-two British Academy Film Awards. His GK Films banner has a three-year, first-look, non-exclusive deal with Paramount Pictures, under which King will develop and produce films through his shingle.
King is in various stages of production on a number of upcoming projects, which he will produce under the GK Films banner. He most recently released the Academy Award-nominated and Golden Globe-winning Freddie Mercury biopic "Bohemian Rhapsody" with Rami Malek in the lead role. The film, which has earned over $800,000,000 in the global box office, traces the meteoric rise of Queen through their iconic songs and revolutionary sound. GK Films also recently partnered with SyFy to develop Dan Simmons' Award-winning and best-selling novel Hyperion as an event series. King will executive produce alongside Bradley Cooper and Todd Phillips.
Most recently, King served as producer on the epic feature "Tomb Raider," which tells the origin story of Lara Croft's first adventure with Alicia Vikander in the leading role. Previously King was an executive producer on the Paramount Pictures' action thriller "World War Z" starring Brad Pitt. The film grossed over $540,000,000 worldwide and was named one of Entertainment Weekly's Top 10 Films of the Year. King also served as executive producer on the Warner Bros.' historical drama "Argo." The film won the Academy Award, Golden Globe, Critics' Choice Movie Award, and B.A.F.T.A. for Best Picture. Directed by and starring Ben Affleck, "Argo" was named as one of the Top 10 Films of the Year at the A.F.I. Awards and by the National Board of Review, while also appearing on over 150 additional critics' lists of the top ten films of 2012.
In 2011, King produced several diverse films. He received Best Picture Academy Award and Golden Globe nominations as a producer on Martin Scorsese's acclaimed fantasy adventure "Hugo." The film received eleven total Academy Award nominations, the most of any film that year, and also appeared on over 200 Critics' lists of the Top 10 films of 2011. King also produced Gore Verbinski's animated comedy "Rango," featuring the voice of Johnny Depp in the title role, which won an Academy Award for Best Animated Feature. That same year, he produced Angelina Jolie's feature directorial debut, "In The Land Of Blood And Honey," which received a Golden Globe nomination for Best Foreign Language Film. This marked the first time a producer had been nominated for Best Picture Golden Globes in the three different categories - drama, animated film and foreign-language film - within the same year. King was also a producer on Tim Burton's gothic supernatural thriller Dark Shadows, starring Depp, Michelle Pfeiffer, Eva Green and Helena Bonham Carter. King previously won a Best Picture Oscar as a producer on Scorsese's 2006 crime drama "The Departed," starring Leonardo DiCaprio, Matt Damon, Jack Nicholson and Mark Wahlberg. The film won a total of four Academy Awards, including Best Director, Best Adapted Screenplay and Best Editing.
King received his first Best Picture Academy Award nomination and won a Best Film B.A.F.T.A. Award, for his producing work on Scorsese's widely praised Howard Hughes biopic "The Aviator," starring Leonardo DiCaprio. Additionally, he was honored by the Producers Guild of America (P.G.A.) with the Golden Laurel Award as Producer of the Year.
King's additional producing credits include the Oscar-nominated romantic war-time thriller "Allied," starring Brad Pitt, Marion Cotillard and directed by Robert Zemeckis; the big screen adaptation of the hit Broadway musical, "Jersey Boys," directed by multi-Oscar-winner Clint Eastwood; the romantic thriller "The Tourist," pairing Johnny Depp and Angelina Jolie; Ben Affleck's crime drama "The Town," starring Affleck and Jeremy Renner; Martin Campbell's thriller "Edge Of Darkness," starring Mel Gibson; the historical drama "The Young Victoria," starring Emily Blunt; and the drama "Blood Diamond," starring Leonardo DiCaprio. In addition, he served as a co-executive producer on Scorsese's Oscar-nominated epic drama "Gangs of New York," starring DiCaprio, Daniel Day-Lewis and Cameron Diaz.
King was previously the President and C.E.O. of Initial Entertainment Group, which he founded in 1995. During King's tenure at IEG, he served as an executive producer on such films as Steven Soderbergh's Oscar-winning ensemble drama "Traffic;" Michael Mann's biographical drama Ali, starring Will Smith in the title role; and "The Dangerous Lives Of Altar Boys," produced by and starring Jodie Foster. King also went on to executive produce the television miniseries "Traffic," for which he received an Emmy Award nomination for Outstanding Miniseries. A native of the United Kingdom, King moved to the United States in 1982 and was awarded an Order of the British Empire (O.B.E.) in 2009.- Producer
- Production Manager
- Writer
Jon Landau is an American film producer from New York City who produced a lot of films that James Cameron made since 1997's Titanic. He produced the 2009 hit film Avatar, Solaris, Alita: Battle Angel directed by Robert Rodriguez and co-produced Honey, I Shrunk the Kids and Dick Tracy. Titanic and Avatar are two of the highest grossing films of all time. He won several awards for producing Titanic.- Producer
- Additional Crew
- Production Manager
Richard D. Zanuck was born on 13 December 1934 in Los Angeles, California, USA. He was a producer and production manager, known for Driving Miss Daisy (1989), Cocoon (1985) and Jaws (1975). He was married to Lili Fini Zanuck, Linda Harrison and Lili Gentle. He died on 13 July 2012 in Beverly Hills, California, USA.- Director
- Writer
- Producer
One of seven children, Frank Capra was born on May 18, 1897, in Bisacquino, Sicily. On May 10, 1903, his family left for America aboard the ship Germania, arriving in New York on May 23rd. "There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be," Capra said about his Atlantic passage. "Oh, it was awful, awful. It seems to always be storming, raining like hell and very windy, with these big long rolling Atlantic waves. Everybody was sick, vomiting. God, they were sick. And the poor kids were always crying."
The family boarded a train for the trip to California, where Frank's older brother Benjamin was living. On their journey, they subsisted on bread and bananas, as their lack of English made it impossible for them to ask for any other kind of foodstuffs. On June 3, the Capra family arrived at the Southern Pacific station in Los Angeles, at the time, a small city of approximately 102,000 people. The family stayed with Capra's older brother Benjamin, and on September 14, 1903, Frank began his schooling at the Castelar Elementary school.
In 1909, he entered Los Angeles' Manual Arts High School. Capra made money selling newspapers in downtown L.A. after school and on Saturdays, sometimes working with his brother Tony. When sales were slow, Tony punched Frank to attract attention, which would attract a crowd and make Frank's papers sell quicker. Frank later became part of a two-man music combo, playing at various places in the red light district of L.A., including brothels, getting paid a dollar per night, performing the popular songs. He also worked as a janitor at the high school in the early mornings. It was at high school that he became interested in the theater, typically doing back-stage work such as lighting.
Capra's family pressured him to drop out of school and go to work, but he refused, as he wanted to partake fully of the American Dream, and for that he needed an education. Capra later reminisced that his family "thought I was a bum. My mother would slap me around; she wanted me to quit school. My teachers would urge me to keep going....I was going to school because I had a fight on my hands that I wanted to win."
Capra graduated from high school on January 27, 1915, and in September of that year, he entered the Throop College of Technology (later the California Institute of Technology) to study chemical engineering. The school's annual tuition was $250, and Capra received occasional financial support from his family, who were resigned to the fact they had a scholar in their midst. Throop had a fine arts department, and Capra discovered poetry and the essays of Montaigne, which he fell in love with, while matriculating at the technical school. He then decided to write.
"It was a great discovery for me. I discovered language. I discovered poetry. I discovered poetry at Caltech, can you imagine that? That was a big turning point in my life. I didn't know anything could be so beautiful." Capra penned "The Butler's Failure," about an English butler provoked by poverty to murder his employer, then to suicide."
Capra was singled out for a cash award of $250 for having the highest grades in the school. Part of his prize was a six-week trip across the U.S. and Canada. When Capra's father, Turiddu, died in 1916, Capra started working at the campus laundry to make money.
After the U.S. Congress declared War on Germany on April 6, 1917, Capra enlisted in the Army, and while he was not a naturalized citizen yet, he was allowed to join the military as part of the Coastal Artillery. Capra became a supply officer for the student soldiers at Throop, who have been enrolled in a Reserve Officers Training Corps program. At his enlistment, Capra discovered he was not an American citizen; he became naturalized in 1920.
On September 15, 1918, Capra graduated from Throop with his bachelor's degree, and was inducted into the U.S. Army on October 18th and shipped out to the Presidio at San Francisco. An armistice ending the fighting of World War One would be declared in less than a month. While at the Presidio, Capra became ill with the Spanish influenza that claimed 20 million lives worldwide. He was discharged from the Army on December 13th and moved to his brother Ben's home in L.A. While recuperating, Capra answered a cattle call for extras for John Ford's film "The The Outcasts of Poker Flat (1919) (Capra, cast as a laborer in the Ford picture, introduced himself to the film's star, Harry Carey. Two decades later, Capra, designated the #1 director in Hollywood by "Time" magazine, would cast Carey and his movie actress wife Olive in Mr. Smith Goes to Washington (1939) for which Carey won a Best Supporting Actor Oscar nomination).
While living at his mother's house, Capra took on a wide variety of manual laboring jobs, including errand boy and ditch digger, even working as an orange tree pruner at 20 cents a day. He continued to be employed as an extra at movie studios and as a prop buyer at an independent studio at Sunset Boulevard and Gower Street, which later became the home of Columbia Pictures, where Capra would make his reputation as the most successful movie director of the 1930s. Most of his time was spent unemployed and idle, which gave credence to his family's earlier opposition to him seeking higher education. Capra wrote short stories but was unable to get them published. He eventually got work as a live-in tutor for the son of "Lucky" Baldwin, a rich gambler. (He later used the Baldwin estate as a location for Dirigible (1931)).
Smitten by the movie bug, in August of that year, Capra, former actor W. M. Plank, and financial backer Ida May Heitmann incorporated the Tri-State Motion Picture Co. in Nevada. Tri-State produced three short films in Nevada in 1920, Don't Change Your Husband (1919), The Pulse of Life (1917), and The Scar of Love (1920), all directed by Plank, and possibly based on story treatments written by Capra. The films were failures, and Capra returned to Los Angeles when Tri-State broke up. In March 1920, Capra was employed by CBC Film Sales Co., the corporate precursor of Columbia Films, where he also worked as an editor and director on a series called "Screen Snapshots." He quit CBC in August and moved to San Francisco, but the only jobs he could find were that of bookseller and door-to-door salesman. Once again seeming to fulfill his family's prophecy, he turned to gambling, and also learned to ride the rails with a hobo named Frank Dwyer. There was also a rumor that he became a traveling salesman specializing in worthless securities, according to a "Time" magazine story "Columbia's Gem" (August 8, 1938 issue, V.32, No. 6).
Still based in San Francisco in 1921, producer Walter Montague hired Capra for $75 per week to help direct the short movie The Ballad of Fisher's Boarding House (1922), which was based on a poem by Rudyard Kipling. Montague, a former actor, had the dubious idea that foggy San Francisco was destined to become the capital of movies, and that he could make a fortune making movies based on poems. Capra helped Montague produced the one-reeler, which was budgeted at $1,700 and subsequently sold to the Pathe Exchange for $3,500. Capra quit Montague when he demanded that the next movie be based upon one of his own poems.
Unable to find another professional filmmaking job, Capra hired himself out as a maker of shorts for the public-at-large while working as an assistant at Walter Ball's film lab. Finally, in October 1921, the Paul Gerson Picture Corp. hired him to help make its two-reel comedies, around the time that he began dating the actress Helen Edith Howe, who would become his first wife. Capra continued to work for both Ball and Gerson, primarily as a cutter. On November 25, 1923, Capra married Helen Howell, and the couple soon moved to Hollywood.
Hal Roach hired Capra as a gag-writer for the "Our Gang" series in January, 1924. After writing the gags for five "Our Gang" comedies in seven weeks, he asked Roach to make him a director. When Roach refused (he somewhat rightly felt he had found the right man in director Bob McGowan), Capra quit. Roach's arch rival Mack Sennett subsequently hired him as a writer, one of a six-man team that wrote for silent movie comedian Harry Langdon, the last major star of the rapidly disintegrating Mack Sennett Studios, and reigning briefly as fourth major silent comedian after Charles Chaplin, Buster Keaton, and Harold Lloyd. Capra began working with the Harry Langdon production unit as a gag writer, first credited on the short Plain Clothes (1925).
As Harry Langdon became more popular, his production unit at Sennett had moved from two- to three-reelers before Langdon, determined to follow the example of Chaplin, Keaton, and Lloyd, went into features. After making his first feature-length comedy, His First Flame (1927) for Sennett, Langdon signed a three-year contract with Sol Lesser's First National Pictures to annually produce two feature-length comedies at a fixed fee per film. For a multitude of reasons Mack Sennett was never able to retain top talent. On September 15, 1925, Harry Langdon left Sennett in an egotistical rage, taking many of his key production personnel with him. Sennett promoted Capra to director but fired him after three days in his new position. In addition to the Langdon comedies, Capra had also written material for other Sennett films, eventually working on twenty-five movies.
After being sacked by Sennett, Capra was hired as a gag-writer by Harry Langdon, working on Langdon's first First National feature-length film, Tramp, Tramp, Tramp (1926). The movie was directed by Harry Edwards who had directed all of Harry Langdon's films at Sennett. His first comedy for First National, Tramp, Tramp, Tramp (1926) did well at the box office, but it had ran over budget, which came out of Langdon's end. Harry Edwards was sacked, and for his next picture, The Strong Man (1926), Langdon promoted Capra to director, boosting his salary to $750 per week. The movie was a hit, but trouble was brewing among members of the Harry Langdon company. Langdon was increasingly believing his own press.
His marriage with Helen began to unravel when it is discovered that she had a life-threatening ectopic pregnancy that had to be terminated. In order to cope with the tragedy, Capra became a work-a-holic while Helen turned to drink. The deterioration of his marriage was mirrored by the disintegration of his professional relationship with Harry Langdonduring the making of the new feature, Long Pants (1927).
The movie, which was released in March 1927, proved to be Capra's last with Harry Langdon, as the comedian soon sacked Capra after its release. Capra later explained the principle of Langdon comedies to James Agee, "It is the principal of the brick: If there was a rule for writing Langdon material, it was this: his only ally was God. Harry Langdon might be saved by a brick falling on a cop, but it was verboten that he in any way motivated the bricks fall."
During the production of Long Pants (1926), Capra had a falling out with Langdon. Screenwriter Arthur Ripley's dark sensibility did not mesh well with that of the more optimistic Capra, and Harry Langdon usually sided with Ripley. The picture fell behind schedule and went over budget, and since Langdon was paid a fixed fee for each film, this represented a financial loss to his own Harry Langdon Corp. Stung by the financial set-back, and desiring to further emulate the great Chaplin, Harry Langdon made a fateful decision: He fired Capra and decided to direct himself. (Langdon's next three movies for First National were dismal failures, the two surviving films being very dark and grim black comedies, one of which, The Chaser (1928), touched on the subject of suicide. It was the late years of the Jazz Age, a time of unprecedented prosperity and boundless bonhomie, and the critics, and more critically, the ticket-buying public, rejected Harry. In 1928, First National did not pick up his contract. The Harry Langdon Corp. soon went bankrupt, and his career as the "fourth major silent comedian" was through, just as sound was coming in.)
In April of 1927, Capra and his wife Helen split up, and Capra went off to New York to direct For the Love of Mike (1927) for First National, his first picture with Claudette Colbert. The director and his star did not get along, and the film went over budget. Subsequently, First National refused to pay Capra, and he had to hitchhike back to Hollywood. The film proved to be Capra's only genuine flop.
By September 1927, he was back working as a writer for Mack Sennett, but in October, he was hired as a director by Columbia Pictures President and Production Chief Harry Cohn for $1,000. The event was momentous for both of them, for at Columbia Capra would soon become the #1 director in Hollywood in the 1930s, and the success of Capra's films would propel the Poverty Row studio into the major leagues. But at first, Cohn was displeased with him. When viewing the first three days of rushes of his first Columbia film, That Certain Thing (1928), Cohn wanted to fire him as everything on the first day had been shot in long shot, on the second day in medium shot, and on the third day in close-ups.
"I did it that way for time," Capra later recalled. "It was so easy to be better than the other directors, because they were all dopes. They would shoot a long shot, then they would have to change the setup to shoot a medium shot, then they would take their close-ups. Then they would come back and start over again. You lose time, you see, moving the cameras and the big goddamn lights. I said, 'I'll get all the long shots on that first set first, then all the medium shots, and then the close-ups.' I wouldn't shoot the whole scene each way unless it was necessary. If I knew that part of it was going to play in long shot, I wouldn't shoot that part in close-up. But the trick was not to move nine times, just to move three times. This saved a day, maybe two days."
Cohn decided to stick with Capra (he was ultimately delighted at the picture and gave Capra a $1,500 bonus and upped his per-picture salary), and in 1928, Cohn raised his salary again, now to to $3,000 per picture after he made several successful pictures, including Submarine (1928). The Younger Generation (1929), the first of a series of films with higher budgets to be directed by Capra, would prove to be his first sound film, when scenes were reshot for dialogue. In the summer of that year, he was introduced to a young widow, Lucille Warner Reyburn (who became Capra's second wife Lou Capra). He also met a transplanted stage actress, Barbara Stanwyck, who had been recruited for the talkie but had been in three successive unsuccessful films and wanted to return to the New York stage. Harry Cohn wanted Stanwyck to appear in Capra's planned film, Ladies of Leisure (1930), but the interview with Capra did not go well, and Capra refused to use her.
Stanwyck went home crying after being dismissed by Capra, and her husband, a furious Frank Fay, called Capra up. In his defense, Capra said that Stanwyck didn't seem to want the part. According to Capra's 1961 autobiography, "The Name Above the Title," Fay said, "Frank, she's young, and shy, and she's been kicked around out here. Let me show you a test she made at Warner's." After viewing her Warners' test for The Noose (1928), Capra became enthusiastic and urged Cohn to sign her. In January of 1930, Capra began shooting Ladies of Leisure (1930) with Stanwyck in the lead. The movies the two made together in the early '30s established them both on their separate journeys towards becoming movieland legends. Though Capra would admit to falling in love with his leading lady, it was Lucille Warner Reyburn who became the second Mrs. Capra.
"You're wondering why I was at that party. That's my racket. I'm a party girl. Do you know what that is?"
Stanwyck played a working-class "party girl" hired as a model by the painter Jerry, who hails from a wealthy family. Capra had written the first draft of the movie before screenwriter Jo Swerling took over. Swerling thought the treatment was dreadful. According to Capra, Swerling told Harry Cohn, when he initially had approached about adapting the play "Ladies of the Evening" into Capra's next proposed film, "I don't like Hollywood, I don't like you, and I certainly don't like this putrid piece of gorgonzola somebody gave me to read. It stunk when Belasco produced it as Ladies of Leisure (1930), and it will stink as Ladies of Leisure, even if your little tin Jesus does direct it. The script is inane, vacuous, pompous, unreal, unbelievable and incredibly dull."
Capra, who favored extensive rehearsals before shooting a scene, developed his mature directorial style while collaborating with Stanwyck, a trained stage actress whose performance steadily deteriorated after rehearsals or retakes. Stanwyck's first take in a scene usually was her best. Capra started blocking out scenes in advance, and carefully preparing his other actors so that they could react to Stanwyck in the first shot, whose acting often was unpredictable, so they wouldn't foul up the continuity. In response to this semi-improvisatory style, Capra's crew had to boost its level of craftsmanship to beyond normal Hollywood standards, which were forged in more static and prosaic work conditions. Thus, the professionalism of Capra's crews became better than those of other directors. Capra's philosophy for his crew was, "You guys are working for the actors, they're not working for you."
After "Ladies of Leisure," Capra was assigned to direct Platinum Blonde (1931) starring Jean Harlow. The script had been the product of a series of writers, including Jo Swerling (who was given credit for adaptation), but was polished by Capra and Robert Riskin (who was given screen credit for the dialogue). Along with Jo Swerling, Riskin would rank as one of Capra's most important collaborators, ultimately having a hand in 13 movies. (Riskin wrote nine screenplays for Capra, and Capra based four other films on Riskin's work.)
Riskin created a hard-boiled newspaperman, Stew Smith for the film, a character his widow, the actress Fay Wray, said came closest to Riskin of any character he wrote. A comic character, the wise-cracking reporter who wants to lampoon high society but finds himself hostage to the pretensions of the rich he had previously mocked is the debut of the prototypical "Capra" hero. The dilemma faced by Stew, akin to the immigrant's desire to assimilate but being rejected by established society, was repeated in Mr. Deeds Goes to Town (1936) and in Meet John Doe (1941).
Capra, Stanwyck, Riskin and Jo Swerling all were together to create Capra's next picture, The Miracle Woman (1931), a story about a shady evangelist. With John Meehan, Riskin wrote the play that the movie is based on, "Bless You, Sister," and there is a possibly apocryphal story that has Riskin at a story conference at which Capra relates the treatment for the proposed film. Capra, finished, asked Riskin for his input, and Riskin replied, "I wrote that play. My brother and I were stupid enough to produce it on Broadway. It cost us almost every cent we had. If you intend to make a picture of it, it only proves one thing: You're even more stupid than we were."
Jo Swerling adapted Riskin's play, which he and his brother Everett patterned after Sinclair Lewis' "Elmer Gantry." Like the Lewis novel, the play focuses on the relationship between a lady evangelist and a con man. The difference, though, is that the nature of the relationship is just implied in Riskin's play (and the Capra film). There is also the addition of the blind war-vet as the moral conscience of the story; he is the pivotal character, whereas in Lewis' tale, the con artist comes to have complete control over the evangelist after eventually seducing her. Like some other Capra films, The Miracle Woman (1931) is about the love between a romantic, idealizing man and a cynical, bitter woman. Riskin had based his character on lady evangelist Uldine Utley, while Stanwyck based her characterization on Aimee Semple McPherson.
Recognizing that he had something in his star director, Harry Cohn took full advantage of the lowly position his studio had in Hollywood. Both Warner Brothers and mighty MGM habitually lent Cohn their troublesome stars -- anyone rejecting scripts or demanding a pay raise was fodder for a loan out to Cohn's Poverty Row studio. Cohn himself was habitually loathe to sign long-term stars in the early 1930s (although he made rare exceptions to Peter Lorre and The Three Stooges) and was delighted to land the talents of any top flight star and invariably assigned them to Capra's pictures. Most began their tenure in purgatory with trepidation but left eagerly wanting to work with Capra again.
In 1932, Capra decided to make a motion picture that reflected the social conditions of the day. He and Riskin wrote the screenplay for American Madness (1932), a melodrama that is an important precursor to later Capra films, not only with It's a Wonderful Life (1946) which shares the plot device of a bank run, but also in the depiction of the irrationality of a crowd mentality and the ability of the individual to make a difference. In the movie, an idealistic banker is excoriated by his conservative board of directors for making loans to small businesses on the basis of character rather than on sounder financial criteria. Since the Great Depression is on, and many people lack collateral, it would be impossible to productively lend money on any other criteria than character, the banker argues. When there is a run on the bank due to a scandal, it appears that the board of directors are rights the bank depositors make a run on the bank to take out their money before the bank fails. The fear of a bank failure ensures that the failure will become a reality as a crowd mentality takes over among the clientèle. The board of directors refuse to pledge their capital to stave off the collapse of the bank, but the banker makes a plea to the crowd, and just like George Bailey's depositors in It's a Wonderful Life (1946), the bank is saved as the fears of the crowd are ameliorated and businessmen grateful to the banker pledge their capital to save the bank. The board of directors, impressed by the banker's character and his belief in the character of his individual clients (as opposed to the irrationality of the crowd), pledge their capital and the bank run is staved off and the bank is saved.
In his biography, "The Name Above the Picture," Capra wrote that before American Madness (1932), he had only made "escapist" pictures with no basis in reality. He recounts how Poverty Row studios, lacking stars and production values, had to resort to "gimmick" movies to pull the crowds in, making films on au courant controversial subjects that were equivalent to "yellow journalism."
What was more important than the subject and its handling was the maturation of Capra's directorial style with the film. Capra had become convinced that the mass-experience of watching a motion picture with an audience had the psychological effect in individual audience members of slowing down the pace of a film. A film that during shooting and then when viewed on a movieola editing device and on a small screen in a screening room among a few professionals that had seemed normally paced became sluggish when projected on the big screen. While this could have been the result of the projection process blowing up the actors to such large proportions, Capra ultimately believed it was the effect of mass psychology affecting crowds since he also noticed this "slowing down" phenomenon at ball games and at political conventions. Since American Madness (1932) dealt with crowds, he feared that the effect would be magnified.
He decided to boost the pace of the film, during the shooting. He did away with characters' entrances and exits that were a common part of cinematic "grammar" in the early 1930s, a survival of the "photoplays" days. Instead, he "jumped" characters in and out of scenes, and jettisoned the dissolves that were also part of cinematic grammar that typically ended scenes and indicated changes in time or locale so as not to make cutting between scenes seem choppy to the audience. Dialogue was deliberately overlapped, a radical innovation in the early talkies, when actors were instructed to let the other actor finish his or her lines completely before taking up their cue and beginning their own lines, in order to facilitate the editing of the sound-track. What he felt was his greatest innovation was to boost the pacing of the acting in the film by a third by making a scene that would normally play in one minute take only 40 seconds.
When all these innovations were combined in his final cut, it made the movie seem normally paced on the big screen, though while shooting individual scenes, the pacing had seemed exaggerated. It also gave the film a sense of urgency that befitted the subject of a financial panic and a run on a bank. More importantly, it "kept audience attention riveted to the screen," as he said in his autobiography. Except for "mood pieces," Capra subsequently used these techniques in all his films, and he was amused by critics who commented on the "naturalness" of his direction.
Capra was close to completely establishing his themes and style. Justly accused of indulging in sentiment which some critics labeled "Capra-corn," Capra's next film, Lady for a Day (1933) was an adaptation of Damon Runyon's 1929 short story "Madame La Gimp" about a nearly destitute apple peddler whom the superstitious gambler Dave the Dude (portrayed by Warner Brothers star Warren William) sets up in high style so she and her daughter, who is visiting with her finance, will not be embarrassed. Dave the Dude believes his luck at gambling comes from his ritualistically buying an apple a day from Annie, who is distraught and considering suicide to avoid the shame of her daughter seeing her reduced to living on the street. The Dude and his criminal confederates put Annie up in a luxury apartment with a faux husband in order to establish Annie in the eyes of her daughter as a dignified and respectable woman, but in typical Runyon fashion, Annie becomes more than a fake as the masquerade continues.
Robert Riskin wrote the first four drafts of Lady for a Day (1933), and of all the scripts he worked on for Capra, the film deviates less from the script than any other. After seeing the movie, Runyon sent a telegraph to Riskin praising him for his success at elaborating on the story and fleshing out the characters while maintain his basic story. Lady for a Day (1933) was the favorite Capra film of John Ford, the great filmmaker who once directed the unknown extra. The movie cost $300,000 and was the first of Capra's oeuvre to attract the attention of the Academy of Motion Picture Arts & Sciences, getting a Best Director nomination for Capra, plus nods for Riskin and Best Actress. The movie received Columbia's first Best Picture nomination, the studio never having attracted any attention from the Academy before Lady for a Day (1933). (Capra's last film was the flop remake of Lady for a Day (1933) with Bette Davis and Glenn Ford, Pocketful of Miracles (1961))
Capra reunited with Stanwyck and produced his first universally acknowledged classic, The Bitter Tea of General Yen (1932), a film that now seems to belong more to the oeuvre of Josef von Sternberg than it does to Frank Capra. With "General Yen," Capra had consciously set out to make a movie that would win Academy Awards. Frustrated that the innovative, timely, and critically well-received American Madness (1932) had not received any recognition at the Oscars (particularly in the director's category in recognition of his innovations in pacing), he vented his displeasure to Columbia boss Cohn.
"Forget it," Cohn told Capra, as recounted in his autobiography. "You ain't got a Chinaman's chance. They only vote for that arty junk."
Capra set out to boost his chances by making an arty film featuring a "Chinaman" that confronted that major taboo of American cinema of the first half of the century, miscegenation.
In the movie, the American missionary Megan Davis is in China to marry another missionary. Abducted by the Chinese Warlord General Yen, she is torn away from the American compound that kept her isolated from the Chinese and finds herself in a strange, dangerous culture. The two fall in love despite their different races and life-views. The film ran up against the taboo against miscegenation embedded in the Motion Picture Producers and Distributors Association's Production Code, and while Megan merely kisses General Yen's hand in the picture, the fact that she was undeniably in love with a man from a different race attracted the vituperation of many bigots.
Having fallen for Megan, General Yen engenders her escape back to the Americans before willingly drinking a poisoned cup of tea, his involvement with her having cost him his army, his wealth, and now his desire to live. The Bitter Tea of General Yen (1932) marks the introduction of suicide as a Capra theme that will come back repeatedly, most especially in George Bailey's breakdown on the snowy bridge in It's a Wonderful Life (1946).
Despair often shows itself in Capra films, and although in his post-"General Yen" work, the final reel wraps things up in a happy way, until that final reel, there is tragedy, cynicism, heartless exploitation, and other grim subject matter that Capra's audiences must have known were the truth of the world, but that were too grim to face when walking out of a movie theater. When pre-Code movies were rediscovered and showcased across the United States in the 1990s, they were often accompanied by thesis about how contemporary audiences "read" the films (and post-1934 more Puritanical works), as the movies were not so frank or racy as supposed. There was a great deal of signaling going on which the audience could read into, and the same must have been true for Capra's films, giving lie to the fact that he was a sentimentalist with a saccharine view of America. There are few films as bitter as those of Frank Capra before the final reel.
Despair was what befell Frank Capra, personally, on the night of March 16, 1934, which he attended as one of the Best Director nominees for Lady for a Day (1933). Capra had caught Oscar fever, and in his own words, "In the interim between the nominations and the final voting...my mind was on those Oscars." When Oscar host Will Rogers opened the envelope for Best Director, he commented, "Well, well, well. What do you know. I've watched this young man for a long time. Saw him come up from the bottom, and I mean the bottom. It couldn't have happened to a nicer guy. Come on up and get it, Frank!"
Capra got up to go get it, squeezing past tables and making his way to the open dance floor to accept his Oscar. "The spotlight searched around trying to find me. 'Over here!' I waved. Then it suddenly swept away from me -- and picked up a flustered man standing on the other side of the dance floor - Frank Lloyd!"
Frank Lloyd went up to the dais to accept HIS Oscar while a voice in back of Capra yelled, "Down in front!"
Capra's walk back to his table amidst shouts of "Sit down!" turned into the "Longest, saddest, most shattering walk in my life. I wished I could have crawled under the rug like a miserable worm. When I slumped in my chair I felt like one. All of my friends at the table were crying."
That night, after Lloyd's Cavalcade (1933), beat Lady for a Day (1933) for Best Picture, Capra got drunk at his house and passed out. "Big 'stupido,'" Capra thought to himself, "running up to get an Oscar dying with excitement, only to crawl back dying with shame. Those crummy Academy voters; to hell with their lousy awards. If ever they did vote me one, I would never, never, NEVER show up to accept it."
Capra would win his first of three Best Director Oscars the next year, and would show up to accept it. More importantly, he would become the president of the Academy in 1935 and take it out of the labor relations field a time when labor strife and the formation of the talent guilds threatened to destroy it.
The International Academy of Motion Picture Arts & Sciences had been the brainchild of Louis B. Mayer in 1927 (it dropped the "International" soon after its formation). In order to forestall unionization by the creative talent (directors, actors and screenwriters) who were not covered by the Basic Agreement signed in 1926, Mayer had the idea of forming a company union, which is how the Academy came into being. The nascent Screen Writers Union, which had been created in 1920 in Hollywood, had never succeeded in getting a contract from the studios. It went out of existence in 1927, when labor relations between writers and studios were handled by the Academy's writers' branch.
The Academy had brokered studio-mandated pay-cuts of 10% in 1927 and 1931, and massive layoffs in 1930 and 1931. With the inauguration of President Franklin D. Roosevelt on March 4, 1933, Roosevelt took no time in attempting to tackle the Great Depression. The day after his inauguration, he declared a National Bank Holiday, which hurt the movie industry as it was heavily dependent on bank loans. Louis B. Mayer, as president of the Association of Motion Picture Producers, Inc. (the co-equal arm of the Motion Picture Producers and Distributors Association charged with handling labor relations) huddled with a group from the Academy (the organization he created and had long been criticized for dominating, in both labor relations and during the awards season) and announced a 50% across-the-board pay cut. In response, stagehands called a strike for March 13th, which shut down every studio in Hollywood.
After another caucus between Mayer and the Academy committee, a proposal for a pay-cut on a sliding-scale up to 50% for everyone making over $50 a week; which would only last for eight weeks, was inaugurated. Screen writers resigned en masse from the Academy and joined a reformed Screen Writers Guild, but most employees had little choice and went along with it. All the studios but Warner Bros. and Sam Goldwyn honored the pledge to restore full salaries after the eight weeks, and Warners production chief Darryl F. Zanuck resigned in protest over his studio's failure to honor its pledge. A time of bad feelings persisted, and much anger was directed towards the Academy in its role as company union.
The Academy, trying to position itself as an independent arbiter, hired the accounting firm of Price Waterhouse for the first time to inspect the books of the studios. The audit revealed that all the studios were solvent, but Harry Warner refused to budge and Academy President 'Conrad Nagel' resigned, although some said he was forced out after a vote of no-confidence after arguing Warner's case. The Academy announced that the studio bosses would never again try to impose a horizontal salary cut, but the usefulness of the Academy as a company union was over.
Under Roosevelt's New Deal, the self-regulation imposed by the National Industrial Relations Act (signed into law on June 16th) to bring business sectors back to economic health was predicated upon cartelization, in which the industry itself wrote its own regulatory code. With Hollywood, it meant the re-imposition of paternalistic labor relations that the Academy had been created to wallpaper over. The last nail in the company union's coffin was when it became public knowledge that the Academy appointed a committee to investigate the continued feasibility of the industry practice of giving actors and writers long-term contracts. High salaries to directors, actors, and screen writers was compensation to the creative people for producers refusing to ceded control over creative decision-making. Long-term contracts were the only stability in the Hollywood economic set-up up creative people,. Up to 20%-25% of net earnings of the movie industry went to bonuses to studio owners, production chiefs, and senior executives at the end of each year, and this created a good deal of resentment that fueled the militancy of the SWG and led to the formation of the Screen Actors Guild in July 1933 when they, too, felt that the Academy had sold them out.
The industry code instituted a cap on the salaries of actors, directors, and writers, but not of movie executives; mandated the licensing of agents by producers; and created a reserve clause similar to baseball where studios had renewal options with talent with expired contracts, who could only move to a new studio if the studio they had last been signed to did not pick up their option.
The SWG sent a telegram to FDR in October 1933 denouncing this policy, arguing that the executives had taken millions of dollars of bonuses while running their companies into receivership and bankruptcy. The SWG denounced the continued membership of executives who had led their studios into financial failure remaining on the corporate boards and in the management of the reorganized companies, and furthermore protested their use of the NIRA to write their corrupt and failed business practices into law at the expense of the workers.
There was a mass resignation of actors from the Academy in October 1933, with the actors switching their allegiance to SAG. SAG joined with the SWG to publish "The Screen Guilds Magazine," a periodical whose editorial content attacked the Academy as a company union in the producers' pocket. SAG President Eddie Cantor, a friend of Roosevelt who had bee invited to spend the Thanksgiving Day holiday with the president, informed him of the guild's grievances over the NIRA code. Roosevelt struck down many of the movie industry code's anti-labor provisions by executive order.
The labor battles between the guilds and the studios would continue until the late 1930s, and by the time Frank Capra was elected president of the Academy in 1935, the post was an unenviable one. The Screen Directors Guild was formed at King Vidor's house on January 15, 1936, and one of its first acts was to send a letter to its members urging them to boycott the Academy Awards ceremony, which was three days away. None of the guilds had been recognized as bargaining agents by the studios, and it was argued to grace the Academy Awards would give the Academy, a company union, recognition. Academy membership had declined to 40 from a high of 600, and Capra believed that the guilds wanted to punish the studios financially by depriving them of the good publicity the Oscars generated.
But the studios couldn't care less. Seeing that the Academy was worthless to help them in its attempts to enforce wage cuts, it too abandoned the Academy, which it had financed. Capra and the Board members had to pay for the Oscar statuettes for the 1936 ceremony. In order to counter the boycott threat, Capra needed a good publicity gimmick himself, and the Academy came up with one, voting D.W. Griffith an honorary Oscar, the first bestowed since one had been given to Charles Chaplin at the first Academy Awards ceremony.
The Guilds believed the boycott had worked as only 20 SAG members and 13 SWG members had showed up at the Oscars, but Capra remembered the night as a victory as all the winners had shown up. However, 'Variety' wrote that "there was not the galaxy of stars and celebs in the director and writer groups which distinguished awards banquets in recent years." "Variety" reported that to boost attendance, tickets had been given to secretaries and the like. Bette Davis and Victor McLaglen had showed up to accept their Oscars, but McLaglen's director and screenwriter, John Ford and Dudley Nichols, both winners like McLaglen for The Informer (1935), were not there, and Nichols became the first person to refuse an Academy Award when he sent back his statuette to the Academy with a note saying he would not turn his back on his fellow writers in the SWG. Capra sent it back to him. Ford, the treasurer of the SDG, had not showed up to accept his Oscar, he explained, because he wasn't a member of the Academy. When Capra staged a ceremony where Ford accepted his award, the SDG voted him out of office.
To save the Academy and the Oscars, Capra convinced the board to get it out of the labor relations field. He also democratized the nomination process to eliminate studio politics, opened the cinematography and interior decoration awards to films made outside the U.S., and created two new acting awards for supporting performances to win over SAG.
By the 1937 awards ceremony, SAG signaled its pleasure that the Academy had mostly stayed out of labor relations by announcing it had no objection to its members attending the awards ceremony. The ceremony was a success, despite the fact that the Academy had to charge admission due to its poor finances. Frank Capra had saved the Academy of Motion Picture Arts and Sciences, and he even won his second Oscar that night, for directing Mr. Deeds Goes to Town (1936). At the end of the evening, Capra announced the creation of the Irving Thalberg Memorial Award to honor "the most consistent high level of production achievement by an individual producer." It was an award he himself was not destined to win.
By the 1938 awards, the Academy and all three guilds had buried the hatchet, and the guild presidents all attended the ceremony: SWG President Dudley Nichols, who finally had accepted his Oscar, SAG President Robert Montgomery, and SDG President King Vidor. Capra also had introduced the secret ballot, the results of which were unknown to everyone but the press, who were informed just before the dinner so they could make their deadlines. The first Irving Thalberg Award was given to long-time Academy supporter and anti-Guild stalwart Darryl F. Zanuck by Cecil B. DeMille, who in his preparatory remarks, declared that the Academy was "now free of all labor struggles."
But those struggles weren't over. In 1939, Capra had been voted president of the SDG and began negotiating with AMPP President 'Joseph Schenck', the head of 20th Century-Fox, for the industry to recognize the SDG as the sole collective bargaining agent for directors. When Schenck refused, Capra mobilized the directors and threatened a strike. He also threatened to resign from the Academy and mount a boycott of the awards ceremony, which was to be held a week later. Schenck gave in, and Capra won another victory when he was named Best Director for a third time at the Academy Awards, and his movie, You Can't Take It with You (1938), was voted Best Picture of 1938.
The 1940 awards ceremony was the last that Capra presided over, and he directed a documentary about them, which was sold to Warner Bros' for $30,000, the monies going to the Academy. He was nominated himself for Best Director and Best Picture for Mr. Smith Goes to Washington (1939), but lost to the Gone with the Wind (1939) juggernaut. Under Capra's guidance, the Academy had left the labor relations field behind in order to concentrated on the awards (publicity for the industry), research and education.
"I believe the guilds should more or less conduct the operations and functions of this institution," he said in his farewell speech. He would be nominated for Best Director and Best Picture once more with It's a Wonderful Life (1946) in 1947, but the Academy would never again honor him, not even with an honorary award after all his service. (Bob Hope, in contrast, received four honorary awards, including a lifetime membership in 1945, and the Jean Hersholt Humanitarian award in 1960 from the Academy.) The SDG (subsequently renamed the Directors Guild of America after its 1960 with the Radio and Television Directors Guild and which Capra served as its first president from 1960-61), the union he had struggled with in the mid-1930s but which he had first served as president from 1939 to 1941 and won it recognition, voted him a lifetime membership in 1941 and a Lifetime Achievement Award in 1959.
Whenever Capra convinced studio boss Harry Cohn to let him make movies with more controversial or ambitious themes, the movies typically lost money after under-performing at the box office. The Bitter Tea of General Yen (1932) and Lost Horizon (1937) were both expensive, philosophically minded pictures that sought to reposition Capra and Columbia into the prestige end of the movie market. After the former's relative failure at the box office and with critics, Capra turned to making a screwball comedy, a genre he excelled at, with It Happened One Night (1934). Bookended with You Can't Take It with You (1938), these two huge hits won Columbia Best Picture Oscars and Capra Best Director Academy Awards. These films, along with Mr. Deeds Goes to Town (1936), Mr. Smith Goes to Washington (1939), and It's a Wonderful Life (1946) are the heart of Capra's cinematic canon. They are all classics and products of superb craftsmanship, but they gave rise to the canard of "Capra-corn." One cannot consider Capra without taking into account The Bitter Tea of General Yen (1932), American Madness (1932), and Meet John Doe (1941), all three dark films tackling major issues, Imperialism, the American plutocracy, and domestic fascism. Capra was no Pollyanna, and the man who was called a "dago" by Mack Sennett and who went on to become one of the most unique, highly honored and successful directors, whose depictions of America are considered Americana themselves, did not live his cinematic life looking through a rose-colored range-finder
In his autobiography "The Name Above the Title," Capra says that at the time of American Madness (1932), critics began commenting on his "gee-whiz" style of filmmaking. The critics attacked "gee whiz" cultural artifacts as their fabricators "wander about wide-eyed and breathless, seeing everything as larger than life." Capra's response was "Gee whiz!"
Defining Hollywood as split between two camps, "Mr. Up-beat" and "Mr. Down-beat," Capra defended the up-beat gee whiz on the grounds that, "To some of us, all that meets the eye IS larger than life, including life itself. Who ca match the wonder of it?"
Among the artists of the "Gee-Whiz:" school were Ernest Hemingway, Homer, and Paul Gauguin, a novelist who lived a heroic life larger than life itself, a poet who limned the lives of gods and heroes, and a painter who created a mythic Tahiti, the Tahiti that he wanted to find. Capra pointed to Moses and the apostles as examples of men who were larger than life. Capra was proud to be "Mr. Up-beat" rather than belong to "the 'ashcan' school" whose "films depict life as an alley of cats clawing lids off garbage cans, and man as less noble than a hyena. The 'ash-canners,' in turn, call us Pollyannas, mawkish sentimentalists, and corny happy-enders."
What really moves Capra is that in America, there was room for both schools, that there was no government interference that kept him from making a film like American Madness (1932). (While Ambassador to the Court of St. James, Joseph P. Kennedy had asked Harry Cohn to stop exporting Mr. Smith Goes to Washington (1939) to Europe as it portrayed American democracy so negatively.) About Mr. Up-beat and Mr-Downbeat and "Mr. In-between," Capra says, "We all respect and admire each other because the great majority freely express their own individual artistry unfettered by subsidies or strictures from government, pressure groups, or ideologists."
In the period 1934 to 1941, Capra the created the core of his canon with the classics It Happened One Night (1934), Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939) and Meet John Doe (1941), wining three Best Director Oscars in the process. Some cine-historians call Capra the great American propagandist, he was so effective in creating an indelible impression of America in the 1930s. "Maybe there never was an America in the thirties," John Cassavetes was quoted as saying. "Maybe it was all Frank Capra."
After the United States went to war in December 1941, Frank Capra rejoined the Army and became an actual propagandist. His "Why We Fight" series of propaganda films were highly lauded for their remarkable craftsmanship and were the best of the U.S. propaganda output during the war. Capra's philosophy, which has been variously described as a kind of Christian socialism (his films frequently feature a male protagonist who can be seen a Christ figure in a story about redemption emphasizing New Testament values) that is best understood as an expression of humanism, made him an ideal propagandist. He loved his adopted country with the fervor of the immigrant who had realized the American dream. One of his propaganda films, The Negro Soldier (1944), is a milestone in race relations.
Capra, a genius in the manipulation of the first form of "mass media," was opposed to "massism." The crowd in a Capra film is invariably wrong, and he comes down on the side of the individual, who can make a difference in a society of free individuals. In an interview, Capra said he was against "mass entertainment, mass production, mass education, mass everything. Especially mass man. I was fighting for, in a sense, the preservation of the liberty of the individual person against the mass."
Capra had left Columbia after "Mr. Smith" and formed his own production company. After the war, he founded Liberty Films with John Ford and made his last masterpiece, It's a Wonderful Life (1946). Liberty folded prior to its release (another Liberty film, William Wyler's masterpiece, The Best Years of Our Lives (1946) was released through United Artists). Though Capra received his sixth Oscar nomination as best director, the movie flopped at the box office, which is hard to believe now that the film is considered must-see viewing each Christmas. Capra's period of greatness was over, and after making three under-whelming films from 1948 to '51 (including a remake of his earlier Broadway Bill (1934)), Capra didn't direct another picture for eight years, instead making a series of memorable semi-comic science documentaries for television that became required viewing for most 1960's school kids. His last two movies, A Hole in the Head (1959) and Pocketful of Miracles (1961) his remake of Lady for a Day (1933) did little to enhance his reputation.
But a great reputation it was, and is. Capra's films withstood the test of time and continue to be as beloved as when they were embraced by the movie-going "masses" in the 1930s. It was the craftsmanship: Capra was undeniably a master of his medium. The great English novelist Graham Greene, who supported himself as a film critic in the 1930s, loved Capra's films due to their sense of responsibility and of common life, and due to his connection with his audience. (Capra, according to the 1938 "Time" article, believed that what he liked would be liked by moviegoers). In his review of Mr. Deeds Goes to Town (1936), Greene elucidated the central theme of Capra's movies: "Goodness and simplicity manhandled in a deeply selfish and brutal world."
But it was Capra's great mastery over film that was the key to his success. Comparing Capra to Dickens in a not wholly flattering review of You Can't Take It with You (1938), Green found Capra "a rather muddled and sentimental idealist who feels -- vaguely -- that something is wrong with the social system" (807). Commenting on the improbable scene in which Grandpa Vanderhof persuades the munitions magnate Anthony P. Kirby to give everything up and play the harmonica, Greene stated:
"It sounds awful, but it isn't as awful as all that, for Capra has a touch of genius with a camera: his screen always seems twice as big as other people's, and he cuts as brilliantly as Eisenstein (the climax when the big bad magnate takes up his harmonica is so exhilarating in its movement that you forget its absurdity). Humour and not wit is his line, a humor that shades off into whimsicality, and a kind of popular poetry which is apt to turn wistful. We may groan and blush as he cuts his way remorselessly through all finer values to the fallible human heart, but infallibly he makes his appeal - to that great soft organ with its unreliable goodness and easy melancholy and baseless optimism. The cinema, a popular craft, can hardly be expected to do more."
Capra was a populist, and the simplicity of his narrative structures, in which the great social problems facing America were boiled down to scenarios in which metaphorical boy scouts took on corrupt political bosses and evil-minded industrialists, created mythical America of simple archetypes that with its humor, created powerful films that appealed to the elemental emotions of the audience. The immigrant who had struggled and been humiliated but persevere due to his inner resolution harnessed the mytho-poetic power of the movie to create proletarian passion plays that appealed to the psyche of the New Deal movie-goer. The country during the Depression was down but not out, and the ultimate success of the individual in the Capra films was a bracing tonic for the movie audience of the 1930s. His own personal history, transformed on the screen, became their myths that got them through the Depression, and when that and the war was over, the great filmmaker found himself out of time. Capra, like Charles Dickens, moralized political and economic issues. Both were primarily masters of personal and moral expression, and not of the social and political. It was the emotional realism, not the social realism, of such films as Mr. Smith Goes to Washington (1939), which he was concerned with, and by focusing on the emotional and moral issues his protagonists faced, typically dramatized as a conflict between cynicism and the protagonist's faith and idealism, that made the movies so powerful, and made them register so powerfully with an audience.- Producer
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Described by film producer Michael Deeley as "the very best eye in the business", director Ridley Scott was born on November 30, 1937 in South Shields, Tyne and Wear. His father was an officer in the Royal Engineers and the family followed him as his career posted him throughout the United Kingdom and Europe before they eventually returned to Teesside. Scott wanted to join the British Army (his elder brother Frank had already joined the Merchant Navy) but his father encouraged him to develop his artistic talents instead and so he went to West Hartlepool College of Art and then London's Royal College of Art where he helped found the film department.
In 1962, he joined the BBC as a trainee set designer working on several high profile series. He attended a trainee director's course while he was there and his first directing job was on an episode of the popular BBC police series Z Cars (1962), Error of Judgement (1965). More TV work followed until, frustrated by the poor financial rewards at the BBC, he went into advertising. With his younger brother, Tony Scott, he formed the advertising production company RSA (Ridley Scott Associates) in 1967 and spent the next 10 years making some of the best known and best loved TV adverts ever shown on British television, including a series of ads for Hovis bread set to the music of Dvorak's New World Symphony which are still talked about today ("'e were a great baker were our dad.")
He began working with producer David Puttnam in the 1970s developing ideas for feature films. Their first joint endeavor, The Duellists (1977) won the Jury Prize for Best First Work at Cannes in 1977 and was nominated for the Palm d'Or, more than successfully launching Scott's feature film career. The success of Star Wars: Episode IV - A New Hope (1977) inspired Scott's interest in making science fiction and he accepted the offer to direct Dan O'Bannon's low budget science fiction horror movie Alien (1979), a critical and commercial success that firmly established his worldwide reputation as a movie director.
Blade Runner (1982) followed in 1982 to, at best, a lukewarm reception from public and critics but in the years that followed, its reputation grew - and Scott's with it - as one of the most important sci-fi movies ever made. Scott's next major project was back in the advertising world where he created another of the most talked-about advertising spots in broadcast history when his "1984"-inspired ad for the new Apple Macintosh computer was aired during the Super Bowl on January 22, 1984. Scott's movie career has seen a few flops (notably Legend (1985) and 1492: Conquest of Paradise (1992)), but with successes like Thelma & Louise (1991), Gladiator (2000) and Black Hawk Down (2001) to offset them, his reputation remains solidly intact.
Ridley Scott was awarded Knight Bachelor of the Order of the British Empire at the 2003 Queen's New Year Honours for his "substantial contribution to the British film industry". On July 3, 2015, he was awarded an honorary doctorate by the Royal College of Art in a ceremony at the Royal Albert Hall in London. He was awarded the BAFTA Fellowship in 2018. BAFTA described him as "a visionary director, one of the great British film-makers whose work has made an indelible mark on the history of cinema. Forty years since his directorial debut, his films continue to cross the boundaries of style and genre, engaging audiences and inspiring the next generation of film talent."- Producer
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Although born in Hollywood, John and his twin sister Johanna were raised in Whittier near Los Angeles. His parents were Jewell Mae (Risley), an art teacher, and Paul Eual Lasseter, a parts manager at a Chevrolet dealership. His mother's profession contributed to his interest in animation and particularly the Bugs Bunny and Daffy Duck cartoons which he would watch on television. It was when he was in High School that he realized that he could have a career in animation and he wrote to the Walt Disney Studios but nothing happened then In 1975 the Disney company started an animation course at Calarts - The California Institute of the Arts- and John, with encouragement from his mother, was one of the first to sign up. He and his class mates, who included the future animators and directors Brad Bird, and Tim Burton were taught by some of Disney's veteran animators such as Ollie Johnston and Frank Thomas. During his time there John produced two animated shorts - Lady and the Lamp (1979) and Nitemare (1980) - which both won the Student Academy Award for Animation. On graduating in 1979 John was taken on as an animator at the Disney Studios. In 1983, while working on Mickey's Christmas Carol some friends invited him to see some footage of Tron that they were working on using CGI and he immediately saw the potential of it to enhance animated films. John and a colleague made a short test film and satisfied with the result and full of enthusiasm started work on a feature without consulting their superiors who when they found out about it canceled it and sacked John. Having made contacts in the computer industry he was quickly taken on by Lucasfilm which was bought by Steve Jobs for $5 million with a further $5 million invested as working capital and the company renamed Pixar. John soon convinced Steve that the future lay in computer animation by bringing his desk lamp to life in the short 'Luxor Jr' which was shown at a computer graphics conference and got a standing ovation. The first computer animated feature soon followed in the form of 'Toy Story' winning John an Oscar for Special Achievement to go with one he got for Animated Short Film - Tin Toy. He's also had Oscar nominations for Animated Feature - Monster Inc and Cars, Original Screenplay -Toy Story, Animated Short Story - Luxor Jr while the short Knick Knack was selected by Terry Gilliam as one of the best 10 animated films of all time. In 2008, he was honored with the Winsor McCay Award, - the lifetime achievement award for animators. He oversees 3 animation studios - Pixar, Disney Animation and DisneyToon He spent 9 year (2005 - 2014) on the board of governors of the Academy of Motion Picture Arts and Sciences, only relinquishing his seat due to term limits. He was presented with a star on the Hollywood Walk of Fame in Hollywood in November 2011.- Producer
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Bob Weinstein was born on 18 October 1954 in Flushing, Queens, New York City, New York, USA. He is a producer and writer, known for The Lord of the Rings: The Fellowship of the Ring (2001), The Hateful Eight (2015) and St. Vincent (2014). He has been married to Annie Clayton since 29 April 2000. They have two children.- Producer
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Emmy and Academy Award-winning producer Brian Grazer has been making movies and television programs for more than 25 years. As both a writer and producer, he has been personally nominated for four Academy Awards, and in 2002 won the Best Picture Oscar for A Beautiful Mind (2001). In addition to winning three other Academy Awards, "A Beautiful Mind" also won four Golden Globe Awards (including Best Motion Picture Drama) and earned Grazer the first annual Awareness Award from the National Mental Health Awareness Campaign.
Over the years, Grazer's films and TV shows have been nominated for 43 Oscars and 198 Emmys. At the same time his movies have generated more than $15 billion in worldwide theatrical, music and video grosses. Reflecting this combination of commercial and artistic achievement, the Producers Guild of America honored Grazer with the David O. Selznick Lifetime Achievement Award in 2001. His accomplishments have also been recognized by the Hollywood Chamber of Commerce, which in 1998 added Grazer to the short list of producers with a star on the Hollywood Walk of Fame. On March 6, 2003. ShoWest celebrated Grazer's success by honoring him with its Lifetime Achievement Award. On November 14, 2005, Grazer was honored in Los Angeles by the Fulfillment Fund. In May 2007 he was chosen by Time Magazine as one of the "100 Most Influential People in the World." On January 24 Grazer, along with his partner Ron Howard, was honored with the Milestone Award by the Producers Guild of America.
In addition to "A Beautiful Mind", Grazer's films include Apollo 13 (1995), for which Grazer won the Producers Guild's Darryl F. Zanuck Motion Picture Producer of the Year Award as well as an Oscar nomination for Best Picture of 1995; and Splash (1983), which he co-wrote as well as produced and for which he received an Oscar nomination for Best Original Screenplay of 1986.
Grazer also produced the film adaptation of Peter Morgan's critically acclaimed play "Frost/Nixon" (Frost/Nixon (2008)), directed by Ron Howard. The film was nominated for 5 Academy Awards including Best Picture, and was also nominated for The Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures by the PGA.
Grazer also produced Angels & Demons (2009), the adaptation of Dan Brown's bast-selling novel, and Robin Hood (2010), directed by Ridley Scott and with Russell Crowe, Cate Blanchett and Max von Sydow.
Some more of Grazer's feature film credits include the drama The Changeling (2006), directed by Clint Eastwood and starring Angelina Jolie; the Ridley Scott-directed drama American Gangster (2007), staring Russell Crowe and Denzel Washington; The Da Vinci Code (2006), the film adaptation of Dan Brown's international best-seller, starring Tom Hanks and directed by Oscar-winner Ron Howard; the tense drama The Inside Man (2005), directed by Spike Lee and starring Denzel Washington, Clive Owen and Jodie Foster; Flightplan (2005); Cinderella Man (2005); the Sundance acclaimed documentary Inside Deep Throat (2005); the TV series Friday Night Lights (2006); 8 Mile (2002); Blue Crush (2002); Intolerable Cruelty (2003); How the Grinch Stole Christmas (2000); The Nutty Professor (1996); Liar Liar (1997); Ransom (1996); My Girl (1991); Backdraft (1991); Kindergarten Cop (1990); Parenthood (1989); Clean and Sober (1988); and Spies Like Us (1985).
Grazer's television productions include Fox's hit Golden Globe and Emmy award winning Best Drama Series 24 (2001), NBC's Peabody Award-winning series "Friday Night Lights" and Fox's Lie to Me (2009), starring Tim Roth, which premiered in January 2009. He is also working on additional television projects including Parenthood (2010), based on his 1989 film, and Wonderland (2000), directed by Peter Berg. His additional television credits include Fox's Emmy award winning-Best Comedy Arrested Development (2003), CBS' Shark (2006), NBC's Miss Match (2003), WB's Felicity (1998), ABC's Sports Night (1998), as well as HBO's From the Earth to the Moon (1998), for which he won the Emmy for Outstanding Mini-Series.
Grazer began his career as a producer, developing television projects. It was while he was executive-producing TV pilots for Paramount Pictures in the early 1980s that Grazer first met Ron Howard, soon to become his friend and business partner. Their collaboration began in 1985 with the hit comedies Night Shift (1982) and Splash (1983), and in 1986 the two founded Imagine Entertainment, which they continue to run together as chairmen.- Producer
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Frank was born in Glendale, California to musician Jack Marshall. He entered the film world when his parents invited him to a birthday party for the daughter of directing legend John Ford in 1966. There, he met Peter Bogdanovich and soon agreed to work on his first film, Targets (1968), later followed by collaborating on The Last Picture Show (1971) and many other films.
Continuing to branch out into the industry, he served as line producer on Martin Scorsese's The Last Waltz (1978) and associate producer on Walter Hill's crime thriller, The Driver (1978). Marshall first worked as executive producer on Hill's cult classic The Warriors (1979). While producing the iconic Raiders of the Lost Ark (1981), he met Steven Spielberg and their future wife Kathleen Kennedy, and Frank himself was hired to join the Amblin Productions company in 1980.
He continued producing memorable films with Spielberg including Poltergeist (1982) and Twilight Zone: The Movie (1983) (while Kennedy separately produced E.T. the Extra-Terrestrial (1982)). He worked as executive producer on Indiana Jones and the Temple of Doom (1984), Gremlins (1984), The Goonies (1985) and the Back to the Future (1985) trilogy.
He married Kathleen Kennedy in 1987, and after producing numerous films, he made his feature directing debut with Arachnophobia (1990). Reacting to the success of his directorial debut, he left Amblin in 1991. In 1992, The Kennedy/Marshall Company was formed, and the next year they released its first film Alive (1993), directed by Marshall. Both Kennedy and Marshall signed deals with Paramount in 1992, at the same time the company was formed. His productivity has only increased since then, as he took over primary duties of the production company since Kennedy was named president of Lucasfilm in 2012.- Producer
- Camera and Electrical Department
- Actor
Lawrence Bender is a movie producer working in the entertainment industry for 20 years. He helped produce Hollywood films like Reservoir Dogs (1992), Good Will Hunting (1997), Inglourious Basterds (2009) and Django (2012). Lawrence won 6 Academy Awards with 29 nominations including 3 Best Picture films. An Inconvenient Truth is a documentary he produced that raised awareness of climate change and won him an Academy Award for Best Documentary. Lawrence Bender was born in The Bronx, New York City, as Lawrence Kirk Bender. His mother was a kindergarten teacher. Lawrence's father was a college history professor. In high school, he was inspired to follow his grandfather's career as a civil engineer. At the University of Maine in 1979, he graduated with a degree in Civil Engineering. After he graduated, he became a dancer for several years which ended after an injury. Lawrence is a political and environmental activist as the co-founder of the Detroit Project. In 2003 he worked with environmentalists in targeting gas-guzzling SUVs. As the Dean of Harvard's John F. Kennedy School of Government, he sits on the Advisory Board. Lawrence has used his influence to support philanthropic initiatives working with Yahoo, the Muppets, the EPA, and Wal-Mart. He is a Director for CleanSource Power, LLC and a board member of The Creative Coalition Inc.- Producer
- Writer
- Music Department
Avi Arad is an Israeli film producer and CEO of Marvel Entertainment. He produced dozens of Marvel films including the X-Men original trilogy, Daredevil, Hulk, Elektra, the Sam Raimi Spider-Man trilogy, Blade: Trinity, The Punisher, Ghost Rider and the Tim Story Fantastic Four film series. He now produces several Spider-Man films for Sony including Venom, Into the Spider-Verse and No Way Home.- Writer
- Producer
- Additional Crew
Albert Stotland Ruddy is a Canadian-American film and television producer. He is known for producing The Godfather (1972) and Million Dollar Baby (2004), both of which won him the Academy Award for Best Picture, as well as co-creating the CBS sitcom Hogan's Heroes (1965 - 1971). Albert was born to Ruth (ne Ruddy) and Hy Stotland, a Jewish family in Montreal, and raised in New York City and in Miami Beach, Florida, by his mother, Ruth Ruddy Hertz. Ruddy attended Brooklyn Technical High School before earning a scholarship to allow him to study chemical engineering at City College of New York. In 1956, he graduated from the School of Architecture at the University of Southern California.- Producer
- Additional Crew
- Casting Director
Scott Rudin was born on 14 July 1958 in New York City, New York, USA. He is a producer and casting director, known for No Country for Old Men (2007), The Social Network (2010) and Lady Bird (2017).- Writer
- Producer
- Additional Crew
James L. Brooks was born on 9 May 1940 in Brooklyn, New York, USA. He is a writer and producer, known for Broadcast News (1987), As Good as It Gets (1997) and Terms of Endearment (1983). He was previously married to Holly Holmberg Brooks and Marianne Catherine Morrissey.- Producer
- Sound Department
- Additional Crew
Saul Zaentz learned gambling as a youth in Passaic, New Jersey, playing a card game called briscola. Later, in his twenties, he earned a full-time living as a gambler.
Saul settled in San Francisco after WWII, at first working for a local record distributor and eventually joining the jazz record label Fantasy Records. Working as a salesman and manager for years at Fantasy taught him the value of good relationships with vendors and distributors. This approach greatly affected his approach to the movie business.
Saul and a group of partners bought Fantasy Records in 1967. Fantasy was a successful independent record label, but Saul wanted to expand, to make films. He and his partners worked very hard to cultivate deals with film distribution houses all over the world. Many of these distributors invested in or helped secure funding for his films, in light of the success of One Flew Over the Cuckoo's Nest (1975). As a result, Saul was able to remain independent of Hollywood, making the films he wanted to make.- Producer
- Second Unit Director or Assistant Director
- Production Manager
Gary Kurtz was born on 27 July 1940 in Los Angeles, California, USA. He was a producer and assistant director, known for Star Wars: Episode IV - A New Hope (1977), The Dark Crystal (1982) and American Graffiti (1973). He was married to Stephanie Clare Gabriel, Roberta Jimenez and Meredith Marie Alsup. He died on 23 September 2018 in London, England, UK.- Writer
- Producer
- Director
One of the most critically and commercially successful screenwriters in Hollywood history, Lehman grew up on Long Island, graduated from NY's City College. One of his first jobs was as a copywriter for a Broadway publicist. This experience would later be reflected in his novel and screenplay, "Sweet Smell of Success." He also worked as a radio comedy writer, and as editor of a financial magazine. He freelanced short stories for the likes of Collier's magazine and one of these fiction piece 'The Comedian' led to his first job in Hollywood as a screenwriter for Paramount in the mid 1950s. Nick Roddick, in Dictionary of Literary Biography, praised Lehman as "a champion of the well-crafted, what-happens-next screenplay." Served as president of the Writers Guild of America from 1983-85.- Producer
- Production Manager
- Additional Crew
With his brothers Harry M. Warner, Albert Warner, and Sam Warner, he founded Warner Bros. Pictures Inc. in 1923. They released the first motion picture with synchronized sound, The Jazz Singer (1927) with Al Jolson. In the 1930s they gave employment to a parade of stars, including Bette Davis, Errol Flynn and Paul Muni, as well as James Cagney, Edward G. Robinson, and a man whose star would eventually rise in the 1940s, Humphrey Bogart. Decades later, the firm's successor, Warner Communications Inc., merged with Time Inc. to become Time Warner Inc., the world's largest media and entertainment company.- Producer
- Editor
- Writer
Sam Zimbalist was born on 31 March 1904 in New York City, New York, USA. He was a producer and editor, known for Ben-Hur (1959), King Solomon's Mines (1950) and Quo Vadis (1951). He was married to Mary Taylor and Margaret C. Donovan. He died on 4 November 1958 in Rome, Lazio, Italy.- Producer
- Writer
- Director
Zwick moves deftly between the roles of writer, director and producer. He was nominated for a Golden Globe for his direction of the 1989 critically acclaimed Civil War drama, Glory. He received his second Golden Globe nomination as a director for Legends of the Fall. Zwick received an Academy Award as one of the producers of Shakespeare in Love, as well as a second nomination for Traffic. He wrote, directed and produced the feature film The Last Samurai. Zwick continues to work with his partner, Marshall Herskovitz, at their company Bedford Falls where they created Thirtysomething, My So-Called Life, Once and Again and Blood Diamond.- Producer
- Actor
- Director
Robert Shaye was born in Detroit, Michigan, USA. He is a producer, director, and actor, particularly known for The Lord of the Rings: The Fellowship of the Ring (2001), The Lord of the Rings: The Return of the King (2003) and The Lord of the Rings: The Two Towers (2002). He has been married to Eva G. Lindsten since 1970. They have two children.- Producer
- Writer
- Director
Irwin Winkler's career as a producer, director and writer encompasses popular and influential movies that have impacted contemporary culture. With a passion for big, bold, meaningful stories, his films include an array of true screen classics, garnering among them 12 Academy Awards and 52 Oscar nominations.
Among Winkler's multiple nominations include five Best Picture nominations, each for a pioneering film: the tale of underdog sports triumph, Rocky, which forged one of most globally recognizable movie characters and themes in history; Raging Bull, which turned the biopic into a gritty, lyrical work of art; the history-capturing look at the U.S. space program, The Right Stuff; the iconic gangster tale, Goodfellas; and the recent The Wolf of Wall Street. Winkler is the only producer honored with three films on the American Film Institute's list of the "Top 100 Films."
Winkler was recently honored by the Producers Guild of America with the prestigious David O. Selznick Achievement Award which recognized his lifetime body of work.
In April 2016, Winkler spoke at Harvard University's Kennedy School on the political and social influence his films have had on both the U.S. and international culture.
In December 2016 The American Cinematheque held a three-day retrospective to honor Winkler by showcasing such works as Goodfellas, New York, New York and Raging Bull, culminating with an onstage conversation alongside Martin Scorsese to discuss Winkler's storied career.
Winkler most recently produced the critically acclaimed Silence with longtime collaborator Martin Scorsese, written by Jay Cocks and starring Liam Neeson, Andrew Garfield and Adam Driver.
In 2016 Winkler produced Creed, the latest installment of his Academy Award winning franchise, Rocky Starring Sylvester Stallone and Michael B. Jordan, with Ryan Coogler directing, the film garnered both commercial and critical success; earning a Golden Globe nomination and Academy Award nomination for Sylvester Stallone. The film was named Outstanding Motion Picture from the NAACP Image Awards, the Black Film Critics Circle and named as one of the top films by the National Board of Review.
In 2013, Winkler Executive Produced the Academy Award and Golden Globe nominated The Wolf of Wall Street, directed by Martin Scorsese and starring Leonardo DiCaprio, illustrates his continual presence as one of Hollywood's most prolific producers making an indelible impact with his ability to showcase emotional storytelling with hard hitting relevance.
For Winkler, success has come from his constant instinctual draw to fresh, current, even controversial subjects and visionary talents. As a storyteller he has been fascinated by both the dangers of corruption and the beauty of courage and compassion.
Winkler first made a resounding impact producing a series of raw, edgy human dramas that helped to define the gritty landscape of 70s and 80s cinema. Thus the the fiercely original They Shoot Horses, Don't They?, about the desperate contenders in a Depression-era dance contest, starring Jane Fonda and Michael Sarrazin, which would seal Winkler's reputation with 9 Academy Award nominations and status as a Hollywood classic.
Other highlights from this period include New York, New York, starring Liza Minnelli and Robert De Niro, which produced one of the most recognizable songs in pop culture; the enduring masterpiece, Raging Bull, considered by many to be among the great cinematic works of the 20th Century and highlighted by DeNiro's Oscar winning performance; and Goodfellas, which was honored with numerous critics' awards and has become etched in filmgoers' consciousnesses as the paragon of the American crime drama.
In that era, Winkler also produced the Mafia comedy Jimmy Brolin's The Gang That Couldn't Shoot Straight starring Bob DeNiro ; Up The Sandbox a look at the women's movement starring Barbra Streisand; The Gambler a penetrating look at gambling addiction, starring James Caan; the stirring modern Western, Comes A Horseman teaming Caan with Jane Fonda, directed by Alan Pakula; True Confessions written by Joan Didion and John Dunne starring Robert DeNiro and Robert Duvall; the critically-acclaimed suspense thriller about a woman who discovers her father is an accused Nazi war criminal, Music Box, which earned an Oscar nomination for star Jessica Lange and the homage to the Jazz Era, Round Midnight, with Herbie Hancock winning an Academy Award for his musical composition and a Best Actor nomination for Dexter Gordon.
In 1989, Winkler made his directorial debut from his own screenplay, Guilty By Suspicion, hailed by the New York Times as "A stirring and tragic evocation of terrible times" about Hollywood's all-too-real blacklisting era. Starring Robert DeNiro as a prominent director asked to "name names" and Annette Bening as his wife, the film presaged a writing and directing career that would, like Winkler's producing career, be focused on taut human drama and politically-charged themes and nominated for the Palme d'Or at the Cannes Film Festival.
Winkler's next directorial outing reunited him with both Robert DeNiro and Jessica Lange in the noir crime drama, Night and the City, which would close the prestigious New York Film Festival in 1992 and become a rousing critical success. He went on to direct and produce At First Sight, a romantic drama based on a true story by Dr. Oliver Sacks, starring Val Kilmer, Mira Sorvino and Nathan Lane and the prescient cyber-crime thriller The Net, starring Sandra Bullock, one of the big box-office hits of 1995.
Winkler's directorial career would continue to take intriguing turns. He broached the thought-provoking question of what happens when a man suddenly faces his own mortality in the poignantly complex Life as a House, featuring a landmark performance by Kevin Kline.
Radically switching gears, Winkler next directed one of his most distinctive features, the musical biography of the legendary composer Cole Porter: De-Lovely. Featuring Golden Globe-nominated performances from Kevin Kline and Ashley Judd, as well as performances from pop and rock music talents, including Sheryl Crow, Alanis Morissette, Elvis Costello, Robbie Williams, Natalie Cole, and Diana Krall, all performing Porter's classic songs, the film was selected as the closing night gala event at the 2004 Cannes Film Festival.
Winkler became one of the very first American filmmakers to turn his camera on the return of U.S. veterans from the war in Iraq - when he directed and produced the provocative drama Home of the Brave, starring Samuel L. Jackson, Curtis "50 Cent" Jackson, Jessica Biel and Brian Presley.
Winker's motion picture producing career began in the late 1960s when he produced his first film, the Elvis Presley movie Double Trouble, with the legendary director Norman Taurog. Soon after, he entered into a partnership with Robert Chartoff, producing such films as the classic revenge thriller Point Blank. In 1970, an eclectic trio of Winkler/Chartoff films each made a splash at the Cannes Film Festival: Leo the Last won the Best Director prize, the counter-culture cult film, The Strawberry Statement received the Jury Award They Shoot Horses, Don't They? garnered the closing night honors.
For his contributions to the popular culture, Winkler has been the recipient of numerous American and international honors, including the Commandeur des Arts et Lettres, the French government's highest decoration for contribution to the arts. In 1989, the British Film Institute saluted him with a retrospective of his work and in 1995, Winkler became the first producer to be honored with a showcase screening of ten of his films at the Deauville Film Festival. He has also received a Lifetime Achievement award from the Chicago Film Festival, a star on the Hollywood Boulevard Walk of Fame and retrospectives at the Museum of Modern Art in New York and the Los Angeles County Museum of Art, which had not honored a producer since their tribute to David O. Selznick in 1980. Winkler also received the National Board of Review's highest honor for Career Achievement in Producing, which Kevin Kline presented to him at their annual gala in January 2007 in New York. Winkler was a Governor of the New York City Ballet and is on the Board of Directors of the Los Angeles Philharmonic.- Producer
- Additional Crew
- Actor
Born in Germany he went to America some time before the second World War and spent a year in Hollywood reading foreign scripts after which he returned to Berlin where he set up his own company to organise the remaking of foreign films into German language versions. One he handled was 'All Quiet on the Western Front', an anti war film that became a kind of personal crusade for him. On the opening night the Nazi's, then in power, put a bomb in the cinema. When the Nazis came into power he left Germany and divided his time between Britain, France and America. He changed his name to the more international sounding S.P. Eagle but changed it back when with 'On the Waterfront' he realised he'd made a film to which any man would be proud to put his name.- Producer
- Executive
- Legal
Paula Weinstein was born on 19 November 1945 in Manhattan, New York City, New York, USA. She was a producer and executive, known for The Perfect Storm (2000), Blood Diamond (2006) and In the Heart of the Sea (2015). She was married to Mark Rosenberg. She died on 25 March 2024 in Manhattan, New York City, New York, USA.- Producer
- Writer
- Additional Crew
In 1920, Merian C. Cooper was a member of volunteer of the American Kosciuszko Squadron that supported the Polish army in the war with Soviet Russia, where he met best friend and producing partner Ernest B. Schoedsack. On 26 July 1920, his plane was shot down, and he spent nearly nine months in the Soviet prisoner-of-war camp. He escaped just before the war was over. He was decorated by Marshall Jozef Pilsudski with the highest military decorations: Virtuti Military. He had a successful career in the military and in the movie business.- Producer
- Executive
Brahim Chioua is known for Blue Is the Warmest Colour (2013), Enter the Void (2009) and Love (2015).- Director
- Writer
- Producer
Yotta Kasai was born on November 5, 1987 in Japan. He is a Japanese film director, writer, producer and painter, known for The Viscera (2013), Feeding the Flesh (2013), Methadone and Amphetamine (2014) and Crown of the Archons (2017). He has directed various short films, videos and music videos. He graduated from the Sydney Film School in Australia in 2010. Self-produced short films established his reputation as an innovative filmmaker and allowed him to direct his first feature-length film.