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Werner Herzog
Director de cine de Alemania
Werner Herzog Stipetić (Múnich, 5 de septiembre de 1942) es un director, documentalista,
guionista, productor y actor alemán.
Werner Herzog
Werner Herzog Berlin 2015.jpg
Werner Herzog en el Festival de Berlín de 2015.
Información personal
Nombre de nacimiento
Werner Herzog Stipetić
Nacimiento
5 de septiembre de 1942 (75 años)
Múnich, Alemania
Nacionalidad
Alemana Ver y modificar los datos en Wikidata
Religión
Ateísmo Ver y modificar los datos en Wikidata
Familia
Cónyuge
Lena Herzog (desde 1999) Ver y modificar los datos en Wikidata
Hijos
3
Información profesional
Ocupación
Director de cine, productor de cine, guionista, actor, editor de cine y actor de cine Ver y modificar
los datos en Wikidata
Movimiento
Nuevo cine alemán Ver y modificar los datos en Wikidata
Premios artísticos
Festival de Cannes
Gran Premio del Jurado
1975 The Enigma of Kaspar Hauser
Mejor director
1982 Fitzcarraldo
Distinciones
Premio del Sindicato de Directores
Bayerischer Poetentaler (2000)
Cruz de Oficial de la Orden del Mérito de la República Federal de Alemania (2012) Ver y
modificar los datos en Wikidata
Web
Sitio web
www.wernerherzog.com Ver y modificar los datos en Wikidata
[editar datos en Wikidata]
Biografía Editar
Nació en Múnich como segundo hijo de Dietrich Herzog y Elizabeth Stipetic. Dietrich fue
inmediatamente conscripto para el ejército alemán, y la pareja se disolvió. Bajo la custodia de la
madre, Werner mantuvo su apellido materno Stipetic hasta que lo cambió por el de su padre, que,
"para director de cine, sonaba mucho mejor".[1]
Era muy pobre.[2] Creció sin radio ni cine, en pleno contacto con la naturaleza, en una granja,
alejado del mundo moderno. Según afirma él mismo, no tuvo conocimiento de la existencia del
cine hasta los once años, la misma fecha en la que vio por primera vez un coche. A los 17 años
hizo su primera llamada telefónica.
A los trece años lo llevaron a Múnich para que iniciara sus estudios secundarios. Su familia se
alojó provisionalmente en una pensión donde, casualmente, se alojaba Klaus Kinski, (1926-1991),
actor que en un futuro sería clave en su carrera cinematográfica. Kinski ni reparó en el Herzog de
trece años, pero el futuro director sí lo hizo con el singular actor.
Durante su adolescencia, pasó por una etapa de gran fervor religioso, llegando a convertirse al
catolicismo, lo que le provocó discusiones con sus parientes, que eran ateos convencidos. Por esta
época empezó a realizar sus primeros largos viajes a pie. Hacia los quince años atravesó media
Europa, desde Múnich hasta Albania. También hizo a pie el viaje que lo llevó a Grecia.
Hacia los 17 años decidió dedicarse al cine. Para pagarse sus películas, trabajó en diversos oficios,
que combinaba con sus estudios secundarios y más tarde universitarios. Se matriculó en Historia,
Literatura y Teatro en Múnich. Hacia 1960 obtuvo la beca Fulbright para el Seminario de cine de
la Universidad de Duquesne, en Pittsburgh (Estados Unidos).
A pesar de participar en seminarios universitarios de cine, Herzog nunca estudió en ninguna

escuela ni tampoco trabajó como asistente de ningún director; su formación fue completamente
autodidacta. En Estados Unidos combinó de nuevo sus estudios con diversos trabajos, como
soldador en una fábrica o aparcacoches, para ganar dinero que luego invertiría en su arte. En 1962,
a los veinte años, fundó su productora de cine, Herzogfilmproduktionen. Al año siguiente inició el
rodaje de su primer cortometraje, Herakles, para el cual tuvo que trabajar dos años y medio en la
cadena de montaje de una fundición de Múnich.[2]
Le seguirían Juego en la arena (1964), Últimas palabras (1967) y La incomparable defensa de la

fortaleza Deutschkreutz (1967).
Tras esta primera etapa de formación en el cortometraje realizó su primer largometraje,

Lebenszeichen (Señales de vida), subvencionado por el Instituto de Cine alemán, que buscaba
promocionar a nuevos cineastas. La película ganó el Premio de Cine Alemán (Deutscher
Filmpreis). A partir de aquí Herzog inició una carrera singular, que ha combinado la filmación de
largometrajes, documentales, dirección de ópera, actuación y redacción de guiones. Werner
Herzog sigue activo en la actualidad.
Obra Editar
Fundador del denominado Nuevo cine alemán junto con otros cineastas como Rainer Werner
Fassbinder, Herzog ya en sus primeros cortos, como Herakles o Juego en la arena, dejó clara su
preferencia por los antihéroes, personajes de singular personalidad enfrentados a un mundo hostil,
para los que la lucha por su supervivencia o por defender sus ideas está siempre abocada al
fracaso. Sus personajes se rebelan ante lo absurdo de la vida y su lucha contra esta situación les
lleva a la locura, la anulación total o la muerte. Esto quedó plasmado en su primer película,
Señales de Vida, donde un joven soldado alemán destinado a una isla griega durante la Segunda
Guerra Mundial enloquece ante la inutilidad de su misión y la imposibilidad de comunicarse con
los habitantes de la isla. Su locura se representa en la visión de un millar de molinos de viento que
sólo él puede ver.
En realidad, Herzog no distingue nunca sus películas de ficción y sus documentales. En su obra,
ambas vertientes se funden formando una sola. En una entrevista Joe Bini, montador de varios
trabajos de Herzog, confirma este ejemplo al señalar que el documental El pequeño Dieter
necesita volar es más un trabajo de ficción, mientras que su contraparte ficticia, Rescate al
amanecer, es todo lo contrario. El mismo Herzog afirma que Fitzcarraldo es su mejor documental.
[3]
En la obra de Herzog se pueden distinguir dos tipos de personajes y temas. Por un lado, personajes
megalómanos, rebeldes, supervivientes, a menudo sin escrúpulos, enfrentados a un mundo hostil
que les vapulea y que no les perdona su originalidad. Sus empresas e ideas están destinadas al
fracaso. Dentro de este apartado se encuentran, por ejemplo, personajes como:
Lope de Aguirre (protagonista de Aguirre, la cólera de Dios), soldado español que se rebeló contra
el rey Felipe II, adentrándose en la selva amazónica en busca de El Dorado.
Brian Fitzgerald «Fitzcarraldo» (en Fitzcarraldo), el melómano apasionado de la ópera que para
montar una representación en medio de la selva es capaz de aventurarse a recolectar caucho para
costear su montaje y hacer cruzar su barco de un afluente del Amazonas a otro, subiéndolo por una
montaña con ayuda de los indios.
Da Silva (Cobra verde), el tratante de esclavos brasileño establecido en África y que dirige su
negocio con mano dura, hasta que distintos enfrentamientos civiles arruinan por completo su
próspero negocio, llevándolo a la ruina y a darse cuenta de lo criminal de su actividad.
El profeta de Corazón de cristal, que al intentar descubrir las propiedades de una misteriosa
piedra, lleva a un pueblo a un estado de trance y locura colectivas. Los actores rodaron algunas
escenas en estado de hipnosis.
Hanussen (Invencible), el prestidigitador farsante, sin escrúpulos y manipulador que cree engañar
a los nazis para conseguir de ellos establecer un Ministerio de las Ciencias Ocultas hasta que se
encuentra con el forzudo judío Zische, representación de la bondad e inocencia, que le lleva a la
defenestración absoluta.
Terence McDonagh (Teniente corrupto), el atormentado, adicto, ludópata y enfermo policía que
navega en la noche de una Nueva Orleans recién asolada por el Katrina para esclarecer la muerte
de cinco inmigrantes senegaleses. Fue interpretado por Nicolas Cage.
Por otro lado, Herzog retrata también a personajes singulares, como:
Los enanos (También los enanos empezaron pequeños). Estos enanos maltratados y encerrados en
un correccional inician una grotesca rebelión que les lleva a cometer actos de lo más
extravagantes.
Kaspar Hauser (El enigma de Kaspar Hauser). La película se basa en la historia real de este joven
alemán, que apareció un día por las calles de Núremberg en 1828. Había pasado la mayor parte de
su vida encerrado en un sótano y se desconocía su origen y el modo en el que un día se liberó o
fue liberado. Hauser aprendió en cinco años a leer, escribir poesía, andar correctamente, tocar el
piano, conversar y a relacionarse con el mundo con solvencia. Un ser que era una página en
blanco trasplantado a un mundo decadente, totalmente desconocido para él. Herzog hace hincapié
en cómo Hauser llevó su particularidad con gran dignidad, mientras que la sociedad burguesa,
interesada morbosamente en su caso, era la realmente excéntrica y enfermiza. Su singularidad e
inocencia no le fueron perdonadas y falleció asesinado. Nunca se esclareció el móvil del asesinato.
Woyzeck (Woyzeck), el soldado alemán maltratado por sus superiores hasta la locura. Basada en
la obra teatral de Büchner, esta cinta es prácticamente teatro filmado.
Stroszek (Stroszek), el antiguo reo alemán que emigra a Estados Unidos y es devorado por el
sueño americano.
Nosferatu (Nosferatu, fantasma de la noche). Revisión de la película de F.W. Murnau, Nosferatu,
el no muerto, cuyo romanticismo decadente e imposible lleva la enfermedad y la muerte al
pequeño pueblo donde se instala.
Zishe Breitbart (Invencible), el inocente y forzudo judío polaco que vive en Berlín justo en el
momento en que el nazismo está viviendo su ascensión. Padece visiones y vaticina el Holocausto,
lo que le lleva a convencerse de que ha sido elegido por Dios para advertir a su pueblo del grave
peligro que se avecina.
Con frecuencia, Herzog se inspira en personajes que existieron realmente, como Aguirre,
Fitzcarraldo, Hanussen o Kaspar Hauser, entre otros. En sus documentales, esta premisa también
es básica, pues tiene especial interés en presentar personas, grupos de gente o etnias que viven o
han vivido situaciones difíciles y que han luchado contra todo tipo de obstáculos para sobrevivir o
por alcanzar los objetivos que se habían propuesto.
La música en las películas de Herzog es como un personaje más. Desde sus primeras películas ha
colaborado con el grupo Popol Vuh, agrupación de rock progresivo meditativo de su amigo
Florian Fricke (a quien conoció durante sus estudios de cine), que le ha confeccionado las bandas
sonoras de Aguirre, Fitzcarraldo y Cobra Verde, entre otras. A veces, incluso el propio Herzog ha
compuesto algunas piezas para completar la banda sonora de sus películas. Su vinculación con la
música le ha llevado a dirigir óperas. Debutó con Lohengrin, de Richard Wagner, para el Festival
de Bayreuth.[4] Afirma que la música es el arte que más fácilmente llega al ser humano.
Los paisajes son fundamentales en su obra. Afirma Herzog que más de una de sus películas
surgieron de un paisaje, como por ejemplo Signos de vida o Fitzcarraldo. Frecuentemente, las
tramas de las películas se encuentran en localizaciones donde la naturaleza es hostil o de una
exuberancia sin límites. Esta particularidad se manifiesta tanto en sus largometrajes de ficción
como en sus documentales. El esplendor de la naturaleza siempre esconde para Herzog un lado
oscuro y frecuentemente maligno para sus antihéroes. Puede decirse que el paisaje es un personaje
más de sus historias y tiene un papel fundamental en el desarrollo de la trama.
Aunque huye del cinéma verité, Herzog siempre ha buscado efectos visuales reales en sus filmes.
Es decir, no hay efectos especiales. El destartalado barco en que Fitzcarraldo sube por una
montaña para pasar de un río a otro, fue realmente transportado e izado por un numeroso grupo de
indios, tal y como se ve en la película. Herzog afirma que no busca engañar al espectador: lo que
ve es lo que hay[cita requerida]. En Aguirre hizo caminar a los actores por la selva hasta la
extenuación para reflejar el verdadero agotamiento que debieron sufrir los conquistadores
españoles en su periplo por la selva y el río.
En Rescate al amanecer, el acercamiento de Herzog con Hollywood, el actor Christian Bale,

interpretando a Dieter Dengler (piloto real convertido en prisionero de guerra), pasó por un
sinnúmero de torturas reales, lo que provocó una fuerte disputa de Herzog con Bale, y más
notablemente con los productores de la cinta. Zische, el forzudo judío, está interpretado por Jouko
Ahola, quien ganó por cuatro veces el título de El hombre más fuerte del mundo; todas las escenas
donde demuestra su fuerza son reales. Para plasmar esto no duda en contar con actores
absolutamente amateurs (como Ahola o Bruno S., que interpretó a Kaspar Hauser) o en rodar en
los lugares donde sucedieron los hechos que narra la película. En esta búsqueda de realismo, la
fusión autor-obra es total. Al igual que sus personajes, que deben luchar contra innumerables
contratiempos en empresas casi imposibles, Herzog mismo vive estas situaciones en sus rodajes,
que suelen ser particularmente difíciles.
También cabe destacar que en sus películas ambientadas en la selva amazónica o en África hace
participar de manera activa a indígenas, que muestran sus costumbres o su idiosincrasia. Suelen
tener un papel fundamental.
Herzog tiene también la fama de ser uno de los pocos cineastas en haber filmado en los cinco
continentes.
Críticas Editar
Las obras de Herzog han recibido grandes elogios de la crítica y le han reportado gran popularidad
en los circuitos especializados. Al mismo tiempo ha sido sujeto de controversias referidas a los
temas y mensajes tratados en sus obras, especialmente referidos a las circunstancias relativas a su
creación. Un ejemplo significativo fue Fitzcarraldo, en la que la obsesión, tema central de la
película, fue reproducida por el director durante la filmación. Su tratamiento de los temas también
ha sido frecuentemente calificada de wagneriana, quizá porque películas como Fitzcarraldo o su
película posterior, Invencible (2001), están directamente inspiradas por la ópera o por temáticas
operísticas.
No se puede hablar de la filmografía de Herzog sin comentar su tensa y difícil relación con el
actor alemán Klaus Kinski. Con él rodó cinco películas, quizá las más emblemáticas de las
carreras de ambos (Aguirre, la cólera de Dios, Woyzeck, Nosferatu, fantasma de la noche,
Fitzcarraldo y Cobra verde). Herzog plasmó esta relación, que a veces llegó al enfrentamiento
físico, en el documental Mi enemigo íntimo.
Premios Editar
Herzog y sus obras han ganado y han estado seleccionadas para numerosos premios a lo largo de
su carrera. El más importante es, sin duda, el premio al mejor director por Fitzcarraldo en el
Festival de Cine de Cannes de 1982.
Grizzly Man ganó el Premio Alfred P. Sloan en la edición de 2005 del Festival de Cine de
Sundance.
Filmografía Editar
Como director Editar
Largometrajes Editar
Signos de vida (1968).
También los enanos empezaron pequeños (1970).
Fata Morgana (1971).
Aguirre, la cólera de Dios (1972).
El enigma de Kaspar Hauser (1974).
Corazón de cristal (1976).
Stroszek (1977).
Nosferatu, vampiro de la noche (1979).
Woyzeck (1979).
Fitzcarraldo (1982).
Donde sueñan las verdes hormigas (1984).
Cobra verde (1988).
Grito de piedra (1991).
Invencible (2001).
La salvaje y azul lejanía (2005).
Rescate al amanecer (2007).
Teniente corrupto (2009).
My Son, My Son, What Have Ye Done (2010).
Queen of the Desert (2015).
Cortometrajes Editar
Herakles (1962).
Juego en la arena (1964).
La incomparable defensa de la fortaleza Deutschkreutz (1967).
Últimas palabras (1968).
Medidas contra los fanáticos (1969).
Nadie quiere jugar conmigo (1976).
La Bohème (2009).
Documentales Editar
El país del silencio y la oscuridad (1971).
Ecos de un reino siniestro (1990).
Las campanas del alma (1993).
El pequeño Dieter necesita volar (1997).
Mi enemigo íntimo (1999).
La rueda del tiempo (2003).
El diamante blanco (2004).
Grizzly Man (2005).
Encuentros en el fin del mundo (2008).
La cueva de los sueños olvidados (2010).
Into the Abyss (2011).
Happy People: A Year in the Taiga (2011).
On Death Row (2012).
Lo and Behold, Reveries of the Connected World (2016).
Into the Inferno (2016).
Trabajos para la televisión Editar
Los doctores voladores de África del Este (1969).
Futuro minusválido (1971).
El gran éxtasis del escultor de madera Steiner (1974).
Cuanta madera podrá roer una marmota (1976).
La Soufrière (1977).
El sermón de Huie (1980).
Fe y moneda (1980).
La balada del pequeño soldado (1984).
Gasherbrum – La montaña luminosa (1985).
Retrato de Werner Herzog (1986).
Los galos incluido en The French as seen by... (1988).
Wodaabe – Los pastores del sol (1989).
Film Lesson 1-4 (1990).
Lecciones en la oscuridad (1992).
Jag Mandir: El teatro privado excéntrico del maharajá de Udaipur (1991).
Gesualdo – Muerte para cinco voces (1995).
The Transformation of the World Into Music (1996).
Las alas de la esperanza (2000).
Dios y la carga o Nuevos mundos – Detrás del horizonte europeo incluido en 2000 años de
cristianismo (2000).
Pilgrimage (2001).
Diez mil años incluido en Ten Minutes Older: The Trumpet (2002).
The Boondocks. Se interpreta a sí mismo en el episodio It's a Black President, Huey Freeman
(2010).
Rick and Morty Interpreta a Shrimply Pibbles en el episodio Interdimensional Cable 2: Tempting
Fate (2015).
Como actor Editar
Werner Herzog eats his shoe, de Les Blank (1980).
El poder de los sueños, de Les Blank (1982)
Tokyo-Ga, de Wim Wenders (1985).
El poder de un dios, de Peter Fleischmann (1990).
Más allá de los sueños, de Vincent Ward (1998).
Julien Donkey-Boy, de Harmony Korine (1999).
Mi enemigo íntimo, de Werner Herzog (1999).
Incident at Loch Ness de Zak Penn (2004).
Mister Lonely, de Harmony Korine (2007).
Jack Reacher de Cristopher McQuarrie (2012).
Como productor Editar
Aguirre, la cólera de Dios (1972).
Nosferatu, fantasma de la noche (1979).
Fitzcarraldo (1982).
Invencible (2001).
The Act of Killing (2013).
Obra escénica Editar
Opera Editar
Doktor Faust (1986, Teatro Comunale de Bolonia)
Lohengrin (1987, Festival de Bayreuth)
Giovanna d'Arco (1989, Teatro Comunale de Bolonia)
La Donna del lago (1992, Teatro alla Scala, Milan)
El holandés errante (1993, Opera de París)
Il Guarany (1993, Opera de Bonn)
Norma (1994, Arena de Verona)
Il Guarany (1996, Washington National Opera)
Chushingura (1997, Tokyo Opera)
Tannhäuser (1997-1999 Teatro de la Maestranza; Teatro di San Carlo; Teatro Massimo; Teatro
Real)
Die Zauberflöte (1999, Teatro Bellini, Catania)
Fidelio (1999, Teatro alla Scala)
Tannhäuser (2000)
Giovanna d'Arco (2001, Teatro Carlo Felice, Genova)
Tannhäuser (2001, Teatro Municipal; Houston Grand Opera)
Die Zauberflöte (2001, Baltimore Opera)
El holandés errant (2002, DomStufen Festspiele Erfurt)
Parsifal (2008, Palau de les Arts, Valencia)
Teatro Editar
Floresta Amazónica (A Midsummer Night's Dream) (1992, Teatro Joao Caetano)
Varété (1993, Hebbel Theatre)
Specialitaeten (1993, Etablissement Ronacher, Viena)
Véase tambiénEditar
Películas de Werner Herzog
Bibliografía Editar
Herzog, Werner: Del caminar sobre el hielo, Ediciones de La Tempestad, nº 10, 2003. (Nueva
traducción: Ediciones Entropía, 2015)[5]
Kinski, Klaus: Yo necesito amor, Ed. Tusquets, colección La sonrisa vertical, nº 101, 1991.
Varios: Werner Herzog, una retrospectiva, Ed. Instituto Goethe de Buenos Aires, 1996.
Torres Noé: Nuevas imágenes para tiempos heroicos: el cine de Werner Herzog (tesis de
licenciatura), UNAM, México, 2005.
Referencias Editar
↑ http://observer.com/2011/05/werner-herzog-comes-out-of-the-cave/
↑ a b Werner Herzog, una retrospectiva, Goethe Institut,1996, p.5
↑ Zapiola, Guillermo (15 de noviembre de 2005). «Entre el paisaje, los sueños y el impulso de
rebelión prometeica». Diario El País. Consultado el 31 de diciembre de 2010.
↑ Referencia biográfica en el portal del Festival de Bayreuth
↑ Se edita el libro Del caminar sobre hielo de Werner Herzog Marienbad
Enlaces externos Editar
Wikimedia Commons alberga una categoría multimedia sobre Werner Herzog.
Werner Herzog en Internet Movie Database (en inglés)
Sitio web (en inglés).
Última edición el 2 ene 2018 a las 00:30

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Werner Herzog
Page issues
Werner Herzog[1] (German: [ˈvɛɐ̯nɐ ˈhɛɐ̯tsoːk]; born 5 September 1942) is a German screenwriter,
film director, author, actor, and opera director.
Werner Herzog
Werner Herzog Venice Film Festival 2009.jpg
Werner Herzog at the 2009 Venice Film Festival
Born
Werner Herzog Stipetić
5 September 1942 (age 75)
Munich, Germany
Residence
Los Angeles, California, U.S.
Occupation
Director, producer, screenwriter, actor, narrator
Years active
1962–present
Spouse(s)
Martje Grohmann (m. 1967–1985)
Christine Maria Ebenberger (m. 1987–1997)
Lena Herzog (m. 1999)
Children
3
Werner Herzog's voice
Recorded August 2008 from the BBC Radio 4 programme Start the Week
Website
WernerHerzog.com
Herzog is a figure of the New German Cinema, along with Rainer Werner Fassbinder, Margarethe
von Trotta, Volker Schlöndorff, Werner Schröter, and Wim Wenders. Herzog's films often feature
ambitious protagonists with impossible dreams,[2] people with unique talents in obscure fields, or
individuals who are in conflict with nature.[3]
French filmmaker François Truffaut once called Herzog "the most important film director
alive."[4] American film critic Roger Ebert said that Herzog "has never created a single film that is
compromised, shameful, made for pragmatic reasons, or uninteresting. Even his failures are
spectacular."[5] He was named one of the world's 100 most influential people by Time magazine
in 2009.[6]
Contents
Early life Edit
Herzog was born Werner Stipetić in Munich, to Elizabeth Stipetić, an Austrian of Croatian
descent, and Dietrich Herzog, who was German. When Werner was two weeks old, his mother
took refuge in the remote Bavarian village of Sachrang (in the Chiemgau Alps), after the house
next to theirs was destroyed during a bombing raid in World War II.[7] In Sachrang, Herzog grew
up without running water, a flushing toilet, or a telephone. He never saw films, and did not even
know of the existence of cinema until a traveling projectionist came by the one-room schoolhouse
in Sachrang.[8] When Herzog was 12, he and his family moved back to Munich. His father had
abandoned the family early in his youth. Werner later adopted his father's surname Herzog
(German for "duke"), which he thought sounded more impressive for a filmmaker.[9]
The same year, Herzog was told to sing in front of his class at school, and he adamantly refused,
and was almost expelled. Until he was age eighteen, Herzog listened to no music, sang no songs,
and studied no instruments. He later said that he would easily give ten years from his life to be
able to play the cello. At an early age, he experienced a dramatic phase in which he converted to
Catholicism, which only lasted a few years. He started to embark on long journeys, some of them
on foot. Around this time, he knew he would be a filmmaker, and learned the basics from a few
pages in an encyclopedia which provided him with "everything I needed to get myself started" as a
filmmaker—that, and the 35 mm camera he stole from the Munich Film School.[10] In the
commentary for Aguirre, the Wrath of God, he says, "I don't consider it theft. It was just a
necessity. I had some sort of natural right for a camera, a tool to work with". He won a scholarship
to Duquesne University and lasted only a few days, but lived in Pittsburgh, Pennsylvania. During
his last years of high school, no production company was willing to take on his projects, so
Herzog worked night shifts as a welder in a steel factory to earn the funds for his first featurettes.
After graduating from high school, he was intrigued by the Congo after its independence, but only
reached the south of the Sudan where he fell seriously ill.
While already making films, he had a brief stint at Munich University, where he studied history
and literature.[11]
He earned money by participating in preproduction of a documentary for NASA with KQED.

Summoned to the immigration office because of a violation of his visa status, he chose to flee to
Mexico.
Before leaving school, he bought a house in the UK, in what was likely the Moss Side area of
Manchester. There he learned to speak English.[12] In 1962, he made his first short film, Herakles.
In school there was an emphasis on Latin and Greek, in which he continues to read to this day.
In 1971, while Herzog was location scouting for Aguirre, the Wrath of God in Peru, he narrowly
avoided taking LANSA Flight 508. Herzog's reservation was cancelled due to a last-minute
change in itinerary. The plane was later struck by lightning and disintegrated, but one survivor,
Juliane Koepcke, lived after a free fall. Long haunted by the event, nearly 30 years later he made a
documentary film, Wings of Hope (2000), which explored the story of the sole survivor.
Career Edit
Werner Herzog's star on the Boulevard der Stars in Berlin.

Herzog, along with Rainer Werner Fassbinder and Volker Schlöndorff, led the beginning of the
West German cinema movement. The West German cinema movement consisted of
documentarians that filmed on low budgets and were influenced by the French New Wave of
cinema.
Besides using professional actors—German, American and otherwise—Herzog is known for using
people from the locality in which he is shooting. Especially in his documentaries, he uses locals to
benefit what he calls "ecstatic truth" (as opposed to the literal or factual truth). He uses footage of
the non-actors both playing roles and being themselves.
Herzog and his films have been nominated for and won many awards. His first major award was
the Silver Bear Extraordinary Prize of the Jury for his first feature film Signs of Life[13]
(Nosferatu the Vampyre was also nominated for Golden Bear in 1979). Most notably, Herzog won
the best director award for Fitzcarraldo at the 1982 Cannes Film Festival. In 1975, his movie The
Enigma of Kaspar Hauser won the Grand Prix Spécial du Jury (also known as the 'Silver Palm') at
the Cannes Festival. Other films directed by Herzog nominated for Golden Palm are: Woyzeck
(1979) and Where the Green Ants Dream (1984).
His films have been nominated at many other important festivals around the world: César Awards
(Aguirre, the Wrath of God), Emmy Awards (Little Dieter Needs to Fly), European Film Awards
(My Best Fiend) and Venice Film Festival (Scream of Stone and The Wild Blue Yonder).
In 1987, Herzog and his half-brother Lucki Stipetić won the Bavarian Film Award for Best
Producing for the film Cobra Verde.[14] In 2002 he won the Dragon of Dragons Honorary Award
during Kraków Film Festival in Kraków.
In 1999, before a public dialogue with critic Roger Ebert at the Walker Art Center, Herzog read a
new manifesto, which he dubbed Minnesota Declaration: Truth and Fact in Documentary Cinema.
[15] Subtitled "Lessons of Darkness," the 12-point declaration began: "Cinema Verité is devoid of
verité. It reaches a merely superficial truth, the truth of accountants." Ebert later wrote of its
significance: “For the first time, it fully explained his theory of ‘ecstatic truth.’”[16] In
2017, Herzog wrote a six-point addendum to the manifesto,[17] prompted by a question about
"truth in an age of alt-facts."[18]
Herzog was honored at the 49th San Francisco International Film Festival, receiving the 2006
Film Society Directing Award.[19] Four of his films have been shown at the San Francisco
International Film Festival: Wodaabe - Herdsmen of the Sun in 1990, Bells from the Deep in
1993, Lessons of Darkness in 1993, and The Wild Blue Yonder in 2006. Herzog's April 2007
appearance at the Ebertfest in Champaign, Illinois earned him the Golden Thumb Award, and an
engraved glockenspiel given to him by a young film maker inspired by his films. Grizzly Man,
directed by Herzog, won the Alfred P. Sloan Prize at the 2005 Sundance Film Festival. Encounters
at the End of the World won the award for Best Documentary at the 2008 Edinburgh International
Film Festival and was nominated for the Academy Award for Documentary Feature, Herzog's first
nomination.
Herzog in Brussels, 2007

Herzog once promised to eat his shoe if Errol Morris completed the movie project on pet
cemeteries that he had been working on, in order to challenge and motivate Morris, whom Herzog
perceived as incapable of following up on the projects he conceived. In 1978, when the film Gates
of Heaven premiered, Werner Herzog cooked and publicly ate his shoe, an event later incorporated
into a short documentary Werner Herzog Eats His Shoe by Les Blank. At the event, Herzog
suggested that he hoped the act would serve to encourage anyone having difficulty bringing a
project to fruition.
In 2009, Herzog became the only filmmaker in recent history to enter two films in competition in
the same year at the prestigious Venice Film Festival. Herzog's The Bad Lieutenant: Port of Call
New Orleans was entered into the festival's official competition schedule, and his My Son, My
Son, What Have Ye Done? entered the competition as a "surprise film".[20] Herzog also provided
the narration for the short film Plastic Bag directed by Ramin Bahrani which was the opening
night film in the Corto Cortissimo section of the festival.[21]
Dissatisfied with the way film schools are run, Herzog founded his own Rogue Film School in
2009. The program is a 4-day seminar with Herzog, which occurs annually (the last of which was
held in March, 2016 in Munich). Courses include "the art of lockpicking. Traveling on foot. The
exhilaration of being shot at unsuccessfully. The athletic side of filmmaking. The creation of your
own shooting permits. The neutralization of bureaucracy. Guerrilla tactics. Self reliance."[22] For
the students, Herzog has said, "I prefer people who have worked as bouncers in a sex club, or have
been wardens in the lunatic asylum. You must live life in its very elementary forms. The Mexicans
have a very nice word for it: pura vida. It doesn’t mean just purity of life, but the raw, stark-
naked quality of life. And that’s what makes young people more into a filmmaker than
academia."[23]
Herzog was the president of the jury at the 60th Berlin International Film Festival in 2010.[24][25]
[26]
Herzog completed a documentary called Cave of Forgotten Dreams in 2010, which shows his
journey into the Chauvet Cave in France. Although generally skeptical of 3-D film as a format,
[27] Herzog premiered the film at the 2010 Toronto International Film Festival in 3-D and had its
European premiere at the 2011 Berlinale. Also in 2010, Herzog co-directed with Dimitry
Vasuykov Happy People: A Year in the Taiga, which portrays the life of fur trappers from the
Siberian part of the Taiga, and had its premiere at the 2010 Telluride Film Festival.
Herzog has narrated many of his documentary films, and he lent his voice to an animated
television program for the first time in 2010, appearing in The Boondocks in its third-season
premiere episode It's a Black President, Huey Freeman. In the episode, he played a fictionalized
version of himself filming a documentary about the series' cast of characters and their actions
during the 2008 election of Barack Obama.
Continuing with voice work, Herzog played Walter Hotenhoffer (formerly known as Augustus
Gloop) in the Simpsons episode The Scorpion's Tale which aired in March 2011. The next year, he
also appeared in the 8th-season episode of American Dad! called Ricky Spanish, and lent his voice
to a recurring character during the 4th season of the Adult Swim animated series Metalocalypse. In
2015 he voiced a character for Adult Swim's Rick and Morty. He also appeared opposite Tom
Cruise as the villain, Zec Chelovek, in the 2012 action film Jack Reacher.
Herzog gained attention in 2013 when he released a 35-minute Public Service Announcement-
style documentary, From One Second to the Next, demonstrating the danger of texting while
driving and financed by AT&T, Sprint, Verizon, and T-Mobile as part of their It Can Wait driver
safety campaign. The film, which documents four stories in which texting and driving led to
tragedy or death, initially received over 1.7 million YouTube views and was subsequently
distributed to over 40,000 high schools.[28] In July 2013, Herzog contributed to an art installation
entitled "Hearsay of the Soul", for the Whitney Biennial, which was later acquired as a permanent
exhibit by the J. Paul Getty Museum in Los Angeles. In late 2013 he also lent his voice to the
English-language dub of Hayao Miyazaki's The Wind Rises.
In 2011, Herzog competed with Ridley Scott for making a film based around the life of explorer
Gertrude Bell.[29] In 2012, it was confirmed that Herzog would start production on his long-in-
development project in March 2013 in Morocco with Naomi Watts to play Gertrude Bell along
with Robert Pattinson to play T. E. Lawrence and Jude Law to play Henry Cadogan.[30] The film
was completed in 2014 with a different cast: Nicole Kidman as Gertrude Bell, James Franco as
Henry Cadogan, Damian Lewis as Charles Doughty-Wylie, and Robert Pattinson as a 22-year-old
archaeologist T. E. Lawrence. Queen of the Desert had its world premiere at the 2015 Berlin
International Film Festival.
In 2015, Herzog shot a feature film, Salt and Fire, in Bolivia, starring Veronica Ferres, Michael
Shannon, and Gael García Bernal. It is described as a "highly explosive drama inspired by a short
story by Tom Bissell." [31]
In 2016, Herzog released an online masterclass sharing in-depth knowledge of his craft entitled
Werner Herzog teaches filmmaking.[32]
Film theory Edit

Herzog's films have received considerable critical acclaim and achieved popularity on the art
house circuit. They have also been the subject of controversy in regard to their themes and
messages, especially the circumstances surrounding their creation.[citation needed] A notable
example is Fitzcarraldo, in which the obsessiveness of the central character was reflected by the
director during the making of the film. Burden of Dreams, a documentary filmed during the
making of Fitzcarraldo, explored Herzog's efforts to make the film in harsh conditions.
His treatment of subjects has been characterized as Wagnerian in its scope, and Fitzcarraldo and
his later film Invincible (2001) are directly inspired by opera, or operatic themes. He is proud of
never using storyboards and often improvising large parts of the script. He explains this technique
in the commentary track to Aguirre, the Wrath of God.
Collaborations Edit
Herzog has preferred to develop a team to work with, both of actors and technical people. He has
gathered a group who [see below] have appeared in numerous films. Additionally, Herzog was co-
executive producer along with Errol Morris on Joshua Oppenheimer’s documentary film, The
Act of Killing, which reported on the mass slayings that took place in Indonesia in 1965 and 1966,
following the overthrow of Indonesia's first president, Sukarno by anti-communists of suspected
communists and interviewed a number of its perpetrators.[33]
Cast Edit
Actors/actresses in a leading role Edit
Klaus Kinski: Aguirre, the Wrath of God, Nosferatu the Vampyre, Woyzeck, Fitzcarraldo and
Cobra Verde. In 1999, Herzog directed and narrated the documentary film My Best Fiend (or My
Favorite Enemy), a retrospective on his often rocky relationship with Kinski.
Brad Dourif in Scream of Stone, The Wild Blue Yonder, Bad Lieutenant: Port of Call New Orleans
and My Son, My Son, What Have Ye Done
Bruno S. in The Enigma of Kaspar Hauser and Stroszek
Josef Bierbichler in Heart of Glass and Woyzeck
Eva Mattes in Woyzeck and Stroszek
Michael Shannon in Bad Lieutenant: Port of Call New Orleans, My Son, My Son, What Have Ye
Done and Salt and Fire
Actors in a supporting role Edit
Clemens Scheitz in The Enigma of Kaspar Hauser, Heart of Glass, Stroszek and Nosferatu the
Vampyre
Peter Berling in Aguirre, the Wrath of God, Fitzcarraldo and Cobra Verde
Volker Prechtel in The Enigma of Kaspar Hauser, Heart of Glass, Woyzeck and Scream of Stone
Irma P. Hall in Bad Lieutenant: Port of Call New Orleans and My Son, My Son, What Have Ye
Done?
Udo Kier in Invincible and My Son, My Son, What Have Ye Done?
José Lewgoy in Fitzcarraldo and Cobra Verde
Walter Ladengast in The Enigma of Kaspar Hauser and Nosferatu the Vampyre
Crew Edit
Cinematographers Edit
Thomas Mauch worked with Herzog on ten films: starting with Signs of Life and Last Words and
ending with Fitzcarraldo. He helped to create hallucinogenic atmosphere in Aguirre and the
realistic style of Stroszek. Mauch won Film Award in Gold and National Society of Film Critics
Awards for Aguirre. He was Herzog's first choice to be cinematographer during Cobra Verde.
After excessive verbal abuse from Klaus Kinski, Mauch walked out of the project. That was
Mauch and Herzog's final collaboration.
Jörg Schmidt-Reitwein worked with Herzog on seventeen films. Reitwein was Thomas Mauch's
assistant camera during Even Dwarfs Started Small. His first independent work for Herzog was
Precautions Against Fanatics in 1969. He helped to create the poetical atmosphere of Fata
Morgana, Heart of Glass, The Enigma of Kaspar Hauser and Nosferatu. He won the Film Award in
Gold for Heart of Glass and Where the Green Ants Dream at the German Film Awards. He last
collaborated with Herzog during Pilgrimage in 2001.
Peter Zeitlinger collaborated with Herzog on more than twenty films, from Gesualdo: Death for
Five Voices (1995) to the documentary Into the Inferno (2017), including Rescue Dawn and
Grizzly Man. He was nominated for the Independent Spirit Award for Bad Lieutenant: Port of Call
New Orleans in 2009. He also photographed Encounters at the End of the World which was
nominated for the Academy Award.
Producers Edit
Walter Saxer produced sixteen of Herzog's films, including Nosferatu and The White Diamond.
He worked in the Sound Department during seven of Herzog's films, including The Great Ecstasy
of Woodcarver Steiner and Echoes from a Somber Empire. He co-wrote Scream of Stone which
Herzog directed. Saxer appeared as himself in Herzog's My Best Fiend and in Les Blank's Burden
of Dreams, in which he was also subjected to the verbal abuse of Kinski.
Lucki Stipetić is Herzog's half-brother, and he produced several Herzog films, including Aguirre
and Invincible. He is a head of Werner Herzog Productions. He won the Bavarian Film Award in
1988 for Cobra Verde and International Documentary Association Award for Little Dieter Needs to
Fly in 1998. He was also nominated for an Emmy Award in 1998.
André Singer worked either as an executive producer or producer on eight of Herzog’s

documentaries, starting with "Lessons of Darkness" in 1991 and ending with "The Wild Blue
Yonder." He won the International Critics Award at the Venice Film Festival, 2006. He worked on
the recent "La Bohème" (2009), and "Into the Abyss"/"Death Row", 2011.
Editors Edit
Beate Mainka-Jellinghaus worked with Herzog on twenty films, from Signs of Life and Last
Words (both from 1968) to Where the Green Ants Dream (1984). She won the Film Award in Gold
during the German Film Awards for The Enigma of Kaspar Hauser in 1975.
Joe Bini has collaborated with Herzog on nineteen films, from Little Dieter Needs to Fly (1997) to
Cave of Forgotten Dreams (2009). He was nominated by American Cinema Editors for Best
Edited Documentary Film for Grizzly Man in 2005.
Costume designers Edit

Ann Poppel collaborated with Herzog on four films, including Nosferatu the Vampyre and Scream
of Stone. Gisela Storch worked with Herzog on six films: The Enigma of Kaspar Hauser, Heart of
Glass, Nosferatu the Vampyre, Woyzeck, Fitzcarraldo and Cobra Verde. She was nominated for a
Saturn Award for Nosferatu the Vampyre in 1979.
Composers Edit
German Krautrock band Popol Vuh, founded by pianist and keyboardist Florian Fricke, have
composed music for eight of Herzog's films: Aguirre, the Wrath of God, The Great Ecstasy of
Woodcarver Steiner, Heart of Glass, Nosferatu, The Dark Glow of the Mountains, Fitzcarraldo,
Cobra Verde and My Best Fiend. Their compositions were also used by Herzog in Rescue Dawn.
Florian Fricke made a cameo as a pianist in Signs of Life and The Enigma of Kaspar Hauser. The
band took its name from the Popol Vuh, a manuscript of the Quiché Maya kingdom. They had
seen Herzog's Fata Morgana, in which Lotte Eisner reads parts of the Popol Vuh.
Since 2001 and the passing of Florian Fricke, for orchestral scores Herzog has mostly chosen
Klaus Badelt. The first of so far four collaborations, "Invincible" (2001) was actually one of
Badelt's first film scores. Badelt also wrote the scores to "Rescue Dawn" (2006), "Happy People:
A Year in the Taiga" (2010), and is currently working on Herzog's upcoming feature "Queen of the
Desert" (2015).
Herzog has invited Ernst Reijseger to compose scores to five of his films. Two were
documentaries (The White Diamond and Cave of Forgotten Dreams) and three were features (The
Wild Blue Yonder, My Son, My Son What Have Ye Done, and Salt and Fire). His music was also
used in Rescue Dawn and in a video documentary about recording music for Grizzly Man. It was
entitled In the Edges: The 'Grizzly Man' Session directed by Erik Nelson. Reijseger also had a
cameo in My Son, My Son What Have Ye Done.
Others Edit
Henning von Gierke collaborated with Herzog on seven films and several operas. He was
Production Designer during The Enigma of Kaspar Hauser, Nosferatu the Vampyre and
Fitzcarraldo. As a Set Decorator he worked on Heart of Glass and Woyzeck, as Stage Designer on
operas Lohengrin and Giovanna d'Arco, and as Costume Designer on the film The Transformation
of the World Into Music. Gierke shot additional still photographs on Stroszek's set. He appeared
twice in Herzog's film The Transformation of the World Into Music as himself and in Herzog's TV
realisation of the opera Giovanna d'Arco. Von Gierke won the Film Award in Gold for The Enigma
of Kaspar Hauser at the German Film Awards and the Silver Bear for an outstanding single
achievement for Nosferatu, at the 29th Berlin International Film Festival.[34]
Personal life Edit

Herzog has been married three times and has three children, one from an outside relationship. In
1967,[35] he married Martje Grohmann, with whom he had a son Rudolph Amos Achmed, born in
1973. In 1985, Herzog was divorced from Grohmann.[36]
In 1980, Herzog had a daughter Hanna Mattes (now a photographer and an artist), born to his
companion Eva Mattes.[citation needed]
In 1987, he married Christine Maria Ebenberger.[37] Their son, Simon Herzog, was born in 1989.
[38] Herzog and Ebenberger divorced in 1997.[39]
In 1996, Herzog moved to the United States. In 1999, he married photographer Elena Pisetski,
now Lena Herzog.[citation needed]
Herzog is an atheist.[40]
Filmography Edit
Herzog at the 1991 Venice International Film Festival

Fiction feature films Edit
Signs of Life (1968)
Even Dwarfs Started Small (1970)
Aguirre, the Wrath of God (1972)
The Enigma of Kaspar Hauser (1974)
Heart of Glass (1976)
Stroszek (1977)
Nosferatu the Vampyre (1979)
Woyzeck (1979)
Fitzcarraldo (1982)
Where the Green Ants Dream (1984)
Cobra Verde (1987)
Scream of Stone (1991)
Invincible (2001)
The Wild Blue Yonder (2005)
Rescue Dawn (2006)
Bad Lieutenant: Port of Call New Orleans (2009)
My Son, My Son, What Have Ye Done? (2009)
Queen of the Desert (2015)
Salt and Fire (2016)
Fiction short films Edit
Herakles (1962)
Game in the Sand (1964)
The Unprecedented Defence of the Fortress Deutschkreuz (1966)
Last Words (1968)
Precautions Against Fanatics (1969)
No One Will Play with Me (1976)
Les Gaulois (1988)
Documentary feature films Edit
The Flying Doctors of East Africa (1969)
Handicapped Future (1971)
Land of Silence and Darkness (1971)
Fata Morgana (1971)
The Great Ecstasy of Woodcarver Steiner (1974)
How Much Wood Would a Woodchuck Chuck (1976)
Huie's Sermon (1981)
God's Angry Man (1981)
Ballad of the Little Soldier (1984)
The Dark Glow of the Mountains (1984)
Herdsmen of the Sun (1989)
Echoes from a Sombre Empire (1990)
Jag Mandir (1991)
Lessons of Darkness (1992)
Bells from the Deep (1993)
The Transformation of the World into Music (1994)
Gesualdo: Death for Five Voices (1995)
Little Dieter Needs to Fly (1997)
Wings of Hope (1998)
My Best Fiend (1999)
Wheel of Time (2003)
The White Diamond (2004)
Grizzly Man (2005)
Encounters at the End of the World (2007)
Cave of Forgotten Dreams (2010)
Happy People: A Year in the Taiga (2010)
Into the Abyss (2011)
Lo & Behold, Reveries of the Connected World (2016)
Into the Inferno (2016)
Documentary short films Edit
La Soufrière (1977)
Portrait Werner Herzog (1986)
Christ and Demons in New Spain (1999)
Pilgrimage (2001)
Ten Thousand Years Older (2002)
La Bohème (2009)
Ode to the Dawn of Man (2011)
From One Second to the Next (2013)
Television series Edit
On Death Row (2012-2013, 8 Episodes)
Filmstunde (1991-1992, 4 Episodes)
Screenwriter Edit
Films written, not directed, by Herzog:
Werner Herzog Eats His Shoe (1980)

Herzog has written all his films, except these which he co-wrote:
Heart of Glass (1976)

Scream of Stone (1991)
Bad Lieutenant: Port of Call New Orleans (2009)
My Son, My Son, What Have Ye Done? (2009)
Herzog has also co-written:
Hunger in the world explained to my son (El hambre en el mundo explicada a mi hijo) (2002)
Incident at Loch Ness (2004)
Happy People: A Year in the Taiga (2010)
Actor Edit
Geschichten vom Kübelkind (1971)
Man of Flowers (1983)
Bride of the Orient (1989)
Hard to Be a God (1990)
Tales from the Opera (1994)
Burning Heart (1995)
What Dreams May Come (1998)
Julien Donkey-Boy (1999)
Incident at Loch Ness (2004)
Mister Lonely (2007)
The Grand (2007)
Plastic Bag (2009)
The Boondocks (Season 3) Ep. 31: "It's a Black President, Huey Freeman" (air date May 2, 2010)
– voice role
The Simpsons Ep. 479 (2011) – voice role
Metalocalypse (Season 4, recurring character) (2012) – voice role
American Dad! Ep. 132 (2012) – voice role
Dinotasia (2012) – narrator
Jack Reacher (2012)
Home from Home (2013)
The Wind Rises (English version) (2013) – voice role
Penguins of Madagascar (2014) – voice role
Parks and Recreation (2015)
Rick and Morty Season 2 Ep. 8: "Interdimensional Cable 2: Tempting Fate" (2015) – voice role
Producer Edit
A Gray State (2017)
Stage works Edit
Opera Edit
Doktor Faust (1986, Teatro Comunale di Bologna)
Lohengrin (1987, Bayreuth Festival)[41]
Giovanna d'Arco (1989, Teatro Comunale di Bologna)
La donna del lago (1992, Teatro alla Scala, Milan)
The Flying Dutchman (1993, Opéra Bastille)
Il Guarany (1993, Theater Bonn)
Norma (1994, Verona Arena)
Il Guarany (1996, Washington National Opera)
Chūshingura (1997, Tokyo Opera)
Tannhäuser (1997, 1998 Teatro de la Maestranza; Teatro di San Carlo; Teatro Massimo)
The Magic Flute (1999, Teatro Massimo Bellini, Catania)
Fidelio (1999, Teatro alla Scala)
Tannhäuser (Wagner) (2000)
Giovanna d'Arco (2001, Teatro Carlo Felice, Genoa)
Tannhäuser (2001, Teatro Municipal; Houston Grand Opera)
Die Zauberflöte (2001, Baltimore Opera)
The Flying Dutchman (2002, DomStufen Festspiele Erfurt)
Parsifal (2008, Palau de les Arts, Valencia)
Theatre Edit
Floresta Amazonica (A Midsummer Night's Dream) (1992, Teatro Joao Caetano)
Varété (1993, Hebbel Theatre)
Specialitaeten (1993, Etablissement Ronacher)
Concerts Edit
The Killers: Unstaged (2012, Paradise Theater, New York City)
Bibliography Edit
Books Edit
Writer Edit
Fitzcarraldo: The Original Story (Fjord Pr, January 1983, ISBN 978-0-940242-04-3)
Of Walking in Ice (Free Association, New York, 2007, ISBN 978-0-9796121-0-7)
Conquest of the Useless: Reflections from the Making of Fitzcarraldo (Eroberung des Nutzlosen)
(German: 2004; English: Ecco, 2009, ISBN 978-0061575532)
Werner Herzog: A Guide for the Perplexed, Conversations with Paul Cronin (London: Faber and
Faber Ltd., 2014, ISBN 0-571-20708-1)[42]
Co-writer Edit
Lena Herzog. Pilgrims: Becoming the Path Itself (Periplus Publishing London Ltd., 2002, ISBN 1-
902699-43-2)
Screenplays Edit
Writer Edit
Drehbücher II: Aguirre, der Zorn Gottes: Jeder für sich und Gott gegen alle, Land des Schweigens
und der Dunkelheit (Hanser 1977)
Drehbücher I: Lebenszeichen, Auch Zwerge haben klein angefangen, Fata Morgana (Hanser 1977)
Drehbücher III: Stroszek, Nosferatu (Hanser 1979)
Screenplays: Aguirre, The Wrath of God, Every Man For Himself and God Against All & Land of
Silence and Darkness (translated by Alan Greenberg & Martje Herzog; Tanam, New York, 1981,
ISBN 0-934378-03-7)
Fitzcarraldo, Nosferatu, Stroszek (Mazarine 1982)
Wo Die Grünen Ameisen Träumen (Hanser 1984, ISBN 3-446-14106-5)
Nosferatu (Ulbulibri, 1984)
Cobra Verde (Jade-Flammarion 2001, ISBN 2-08-203009-1)
Co-writer Edit
With Alan Greenberg and Herbert Achternbusch. Heart of Glass. 1976
References Edit
^ Holfelder, Moritz (2012). Werner Herzog. Die Biografie. Munich, Germany: Langen Müller. p.
8. ISBN 978-3-7844-3303-5.
^ "40 Great Actor & Director Partnerships: Klaus Kinski & Werner Herzog". Empire Magazine.
Retrieved June 19, 2010.
^ Mahmud, Jamil (September 30, 2009). "Werner Herzog and his film language". The Daily Star.
^ Cronin, Paul; Werner Herzog (2002). Herzog on Herzog. London: Faber and Faber Limited. pp.
vii–viii. ISBN 978-0-571-20708-4.
^ Ebert, Roger (2006). Awake in the Dark: The Best of Roger Ebert, University of Chicago Press,
ISBN 0226182002
^ "The 2009 TIME 100". Time Magazine. Retrieved April 30, 2009.
^ "Werner Herzog on the Story Behind 'Rescue Dawn'". Fresh Air. October 27, 1998. Retrieved
June 21, 2007.
^ Cronin, Paul (2014). Werner Herzog: A Guide for the Perplexed: Conversations with Paul
Cronin. Faber and Faber Limited. ISBN 978-0571259779.
^ Laster, Paul (July 25, 2011). "Werner Herzog Comes Out of the Cave". New York Observer.
Retrieved August 15, 2013.
^ Bissell, Tom. "The Secret Mainstream: Contemplating the mirages of Werner Herzog", Harper's,
December 2006
^ "Does Werner Herzog Have a College Degree? Answer". www.wishmachinery.com. Retrieved
2017-11-08.
^ Cronin, Paul; Werner Herzog (2002). Herzog on Herzog. London: Faber and Faber Limited. pp.
1–2. ISBN 978-0-571-20708-4.
^ "Berlinale 1968: Prize Winners". berlinale.de. Retrieved March 3, 2010.
^ [1] Archived March 25, 2009, at the Wayback Machine.
^ "Werner Herzog Reads His Minnesota Declaration: Truth and Fact in Documentary Cinema".
Walker Art Center. April 30, 1999. Retrieved August 8, 2017.
^ "HERZOG'S MINNESOTA DECLARATION: DEFINING 'ECSTATIC TRUTH'".
rogerebert.com. April 30, 1999. Retrieved August 8, 2017.
^ "Werner Herzog Makes Trump-Era Addition to His Minnesota Declaration". Walker Art Center.
Jun 19, 2017. Retrieved August 8, 2017.
^ "What is Truth in an Age of Alternative Facts". Walker Art Center. Jun 19, 2017. Retrieved
August 8, 2017.
^ "Film Society Directing Award". sffs.org. Archived from the original on May 27, 2008.
Retrieved April 8, 2009.
^ "Filmmaker Herzog is up against himself in Venice | Film". Reuters. September 5, 2009.
Retrieved October 25, 2009.
^ "66th Venice Film Festival Corto Cortissimo". Archived from the original on October 6, 2014.
^ "Werner Herzog's Rogue Film School". www.roguefilmschool.com. Retrieved 2016-06-26.
^ Beggs, Scott (September 12, 2012). "6 FILMMAKING TIPS FROM WERNER HERZOG".
Film School Rejects. Retrieved August 13, 2015.
^ "Werner Herzog to be President of the Jury of the 60th Berlinale". berlinale.de. Archived from
the original on November 25, 2009. Retrieved December 22, 2009.
^ "Werner Herzog to head Berlin film festival jury". thelocal.de. Retrieved December 22, 2009.
^ "Werner Herzog is to head the Berlin Film Festival jury". bbc news. November 20, 2009.
Retrieved December 22, 2009.
^ "Werner Herzog Interview | PLANET°". Planet-mag.com. September 7, 2010. Retrieved August
15, 2013.
^ Leopold, Todd (August 16, 2013). "Film legend Herzog takes on texting and driving". CNN.
Retrieved 13 August 2015.
^ Dang, Simon. "Watch Out, Ridley: Werner Herzog's Gertrude Bell Film Starring Naomi Watts
Hoping To Shoot In The Fall". IndieWire. Retrieved 25 November 2012.
^ Chitwood, Adam. "Jude Law Joins Robert Pattinson and Naomi Watts in Werner Herzog's
QUEEN OF THE DESERT". Collider. Retrieved 25 November 2012.
^ Raup, Jordan. "Gael García Bernal Join Werner Herzog's 'Salt and Fire'". The Film Stage.
Retrieved 13 August 2013.
^ ""I Tried Not to Be Didactic": Werner Herzog on His MasterClass | Filmmaker Magazine".
Filmmaker Magazine. Retrieved 2018-02-21.
^ Rohter, Larry (July 12, 2013). "'The Act of Killing' and Indonesian Death Squads" – via
NYTimes.com.
^ "Berlinale 1978: Prize Winners". berlinale.de. Retrieved August 15, 2010.
^ LCRO Standesamt Bayern Muenchen
^ Standesamt Bayern Muenchen
^ LCRO Standesamt Wien Landstrasse
^ "Simon Herzog".
^ Standesamt Wien Landstrasse
^ "Herzog is an avowed atheist, but in a certain sense his films, especially in recent years, have
become highly spiritual in focus. Thanks to its subject and its characters “Into the Abyss” is
suffused with a Christian religiosity that the director treats with great respect." Andrew O'Hehir,
Salon.com, November 11, 2011. [2]
^ "Bayreuth Festival web portal: Werner Herzog's biography". Bayreuther-festspiele.de. Retrieved
2014-08-09.
^ "Herzog on Herzog". Thestickingplace.com. Retrieved October 25, 2009.
Further reading Edit
Primary literature Edit
Werner Herzog. A Guide for the Perplexed: Conversations with Paul Cronin. London: Faber &
Faber, 2014. ISBN 978-0-571-25977-9.
Eric Ames, ed. Werner Herzog: Interviews. Jackson: University of Mississippi Press, 2014. ISBN
978-1-61703-969-0.
Secondary literature Edit
Emmanuel Carrère. Werner Herzog. Paris: Ediling, 1982. ISBN 2-85601-017-2
Brad Prager. The Cinema of Werner Herzog: Aesthetic Ecstasy and Truth. New York: Wallflower
Press, 2007. ISBN 978-1-905674-18-3.
Eric Ames. Ferocious Reality. Documentary according to Werner Herzog. Minneapolis: University
of Minnesota Press, 2012.
Moritz Holfelder. Werner Herzog. Die Biografie. Munich: LangenMüller, 2012. ISBN 978-3-
7844-3303-5.
Brad Prager, ed. A Companion to Werner Herzog. Malden: Wiley-Blackwell, 2012. ISBN 978-1-
405-19440-2.
External links Edit
Official website
Werner Herzog at Curlie (based on DMOZ)
Werner Herzog on IMDb
Encounters with Herzog – a film competition. Judged by Herzog on the independent filmmakers
networking community Shooting People. Judged on Sunday 27 September 2009
Last edited 1 month ago by Freshacconci
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Wikipedia
Todd Haynes
Todd Haynes (n. Los Ángeles, California, 2 de enero de 1961) es un director de cine
estadounidense.
Todd Haynes
Todd Haynes at the 2009 Tribeca Film Festival.jpg
Nacimiento
2 de enero de 1961 (57 años)
Bandera de Estados Unidos Los Ángeles, California, Estados Unidos
Nacionalidad
Estadounidense Ver y modificar los datos en Wikidata
Educación
Alma máter
Universidad Brown
Bard College Ver y modificar los datos en Wikidata
Ocupación
Actor, director de cine, guionista, productor de cine y director de televisión Ver y modificar los
datos en Wikidata
Premios artísticos
Otros premios
Premio Independent Spirit al mejor director
2002 Far from Heaven
Distinciones
U.S. Grand Jury Prize: Dramatic (1991)
New York Film Critics Circle Award for Best Director (2002)
New York Film Critics Circle Award for Best Film (2002)
San Francisco Film Critics Circle Award for Best Director (2002)
GLAAD Stephen F. Kolzak Award (2003)
Independent Spirit Award al mejor director (2003)
Satellite Award for Best Director (2003) Ver y modificar los datos en Wikidata
Índice
Carrera Editar
Se graduó en Arte y semiótica en 1985 en la Universidad de Brown de Rhode Island, tras lo cual
se mudó a Nueva York para continuar sus estudios de arte en el Bard College al mismo tiempo que
dirigía sus primeros cortometrajes. En la actualidad vive en la localidad de Portland, Oregón.
Debutó con un cortometraje en 1985 titulado Assassins: A Film Concerning Rimbaud basado en la
tormentosa relación entre los poetas Paul Verlaine y Arthur Rimbaud. En su siguiente corto de
1987 Superstar: The Karen Carpenter Story, utilizó muñecas Barbie para contar la historia de la
mitad femenina de The Carpenters, provocando que Richard Carpenter le demandara y se
prohibiera la distribución de la obra.
Su primer largometraje, Poison (1991), basado en varios escritos de temática homosexual de Jean
Genet, y en parte financiado por la fundación pública National Endowment for the Arts le puso en
el punto de mira de la Asociación americana de la familia, que calificó el film como suciedad
financiada públicamente. Este trabajo, además de reportarle premios en el Festival de Sundance y
en la Berlinale, le convertiría en una de las promesas del New queer cinema. El segundo largo de
Haynes, Safe (1995), lo confirmó como un director rebelde capaz de ir más allá de su etiqueta de
realizador del mencionado movimiento.
Tres años más tarde rodaría Velvet Goldmine, film en el que recreaba la época de esplendor del
glam rock y cuyos personajes principales, interpretados por Jonathan Rhys-Meyers y Ewan
McGregor, estaban inspirados en David Bowie e Iggy Pop respectivamente.
Su siguiente película fue Lejos del cielo, interpretada por Julianne Moore y Dennis Quaid, quienes
daban vida a un matrimonio aparentemente modelo en la opulenta Norteamérica de los años 50. El
largometraje denunciaba la hipocresía de la sociedad biempensante mostrando a los dos
protagonistas obligados a enfrentarse con la homofobia y el racismo para intentar alcanzar su
felicidad.
En 2007 rodó una atípica película biográfica sobre Bob Dylan, I'm Not There, donde el personaje
de Dylan era encarnado por varios actores, como Heath Ledger e incluso una mujer, Cate
Blanchett.
También dirigió una miniserie para la HBO basada en la novela de James M. Cain Mildred Pierce,
que fue bien acogida por crítica y público. Kate Winslet obtuvo por su interpretación en ella un
premio del Sindicato de Actores y un Globo de Oro.
Filmografía Editar
Poison (1991)
Safe (1995)
Velvet Goldmine (1998)
Far from Heaven (2002)
I'm Not There (2007)
Carol (2015)
Wonderstruck (2017)
Assassins: A Film Concerning Rimbaud (1985)
Superstar: The Karen Carpenter Story (1987)
Televisión Editar
Dootie Gets Spanked (1994)
Mildred Pierce (2011)
Vídeo-Clips Editar
Disappearer, single de Sonic Youth extraído de su álbum Goo (1990)
Premios y nominaciones Editar
Premios Óscar Editar
Año Categoría Trabajo Nominado Resultado
2003 Mejor guion original Far from Heaven Nominado
Premios Globo de Oro Editar
2003 Mejor guion Far from Heaven Nominado
2016 Mejor director Carol Nominado
Premios Primetime Emmy Editar
2011Mejor miniserie o telefilme Mildred PierceNominado
Mejor dirección - Miniserie o telefilme Nominado
Mejor guion - Miniserie o telefilme Nominado
Otros premios Editar
Poison (1991)
Ganador del Gran premio del jurado a la mejor película dramatica en el Festival de Sundance
Ganador del premio Teddy a la mejor película en la Berlinale.
Velvet Goldmine (1998)
Ganador del Premio a la mejor contribución artística en el Festival de Cannes
Lejos del cielo (2002)
Ganador del premio SIGNIS en la Mostra de Venecia.
Todd Haynes en Internet Movie Database (en inglés)
Biografía de Todd Haynes (en inglés)
Última edición hace 8 meses por un usuario anónimo

Wikipedia
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Wikipedia
Todd Haynes
Todd Haynes (/heɪnz/; born January 2, 1961) is an American independent film director,
screenwriter, and producer. He is considered a pioneer of the New Queer Cinema movement of
filmmaking that emerged in the early 1990s.[1][2] Haynes first gained public attention with his
controversial short film Superstar: The Karen Carpenter Story (1987), which chronicles singer
Karen Carpenter's tragic life and death, using Barbie dolls as actors. Haynes had not obtained
proper licensing to use the Carpenters' music, prompting a lawsuit from Richard Carpenter, whom
the film portrayed in an unflattering light, banning the film's distribution. Superstar became a cult
classic.[2][3]
Todd Haynes
Todd Haynes at the 2009 Tribeca Film Festival.jpg
Haynes at the 2009 Tribeca Film Festival
Born
January 2, 1961 (age 57)
Residence
Portland, Oregon, U.S.
Alma mater
Brown University
Bard College
Occupation
Director, screenwriter, producer
Years active
1985–present
Haynes' feature directorial debut, Poison (1991), a provocative, three-part exploration of AIDS-era
queer perceptions and subversions, established him as a formidable talent and figure of a new
transgressive cinema. Poison won the Sundance Film Festival's Grand Jury Prize and is regarded
as a seminal work of New Queer Cinema. Haynes received further acclaim for his second feature
film Safe (1995), a symbolic portrait of a housewife who develops extreme allergic reactions to
her suburban life. Safe was later voted the best film of the 1990s by The Village Voice Film Poll.
Haynes' next feature, Velvet Goldmine (1998), is a tribute to the 1970s glam rock era, drawing
heavily on the rock histories and mythologies of David Bowie, Iggy Pop, and Lou Reed. The film
received the Special Jury Prize for Best Artistic Contribution at the 1998 Cannes Film Festival and
an Academy Award nomination for Best Costume Design.
Haynes gained critical acclaim and a measure of mainstream success with his 2002 feature, Far
from Heaven. Inspired by the cinematic language of the films of Douglas Sirk, Far From Heaven
is a 1950s-set melodrama about a Connecticut housewife who discovers that her husband is gay
and falls in love with her African-American gardener. The film received four Academy Award
nominations, including Best Original Screenplay for Haynes. His fifth feature, I'm Not There
(2007), marked another shift in direction. A nonlinear biopic, I'm Not There depicts various facets
of Bob Dylan through seven fictionalized characters played by five actors and an actress. I'm Not
There received critical acclaim and an Academy Award nomination for Best Supporting Actress
for Cate Blanchett. In 2011, Haynes directed and co-wrote Mildred Pierce, a five-hour mini-series
for HBO, which garnered 21 Emmy Award nominations, winning five, as well as four Golden
Globe Award nominations and a win for lead actress Kate Winslet.
In 2015, Haynes returned to the big screen with Carol, his sixth feature film and the first film not
written by him. Based on Patricia Highsmith's seminal romance novel The Price of Salt, Carol is
the story of a forbidden love affair between two women from different classes and backgrounds in
early 1950s New York City. The film received critical acclaim and many accolades including six
Academy Award nominations, five Golden Globe Award nominations, and nine BAFTA Award
nominations.
Contents
Early life Edit
Haynes was born January 2, 1961, in Los Angeles, and grew up in nearby Encino. His father,
Allen E. Haynes, was a cosmetics importer, and his mother, Sherry Lynne (née Semler), studied
acting (and makes a brief appearance in I'm Not There). Haynes is Jewish on his mother's side.[4]
[5] His younger sister is Gwynneth Haynes of the band Sophe Lux.[6]
Haynes developed an interest in film at an early age, and produced a short film, The Suicide
(1978), while still in high school. He studied semiotics at Brown University, where he directed his
first short film Assassins: A Film Concerning Rimbaud (1985), inspired by the French poet Arthur
Rimbaud (a personality Haynes would later reference in his film I'm Not There). Haynes studied
art and semiotics at Brown University prior to his bigger roles on the big screen. At Brown, he met
Christine Vachon, who would go on to produce all of his feature films. After graduating with a BA
in Arts and Semiotics, Haynes moved to New York City and became involved in the independent
film scene, launching Apparatus Productions, a non-profit organization for the support of
independent film.[2]
According to Cinematic/Sexual: An Interview with Todd Haynes, Haynes responded to Justin

Wyatt's question, asking whether his academic background affected his film-making practice.
Haynes replied saying his high school teacher taught him a valuable lesson that Reality can’t be
a criterion for judging the success or failure of a film, or its effect on you. It was a simple, but eye-
opening, way of approaching the film.[7]" This shaped Haynes' future and style within his
professional career.
Career Edit
1987–1993: Superstar, Poison, Dottie Gets Spanked Edit
In 1987, while an MFA student at Bard College, Haynes made a short, Superstar: The Karen
Carpenter Story, which chronicles the life of American pop singer Karen Carpenter, using Barbie
dolls as actors.[2] The film presents Carpenter's struggle with anorexia and bulimia, featuring
several close-ups of Ipecac (the nonprescription drug Carpenter was reputed to have used to make
herself vomit during her illness). Carpenter's chronic weight loss was portrayed by using a
"Karen" Barbie doll with the face and body whittled away with a knife, leaving the doll looking
skeletonized. The film is also notable for staged dream sequences in which Karen, in a state of
deteriorating mental health, imagines being spanked by her father.[citation needed]
Superstar featured extensive use of Carpenter songs, showcasing Haynes' love of popular music
(which would be a recurring feature of later films). Haynes failed to obtain proper licensing to use
the music, prompting a lawsuit from Karen's brother Richard for copyright infringement.
Carpenter was reportedly also offended by Haynes' unflattering portrayal of him as a narcissistic
bully, along with several broadly dropped suggestions that he was gay and in the closet. Carpenter
won his lawsuit, and Superstar was removed from public distribution; to date, it may not be
viewed publicly.[2] Bootlegged versions of the film are still circulated, and the film is sporadically
made available on YouTube.[8][9]
Haynes' 1991 feature film debut, Poison, garnered Haynes further acclaim and controversy.[2]
Drawing on the writings of "transgressive" gay writer Jean Genet, the film is a triptych of queer-
themed narratives, each adopting a different cinematic genre: vox-pop documentary ("Hero"), 50s
sci-fi horror ("Horror") and gay prisoner romantic drama ("Homo"). The film explores traditional
perceptions of homosexuality as an unnatural and deviant force, and presents Genet's vision of
sado-masochistic gay relations as a subversion of heterosexual norms, culminating with a
marriage ceremony between two gay male convicts. Poison marked Haynes' first collaboration
with his longtime producer Christine Vachon.
Poison was partially funded with a grant from the National Endowment for the Arts (NEA),[2] "at
a time when the agency was under attack from conservative groups for using public funds to
support sexually explicit works".[10] This, along with the film's sexual themes, was a source of
controversy.[10][2] The film subsequently became the center of a public attack by Reverend
Donald Wildmon, head of the American Family Association, who criticized the NEA for funding
Poison and other works by gay and lesbian artists and filmmakers. Wildmon, who had not viewed
the film before making his comments publicly, condemned the film's "explicit porno scenes of
homosexuals involved in anal sex", despite no such scenes appearing in the film.[11] Poison went
on to win the 1991 Sundance Film Festival's Grand Jury Prize, establishing Haynes as an
emerging talent and the voice of a new transgressive generation.[2][12][13] The film writer B.
Ruby Rich cited Poison as one of the defining films of the emerging New Queer Cinema
movement, with its focus on maverick sexuality as an anti-establishment social force.[14][15]
Haynes' next short film, Dottie Gets Spanked (1993), explored the experiences of a quiet and
gentle six-year-old boy in the early 1960s who has various indirect encounters with spanking,
most significantly involving his idol, a TV sitcom star named Dottie. The film was aired on PBS.
[2]
1995–1998: Safe, Velvet Goldmine Edit

Haynes' second feature film, Safe (1995), was a critically acclaimed portrait of Carol White, a San
Fernando Valley housewife (played by Julianne Moore) who develops violent allergies to her
middle-class suburban existence.[2] After a series of extreme allergic reactions and
hospitalization, Carol diagnoses herself with acute environmental illness, and moves to a New Age
commune in the New Mexico desert run by an HIV positive "guru" who preaches both that the
real world is toxic and unsafe for Carol, and that she is responsible for her illness and recovery.
The film ends with Carol retreating to her antiseptic, prison-like "safe room", looking at herself in
the mirror and whispering "I love you" to her reflection.
The film is notable for its critical (though not entirely unsympathetic) treatment of its main
character. Haynes observes Carol coolly through a series of static deep-focus shots, placing her as
an invisible woman who appears anesthetized in her materially comfortable but sterile and
emotionally empty life.[citation needed] The ending of the film is highly ambiguous, and has
created considerable debate among critics as to whether Carol has emancipated herself, or simply
traded one form of oppression (as a housewife) for an equally constricting identity as a reclusive
invalid.[citation needed] Julie Grossman argues in her article "The Trouble With Carol" that
Haynes concludes the film as a challenge to traditional Hollywood film narratives of the heroine
taking charge of her life, and that Haynes sets Carol up as the victim both of a repressive male-
dominated society, and also of an equally debilitating self-help culture that encourages patients to
take sole responsibility for their illness and recovery.[16] Carol's illness, although unidentified,
has been read as an analogy for the AIDS crisis of the mid-1980s, as a similarly uncomfortable
and largely unspoken "threat" in 1980s Reaganist America.[2][17] Safe was critically acclaimed,
giving Moore her first leading role in a feature film, and gave Haynes a measure of mainstream
critical recognition.[2] It was voted the best film of the 1990s by the Village Voice’s Critic Poll.
[18]
Haynes took a radical shift in direction for his next feature, Velvet Goldmine (1998), starring
Christian Bale, Ewan McGregor, Jonathan Rhys-Meyers and Toni Collette. Filmed and set mostly
in England, the film was an intentionally chaotic tribute to the 1970s glam rock era, drawing
heavily on the rock histories and mythologies of glam rockers David Bowie, Iggy Pop and Lou
Reed. Starting with Oscar Wilde as the spiritual godfather of glam rock, the film revels in the
gender and identity experimentation and fashionable bisexuality of the era, and acknowledges the
transformative power of glam rock as an escape and a form of self-expression for gay teenagers.
[citation needed]
The film follows the character of Arthur (Bale) an English journalist once enraptured by glam rock
as a 1970s teenager, who returns a decade later to hunt down his former heroes: Brian Slade (Rhys
Meyers), a feather boa-wearing androgyne with an alter ego, "Maxwell Demon", who resembles
Bowie in his Ziggy Stardust incarnation, and Curt Wild (McGregor), an Iggy Pop-style rocker.
The narrative playfully rewrites glam rock myths which in some cases sail unnervingly close to
the truth.[citation needed] Slade flirts with bisexuality and decadence before staging his own death
in a live performance and disappearing from the scene, echoing Bowie's own disavowal of glam
rock in the late 1970s and his subsequent re-creation as an avowedly heterosexual pop star. The
film features a love affair between Slade and Wild's characters, recalling rumors about Bowie and
Reed's supposed sexual relationship. Curt Wild's character has a flashback to enforced electric
shock treatment as a teenager to attempt to cure his homosexuality, echoing Reed's teenage
experiences as a victim of the homophobic medical profession.
Haynes was keen to use original music from the glam rock period, and (learning his lesson from
Superstar)[citation needed] approached David Bowie before making the film for permission to use
his music in the soundtrack. Bowie declined, leaving Haynes to use a combination of original
songs from other artists and glam-rock inspired music written by contemporary rock bands for the
film, including Suede.[citation needed] Velvet Goldmine premiered in main competition at the
1998 Cannes Film Festival, winning a special jury award for Best Artistic Contribution.[19]
Despite the initial critical praise, the film received mixed reviews from critics.[citation needed]
Costume designer Sandy Powell received an Academy Award nomination for her costume design
and won the Oscar in the same year for her work on Shakespeare In Love.[20]
2002–2014: Far From Heaven, I'm Not There, Mildred Pierce Edit
Haynes achieved his greatest critical and commercial success to date with Far From Heaven
(2002), a 1950s-set drama inspired by the films of Douglas Sirk about a Connecticut housewife
Cathy Whittaker (Julianne Moore) who discovers that her husband (Dennis Quaid) is secretly gay,
and subsequently falls in love with Raymond, her African-American gardener (Dennis Haysbert).
The film works as a mostly reverential and unironic tribute to Sirk's filmmaking, lovingly re-
creating the stylized mise-en-scene, colors, costumes, cinematography and lighting of Sirkian
melodrama. Cathy and Raymond's relationship resembles Jane Wyman and Rock Hudson's inter-
class love affair in All That Heaven Allows, and Cathy's relationship with Sybil, her African-
American housekeeper (Viola Davis) recalls Lana Turner and Juanita Moore's friendship in
Imitation of Life. While staying within the cinematic language of the period, Haynes updates the
sexual and racial politics, showing scenarios (an inter-racial love affair and gay relationships) that
would not have been permissible in Sirk's era. Haynes also resists a Sirkian happy ending,
allowing the film to finish on a melancholy note closer in tone to the "weepy" melodramas of the
1940s and 1950s cinema such as Mildred Pierce.
Todd Haynes and actors of his 2007 film, I'm Not There, posing at the 64th Venice Film Festival
in 2007
Far From Heaven debuted at the Venice Film Festival to widespread critical acclaim and garnered
a slew of film awards, including the Volpi Cup for Moore, and four Academy Award nominations:
lead actress for Moore, Haynes' original screenplay, Elmer Bernstein's score, and Edward
Lachman's cinematography. Far From Heaven lost in all four categories, but the film's success was
hailed as a breakthrough for independent film achieving mainstream recognition and brought
Haynes to the attention of a wider mainstream audience.[2]
In another radical shift in direction, Haynes' next film I'm Not There (2007) returned to the
mythology of popular music, portraying the life and legend of Bob Dylan through seven fictional
characters played by six actors: Richard Gere, Cate Blanchett, Marcus Carl Franklin, Heath
Ledger, Ben Whishaw and Christian Bale. Haynes obtained Dylan's approval to proceed with the
film, and the rights to use his music in the soundtrack, after presenting a one-page summary of the
film's concept to Jeff Rosen, Dylan's long-time manager.[21] I'm Not There premiered at the
Venice Film Festival to critical acclaim, where Haynes won the Grand Jury Prize and Blanchett
won the Volpi Cup, eventually receiving an Academy Award nomination for Best Supporting
Actress.[22][23]
Haynes' next project was Mildred Pierce, a five-hour miniseries for HBO based on the novel by
James M. Cain and the 1945 film starring Joan Crawford. The series starred Kate Winslet in the
title role and featured Guy Pearce, Evan Rachel Wood, Melissa Leo, James LeGros and Hope
Davis. Filming was completed in mid-2010 and the series began airing on HBO on 27 March
2011. It received 21 Primetime Emmy Award nominations, winning five, and Winslet won a
Golden Globe Award for her performance.[24][25]
2015–present: Carol, upcoming projects Edit

Haynes' sixth feature film, Carol, is an adaptation of the 1952 novel The Price of Salt by Patricia
Highsmith. The cast features Cate Blanchett, Rooney Mara, Sarah Paulson and Kyle Chandler.
The film premiered in competition at the 2015 Cannes Film Festival, where it won the Queer Palm
and a shared Best Actress prize for Mara.[26][27] Carol received critical acclaim[28] and was
nominated for six Academy Awards, five Golden Globe Awards, nine BAFTA Awards, and six
Independent Spirit Awards.[29][30][31][32]
On October 20, 2017, Haynes's Wonderstruck was released, having premiered at the 2017 Cannes
Film Festival on May 18, 2017. The film is an adaptation of Brian Selznick's children's book of
the same name. Wonderstruck stars Julianne Moore and is produced by Haynes' collaborator
Christine Vachon and Amazon Studios, which is also distributing the film.[33][34] The movie
describes two deaf children, one in 1927 and the other in 1977, who embark on separate quests to
find themselves. When asked why he'd made a children's movie, in his October 15, 2017, NPR
interview, Haynes explained, "I felt like it spoke to something indomitable about the nature of kids
and the ability for kids to be confronted with challenges and the unknown and to keep muscling
through those challenges."[35]
Haynes is set to direct an untitled Peggy Lee film based on a screenplay by Nora Ephron, starring
Reese Witherspoon.[36] He is also developing a TV series based on the 2012 documentary The
Source Family for HBO.[37][38]
Style and themes Edit

AllMovie writes that "Haynes is known for making provocative films that subvert narrative
structure and resound with transgressive, complex eroticism…. Although he doesn't characterize
himself as a gay filmmaker who makes gay films… Haynes' name has become synonymous with
the New Queer Cinema movement and its work to both explore and redefine the contours of queer
culture in America and beyond."[39]
Haynes’ work is preoccupied with postmodernist ideas of identity and sexuality as socially
constructed concepts and personal identity as a fluid and changeable state. His protagonists are
invariably social outsiders whose "subversive" identity and sexuality put them at odds with the
received norms of their society. In the Haynes universe, sexuality (especially "deviant" or
unconventional sexuality) is a subversive and dangerous force that disrupts social norms and is
often repressed brutally by dominant power structures. Haynes presents artists as the ultimate
subversive force since they must necessarily stand outside of societal norms, with an artist's
creative output representing the greatest opportunity for personal and social freedom. Many of his
films are unconventional portraits of popular artists and musicians (Karen Carpenter in Superstar,
David Bowie in Velvet Goldmine and Bob Dylan in I’m Not There).[citation needed]
Haynes's films often feature formal cinematic or narrative devices that challenge received notions
of identity and sexuality and remind the audience of the artificiality of film as a medium.
Examples include using Barbie dolls instead of actors in Superstar or having multiple actors
portray the protagonist in I'm Not There. Stylistically, Haynes favors formalism over naturalism,
often appropriating and reinventing cinematic styles, including the documentary form in Poison,
Velvet Goldmine and I'm Not There, the reinvention of the Douglas Sirk melodrama in Far From
Heaven and extensive referencing of 1960s art cinema in I'm Not There.[citation needed]
Personal life Edit

Haynes is openly gay.[40][41][42]
As of 2015 he lives in Portland, Oregon.[43]
An edited book of personal interviews was published in 2014, titled Todd Haynes: Interviews.[44]
Haynes professes irreligion.[45]
Awards Edit
List of accolades
Year Work Award Result Ref(s)
1991 Poison Berlin International Film Festival Teddy Award Won
[46]
Independent Spirit Award for Best First Feature Nominated
[47]
Independent Spirit Award for Best Director Nominated
Sundance Film Festival Grand Jury Prize - Dramatic Won
[46]
1995 Safe Independent Spirit Award for Best Director Nominated
[47]
Independent Spirit Award for Best Screenplay Nominated
Seattle International Film Festival American Independent Award Won
[46]
1998 Velvet Goldmine Independent Spirit Award for Best Director Nominated
[47]
2002 Far From Heaven Academy Award for Best Original Screenplay Nominated
[2]
Golden Globe Award for Best Screenplay Nominated
[48]
Independent Spirit Award for Best Director Won
[47]
New York Film Critics Circle Award for Best Director Won
[49]
Provincetown International Film Festival Filmmaker on the Edge Award Won
[50]
2007 I'm Not There Independent Spirit Award for Best Director Nominated
[47]
Independent Spirit Award Robert Altman Award Won
2015 Carol Alliance of Women Film Journalists EDA Award for Best Director
Nominated
[51]
Austin Film Critics Association Award for Best Director Nominated
[52]
BAFTA Award for Best Direction Nominated
[53]
Boston Society of Film Critics Award for Best Director Won
[54]
Chicago Film Critics Association Award for Best Director Nominated
[55]
Critics' Choice Movie Award for Best Director Nominated
[56]
Dallas-Fort Worth Film Critics Association Award for Best Director Nominated
[57]
Florida Film Critics Circle Award for Best Director Nominated
[58]
Golden Globe Award for Best Director Nominated
[30]
Independent Spirit Award for Best Director Nominated
[32]
London Film Critics' Circle Award for Director of the Year Nominated
[59]
Los Angeles Film Critics Association Award for Best Director Runner-up
[60]
National Society of Film Critics Award for Best Director Won
[61]
New York Film Critics Circle Award for Best Director Won
[62]
Online Film Critics Society Award for Best Director Nominated
[63]
San Francisco Film Critics Circle Award for Best Director Nominated
[64]
St. Louis Film Critics Association Award for Best Director Nominated
[65]
Toronto Film Critics Association Award for Best Director Won
[66]
Vancouver Film Critics Circle Award for Best Director Nominated
[67]
Washington D.C. Area Film Critics Association Award for Best Director Nominated
[68]
Filmography Edit
Feature films Edit
Year Film Director Writer Producer Notes
1991 Poison Yes Yes Co-edited with James Lyons
1992 Swoon Actor. Role: Phrenology Head
1995 Safe Yes Yes
1997 Office Killer Yes Additional dialogue
1998 Velvet Goldmine Yes Yes Co-written with James Lyons
2002 Far from Heaven Yes Yes
2006 Quinceañera Executive producer
2006 Old Joy Executive producer
2007 I'm Not There Yes Yes Co-written with Oren Moverman
2008 Wendy and Lucy Executive producer
2010 Meek's Cutoff Executive producer
2012 Buoy Executive producer
2013 Night Moves Executive producer
2015 Carol Yes
2016 Certain Women Executive producer
2017 Wonderstruck Yes
Short films Edit
1978 The Suicide Yes Yes
1985 Assassins: A Film Concerning Rimbaud Yes Yes Himself
1987 Superstar: The Karen Carpenter Story Yes Yes Yes Actor
1989 La Divina Yes Assistant director
1989 He Was Once Yes Actor
Television Edit
1993 Dottie Gets Spanked Yes Yes Short film
2011Mildred PierceYes Yes Five-part miniseries; executive producer[69]
2013 Enlightened Yes Episode: "All I Ever Wanted"
Six by Sondheim Yes Segment: "I'm Still Here"
Commercials Edit
Year Commercial Title Subject
1988 "Share the Good"[70] Heineken Premium Light
References Edit
^ "Where to begin with Todd Haynes". British Film Institute. February 22, 2016. Retrieved March
5, 2016.
^ a b c d e f g h i j k l m n o "Todd Haynes – Biography". The New York Times Company.
Archived from the original on March 4, 2016. Retrieved July 11, 2015.
^ Davis, Glyn (2008). Superstar: the Karen Carpenter story. Wallflower Press.
^ Pfefferman, Naomi (March 6, 2003). "Heavenly Friendship". The Jewish Journal of Greater Los
Angeles. Retrieved July 11, 2015.
^ Pfefferman, Naomi (March 29, 2011). ""Mildred Pierce," Todd Haynes and Me". The Jewish
Journal of Greater Los Angeles. Retrieved July 11, 2015.
^ Scott, Aaron (March 15, 2011). "The Ladies' Man". Portland Monthly. Retrieved July 11, 2015.
^ Leyda, Julia. "Todd Haynes: Interviews".
^ Turner, Kyle (November 24, 2015). "The Films of Todd Haynes: Performance, Desire, and
Identity". The Film Stage. Retrieved March 6, 2016.
^ Matheson, Whitney (February 4, 2013). "Today in history: Karen Carpenter died 30 years ago".
USA Today. Retrieved March 6, 2016.
^ a b "Todd Haynes". Encyclopædia Britannica Online. Encyclopædia Britannica, Inc. October 23,
2017.
^ Gamarekian, Barbara (March 30, 1991). "Frohnmayer Defends Grant for Prize Film". New York
Times. Retrieved July 11, 2015.
^ Lim, Dennis (November 5, 2010). "When 'Poison' Was a Cinematic Antidote". New York Times.
Retrieved July 11, 2015.
^ Brunick, Paul (November 12, 2010). "Todd Haynes's Poison". Slant Magazine. Retrieved July
11, 2015.
^ Levy, Emanuel (June 27, 2015). "Gay Pride 2015: Celebrating Todd Haynes' Poison".
EmmanuelLevy. Retrieved July 11, 2015.
^ Dillard, Clayton (April 3, 2013). "Hearth of Darkness: Rob White's Todd Haynes". Slant
Magazine. Retrieved July 11, 2015.
^ Grossman, Julie (January 2005). "The Trouble with Carol: The Costs of Feeling Good in Todd
Haynes's [Safe] and the American Cultural Landscape". Other Voices. University of Pennsylvania.
^ Dillard, Clayton (December 14, 2014). "Safe". Slant Magazine. Retrieved March 6, 2016.
^ Tobias, Scott (December 18, 2014). "Todd Haynes on the unsafe world of Safe". The Dissolve.
Retrieved March 6, 2016.
^ "Todd Haynes". Film Independent. Retrieved March 6, 2016.
^ "The 71st Academy Awards − 1999". Academy of Motion Picture Arts and Sciences. Retrieved
November 23, 2015.
^ Sullivan, Robert (2007-10-07). "Bob Dylan - Todd Haynes - Movies - I'm Not There". The New
York Times. ISSN 0362-4331. Retrieved 2016-12-02.
^ "Todd Haynes to Receive Director Tribute at IFP's 25th Annual Gotham Independent Film
Awards". Independent Filmmaker Project. Retrieved March 6, 2016.
^ "The Official Academy Awards Database". Academy of Motion Picture Arts and Sciences.
Archived from the original on February 8, 2009. Retrieved March 6, 2015.
^ "Mildred Pierce Awards & Nominations". Academy of Television Arts & Sciences. Retrieved
August 18, 2015.
^ "Golden Globes 2012: The Winners List". The Hollywood Reporter. January 15, 2012. Retrieved
August 18, 2015.
^ "Cannes: Cate Blanchett, Rooney Mara Drama 'Carol' Wins Queer Palm Award". TheWrap. May
23, 2015. Retrieved June 7, 2015.
^ "Cannes: 'Dheepan' Wins the Palme d'Or". The Hollywood Reporter. May 24, 2015. Retrieved
January 20, 2016.
^ "Carol Reviews". Metacritic. Retrieved January 9, 2016.
^ "Oscar Nominations: Complete List". Variety. January 14, 2016. Retrieved January 19, 2016.
^ a b "Golden Globe Nominations: The Complete List". The Hollywood Reporter. December 10,
2015. Retrieved December 10, 2015.
^ "BAFTA Awards: 'Carol' and 'Bridge of Spies' Lead Nominations". The Hollywood Reported.
January 7, 2016. Retrieved January 8, 2016.
^ a b "'Carol,' 'Spotlight,' 'Beasts of No Nation' Lead Spirit Awards Nominations". Variety.
November 24, 2015. Retrieved November 24, 2015.
^ "Todd Haynes is 'Wonderstruck'". Screen Internationaldate=May 18, 2015. Retrieved January
19, 2016.
^ "Amazon Producing And Releasing Todd Haynes' Next Film 'Wonderstruck' Starring Julianne
Moore". Indiewire. December 9, 2015. Retrieved March 17, 2016.
^ Montagne, Renee (October 15, 2017). "Todd Haynes on 'Wonderstruck,' And Evolution of Deaf
Culture In The U.S". npr. Retrieved October 15, 2017.
^ "Todd Haynes set to direct Peggy Lee biopic starring Reese Witherspoon". The Guardian.
September 9, 2014. Retrieved January 19, 2016.
^ "Todd Haynes is 'Wonderstruck'". Screen International. May 18, 2015. Retrieved January 19,
2016.
^ Tedder, Michael (November 23, 2015). "Todd Haynes Talks Carol, His Potential New HBO
Show and Keeping It Semiotic After All These Years". Paper. Retrieved May 8, 2016.
^ "Todd Haynes". The New York Times Company. Retrieved July 11, 2015.
^ ""Out100: Todd Haynes"". Out.com. November 9, 2015. Retrieved January 11, 2018.
^ Voss, Brandon (July 22, 2017). ""Todd Haynes' Time-Hopping New Film Trailer Has Us
'Wonderstruck': The gay director's follow-up to 'Carol' stars Julianne Moore and Michelle
Williams."". newnownext.com. Retrieved January 11, 2018.
^ Karin Badt. "Todd Haynes at Cannes: New Film 'Carol' Stuns with Elegance". Huffington Post.
Retrieved January 11, 2018. I asked Todd why he, a gay male director, so often privileged the
disempowered woman as the main character in his films, from his Barbie Doll Karen Carpenter to
the paranoid allergic housewife in Safe.
^ Baker, Jeff (December 24, 2015). "Todd Haynes, director of 'Carol,' lives in Portland but is
rarely home". OregonLive.com. Retrieved May 8, 2016.
^ "Todd Haynes Interviews". National Library of Australia. 24 June 2014.
^ Pierce, Nev. "Calling the Shots: No.1: Todd Haynes". BBC. Retrieved 23 March 2017.
^ a b c "Todd Haynes". Film Independent. Retrieved December 10, 2015.
^ a b c d e "Spirit Awards Nominees & Winners, 1986–2014 (PDF)". Film Independent.
^ "Here are the Golden Globe nominations". Entertainment Weekly. December 19, 2002.
^ "Falling like manna for 'Heaven'". Los Angeles Times. December 17, 2002. Retrieved December
10, 2015.
^ "FILMMAKER ON THE EDGE". Provincetown International Film Festival. Retrieved July 11,
2015.
^ "2015 EDA Award Nominee". Alliance of Women Film Journalists. December 28, 2015.
^ "'Carol' leads Austin Film Critics Association 2015 awards nominations". Austin Film Critics
Association. December 16, 2015. Archived from the original on December 19, 2015. Retrieved
December 17, 2015.
^ "Film in 2016". British Academy of Film and Television Arts. January 8, 2016. Retrieved
January 8, 2016.
^ "Boston Society Of Film Critics: 'Spotlight' Best Picture, Todd Haynes Best Director". Deadline.
December 6, 2015. Retrieved December 7, 2015.
^ ""Mad Max: Fury Road" Leads The Race For 2015 CFCA Awards". Chicago Film Critics
Association. December 14, 2015. Retrieved December 14, 2015.
^ "Critics' Choice Award Nominations Led by 'Mad Max,' 'Fargo'". Variety. December 14, 2015.
^ "Dallas-Fort Worth Film Critics pick the best movies of 2015". D Magazine. December 14,
^ "The 2015 Florida Film Critics Circle Awards". Florida Film Critics Circle. December 21, 2015.
^ "'Carol,' '45 Years' and Tom Hardy Lead London Critics' Nominations". Variety. December 15,
^ "Spotlight wins top prize from the Los Angeles Film Critics Association". Entertainment
Weekly. December 6, 2015. Retrieved December 7, 2015.
^ "National Society of Film Critics Names 'Spotlight' Best Picture". The Hollywood Reporter.
January 3, 2015. Retrieved January 3, 2015.
^ "'Carol' Takes Top Honors at New York Film Critics Awards". The Wall Street Journal.
^ "2015 Awards (19th Annual)". Online Film Critics Society. December 14, 2015. Retrieved
December 14, 2015.
^ "2015 San Francisco Film Critics Circle Awards". San Francisco Film Critics Circle. Retrieved
December 13, 2015.
^ "2015 StLFCA Annual Award Nominees". St. Louis Film Critics Association. December 13,
^ "Toronto Film Critics honor Carol, Todd Haynes, Tom Hardy, Nina Hoss". AwardsDaily.
^ "'The Revenant' Leads Vancouver Film Critics Circle Nominations". The Hollywood Reporter.
^ "The 2015 WAFCA Awards". Washington DC Area Film Critics Association. December 8, 2015.
^ "HBO: Mildred Pierce". HBO. Retrieved March 6, 2016.
^ Full credits and video on Boards
Adams, Sam (March 25, 2011). Todd Haynes. A.V. Club.
Allen, Nick (November 17, 2015). The Act of Looking: Todd Haynes on "Carol".
RogerEbert.com.
Bellamy, Jason and Howard, Ed (August 16, 2010). The Conversations: Todd Haynes. Slant
Magazine.
Davis, Nick (November/December 2015). The Object of Desire. Film Comment. Film Society of
Lincoln Center.
Leyda, Julia (October 31, 2012). "Something That Is Dangerous and Arousing and Transgressive":
An Interview with Todd Haynes. Bright Lights Film Journal.
MacKenzie, Steven (April 6, 2016). Todd Haynes Interview: Cinema still has a problem with
women. The Big Issue.
MacLean, Alison (Summer 1995). Todd Haynes. Bomb.
Marcus, Greil (November 29, 2007). Bob Dylan Times Six: An Interview with 'I'm Not There'
Director Todd Haynes. Rolling Stone.
Morgan, Kim (October 28, 2015). The Masked Woman: Todd Haynes on Carol. Filmmaker.
Van Sant, Gus (November 2015). Todd Haynes. Issue Magazine.
Visco, Gerry (November 21, 2007). Probing Identity's Reliability. Gay City News. (archive)
Wyatt, Justin (Spring 1993). Cinematic/Sexual Transgression: An Interview with Todd Haynes.
Film Quarterly. University of California Press.
Books
Ducharme, Olivier (2016). Todd Haynes: cinéaste queer. Liberté, identité, résistance. Éditions
Varia, Cinéma. ISBN 978-2-89606-068-9.
Hastie, Amelie; Joyrich, Lynne; Penley, Constance (2004). Todd Haynes: A Magnificent
Obsession. Duke University Press. ISBN 0822366290.
Leyda, Julia, ed. (2014). Todd Haynes: Interviews. University Press of Mississippi. ISBN
9781617039836. Archived from the original on May 1, 2015.
Padva, Gilad (2014). "Claiming Lost Gay Youth, Embracing Femininostalgia: Todd Haynes's
Dottie Gets Spanked and Velvet Goldmine". Queer Nostalgia in Cinema and Pop Culture.
Palgrave Macmillan. pp. 72–97. ISBN 9781137266330.
White, Rob (2013). Todd Haynes. University of Illinois Press. ISBN 9780252079108.
External links Edit
Wikimedia Commons has media related to Todd Haynes.
Todd Haynes on IMDb
Works by or about Todd Haynes in libraries (WorldCat catalog)
Todd Haynes interviews M Blash on "Lying" at The Doomed Planet (archive)
Todd Haynes: I'm Not There video interview at CNETTV UK (archive)
Career interview with filmmaker Todd Haynes at British Film Institute (BFI)
Dottie Gets Spanked on UbuWeb
Todd Haynes at Senses of Cinema: Great Directors Critical Database
Todd Haynes at Virtual History
Last edited 12 days ago by Bapreme
Wikipedia

Wikipedia
David Fincher
Problemas de la página
Director de cine estadounidense
David Andrew Leo Fincher (Denver, Estados Unidos; 28 de agosto de 1962) es un director y
productor estadounidense de cine, televisión y vídeos musicales. Fue nominado para el Óscar a
mejor director por El curioso caso de Benjamin Button (2008) y La red social (2010). Para este
último, ganó el Globo de Oro al mejor director y el Premio BAFTA a la mejor dirección.
David Fincher
David Fincher (2012) 2.jpg
Fincher en 2012
David Leo Fincher
Apodo
Finch
Nacimiento
28 de agosto de 1962 (55 años)
Denver, Flag of the United States.svg Estados Unidos
Nacionalidad
Estadounidense
Ocupación
Director y productor
Años activo
desde 1984
Obras notables
Se7en
Perdida
Fight Club
The social network
La chica del dragón tatuado
The Game
Premios artísticos
Globos de Oro
Mejor director
2010 The social network
Premios BAFTA
Mejor director
Premios Emmy
Mejor dirección - Serie dramática
2013 House of Cards
Otros premios
Premio de la Crítica Cinematográfica al mejor director
Distinciones
Ver y modificar los datos en Wikidata
También es conocido por haber dirigido los thrillers psicológicos Se7en (1995), Fight Club
(1999), Perdida (2014), Zodiac (2007) y The Girl with the Dragon Tattoo (2011), entre otras; y
además de tener un papel decisivo en la creación de la serie de televisión House of Cards y
Mindhunter, ambas de Netflix.
Índice
Biografía Editar
Infancia Editar
Fincher nació en la ciudad de Denver, en el estado de Colorado (Estados Unidos), hijo de Jack
Fincher, un jefe de oficina y escritor para la revista Life. Se crio en el condado de Marin,
California, y se trasladó a Ashland, Oregón, en su adolescencia, donde se graduó en la escuela
secundaria.
Comienzos Editar
Fincher trabajó en Korty Films como asistente de producción. Ascendió a productor de efectos
visuales trabajando en la película animada Twice Upon a Time (1983). Más tarde fue contratado
por Industrial Light & Magic en 1983, donde fue un camarógrafo y asistente de fotógrafo y trabajó
en producciones de El retorno del Jedi (1983) e Indiana Jones and the Temple of Doom (1984). En
1984, dejó ILM para dirigir un comercial de la American Cancer Society que se muestra un feto
fumando un cigarrillo. Esto trajo rápidamente Fincher a la atención de los productores en Los
Ángeles, y se le dio la oportunidad de dirigir el documental The Beat of the Live Drum, con Rick
Springfield, en 1985. A pesar de que continuaría haciendo spots para empresas como Levi,
Converse, Nike, Pepsi, Revlon, Sony, Coca-Cola y Chanel. Los videos de Fincher pronto fueron
vistos y pasó a dirigir muchas promos. Él dirigió el video de la versión 1986 del single "We Don't
Have to Take Our Clothes Off", que era el mayor éxito comercial del cantante Pop/R&B Jermaine
Stewart, y también ha trabajado con Madonna y dirigió varios de sus vídeos musicales, incluyendo
"Express Yourself", "Oh Father", "Vogue" y "Bad Girl".
Propaganda Films Editar

Ubicado en una carrera como director, Fincher, co-fundador de la empresa de producción de
vídeos Propaganda Films, se ubicó en dirigir videos musicales y comerciales. Al igual que
Fincher, directores como Michael Bay, Antoine Fuqua, Michel Gondry, Spike Jonze, Alex Proyas,
Paul Rachman, Mark Romanek, Zack Snyder, Gore Verbinski y otros perfeccionaron sus talentos
en Propaganda Films antes de pasar a los largometrajes.
1990s: Alien 3, Seven, The Game y Fight Club Editar

Después de dirigir varios vídeos musicales, el debut de Fincher como director fue en Alien³
(1992). A pesar de que recibió una nominación al Oscar por efectos visuales, la película no fue
bien recibida por los críticos o cinéfilos. Fincher se involucró con varias disputas con la 20th
Century Fox por cuestiones de guion y de presupuesto. Él culpa a los productores por no poner la
confianza necesaria en él. Después de esto, volvió de nuevo al mundo de la dirección comercial de
vídeo y música, y dirigió el vídeo de la canción ganadora del Grammy "Love Is Strong" (1994) de
Rolling Stones.
En 1995, Fincher dirigió Se7en. La película, basada en un guion de Andrew Kevin Walker, contó
la historia de dos detectives (interpretado por Brad Pitt y Morgan Freeman) y de un asesino en
serie (Kevin Spacey) que basa sus asesinatos en los siete pecados capitales. La película recaudó
más de $ 100 millones a nivel nacional (más de $ 300 millones a nivel internacional).
Tras el éxito de Se7en, Fincher fue a filmar The Game (1997). La historia se centró en un
empresario de San Francisco (interpretado por Michael Douglas) que recibe un regalo inusual de
su hermano menor (Sean Penn), en el que se convierte en el protagonista de un juego de rol que se
hace cargo de su vida. La película tuvo rendimientos de taquilla mediocres a pesar de ser bien
recibido por la crítica.
El club de la lucha (1999) es una adaptación cinematográfica de la novela de Chuck Palahniuk

(1996) sobre un empleado de oficina insomne (Edward Norton) que en un viaje de trabajo conoce
a un peculiar anarquista (Brad Pitt) y juntos abren un club clandestino dedicado exclusivamente a
la lucha contra los nudillos al descubierto para los hombres. La película fue una decepción
temprana en la taquilla y recibió críticas mixtas. Entertainment Weekly, que había dado
originalmente a la película una D-, más tarde ocupó el DVD # 1 en su lista de 50 DVDs
Esenciales.
2000s: Panic Room, Zodiac y El Curioso Caso de Benjamin Button Editar

En 2006, la revista británica Total Film votó a El club de la lucha como el número cuatro en las
mejores 100 películas de todos los tiempos, sólo superado por Tiburón, Vértigo y Goodfellas.
En 2002, Fincher siguió con el thriller de La habitación del pánico. La película recaudó más de $
92 millones en la taquilla de Estados Unidos. La historia sigue a una madre soltera (Jodie Foster) y
su hija (Kristen Stewart), que se esconden en una caja de seguridad de su nueva casa, lejos de los
criminales (Forest Whitaker, Dwight Yoakam y Jared Leto) empeñados en la búsqueda de una
fortuna. Fincher reconoció La habitación del pánico como un thriller más convencional, que
describe la película en el comentario del audio de DVD, como "(básicamente) una película de
fecha" y una "muy buena película de serie B" acerca de "dos personas atrapadas en un armario".
Cinco años después de La habitación del pánico, Fincher regresó el 2 de marzo de 2007 con
Zodiac, una adaptación del libro de Robert Graysmith sobre la caza del asesino del zodiaco,
protagonizada por Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, y Brian
Cox. Fue la primera de las películas de Fincher que se rodó digitalmente, la mayor parte de la
película fue grabada en un Thompson Viper Film Stream Camera. Sin embargo, se utilizaron
cámaras de película de alta velocidad para las escenas de asesinato y para los tiros de cámara
lenta. La película fue originalmente pensada para ser lanzada en el otoño de 2006, pero se retrasó
después de Fincher se negó a cortar 20 minutos de la película.
Zodiac fue una de las películas con mejores críticas de ese año, sólo dos otras películas de 2007
aparecen más arriba del top 10 (No Country for Old Men y There Will Be Blood). Sin embargo, la
película en los EE.UU., ganó sólo $ 33 millones, pero le fue bien en el extranjero con una
recaudación de $ 51.700.000. A nivel mundial, el Zodiac fue un éxito decente. Por la dirección de
Fincher y el guion adaptado de James Vanderbilt, la película no gana una sola nominación al
Oscar.
Una historia sobre la vida y la muerte, El curioso caso de Benjamin Button es una adaptación del
relato de F. Scott Fitzgerald del mismo nombre. Fue la tercera pelicula en la cual Fincher trabaja
con Brad Pitt. La película se comenzó a rodar en noviembre de 2006 en Nueva Orleans, antes de
pasar a las Islas Vírgenes, Montreal y L.A. Tanto Zodiac y esta película son coproducciones de
Paramount Pictures y Warner Bros. El presupuesto de la película se estima en $ 150 millones,
debido, en parte, a los efectos CGI utilizados para el envejecimiento en el personaje de Pitt.
Recibió 13 nominaciones en los 81st Academy Awards, incluyendo la primera nominación de
Fincher como Mejor Director. Ganó tres premios de la Academia a la Mejor Dirección de Arte,
Mejor Maquillaje y Mejores Efectos Visuales.
2010s: The Social Network, The Girl with the Dragon Tattoo, Gone Girl y carrera en televisión
Editar
Fincher dirigió la película de 2010 La red social, acerca de las batallas legales de Mark
Zuckerberg y la fundación de Facebook. La película cuenta con un guion ganador de un Oscar por
Aaron Sorkin, adaptado del libro The Accidental Billionaires. Con un joven elenco, la película fue
producida por Scott Rudin, Kevin Spacey y Michael DeLuca. El rodaje comenzó en octubre de
2009 y fue puesto en libertad un año después, con gran éxito de crítica. Trent Reznor y Atticus
Ross crearon la banda sonora ganadora de un Oscar por la película. Fincher había sido durante
mucho tiempo un fan del trabajo de Reznor en Nine Inch Nails, incluso poniendo un remix de
"Closer" en el principio de Seven y dirigó el vídeo musical de "Only". La película ganó varios
premios, entre ellos cuatro Globos de Oro (incluido el de Mejor Película - Drama, Mejor Director,
Mejor Guion y Mejor Banda Sonora Original), tres premios BAFTA (incluyendo el de Mejor
Dirección), y tres premios de la Academia al Mejor Guion Adaptado, Mejor Música Original y
Mejor Montaje.
Fincher dirigió la versión americana de The Girl with the Dragon Tattoo, que se basa en la novela
de Stieg Larsson, con un guion escrito por Steven Zaillian. La película fue rodada en Suecia, con
Rooney Mara como Lisbeth Salander, Daniel Craig como Mikael Blomkvist, Robin Wright como
Erika Berger, Stellan Skarsgård como Martin Vanger y Christopher Plummer como Henrik Vanger.
La película fue estrenada el 21 de diciembre de 2011. Trent Reznor y Atticus Ross crearon la
banda sonora para la película (su segunda colaboración con Fincher). Se recibieron cinco
nominaciones a Los premios de la Academia incluyendo:. Mejor Actriz por Rooney Mara, Mejor
Fotografía, Premio de la Academia a la Mejor Edición de Sonido, Mejor Mezcla de Sonido y ganó
un premio al Mejor Montaje.
Fincher es productor ejecutivo de la serie de televisión de Netflix House of Cards; también dirigió
los dos primeros episodios. La serie ha recibido elogios de la crítica, recibiendo nueve
nominaciones Emmy, incluyendo Mejor Serie Dramática, y Fincher por Mejor Dirección de una
Serie Dramática por el primer episodio, el cual ganó.
Fincher dirigió la adaptación de la novela de Gillian Flynn Perdida. La producción comenzó en

septiembre de 2013, y la película fue estrenada el 3 de octubre de 2014. Fincher firmó un contrato
de tres series con HBO para Utopía, Shakedown y Living on Video. Era para manejar los deberes
Dirección y escritura para la primera temporada de la adaptación de la utopía, una serie de
televisión británica de HBO, pero las disputas presupuestarias entre HBO y Fincher llevó a que el
proyecto se cancele en julio de 2015.
Fincher dirigió otra serie de televisión de Netflix, Mindhunter,[1] protagonizada por Jonathan
Groff y Holt McCallany. La serie está basada en el libro Mind Hunter: Dentro de la Unidad de
Crimen de serie Elite del FBI. Se centra en el desarrollo de los perfiles psicológicos de los
"asesinos seriales", en la década de 1970 en el FBI. La serie ha tenido buena recepción en la
crítica y alta demanda en la plataforma de streaming.
Trabajo futuro Editar

Shakedown, un drama criminal-noir-ish, ambientada en Los Ángeles en la década de 1950, se trata
de un mundo sensacionalista y la parte más vulnerable de Los Ángeles en la década de los 50s y se
centra en un detective privado de la vida real. Fincher producirá la serie, mientras que el autor
James Ellroy será el que desarrolle la serie. Este será el segundo proyecto de televisión de Fincher
después de House of Cards en Netflix, que también atrajo el actor Kevin Spacey. Living on Video,
una comedia ambientada en la década de 1980, seguirá a Robby, un ex estudiante de colegio,
persiguiendo su sueño como un director de cine de Hollywood. El actor Charlie Rowe, de Red
Band Society, jugará el papel principal después de que Tyler Ross se retiró debido a los conflictos.
Fincher dirigió otra serie de televisión de Netflix, Mindhunter,[1] protagonizada por Jonathan
Groff y Holt McCallany. La serie está basada en el libro Mind Hunter: Dentro de la Unidad de
Crimen de serie Elite del FBI y ha tenido buena recepción en la crítica y alta demanda en la
plataforma de streaming.
Vida privada Editar

Fincher se casó con la modelo y fotógrafa Donya Fiorentino en 1990 y se divorciaron en 1995.
Tienen una hija. Fincher ha sido puesto en una relación a largo plazo con la productora Ceán
Chaffin, quien ha pasado a producir todas sus películas a partir de 1997 con The Game.
En una entrevista con la revista Empire en 2008, Fincher nombró las siguientes películas como sus
favoritos: Alien (1979), All That Jazz (1979), All the President's Men (1976), American Graffiti
(1973), Being There (1979), Butch Cassidy and the Sundance Kid (1969), Cabaret (1972),
Chinatown (1974), Citizen Kane (1941), Days of Heaven (1978), Dr. Strangelove (1964), 8½
(1963), The Exorcist (1973), The Godfather Part II (1974), The Graduate (1967), Jaws (1975),
Lawrence of Arabia (1962), Mad Max 2 (1981), Monty Python and the Holy Grail (1975),
National Lampoon's Animal House (1978), Paper Moon (1973), Rear Window (1954), Taxi Driver
(1976), The Terminator (1984), The Year of Living Dangerously (1982), y Zelig (1983).
Filmografía Editar
Películas Editar
Año Título Director ProductorProductor ejecutivo Notas
1992 Alien 3 Sí Nominado – Hugo Award por Mejor Película Dramática
Nominado – Saturn Award por Mejor Director
1995 Se7en Sí
1997 The Game Sí
1999 El club de la Lucha Sí Nominado – Online Film Critics Society Award por
Mejor Director
2001 The Hire Sí
2002 La habitación del pánico Sí
2005 Lords of Dogtown Sí
2006 Love and Other Disasters Sí
2007 Zodiac Sí Nominado – Bodil Award por Mejor Pelicula Americana
Nominado – Palme d'Or
Nominado – Chicago Film Critics Association Award por Mejor Director
Nominado – Empire Award por Mejor Director
Nominado – London Film Critics' Circle Award por Director del año
Nominado – Online Film Critics Society Award por Mejor Director
Nominado – Toronto Film Critics Association Award por Mejor Director
2008 El curioso caso de Benjamin Button Sí London Film Critics Circle
Award por Director del año
National Board of Review Award por Mejor Director
Nominado – Academy Award por Mejor Director
Nominado – Saturn Award por Mejor Director
Nominado – BAFTA Award por Mejor Direccion
Nominado – Broadcast Film Critics Association Award por Mejor Director
Nominado – Dallas-Fort Worth Film Critics Association Award por Mejor Director
Nominado – Directors Guild of America Award para Mejor Dirección - Largometraje
Nominado – Golden Globe Award por Mejor Director
Nominado – New York Film Critics Circle Award por Mejor Director
Nominado – Online Film Critics Society Award por Mejor Director
Nominado – SFX Award por Mejor Director
Nominado – Vancouver Film Critics Circle Award por Mejor Director
2010 La red social Sí BAFTA Award por Mejor Director
Boston Society of Film Critics Award por Mejor Director
Broadcast Film Critics Association Award por Mejor Director
Chicago Film Critics Association Award por Mejor Director
César Award la mejor película extranjera
Dallas-Fort Worth Film Critics Association Award por Mejor Director
Film Critics Circle of Australia por Mejor Pelicula Extranjera
Florida Film Critics Circle Award por Mejor Director
Golden Globe Award por Mejor Director
Las Vegas Film Critics Society Award for Best Director
London Film Critics Circle Award for Director of the Year
Los Angeles Film Critics Association Award por Mejor Director
National Board of Review Award por Mejor Director
National Society of Film Critics Award por Mejor Director
San Francisco Film Critics Circle Award por Mejor Director
Satellite Award por Mejor Director
Southeastern Film Critics Association Award por Mejor Director
Toronto Film Critics Association Award por Mejor Director
Vancouver Film Critics Circle Award por Mejor Director
Nominado – Academy Award por Mejor Director
Nominado – Bodil Award por Mejor Pelicula Americana
Nominado – David di Donatello por Mejor Pelicula Extranjera
Nominado – Directors Guild of America Award por Mejor Direccion
Nominado – Empire Award por Mejor Director
Nominado – Nastro d'Argento por Mejor Director no Europeo
Nominado – Phoenix Film Critics Society Award por Mejor Director
Nominado – Robert Festival por Mejor Pelicula Americana
Nominado – Russian Guild of Film Critics por Mejor Pelicula Extranjera
Nominado – San Diego Film Critics Society Award por Mejor Director
2011The Girl with the Dragon Tattoo Sí Nominado – Directors Guild of America
Award por Mejor Dirección - Largometraje
2014 Perdida Sí Sí Runner-up – Iowa Film Critics Association Award por Mejor
Director
Nominado – Critics' Choice Movie Award por Mejor Director
Nominado – Dallas–Fort Worth Film Critics Association Award por Mejor Director
Nominado – Dorian Award por Director del Año
Nominado – Golden Globe Award por Mejor Director
Nominado – Phoenix Film Critics Society Award por Mejor Director
Nominado – Satellite Award por Mejor Director
Nominado – San Diego Film Critics Society Award por Mejor Director
Nominado – St. Louis Gateway Film Critics Association Award por Mejor Director
Nominado – Washington D.C. Area Film Critics Association Award por Mejor Director
TBA World War Z 2 Sí Negociando
Televisión Editar
Año Título Director ProductorProductor ejecutivo Notas
2013–presente House of Cards Sí Sí Dirigió 2 episodios
Peabody Award (2013)[2]
Premio Primetime Emmy a la mejor dirección – Serie dramática (2013)
Nominado – Premio Primetime Emmy a la mejor serie – Drama (2013–2017)
2017 Mindhunter[1] Sí Sí Dirigió 4 episodios
Videografía Editar
"Shame" de The Motels (1985)
"All The Love" de The Outfield (1986)
"Everytime You Cry" de The Outfield (1986)
"One Simple Thing" de The Stabilizers (1986)
"She Comes On" de Wire Train (1987)
"Endless Nights" de Eddie Money (1987)
"Downtown Train" de Patty Smyth (1987)
"Johnny B" de The Hooters (1987)
"Storybook Story" de Mark Knopfler (1987)
"No Surrender" de The Outfield (1987)
"Don't Tell Me The Time" de Martha Davis (1987)
"Heart of Gold" de Johnny Hates Jazz (1988)
"Englishman in New York" de Sting (1988)
"Shattered Dreams" (segunda versión) de Johnny Hates Jazz (1988)
"Get Rhythm" de Ry Cooder (1988)
"Roll With It" de Steve Winwood (1988)
"The Way That You Love Me" (primera versión) de Paula Abdul (1988)
"Holding On" de Steve Winwood (1988)
"Bamboleo" de (segunda versión), Gipsy Kings (1989)
"Straight Up" de Paula Abdul (1989)
"Real Love" de Jody Watley (1989)
"She's A Mystery To Me" de Roy Orbison (1989)
"Forever Your Girl" de Paula Abdul (1989)
"Express Yourself" de Madonna (1989)
"The End Of The Innocence" de Don Henley (1989)
"Cold Hearte" de Paula Abdul (1989)
"Oh Father" de Madonna (1989)
"Janie's Got A Gun" de Aerosmith (1989)
"Vogue" de Madonna (1990)
"Cradle of Love" de Billy Idol (1990)
"L.A. Woman" de Billy Idol (1990)
"Freedom '90" de George Michael (1990)
"Bad Girl" de Madonna (1993)
"Who Is It?" (segunda versión) de Michael Jackson (1993)
"Love Is Strong" de The Rolling Stones (1994)
"6th Avenue Heartache" de The Wallflowers (1996)
"Judith" de A Perfect Circle (2000)
"Only" de Nine Inch Nails (2005)
"Suit & Tie" de Justin Timberlake (2013)
Premios Editar
Premios Óscar:
Año Categoría Película Resultado

2008 Mejor director El curioso caso de Benjamin Button Candidato
2010 Mejor director La red social Candidato
Premios BAFTA:

2010 Mejor director La red social Ganador
Premios Globo de Oro:

2010 Mejor director La red social Ganador
2014 Mejor director Perdida Candidato
Premios Primetime Emmy:
Año Categoría Serie Resultado

2013 Mejor director - Serie Dramática House of Cards Ganador
Referencias Editar
↑ a b c «Netflix Champions European Entertainment». Netflix (en inglés). 1 de marzo de 2017.
Consultado el 4 de marzo de 2017.
↑ 73rd Annual Peabody Awards, May 2014.
Wikiquote alberga frases célebres de o sobre David Fincher.
David Fincher en Internet Movie Database (en inglés)
Fincher Fanatic Blog
Entrevista exclusiva a David Fincher
Entrevista de la Agencia Efe a David Fincher publicada por El Confidencial
Estudio sobre la obra de David Fincher
Última edición hace 9 días por NishiroK123
Wikipedia
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Wikipedia
David Fincher
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"Fincher" redirects here. For other uses, see Fincher (surname).
David Andrew Leo Fincher[1][2] (born August 28, 1962) is an American director and producer,
notably for films, television series and music videos. He was nominated for the Academy Award
for Best Director for The Curious Case of Benjamin Button (2008) and The Social Network
(2010). For the latter, he won the Golden Globe Award for Best Director and the BAFTA Award
for Best Direction.
David Fincher
David Fincher (2012) 3.jpg
Fincher in 2011
Born
David Andrew Leo Fincher
August 28, 1962 (age 55)
Denver, Colorado, U.S.
Occupation
Film director, film producer, television director, television producer, music video director
Years active
1984–present
Spouse(s)
Donya Fiorentino (m. 1990; div. 1995)
Ceán Chaffin (m. 1996)
Children
1
He is also known for having directed the psychological thrillers Seven (1995), The Game (1997),
Fight Club (1999), Panic Room (2002) and Gone Girl (2014), and the mystery thrillers Zodiac
(2007) and The Girl with the Dragon Tattoo (2011), as well as being instrumental in the creation
of the Netflix series House of Cards (2013-) and Mindhunter (2017-).
His films Zodiac and The Social Network are ranked in BBC's 100 Greatest Films of the 21st
Century.[3]
Contents
Early life Edit
Fincher was born on August 28, 1962 in Denver, Colorado,[4] the son of Claire Mae (née
Boettcher), a mental health nurse from South Dakota who worked in drug addiction programs, and
Howard Kelly "Jack" Fincher, an author from Oklahoma who worked as a reporter and bureau
chief for Life.[5][6] Howard died of cancer in April 2003.[1][7] Fincher knew from a young age
he wanted to go into filmmaking. When Fincher was two years old, the family moved to San
Anselmo, California, where filmmaker George Lucas was one of his neighbors.[6] Fincher moved
to Ashland, Oregon in his teens, where he graduated from Ashland High School. During high
school, he directed plays and designed sets and lighting after school, and was a non-union
projectionist at a second-run movie theater, production assistant at the local television news station
KOBI in Medford, Oregon, and took on other odd jobs such as fry cook, busboy, and dishwasher.
[6][8] Inspired by Butch Cassidy and the Sundance Kid (1969), Fincher began making movies at
age eight with an 8mm camera.[6][4]
Career Edit
Early career Edit
Fincher was employed at Korty Films as a production head. He moved up the ranks and became a
visual effects producer,[6] working on the animated Twice Upon a Time (1983). He was hired by
Industrial Light & Magic in 1983 as an assistant cameraman and matte photographer,[6] and
worked on Return of the Jedi (1983) and Indiana Jones and the Temple of Doom (1984).[9] In
1984, he left ILM to direct a commercial for the American Cancer Society that depicted a fetus
smoking a cigarette.[6] This quickly brought Fincher to the attention of producers in Los Angeles,
and he was given the chance to direct the 1985 Rick Springfield documentary The Beat of the Live
Drum.[10] Set on a directing career, Fincher co-founded video-production company Propaganda
Films and started off directing music videos and commercials.[10] Like Fincher, directors such as
Michael Bay, Antoine Fuqua, Michel Gondry, Spike Jonze, Alex Proyas, Paul Rachman, Mark
Romanek, Zack Snyder, Gore Verbinski and others honed their talents at Propaganda Films before
moving on to feature films.[11] Though he would continue to direct spots for Levi's, Converse,
Nike, Pepsi, Revlon, Sony, Coca-Cola, Chanel, and other companies,[6] Fincher began to focus on
music videos. He directed the video for 1986's "We Don't Have to Take Our Clothes Off", which
was the biggest commercial success for pop/R&B singer Jermaine Stewart,[4] Michael Jackson's
"Who Is It", and worked extensively with Madonna, directing videos for "Express Yourself", "Oh
Father", "Vogue" and "Bad Girl",[10]
1990s: Alien 3, Seven, The Game and Fight Club Edit

20th Century Fox hired Fincher to replace Vincent Ward as the director of the science fiction
horror film Alien 3 (1992), his feature directorial debut.[12] The third installment in the Alien
franchise starring Sigourney Weaver, the film was released in May 1992 to a mixed reception from
critics and was considered weaker than the preceding films in the franchise.[13] Film critic Roger
Ebert, considered it to be "one of the best looking bad movies he's ever seen".[14] Fincher became
involved with several disputes with 20th Century Fox over script and budget issues during the
production. In Director's Cut: Picturing Hollywood in the 21st Century, he blames the producers
for not putting the necessary trust in him.[15] He stated in an interview with The Guardian in
2009: "No one hated it more than me; to this day, no one hates it more than me."[16] It received an
Academy Award nomination for Best Visual Effects.[17]
After directing the film, he retreated back into the world of commercial and music video directing,
including the video for the Grammy Award for Best Short Form Music Video-winning song "Love
Is Strong" by The Rolling Stones in 1994.[18] Following the difficult production of Alien 3,
Fincher thought that he would "rather die of colon cancer than do another movie" and eschewed
reading scripts.[19] Despite this, Fincher read Andrew Kevin Walker's screenplay for Seven
(1995), which was actually Walker's original draft with the current ending, that was already
removed by then attached director Jeremiah Chechik. Fincher expressed no interest in directing
after reading the revised draft, until New Line Cinema agreed to keep the original ending.[20][19]
It stars Brad Pitt, Morgan Freeman, Gwyneth Paltrow, R. Lee Ermey, and Kevin Spacey, and tells
the story of two detectives (played by Pitt and Freeman) tracking down a serial killer who bases
his killings on the seven deadly sins.[21] Seven was one of the highest-earning films of 1995,
grossing more than $320 million internationally and was positively received by film critics.[22]
Writing for Sight and Sound, John Wrathall wrote that it "stands as the most complex and
disturbing entry in the serial killer genre since Manhunter" and Roger Ebert opined that Seven is
"one of the darkest and most merciless films ever made in the Hollywood mainstream."[23][24]
After the success of Seven, Fincher went on to film a music video for "6th Avenue Heartache" by
The Wallflowers[25] and the thriller The Game (1997) from a screenplay by the screenwriting duo
John Brancato and Michael Ferris.[26] The story focuses on a San Franciscan investment banker
(played by Michael Douglas) who receives an unusual gift from his younger brother (Sean Penn),
in which he becomes involved in a "game" that integrates in strange ways with his everyday life,
leading to frustration and uncertainty between the game and real life.[26] Fincher hired Seven
screenwriter Andrew Kevin Walker to make contributions and polishes to the script.[27] The film
had middling box office returns, despite being met with generally positive reviews, with specific
praise for Fincher's direction and Douglas' performance.[28]
In August 1997, Fincher agreed to direct a screen adaptation Chuck Palahniuk's 1996 novel Fight
Club for 20th Century Fox, his second film with studio after the trouble production of Alien 3.[29]
The film stars Edward Norton, Brad Pitt, and Helena Bonham Carter and follows an insomniac
office worker who is known simply as The Narrator, played by Norton, who opens up a club
devoted exclusively to bare knuckle fighting for men with soap salesman Tyler Durden (Pitt).
Fight Club was an early disappointment at the box office and initially received mixed reviews. In
the years following its release, Fight Club received a reassessment from many critics and is now
considered one of the best films of the 1990s. Entertainment Weekly, which had originally given
the film a D-,[30] later ranked the DVD #1 on its list of 50 Essential DVDs.[31] The film's social
commentary has been the source of much critical analysis from academics and film critics.
2000s: Panic Room, hiatus, Zodiac and The Curious Case of Benjamin Button Edit
In 2006, the British magazine Total Film voted Fight Club number four in the 100 Greatest
Movies of All Time, beaten only by Jaws, Vertigo and Goodfellas at 3, 2 and 1 respectively.[32]
In 2002, Fincher followed up with the thriller Panic Room. The film earned over $92 million at
the U.S. box office. The story follows a single mother (Jodie Foster) and her daughter (Kristen
Stewart) as they hide in a safe room of their new house, away from criminals (Forest Whitaker,
Dwight Yoakam, and Fight Club collaborator Jared Leto) bent on finding a missing fortune.
Fincher acknowledged Panic Room as a more mainstream thriller, describing the film, on the
DVD's audio commentary, as "[basically] a date movie" and a "really good B movie" about "two
people trapped in a closet".
Five years after Panic Room, Fincher returned on March 2, 2007 with Zodiac, an adaptation of
Robert Graysmith's books about the hunt for the Zodiac Killer that starred Jake Gyllenhaal, Mark
Ruffalo, Robert Downey, Jr., Anthony Edwards, and Brian Cox. The first of Fincher's films to be
shot digitally, the majority of the film was recorded on a Thomson Viper FilmStream HD digital
movie camera . However, high-speed film cameras were used for the Blue Rock Springs and
Presidio Heights murder scenes for the slow-motion shots.[33] It was originally to be released in
the fall of 2006 but was pushed back after Fincher refused to cut 20 minutes off the film.
Zodiac was one of the best-reviewed films of that year, with only two other 2007 films appearing
on more top-10 lists (No Country for Old Men and There Will Be Blood).[34] However, the film
struggled at the box office in the U.S., earning only $33 million, but did well overseas with a
foreign gross of $51.7 million. Worldwide, Zodiac was a decent success.[35] Despite an
aggressive campaign by the studio, expectations surrounding Robert Downey, Jr.'s supporting
performance, Fincher's direction and Vanderbilt's adapted script, the film did not earn a single
Oscar nomination.[36]
A story about life and death, The Curious Case of Benjamin Button is an adaptation of F. Scott
Fitzgerald's short story of the same name. The film was Fincher's third with Brad Pitt. The film
started shooting in November 2006 in New Orleans, before moving on to the Virgin Islands,
Montreal, and L.A. Both Zodiac and this film are co-productions of Paramount Pictures and
Warner Bros. The budget for the film was estimated at $150 million, partly due to the visual
effects used to reverse the aging in Pitt's character. It received 13 nominations at the 81st Academy
Awards, including Fincher's first nomination for Best Director. It won three Academy Awards for
Best Art Direction, Best Makeup, and Best Visual Effects.
2010s: The Social Network, The Girl with the Dragon Tattoo, Gone Girl and television career
Edit
Fincher directed the 2010 film The Social Network, about the legal battles of Mark Zuckerberg
and the founding of Facebook. The film features an Oscar-winning screenplay by Aaron Sorkin,
adapted from the book The Accidental Billionaires. Filming started in October 2009[37] and was
released a year later, to critical acclaim. Trent Reznor and Atticus Ross created the Oscar-winning
soundtrack for the film. The film went on to win many awards, including three Academy Awards
for Best Adapted Screenplay, Best Original Score, and Best Film Editing.[38]
In 2011, Fincher directed the American version of The Girl with the Dragon Tattoo, based on the
book by Stieg Larsson, with a script written by Steven Zaillian. The film was shot in Sweden, with
Rooney Mara as Lisbeth Salander and Daniel Craig as Mikael Blomkvist. Trent Reznor and
Atticus Ross composed the soundtrack for the film, collaborating with Fincher a second time.[39]
The film received five Academy Award nominations, including Best Actress for Mara, and won
the award for Best Film Editing.
Fincher is an executive producer of the Netflix television series House of Cards, of which he also
directed the first two episodes.[40] The series has received positive reviews, earning nine
Primetime Emmy nominations, including Outstanding Drama Series and winning Fincher the
Primetime Emmy Award for Outstanding Directing for a Drama Series for the first episode.[41]
In 2014, Fincher directed the adaptation of Gillian Flynn's novel Gone Girl, which starred Ben
Affleck and Rosamund Pike.[42][43] The film earned Pike an Academy Award nomination for
Best Actress, Fincher also received his third Golden Globe nomination.
Fincher signed a three-series deal with HBO for Utopia, Shakedown, and Videosyncrazy. Utopia
was set to be an adaptation of the British series of the same name. Shakedown, a noir-ish crime
drama, was about the tabloid world and the underbelly of Los Angeles in the 1950s and centered
on a real-life private detective.[44][45] Videosyncrazy, a comedy set in the 1980s, would follow
Robby, a college drop out, pursuing his dream as a music video and film director in Hollywood.
[46] In August 2015, budget disputes between Fincher and the network halted production of
Utopia, and consequently all three projects were dropped altogether.[47]
In 2016, Fincher directed another Netflix series, Mindhunter, starring Holt McCallany and
Jonathan Groff. The series, that is based on the book Mind Hunter: Inside the FBI’s Elite Serial
Crime Unit, debuted worldwide on October 13, 2017.[48][49]
Future work Edit

Paramount Studios chief Jim Gianopulos said in June 2017 that a sequel to World War Z was "in
advanced development" with director Fincher and star Brad Pitt.[50]
Approach and style Edit

Fincher likes to map out camera movements with computer-generated imagery, commission
intricate sets, get heavily involved in post-production, and re-shoot footage after the principal
photography has wrapped.[51] He does not normally use hand-held cameras when he shoots a
film, preferring cameras on a tripod. His most frequent use of a hand-held camera was for Seven,
in which five scenes were shot that way. Fincher likes to confuse audiences with his camerawork.
Sometimes, it is difficult to determine whether a shot is human-controlled, motion-controlled or
computer-generated imagery. Close-ups are uncommon in Fincher's films, and he tries to move his
cameras as little as possible. The interior of a refrigerator can be seen in a number of Fincher's
films.[52]
Personal life Edit

Fincher married model–photographer Donya Fiorentino (born 1967) in 1990 and divorced in
1995.[53] They have a daughter, Phelix Imogen Fincher (born 1994).[54] Fincher is currently
married to producer Ceán Chaffin.[55]
Filmography Edit
As director Edit
Film Edit
Year Title Director Producer Executive producer
1992 Alien 3 Yes
1995 Seven Yes
1997 The Game Yes
1999 Fight Club Yes
2001 The Hire (Short films) Yes
2002 Panic Room Yes
2007 Zodiac Yes
2008 The Curious Case of Benjamin Button Yes
2010 The Social Network Yes
2011The Girl with the Dragon Tattoo Yes
2014 Gone Girl Yes
Television Edit
Year Title Director Producer Executive producer Notes
2013–present House of Cards Yes Yes Directed 2 episodes
2017–present Mindhunter Yes Yes Directed 4 episodes
Additional credits Edit
Year Title Director Producer Executive producer Other
1983 Return of the Jedi Assistant cameraman
1983 Twice Upon a Time Special photographic effects
1984 Indiana Jones and the Temple of Doom Matte photography
1984 The NeverEnding Story Matte photography assistant
2004 Murder by Numbers Interviewee
2005 Lords of Dogtown Yes
2006 Love and Other Disasters Yes
2012 Side by Side Interviewee
2015 Hitchcock/Truffaut Interviewee
2018 The Girl in the Spider's Web Yes
Music videos Edit
As a music video director, Fincher has won two Grammy Awards for Best Music Video, for his
work in "Love Is Strong" by The Rolling Stones (1995) and "Suit & Tie" by Justin Timberlake and
Jay-Z (2013), and three MTV Video Music Awards for Best Direction, being one of the most
awarded directors in the category, alongside Spike Jonze. He also earned back-to-back MTV
Video Music Awards for Best Direction in 1989 for "Express Yourself" and in 1990 for "Vogue".
In 1990, he earned three of the four available nominations in the Best Direction category.
"Dance This World Away", Rick Springfield (1984)

"Celebrate Youth", Rick Springfield (1984)
"Bop Til You Drop", Rick Springfield (1984)
"Shame", The Motels (1985)
"Shock", The Motels (1985)
"Celebrate Youth", Rick Springfield (1985)
"All The Love In The World", The Outfield (1986)
"We Don't Have to Take Our Clothes Off", Jermaine Stewart (1986)
"Everytime You Cry", The Outfield (1986)
"One Simple Thing", Stabilizers (1986)
"Stay", Howard Hewett (1986)
"She Comes On", Wire Train (1987)
"Endless Nights", Eddie Money (1987)
"Downtown Train", Patty Smyth (1987)
"I Don't Mind At All", Bourgeois Tagg (1987)
"Notorious", Loverboy (1987)
"Love Will Rise Again", Loverboy (1987)
"Johnny B", The Hooters[56] (1987)
"Storybook Love", Willy DeVille (from The Princess Bride) (1987)
"Can I Hold You", Colin Hay (1987)
"No Surrender", The Outfield (1987)
"Say You Will", Foreigner (1987)
"Don't Tell Me The Time", The Motels (1987)
"Tell It To the Moon", The Motels (1988)
"Heart of Gold", Johnny Hates Jazz (1988)
"Englishman in New York", Sting[56] (1988)
"Shattered Dreams" (second version),
Johnny Hates Jazz (1988)
"Get Rhythm", Ry Cooder (1988)
"Most of All", Jody Watley (1988)
"Roll With It", Steve Winwood[56] (1988)
"(It's Just) The Way That You Love Me" (version 1988), Paula Abdul (1988)
"Holding On", Steve Winwood (1988)
"Heart", Neneh Cherry (1989)
"Bamboleo" (second version), Gipsy Kings (1989)
"Straight Up", Paula Abdul[56] (1989)
"Most of All", Jody Watley (1989)
"Real Love", Jody Watley (1989)
"Bamboleo" (third version), Gipsy Kings (1989)
"She's a Mystery to Me", Roy Orbison (1989)
"Forever Your Girl", Paula Abdul (1989)
"Express Yourself", Madonna[56][57] (1989)
"The End of the Innocence", Don Henley (1989)
"Cold Hearted", Paula Abdul[57] (1989)
"(It's Just) The Way That You Love Me" (version 1989), Paula Abdul (1988)
"Oh Father", Madonna (1989)
"Janie's Got a Gun", Aerosmith[56][57] (1989)
"Vogue", Madonna (1990)
"Cradle of Love", Billy Idol[56] (1990)
"Should She Cry", Wire Train (1990)
"L.A. Woman", Billy Idol[58] (1990)
"Freedom '90", George Michael[56] (1990)
"Who Is It?", Michael Jackson[59][60] (1992)
"Bad Girl", Madonna (1993)
"Love Is Strong", The Rolling Stones (1994)
"6th Avenue Heartache", The Wallflowers[57] (1996)
"Judith", A Perfect Circle[57] (2000)
"Only", Nine Inch Nails[61] (2005)
"Suit & Tie", Justin Timberlake and Jay-Z[62] (2013)
Recurring collaborators Edit
Actor Alien 3 Seven The Game Fight Club Panic Room Zodiac The Curious
Case of Benjamin Button The Social Network The Girl with the Dragon Tattoo House
of Cards Gone Girl Mindhunter World War Z Sequel Total
Brad Pitt Yes Yes Yes Yes 4
Richmond Arquette Yes Yes Yes Yes 4
David Clennon Yes Yes 2
Elias Koteas Yes Yes 2
Holt McCallany Yes Yes Yes 3
Jared Leto Yes Yes 2
John Getz Yes Yes 2
Joel Kinnaman Yes Yes 2
Kevin Spacey Yes Yes 2
Lee Norris Yes Yes 2
Mahershala Ali Yes Yes 2
Mark Boone Junior Yes Yes 2
Robin Wright Yes Yes 2
Rooney Mara Yes Yes 2
Zach Grenier Yes Yes 2
Crew Seven The Game Fight Club Panic Room Zodiac The Curious Case of
Benjamin Button The Social Network The Girl with the Dragon Tattoo Gone Girl
Total
Angus Wall Yes Yes Yes Yes Yes 5
Atticus Ross Yes Yes Yes 3
Ceán Chaffin Yes Yes Yes Yes Yes Yes Yes Yes 8
Darius Khondji Yes Yes 2
Harris Savides Yes Yes 2
Howard Shore Yes Yes Yes 3
James Haygood Yes Yes Yes 3
Jeff Cronenweth Yes Yes Yes Yes 4
Kirk Baxter Yes Yes Yes Yes 4
Scott Rudin 2
Trent Reznor 3
Reception Edit
Critical reception Edit
Film Rotten Tomatoes Metacritic
Alien3 44% (45 reviews)[63] 59 (20 reviews)[64]
Seven 80% (70 reviews)[65] 65 (22 reviews)[66]
The Game 72% (53 reviews)[67] 61 (19 reviews)[68]
Fight Club 79% (162 reviews)[69] 66 (35 reviews)[70]
Panic Room 76% (182 reviews)[71] 65 (36 reviews)[72]
Zodiac 89% (233 reviews)[73] 78 (40 reviews)[74]
The Curious Case of Benjamin Button 72% (238 reviews)[75] 70 (37 reviews)[76]
The Social Network 96% (290 reviews)[77] 95 (42 reviews)[78]
The Girl with the Dragon Tattoo 86% (224 reviews)[79] 71 (41 reviews)[80]
Gone Girl 88% (295 reviews)[81] 79 (49 reviews)[82]
Box office performance Edit
Film Studio Release date Box office gross Budget Reference
North AmericaOther territories Worldwide
Alien3 20th Century Fox May 22, 1992 $55,473,545 $104,340,953 $159,814,498 $50
million [83]
Seven New Line Cinema September 22, 1995 $100,125,643 $227,186,216 $327,311,859
$33 million [84]
The Game PolyGram September 12, 1997 $48,323,648 $61,100,000 $109,423,648
$50 million [85]
Fight Club 20th Century Fox October 15, 1999 $37,030,102 $63,823,651 $100,853,753
$63 million [86]
Panic Room ColumbiaMarch 29, 2002 $96,397,334 $100,000,081 $196,397,415 $48
million [87]
Zodiac Paramount / Warner Bros. March 2, 2007 $33,080,084 $51,705,830 $84,785,914
$65 million [88]
The Curious Case of Benjamin Button December 25, 2008 $127,509,326 $206,422,757
$333,932,083 $150 million [89]
The Social Network ColumbiaOctober 1, 2010 $96,962,694 $127,957,621 $224,920,315
$40 million [90]
The Girl with the Dragon Tattoo Columbia / Metro-Goldwyn-Mayer December 20, 2011
$102,068,888 $130,101,637 $232,617,430 $90 million [91]
Gone Girl 20th Century Fox October 3, 2014 $167,238,510 $199,700,000 $366,938,510
$61 million [92]
Total $858,764,264 $1,246,038,476 $2,136,548,250 $650 million
Accolades Edit
Main article: List of awards and nominations received by David Fincher
Year Work Award Result
1992 Alien 3 Saturn Award for Best Science Fiction Film Nominated
Saturn Award for Best Director Nominated
Hugo Award for Best Dramatic Presentation Nominated
1999 Fight Club Online Film Critics Society Award for Best Director Nominated
2007 Zodiac Palme d'Or Nominated
Saturn Award for Best Action or Adventure Film Nominated
London Film Critics' Circle Award for Director of the Year Nominated
Toronto Film Critics Association Award for Best Director Nominated
2008 Bodil Award for Best American Film Nominated
Empire Award for Best Director Nominated
The Curious Case of Benjamin Button London Film Critics' Circle Award for Director of the Year
Won
National Board of Review Award for Best Director Won
Dallas–Fort Worth Film Critics Association Award for Best Director Nominated
Directors Guild of America Award for Outstanding Directing – Feature Film Nominated
New York Film Critics Circle Award for Best Director Nominated
SFX Award for Best Director Nominated
Vancouver Film Critics Circle Award for Best Director Won
2009 Academy Award for Best Director Nominated
BAFTA Award for Best Direction Nominated
Golden Globe Award for Best Director Nominated
Saturn Award for Best Fantasy Film Won
Saturn Award for Best Director Nominated
2010 The Social Network Boston Society of Film Critics Award for Best Director
Won
César Award for Best Foreign Film Won
Chicago Film Critics Association Award for Best Director Won
Dallas–Fort Worth Film Critics Association Award for Best Director Won
David di Donatello for Best Foreign Film Nominated
Film Critics Circle of Australia for Best Foreign Film Won
Florida Film Critics Circle Award for Best Director Won
Las Vegas Film Critics Society Award for Best Director Won
London Film Critics' Circle Award for Director of the Year Won
Los Angeles Film Critics Association Award for Best Director Won
Nastro d'Argento for Best Non-European Director Nominated
National Board of Review Award for Best Director Won
National Society of Film Critics Award for Best Director Won
New York Film Critics Circle Award for Best Director Nominated
Phoenix Film Critics Society Award for Best Director Nominated
Robert Festival for Best American Film Nominated
Russian Guild of Film Critics for Best Foreign Film Nominated
San Diego Film Critics Society Award for Best Director Nominated
San Francisco Film Critics Circle Award for Best Director Won
Southeastern Film Critics Association Award for Best Director Won
Toronto Film Critics Association Award for Best Director Won
Vancouver Film Critics Circle Award for Best Director Won
Washington D.C. Area Film Critics Association Nominated
2011Critics' Choice Movie Award for Best Director Won
Empire Award for Best Director Nominated
Bodil Award for Best American Film Nominated
Golden Globe Award for Best Director Won
Satellite Award for Best Director Won
BAFTA Award for Best Direction Won
Academy Award for Best Director Nominated
2012 The Girl with the Dragon Tattoo Saturn Award for Best Horror or Thriller Film
Won
2013 House of Cards Peabody Award[93]Won
Primetime Emmy Award for Outstanding Directing for a Drama Series Won
Primetime Emmy Award for Outstanding Drama Series Nominated
2014 Nominated
Gone Girl Saturn Award for Best Thriller Film Won
Iowa Film Critics Association Award for Best Director Runner-up
Dallas–Fort Worth Film Critics Association Award for Best Director Nominated
Dorian Award for Film Director of the Year Nominated
Phoenix Film Critics Society Award for Best Director Nominated
San Diego Film Critics Society Award for Best Director Nominated
St. Louis Gateway Film Critics Association Award for Best Director Nominated
Washington D.C. Area Film Critics Association Award for Best Director Nominated
2015 Golden Globe Award for Best Director Nominated
Satellite Award for Best Director Nominated
House of Cards Primetime Emmy Award for Outstanding Drama Series Nominated
2016 Nominated
His films Zodiac and The Social Network are ranked in the BBC's 100 Greatest Films of the 21st
Century list.[94]
References Edit
^ a b "The Membership > Obituaries: Howard Kely "Jack" Fincher" (PDF). 9 (2). Wolfensberger:
Newsletter of the Wolfensberger Family Association. May 2003. p. 3. Archived (PDF) from the
original on November 18, 2016. Retrieved November 4, 2010. He is survived by ... and David
Andrew Leo Fincher. David Fincher is a Hollywood motion picture director...
^ Davies, Gareth A (December 23, 2008). "Forrest Griffin to show his police brutality". The Daily
Telegraph. London. Archived from the original on September 11, 2015. Retrieved May 1,
2010. ...David Leo Fincher, the American film director and music video director...
^ "The 21st Century's 100 greatest films". BBC. August 23, 2016. Retrieved January 31, 2017.
^ a b c "David Fincher: Director (1962–)". Biography.com (FYI / A&E Networks). Archived
from the original on September 16, 2014. Retrieved August 25, 2017.
^ Hochman, David (September 19, 1997). "David Fincher gets back in 'The Game'". Entertainment
Weekly. Archived from the original on April 21, 2009. Retrieved October 11, 2014. (Archived
article on two pages headlined "Game Boy")
^ a b c d e f g h Rebello, Stephen (September 16, 2014). "Playboy Interview: David Fincher".
Playboy. Retrieved October 14, 2014.
^ Swallow, James (2003). "Dark and Light". Dark Eye: The Films of David Fincher. Reynolds &
Hearn. p. 11. ISBN 1-903111-52-8.
^ "David Fincher: A Life in Pictures". BAFTA. September 19, 2014. Archived from the original on
August 13, 2017. Retrieved August 17, 2015.
^ Mottram, James (February 1, 2009). "David Fincher: "Awards are just icing on the cake"". The
Independent. Retrieved October 11, 2014.
^ a b c Goldberg, Matt (September 21, 2014). "The Work of David Fincher: Introduction,
Commercials, Music Videos, and 'The Beat of the Live Drum'". Collider. Archived from the
original on August 18, 2017. Retrieved August 27, 2016.
^ Hyman, Nick (August 31, 2010). "Ranked: Music Video Directors Turned Film Directors".
Metacritic. Archived from the original on January 12, 2017. Retrieved August 27, 2016.
^ Pearce, Garth (1991). "Alien3: Set Visit To A Troubled Sequel". Empire. Archived from the
original on July 3, 2015.
^ "Alien3 (1992)". Rotten Tomatoes. Retrieved August 27, 2016.
^ Ebert, Roger (October 15, 1999). "Fight Club". Chicago Sun-Times. Archived from the original
on April 5, 2007. Retrieved March 23, 2007.
^ Director's Cut: Picturing Hollywood in the 21st Century. Bloomsbury Academic. ASIN
082641902X. ISBN 978-0826419026.
^ Salisbury, Mark; Fincher, David (January 18, 2009). "Transcript of the Guardian interview with
David Fincher at BFI Southbank". The Guardian. Retrieved August 27, 2016.
^ "The 65th Academy Awards (1993) Nominees and Winners". Academy of Motion Picture Arts
and Sciences (AMPAS). Retrieved August 27, 2016.
^ Trenholm, Richard (May 5, 2015). "David Fincher returns to his Vogue-ing video days in new
comedy". CNET. Retrieved August 27, 2016.
^ a b Taubin, Amy (January 1996). "The Allure of Decay". Sight and Sound. p. 24.
^ Couch, Aaron (January 13, 2017). "'Seven' Screenwriter on How a Mix-Up With David Fincher
Led to Its Gutsy Ending". The Hollywood Reporter. Retrieved March 23, 2018.
^ Turan, Kenneth (September 22, 1995). "'Seven' Offers a Punishing Look at Some Deadly Sins".
Los Angeles Times. Retrieved March 23, 2018.
^ "Seven". Box Office Mojo. 1995. Retrieved 2010-09-14.
^ Wrathall, John (January 1996). "Seven". Sight and Sound. p. 50.
^ Ebert, Roger (July 18, 2011). "Seven (1995)". Chicago Sun-Times. Retrieved March 12, 2018.
^ Puchko, Kristy (October 6, 2014). "28 David Fincher Music Videos, Ranked". Vulture.
^ a b McCarthy, Todd (September 5, 1997). "The Game". Variety. Retrieved March 25, 2018.
^ Salisbury, Mark (April 9, 1999). "Butcher my script and I'm outta here". The Guardian.
^ "The Game Reviews". Metacritic. Retrieved March 23, 2018.
^ Fleming, Michael (August 19, 1997). "Thornton holds reins of 'Horses'". Variety. Archived from
the original on October 11, 2007. Retrieved March 23, 2007.
^ Entertainment Weekly – Review of Fight Club (1999). October 15, 1999
^ Entertainment Weekly – The 50 Essential DVDs. January 19, 2001
^ Total Film. "Who is the greatest?". Total Film. Retrieved September 23, 2010.
^ Zodiac Director's Cut DVD, 2nd Disc, Visual Effects featurette.
^ Best of 2007 « CriticsTop10. Criticstop10.com. Retrieved on 2014-02-01.
^ "2007 Box Office". Box Office Report. January 6, 2009. Retrieved September 23, 2010.
^ Nominees. 80th Annual Academy Awards. Academy of Motion Picture Arts and Sciences.
oscars.org
^ "Confirmed: Eisenberg, Timberlake and Garfield Cast in David Fincher's The Social
Network". /Film. September 22, 2009. Archived from the original on March 11, 2017. Retrieved
September 23, 2010.
^ Brooks, Xan (January 17, 2011). "Golden Globes: Colin Firth crowned while The Social
Network wins lion's share". Guardian. London. Retrieved January 20, 2011.
^ "Trent Reznor Scoring David Fincher's Version of "The Girl With the Dragon Tattoo"".
Slashfilm. January 7, 2011. Retrieved March 24, 2011.
^ O'Connell, Michael (April 10, 2012). "Netflix Launching Entire Run of David Fincher's 'House
of Cards' in One Day". The Hollywood Reporter.
^ House of Cards | Academy of Television Arts & Sciences. Emmys.com. Retrieved on 2014-02-
01.
^ "David Fincher may have found next 'Girl'". Variety. January 22, 2013.
^ "Ben Affleck To Star In David Fincher's 'Gone Girl' For Fox/New Regency Before Directing
Warner Bros' 'Live By Night'". July 11, 2013.
^ "David Fincher and James Ellroy Developing HBO Series Shakedown - /Film". Slashfilm.com.
2014-12-18. Retrieved 2016-11-07.
^ James White (2015-10-09). "David Fincher Will Direct The Full First Season Of HBO's Utopia |
News | Movies - Empire". gb: Empireonline.com. Retrieved 2016-11-07.
^ Andreeva, Nellie (2014-12-18). "David Fincher Shepherding HBO Comedy About 1980s Music
Video Industry". Deadline. Retrieved 2016-11-07.
^ Rodrigo Perez (2016-05-22). "David Fincher's 'Utopia' With Rooney Mara Is Dead At HBO,
'Videosyncrazy' Might Be DOA Too". IndieWire. Retrieved 2016-11-07.
^ Chitwood, Adam (June 13, 2017). "'Mindhunter' Release Date Reveals Exactly When You Can
Watch David Fincher's New Netflix Series". Collider. Retrieved June 14, 2017.
^ Nolfi, Joel. "Mindhunter trailer: David Fincher returns to Netflix with new drama".
Entertainment Weekly. Retrieved September 12, 2017.
^ McClintock, Pamela (June 21, 2017). "Paramount's Jim Gianopulos on Starting Over, His Fox
Exit and Reviving a Struggling Studio". The Hollywood Reporter. Retrieved September 12, 2017.
^ "David Fincher • Great Director profile • Senses of Cinema". Sensesofcinema.com. 2002-04-24.
Retrieved 2016-11-07.
^ "David Fincher - And the Other Way is Wrong". YouTube. 2014-10-01. Retrieved 2016-11-07.
^ Walker, Tim (October 8, 2010). "David Fincher: All the best connections". The Independent.
^ Mottram, James (December 18, 2011). "The anti-social network: Why David Fincher is the
perfect man for 'The Girl With The Dragon Tattoo'". The Independent. Retrieved August 27, 2016.
^ Pierce, Nev (2014-09-27). "David Fincher on Gone Girl: 'Bad things happen in this movie…'".
The Guardian. ISSN 0261-3077. Retrieved 2016-02-19.
^ a b c d e f g h "10 Music Videos Directed by David Fincher". unrealitymag.com. March 20,
2009. Retrieved August 5, 2013.
^ a b c d e Basham, David (March 30, 2000). "David Fincher To Direct A Perfect Circle Video".
MTV.com. Retrieved August 5, 2013.
^ "Demo Reel (Billy Idol's "LA Woman")". IMDb. Retrieved August 5, 2013.
^ "Michael Jackson – Who Is It on Vimeo". Vimeo. July 20, 2009. Retrieved August 5, 2013.
^ Dash, Anil (June 26, 2009). "The Best Music Video Michael Jackson Ever Released".
dashes.com. Retrieved August 5, 2013.
^ "Digital Domain Productions". Digital Domain. Retrieved August 5, 2013.
^ "Justin Timberlake – Suit & Tie (Official) ft. JAY Z". YouTube. Retrieved August 5, 2013.
^ "Alien 3 Movie Reviews, Pictures". Rotten Tomatoes. Retrieved November 7, 2014.
^ "Alien 3 Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com. September 29,
2014. Retrieved October 6, 2014.
^ "Seven (Se7en) Movie Reviews, Pictures". Rotten Tomatoes. Retrieved May 21, 2014.
^ "Se7en Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com. September 27,
1999. Retrieved September 23, 2010.
^ "The Game Movie Reviews, Pictures". Rotten Tomatoes. Retrieved September 23, 2010.
^ "The Game Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com. September 27,
^ "Fight Club Movie Reviews, Pictures". Rotten Tomatoes. Retrieved September 23, 2010.
^ "Fight Club Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com. October 29,
^ "Panic Room Movie Reviews, Pictures". Rotten Tomatoes. Retrieved September 23, 2010.
^ "Panic Room Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com. January 23,
^ "Zodiac Movie Reviews, Pictures". Rotten Tomatoes. Retrieved September 23, 2010.
^ "Zodiac Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com. November 28,
^ "The Curious Case of Benjamin Button Movie Reviews, Pictures". Rotten Tomatoes. Retrieved
September 23, 2010.
^ "The Curious Case of Benjamin Button Reviews, Ratings, Credits, and More at Metacritic".
Metacritic.com. May 28, 2008. Retrieved September 23, 2010.
^ "The Social Network Movie Reviews, Pictures". Rotten Tomatoes. September 18, 2010.
Retrieved September 29, 2010.
^ The Social Network. Metacritic. Retrieved 2010-09-14.
^ "The Girl with the Dragon Tattoo Movie Reviews, Pictures". Rotten Tomatoes. Retrieved
December 31, 2011.
^ The Girl with the Dragon Tattoo. Metacritic. Retrieved 2011-12-31.
^ "Gone Girl Movie Reviews, Pictures". Rotten Tomatoes. Retrieved November 7, 2014.
^ "Gone Girl Reviews - Metacritic". Metacritic.com.
^ "Alien 3 (1992)". Box Office Mojo.
^ "Seven (1995)". Box Office Mojo.
^ "The Game (1997)". Box Office Mojo.
^ "Fight Club (1999)". Box Office Mojo.
^ "Panic Room (2002)". Box Office Mojo.
^ "Zodiac (2007)". Box Office Mojo.
^ "The Curious Case of Benjamin Button (2008)". Box Office Mojo.
^ "The Social Network (2010)". Box Office Mojo. Retrieved January 15, 2011.
^ "The Girl with the Dragon Tattoo (2011)". Box Office Mojo. Retrieved March 3, 2011.
^ "Gone Girl (2014)". Box Office Mojo. Retrieved November 7, 2014.
^ 73rd Annual Peabody Awards, May 2014.
Waxman, Sharon, ed. (2005). Rebels on the Backlot: Six Maverick Directors and How They
Conquered the Hollywood Studio System. HarperEntertainment.
External links Edit
Wikimedia Commons has media related to David Fincher.
Wikiquote has quotations related to: David Fincher
David Fincher on IMDb
David Fincher at AllMovie
David Fincher at MVDbase.com
David Fincher at Senses of Cinema: Great Directors Critical Database
David Fincher at Rotten Tomatoes
Interviews Edit
Feraci, Devin (January 8, 2008). "EXCLUSIVE INTERVIEW: DAVID FINCHER (ZODIAC
DVD)". CHUD.
Foley, Jack. "Zodiac - David Fincher interview". IndieLondon.
Foundas, Scott (January 9, 2008). "David Fincher discusses Zodiac's rising star". LA Weekly.
Guyot, Paul (2007). "David Fincher - Seven & Fight Club". DVD Talk.
Horowitz, Josh (January 2, 2008). "David Fincher Didn't Want To Make 'Another Serial-Killer
Movie' … Until 'Zodiac' Came Along - Part I". MTV News.
Horowitz, Josh (January 4, 2008). "David Fincher Discusses Reunion With Brad Pitt, Possible
'Fight Club' Musical. He also details the 'Alien 3' he never got the chance to make". MTV News.
Mockenhaupt, Brian (March 1, 2007). "The Curious Case of David Fincher". Esquire.
Smith, Gavin (September–October 1999). "Film Comment: Gavin Smith goes one-on-one with
David Fincher". Inside Out.
Awards and achievements
National Board of Review
Preceded by
Tim Burton
for Sweeney Todd: The Demon Barber of Fleet Street Best Director
for The Curious Case of Benjamin Button
2008 Succeeded by
Clint Eastwood
for Invictus
National Board of Review
Preceded by
Clint Eastwood
for Invictus Best Director
for The Social Network
2010 Succeeded by
Martin Scorsese
for Hugo
Last edited 10 days ago by Kailash29792
Wikipedia


Wikipedia
Quentin Tarantino
Actor, director, guionista y productor de cine estadounidense
Quentin Jerome Tarantino (Knoxville, Tennessee, 27 de marzo de 1963) es un director, guionista,
productor y actor estadounidense. Sus películas se caracterizan por una narrativa no lineal, temas
satíricos, una estilización de la violencia, extensas escenas de diálogos, repartos corales con
actores consagrados junto a otros menos conocidos, referencias a la cultura popular, bandas
sonoras que contienen canciones y partituras de 1960 a 1980 y algunas características del cine
neo-noir.[cita requerida]
Quentino Tarantino
Quentin Tarantino by Gage Skidmore.jpg
Quentin Jerome Tarantino
Nacimiento
27 de marzo de 1963 Ver y modificar los datos en Wikidata (55 años)
Knoxville, Tennessee, Estados Unidos Ver y modificar los datos en Wikidata
Nacionalidad
Familia
Padre
Tony Tarantino Ver y modificar los datos en Wikidata
Pareja
Mira Sorvino
Didem Erol Ver y modificar los datos en Wikidata
Ocupación
Actor, guionista, director de cine, productor de cine, actor de cine, escritor, editor de cine y actor
de televisión Ver y modificar los datos en Wikidata
Cargos ocupados
Presidente del jurado del Festival de Cannes (2004) Ver y modificar los datos en Wikidata
Años activo
desde 1983
Género
Cine independiente y cine de acción Ver y modificar los datos en Wikidata
Miembro de
Academia Estadounidense de las Artes y las Ciencias Ver y modificar los datos en Wikidata
Firma
Tarantino signature.png
Web
Facebook
QuentinTarantino Ver y modificar los datos en Wikidata
«Tarantino» redirige aquí. Para el futbolista español, véase Francisco Javier Tarantino.
Su carrera comenzó a finales de la década de 1980, cuando escribió y dirigió My Best Friend's
Birthday, cuyo guion sería la base del argumento de la película True Romance —Tony Scott, 1993
—. En 1992 inició su carrera como cineasta independiente con el estreno de Reservoir Dogs,
considerada por la revista Empire como «la mejor película independiente de todos los tiempos».
[cita requerida] Su popularidad no hizo sino crecer con su segundo largometraje, Pulp Fiction
(1994), una comedia negra de historias cruzadas que se convirtió en un enorme éxito de crítica y
público. El semanario Entertainment Weekly la designó como la mejor película estrenada entre
1983 y 2008[1] y algunos críticos del British Film Institute la han colocado en el número 127 de
las mejores películas de todos los tiempos.[2] En Jackie Brown (1997) Tarantino rinde homenaje
al género blaxploitation.
Seis años después, en la película dividida en dos partes Kill Bill (2003, 2004), ofreció un relato de
venganza que aúna tradiciones cinematográficas del cine de kung-fu, artes marciales japonesas,
spaghetti western y terror italiano. En 2007 dirigió Death Proof, una de las entregas de Grindhouse
junto a su amigo Robert Rodriguez, y dos años después estrenó un proyecto largamente pospuesto
y bien valorado por la crítica,[cita requerida] Inglourious Basterds, que cuenta una historia ficticia
alternativa sobre dos planes para asesinar a los líderes políticos de la Alemania nazi. En 2012 con
Django Unchained Tarantino filmó su primer wéstern, centrado en el mundo esclavista del sur de
Estados Unidos justo antes de la Guerra de Secesión, y que con una recaudación de 425 millones
de dólares se alzó como su película con mayores ganancias en taquilla. Su octavo largometraje,
The Hateful Eight (2015), es un wéstern de misterio en el que rinde homenaje a las películas de
gran presupuesto de 1960 y 1970 y fue rodado en película de 70 mm.
El cine de Tarantino ha sido elogiado por la crítica y ha gozado del favor del público general, que
lo ha convertido en un éxito comercial.[cita requerida] Por ello, ha recibido numerosos galardones,
como dos premios Óscar, dos Globos de Oro, dos premios BAFTA y la Palma de Oro del Festival
de Cannes. En 2005 la revista Time lo incluyó en su lista de las 100 personas más influyentes[3] y
el cineasta e historiador Peter Bogdanovich también afirmó que es «el director más influyente de
su generación».[4] En diciembre de 2015, Tarantino recibió una estrella en el Paseo de la Fama de
Hollywood por sus contribuciones a la industria del cine.[5]
Primeros años Editar

Nació en Knoxville, Tennessee, en 1963, hijo de Tony Tarantino, actor y músico amateur nacido
en Queens, y Connie McHugh, una enfermera.[6] Su padre es de ascendencia italiana (su
bisabuelo era originario de Palermo)[7] y su madre es de ascendencia inglesa, irlandesa y
alemana;[7][8][9] Tarantino ha afirmado que posee ascendencia cheroqui por parte materna,
aunque esto no ha sido verificado.[7][10] El nombre de Tarantino hace referencia a un personaje
de una serie de televisión, el herrero mestizo Quint interpretado por Burt Reynolds en Gunsmoke.
Fue criado por su madre, ya que sus padres se separaron antes de nacer.[11] Cuando tenía dos
años, se trasladaron a Torrance, al sur de Los Ángeles, y más tarde al barrio de Harbor City, donde
asistió a la escuela superior Fleming Junior en Lomita, y tomó clases de teatro.[11] En su barrio
había una mezcla de gente diferentes razas por lo que estuvo expuesto a una gran variedad de
influencias cinematográficas y de culturas populares, como por ejemplo las películas de artes
marciales, que se seguían poniendo en los barrios negros después de que la fiebre del kung-fu se
trasladara a otros sitios. Tarantino se las apañó para seguir viéndolas hasta bien entrados los años
70. Asistió a la escuela superior de Narbonne en Harbor City durante un año antes de abandonarla
a los 15 años para dedicarse a tiempo completo a tomar clases de interpretación en la James Best
Theater Company en Toluca Lake.[12]
Se puso a trabajar en el videoclub Video Archives en Manhattan Beach junto a otros entusiastas
del cine, entre ellos Roger Avary, donde discutían de cine y de las recomendaciones a los clientes.
Prestó mucha atención a los tipos de películas que le gustaba alquilar a la gente y ha citado la
experiencia como fuente de inspiración para su carrera como director.[13] El propio Tarantino ha
dicho: "Cuando la gente me pregunta si fui a la escuela de cine les digo, no te importa ‘".[10]
Carrera cinematográfica Editar

Empezó a escribir junto con Avary y otros amigos, pasó varios frustrantes años escribiendo e
intentando poner en marcha dos guiones que pretendían ser su debut como director. En parte como
consecuencia de lo difícil que resultaba poder hacer una "película de verdad" para un escritor
desconocido como director, escribió en 1991 Reservoir Dogs, con la intención de que fuera el
proyecto más minimalista que se pueda imaginar: la historia de un atraco a mano armada en la que
el robo tiene lugar fuera de la pantalla, páginas y páginas de diálogo que necesitan un solo plató.
Pretendía ser una película de 16 mm extremadamente barata con Tarantino y sus amigos de Video
Archives interpretando todos los papeles. Afortunadamente, el ambicioso productor Lawrence
Bender leyó el guion de Reservoir Dogs, le fascinó y pidió a Tarantino que le concediera un mes
para intentar convertirlo en esa "película de verdad". Fue Bender quien hizo llegar el guion al
actor Harvey Keitel y fue el entusiasmo de este lo que atrajo a varios buenos actores y, finalmente,
un presupuesto decente para la producción. Rodada en menos de un mes en Los Ángeles, con un
reparto excepcional que incluía al propio Keitel (que también se encargó de coproducirla),
Michael Madsen, Steve Buscemi, Tim Roth, Lawrence Tierney, Chris Penn y el propio Tarantino.
Reservoir Dogs fue todo un éxito, primero en el Festival de Cine de Sundance[14] y después en
todo el mundo.
De repente, Tarantino estaba de moda y los dos guiones en los que había estado trabajando antes
de Reservoir Dogs se vendieron enseguida: True Romance (Amor a quemarropa, 1992, dirigida
por Tony Scott) y Natural Born Killers (Asesinos natos, reescrita y dirigida por Oliver Stone en
1993). También le ofrecieron algunos proyectos, como Speed y Men in Black,[15] pero prefirió
retirarse a Ámsterdam a trabajar en su guion de Pulp Fiction, un collage de ficción interpretado
por John Travolta y Uma Thurman estrenado en 1994, que supuso otro éxito para Tarantino y
varias nominaciones a premios, de los que consiguió la Palma de Oro en el Festival de Cannes, y
el Óscar, Globo de Oro y BAFTA al mejor guion original.
Tras esto dirigió el cuarto episodio de Four Rooms, The Man From Hollywood, un homenaje a
Alfred Hitchcock. El resto de episodios de la película fueron dirigidos por Allison Anders,
Alexandre Rockwell y Robert Rodriguez. Actuó y escribió el guion de Abierto hasta el amanecer,
largometraje que dirigió su amigo Robert Rodriguez, y que dio lugar a dos secuelas, en las cuales
Tarantino y Rodríguez sólo ejercieron como productores ejecutivos.
Su tercera película fue Jackie Brown, en 1997, que escribió y dirigió. Fue una adaptación de Rum
Punch, novela de Elmore Leonard. Un homenaje a las películas de blaxploitation, protagonizada
por Pam Grier, quien actuó en muchas de las películas del género en los años 70, y que le valió la
nominación tanto a los Globos de Oro como a los premios SAG por su papel, y el coprotagonista
Robert Foster fue nominado al Óscar en la categoría de mejor actor de reparto. Completaban este
reparto único Samuel L. Jackson (nominado también para un Globo de Oro), Robert De Niro,
Bridget Fonda y Michael Keaton.
Quentin Tarantino y Diane Kruger en la ceremonia de los Óscar 2010.

Había planeado hacer a continuación una película bélica provisionalmente titulada Inglourious
Bastards, pero lo pospuso para escribir y dirigir Kill Bill (estrenada en dos partes, Vol. 1 y Vol. 2),
una película de venganza que tomaba elementos de Wuxia (arte marcial chino), Jidaigeki (género
cinematográfico japonés) y spaghetti westerns. La protagonista de la película se basó en el
personaje (la Novia) y la trama que Uma Thurman y él habían desarrollado durante el rodaje de
Pulp Fiction. En 2005 Tarantino fue director invitado en Sin City, película dirigida por Frank
Miller y Robert Rodriguez. En ella dirige la escena del coche protagonizada por Clive Owen y
Benicio del Toro.
Su siguiente proyecto fue Grindhouse, codirigida junto a Robert Rodriguez y estrenada en 2007.
Tarantino dirigió el segmento titulado Death Proof. Su rendimiento en los cines no fue el esperado
a pesar de tener una crítica favorable.[16]
A continuación llegó la película Inglourious Basterds, una historia sobre un grupo de soldados
estadounidenses en la Francia ocupada por los nazis durante la Segunda Guerra Mundial. La
filmación comenzó en octubre de 2008.[17] La película se estrenó el 21 de agosto de 2009 (en
Estados Unidos), cosechando críticas muy positivas[18] y llegando al primer puesto de
recaudación mundial.[19] Es la película de Tarantino que mayor recaudación ha conseguido tanto
en los Estados Unidos como a nivel mundial.[20]
En 2011 comenzó la producción de Django Unchained, una película sobre Django, un exesclavo
que es rescatado por un cazarrecompensas con el que va a rescatar a su mujer de manos del dueño
de una gran plantación. La película surgió del deseo de Tarantino de hacer un spaghetti western en
el sur profundo de Estados Unidos, que Tarantino ha llamado un "southern",[21] afirmando:
"Quería hacer películas que trataran del horrible pasado de Estados Unidos con la esclavitud y
esas cosas, pero como lo hacen los spaghetti westerns, no como películas sobre un gran problema.
Quiero hacerlo como si fueran películas de género, pero se enfrentan con todo lo que Estados
Unidos nunca se ha ocupado porque se avergüenza de ello, y otros países no tratan sobre ello
porque no sienten que tengan derecho a hacerlo."[22][23] Tarantino terminó el guion el 26 de abril
de 2011, y se lo entregó a The Weinstein Company.[24] Christoph Waltz fue elegido para
interpretar a un alemán cazador de recompensas.[25] Para el papel protagonista se rumorearon
Will Smith e Idris Elba, pero finalmente Jamie Foxx fue el elegido para hacer de Django.[26]
También estaba en el reparto Samuel L. Jackson, como Stephen, un esclavo fiel; y Leonardo
DiCaprio en el papel de Calvin Candie, el dueño de la plantación Candyland, principal antagonista
en la película. Se estrenó el 25 de diciembre de 2012.[27][28][29]
En noviembre de 2013 Tarantino comentó que estaba trabajando en una nueva película, otro
western, y que no sería una secuela de Django. El 12 de enero de 2014 se reveló que su título sería
The Hateful Eight. Su producción debería de haber empezado en verano de 2014, pero tras
filtrarse el guion, Tarantino barajó la posibilidad de no hacer la película y publicar una novela en
su lugar. Comentó que el guion únicamente se lo había dejado a unos pocas personas, entre las que
estaban Bruce Dern, Tim Roth y Michael Madsen, actores que intervendrían en la película. Se
estrenó en Estados Unidos el 25 de diciembre de 2015, y lo hizo en España el 15 de enero de
2016. La historia gira en torno a una ventisca en las montañas de Wyoming y de cómo, huyendo
de ella, se encuentran en la misma diligencia un cazarrecompensas, John Ruth "la horca" (Kurt
Russell), con su prisionera Daisy Domergue (Jennifer Jason Leigh, nominada al Óscar por este
papel); un cazarrecompensas afroamericano, el Mayor Marquis Warren (Samuel L. Jackson) y el
supuesto sheriff del pueblo dónde se dirigen, Red Rock, llamado Chris Mannix (Walton Goggins).
Posteriormente, los cuatro pasajeros y el cochero O.B. Jackson (James Parks) llegan a la Mercería
de Minnie. El mexicano Bob (Demian Bichir) comenta que la propietaria del local está ausente y
él lleva el negocio mientras tanto. De modo que se refugian en el lugar junto con el ya
mencionado Bob; un británico llamado Oswaldo Mobray (Tim Roth), que es el verdugo del
pueblo; el vaquero Joe Gage (Michael Madsen) y un general confederado, el anciano Sanford
Smithers (Bruce Dern). Las tensiones entre los personajes y sus diferentes intereses e ideologías
provocarán una helada, sanguinaria y estéticamente tarantiniana, aunque progresiva, reacción en
cadena. De entre los actores que forman el reparto, también habría que mencionar a Channing
Tatum.
En 2017 comentó que quería hacer una película sobre los asesinatos de Charles Manson, siendo
éste posiblemente su siguiente y noveno proyecto como guionista y director. Si todo sale según lo
previsto por Tarantino la película se estrenará en 2019. Entre los nombres que baraja Tarantino
para formar el reparto están: Samuel L. Jackson, Margot Robbie, Leonardo DiCaprio, Brad Pitt,
Jennifer Lawrence y Tom Cruise.
ProductorEditar
En los últimos años, Tarantino ha utilizado su poder en Hollywood para dar a películas pequeñas y
extranjeras más atención de la que recibirían de otra manera. Estas películas llevan por lo general
la etiqueta "Presentado por Quentin Tarantino" o "Quentin Tarantino Presenta". La primera de
estas producciones fue en 2001 la película de artes marciales de Hong Kong Iron Monkey, que
recaudó más de $14 millones en los Estados Unidos, siete veces su presupuesto. En el año 2004
llevó la película china de artes marciales Hero a Estados Unidos. Llegó a alcanzar el #1 de
recaudación en su apertura a la taquilla ganando $53.5 millones. En 2006, la última producción
"Quentin Tarantino Presenta", Hostel, alcanzó en su fin de semana de apertura el #1 en la taquilla
con una recaudación inicial de $20.1 millones. En 2006 presentó Thai Dragon, y también es
productor de la película Hostel: Part II (2007). En 2008 produjo Hell Ride (escrita y dirigida por
Larry Bishop, que apareció en Kill Bill Vol. 2). También fue productor de la adaptación de la
novela de Elmore Leonard, Killshot (donde está acreditado como productor ejecutivo, aunque
Tarantino no estuvo asociado con la película a partir de su estreno en 2009).[30] También brindó
apoyo a la película El hombre de los puños de hierro, el debut como director de RZA, la cual se
estrenó el 2 de noviembre de 2012 en Estados Unidos[31]
Además, en 1995 Tarantino creó Rolling Thunder Pictures[32] junto con Miramax como un
vehículo para lanzar o volver a lanzar varias películas independientes y extranjeras. En 1997,
Miramax cerró la empresa debido a la "falta de interés" en las películas publicadas. Las siguientes
películas fueron publicadas por Rolling Thunder Pictures:[33] Chungking Express (1994, dir.
Wong Kar-wai), Switchblade Sisters (1975, dir. Jack Hill), Sonatine (1993, dir. Takeshi Kitano),
Hard Core Logo (1996, dir. Bruce McDonald), The Mighty Peking Man (1977, dir. Ho Meng-
Hua), Detroit 9000 (1973, dir. Arthur Marks), El más allá (1981, dir. Lucio Fulci) and Curdled
(1996, dir. Reb Braddock).
Otros proyectos potenciales Editar

Antes de Inglourious Basterds, Quentin Tarantino había pensado en hacer una película sobre los
hermanos Vega, que contaría con Michael Madsen y John Travolta retomando sus papeles de Vic
Vega (Sr. Rubio) de Reservoir Dogs y Vincent Vega de Pulp Fiction. Sin embargo, en 2007, debido
a la edad de los actores y las muertes de ambos personajes en pantalla, afirmó que el proyecto (que
tenía la intención de llamarla Double V Vega) "es muy improbable ahora".[34]
En 2009, en una entrevista para la televisión italiana, tras ser preguntado sobre el éxito de las dos
películas de Kill Bill, Tarantino dijo: "No me han preguntado acerca de la tercera", e insinuaba que
iba a hacer una tercera película Kill Bill con las palabras "¡La Novia volverá a pelear!".[35] Más
tarde ese año, en el Festival Internacional de Cine de Morelia, Tarantino anunció que le gustaría
hacer la película Kill Bill: Vol. 3. Él explicó que quería dejar pasar diez años entre el último
conflicto de la novia, a fin de dar a ella y a su hija un período de paz.[36]
Vida personal Editar

Tarantino se ha vinculado sentimentalmente con la actriz estadounidense Mira Sorvino,[37] las
directoras de cine Allison Ander y Sofia Coppola,[38] la actriz Julie Dreyfus[39] y las
comediantes Kathy Griffin[40] y Margaret Cho.[41] Mantuvo una relación de cuatro años con la
actriz australiana de origen turco Didem Erol. También ha habido rumores acerca de su relación
con Uma Thurman, a quien se refería como «su musa».[11] Sin embargo, Tarantino ha afirmado
que su relación es estrictamente platónica.[42]
Tarantino declaró: «No estoy diciendo que nunca vaya a casarme o tener un hijo antes de que
tenga 60 años. Pero he tomado la decisión, por ahora, de ir por este camino solo. Este es mi
tiempo para hacer películas».[43] También ha declarado que planea retirarse del mundo del cine a
los 60 años, para centrarse en escribir novelas y en la literatura cinematográfica. También se
muestra contrario al rumbo hacia lo digital de la industria del cine, diciendo: «Si llega un día en el
que no puedas ver películas de 35 mm en los cines y todo sea proyección digital, ni siquiera voy a
llegar a los 60».[44]
El 18 de febrero de 2010, Tarantino compró el New Beverly Cinema, un viejo cine de repertorio
que data de 1920. Tarantino permitió a los actuales propietarios seguir llevando la sala, pero de
vez en cuando hará sugerencias de programación. Tarantino dijo: «Mientras yo esté vivo, y
mientras sea rico, el New Beverly estará allí, proyectando películas rodadas en 35 mm».[45]
Harvey Weinstein Editar

En octubre de 2017, Tarantino habló en una entrevista para The New York Times sobre las
acusaciones por acoso sexual contra el productor Harvey Weinstein, con quien Tarantino había
trabajado en la mayoría de sus películas. Tarantino adimitió que sabía sobre la conducta de
Weinstein por lo menos desde mediados de la década de 1990, cuando su novia en ese entonces,
Mira Sorvino, le contó sobre su experiencia con Weinstein.[46] Tarantino criticó su propia falta de
acción con respecto a la conducta de Weinstein y admitió que "sabía lo suficiente como para hacer
más de lo que hice".[46] El autor estadounidense Anthony Bourdain acusó a Tarantino de ser
complice en los escándalos por abuso sexual de Weinstein.[47]
Influencias y estilo Editar
Robert Rodríguez y Tarantino en el año 2007. Ambos han colaborado en varios filmes
Tarantino ha creado un estilo propio y único, que combina los estilos de sus géneros favoritos,
haciendo de él uno de los más puros Auteurs recientes.[cita requerida] Él expresa sus películas
exactamente desde su punto de vista: por ejemplo, en Kill Bill, combinó el estilo de las películas
de kung fu de Sonny Chiba y los spaghetti westerns de Sergio Leone. Tarantino es el primero en
decir que está fuertemente inspirado en la trama y en el estilo por sus películas favoritas; y logra
rendir homenaje a estas, pero aún así sus películas tienen un toque único y propio.[cita requerida]
La música también es una parte muy importante de su estilo de filmación, y ha sido reconocido
por ello con el premio Music and Film en los Critics' Choice Awards en 2011.[48][49]
En 2002, en la encuesta de directores de la revista Sight & Sound, Tarantino reveló sus doce
películas favoritas: El bueno, el feo y el malo; Río Bravo; Taxi Driver; His Girl Friday; El expreso
de Corea; Todos rieron; The Great Escape; Carrie; Coffy; Dazed and Confused; Five Fingers of
Death; y Casados sin casa.[50] En 2009 afirmó que la película de acción de Kinji Fukasaku Battle
Royale era su película favorita de las estrenadas desde que se convirtiera en director en 1992.[51]
En agosto de 2007, mientras impartía un curso de cine de cuatro horas durante el 9º Festival
Internacional de Cine de Cinemanila en Manila, Tarantino citó a los directores filipinos Cirio
Santiago, Eddie Romero y Gerardo de León como iconos personales de la década de los 70,[52]
citando las películas de vampiros y de la esclavitud en las mujeres de De León, especialmente la
película Woman in cages, y describió la escena final como una "desesperación devastadora".[52]
El actor Steve Buscemi ha descrito el estilo de Tarantino a la hora de hacer cine como "lleno de
energía" y "concentrado",[53] un estilo que le ha granjeado muchos elogios en todo el mundo.
Sobre el humor, Tarantino ha dicho: "Una de las cosas que intento hacer [en mis películas] es
conseguir que la gente se ría de cosas que no son graciosas. No estoy diciendo que lo escriba
como una comedia, pero ahí hay risas".[54]
Cuando le preguntaron si es posible aprender a hacer cine y dirigir películas simplemente viendo
películas y sin estudios formales, respondió:
Sabes, es gracioso, para mí la mayoría de las escuelas de cine no te enseñan lo que necesitas para
crear tu propia estética, tu propio estilo. Y en realidad parte de convertirse en un artista es
descubrir tu estilo. Pueden enseñar a sincronizar la banda sonora con las imágenes, o puede ser
que te enseñen algunos trucos diferentes de edición o "Oh, puedes hacer esto con una cámara" y te
mostrarán algunas películas. Pero parte de convertirse en un artista es descubrir tu estilo, cuando
empiezas "me gusta esto, pero no me gusta esto otro...". Pero luego empiezas a darte cuenta de la
diferencia entre un buen trabajo y un mal trabajo, no sólo "me gusta esto, pero no me gusta esto
otro...". Y entonces comienzas a afinar tu estilo, y ya sólo es ponerlo en práctica.[54]
Epítetos raciales Editar

Spike Lee cuestionó el uso de Tarantino de epítetos raciales en sus películas, sobre todo el epíteto
racial ofensivo "nigger" (negrata). En una entrevista a Variety sobre Jackie Brown, Lee dijo: "Yo
no estoy en contra de la palabra, y la uso, pero no excesivamente. Y alguna gente habla así, pero
Quentin está enamorado de la palabra. ¿Qué es lo que quiere? ¿Que le hagan negro honorario?".
[55][56] Tarantino respondió en el talk-show de Charlie Rose afirmando:
Como escritor, exijo el derecho a escribir cualquier cosa en el mundo que quiera escribir. Exijo el
derecho a ser ellos, exijo el derecho a pensar en ellos y exijo el derecho a decir la verdad de como
los veo, ¿de acuerdo?. Y decir que yo no puedo hacer eso porque soy blanco, pero los hermanos
Hughes pueden hacerlo porque son negros, eso es racista. Ese es el corazón del racismo. Y yo no
acepto eso ... Es como un segmento de la comunidad negra que vive en Compton, que vive en
Inglewood, donde transcurre la acción de Jackie Brown, que vive en Carson, así es como ellos
hablan. Estoy diciendo la verdad. No se cuestionó si yo era negro, y me molesta que me lo
pregunten porque soy blanco. Tengo derecho a decir la verdad. No tengo derecho a mentir.[56][57]
Samuel L. Jackson, quien ha aparecido en películas de ambos directores, defendió el uso de la

palabra por parte de Tarantino, y también afirmó estar cansado de que Lee actuara como si fuera
un cargo electo y pudiera hablar en nombre de toda la gente negra.[56] En el Festival de Cine de
Berlín, donde Jackie Brown se estaba exhibiendo, Jackson respondió a las críticas de Lee,
diciendo:
No creo que la palabra resulte ofensiva en el contexto de esta película ... Los artistas negros
piensan que son los únicos autorizados a usar la palabra. Bueno, eso es una tontería. Jackie Brown
es un homenaje maravilloso a las películas de blaxploitation. Es una buena película, y Spike lleva
años sin hacer una buena película. Si yo digo la palabra, está bien, pero porque Tarantino la ha
escrito, ¿ya no está bien?[56][57]
Tarantino ha defendido su uso de la palabra, con el argumento de que las audiencias negras tienen
una apreciación de las películas blaxploitation, que tanto le influyeron, que escapa a algunos de
sus críticos, y, de hecho, que Jackie Brown, se hizo principalmente para "público negro".[58]
Según un artículo de la revista Premiere en 1995, el actor Denzel Washington también se enfrentó
con Tarantino debido al uso de insultos raciales en sus películas, aunque añadió que le consideraba
un "gran artista".[59]
Colaboradores recurrentes Editar

Actores Reservoir Dogs
(1992) Pulp Fiction
(1994) Jackie Brown
(1997) Kill Bill Vol. 1
(2003) Kill Bill Vol. 2
(2004) Death Proof
(2007) Inglourious Basterds
(2009) Django Unchained
(2012) The Hateful Eight
(2015) Once Upon a Time in Hollywood
(2019)
Laura Cayouette ✘ ✘
Julie Dreyfus ✘ ✘
Leonardo DiCaprio ✘ ✘
Sid Haig ✘ ✘
Samuel L. Jackson ✘ ✘ ✘ (Solo voz) ✘ (Solo voz) ✘ ✘
Harvey Keitel ✘ ✘ ✘ (Voz telefónica)
Michael Madsen ✘ ✘ ✘ ✘
James Parks ✘ ✘
Zoë Bell ✘ (Doble) ✘ (Doble) ✘ ✘ (Doble) ✘ ✘
Michael Parks ✘ ✘ ✘
Tim Roth ✘ ✘ ✘
Steve Buscemi✘ ✘
David Steen ✘ ✘
Brad Pitt ✘ ✘
Bo Svenson ✘ ✘
Uma Thurman ✘ ✘ ✘
Christoph Waltz ✘ ✘
Walton Goggins ✘ ✘
Bruce Dern ✘ ✘
Lee Horsley ✘ ✘
Quentin Tarantino ✘ ✘ ✘ (Voz telefónica) ✘ (cameo) ✘ (cameo) ✘ ✘ (cameo)
✘ (cameo) ✘ (Solo voz)
Filmografía[60] Editar
Artículo principal: Filmografía de Quentin Tarantino
Junto a su faceta como director, Quentin Tarantino ha aparecido como actor, al margen de sus
propias películas, en títulos como Duerme conmigo (1994), Alguien a quien amar (1994), Johnny
Destiny (1995), Desperado (1995), Abierto hasta el amanecer (1996), Girl 6 (1996), Little Nicky
(2000) Sukiyaki western Django (2007) y Planet Terror (2007).
Año Título Notas
1987 My Best Friend's Birthday
Premios[61] Editar
Premios Oscar Editar
Tarantino en los Premios César de 2014.

1995 Mejor director Pulp Fiction Nominado
Mejor guion original Ganador
2010 Mejor director Inglourious Basterds Nominado
Mejor guion original Nominado
2013 Mejor guion original Django Unchained Ganador
Mejor guion Ganador
Mejor guion Nominado
2013 Mejor director Django Unchained Nominado
Mejor guion Ganador
2015 Mejor guion The Hateful Eight Nominado
Premios BAFTA Editar
2013 Mejor director Django Unchained Nominado
Premios Emmy Editar
2006 Mejor dirección - Serie dramática Grave Danger Nominado
Festival de Cannes Editar
1994 Palma de Oro Pulp Fiction Ganador
2007 Death Proof Nominado
2009 Inglourious Basterds Nominado
Festival de Cine de Sitges Editar
1992 Mejor director Reservoir Dogs Ganador
Mejor guion Ganador
1996 Premio Máquina del Tiempo - Ganador
Otros
Reservoir Dogs ganó el Premio de la Crítica en el 4º Yubari International Fantastic Film Festival
en 1993.[62]
En 1996, Tarantino fue nominado a los Razzie en la categoría Peor actor de reparto por la película
Abierto hasta el amanecer, pero perdió contra Marlon Brando en La isla del doctor Moreau.[63]
En 2005, Quentin Tarantino ganó el premio a Icono de la Década en los 10ª edición de los Premios
Empire.[64]
El 15 de agosto de 2007, la presidenta de Filipinas Gloria Macapagal-Arroyo entregó a Tarantino
un premio por su trayectoria en el Palacio de Malacañán en Manila.[65]
En marzo de 2010, Tarantino fue premiado con la Orden al Mérito de la República de Hungría
junto con Lucy Liu y Andy Vajna por la producción del documental de 2006 Freedom's Fury.[66]
En febrero de 2011, Tarantino recibió un César Honorífico de la Academia del Cine Francés.[67]
En 2011 recibió el premio Music and Film (música y cine) en los Critics' Choice Awards.[48]
Recepción y crítica Editar
Película Rotten Tomatoes Metacritic IMDb
Todas Top
Reservoir Dogs 92%[68] 94%[68] 78[69] 8.4[70]
Pulp Fiction 93%[71] 96%[71] 94[72] 8.9[73]
Jackie Brown 86%[74] 61%[74] 64[75] 7.6[76]
Kill Bill Vol. 185%[77] 78%[77] 69[78] 8.2[79]
Kill Bill Vol. 285%[80] 81%[80] 83[81] 8.0[82]
Death Proof 64%[83] - - 7.2[84]
Inglourious Basterds 88%[85] 74%[85] 69[86] 8.3[87]
Django Unchained 88%[88] 76%[88] 81[89] 8.5[90]
The Hateful Eight 74%[91] 7.8
Referencias Editar
↑ «The New Classics: Movies». Entertainment Weekly. 8 de junio de 2007. Consultado el 29 de
septiembre de 2013.
↑ «Pulp Fiction (1994)». British Film Institute. Consultado el 12 de enero de 2018.
↑ Corliss, Richard (18 de abril de 2005). «Quentin Tarantino – The 2005 Time 100». TIME.
Archivado desde el original el 20 de octubre de 2013.
↑ Ryzik, Melena (4 de diciembre de 2012). «Tarantino Unveils 'Django,' the Shortest Long
Western». The New York Times. Consultado el 26 de febrero de 2013.
↑ Riefe, Jordan (21 de diciembre de 2015). «Quentin Tarantino Receives Star on Walk of Fame».
The Hollywood Reporter (Prometheus Global Media). Consultado el 22 de diciembre de 2015.
↑ Error en la cita: Etiqueta <ref> inválida; no se ha definido el contenido de las referencias
llamadas bio
↑ a b c «Quentin Tarantino by Ethnic» (en inglés). EthniCelebs. Consultado el 12 de abril de
2016.
↑ «3 Quentin Tarantino» (en inglés). Entertainment Weekly. 30 de diciembre de 1994.
Consultado el 24 de febrero de 2012.
↑ The Man and His Movies. New York: Harper Perennial. p. 12. ISBN 978-006095161-0.
↑ a b «Faces of the week» (en inglés). BBC. 14 de mayo de 2004. Consultado el 24 de febrero de
2012.
↑ a b c «Quentin Tarantino biography». yahoo.com (en inglés). Consultado el 29 de febrero de
2012.
↑ «Fresh Air interview with Tarantino». National Public Radio (en inglés). 28 de diciembre de
2009. Consultado el 24 de febrero de 2012.
↑ Danny Strong (19 de mayo de 2003). «An Interview with Danny Strong». IGN.com (en inglés).
Archivado desde el original el 5 de febrero de 2012. Consultado el 24 de febrero de 2012.
↑ Richard Corliss (20 de enero de 2011). «Top 10 Sundance Hits: Reservoir Dogs». TIME.com
(en inglés). Consultado el 27 de febrero de 2012.
↑ Darren Capps. «Quentin Tarantino: 5 Things You Didn't Know». AskMen.com (en inglés).
↑ «Grindhouse Movie Reviews». Rotten Tomatoes (en inglés). Consultado el 27 de febrero de
2012.
↑ Hunter Stephenson (9 de julio de 2008). «"Masterpiece" is the Buzz Word». Slashfilm (en
inglés). Consultado el 27 de febrero de 2012. (enlace roto disponible en Internet Archive; véase el
historial y la última versión).
↑ «Inglourious Basterds Movie Reviews» (en inglés). Rotten Tomatoes. Consultado el 27 de
febrero de 2012.
↑ «Weekend Report: 'Inglourious Basterds' Scalps the Box Office». Box Office Mojo (en inglés).
24 de agosto de 2009. Consultado el 27 de febrero de 2012.
↑ Brandon Gray (21 de septiembre de 2009). «Weekend Report: Moviegoers Feast on
‘Meatballs,’ Slim Pickings for ‘Jennifer’» (en inglés). Box Office Mojo. Consultado el 1 de
marzo de 2012.
↑ John Hiscock (27 de abril de 2007). «Quentin Tarantino: I'm proud of my flop». The Daily
Telegraph (en inglés) (London). Consultado el 2 de marzo de 2012.
↑ «Uma Thurman confirma que 'A Southern' es lo próximo de Tarantino». Consultado el 16 de
febrero de 2012.
↑ «Todo lo que sabemos de 'Django Unchained', lo nuevo de Tarantino». CineManía. 9 de
octubre de 2011. Consultado el 16 de febrero de 2012.
↑ «Next Tarantino Title Leaks». Daily Mail (en inglés) (London). 2 de mayo de 2011. Consultado
el 2 de marzo de 2012.
↑ Ben Child (5 de mayo de 2011). «Tarantino's Django Unchained script: The word is out». The
Guardian (en inglés) (London). Consultado el 2 de marzo de 2012.
↑ «Jamie Foxx In 'Django Unchained': Star Cast In Quentin Tarantino's Spaghetti Western».
Huffington Post.com (en inglés). 22 de junio de 2011. Consultado el 2 de marzo de 2012.
↑ Jordan Raup (14 de junio de 2011). «Quentin Tarantino’s ‘Django Unchained’ Sets 2012
Release Date». The Film Stage (en inglés). Consultado el 16 de febrero de 2012.
↑ Brad Brevet (14 de junio de 2011). «Tarantino's 'Django Unchained' Set for Christmas Day
2012 Release». Rope of Silicon (en inglés). Consultado el 16 de febrero de 2012.
↑ «Fechas de estreno de Django Unchained». IMDb. Consultado el 16 de febrero de 2012.
↑ Sebastian Haselbeck (17 de noviembre de 2008). «Killshot riding back on Rourke's Oscar
vehicle?» (en inglés). The Quentin Tarantino Archives. Consultado el 1 de marzo de 2012.
↑ «El hombre de los puños de hierro en IMDb». El hombre de los puños de hierro. Consultado el
20 de noviembre de 2012.
↑ «Rolling Thunder Pictures». The Quentin Tarantino Archives (en inglés). Consultado el 1 de
marzo de 2012.
↑ «Rolling Thunder Pictures [us]». IMDb (en inglés). Consultado el 1 de marzo de 2012.
↑ Peter Sciretta (7 de abril de 2007). «Quentin Tarantino talks Vega Brothers, the Pulp Fiction &
Reservoir Dogs sequel/prequel». Slashfilm (en inglés). Consultado el 1 de marzo de 2012. (enlace
roto disponible en Internet Archive; véase el historial y la última versión).
↑ «Quentin Tarantino Talks Kill Bill 3: The Bride Will Fight Again!». BadTaste.it (en italiano). 1
de octubre de 2009. Consultado el 1 de marzo de 2012.
↑ «Tarantino Teases 'Kill Bill Volume 3'». Bloody-disgusting.com (en inglés). Consultado el 1 de
marzo de 2012.
↑ «Mira Sorvino and Quentin Tarantino». WhosDatedWho.com (en inglés). Consultado el 29 de
febrero de 2012.
↑ «Sofia Coppola and Quentin Tarantino». WhosDatedWho.com (en inglés). Consultado el 29 de
febrero de 2012.
↑ «Julie Dreyfus and Quentin Tarantino». WhosDatedWho.com (en inglés). Consultado el 29 de
febrero de 2012.
↑ «Interview: Kathy Griffin». AskMen.com (en inglés). Consultado el 29 de febrero de 2012.
↑ Stephen Tropiano. «I'm the One That I Want» (en inglés). Consultado el 29 de febrero de 2012.
↑ «Quentin Tarantino: The Director» (en inglés). Consultado el 29 de febrero de 2012.
↑ «Quentin Tarantino – Tarantino Sacrificed Love For His Career». Contactmusic.com (en
inglés). Consultado el 29 de febrero de 2012.
↑ Simon Reynolds (16 de diciembre de 2009). «Tarantino: 'I'm going to become a novelist'».
Digital Spy (en inglés). Consultado el 29 de febrero de 2012.
↑ John Scott Lewinski (19 de febrero de 2010). «Quentin Tarantino saves L.A. theater». Reuters
(en inglés). Consultado el 1 de marzo de 2012.
↑ a b Kantor, Jodi (19 de octubre de 2017). «Tarantino on Weinstein: ‘I Knew Enough to Do
More Than I Did’». The New York Times. p. A17. Consultado el 27 de noviembre de 2017.
↑ O'Connor, Roisin (30 de octubre de 2017). «Harvey Weinstein: Anthony Bourdain accuses
Quentin Tarantino of 'complicity' in Hollywood scandal». The Independent. Consultado el 27 de
noviembre de 2017.
↑ a b «16th Annual Critics’ Choice Movie Awards (2011)». Critics' Choice (en inglés). 20 de
noviembre de 2011. Consultado el 4 de marzo de 2012.
↑ Kara Warner (14 de enero de 2011). «Quentin Tarantino Honored At Critics' Choice Movie
Awards». MTV (en inglés). Consultado el 4 de marzo de 2012.
↑ «How the directors and critics voted - Quentin Tarantino». Sight & Sound (en inglés).
↑ «Quentin Tarantino's Top 20 Favorite Films» (en inglés). Archivado desde el original el 26 de
agosto de 2009. Consultado el 4 de marzo de 2009.
↑ a b Constantino Tejero (12 de agosto de 2007). «Tarantino raves over Pinoy B-movies».
Philippine Daily Inquirer (en inglés). Consultado el 8 de marzo de 2012.
↑ Quentin Tarantino (1993). «Steve Buscemi by Quentin Tarantino». BOMB (en inglés) 42
(Winter). Consultado el 8 de marzo de 2012.
↑ a b «There is a sense of humour in all of my movies». Gomolo.com (en inglés). 1 de octubre de
2009. Archivado desde el original el 1 de febrero de 2010. Consultado el 8 de marzo de 2012.
↑ J. Douglas Allen-Taylor (9 de abril de 1998). «New Word Order». Metroactive.com (en inglés).
↑ a b c d «Samuel L. Jackson blasts Spike Lee for criticizing him for using 'n-word' in 'Jackie
Brown.'». Jet (en inglés). 9 de marzo de 1998. Consultado el 14 de marzo de 2012.
↑ a b «Quentin Tarantino defends himself against Spike Lee for criticizing him in using the 'n-
word'.». CharlieRose.com (en inglés). 26 de diciembre de 1997. Archivado desde el original el 23
de enero de 2012. Consultado el 14 de marzo de 2012.
↑ «Quentin Tarantino interview (III) with Pam Grier, Robert Forster and Lawrence Bender» (en
inglés). Londres. The Guardian. 5 de enero de 1998. Consultado el 14 de marzo de 2012.
↑ «Denzel Washington». Celebrities-Pictures.Com (en inglés). Consultado el 14 de marzo de
2012.
↑ [1]
↑ «Quentin Tarantino - Awards». IMDb (en inglés). Consultado el 16 de marzo de 2012.
↑ «Yubari International Fantastic Adventure Film Festival '93». yubarifanta.com (en inglés).
↑ «1996 RAZZIE Nominees & Winners». Razzies.com (en inglés). Archivado desde el original el
6 de diciembre de 2012. Consultado el 29 de febrero de 2012.
↑ «The Sony Ericsson Empire Awards 2005 - Icon of the Decade». EmpireOnline.com (en
inglés). Archivado desde el original el 21 de octubre de 2012. Consultado el 29 de febrero de
2012.
↑ «Tarantino rides pedicab to escape traffic to Philippine presidential palace». International
Herald Tribune (en inglés). 15 de agosto de 2007. Archivado desde el original el 5 de febrero de
2008.
↑ «56-os dokumentumfilmért kapott magyar kitüntetést Tarantino és Lucy Liu». origo.hu (en
húngaro). 16 de marzo de 2010. Consultado el 29 de febrero de 2012.
↑ «Polanski and Tarantino feted at French film awards». BBC (en inglés). 26 de febrero de 2011.
↑ a b «Rotten Tomatoes: Reservoir Dogs». Rotten Tomatoes (en inglés). Consultado el 15 de
marzo de 2012.
↑ «Metacritic of Reservoir Dogs». Metacritic (en inglés). Consultado el 15 de marzo de 2012.
↑ «IMDb: Reservoir Dogs». IMDb (en inglés). Consultado el 15 de marzo de 2012.
↑ a b «Rotten Tomatoes: Pulp Fiction». Rotten Tomatoes (en inglés). Consultado el 15 de marzo
de 2012.
↑ «Metacritic of Pulp Fiction». Metacritic (en inglés). Consultado el 15 de marzo de 2012.
↑ «IMDb: Pulp Fiction». IMDb (en inglés). Consultado el 15 de marzo de 2012.
↑ a b «Rotten Tomatoes: Jackie Brown». Rotten Tomatoes (en inglés). Consultado el 15 de marzo
de 2012.
↑ «Metacritic of Jackie Brown». Metacritic (en inglés). Consultado el 15 de marzo de 2012.
↑ «IMDb: Jackie Brown». IMDb (en inglés). Consultado el 15 de marzo de 2012.
↑ a b «Rotten Tomatoes: Kill Bill: Volume 1». Rotten Tomatoes (en inglés). Consultado el 15 de
marzo de 2012.
↑ «Metacritic of Kill Bill: Vol. 1». Metacritic (en inglés). Consultado el 15 de marzo de 2012.
↑ «IMDb: Kill Bill: Vol. 1». IMDb (en inglés). Consultado el 15 de marzo de 2012.
↑ a b «Rotten Tomatoes: Kill Bill: Volume 2». Rotten Tomatoes (en inglés). Consultado el 15 de
marzo de 2012.
↑ «Metacritic of Kill Bill: Vol. 2». Metacritic (en inglés). Consultado el 15 de marzo de 2012.
↑ «IMDb: Kill Bill: Vol. 2». IMDb (en inglés). Consultado el 15 de marzo de 2012.
↑ «Rotten Tomatoes: Death Proof». Rotten Tomatoes (en inglés). Consultado el 15 de marzo de
2012.
↑ «IMDb: Death Proof». IMDb (en inglés). Consultado el 15 de marzo de 2012.
↑ a b «Rotten Tomatoes: Inglourious Basterds». Rotten Tomatoes (en inglés). Consultado el 15 de
marzo de 2012.
↑ «Metacritic of Inglourious Basterds». Metacritic (en inglés). Consultado el 15 de marzo de
2012.
↑ «IMDb: Inglourious Basterds». IMDb (en inglés). Consultado el 15 de marzo de 2012.
↑ a b «Rotten Tomatoes: Django Unchained». Rotten Tomatoes (en inglés). Consultado el 17 de
enero de 2013.
↑ «Metacritic of Django Unchained». Metacritic (en inglés). Consultado el 17 de enero de 2013.
↑ «IMDb: Django Unchained». IMDb (en inglés). Consultado el 17 de enero de 2013.
↑ «Rotten Tomatoes: The Hateful Eight». Rotten Tomatoes (en inglés). Consultado el 22 de
diciembre de 2017.
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Wikipedia
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Wikipedia
Quentin Tarantino
"Tarantino" redirects here. For other people with the surname, see Tarantino (surname). For the
Neapolitan dialect spoken in Taranto, see Tarantino dialect.
Quentin Jerome Tarantino[1] (/ˌtærənˈtiːnoʊ/; born March 27, 1963) is an American director,
writer, and actor. His films are characterized by nonlinear storylines, satirical subject matter, an
aestheticization of violence, extended scenes of dialogue, ensemble casts consisting of established
and lesser-known performers, references to popular culture, soundtracks primarily containing
songs and score pieces from the 1960s to the 1980s, and features of neo-noir film.
Quentin Tarantino
Quentin Tarantino by Gage Skidmore.jpg
Tarantino at the 2015 San Diego Comic-Con International promoting The Hateful Eight
Born
Quentin Jerome Tarantino
March 27, 1963 (age 55)
Knoxville, Tennessee, U.S.
Occupation
Director writer actor
Years active
1987–present
Partner(s)
Daniella Pick (2009–present; engaged)
Signature
Tarantino signature.png
His career began in the late 1980s, when he wrote and directed My Best Friend's Birthday, the
screenplay of which formed the basis for True Romance. In the early 1990s, he began his career as
an independent filmmaker with the release of Reservoir Dogs in 1992, which was funded by his
sold script Natural Born Killers to Oliver Stone and coined the "Greatest Independent Film of All
Time" by Empire. Its popularity was boosted by his second film, Pulp Fiction (1994), a black
comedy crime film that was a major success both among critics and audiences. Judged the greatest
film from 1983–2008 by Entertainment Weekly,[2] many critics and scholars have named it one
of the most significant works of modern cinema.[3] For his next effort, Tarantino paid homage to
the blaxploitation films of the 1970s with Jackie Brown (1997), an adaptation of the novel Rum
Punch.
Kill Bill, a highly stylized "revenge flick" in the cinematic traditions of Kung fu films, Japanese
martial arts, Spaghetti Westerns and Italian horror, followed six years later, and was released as
two films: Volume 1 in 2003 and Volume 2 in 2004. Tarantino directed Death Proof (2007) as part
of a double feature with friend Robert Rodriguez, under the collective title Grindhouse. His long-
postponed Inglourious Basterds, which tells the fictional alternate history story of two plots to
assassinate Nazi Germany's political leadership, was released in 2009 to positive reviews. After
that came 2012's critically acclaimed Django Unchained, a Western film set in the antebellum era
of the Deep South. It became the highest-grossing film of his career so far, making over $425
million at the box office. His eighth film, the mystery Western The Hateful Eight, was released in
its roadshow version December 25, 2015, in 70 mm film format, complete with opening
"overture" and halfway-point intermission, after the fashion of big-budget films of the 1960s and
early 1970s.
Tarantino's films have garnered both critical and commercial success. He has received many
industry awards, including two Academy Awards, two Golden Globe Awards, two BAFTA Awards
and the Palme d'Or, and has been nominated for an Emmy and a Grammy. In 2005, he was
included on the annual Time 100 list of the most influential people in the world.[4] Filmmaker and
historian Peter Bogdanovich has called him "the single most influential director of his generation".
[5] In December 2015, Tarantino received a star on the Hollywood Walk of Fame for his
contributions to the film industry.[6]
Contents
Early life Edit
Tarantino was born on March 27, 1963, in Knoxville, Tennessee, the only child of Connie
McHugh and Tony Tarantino. His father is of Italian descent, and his mother has Cherokee and
Irish ancestry. Quentin was named for Quint Asper, Burt Reynolds' character in the CBS series
Gunsmoke. Quentin's mother met his father during a trip to Los Angeles, where Tony was a law
student and would-be entertainer. She married him soon after, to gain independence from her
parents, but their marriage was brief. Connie Tarantino left Los Angeles, and moved to Knoxville,
where her parents lived. In 1966, Tarantino and his mother moved back to Los Angeles where they
lived in the South Bay, in the southern part of the city. Tarantino grew up there.[7][8]
Tarantino's mother married musician Curtis Zastoupil soon after arriving in Los Angeles, and the
family moved to Torrance, a city in Los Angeles County's South Bay area. Zastoupil encouraged
Tarantino's love of movies, and accompanied him to numerous film screenings. Tarantino's mother
allowed him to see movies with adult content, such as Carnal Knowledge (1971) and Deliverance
(1972). After his mother divorced Zastoupil in 1973, and received a misdiagnosis of Hodgkin's
lymphoma, Tarantino was sent to live with his grandparents in Tennessee. He remained there for
about six months to a year, before returning to California.
His mother's next husband, to whom she was married for eight years, also took Tarantino to films.
At 14 years old, Tarantino wrote one of his earliest works, a screenplay called Captain Peachfuzz
and the Anchovy Bandit, where a thief steals pizzas from a pizzeria. It was based on Hal
Needham's 1977 film Smokey and the Bandit, starring Burt Reynolds. The summer after his 15th
birthday, Tarantino was grounded by his mother for shoplifting Elmore Leonard's novel The
Switch from Kmart. He was allowed to leave only to attend the Torrance Community Theater,
where he participated in such plays as Two Plus Two Makes Sex and Romeo and Juliet.[9]
At about 15 or 16, Tarantino dropped out of Narbonne High School in Harbor City, Los Angeles.
[10] He got a job ushering at a porn theater in Torrance, called the Pussycat Theatre, after lying
about his age. Later, attended acting classes at the James Best Theatre Company, where he met
several people who would later appear in his films. While at James Best, Tarantino also met Craig
Hamann, with whom he collaborated to produce My Best Friend's Birthday, an eventually
abandoned film project. In the 1980s, Tarantino worked in a number of places. He played one of a
group of Elvis impersonators in "Sophia's Wedding: Part 1", an episode in the fourth season of The
Golden Girls, which was broadcast on November 19, 1988. Tarantino also worked as a recruiter in
the aerospace industry, and for five years, he worked in Video Archives, a video store in
Manhattan Beach, California.[11][12] Former Buffy the Vampire Slayer actor Danny Strong
described Tarantino as a "fantastic video store clerk." "[Tarantino] was such a movie buff. He had
so much knowledge of films that he would try to get people to watch really cool movies."[12]
Film career Edit

1980s Edit
After Tarantino met Lawrence Bender at a Hollywood party, Bender encouraged him to write a
screenplay. His first attempted script, which he described as a "straight 70's exploitation action
movie" was never published and was abandoned soon after.[13] Tarantino co-wrote and directed
his first movie My Best Friend's Birthday in 1987. The final reel of the film was almost
completely destroyed in a lab fire that occurred during editing, but its screenplay later formed the
basis for True Romance.[14]
1990s Edit
Tarantino received his first paid writing assignment in the early 1990s when Robert Kurtzman
hired him to write the script for From Dusk Till Dawn.[15][16][17]
In January 1992, Tarantino's neo-noir crime thriller Reservoir Dogs—which he wrote, directed and
acted in as Mr. Brown—was screened at the Sundance Film Festival. It was an immediate hit, with
the film receiving a positive response from critics. The dialogue-driven heist movie set the tone
for Tarantino's later films. Tarantino wrote the script for the film in three-and-a-half weeks and
Bender forwarded it to director Monte Hellman. Hellman helped Tarantino to secure funding from
Richard Gladstein at Live Entertainment (which later became Artisan, now known as Lionsgate).
Harvey Keitel read the script and also contributed to the funding, taking a role as co-producer and
also playing a major part in the movie.[18]
Tarantino has had a number of collaborations with director Robert Rodriguez
Tarantino's screenplay True Romance was optioned and the film was eventually released in 1993.
The second script that Tarantino sold was for the film Natural Born Killers, which was revised by
Dave Veloz, Richard Rutowski and director Oliver Stone. Tarantino was given story credit and in
an interview stated that he wished the film well, but later disowned the final film.[19][20][21] The
film engendered enmity, and the publication of a 'tell all' book titled Killer Instinct by Jane
Hamsher—who with Don Murphy had an original option on the screenplay and produced the film
—led to Tarantino physically assaulting Murphy in the AGO restaurant in West Hollywood,
California in October 1997. Murphy subsequently filed a $5m lawsuit against Tarantino, which
was eventually settled out of court.[22] Tarantino was also an uncredited screenwriter on both
Crimson Tide (1995) and The Rock (1996).[23][24][25]
Following the success of Reservoir Dogs, Tarantino was approached by Hollywood and offered
numerous projects, including Speed and Men in Black, but he instead retreated to Amsterdam to
work on his script for Pulp Fiction.
Tarantino wrote, directed, and acted in the black comedy crime film Pulp Fiction in 1994,
maintaining the aestheticization of violence, for which he is known, as well as his non-linear
storylines. Tarantino received an Academy Award for Best Original Screenplay, which he shared
with Roger Avary, who contributed to the story. He also received a nomination in the Best Director
category. The film received another five nominations, including for Best Picture. Tarantino also
won the Palme d'Or for the film at the Cannes Film Festival. The film has grossed over $200
million and was met with critical acclaim.
After Pulp Fiction was completed, Tarantino directed the fourth segment of the anthology film
Four Rooms, "The Man from Hollywood", a tribute to the Alfred Hitchcock Presents episode
"Man From the South", which starred Steve McQueen in an adaptation of a Roald Dahl story. Four
Rooms was a collaborative effort with filmmakers Allison Anders, Alexandre Rockwell and
Robert Rodriguez. The film was very poorly received by critics. Additionally, he starred in the
action comedy Destiny Turns on the Radio as the titular character and played the "Pick-up Guy" in
Robert Rodriguez's action film Desperado in 1995.
Tarantino appeared in and wrote the script for Rodriguez's From Dusk till Dawn (1996), which
saw average reviews from the critics. It nevertheless quickly reached cult status, spawning a
continuing saga of two sequels, for which Tarantino and Rodriguez only served as executive
producers, and a 2014 television series, From Dusk till Dawn: The Series, which he received a
"based on" credit for. Also in 1996, he starred in Steven Spielberg's Director's Chair, a simulation
video game that uses pre-generated film clips.[26]
Tarantino's third feature film was Jackie Brown (1997), an adaptation of Elmore Leonard's novel
Rum Punch. A homage to blaxploitation films, it starred Pam Grier, who starred in many of the
films of that genre in the 1970s. It received positive reviews and was called a "comeback" for
Grier and costar Robert Forster.[27] Leonard considered Jackie Brown to be his favorite of the 26
different screen adaptations of his novels and short stories.[28]
2000s Edit
Tarantino had next planned to make Inglourious Basterds, as it was provisionally titled, but
postponed this to write and direct Kill Bill, a highly stylized "revenge flick" in the cinematic
traditions of Wuxia (Chinese martial arts), Jidaigeki (Japanese period cinema), spaghetti Westerns
and Italian horror. It was originally set for a single theatrical release, but its 4-hour plus running
time prompted Tarantino to divide it into two movies. Volume 1 was released in late 2003 and
Volume 2 was released in 2004. It was based on a character called The Bride and a plot that he and
Kill Bill's lead actress Uma Thurman had developed during the making of Pulp Fiction.
Tarantino in 2009
From 2002–2004, Tarantino portrayed villain McKenas Cole in the ABC television series Alias.
[29]
In 2004, Tarantino attended the 2004 Cannes Film Festival, where he served as President of the
Jury. Although Kill Bill was not in competition, Vol. 2 had an evening screening, and was also
shown on the morning of the final day in its original 3-hour plus version, with Tarantino himself
attending the full screening. Tarantino went on to be credited as "Special Guest Director" in
Robert Rodriguez's 2005 neo-noir film Sin City, for his work directing the car sequence featuring
Clive Owen and Benicio del Toro.
In May 2005, Tarantino co-wrote and directed "Grave Danger", the 5th season finale of CSI:
Crime Scene Investigation. For this episode, Tarantino was nominated for a Primetime Emmy
Award for Outstanding Directing for a Drama Series on the 57th Primetime Emmy Awards.[30]
Tarantino's next film project was Grindhouse, which he co-directed with Rodriguez. Released in
theaters on April 6, 2007, Tarantino's contribution to the Grindhouse project was titled Death
Proof. It began as a take on 1970s slasher films,[31] but evolved dramatically as the project
unfolded. Ticket sales were low despite mostly positive reviews. The same year, he appeared in
the Japanese Western film Sukiyaki Western Django as Piringo and had a vocal cameo as a
newsreader in George A. Romero's Diary of the Dead.[32][33]
Among Tarantino's producing credits are the horror film Hostel, which included numerous
references to his own Pulp Fiction; the adaptation of Elmore Leonard's Killshot, for which
Tarantino was credited as an executive producer, although he was no longer associated with the
film after its 2009 release;[34] and Hell Ride, written and directed by Larry Bishop and Jonny
Lane who both appeared in Kill Bill: Volume 2.
Tarantino's film Inglourious Basterds, released in 2009, is the story of a group of Jewish-American
guerrilla soldiers in Nazi-occupied France during World War II. Filming began in October 2008.
[35] The film opened on August 21, 2009 to very positive reviews[36] and reached the No. 1 spot
at the box office worldwide.[37] It went on to become Tarantino's highest-grossing film until it
was surpassed by Django Unchained three years later.[38]
2010s Edit
Tarantino in Paris in January 2013, at the French premiere of Django Unchained

In 2011, production began on Django Unchained, a film about the revenge of a former slave in the
U.S. South in 1858. The film stemmed from Tarantino's desire to produce a spaghetti western set
in America's Deep South. Tarantino called the proposed style "a southern",[39] stating that he
wanted "to do movies that deal with America's horrible past with slavery and stuff but do them
like spaghetti westerns, not like big issue movies. I want to do them like they're genre films, but
they deal with everything that America has never dealt with because it's ashamed of it, and other
countries don't really deal with because they don't feel they have the right to".[39] The film was
released on December 25, 2012. During an interview with Krishnan Guru-Murthy about the film
on Channel 4 News, Tarantino reacted angrily when, in light of the Sandy Hook Elementary
School shooting, he was questioned about an alleged link between movie violence and real-life
violence, and informed Guru-Murthy he was "shutting [his] butt down".[40] Tarantino further
infuriated the veteran journalist with his furious rant, saying: "I refuse your question. I ’m not
your slave and you’re not my master. You can’t make me dance to your tune. I'm not a
monkey."[41]
In November 2013, Tarantino said he was working on a new film and that it would be another
Western. He stated that it would not be a sequel to Django.[42] On January 12, 2014, it was
revealed that the film would be titled The Hateful Eight. Production of the western would most
likely have begun in the summer of 2014, but after the script for the film leaked in January 2014,
Tarantino considered dropping the movie and publishing it as a novel instead.[43][44] He stated
that he had given the script to a few trusted colleagues, including Bruce Dern, Tim Roth and
Michael Madsen.[45][46]
On April 19, 2014, Tarantino directed a live reading of the leaked script at the United Artists
Theater in the Ace Hotel, Los Angeles. The event was organized by the Film Independent at
LACMA, as part of the Live Read series.[47] Tarantino explained that they would read the first
draft of the script, and added that he was writing two new drafts with a different ending. The
actors who joined Tarantino included Samuel L. Jackson, Kurt Russell, Amber Tamblyn, James
Parks, Walton Goggins, and the first three actors to be given the script before the leakage, Bruce
Dern, Tim Roth and Michael Madsen.[48] In October 2014, Jennifer Jason Leigh was in talks to
play the female lead in the film.[49] Leigh, Channing Tatum, and Demián Bichir joined the cast in
November.[50]
The Hateful Eight Live Reading at the Ace Hotel Los Angeles, as part of LACMA's Live Read
series on April 19, 2014
The Hateful Eight was released on December 25, 2015, as a roadshow presentation in 70mm film
format theaters, before being released in digital theaters on December 30, 2015.[51] Tarantino
narrated several scenes in the film. He edited two versions of the film, one for the roadshow
version and the other for general release. The roadshow version runs for three hours and two
minutes, and includes an overture and intermission, while the general release is six minutes shorter
and contains alternate takes of some scenes. Tarantino has stated that the general release cut was
created as he felt that some of the footage he shot for 70mm would not play well on smaller
screens.[52] The film has received mostly positive reviews from critics, with a score of 75% on
Rotten Tomatoes.[53]
On July 11, 2017, it was reported that Tarantino's next project will be a film about the Manson
Family murders.[54] Tarantino has written a screenplay for the film and will direct it. In February
2018, it was confirmed that Leonardo DiCaprio will play Rick Dalton, former star of a western TV
series, and Brad Pitt will play Dalton's longtime stunt double Cliff Booth.[55] Margot Robbie has
confirmed she will portray actress Sharon Tate, Rick's next-door neighbor, while Samuel L.
Jackson, Jennifer Lawrence, Tom Cruise, and Al Pacino all have been considered for unspecified
roles in the film.[56][57] Additionally, Tarantino has asked Ennio Morricone to compose music for
the film.[58] This will be Tarantino's first film to be based on true events.[59] Filming is expected
to take place in the summer of 2018.[60] In wake of the Harvey Weinstein sexual abuse
allegations, Tarantino severed ties to The Weinstein Company permanently and sought a new
distributor after working with Weinstein for his entire career. Sony Pictures will be distributing the
film and it will be released on August 9, 2019, the 50th anniversary of the Tate-LaBianca murders.
[57] On February 28, 2018, it was confirmed that Tarantino's 1969 Project is entitled Once Upon a
Time in Hollywood.[55]
In December 2017, Tarantino devised an idea for a Star Trek film, which J. J. Abrams–director
and producer of two previous Star Trek reboot films–quickly assembled a writer's room for.[61]
Screenwriter Mark L. Smith was hired to write the film shortly after, with Tarantino intending to
direct and produce with Abrams.[62]
As producer Edit
In recent years, Tarantino has used his Hollywood power to give smaller and foreign films more
attention than they might have received otherwise. These films are usually labeled "Presented by
Quentin Tarantino" or "Quentin Tarantino Presents". The first of these productions was in 2001
with the Hong Kong martial arts film Iron Monkey, which made over $14 million in the United
States, seven times its budget. In 2004, he brought the Chinese martial arts film Hero to U.S.
shores. It ended up having a No. 1 opening at the box office and making $53.5 million. In 2006,
another "Quentin Tarantino presents" production, Hostel, opened at No. 1 at the box office with a
$20.1 million opening weekend, good for 8th all time in January. He presented 2006's The
Protector, and is a producer of the 2007 film Hostel: Part II. In 2008, he produced the Larry
Bishop-helmed Hell Ride, a revenge biker film.
In addition, in 1995 Tarantino formed Rolling Thunder Pictures with Miramax to release or re-
release several independent and foreign features. By 1997, Miramax had shut down the company
due to "lack of interest" in the pictures released. The following films were released by Rolling
Thunder Pictures: Chungking Express (1994, dir. Wong Kar-wai), Switchblade Sisters (1975, dir.
Jack Hill), Sonatine (1993, dir. Takeshi Kitano), Hard Core Logo (1996, dir. Bruce McDonald),
The Mighty Peking Man (1977, dir. Ho Meng-Hua), Detroit 9000 (1973, dir. Arthur Marks), The
Beyond (1981, dir. Lucio Fulci) and Curdled (1996, dir. Reb Braddock).
Quentin Tarantino at the Academy Awards

Other potential films Edit
Before Inglourious Basterds, Tarantino had considered making The Vega Brothers. The film would
have starred Michael Madsen and John Travolta reprising their roles of Vic (Mr. Blonde) from
Reservoir Dogs and Vincent from Pulp Fiction. In 2007, because of the age of the actors and the
onscreen deaths of both characters, he claimed that the film—which he intended to call Double V
Vega—is "kind of unlikely now".[63]
In 2009, in an interview for Italian television, after being asked about the success of the two Kill
Bill films, Tarantino said, "You haven't asked me about the third one", and implied that he would
be making a third Kill Bill film with the words, "The Bride will fight again!"[64] Later that year,
at the Morelia International Film Festival,[65] Tarantino announced that he would like to film Kill
Bill: Volume 3. He explained that he wanted ten years to pass between The Bride's last conflict, in
order to give her and her daughter a period of peace.[66]
In a 2012 interview for the website We Got This Covered, Tarantino said that a third Kill Bill film
would "probably not" happen. He also said that he would not be directing a new James Bond film,
saying that he was only interested in directing Casino Royale at one point.[67] In a late 2012
interview with the online magazine The Root, Tarantino clarified his remarks and described his
next film as being the final entry in a "Django-Inglourious Basterds" trilogy called Killer Crow.
The film will depict a group of World War II-era black troops who have "been fucked over by the
American military and kind of go apeshit. They basically – the way Lt. Aldo Raine (Brad Pitt)
and the Basterds are having an 'Apache resistance' – [the] black troops go on an Apache warpath
and kill a bunch of white soldiers and white officers on a military base and are just making a
warpath to Switzerland."[68]
A long-running rumor in the industry is that Tarantino is interested in filming a new version of
Bret Easton Ellis′ 1985 novel, Less Than Zero. His friend Roger Avary adapted The Rules of
Attraction, another novel by Ellis, to film in 2002, and since both he and Tarantino like the works
by Ellis, Tarantino has been eyeing the possibility of adapting Less Than Zero. Ellis confirmed in
a 2010 interview that Tarantino had been "trying to get Fox to let him remake it".[69] In 2012,
when asked whether Less Than Zero would be remade, Ellis once again confirmed that Tarantino
"has shown interest" in adapting the story.[70] At the 2014 Comic-Con, Tarantino revealed he is
contemplating a possible science-fiction film.[71] In November 2014, Tarantino said he would
retire from films after directing his tenth film.[72]
In November 2017, Tarantino and J. J. Abrams pitched an idea for a Star Trek film with Abrams
assembling a writers room. If both approve of the script Tarantino will direct and Abrams will
produce the film.[73] Mark L. Smith was hired to write the screenplay the same month.[74]
Influences and style of filmmakingEdit

Tarantino's use of music in his films was recognized at the 16th Critics' Choice Awards with the
inaugural BFCA Critics' Choice Award for Best Music and Film.[75][76]
In the 2012 Sight & Sound directors' poll, Tarantino listed his top 12 films: Apocalypse Now, The
Bad News Bears, Carrie, Dazed and Confused, The Great Escape, His Girl Friday, Jaws, Pretty
Maids All in a Row, Rolling Thunder, Sorcerer, Taxi Driver and The Good, the Bad and the Ugly,
with the last being his favorite.[77] In 2009, he named Kinji Fukasaku's violent action film Battle
Royale as his favorite film released since he became a director in 1992.[78] He is also a fan of the
1981 film Blow Out directed by Brian De Palma, so much so that he used the main star of the
film, John Travolta, in Pulp Fiction.[79] Tarantino praised Mel Gibson's 2006 film Apocalypto,
saying, "I think it's a masterpiece. It was perhaps the best film of that year."[80] Tarantino has also
cited the Australian suspense film Roadgames (1981) as another favourite film.[81]
In August 2007, while teaching in a four-hour film course during the 9th Cinemanila International
Film Festival in Manila, Tarantino cited Filipino directors Cirio Santiago, Eddie Romero and
Gerardo de León as personal icons from the 1970s.[82] He referred to De Leon's "soul-shattering,
life-extinguishing" movies on vampires and female bondage, citing in particular Women in Cages;
"It is just harsh, harsh, harsh", he said, and described the final shot as one of "devastating despair".
[82] Upon his arrival in the Philippines, Tarantino was quoted in the local newspaper as saying,
"I'm a big fan of RP [Republic of the Philippines] cinema."
Tarantino often uses graphic violence that has proven seductive to audiences, and he has been
harshly criticized for his use of gore and blood in an entrancing yet simultaneously repulsive way.
His films have been staunchly criticized and scorned for their use of violence, blood and action as
a "color" within cinema, and rebuked for allegedly using human suffering as a punchline.[83] His
film Reservoir Dogs was even initially denied United Kingdom certification because of his use of
torture as entertainment.[84]
Actor Steve Buscemi has described Tarantino's novel style of filmmaking as "bursting with
energy" and "focused",[85] a style that has earned him many accolades worldwide. According to
Tarantino, a hallmark of all his movies is that there is a different sense of humor in each one,
which gets the audience to laugh at things that are not funny.[86] However, he insists that his films
are dramas, not comedies.[87]
Tarantino has stated that the celebrated animation-action sequence in Kill Bill (2003) was inspired
by the use of 2D animated sequences in actor Kamal Haasan's Tamil film Aalavandhan.[88][89]
He often seeks to harness, manipulate and ultimately imitate the aesthetic elements and
conventions typically used in the cartoon medium. More specifically, he often attempts to meld
comic strip formulas and aesthetics within a live action film sequence, in some cases by the literal
use of cartoon or anime images. Tarantino's cinematic ambition to marry artistic expression via
live action and cartoonism is yet another example of his ability to morph genres and conventions
to produce a new and authentic style of his own.[90]
Tarantino often manipulates the use of commodities in order to propel plot development or to
present an intriguing juxtaposition that ultimately enhances his notorious combination of humor
and violence, equating a branded genre with branded consumption.[91] He often pairs bizarre
props with an equally bizarre scene, in which the prop itself develops into something of higher
substance. Likewise, he often favors particular brand names of his own creation to make
promotional appearances. The typical brands he uses within his films are "Acuña Boys Tex-Mex
Food", "Big Kahuna Burger", "G.O. Juice", "Jack Rabbit Slim's", "K-Billy", "Red Apple
cigarettes", "Tenku Brand Beer" and "Teriyaki Donut".[92]
On the biopic genre, Tarantino has said that he has "no respect" for biopics, saying that they "are
just big excuses for actors to win Oscars. ... Even the most interesting person – if you are telling
their life from beginning to end, it's going to be a fucking boring movie."[93] However, in an
interview with Charlie Rose, he said:
There is one story that I could be interested in, but it would probably be one of the last movies I
[ever make] ... My favorite hero in American history is John Brown. He's my favorite American
who ever lived. He basically single-handedly started the road to end slavery and ... he killed
people to do it. He decided, 'If we start spilling white blood, then they're going to start getting the
idea.'[94]
Tarantino has stated in many interviews that his writing process is like writing a novel before
formatting it into a script, saying that this creates the blueprint of the film and makes the film feel
like literature. About his writing process he told website The Talks:
[My] head is a sponge. I listen to what everyone says, I watch little idiosyncratic behavior, people
tell me a joke and I remember it. People tell me an interesting story in their life and I remember
it. ... when I go and write my new characters, my pen is like an antenna, it gets that information,
and all of a sudden these characters come out more or less fully formed. I don't write their
dialogue, I get them talking to each other.[93]
In 2013, a survey of 17 academics was carried out to discover which filmmakers had been
referenced the most in essays and dissertations on film that had been marked in the previous five
years. It revealed that Tarantino was the most-studied director in the UK, ahead of Christopher
Nolan, Alfred Hitchcock, Martin Scorsese and Steven Spielberg.[95]
Controversies Edit
Gun violence Edit
Tarantino does not believe that violence in movies inspires acts of violence in real life. In an
interview after the Sandy Hook Elementary School shooting in 2012, he expressed "annoyance" at
the suggestion that there is a link between the two, saying, "I think it's disrespectful to [the]
memory of those who died to talk about movies ... Obviously the issue is gun control and mental
health."[96]
Racial epithetsEdit
Spike Lee questioned Tarantino's use of racial epithets in his films, particularly the word "nigger".
In a Variety interview discussing Jackie Brown, Lee said, "I'm not against the word ... And some
people speak that way. But Quentin is infatuated with that word. What does he want to be made–
an honorary black man?"[97] Tarantino responded on Charlie Rose by stating:
As a writer, I demand the right to write any character in the world that I want to write. I demand
the right to be them, I demand the right to think them and I demand the right to tell the truth as I
see they are, all right? And to say that I can't do that because I'm white, but the Hughes brothers
can do that because they're black, that is racist. That is the heart of racism, all right. And I do not
accept that ... That is how a segment of the black community that lives in Compton, lives in
Inglewood, where Jackie Brown takes place, that lives in Carson, that is how they talk. I'm telling
the truth. It would not be questioned if I was black, and I resent the question because I'm white. I
have the right to tell the truth. I do not have the right to lie.[98]
In addition, Tarantino retaliated on The Howard Stern Show by stating that Lee would have to
"stand on a chair to kiss my ass".[99] Samuel L. Jackson, who has appeared in both directors'
films, defended Tarantino's use of the word. At the Berlin Film Festival, where Jackie Brown was
being screened, Jackson responded to Lee's criticism by saying:
I don't think the word is offensive in the context of this film ... Black artists think they are the only
ones allowed to use the word. Well, that's bull. Jackie Brown is a wonderful homage to black
exploitation films. This is a good film, and Spike hasn't made one of those in a few years.[100]
Tarantino has defended his use of the word, arguing that black audiences have an appreciation of
his blaxploitation-influenced films that eludes some of his critics, and indeed, that Jackie Brown
was primarily made for "black audiences".[101]
Django Unchained was the subject of controversy because of its use of racial epithets and
depiction of slavery. Reviewers have defended the use of the language by pointing out the historic
context of race and slavery in America.[102][103] Spike Lee, in an interview with Vibe magazine,
said that he would not see the film, explaining, "All I'm going to say is that it's disrespectful to my
ancestors. That's just me ... I'm not speaking on behalf of anybody else."[104] Lee later tweeted,
"American Slavery Was Not A Sergio Leone Spaghetti Western. It Was A Holocaust. My
Ancestors Are Slaves. Stolen From Africa. I Will Honor Them."[105] Writing in The Los Angeles
Times, journalist Erin Aubry Kaplan noted the difference between Tarantino's Jackie Brown and
Django Unchained: "It is an institution whose horrors need no exaggerating, yet Django does
exactly that, either to enlighten or entertain. A white director slinging around the n-word in a
homage to '70s blaxploitation à la Jackie Brown is one thing, but the same director turning the
savageness of slavery into pulp fiction is quite another".[106]
At the 73rd Golden Globe Awards in 2016, Tarantino received criticism after using the term
"ghetto" while accepting the Golden Globe for best original score on behalf of composer Ennio
Morricone, saying:
Wow, this is really cool. Do you realize that Ennio Morricone, who, as far as I am concerned, is
my favorite composer -- and when I say "favorite composer," I don’t mean movie composer,
that ghetto. I’m talking about Mozart. I’m talking about Beethoven. I’m talking about
Schubert.[107]
His use of the word seemed to be taken as a racial slight by award presenter Jamie Foxx, who after
he left the stage walked up to the microphone and sternly said, "ghetto?"[108]
The Hateful Eight Edit

In January 2014, Gawker leaked a copy of the script for Tarantino's then-upcoming film The
Hateful Eight.
Tarantino eventually filed a copyright lawsuit against Gawker, and stated in the lawsuit that
"Gawker Media has made a business of predatory journalism, violating people's rights to make a
buck”. The lawsuit also demanded compensation in the amount of $2,000,000. Tarantino later
dropped the lawsuit. Tarantino stated in his motion: "This dismissal is made without prejudice,
whereby plaintiff may later advance an action and refile a complaint after further investigations to
ascertain and plead the identities of additional infringers". Tarantino has yet to refile a claim but
retains the legal right to do so in the future.[109]
At the 2014 San Diego Comic-Con International, Tarantino confirmed that he would make the
film, and stated that he was working on a third draft, set for a potential release in 2015.
In October 2015, Tarantino attended a Black Lives Matter rally and publicly commented on police
brutality in the United States, saying, "When I see murders, I do not stand by... I have to call a
murder a murder, and I have to call the murderers the murderers." Tarantino's comments received
national media attention, and several police groups in the United States pledged to boycott The
Hateful Eight and his other films. Police groups also encouraged members to not work at the
premiere or provide security for any events surrounding the film.[110][111] In an interview with
Los Angeles Times, Tarantino said he is not a "cop hater" and will not be intimidated by the calls
for a boycott.[112][113]
On December 16, 2015, Tarantino appeared on The Howard Stern Show to promote The Hateful
Eight. During his interview, Tarantino stated that Disney was preventing his film from being
screened at the Los Angeles Cinerama Dome because they wanted to reserve the space for Star
Wars: The Force Awakens, for which Walt Disney Studios Motion Pictures holds distribution
rights.[114]
Harvey Weinstein Edit

Main article: Harvey Weinstein sexual abuse allegations
On October 18, 2017, Tarantino gave an interview discussing sexual harassment and assault
allegations against producer Harvey Weinstein. Tarantino admitted to knowing about accusations
against Weinstein since the mid-1990s, when his then-girlfriend Mira Sorvino told him about her
experience with Weinstein. Tarantino confronted Weinstein at the time and received an apology.
[115] Tarantino said: "What I did was marginalize the incidents." He said he was ashamed he
didn't take a stronger stand, saying "I knew enough to do more than I did."[115] American chef
and author Anthony Bourdain criticized Tarantino for his "complicity" in the Weinstein sex
scandal.[116]
Uma Thurman Edit

On February 3, 2018, in an interview with The New York Times, Pulp Fiction and Kill Bill actress
Uma Thurman revealed that Tarantino had ignored her account of a sexual assault by Harvey
Weinstein at the Savoy Hotel. She also described how she had been in a serious automobile
accident on the set of Kill Bill because Tarantino had insisted she perform her own driving stunts.
As a result of the crash, Thurman sustained permanent injuries to her neck and knees.[117]
Tarantino defended himself saying that he did not force her to do the stunt herself, having checked
the car by driving down the road of the shoot then assuring her it was safe, upon which she agreed
to do so. Thurman accepted Tarantino's apology partly because he retrieved the footage of the car
crash from the archives and gave it to her.[118][119]
Roman Polanski Edit

In February 2018, audio resurfaced of a 2003 interview on The Howard Stern Show during which
Tarantino defended Roman Polanski over his 1977 sexual abuse case. Tarantino referred to the
then 13-year-old victim as a "party girl" and insisted that she "wanted to have it". Tarantino later
apologized to Samantha Geimer (Polanski's rape victim) stating, "I want to publicly apologize to
Samantha Geimer for my cavalier remarks on 'The Howard Stern Show' speculating about her and
the crime that was committed against her. Fifteen years later, I realize how wrong I was. Ms.
Geimer WAS raped by Roman Polanski. When Howard brought up Polanski, I incorrectly played
devil's advocate in the debate for the sake of being provocative. I didn't take Ms. Geimer's feelings
into consideration and for that I am truly sorry. So, Ms. Geimer, I was ignorant, and insensitive,
and above all, incorrect. I am sorry Samantha."[120][121]
Personal life Edit

Tarantino has said that he plans to retire from filmmaking when he is 60, in order to focus on
writing novels and film literature. He is skeptical of the film industry going digital, saying, "If it
actually gets to the place where you can't show 35 mm film in theatres anymore and everything is
digital projection, I won't even make it to 60."[122] He has also stated that he has a plan, although
"not etched in stone", to retire after making his tenth movie: "If I get to the 10th, do a good job
and don't screw it up, well that sounds like a good way to end the old career."[123]
On February 18, 2010, it was announced that Tarantino had bought the New Beverly Cinema.
Tarantino has allowed the previous owners to continue operating the theater, but he will be making
programming suggestions from time to time. He was quoted as saying: "As long as I'm alive, and
as long as I'm rich, the New Beverly will be there, showing films shot on 35mm."[124]
On June 30, 2017, Tarantino got engaged to Israeli singer Daniella Pick, daughter of musician
Svika Pick. They had met when Tarantino was in Israel to promote Inglourious Basterds in 2009.
[125]
In an interview with Entertainment Weekly at the time of Kill Bill's release, Tarantino was asked if
he had religious beliefs and his response was, "I'm not going to tell you how I believe, but I do
believe in God."[126]
Filmography Edit
Main article: Quentin Tarantino filmography
Title Year Production company Release studio
Reservoir Dogs 1992 Live Entertainment
Dog Eat Dog Productions Miramax
Pulp Fiction 1994 A Band Apart
Jersey Films
Jackie Brown 1997 A Band Apart
Mighty Mighty Afrodite Productions
Lawrence Bender Productions
Kill Bill: Volume 1 2003 A Band Apart
Kill Bill: Volume 2 2004
Death Proof (a segment of Grindhouse) 2007 Troublemaker Studios Dimension Films
Inglourious Basterds 2009 A Band Apart
Studio Babelsberg The Weinstein Company (domestic)
Universal Pictures (international)
Django Unchained 2012 Columbia Pictures
The Weinstein Company The Weinstein Company (domestic)
Sony Pictures Releasing (international)
The Hateful Eight 2015 Double Feature Films
FilmColony The Weinstein Company
Once Upon a Time in Hollywood 2019 Columbia Pictures
Heyday Films Sony Pictures Releasing
Frequent collaborators Edit
Tarantino has built up an informal "repertory company"[127] of actors who have appeared in
multiple roles in films that he has directed.[128] Most notable of these is Samuel L. Jackson,[129]
who has appeared in six films directed by Tarantino, and a seventh that was written by him, True
Romance.[130] Other frequent collaborators include Uma Thurman, whom Tarantino has
described as his "muse",[130][131] James Parks, Tim Roth and Zoë Bell.[132]
Editor Sally Menke, who worked on all Tarantino films until her death in 2010, was described by
Tarantino in 2007 as "hands down my number one collaborator".[133][134] Editing duties since
her death have been taken over by Fred Raskin.
Actor Reservoir Dogs Pulp Fiction Four Rooms Jackie Brown Kill Bill Death Proof
Inglourious Basterds Django Unchained The Hateful Eight Once Upon a Time in
Hollywood Total
Bruce Willis 2
Michael Bacall 3
Zoë Bell 6
Michael Bowen 3
Steve Buscemi 2
Laura Cayouette 2
Bruce Dern 2
Leonardo DiCaprio 2
Omar Doom 2
Julie Dreyfus 2
Walton Goggins 2
Dana Gourrier 2
Sid Haig 2
Lee Horsley 2
Samuel L. Jackson 6
Keith Jefferson 2
Linda Kaye 2
Harvey Keitel 3
Helen Kim 2
Jonathan Loughran 2
Michael Madsen 4
Belinda Owino 2
James Parks 4
Michael Parks 3
Brad Pitt 2
Stevo Polyi 2
Tina Rodriguez 2
Eli Roth 2
Tim Roth 5
Kurt Russell 3
Craig Stark 2
David Steen 2
Shana Stein 2
Bo Svenson 2
Uma Thurman 2
Rich Turner 2
Venessia Valentino 3
Christoph Waltz 2
Directed Academy Award performancesEdit
Year Performer Film Result
Academy Award for Best Actor
1994 John Travolta Pulp Fiction Nominated
Academy Award for Best Supporting Actor
1994 Samuel L. Jackson Pulp Fiction Nominated
1997 Robert Forster Jackie Brown Nominated
2009 Christoph Waltz Inglourious Basterds Won
2012 Django Unchained Won
Academy Award for Best Supporting Actress
1994 Uma Thurman Pulp Fiction Nominated
2015 Jennifer Jason Leigh The Hateful Eight Nominated
Awards Edit
Academy Awards
Year Nominated work Category Result
1994 Pulp Fiction Best Director Nominated
Best Original Screenplay Won
2009 Inglourious Basterds Best Director Nominated
Best Original Screenplay Nominated
2012 Django Unchained Best Original Screenplay Won
BAFTA Awards
2012 Django Unchained Best Director Nominated
2015 The Hateful Eight Best Original Screenplay Nominated
Golden Globe Awards
Best Screenplay Won
Best Screenplay Nominated
2012 Django Unchained Best Director Nominated
Best Screenplay Won
2015 The Hateful Eight Best Screenplay Nominated
Film Independent Spirit Awards
1992 Reservoir Dogs Best First Feature Nominated
Best Director Nominated
1994 Pulp Fiction Best Director Won
Best Screenplay Won
Sitges Film Festival
Year Category Nominated work Result
1992 Best Director Reservoir Dogs Won
Best Screenplay Won
1996 Time Machine Award Won
Saturn Awards
1993 True Romance Best Writing Nominated
1994 Pulp Fiction Best Action, Adventure or thriller Film Won
1996 From Dusk Till Dawn Best Supporting Actor Nominated
Best Writing Nominated
2004 Kill Bill: Volume 1 Best Action, Adventure or thriller Film Won
2006 Kill Bill: Volume 2 Best Action, Adventure or thriller Film Won
2010 Inglourious Basterds Best Action, Adventure or thriller Film Won
2013 Django Unchained Best Action or Adventure Film Nominated
Best Writing Won
2016 The Hateful Eight Best Thriller Film Nominated
Primetime Emmy Awards
2005 CSI: Crime Scene Investigation. Episode "Grave Danger" Outstanding Directing for a
Drama Series Nominated
Cannes Film Festival
1994 Pulp Fiction Palme d'Or Won
2007 Death Proof Palme d'Or Nominated
2009 Inglourious Basterds Palme d'Or Nominated
Other lifetime honors Edit
2005 Icon of the Decade Award at the 10th Empire Awards.
2007 Lifetime achievement award at the Malacañan Palace in Manila.[135]
2008 Filmmaker on the Edge Award at the Provincetown International Film Festival.
2010 Order of Merit of the Hungarian Republic along with Lucy Liu and Andy Vajna for
producing the 2006 movie Freedom's Fury.[136]
2011 honorary César from the Académie des Arts et Techniques du Cinéma.[137]
2013 Lifetime Achievement Award by the Rome Film Festival.[138]
2013 Prix Lumière, at the fifth Festival Lumière, in Lyon, France.
Reception Edit
Critical, public and commercial reception to films Tarantino has directed as of October 15, 2017.
Film IMDb Rotten Tomatoes[139] Metacritic[140] CinemaScore[141] Budget Box

office[142]
Reservoir Dogs 8.3 91% (8.8/10 average rating) (64 reviews) 79 (24 reviews) N/A
$1.2 million $2.8 million
Pulp Fiction 8.9 94% (9.1/10 average rating) (78 reviews) 94 (24 reviews) B+ $8
million $213.9 million
Jackie Brown 7.5 87% (7.4/10 average rating) (79 reviews) 64 (23 reviews) B $12
Kill Bill: Volume 1 8.1 85% (7.7/10 average rating) (230 reviews) 69 (43 reviews) B+ $30
Kill Bill: Volume 2 8.0 84% (7.8/10 average rating) (236 reviews) 83 (41 reviews) A− $30
Death Proof 7.1 65% (5.8/10 average rating) (40 reviews) N/A N/A $53 million (as
Grindhouse)[143] $30.7 million
Inglourious Basterds 8.3 88% (7.8/10 average rating) (314 reviews) 69 (36 reviews) A−
$70 million $321.4 million
Django Unchained 8.4 87% (8/10 average rating) (262 reviews) 81 (42 reviews) A−
$100 million $425.4 million
The Hateful Eight 7.8 75% (7.3/10 average rating) (296 reviews) 68 (51 reviews) B $44
See also Edit
Quentin Tarantino Film Festival, a film festival in Austin, Texas, United States, hosted by
Tarantino.
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Family". Slate. Retrieved January 20, 2018.
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Hollywood: The Wild, Untold Story of Ozploitation! (Documentary). City Films Worldwide.
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Daily Inquirer. Archived from the original on October 11, 2007.
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New Centennial Review, Volume 9, Number 2, Fall 2009
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CharlieRose.com. December 26, 1997. Archived from the original on January 23, 2012. Retrieved
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Criticizing Him For Using 'N-Word' in 'Jackie Brown'.
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Guardian. January 5, 1998.
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Under Her Mask | E! Online UK. Uk.eonline.com. Retrieved on July 2, 2015.
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origo.hu. March 16, 2010.
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2015.
^ "Grindhouse (2007)". The Numbers. Retrieved 2016-04-03.
Greene, Richard; Mohammad, K. Silem, eds. (2007). Quentin Tarantino and Philosophy. Chicago:
Open Court Books. ISBN 0-8126-9634-4.
Waxman, Sharon, ed. (2005). Rebels on the Backlot: Six Maverick Directors and How They
Conquered the Hollywood Studio System. New York: Harper Entertainment. ISBN 0060540176.
External links Edit
Quentin Tarantino on IMDb
Quentin Tarantino at Rotten Tomatoes
Quentin Tarantino at AllMovie
Last edited 55 minutes ago by an anonymous user
Wikipedia


Wikipedia
Gus Van Sant
Director de cine, productor, guionista y escritor estadounidense
Gus Van Sant (*Louisville, Kentucky, 24 de julio de 1952) es un director de cine, productor,
guionista y escritor estadounidense. Candidato al Premio Óscar como mejor director por El
indomable Will Hunting y Milk y ganador de la Palma de Oro en el prestigioso festival de Cannes
por Elephant (2003).
Gus Van Sant

Gus Van Sant Cannes 2015.jpg
Gus Van Sant en el Festival de Cannes de 2015.
Nacimiento
24 de julio de 1952 (65 años)
Bandera de Estados Unidos Louisville, Kentucky
Nacionalidad
Educación
Alma máter
Escuela de Diseño de Rhode Island
Catlin Gabel School Ver y modificar los datos en Wikidata
Ocupación
Director de cine, fotógrafo, guionista, productor de cine y editor de cine Ver y modificar los datos
en Wikidata
Premios artísticos
Festival de Cannes
Palma de Oro
2003 Elephant
Mejor director
2003 Elephant
Otros premios
Premio Independent Spirit al mejor guion
1989 Drugstore Cowboy
1991 My Own Private Idaho
Razzie al peor director
1998 Psycho
Índice
Biografía Editar
Gus Greene Van Sant Junior nació el 24 de julio de 1952 en Louisville (Kentucky), aunque pasó
toda la infancia de un sitio a otro, debido a la profesión de su padre, un viajante de comercio.
Desde muy pequeño, Van Sant se interesó por la pintura y también por el cine, ya que rodaba
cortos autobiográficos en Súper 8 cuando todavía iba a la escuela. Al parecer, dudaba entre ser
cineasta o pintor, y se decantó inicialmente por los lienzos, cuando decidió matricularse en 1970
en la Escuela de Diseño de Rhode Island, donde tuvo como compañero de clase al músico escocés
David Byrne, fundador de Talking Heads. Sin embargo, al final cambió de parecer, y decidió que
lo suyo era la pantalla grande, tras recibir un curso de introducción impartido por directores de
vanguardia, como Jonas Mekas y Andy Warhol.
Tras pasar una temporada de aprendizaje en Europa, Van Sant se mudó a Los Ángeles, en 1976,
decidido a triunfar en el cine. Empezó como ayudante de producción con Ken Shapiro, pero la
experiencia no fue positiva, porque Van Sant aportaba constantes ideas que según sus
declaraciones posteriores siempre caían en saco roto. A continuación decidió pasar un tiempo
trabajando en una agencia de publicidad, y con el dinero que consiguió ahorrar filmó Mala Noche,
su ópera prima, de título original en español y filmada en blanco y negro. Van Sant abordaba la
temática gay, pues narraba las peripecias de un estadounidense que intenta seducir a un joven
mexicano menor de edad. A continuación Van Sant siguió describiendo a personales marginales en
Drugstore Cowboy, durísimo retrato del infierno de las drogas, que recrea los dramas personales
de cuatro toxicómanos, El film supuso la consagración de Van Sant a nivel internacional, y un
espaldarazo para Matt Dillon, que demostró su versatilidad en un momento en que había quedado
un poco encasillado como ídolo de adolescentes.
Más repercusión incluso tuvo Mi Idaho Privado, drama sobre la amistad y los efectos de la falta de
apoyo familiar. "La familia marca nuestra mirada al mundo, por eso creo que todas mis películas
hablan de ella", comentó por aquel entonces Van Sant. El film muestra la cruda realidad de dos
chaperos que venden su cuerpo en las calles de Portland. El director le sacó provecho al talento de
sus dos protagonistas, el malogrado River Phoenix –un homosexual aquejado de narcolepsia en
busca de su madre– y un jovencísimo Keanu Reeves –un tipo que se dedica a la prostitución
como expresión de su rebeldía contra su padre, alcalde de la ciudad–. El personaje de Reeves se
basaba libremente en el protagonista de Enrique IV, de Shakespeare. River Phoenix ganó la Copa
Volpi al mejor actor en Venecia, unos años antes de fallecer por sobredosis en Sunset Boulevard,
como si fuera uno de esos personajes marginales de Van Sant. Éste quedó tan afectado por el
fallecimiento que volcó su rabia en la novela Pink.
Uma Thurman era una mujer que nació con enormes pulgares en Ellas también se deprimen,
embarullado drama sobre un peculiar grupo de mujeres vaqueras, tan marginales como los
personajes habituales de Van Sant. Pero esta adaptación de una novela de Tom Robbins se queda
muy lejos del nivel alcanzado por otras cintas del cineasta, fue vapuleada por la crítica y fracasó
en las taquillas. El director recuperó parcialmente la forma con Todo por un sueño, crítica de la
moral del triunfo a cualquier precio, en la que Nicole Kidman encarna a una ambiciosa joven
dispuesta a todo para convertirse en reportera televisiva. La acompañaba Matt Dillon, que repetía
con Van Sant.
El indomable Will Hunting fue el mayor éxito de Gus Van Sant, que por primera vez triunfaba no
sólo en los circuitos alternativos. El director decidió apoyar a los jóvenes protagonistas, Matt
Damon y Ben Affleck, por entonces completamente desconocidos, que le llevaron un guion que
ellos mismos habían escrito porque no les ofrecían papeles, y por el que fueron recompensados
con un Óscar al mejor libreto original. Van Sant lograba conjugar comercialidad con sus
obsesiones temáticas habituales, pues retrata a otro personaje conflictivo y marginado, Will
Hunting, que a pesar de su difícil carácter resulta ser un superdotado. Intenta cambiar su
perspectiva de la vida un psiquiatra viudo, interpretado por Robin Williams, que también se hizo
con el Óscar, al mejor secundario.
El film de Van Sant más denostado por los cinéfilos es Psycho (Psicosis). Cuando le encargaron
rodar el remake del clásico de Hitchcock, Van Sant tomó una curiosa decisión. Puesto que el
original es una auténtica obra maestra inmejorable, decidió que la mejor opción era copiarlo plano
a plano. Aportaba el color, nuevos actores (Anne Heche y Vince Vaughn como protagonistas) y
aumenta el dinero que roba la protagonista, por aquello de la inflación. Pero la crítica fue
implacable a la hora de denostar una cinta, que lógicamente no aportaba nada a la historia del cine.
Es más interesante el siguiente drama del director: Descubriendo a Forrester. Es un film muy en la
línea de El indomable Will Hunting, centrado en otro joven de excepcional inteligencia, que en
este caso es un chico de color con talento para la escritura. También aquí su vida cambia por
completo por su relación con un personaje adulto, un genio de la literatura huraño, que vive
completamente aislado, inspirado en la figura de J. D. Salinger, el autor de El guardián entre el
centeno. Este personaje estaba interpretado por Sean Connery.
En 2003, Van Sant se hizo con la Palma de Oro, el premio al mejor director, y el premio del
Sistema Nacional de Educación con Elephant, su regreso al cine independiente de clara vocación
vanguardista, con jóvenes actores no profesionales como protagonistas. Muestra con inusitado
realismo la masacre del instituto Columbine, provocada por dos jóvenes armados con fusiles de
asalto. La cámara sigue a los asesinos y a varios estudiantes del instituto en los momentos previos
a la tragedia. "Tomé el título de una película de 1989 sobre la violencia en Irlanda del Norte. Pensé
que hacía referencia a la parábola budista de los ciegos y el elefante", comenta Van Sant. "Hasta
que leí en unas notas de su director, Alan Clarke, que el título responde a un dicho popular y hace
referencia a cómo la violencia es tan fácil de ignorar como el hecho de tener un elefante en el
salón". Igualmente arriesgada que Elephant es Last Days, que narra la tragedia de un cantante de
éxito, inspirado en el fallecido Kurt Cobain.
Tras un breve fragmento que narra un encuentro homosexual, en el film colectivo Paris, je t'aime,
Van Sant retomó el tema de la incomunicación adolescente en Paranoid Park, sobre un adolescente
apasionado al skate que accidentalmente mata a un guardia de seguridad ferroviario. Pero no se
atreve siquiera a contárselo a nadie. "La adolescencia es una etapa formativa, fundamental en
nuestro desarrollo. Es entonces cuando nos afirmamos como personas, aprendemos a amar, a
reconocernos a nosotros mismos. Es un momento de mi vida que recuerdo con afecto. Y hay una
belleza especial en los jóvenes. En ellos trasunta el temor, la desesperanza, etc.", dijo Van Sant
cuando se le preguntaba por este tema, recurrente en su filmografía. A continuación, decidió llevar
al cine la historia real del primer político declaradamente gay de Estados Unidos. En Mi nombre
es Harvey Milk, cuenta con un gran reparto encabezado por Sean Penn (ganador del Óscar por
este papel), que encarna al político protagonista, figura clave de las reivindicaciones
homosexuales en Estados Unidos.
Filmografía Editar
The Sea Of Trees (2015)
The Canyons (2013) (actor)
Promised Land (2012)
Restless (2011)
Milk (2008)
Paranoid Park (2007)
Last Days (2005)
Elefante (Elephant) (2003)
Gerry (2002)
Descubriendo a Forrester (Finding Forrester) (2000)
Speedway Junky (Peligroso y Rápido) (1999) (productor)
Psycho (Psicosis) (1998) (director y productor)
El indomable Will Hunting (Good Will Hunting) (1997)
Todo por un sueño (To Die For) (1995)
Even Cowgirls Get the Blues (1993)
Mi Idaho Privado (My Own Private Idaho) (1991)
Drugstore Cowboy (1989)
Mala Noche (1985)
Chacun Son Cinema -First kiss- (2007)
Paris, je t'aime (2005)
Ballad of the Skeletons (1997)
Otras obras de Gus Van Sant Editar
Pink: A Novel - ISBN 0-385-49353-3
Referencia Editar
Gus Van Sant: An Unauthorized Biography - ISBN 1-56025-337-1
Gus Van Sant en Internet Movie Database (en inglés)
Gus Van Sant en Cinearchivo.com (español)
Última edición hace 8 días por MetroBot

Wikipedia
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Wikipedia
Gus Van Sant
Gus Green Van Sant, Jr.[1] (born July 24, 1952) is an American film director, screenwriter, painter,
photographer, musician and author who has earned acclaim as both an independent and more
mainstream filmmaker. His films typically deal with themes of marginalized subcultures, in
particular homosexuality; as such, Van Sant is considered one of the most prominent auteurs of the
New Queer Cinema movement.
Gus Van Sant

Gus Van Sant Cannes 2015.jpg
Van Sant at the 2015 Cannes Film Festival
Born
Gus Green Van Sant, Jr.
July 24, 1952 (age 65)
Louisville, Kentucky, U.S.
Residence
Portland, Oregon, U.S.
Occupation
Film director, screenwriter, painter, photographer, musician, author
Years active
1982–present
Notable work
Drugstore Cowboy, Good Will Hunting, My Own Private Idaho, Milk, Elephant, Psycho, Finding
Forrester
Van Sant's early career was devoted to directing television commercials in the Pacific Northwest.
He made his feature-length cinematic directorial debut with Mala Noche (1985). His second
feature Drugstore Cowboy (1989) was highly acclaimed, and earned Van Sant screenwriting
awards from the Los Angeles Film Critics Association and New York Film Critics Circle and Best
Director from the National Society of Film Critics. His following film My Own Private Idaho
(1991) was similarly praised, as was the black comedy To Die For (1995), the drama Good Will
Hunting (1997) and the biographical film Milk (2008); for the latter two, Van Sant was nominated
for the Academy Award for Best Director and both films received Best Picture nominations. In
2003, Elephant – Van Sant's roman à clef of the Columbine High School massacre – won the
Palme d'Or at the Cannes Film Festival and Van Sant also received the festival's Best Director
Award,[2] making him one of only two filmmakers – the other being Joel Coen – to win both
accolades in the same year. Though most of Van Sant's other films received favourable reviews,
such as Finding Forrester (2000) and Paranoid Park (2007), some of his efforts such as the art
house production Last Days (2005) and the environmental drama Promised Land have received
more mixed reviews from critics, while his adaptation of Tom Robbins's Even Cowgirls Get the
Blues (1994), his 1998 remake of Alfred Hitchcock's Psycho and his most recent film to date, The
Sea of Trees (2015), were critical and commercial failures.
In addition to directing, Van Sant wrote the screenplays for several of his earlier works, and is the
author of a novel entitled Pink.[3] A book of his photography, called 108 Portraits,[4] has also
been published, and he has released two musical albums. He is openly gay and currently lives in
Portland, Oregon.[5]
Contents
Early life Edit
Van Sant was born in Louisville, Kentucky, the son of Betty (née Seay) and Gus Green Van Sant,
Sr; Gus's father was a clothing manufacturer[1] and traveling salesman who rapidly worked his
way into middle class prosperity, holding executive marketing positions that included being
president of the White Stag Manufacturing Company's Apparel Operation.[6] As a result of his
father's job, the family moved continually during Van Sant's childhood.
His paternal family is of partial Dutch origin; the name "Van Sant" is derived from the Dutch
name "Van Zandt". The earliest Van Zandt arrived in the New Netherland area in the early 17th
century, around what is now New York City.[7]
Van Sant is an alumnus of Darien High School in Darien, Connecticut,[8] and The Catlin Gabel
School in Portland, Oregon.[9] One constant in the director's early years was his interest in visual
arts (namely, painting and Super-8 filmmaking); while still in school he began making semi-
autobiographical shorts costing between 30 and 50 dollars. Van Sant's artistic leanings took him to
the Rhode Island School of Design in 1970, where his introduction to various avant-garde
directors inspired him to change his major from painting to cinema.[10]
Career Edit
1982–1989: Early career Edit
After spending time in Europe, Van Sant went to Los Angeles in 1976.[11] He secured a job as a
production assistant to writer/director Ken Shapiro, with whom he developed a few ideas, none of
which came to fruition. In 1981, Van Sant made Alice in Hollywood, a film about a naïve young
actress who goes to Hollywood and abandons her ideals. It was never released. During this period,
Van Sant began to spend time observing the denizens of the more down-and-out sections of
Hollywood Boulevard. He became fascinated by the existence of this marginalized section of
L.A.'s population, especially in context with the more ordinary, prosperous world that surrounded
them. Van Sant would repeatedly focus his work on those existing on society's fringes, making his
feature film directorial debut Mala Noche.
It was made two years after Van Sant went to New York to work in an advertising agency. He
saved $20,000 during his tenure there, enabling him to finance the majority of his tale of doomed
love between a gay liquor store clerk and a Mexican immigrant. The film, which was taken from
Portland street writer Walt Curtis' semi-autobiographical novella, featured some of the director's
hallmarks, notably an unfulfilled romanticism, a dry sense of the absurd, and the refusal to treat
homosexuality as something deserving of judgment. Unlike many gay filmmakers, Van Sant—
who had long been openlygay—declined to use same-sex relationships as fodder for overtly
political statements, although such relationships would frequently appear in his films.
Shot in black-and-white, the film earned Van Sant almost overnight acclaim on the festival circuit,
with the Los Angeles Times naming it the year's Best Independent Film.[12] The film's success
attracted Hollywood interest, and Van Sant was briefly courted by Universal; the courtship ended
after Van Sant pitched a series of project ideas (including what would later become Drugstore
Cowboy and My Own Private Idaho) that the studio declined to take interest in.
Van Sant moved back to Portland, Oregon, where he set up house and began giving life to the
ideas rejected by Universal. He directed Drugstore Cowboy about four drug addicts robbing
pharmacies to support their habit. The film met with great critical success and revived the career
of Matt Dillon.
1990–1995: Indie and arthouse success Edit

Drugstore Cowboy's exploration of the lives of those living on society's outer fringes, as well as its
Portland setting, were mirrored in Van Sant's next effort, the similarly acclaimed My Own Private
Idaho (1991). Only with the success of Cowboy was Van Sant now given license to make Idaho (a
film he had originally pitched but was knocked back several times as the script was deemed 'too
risky' by studios). Now New Line Cinema had given Van Sant the green light, he was on a mission
to get the Idaho script to his first choices for his two young leads. After months of struggle with
agents and managers over the content of the script, Van Sant finally secured River Phoenix and
Keanu Reeves in the roles of Mike Waters and Scott Favor. Centering around the dealings of two
male hustlers (played by Phoenix and Reeves), the film was a compelling examination of
unrequited love, alienation, and the concept of family (a concept Van Sant repeatedly explores in
his films). The film won him an Independent Spirit Award for his screenplay (he had won the same
award for his Drugstore Cowboy screenplay), as well as greater prestige. The film also gained
River Phoenix best actor honors at the Venice Film Festival among others. In addition, it helped
Reeves—previously best known for his work in the Bill and Ted movies—to get the critical
respect that had previously eluded him.
Van Sant's next film, a 1993 adaptation of Tom Robbins' Even Cowgirls Get the Blues, was an
excessive flop, both commercially and critically. Featuring an unusually large budget (for Van
Sant, at least) of $8.5 million and a large, eclectic cast including Uma Thurman, John Hurt, Keanu
Reeves and a newcomer in the form of River Phoenix's younger sister Rain (at Phoenix's
suggestion), the film was worked and then reworked, but the finished product nonetheless resulted
in something approaching a significant disaster.
Van Sant's 1995 film To Die For helped to restore his luster. An adaptation of Joyce Maynard's
novel, the black comedy starred Nicole Kidman as a murderously ambitious weather girl; it also
stars Matt Dillon as her hapless husband and, the third Phoenix sibling in as many projects,
Joaquin Phoenix, as her equally hapless lover (River had died from a drug overdose a year and
half earlier). It was Van Sant's first effort for a major studio (Columbia), and its success paved the
way for further projects of the director's choosing. The same year, he served as executive producer
for Larry Clark's Kids; it was a fitting assignment, due to both the film's subject matter and the
fact that Clark's photographs of junkies had served as reference points for Van Sant's Drugstore
Cowboy.
1997–2003: Mainstream breakout Edit

In 1997, Van Sant gained mainstream acceptance thanks to Good Will Hunting, starring and
written by Matt Damon and Ben Affleck. The film—about a troubled, blue-collar mathematical
genius—was a huge critical and commercial success. It was nominated for nine Academy Awards,
including Best Director for Van Sant. It also won two, including Best Screenplay for Damon and
Affleck, and Best Supporting Actor Oscar for Robin Williams, who, in his acceptance speech,
referred to Van Sant as "the mellowest man in Hollywood." Van Sant, Damon and Affleck
parodied themselves and the film's success in Kevin Smith's Jay and Silent Bob Strike Back.
The success of Good Will Hunting afforded Van Sant the opportunity to remake the Alfred
Hitchcock classic Psycho. As opposed to reinterpreting the 1960 film, Van Sant opted to recreate
the film shot-for-shot, in color, with a cast of young Hollywood A-listers. His decision was met
with equal parts curiosity, skepticism, and derision from industry insiders and outsiders alike, and
the finished result met with a similar reception. It starred Anne Heche, Vince Vaughn and Julianne
Moore, and met with a negative critical reception and did poorly at the box office.
In 2000, Van Sant directed Finding Forrester, about a high-school student (Rob Brown) from the
Bronx unlikely becoming a friend of a crusty, reclusive author (Sean Connery). Critical response
was generally positive.[13]
In addition to directing, he devoted considerable energy to releasing two albums and publishing a
novel, Pink, which was a thinly veiled exploration of his grief over River Phoenix's death.[citation
needed]
2003–present: Return to arthouse cinema Edit
Gus Van Sant and Joaquin Phoenix at the press conference of Don't Worry, He Won't Get Far on
Foot. Berlinale 2018.
Van Sant traveled to the deserts of Argentina, Utah, and Death Valley for 2002's Gerry, a loosely
devised, largely improvised feature in which stars Matt Damon and Casey Affleck—both playing
characters named Gerry—wander through the desert, discussing Wheel of Fortune, video games,
and nothing in particular. The film premiered at the Sundance Film Festival.
It took Gerry over a year to make it to theaters, in which time Van Sant began production on his
next film, Elephant. Approached by HBO and producer Diane Keaton to craft a fictional film
based on the 1999 Columbine High School massacre, the director chose to shoot in his hometown
of Portland, employing dozens of untrained, teen actors. As well as melding improvisational long
takes like those in Gerry with Harris Savides' fluid camerawork, the film was also influenced by
Alan Clarke's 1989 film of the same name (see Elephant). The finished film provoked strong
reactions from audiences at the 2003 Cannes Film Festival. At the Cannes festival, the jury
awarded Elephant with their top prize, the Palme d'Or, and Van Sant with his first Best Director
statue from the festival.[2] The success of Elephant led Van Sant to show the U.S. premiere of
Elephant as a fundraiser for Outside In, an organization working to help youth living on the streets
of Portland, Oregon.
In 2005, Van Sant released Last Days, the final component of what he refers to as his "Death
Trilogy," (the other parts being Gerry and Elephant). It is a fictionalized account of what happened
to Nirvana frontman Kurt Cobain in the days leading up to his death. In 2006, Van Sant began
work on Paranoid Park based on the book by Blake Nelson, about a skateboarding teenager who
accidentally causes someone's death. The film was released in Europe in February 2008. He also
directed the "Le Marais" segment of the omnibus film Paris, je t'aime.
Released in 2008, Van Sant's Milk is a biopic of openly gay San Francisco politician Harvey Milk,
who was assassinated in 1978 and is played by Sean Penn in the movie. The film received eight
Oscar nominations at the 81st Academy Awards, including Best Picture, winning two for Best
Actor in a Leading Role for Penn and Best Original Screenplay for writer Dustin Lance Black.
Van Sant was nominated for Best Director.[14][15] Van Sant later stated that his experience with
Sean Penn on the film was "amazing".[16]
His 2011 project Restless[17] was screened in the Un Certain Regard section at the 2011 Cannes
Film Festival, and starred Mia Wasikowska and Henry Hopper, the son of actor Dennis Hopper.
[18][19]
Van Sant's film, Promised Land, was released on December 28, 2012.[20] The film stars Frances
McDormand, Matt Damon, and John Krasinski—the latter two co-wrote the screenplay based on a
story by Dave Eggers. Filmed in April 2012, the production company, Focus Features, selected the
release date so that the film is eligible to qualify for awards consideration.[21][22]
Following Promised Land, Van Sant directed a film titled Sea of Trees, which starred Matthew
McConaughey and Ken Watanabe. The film tells the story of a man who travels to the infamous
suicide forest in Japan to kill himself, only to encounter another man wishing to kill himself as
well, with whom he then embarks on a "spiritual journey."[23] The film was selected to compete
for the Palme d'Or at the 2015 Cannes Film Festival but was met with harsh critical reception at
the Cannes, being booed and laughed at.[24][25]
In December 2016, it was announced Van Sant would direct Don't Worry, He Won't Get Far on
Foot, a biopic about cartoonist John Callahan, starring Joaquin Phoenix, Rooney Mara, Jonah Hill,
Jack Black and Mark Webber.[26][27][28][29] Principal photography began in March 2017.[30]
[31]
In the media Edit

Van Sant released two musical albums: Gus Van Sant and 18 Songs About Golf. The Broken
Social Scene song, "Art House Director", is supposedly about himself, a connection discussed by
a Singaporean fan on the internet.[32] Van Sant played himself in episodes of the HBO series
Entourage and the IFC series Portlandia.
Van Sant directed the pilot for the Starz television program Boss, starring Kelsey Grammer. Van
Sant went onto The Bret Easton Ellis Podcast to discuss filmmaking, writing, film history and
their collaborations that never got made (The Golden Suicides) and the one that did (The
Canyons).[33]
Archive Edit
The moving image collection of Gus Van Sant is held at the Academy Film Archive.[34]
Awards and nominations Edit

Career Achievement
Provincetown International Film Festival Filmmaker on the Edge Award (2002)
Drugstore Cowboy (1989)
Los Angeles Film Critics Association Award for Best Screenplay (with Daniel Yost)[35]
Independent Spirit Award for Best Screenplay (with Daniel Yost)
National Society of Film Critics Award for Best Director
National Society of Film Critics Award for Best Screenplay (with Daniel Yost)
New York Film Critics Circle Award for Best Screenplay (with Daniel Yost)
My Own Private Idaho (1991)
Venice Film Festival Official Selection
Toronto Festival of Festivals FIPRESCI Prize
Good Will Hunting (1997)
Berlin Film Festival Official Selection[36]
Academy Award nomination for Best Director [film won for Best Supporting Actor and Best
Original Screenplay]
Directors Guild of America (DGA) nomination for Outstanding Directorial Achievement in
Motion Pictures
Satellite Award nomination for Best Director[citation needed]
Finding Forrester (2000)
Berlin Film Festival Prize of the Guild of German Art House Cinemas
Elephant (2003)
Cannes Film Festival Palme d'Or[2]
Cannes Film Festival Prix de la mise en scène[2]
Last Days (2005)
Cannes Film Festival Official Selection[37]
Paranoid Park (2007)
Boston Society of Film Critics Award for Best Director
Cannes Film Festival "Prix du 60ème anniversaire" (also acknowledging his body of works)[38]
Milk (2008)
Academy Award nomination for Best Director [film won Best Actor in a Leading Role and Best
Original Screenplay]
Boston Society of Film Critics Award for Best Director[citation needed]
Broadcast Film Critics Association Award nomination for Best Director
Directors Guild of America (DGA) nomination for Outstanding Directorial Achievement in
Motion Pictures
Satellite Award nomination for Best Director
Filmography Edit
Feature films Edit
Year Film Credited Director Credited Producer Credited Writer Grossed Rotten Tomatoes
1985 Mala Noche Yes Yes Yes 95%
1989 Drugstore Cowboy Yes Yes $4,729,352 100%
1991 My Own Private Idaho Yes Yes $6,401,336 86%
1993 Even Cowgirls Get the Blues Yes Yes Yes $1,708,873 22%
1995 To Die For Yes $21,284,514 87%
1997 Good Will Hunting Yes $225,933,435 97%
1998 Psycho Yes Yes $37,141,130 37%
2000 Finding Forrester Yes $80,701,064 73%
2002 Gerry Yes Yes $236,266 61%
2003 Elephant Yes Yes $10,020,543 71%
2005 Last Days Yes Yes Yes $2,456,454 57%
2007 Paranoid Park Yes Yes $4,545,747 77%
2008 MilkYes $54,586,584 94%
2011Restless Yes Yes $163,265 37%
2012 Promised Land Yes $8,138,788 51%
2015 The Sea of Trees Yes $825,577 11%
2018 Don't Worry, He Won't Get Far on Foot Yes Yes 73%
Short films Edit
Fun with a Bloodroot (1967) 2 min 20 sec, 8 mm color
The Happy Organ (1971) 20 min, 16 mm black and white
Little Johnny (1972) 40 sec, 16 mm black and white
1/2 of a Telephone Conversation (1973) 2 min, 16 mm black and white
Late Morning Start (1975) 28 min, 16 mm color
The Discipline of DE (1978) 9 min, 16 mm black and white, adaptation of William S. Burroughs'
short story, narrated by Ken Shapiro
Alice in Hollywood (1981) 45 min, 16 mm color
My Friend (1982) 3 min, 16 mm black and white
Where'd She Go? (1983) 3 min, 16 mm color
Nightmare Typhoon (1984) 9 min, 16 mm black and white
My New Friend (1984) 3 min, 16 mm color
Ken Death Gets Out of Jail (1985) 3 min, 16 mm black and white
Five Ways to Kill Yourself (1986) 3 min, 16 mm black and white
Thanksgiving Prayer (1991) 2 min, 35 mm color, written by and starring William S. Burroughs
Four Boys in a Volvo (1996) 4min, color
Paris, je t'aime (2006) segment "Le Marais"
To Each His Own Cinema (2007) segment "First Kiss" (3 min)
8 (2008) segment "Mansion on the Hill"[39]
Music videos Edit
"Thanksgiving Prayer" by William Burroughs (1990)
"Fame '90" by David Bowie (1990)
"I'm Seventeen" by Tommy Conwell & The Young Rumblers (1991)
"Under the Bridge" by Red Hot Chili Peppers (1992)
"Bang Bang Bang" by Tracy Chapman (1992)
"Runaway" by Deee-Lite (1992)
"The Last Song" by Elton John (1992)
"San Francisco Days" by Chris Isaak (1993)
"Just Keep Me Moving" by k.d. lang (1993)
"Creep" (alternate version) by Stone Temple Pilots (1993)
"Understanding" by Candlebox (1995)
"Ballad of the Skeletons" by Allen Ginsberg with Paul McCartney, Philip Glass, Lenny Kaye et al.
(1996)
"Weird" by Hanson (1998)
"Who Did You Think I Was" (turntable version) by John Mayer Trio (2005)
"Desecration Smile" by Red Hot Chili Peppers (2007)[40]
"Ain't It Funny" by Danny Brown (2017)
Recordings Edit
The Elvis of Letters (1985) with William S. Burroughs
Millions of Images (1990) with William S. Burroughs
Executive producer Edit
Kids (1995)
Speedway Junky (1999)
Tarnation (2003)
Wild Tigers I Have Known (2006)
Lightfield's Home Videos (2006)
Howl (2010)
Virginia (2010)
Act Up! (2012)
Laurence Anyways (2012)
Revolution (2013)
I Am Michael (2015)
Actor Edit
Jay and Silent Bob Strike Back (2001) as Himself
Entourage- Season 5, Episode 12: Return to Queens Blvd. (2008) as Himself
The Canyons (2013) as Dr. Campbell
Television Edit
The Devil You Know (2015) – Director, executive producer
When We Rise (2017– ), an American miniseries written by Dustin Lance Black – Director of
first two-hour part
See also Edit
List of people from the Louisville metropolitan area
References Edit
^ a b film reference (2012). "Gus Van Sant Biography (1952?-)". film reference. Advameg, Inc.
^ a b c d "Festival de Cannes: Elephant". festival-cannes.com. Retrieved 2009-11-05.
^ Gus Van Sant, Pink, Faber & Faber, 1998, ISBN 0-385-49353-3
^ Gus Van Sant, 108 Portraits, Twin Palms Pub., 1993, ISBN 0-944092-22-5
^ Brandao, Rodrigo (November 11, 2015). "Interview with Openly Gay Filmmaker Gus Van
Sant". About.com. Archived from the original on August 13, 2016.
^ "Changes in Management Disclosed by White Stag". The Oregonian. Portland, Oregon.
December 5, 1969. Section 1, p. 39.
^ [1]
^ "Darien High School". Public School Review. Public School Review. 2003–2012. Retrieved
September 24, 2012.
^ "Gus Van Sant- Biography". Yahoo! Movies. Yahoo!, Inc. 2012. Retrieved September 24, 2012.
^ Marx, Rebecca Flint. "Gus van Sant Biography". The New York Times.
^ "Gus van Sant". The New York Times.
^ "Gus Van Sant : Biography". Biography.com. Retrieved 2014-08-04.
^ "Finding Forrester". Rotten Tomatoes. Retrieved 2010-12-06.
^ Andy Towle (February 23, 2009). "Milk Picks Up Two Big Oscars as Slumdog Dominates
Academy Awards". Towleroad. Towleroad. Retrieved August 15, 2012.
^ Greg Hernandez (January 22, 2009). ""Milk" gets EIGHT Academy Award nominations..." Out
in Hollywood with Greg Hernandez. Los Angeles Newspaper group. Archived from the original
on March 5, 2012. Retrieved August 15, 2012.
^ Gus Van Sant (2010). "MADONNA". interviewmagazine.com. Interview, Inc. Retrieved August
15, 2012.
^ Leffler, Rebecca (April 13, 2011). "Gus Van Sant's 'Restless' to Open Cannes Un Certain
Regard". The Hollywood Reporter. Retrieved April 13, 2011.
^ "Festival de Cannes: Official Selection". Cannes. Retrieved 2011-04-14.
^ Fleming, Mike (February 1, 2012). "Focus, Participant Acquire Matt Damon/John Krasinski
Film; Gus Van Sant Directing". Deadline Hollywood.
^ Gerhardt, Tina (December 31, 2012). "Matt Damon Exposes Fracking in Promised Land". The
Progressive.
^ Eric Eisenberg (August 23, 2012). "Gus Van Sant's Promised Land, Starring Matt Damon, Gets
A Release Date". Cinema Blend. Cinema Blend LLC. Retrieved December 19, 2012.
^ Matt Goldberg (August 23, 2012). "Gus Van Sant's PROMISED LAND Gets into Awards Race;
Release Dates Announced for DreamWorks Animation Pictures". Collider.com. IndieClick Film
Network. Retrieved December 19, 2012.
^ Kit, Boris. "Matthew McConaughey to Star in Gus Van Sant's 'Sea of Trees'". The Hollywood
Reporter. TheHollywoodReporter.com. Retrieved March 18, 2014.
^ "Gus Van Sant's 'Sea of Trees' Booed at Cannes Premiere". variety.com. May 15, 2015.
^ Reinstein, Mara (May 15, 2015). "Matthew McConaughey's Film The Sea of Trees Booed,
Laughed at During Cannes Film Festival". usmagazine.com. Retrieved May 15, 2015.
^ Kroll, Justin (November 29, 2016). "Joaquin Phoenix, Gus Van Sant Eye Reunion for Biopic on
Famed Cartoonist John Callahan (EXCLUSIVE)". Variety. Retrieved January 4, 2017.
^ Kroll, Justin (December 16, 2016). "Jonah Hill, Rooney Mara in Talks to Join Joaquin Phoenix
in Gus Van Sant Film (EXCLUSIVE)". Variety. Retrieved January 4, 2017.
^ McNary, Dave (February 15, 2017). "Jack Black in Talks to Join Joaquin Phoenix in Gus Van
Sant's John Callahan Biopic". Variety. Retrieved March 6, 2017.
^ Kroll, Justin (March 2, 2017). "Mark Webber Joins Joaquin Phoenix in Gus Van Sant's John
Callahan Biopic". Variety. Retrieved March 6, 2017.
^ "Don't Worry He Won't Get Far on Foot". My Entertainment World. Retrieved March 6, 2017.
^ June, Sophia (February 21, 2017). "Cast of Gus Van Sant's John Callahan Movie, Including
Jonah Hill, Rooney Mara and Joaquin Phoenix Came to Portland Last Weekend". Wweek.com.
^ Mayo Martin (July 29, 2010). "Broken Social Scene hangs out with local bands! The latter left
speechless!". Poparazzi. Poparazzi. Retrieved August 22, 2012.[permanent dead link]
^ "Bret Easton Ellis Podcast". Podcastone.com. Retrieved 2014-08-04.
^ "Gus Van Sant Collection". Academy Film Archive.
^ LAFCA (2007). "15TH ANNUAL LOS ANGELES FILM CRITICS ASSOCIATION
AWARDS". LAFCA. LAFCA. Retrieved August 17, 2012.
^ "Berlinale: 1998 Prize Winners". berlinale.de. Retrieved 2012-01-16.
^ Festival de Cannes (2005). "LAST DAYS". Festival de Cannes. Festival de Cannes. Retrieved
August 22, 2012.
^ Festival de Cannes (2007). "PARANOID PARK". Festival de Cannes. Festival de Cannes.
^ Unknown. "Biography". Gus Van Sant. Geocities. Archived from the original on October 26,
^ Alex S. Garcia (1998–2012). "Gus van Sant". mvdbase.com. Alex S. Garcia. Retrieved August
17, 2012. Note that Chris Isaak's Solitary Man (1993) was not directed by Van Sant but by Larry
Clark.
Weber, Christian (2015). Gus Van Sant: Looking for a Place Like Home (PhD thesis, University of
Mainz). Berlin: Bertz + Fischer. ISBN 978-3-86505-321-3.
External links Edit
Wikimedia Commons has media related to Gus Van Sant.
Gus Van Sant on IMDb
Gus Van Sant on Charlie Rose
Works by or about Gus Van Sant in libraries (WorldCat catalog)
"Gus Van Sant collected news and commentary". The Guardian.
Gus Van Sant at the New York Times Movies
Future Movies Paranoid Park interview (01/2008)
Interview (11/2003)
Senses of Cinema essay at the Wayback Machine (archived December 14, 2005)
Reverse Shot Gus Van Sant: Vague Recollections
Literature on Gus Van Sant
Last edited 3 days ago by TAnthony
Wikipedia


Wikipedia
John Carpenter
Para otros usos de este término, véase John Carpenter (desambiguación).
John Carpenter (Carthage, Nueva York, 16 de enero de 1948) es un director de cine, guionista y
compositor de bandas sonoras estadounidense.[1]
John Carpenter
JohnCarpenter2010.jpg
Carpenter en 2010
John Howard Carpenter
Otros nombres
JC
Nacimiento
Bandera de Estados Unidos Carthage, Nueva York,
Estados Unidos
Nacionalidad
Estadounidense
Religión
Ateísmo
Características físicas
Altura
1,83 m
Familia
Cónyuge
Adrienne Barbeau (1979–1984)
Sandy King (1990–presente)
Hijos
John Cody Carpenter (1984)
Educación
Alma máter
Universidad del Sur de California
Escuela de Artes Cinematográficas de la Universidad del Sur de California
Western Kentucky University Ver y modificar los datos en Wikidata
Ocupación
Director, guionista, compositor, actor
Año de debut
1962
Género
Música electrónica Ver y modificar los datos en Wikidata
Discográfica
Sacred Bones Records Ver y modificar los datos en Wikidata
Premios artísticos
Premios Óscar
Cortometraje :Bronco Billy Resurrection, 1970
Web
Sitio web
www.theofficialjohncarpenter.com Ver y modificar los datos en Wikidata
Facebook
directorjohncarpenter Ver y modificar los datos en Wikidata
Twitter
TheHorrorMaster Ver y modificar los datos en Wikidata
Es considerado por muchos como uno de los realizadores de género más importantes de las
décadas de 1970 y 1980 en Estados Unidos, y conocido principalmente por grandes éxitos de
taquilla como Halloween (1978), La niebla (The Fog, 1980), y Starman (1984) o por películas no
tan exitosas, pero muy influyentes para generaciones posteriores, como 1997: Rescate en Nueva
York (1981), La cosa (The Thing, 1982), Golpe en la pequeña China (Big Trouble in Little China,
1986) o Están vivos (They Live!, 1987).[1]
Índice
John Carpenter nació en Carthage, New York, hijo de Milton Jean y Howard Ralph Carpenter, un
profesor de música.[2] Se muda con su familia a Bowling Green, Kentucky en el 1953. Siendo un
niño empieza su fascinación por las películas, en particular los westerns de Howard Hawks y John
Ford, como también por las películas de terror de bajo presupuesto, como The Thing from Another
World y las de ciencia ficción de gran presupuesto como Forbidden Planet y a rodar cortometrajes
en 8 mm (Revenge of the Colossal Beast, Gorgo vs. Godzilla, Terror from Space y Sorcerers from
Outer Space) antes de entrar en la escuela secundaria. Fue a la universidad Western Kentucky
University en donde su padre presidía el departamento musical, luego se trasladó a la universidad
University of Southern California's School of Cinematic Arts en 1968, pero no finalizó sus
estudios para así poder realizar su primera película, Dark Star.[3]

Películas de estudiante y Oscar Editar
En un curso para principiantes de cine en la USC Cinema en 1969, Carpenter escribe y dirige un
corto de 8 minutos, Captain Voyeur. El corto sería redescubierto en los archivos de la USC en
2011 y resulta interesante ya que releva elementos que aparecerían en su posterior film, Halloween
(1978).[4]
Al año siguiente colaboró con el productor John Longenecker como co-guionista, montador y
compositor de The Resurrection of Broncho Billy (1970), que gana el Óscar al mejor cortometraje.
El cortometraje fue ampliado a 35 mm, se realizaron sesenta copias, y la película fue estrenada en
cines por Universal Studios durante dos años en los Estados Unidos y Canadá.
Los 70: De películas de estudiante al cine profesional Editar

Su primer largometraje, Dark Star (1974), fue una comedia de humor negro de ciencia ficción que
co-escribió con Dan O'Bannon, quien más tarde fue el autor del guion de Alien, adaptando
libremente gran parte de Dark Star. La película costó sólo 60.000 dólares y fue difícil de hacer, ya
que tanto Carpenter como O'Bannon completaron la película asumiendo varios roles, con
Carpenter haciendo la partitura musical, así como la escritura, producción y dirección, mientras
que O'Bannon actuó en la película e hizo los efectos especiales (que llamaron la atención de
George Lucas que lo contrató para hacer un trabajo sobre los efectos especiales de Star Wars). El
trabajo de Carpenter no pasó desapercibido en Hollywood, en donde estaban maravillados de sus
habilidades cinematográficas dentro de los límites de un presupuesto muy reducido.[5]
La siguiente película de Carpenter fue Asalto a la comisaría del distrito 13 (1976), un thriller de
bajo presupuesto influenciado por las películas de Howard Hawks, en particular Río Bravo. Al
igual que con Dark Star, Carpenter fue el responsable de muchos aspectos de la creación de la
película. Él no sólo escribió, dirigió y compuso la banda sonora, también editó la película bajo el
seudónimo de "John T. Chance" (el nombre del personaje que interpretaba John Wayne en Río
Bravo). Carpenter ha dicho que él considera Asalto a la comisaría del distrito 13 su primera
película de verdad, ya que fue la primera película que filmó con un plan de rodaje. En esa película
Carpenter trabajó por primera vez con Debra Hill, quien jugó un lugar destacado en la realización
de algunas de las películas más importantes de Carpenter.[6]
Carpenter reunió un elenco principal que consistía en actores con experiencia, pero relativamente
oscuros. Los dos protagonistas fueron Austin Stoker, que había aparecido previamente en películas
de ciencia ficción, desastres y películas blaxploitation, y Darwin Joston, que había trabajado
principalmente en la televisión y que había sido vecino de Carpenter.
La película recibió una revaluación crítica de los Estados Unidos, donde ahora se considera
generalmente como una de las mejores películas exploitation de la década de 1970.
Carpenter escribió y dirigió el thriller protagonizado por Lauren Hutton Someone's Watching Me!.
Esta película para televisión cuenta la historia de una solitaria mujer trabajadora que, poco
después de llegar a Los Ángeles, descubre que está siendo acosada.
Halloween fue un éxito comercial y ayudó a dar a luz al género slasher. Originalmente una idea
sugerida por el productor Irwin Yablans (titulada The Babysitter Murders), quien concibió una
película sobre niñeras siendo amenazadas por un acosador, Carpenter tomó la idea y otra
sugerencia de Yablans que tienen lugar durante Halloween y desarrolló una historia.[7] Carpenter
dijo que el concepto básico: «La noche de Halloween nunca fue mi idea para la película. Mi idea
era hacer una película sobre una antigua casa embrujada». El guion fue escrito por Carpenter y
Debra Hill, admitiendo este que para la música se inspiró en Suspiria de Dario Argento (tanto que
también influyó en el esquema de colorea surrealista de la película) y en El exorcista de William
Friedkin.
Carpenter volvió a trabajar con un presupuesto relativamente pequeño, 320.000 dólares. La

película recaudó más de 65 millones en un principio, por lo que es una de las películas
independientes más exitosas de todos los tiempos.[8]
Carpenter ha descrito a Halloween como: «Cine de explotación al cien por cien. Decidí hacer una
película que me encantaría haber visto cuando era niño, llena de trucos baratos como una casa
encantada en una feria donde se puede caminar por el pasillo y las cosas te saltan a la cara».[9] La
película ha sido a menudo citada como una alegoría sobre la virtud de la pureza sexual y el peligro
de las relaciones sexuales ocasionales, aunque Carpenter ha explicado que no era esa su intención:
«Se ha sugerido que estaba haciendo algún tipo de declaración moral. Créeme, no lo era. En
Halloween, yo veía a los personajes como los adolescentes simplemente normales».
Además del éxito comercial y de crítica de la película, la banda sonora de Carpenter se hizo
popular.[10]
En 1979, John Carpenter comenzó la que sería la primera de varias colaboraciones con el actor
Kurt Russell cuando dirigió la película para televisión Elvis.
Los 80: Éxitos comerciales sucesivos Editar

Carpenter siguió el éxito de Halloween con La niebla (1980), una historia de venganza fantasmal
(co-escrita con Debra Hill) inspirada en cómics de terror como Tales from the Crypt y en The
Crawling Eye, una película de 1958 sobre monstruos que se esconden en las nubes.
Completar La niebla fue un proceso extraordinariamente difícil para Carpenter porque después de
ver un primer montaje de la película, no quedó satisfecho con el resultado. Por primera vez en su
carrera, tenía que encontrar una manera de salvar una película casi terminada que no cumplía con
sus estándares. Con el fin de hacer la película más coherente y aterradora, rodó metraje adicional
que incluía una serie de nuevas escenas.
A pesar de los problemas de producción y de que las críticas fueron en su mayoría negativas, La
niebla fue otro éxito comercial de Carpenter.[11] La película fue hecha con un presupuesto de
1.000.000 de dólares, pero recaudó más de 21 millones en los Estados Unidos solamente.
Carpenter ha dicho que La niebla no es su película favorita, pese a lo cual la considera «un clásico
de terror de menor importancia».
Carpenter siguió inmediatamente a La niebla con Escape from New York (1981).
Su siguiente película, The Thing (1982), destaca por sus altos valores de producción, incluidos los
innovadores efectos especiales de Rob Bottin, efectos visuales especiales del artista Albert
Whitlock, una partitura de Ennio Morricone y un elenco que incluye a la estrella en ascenso Kurt
Russell y respetados actores de carácter como Wilford Brimley, Richard Dysart, Charles Hallahan,
Keith David y Richard Masur. The Thing fue distribuida por Universal Pictures.
La película de Carpenter es un remake de la película de 1951 de Howard Hawks El enigma de otro

mundo, aunque la versión de Carpenter es más fiel a la novela corta de John W. Campbell sobre la
que se basaron las dos películas. Por otra parte, a diferencia de la película de Hawks, The Thing
forma parte de lo que Carpenter llamaría más tarde su "Trilogía apocalíptica" (The Thing, El
príncipe de las tinieblas y En la boca del miedo) con finales tristes para los personajes de la
película, y es una película de terror explícito que no gustó al público en el verano de 1982,
particularmente al haberse estrenado dos semanas antes E.T., el extraterrestre, que mostraba una
imagen mucho más alegre de las visitas extraterrestres. En una entrevista, Carpenter afirmó que el
estreno de E.T., el extraterrestre podría haber sido en gran parte responsable de la mala acogida
que tuvo la película.[12] The Thing no funcionó demasiado bien a nivel comercial y fue el primer
fracaso comercial de Carpenter, aunque con los años terminaría siendo un filme de culto.
Poco después de terminar la postproducción de The Thing, Universal le ofreció la oportunidad de

dirigir Firestarter, basada en la novela de Stephen King. Carpenter contrató a Bill Lancaster para
adaptar la novela en un guion, que se completó a mediados de 1982. Carpenter tenía en mente a
Burt Lancaster como "Rainbird" y a Jennifer Connelly, por aquel entonces una niña de 12 años,
como "Charly", pero como The Thing había fracasado en taquilla, Universal reemplazó a
Carpenter por Mark L. Lester.[13] Irónicamente, la siguiente película de Carpenter, Christine
(1983), era la adaptación de la novela homónima de Stephen King. La historia gira en torno a un
nerd de secundaria llamado Arnie Cunningham (Keith Gordon) que compra un coche de segunda
mano que resulta tener poderes sobrenaturales. A medida que Cunningham restaura y arregla el
coche se vuelve extrañamente obsesionado con él, con trágicas consecuencias. Christine funcionó
bien en su estreno y fue bien acogida por los críticos, pero Carpenter ha dicho que él dirigió la
película porque era lo único que se le ofreció en aquel momento.
Starman (1984) fue producida por Michael Douglas, el guion fue bien recibido por Columbia
Pictures, que lo prefirió al guion de E.T., el extraterreste. Douglas eligió a Carpenter para ser el
director debido a su reputación como un director de acción que también puede transmitir
emociones fuertes. Starman fue criticada favorablemente por el Los Angeles Times, el New York
Times y LA Weekly y Carpenter la describió como una película que imaginó como una comedia
romántica similar a Sucedió una noche pero con un extraterrestre. La película recibió
nominaciones al Oscar y el Globo de Oro por la interpretación de Jeff Bridges de Starman y
recibió una nominación al Globo de Oro a la mejor banda sonora de Jack Nitzsche. Tras el fracaso
en taquilla de su comedia de acción de gran presupuesto Golpe en la pequeña China (1986), a
Carpenter le costó conseguir financiación para sus películas. Volvió a producciones de bajo
presupuesto como El príncipe de las tinieblas (1987), una película con influencias de la serie de la
BBC Quatermass. Aunque algunas de sus películas de aquella época, como They Live (1988)
captaron al público del cine de culto, nunca más volvió al cine de masas.
Carpenter también se ofreció para El Exorcista III en 1989, y se reunió con el escritor William
Peter Blatty en el transcurso de una semana. Sin embargo, los dos se enfrentaron en el clímax de la
película y Carpenter pasó del proyecto. Blatty dirigió la película él mismo un año después.
Carpenter dijo que a pesar de que se peleaban por el final, hubo un respeto mutuo y hablaron sobre
el interés que ambos compartían, la física cuántica.
Los 90: Declive crítico y comercial Editar

Su carrera de 1990 se caracteriza por una serie de notables fracasos: Memorias de un hombre
invisible (1992), El pueblo de los malditos (1995) y Escape from L.A. (1996) son ejemplos de
películas que fracasaron tanto ante la crítica como en taquilla. Películas notables de esta década
son En la boca del miedo (1994), otro homenaje lovecraftiano, y Vampiros (1998) protagonizada
por James Woods como el líder de una banda de cazadores de vampiros ayudada por la Iglesia
Católica.
Los 2000: Semirretiro Editar

En 2001 se estrenó Fantasmas de Marte. En 2005 se hicieron sendos remakes de Asalto a la
comisaría del distrito 13 y La niebla, este último producido por el propio Carpenter, aunque en una
entrevista él definía su participación como: «Yo vengo a saludar a todo el mundo. Luego me voy a
casa».
En 2007, Rob Zombie produjo y dirigió Halloween, una re-imaginación de la película de 1978 de
Carpenter que dio lugar a una secuela dos años después.
Después de Fantasmas de Marte, John Carpenter se involucra en el proyecto Masters of Horror

que el cineasta americano Mick Garris emprendió en 2005 en un intento por reunir en una serie de
TV a los mejores artífices del género de terror. En dicho proyecto se pudieron dar la mano Tobe
Hooper, Dario Argento, Joe Dante, Takashi Miike y el cineasta que nos ocupa, entre otros. Para la
primera temporada de dicha serie, John Carpenter dirigió la película (60 min. aprox) El fin del
mundo en 35mm que participó a concurso en la sección oficial Fantastic en el Festival de Cine de
Sitges. En 2006, para la segunda temporada de la serie, Carpenter dirigió Pro-life. Su episodio,
"Cigarette Burns", salió con críticas generalmente positivas y reacciones igualmente positivas de
los fans de Carpenter, muchos de los cuales lo consideran a la par con sus clásicos de terror
anteriores. Después ha contribuido con otro episodio original para la segunda temporada de la
serie, titulado "Pro-Life ", sobre una joven que es violada y embarazada por un demonio y quiere
abortar, pero cuyo padre, un fanático religioso, y sus tres hermanos la detienen en su intento.
En febrero de 2009, se anunció que había planeado un nuevo proyecto, llamado The Ward,
protagonizado por Amber Heard.
Década actual Editar

En 2010, John Carpenter estrenó la que era su primera película en nueve años. Se trata de la cinta
de terror y suspenso The Ward, en la que una joven es internada en un psiquiátrico y comienza a
ver el espíritu de otra chica por las noches, su primera película desde Fantasmas de Marte, y se
estrenó en el Festival Internacional de Cine de Toronto el 13 de septiembre de 2010. El 10 de
octubre de 2010, Carpenter recibió el premio Lifetime desde el Freak Show Horror Film Festival.
[14]
Técnicas Editar
Sus películas se caracterizan por la iluminación minimalista y sus encuadres, teniendo una gran
capacidad técnica, el uso de Steadicam, y la música distintiva y sintetizada (generalmente de
composición propia). Su cine está influenciado por Howard Hawks, Alfred Hitchcock, Nigel
Kneale, Orson Welles y Twilight Zone: The Movie. Su música suele ser sintetizada con
acompañamiento de piano y condiciones atmosféricas.
Con la excepción de The Thing, Starman, Memorias de un hombre invisible y The Ward, ha
compuesto la banda sonora de todas sus películas (aunque algunas son colaboraciones), las más
conocidas son Halloween y Asalto a la comisaría del distrito 13.
Carpenter es un claro defensor de la filmación de pantalla panorámica y todas sus películas (con la
excepción de Dark Star y The Ward) fueron filmadas en anamórfico con una relación de aspecto
de 2,35:1 o mayor. The Ward se rodó en Super 35, la primera vez que Carpenter ha utilizado ese
sistema. Carpenter ha declarado que considera el formato de 35mm anamórfico Panavision "el
mejor sistema de películas que hay", por encima del cine digital y 3D.[15]
Legado Editar
Muchas de las películas de Carpenter han sido reeditadas en DVD en ediciones especiales con
numerosos contenidos extra. Ejemplos de este tipo son: las ediciones de coleccionista de
Halloween, Escape From New York, Christine, The Thing, Asalto a la comisaría del distrito 13,
Golpe en la pequeña China y La Niebla. Algunos fueron reeditados con una nueva transferencia
widescreen anamórfico. En el Reino Unido, varias de las películas de Carpenter se han editado en
DVD con comentarios de audio de Carpenter y sus estrellas (They Live, con el actor/luchador
Roddy Piper, Starman con el actor Jeff Bridges y el Príncipe de las Tinieblas con el actor Peter
Jason).
Carpenter ha sido el tema de la película documental de John Carpenter: el hombre y sus películas,
y la retrospectiva de 2002 American Cinematheque de sus películas. Por otra parte, en 2006, la
Biblioteca del Congreso de los Estados Unidos considera Halloween "culturalmente significativa"
y la seleccionó para la preservación en el Registro Nacional de Cine.
En 2010, el escritor y actor Mark Gatiss entrevistó a Carpenter sobre su carrera y películas para su
serie documental de la BBC A History of Horror. Carpenter aparece en los tres episodios de la
serie.

Conoció a su futura esposa, la actriz Adrienne Barbeau, en el set de su película para televisión de
1978, Someone's Watching Me!.[16] Carpenter estuvo casado con Barbeau del 1979 al 1984.
Durante su matrimonio, Barbeau protagonizó La niebla y también apareció en Rescate en Nueva
York. La pareja tuvo un hijo, John Cody Carpenter, nacido el 7 de mayo de 1984.
Carpenter ha estado casado con la productora Sandy King desde 1990. King produjo varios
largometrajes posteriores de Carpenter, incluyendo They Live, En la boca del miedo, Fantasmas
de Marte , y Escape from L.A. Ella también trabajó como supervisora de guion de algunas de estas
películas, así como Starman, Golpe en la pequeña China y el Príncipe de las Tinieblas.
Carpenter apareció en un episodio de los iconos de animales de Animal Planet titulado " It Came
from Japan", donde habló de su amor y admiración por la película original de Godzilla.
Es también un conocido partidario de los videojuegos como un medio de comunicación y

expresión artística.
1962: Revenge of the Colossal Beasts, realizado a los 14 años.
1963: Terror from Space, realizado a los 15 años.
1969: Warrior and the Demon, crédito como Johnny Carpenter.
1969: Sorceror from Outer Space
1969: Gorgo versus Godzilla
1969: Gorgon, the Space Monster
Filmografía Editar
Cine Editar
Dark Star (1974)
Asalto a la comisaría del distrito 13 (1976)
Halloween (1978)
La niebla (1980)
Escape from New York (1981)
The Thing (1982)
Christine (1983)
Starman (1984)
Big Trouble in Little China (1986)
El príncipe de las tinieblas (1987)
They Live (1988)
Memorias de un hombre invisible (1992)
El pueblo de los malditos (1995)
In the Mouth of Madness (1995)
Escape from L.A. (1996)
Vampiros (1998)
Ghosts of Mars (2001)
Encerrada (2010)
Halloween Returns (2018)
Televisión Editar
Someone's Watching Me! (1978)
Elvis (1979)
Bolsa de cadáveres (1993)
El fin del mundo en 35 mm (2005, para la serie Masters of Horror)
Pro-vida (2006, para la serie Masters of Horror)
Referencias Editar
↑ a b Jason Zinoman (2011). «A Lord of Fright Reclaims His Dark Domain». The New York
Times.
↑ «John Carpenter Biography (1948–)». Film Reference.
↑ Dark Star The Guardian. Consultado el 7 de febrero de 2018.
↑ Barnes, Mike (2011). «'Halloween' Director John Carpenter's First Student Film Unearthed».
The Hollywood Reporter.
↑ «John Carpenter: Press: London Times: 3-8-78». theofficialjohncarpenter.com. 1978.
Archivado desde el original el 2015. Consultado el 2015.
↑ Goldwasser, Dan (2012). «John Carpenter – Interview». Soundtrack.net. Consultado el 2015.
↑ «Syfy – Watch Full Episodes | Imagine Greater». Scifi.com. Consultado el 2015.
↑ «Halloween». Houseofhorrors.com. Consultado el 2015.
↑ «John Carpenter: Press: Chic Magazine: August 1979». Theofficialjohncarpenter.com.
Archivado desde el original el 2015. Consultado el 2015.
↑ «Killing His Contemporaries: Dissecting The Musical Worlds Of John Carpenter». Archivado
desde el original el 2006.
↑ «Archived copy». Archivado desde el original el 2015. Consultado el 7 de marzo de 2015.
↑ Biodrowski, Steve. «John Carpenter's The Thing This Way Comes». Cinefantastique.
↑ «Why Firestarter Suffers from a Lack of John Carpenter». Dread Central. 2017. Consultado el
2017.
↑ «Badass Announcement Trailer – F.E.A.R. 3». DreadCentral.
↑ «Interview with John Carpenter». outpost31.com. August 2012. Archivado desde el original el
2012.
↑ Roger Ebert (1980). «Interview with Adrienne Barbeau». Chicago Sun-Times. Consultado el
2006.
Gilles Boulenger, John Carpenter: the prince of darkness, Silman-James Press, Los Angeles, 2003,
296 p. (ISBN 9781879505674) (en inglés)
Ian Conrich et David Woods (dir.), The cinema of John Carpenter : the technique of terror,
Wallflower, Londres, 2004, 219 p. (ISBN 978-1-904764-14-4) (en inglés)
Colin Odell et Michelle Le Blanc, John Carpenter, Kamera Books, Harpenden, 2009, 160 p.
(ISBN 9781842433386) (en inglés)
Éric Costeix, Cinéma et pensée visuelle : regard sur le cinéma de John Carpenter, L'Harmattan,
París; Budapest; Kinshasa, 2005, 304 p. (ISBN 2-7475-9995-7) (texto remodelado de una tesis de
doctorado en Artes y ciencias del arte. Estética y cine, defendida en la Universidad de París 1 en
2004) (en francés)
Luc Lagier et Jean-Baptiste Thoret, Mythes et masques : les fantômes de John Carpenter,
Dreamland, París, 1998, 335 p. (ISBN 2-910027-27-9) (en francés)
Juan Andrés Pedrero Santos, John Carpenter. Un clásico americano; T&B Editores, Madrid, 2013
(ISBN 978-84-15405-665) (en español)
John Carpenter en Internet Movie Database (en inglés)
Sitio oficial; en inglés.
Sitio Masters of Horror; en inglés.
Comentario del disco The Essential John Carpenter Film Music Collection, en el sitio Score
Magacine; en español.
Última edición hace 3 días por un usuario anónimo

Wikipedia
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Wikipedia
John Carpenter
For other people named John Carpenter, see John Carpenter (disambiguation).
John Howard Carpenter (born January 16, 1948) is an American film director, screenwriter,
producer, musician, editor and composer. Although Carpenter has worked with various film
genres, he is associated most commonly with horror, action and science fiction films of the 1970s
and 1980s.[1]
John Carpenter
JohnCarpenter2010.jpg
Carpenter in 2010
Born
John Howard Carpenter
Carthage, New York, U.S.
Residence
Nationality
American
Other names
Frank Armitage
John T. Chance
Rip Haight
Martin Quatermass
The Horror Master
The Master of Horror
Alma mater
Western Kentucky University
University of Southern California (quit)
Occupation
Film director screenwriter producer editor composer musician
Years active
1969–present
Known for
Assault on Precinct 13 Halloween The Fog Escape from New York The Thing Big Trouble in
Little China They Live
Home town
Bowling Green, Kentucky, U.S.
Spouse(s)
Adrienne Barbeau (m. 1979–1984)
Sandy King (m. 1990)
Children
Cody Carpenter
Musical career
Genres
Electronic rock film score
Instruments
Synthesizer piano guitar bass
Labels
Sacred Bones Records
Associated acts
The Coupe De Villes The Texas Toad Lickers Alan Howarth Jim Lang Dave Davies Shirley
Walker Cody Carpenter Daniel Davies
Website
www.theofficialjohncarpenter.com
Most films of Carpenter's career were initially commercial and critical failures, with the notable
exceptions of Halloween (1978), The Fog (1980), Escape from New York (1981), and Starman
(1984). However, many of Carpenter's films from the 1970s and the 1980s have come to be
considered as cult classics, and he has been acknowledged as an influential filmmaker. The cult
classics that Carpenter has directed include Dark Star (1974), Assault on Precinct 13 (1976), The
Thing (1982), Christine (1983), Big Trouble in Little China (1986), Prince of Darkness (1987),
They Live (1988), and In the Mouth of Madness (1995). He returned to the Halloween franchise
as an executive producer on the horror sequel Halloween (2018).
Carpenter is also notable for having composed or co-composed most of his films' music; some of
them are now well-known, with the main theme of Halloween being considered a part of popular
culture. He won a Saturn Award for Best Music for the film Vampires (1998). Carpenter has
released three studio albums, titled Lost Themes (2015), Lost Themes II (2016), and Anthology:
Movie Themes 1974–1998 (2017).
Contents
Early life Edit
Carpenter was born January 16, 1948 in Carthage, New York, the son of Milton Jean (née Carter)
and Howard Ralph Carpenter, a music professor.[2] He and his family relocated to Bowling
Green, Kentucky during 1953.[3] He was interested in films from an early age, particularly the
westerns of Howard Hawks and John Ford, as well as 1950s low-budget horror films, such as The
Thing from Another World and high budget science fiction like Forbidden Planet[4] and began
filming horror short films with 8 mm film even before starting high school.[5] He attended
Western Kentucky University, where his father chaired the music department, then transferred to
the University of Southern California's School of Cinematic Arts during 1968, but quit to make his
first feature film.[6]
Career Edit
1960s: Student films and Academy Award Edit
In a beginning film course at USC Cinema during 1969, Carpenter wrote and directed an 8-minute
short film, Captain Voyeur. The film was rediscovered in the USC archives during 2011 and
proved interesting because it revealed elements that would appear in his later film, Halloween
(1978).[7]
The next year he collaborated with producer John Longenecker as co-writer, film editor and music
composer for The Resurrection of Broncho Billy (1970), which won an Academy Award for Best
Live Action Short Film. The short film was enlarged to 35mm, sixty prints were made, and the
film was released theatrically by Universal Studios for two years in the United States and Canada.
1970s: From student films to theatrical releases Edit

Carpenter's first major film as director, Dark Star (1974), was a science fiction comedy that he
cowrote with Dan O'Bannon (who later went on to write Alien, borrowing freely from much of
Dark Star). The film reportedly cost only $60,000 and was difficult to make as both Carpenter and
O'Bannon completed the film by multitasking, with Carpenter doing the musical score as well as
the writing, producing and directing, while O'Bannon acted in the film and did the special effects
(which caught the attention of George Lucas who hired him to work with the special effects for the
film Star Wars). Carpenter's efforts did not go unnoticed as industry experts marveled at his ability
to make low-budget films.[8]
Carpenter's next film was Assault on Precinct 13 (1976), a low-budget thriller influenced by the
films of Howard Hawks, particularly Rio Bravo. As with Dark Star, Carpenter was responsible for
many aspects of the film's creation. He not only wrote, directed and scored it, but also edited the
film using the pseudonym "John T. Chance" (the name of John Wayne's character in Rio Bravo).
Carpenter has said that he considers Assault on Precinct 13 to have been his first real film because
it was the first film that he filmed on a schedule.[9] The film was the first time Carpenter worked
with Debra Hill, who played prominently in the making of some of Carpenter's most important
films.
Carpenter assembled a main cast that consisted of experienced but relatively obscure actors. The
two main actors were Austin Stoker, who had appeared previously in science fiction, disaster and
blaxploitation films, and Darwin Joston, who had worked primarily for television and had once
been Carpenter's next-door neighbor.[10]
The film received a critical reassessment in the United States, where it is now generally regarded
as one of the best exploitation films of the 1970s.[11]
Carpenter both wrote and directed the Lauren Hutton thriller Someone's Watching Me!. This
television film is the tale of a single, working woman who, soon after arriving in L.A., discovers
that she is being stalked.
Eyes of Laura Mars, a 1978 thriller featuring Faye Dunaway and Tommy Lee Jones and directed
by Irvin Kershner was adapted (in collaboration with David Zelag Goodman) from a spec script
titled Eyes, written by John Carpenter, and would become Carpenter's first major studio film of his
career.
Halloween (1978) was a commercial success and helped develop the slasher genre. Originally an
idea suggested by producer Irwin Yablans (titled The Babysitter Murders), who thought of a film
about babysitters being menaced by a stalker, Carpenter took the idea and another suggestion from
Yablans that it occur during Halloween and developed a story.[12] Carpenter said of the basic
concept: "Halloween night. It has never been the theme in a film. My idea was to do an old
haunted house film."[13] The film was written by Carpenter and Debra Hill with Carpenter
admitting that the music was inspired by both Dario Argento's Suspiria (which also influenced the
film's slightly surreal color scheme) and William Friedkin's The Exorcist.[13]
Carpenter again worked with a relatively small budget, $320,000.[14] The film grossed more than
$65 million initially, making it one of the most successful independent films of all time.[15]
Carpenter has described Halloween as: "True crass exploitation. I decided to make a film I would
love to have seen as a kid, full of cheap tricks like a haunted house at a fair where you walk down
the corridor and things jump out at you."[16] The film has often been cited[by whom?] as an
allegory on the virtue of sexual purity and the danger of casual sex, although Carpenter has
explained that this was not his intent: "It has been suggested that I was making some kind of moral
statement. Believe me, I'm not. In Halloween, I viewed the characters as simply normal
teenagers."[12]
In addition to the film's critical and commercial success, Carpenter's self-composed "Halloween
Theme" became recognizable apart from the film.[17]
During 1979, John Carpenter began what was to be the first of several collaborations with actor
Kurt Russell when he directed the television film Elvis.
1980s: Continued commercial success Edit

Carpenter followed up the success of Halloween with The Fog (1980), a ghostly revenge tale (co-
written by Hill) inspired by horror comics such as Tales from the Crypt[18] and by The Crawling
Eye, a 1958 film about monsters hiding in clouds.[19]
Completing The Fog was an unusually difficult process for Carpenter. After viewing a rough cut
of the film, he was dissatisfied with the result. For the only time in his filmmaking career, he had
to devise a way to salvage a nearly finished film that did not meet his standards. In order to make
the film more coherent and frightening, Carpenter filmed additional footage that included a
number of new scenes.
Despite production problems and mostly negative critical reception, The Fog was another
commercial success for Carpenter. The film was made on a budget of $1,000,000,[20] but it
grossed over $21,000,000 in the United States alone. Carpenter has said that The Fog is not his
favorite film, although he considers it a "minor horror classic".[19]
Carpenter immediately followed The Fog with the science-fiction adventure Escape from New
York (1981). Featuring several actors that Carpenter had collaborated with (Donald Pleasence,
Adrienne Barbeau, Tom Atkins, Charles Cyphers, and Frank Doubleday) or would collaborate
with again (Kurt Russell and Harry Dean Stanton), as well as several notable actors (Lee Van
Cleef and Ernest Borgnine), it became both commercially successful (grossing more than $25
million) and critically acclaimed (with an 85% on Rotten Tomatoes).[21]
His next film, The Thing (1982), is notable for its high production values, including innovative
special effects by Rob Bottin, special visual effects by matte artist Albert Whitlock, a score by
Ennio Morricone and a cast including young actor Kurt Russell and respected character actors
such as Wilford Brimley, Richard Dysart, Charles Hallahan, Keith David, and Richard Masur. The
Thing was distributed by Universal Pictures.
Although Carpenter's film used the same source material as the 1951 Howard Hawks film, The
Thing from Another World, it is more faithful to the John W. Campbell, Jr. novella, Who Goes
There?, upon which both films were based. Moreover, unlike the Hawks film, The Thing was part
of what Carpenter later called his "Apocalypse Trilogy," a trio of films (The Thing, Prince of
Darkness, and In the Mouth of Madness) with bleak endings for the film's characters. Being a
graphic, sinister horror film,[22] it did not appeal to audiences during the summer of 1982,
especially when E.T. the Extra-Terrestrial, which illustrated a much more humorous depiction of
alien visitation, was released two weeks prior. In an interview, Carpenter stated that E.T.'s release
could have been largely responsible for the film's disappointment.[23][24][25][26] As The Thing
did not perform well commercially, it was Carpenter's first financial disappointment.
During filming of The Thing, Universal offered him the chance to direct Firestarter, based on the
novel by Stephen King. Carpenter hired Bill Lancaster and Bill Phillips respectively to adapt the
novel into different versions of the screenplay. Carpenter had intended Richard Dreyfuss as Andy
McGee, but when The Thing was a financial disappointment, Universal replaced Carpenter with
Mark L. Lester.[27] Ironically, Carpenter's next film, Christine, was the 1983 adaptation of the
Stephen King novel of the same name. The story concerns a high-school nerd named Arnie
Cunningham (Keith Gordon) who buys a junked 1958 Plymouth Fury which turns out to have
supernatural powers. As Cunningham restores and rebuilds the car, he becomes unnaturally
obsessed with it, with deadly consequences. Christine did respectable business upon its release
and was received well by critics; however, Carpenter has been quoted as saying he directed the
film because it was the only thing offered to him at the time.[28]
Starman (1984) was produced by Michael Douglas, the script was well received by Columbia
Pictures, which chose it in preference to the script for E.T. and prompted Steven Spielberg to go to
Universal Pictures. Douglas chose Carpenter to be the director because of his reputation as an
action director who could also convey strong emotion.[29] Starman was reviewed favorably by the
Los Angeles Times, New York Times and LA Weekly and described by Carpenter as a film he
envisioned as a romantic comedy similar to It Happened One Night only with a space alien.[30]
[31] The film received Oscar and Golden Globe nominations for Jeff Bridges' portrayal of
Starman and received a Golden Globe nomination for Best Musical Score for Jack Nitzsche. After
the financial failure of his big-budget action–comedy Big Trouble in Little China (1986),
Carpenter struggled to get films financed. He resumed making lower budget films such as Prince
of Darkness (1987), a film influenced by the BBC series Quatermass. Although some of the films
from this time, such as They Live (1988) did develop a cult audience, he never again realized
mass-market potential.
Carpenter was also offered The Exorcist III during 1989, and met with writer William Peter Blatty
(who also authored the novel on which it was based, Legion) during the course of a week.
However, the two disagreed about the film's climax and Carpenter refused the project. Blatty
directed the film himself a year later. Carpenter said that although they argued about the ending,
they had a mutual respect and talked about an interest they both shared: quantum physics.[32]
1990s: Commercial decline and Halloween H20: 20 Years Later Edit

Carpenter's 1990s career is characterized by a number of notable failures: Memoirs of an Invisible
Man (1992), Village of the Damned (1995) and Escape from L.A. (1996) are examples of films
that were critical and financial failures. Also notable from this decade are Body Bags, a television
horror anthology film that was made in collaboration with Tobe Hooper, In the Mouth of Madness
(1995), yet another Lovecraftian homage, which did not do well either commercially or with
critics[33] but now has a cult following,[34] and Vampires (1998), which featured James Woods as
the director of a band of vampire hunters in league with the Catholic Church.
John Carpenter was originally in consideration to be the director for the Halloween (1978) sequel
project, Halloween H20: 20 Years Later (1998). Since Jamie Lee Curtis, the main actress from the
original and the sequel Halloween II (1981), wanted to reunite the cast and crew of the original
film, she asked Carpenter to direct Halloween H20: 20 Years Later. Carpenter agreed to direct the
film, but his starting fee as director was $10 million. Carpenter rationalized this by believing the
hefty fee was compensation for revenue he never received from the original Halloween, a matter
that was still a contention between Carpenter and Halloween producer Moustapha Akkad even
after twenty years. When Akkad balked at Carpenter's fee, Carpenter quit the project. Steve Miner
assumed directing of Halloween H20: 20 Years Later, which was a success and received generally
favorable reviews.
During 1998 Carpenter composed the soundtrack (titled "Earth/Air") for the video game Sentinel
Returns, published for PC and PlayStation.[35]
2000s: Semi-retirement Edit

In 2001, the film Ghosts of Mars was released. During 2005 there were remakes of Assault on
Precinct 13 and The Fog, the latter being produced by Carpenter himself, though in an interview
he defined his involvement as, "I come in and say hello to everybody. Go home."
During 2007 Rob Zombie produced and directed Halloween, a re-imagining of Carpenter's 1978
film that resulted in a sequel two years later.
Carpenter worked as director during 2005 for an episode of Showtime's Masters of Horror
television series as one of the thirteen filmmakers involved in the first season. His episode,
"Cigarette Burns", received generally positive reviews, and positive reactions from Carpenter fans,
many of whom regard it as on par with his earlier horror classics. He has since contributed another
original episode for the show's second season entitled "Pro-Life", about a young girl who is raped
and impregnated by a demon and wants to have an abortion, but whose efforts are halted by her
religious fanatic, gun-toting father and her three brothers.
2010s: The Ward, focus on music and return to Halloween Edit
The Ward, Carpenter's first film since 2001's Ghosts of Mars, premiered at the Toronto
International Film Festival on September 13, 2010. Carpenter narrated the video game F.E.A.R. 3,
while also consulting on its storyline.[36] On October 10, 2010, Carpenter received the Lifetime
Award from the Freak Show Horror Film Festival.[37] Test footage from the set of Darkchylde
emerged in July 2010[38] and on October 31, 2010, it was announced Carpenter will direct.[39]
On February 3, 2015, the indie label Sacred Bones Records released his album Lost Themes.[40]
On October 19, 2015, All Tomorrow's Parties announced that Carpenter will be performing old
and new compositions in London and Manchester, England.[41]
During February 2016, Carpenter announced a sequel to Lost Themes titled Lost Themes II, which
was released on April 15, 2016.[42] He then released his third studio album, titled Anthology:
Movie Themes 1974–1998 on October 20, 2017.[43]
On May 23, 2016, it was announced that Carpenter would act as executive producer on a new film
in the Halloween film series, titled Halloween, planned for an October 2018 release. The film acts
as a direct sequel to Carpenter's original film, ignoring the continuity of all other previous films. It
is his first direct involvement with the franchise since 1982's Halloween III: Season of the Witch.
[44]
Techniques Edit
Carpenter's films are characterized by minimalist lighting and photography, static cameras, use of
steadicam, and distinctive synthesized scores (usually self-composed).[citation needed]
With the exception of Someone's Watching Me!, Elvis, The Thing, Starman, Memoirs of an
Invisible Man, and The Ward, he has scored all of his films (though some are collaborations), most
famously the themes from Halloween and Assault on Precinct 13. His music is generally
synthesized with accompaniment from piano and atmospherics.[citation needed]
Carpenter is an outspoken proponent of widescreen filming, and all of his theatrical films (with the
exception of Dark Star and The Ward) were filmed anamorphic with a 2.35:1 or greater aspect
ratio. The Ward was filmed in Super 35, the first time Carpenter has ever used that system.
Carpenter has stated he feels that the 35mm Panavision anamorphic format is "the best movie
system there is", preferring it to both digital and 3D film.[45]
Film music and solo records Edit

A photo of John Carpenter performing live in 2016.
Carpenter performing live during 2016.
For a recent interview, Carpenter stated that it was his father's work, as a music teacher, which
first sparked an interest in him to make music.[46] This interest was to play a major role in his
later career: he composed the music to most of his films, and the soundtrack to many of those
became "cult" items for record collectors. A 21st-Century revival of his music is due in no small
amount to the Death Waltz record company, which reissued several of his soundtracks, including
Escape from New York, Halloween II, Halloween III: Season of the Witch, Assault on Precinct 13,
They Live, Prince of Darkness and The Fog.[47]
Carpenter was an early adopter of synthesizers, since his film debut Dark Star, when he used a
EMS VCS3 synth. His soundtracks went on to influence electronic artists who followed,[48][49]
but Carpenter himself admitted he had no particular interest in synthesizers other than that they
provided a means to "sound big with just a keyboard". For many years he worked in partnership
with musician Alan Howarth, who would realize his vision by emphasizing the more technical
aspects of recording, allowing Carpenter to emphasis writing the music.[46]
The renewed interest in John Carpenter's music thanks to the Death Waltz reissues and Lost
Themes albums caused him to, for the first time ever, tour as a musician.[50] As of 2016,
Carpenter was more involved with his music career than filmmaking, though during May of that
same year it was announced he would be involved with a new Halloween film.[51]
Carpenter has also contributed an opening narration for the retro-1980's synthwave band Gunship,
for their track entitled "Tech Noir."[52] The narration is in line with Carpenter's earlier work on
apocalyptic themes.
Legacy Edit
Many of Carpenter's films have been re-released on DVD as special editions with numerous bonus
features. Examples of such are: the collector's editions of Halloween, Escape from New York,
Christine, The Thing, Assault on Precinct 13, Big Trouble In Little China and The Fog. Some were
re-issued with a new anamorphic widescreen transfer. In the UK, several of Carpenter's films have
been released as DVD with audio commentary by Carpenter and his actors (They Live, with
actor/wrestler Roddy Piper, Starman with actor Jeff Bridges and Prince of Darkness with actor
Peter Jason).
Carpenter at a signing in Chicago, 2014.

Carpenter has been the subject of the documentary film John Carpenter: The Man and His Movies,
and American Cinematheque's 2002 retrospective of his films. Moreover, during 2006, the United
States Library of Congress deemed Halloween to be "culturally significant" and selected it for
preservation in the National Film Registry.[53]
During 2010, writer and actor Mark Gatiss interviewed Carpenter about his career and films for
his BBC documentary series A History of Horror. Carpenter appears in all three episodes of the
series.[54] He was also interviewed by Robert Rodriguez for his The Director's Chair series on El
Rey Network.
Filmmakers that have been influenced by Carpenter include James Cameron,[55] Quentin
Tarantino,[56][57] Guillermo del Toro,[58] Robert Rodriguez,[59][60] James Wan,[61] Edgar
Wright,[62][63][64] Danny Boyle,[65] Nicolas Winding Refn,[66][67][68][69] Adam Wingard,
[70][71][72] Neil Marshall,[73][74] Michael Dougherty,[75][76] Ben Wheatley,[77] Jeff Nichols,
[78][79] Bong Joon-ho,[80][81][82][83] James Gunn,[84] Mike Flanagan,[85] David Robert
Mitchell,[86][87] The Duffer Brothers,[88][89] Jeremy Saulnier,[70][90][91] Trey Edward Shults,
[92][93] Drew Goddard,[94][95] David F. Sandberg,[96] James DeMonaco,[70] Adam Green,[97]
Ted Geoghegan,[98][99] Keith Gordon,[100][101] Jack Thomas Smith,[102] and Marvin Kren.
[103][104][105][106] The video game Dead Space 3 is said to be influenced by Carpenter's The
Thing, The Fog and Halloween, and Carpenter has stated that he would be enthusiastic to adapt
that series into a feature film.[107] Specific films influenced by Carpenter's include Sean S.
Cunningham's Friday the 13th, which was inspired by the success of Halloween,[108] Tarantino's
The Hateful Eight, which was heavily influenced by The Thing,[56] Wingard's The Guest, which
was inspired by Michael Myers[71] and influenced by Halloween III: Season of the Witch's music,
[70][72] Nichols' Midnight Special, which is said to have used Starman as a reference point,[78]
[79] and Kren's Blood Glacier, which is said to be a homage to or recreation of The Thing.[103]
Hans Zimmer also cited Carpenter as an influence on his compositions.[109]
Personal life Edit

Carpenter met his future wife, actress Adrienne Barbeau, on the set of his 1978 television film
Someone's Watching Me!. Carpenter was married to Barbeau from January 1, 1979, to 1984.
During their marriage, Barbeau starred in The Fog, and also appeared in Escape from New York.
[110] The couple had one son, John Cody Carpenter (born May 7, 1984).[111]
Carpenter has been married to producer Sandy King since 1990. King produced Carpenter's later
films In the Mouth of Madness, Village of the Damned, Vampires and Ghosts of Mars. She earlier
had been the script supervisor for his films Starman, Big Trouble in Little China, Prince of
Darkness, and They Live. On They Live she was also associate producer.[112] She co-created the
comic book series Asylum, with which Carpenter is involved.[113]
Carpenter appeared in an episode of Animal Planet's Animal Icons titled "It Came from Japan",
where he discussed his love and admiration for the original Godzilla film.[citation needed]
Carpenter is also a known supporter of video games as a media and art form and has a particular
liking for the Sonic the Hedgehog[114] and F.E.A.R. franchises, even offering himself as a
spokesman and helping direct the cinematics for F.E.A.R. 3.[115] He has also expressed an
interest in making a film based on Dead Space.[116]
Carpenter is an atheist.[117][118]
Discography Edit
Studio albums Edit
Lost Themes (February 3, 2015)
Lost Themes II (April 15, 2016)
Anthology: Movie Themes 1974–1998 (October 20, 2017)
Remix albums Edit
Lost Themes Remixed (October 16, 2015)
Extended plays Edit
Classic Themes Redux EP (June 17, 2016)
Filmography Edit
Main article: John Carpenter filmography
Feature films as director Edit
Dark Star (1974)
Assault on Precinct 13 (1976)
Halloween (1978)
Someone's Watching Me! (1978) (TV film)
Elvis (1979) (TV film)
The Fog (1980)
Escape from New York (1981)
The Thing (1982)
Christine (1983)
Starman (1984)
Big Trouble in Little China (1986)
Prince of Darkness (1987)
They Live (1988)
Memoirs of an Invisible Man (1992)
Body Bags (1993) (TV anthology film)
In the Mouth of Madness (1995)
Village of the Damned (1995)
Escape from L.A. (1996)
Vampires (1998)
Ghosts of Mars (2001)
The Ward (2010)
Actor Dark Star
(1974) Assault on Precinct 13
(1976) Halloween
(1978) Someone's Watching Me!
(1978) Elvis
(1979) The Fog
(1980) Escape from New York
(1981) The Thing
(1982) Christine
(1983) Starman
(1984) Big Trouble in Little China
(1986) Prince of Darkness
(1987) They Live
(1988) Memoirs of an Invisible Man
(1992) Body Bags
(1993) In the Mouth of Madness
(1995) Village of the Damned
(1995) Escape from L.A.
(1996) Vampires
(1998) Ghosts of Mars
(2001) Total
Tom Atkins Yes Yes
2
Adrienne Barbeau Yes Yes Yes (voice)
4
Susan Blanchard Yes Yes
2
Dirk Blocker Yes Yes
2
Robert Carradine Yes
Yes Yes 3
Nick Castle Yes Yes Yes
3
Jamie Lee Curtis Yes Yes (voice)
(voice) 4
Charles Cyphers Yes Yes Yes Yes Yes Yes
6
Keith David Yes Yes
2
Frank Doubleday Yes Yes
2
Dennis Dun Yes Yes
2
George Buck Flower Yes Yes Yes Yes Yes
Yes 6
Pam Grier
Yes Yes 2
Season Hubley Yes Yes
2
Jeff Imada Yes Yes
Yes 3
Peter Jason Yes Yes Yes Yes Yes
Yes Yes 7
Darwin Joston Yes Yes
2
Stacy Keach Yes
Yes 2
Al Leong Yes Yes Yes
3
Donald Li Yes Yes
2
Nancy Loomis Yes Yes Yes
3
Sam Neill Yes Yes
2
Robert Phalen Yes Yes Yes
3
Donald Pleasence Yes Yes Yes
3
Kurt Russell Yes Yes Yes Yes
Yes 5
Harry Dean Stanton Yes Yes
2
Nancy Stephens Yes Yes
2
Cary-Hiroyuki Tagawa Yes
Yes 2
David Warner Yes Yes
2
Victor Wong Yes Yes
2
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Warden and Les Simpson.
^ Phillips, Jevon (October 28, 2013). "'Trick 'R Treat' director Michael Dougherty on cult horror,
Halloween". Los Angeles Times. Retrieved November 17, 2016.
^ Borders, Meredith (October 29, 2013). "Badass Interview: Mike Dougherty On What He'd Like
To Include In The TRICK 'R TREAT Sequel". birthmoviesdeath.com. Retrieved November 17,
2016.
^ "Ben Wheatley's Top 10 Horrific Films". Film4. Retrieved November 18, 2016.
^ a b Walker, R.V. (November 21, 2015). "Michael Shannon is On the Run in Supernatural
MIDNIGHT SPECIAL Trailer". Nerdist.
^ a b Foutch, Haleigh (November 13, 2015). "'Midnight Special': First Image and Poster Reveal
Michael Shannon's Superpowered Son". Collider.
^ Joon-ho, Bong (October 30, 2013). "Joon-Ho Bong On Friends And Frenemies in Monster
Films". Oyster. Archived from the original on March 25, 2017. Retrieved March 24, 2017.
^ Trunick, Austin (June 27, 2014). "Director Bong Joon-ho on his latest film, Snowpiercer". Under
the Radar. Retrieved March 24, 2017.
^ Bellette, Kwenton (October 15, 2013). "Busan 2013: Highlights From The Tarantino And Bong
Joon-ho Open Talk". Screen Anarchy. Retrieved March 24, 2017.
^ Weintraub, Steve (March 7, 2007). "Exclusive Interview with Bong Joon-ho". Collider.
^ Schager, Nick (March 30, 2016). "'Guardians of the Galaxy Vol. 2' Director James Gunn in Fan
Chat: Groot's Based on My Dog". Yahoo!. Retrieved November 17, 2016.
^ Grove, David (July 1, 2016). "Exclusive: Mike Flanagan Not Directing Next Halloween Film:
'I'm Not Doing It'". ihorror.com. Retrieved March 24, 2017.
^ Gingold, Michael (March 12, 2015). "Q&A: Writer/Director David Robert Mitchell on His
Terrifying Youth-Horror Film "IT FOLLOWS"". Fangoria. Retrieved November 15, 2016.
^ Taylor, Drew (March 12, 2015). "Director David Robert Mitchell Reveals The 5 Biggest
Influences On 'It Follows'". IndieWire. Retrieved November 15, 2016.
^ Goldman, Eric (July 7, 2016). "How Steven Spielberg, John Carpenter and Stephen King
Influenced Stranger Things". IGN. Retrieved November 15, 2016.
^ Zuckerman, Esther (July 13, 2016). "The Stranger Things creators want some scares with their
Spielberg". The A.V. Club. Retrieved March 24, 2017.
^ Jagernauth, Kevin (May 2, 2016). "'Green Room' Director Jeremy Saulnier's Top 5 John
Carpenter Movies". theplaylist.net. Retrieved March 29, 2017.
^ Lamble, Ryan (May 13, 2016). "Jeremy Saulnier interview: Green Room, John Carpenter".
denofgeek.com. Retrieved March 29, 2017.
^ Allen, Nick (June 5, 2017). "A Zombie with No Conscience: Trey Edward Shults on "It Comes
at Night"". rogerebert.com. Retrieved June 19, 2017.
^ Robinson, Tasha (June 8, 2017). "Why the director of It Comes At Night hopes audiences "don't
catch on" to his technological tricks". The Verge. Retrieved June 19, 2017.
^ Hoffman, Jordan (April 11, 2012). "Drew Goddard Interview: The Director Takes Us Inside the
'Cabin in the Woods'". ScreenCrush. Retrieved November 19, 2016.
^ Kirk, Jeremy (April 13, 2012). "Interview: 'Cabin in the Woods' Co-Writer & Director Drew
Goddard". firstshowing.net. Retrieved November 19, 2016.
^ Brooks, Tamara (August 10, 2017). "Shazam Director Revives Old-School Horror with
Annabelle: Creation". Comic Book Resources. Retrieved September 6, 2017.
^ Weinberg, Scott (August 13, 2007). "Interview: 'Hatchet' Grinder Adam Green!". Moviefone.
^ Geoghegan, Ted (September 29, 2015). "13 Films That Influenced Ted Geoghegan's 'We Are
Still Here'". frightday.com. Retrieved November 15, 2016.
^ Asch, Mark (June 4, 2015). ""I pine for the cinema of my youth": Talking to We Are Still Here
Director Ted Geoghegan". L Magazine. Retrieved November 15, 2016.
^ Tonguette, Peter (October 1, 2004). "Keith Gordon on Keith Gordon, Part One: From Actor to
Director". sensesofcinema.com. Retrieved November 15, 2016.
^ Smith, Mike (February 3, 2011). "Interview with Keith Gordon". mediamikes.com. Retrieved
November 15, 2016.
^ Wien, Gary (October 19, 2014). "Infliction: An Interview With Jack Thomas Smith". New Jersey
Stage.
^ a b Zimmerman, Samuel (May 1, 2014). "'BLOOD GLACIER' (Movie Review)". Fangoria.
^ Gonzalez, Ed (April 27, 2014). "Review: Blood Glacier". Slant Magazine.
^ Abrams, Simon. "BLOOD GLACIER (review)". RogerEbert.com. Retrieved May 3, 2014.
^ Hunter, Rob. "'Blood Glacier' Review: A Nature Trail to Hell". FSR. Archived from the original
on May 2, 2014. Retrieved May 3, 2014.
^ Holland, Luke (May 15, 2013). "Top 10 games that should be movies – and their ideal
directors". The Guardian.
^ David Grove (February 2005). Making Friday the 13th: The Legend of Camp Blood. FAB Press.
pp. 11–12. ISBN 1-903254-31-0.
^ Mentioned on Durch die Nacht mit.... Episode dated 3 October 2003.
^ Roger Ebert (February 3, 1980). "Interview with Adrienne Barbeau". Chicago Sun-Times.
^ [5] Archived May 22, 2011, at the Wayback Machine.
^ [6] Archived December 24, 2011, at the Wayback Machine.
^ "John Carpenter Hasn't Talked to Dwayne Johnson About 'Big Trouble in Little China' –
Speakeasy – WSJ". Blogs.wsj.com. June 11, 2015. Retrieved April 10, 2017.
^ Bowe, Miles (2017-11-09). "Level Up: Horror master John Carpenter on his 20-year Sonic The
Hedgehog addiction". Fact. Retrieved 2017-11-10.
^ "John Carpenter and Steve Niles Contributing To 'F.E.A.R. 3'". Multiplayerblog.mtv.com. April
8, 2010. Retrieved March 7, 2015.
^ Armitage, Hugh (May 9, 2013). "John Carpenter wants 'Dead Space' film". Digitalspy.co.uk.
^ Feinauer, JJ. "12 non-believers who have kind words for the religious - Deseret News".
Deseretnews.com. Retrieved December 9, 2017.
^ "John Carpenter". Nndb.com. Retrieved December 9, 2017.
Conrich, Ian; Woods, David eds (2004). The Cinema of John Carpenter: The Technique of Terror
(Directors' Cuts). Wallflower Press. ISBN 1-904764-14-2.
Hanson, Peter; Herman, Paul Robert eds. (2010). Tales from the Script (Paperback ed.). New
York, NY: HarperCollins Inc. ISBN 978-0-06-185592-4.
Muir, John Kenneth. The Films of John Carpenter, McFarland & Company, Inc. (2005). ISBN 0-
7864-2269-6.
External links Edit
Wikiquote has quotations related to: John Carpenter
Wikimedia Commons has media related to John Carpenter.
Official website
John Carpenter on IMDb
artist information/discography page at Original Soundtrack Info
Last edited 8 days ago by ClueBot NG
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Kelly Reichardt
Kelly Reichardt es una escritora, guionista y directora de cine estadounidense.[1]
Kelly Reichardt
Kelly Reichardt (cropped).jpg
Nacimiento
1964 Ver y modificar los datos en Wikidata
Miami, Estados Unidos Ver y modificar los datos en Wikidata
Nacionalidad
Educación
Alma máter
School of the Museum of Fine Arts, Boston Ver y modificar los datos en Wikidata
Ocupación
Escritora
Directora de cine
Años activa
1994-presente
Distinciones
Beca Guggenheim
Toronto Film Critics Association Award for Best Film (2008)
Anonymous Was A Woman Award (2009) Ver y modificar los datos en Wikidata
Carrera Editar
Debutó en cine en 1994 con River of Grass, que fue nominada a tres premios Independent Spirit y
al Premio del Jurado en el Festival de Cine de Sundance.
En 1999 filmó el mediometraje Ode, basado en la novela de Herman Raucher que contaba la
historia de Bobbie Lee y Billie Joe.
En 2006 dirigió y escribió Old Joy, con la que logró popularidad.[2] Basada en el relato
homónimo de Jon Raymond, la película ganó los premios de la Los Angeles Film Critics
Association, el Festival Internacional de Cine de Rotterdam y el Festival de Cine de Sarasota. Neil
Kopp fue premiado como productor en el 2007 en los Premios Independent Spirit por su trabajo en
Old Joy y Paranoid Park.
En 2008 dirigió otro largometraje, Wendy y Lucy, también basado en un relato de Jon Raymond.
Raymond trabajó con Reichardt para adaptar el guion de la película, que fue lanzada en diciembre
de 2008.[3]
En 2010 fue directora y editora de Meek's Cutoff[4], protagonizada por Paul Dano y Michelle
Williams, mientras que en 2013 dirigió Night Moves, protagonizada por Jesse Eisenberg, Peter
Sarsgaard y Dakota Fanning.
Su última película a la fecha es Certain Women de 2016, protagonizada por Michelle Williams,
Kristen Stewart y Laura Dern.
Filmografía Editar
1989 - The Unbelievable Truth - Supervisora de vestuario - Como esposa.
1989 - Longtime Companion - Asistente de utilería.
1991 - Poison - Jefe de utilería, vestuario.
1992 - Jersey Girl - Asistente de diseñador de decorados.
1994 - River of Grass - Directora, guionista.
1995 - Habit - actriz - Como chica en el teléfono.
1999 - Ode (corto) - Directora, guionista y directora de fotografía.
2001 - Then a Year (corto) - Directora.
2004 - Travis (corto) - Directora.
2006 - Old Joy - Directora, escritora, editora.
2008 - Wendy and Lucy - Directora, guionista y editora.
2010 - Meek's Cutoff - Directora, Guionista, editora.
2012 - Night Moves - Directora y guionista.
2016 - Certain Women - Directora, Guionista, editora.
Referencias Editar
↑ «"El cine de arte está muriendo"». Diario La Nación. Consultado el 3 de octubre de 2011.
↑ «Old joy – Kelly Reichardt (2005)». misteriosoobjetoalmediodia.wordpress.com. Consultado
el 3 de octubre de 2011.
↑ «Bafici 09». otroscines.com. Consultado el 3 de octubre de 2011.
↑ «Meek´s Cutoff, EE.UU. 2010». 17/08/11. cine-invisible.blogs.fotogramas.es. Consultado el 3
de octubre de 2011.
Kelly Reichardt en IMDb
Última edición el 18 mar 2018 a las 15:58

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Kelly Reichardt
Kelly Reichardt is a screenwriter and film director working within American indie cinema.[1] Her
credits include Old Joy, Wendy and Lucy, Meek's Cutoff, Night Moves and Certain Women.
Kelly Reichardt
Kelly Reichardt (cropped).jpg
Born
Miami, Florida
Occupation
Film director, screenwriter
Years active
1994–present
Contents
Biography Edit
Her debut film River of Grass was released in 1994. It was nominated for three Independent Spirit
Awards,[2] as well as the Grand Jury Prize at the Sundance Film Festival. In 1999, she completed
her sophomore feature, Ode, based on Herman Raucher's novel Ode to Billie Joe. Next, she made
two short films, Then a Year, made in 2001, and Travis, which deals with the Iraq War, in 2004.
Most of her films are regarded by critics to be part of the minimalist movement in films.[3]
In 2006, she completed Old Joy, based on a short story in Jon Raymond's collection Livability.
Daniel London and singer-songwriter Will Oldham portray two friends who reunite for a camping
trip to the Cascades and Bagby Hot Springs, near Portland, Oregon. The film won awards from the
Los Angeles Film Critics Association, Rotterdam International Film Festival, and Sarasota Film
Festival. Neil Kopp won the Producer's Award at the 2007 Independent Spirit Awards for his work
on Old Joy and Paranoid Park.
For her next film, Wendy and Lucy, she and Jon Raymond adapted another story from Livability.
The film was released in December 2008 and earned Oscar buzz for lead actress Michelle
Williams. It was nominated for Best Film and Best Female Lead at the Independent Spirit Awards.
She then directed Meek's Cutoff, a western starring Michelle Williams. It competed for the Golden
Lion at the 67th Venice International Film Festival.[4]
In 2013 her film Night Moves debuted in competition at the 70th Venice International Film
Festival.
Reichardt is also an Artist-in-Residence in the Film and Electronic Arts program at Bard College.
[5] Ms. Reichardt is the recipient of a John Simon Guggenheim Memorial Foundation Fellowship
[6]
Reichardt's latest film, Certain Women, is based on Maile Meloy's 2009 collection of short stories,
Both Ways is the Only Way I Want It, and was shot in March/April 2015 in Montana. Michelle
Williams, Laura Dern, and Kristen Stewart are starring.[7] Sony Pictures Worldwide Acquisitions
(SPWA) bought the rights to distribution.[8] The film premiered Jan. 24, 2016 at the Sundance
Film Festival.
Reichardt won the top award at the 2016 London Film Festival for Certain Women.[9]
In October 2016, Reichardt revealed that for her next film she will be collaborating with author
Patrick DeWitt in an adaptation of his novel Undermajordomo Minor, which could possibly be
shot outside of the U.S.[10][11]
The first study of Reichardt's work, Kelly Reichardt: Emergency and the Everyday, by film
scholars Katherine Fusco and Nicole Seymour, will be published by the University of Illinois
Press's Contemporary Film Directors series in December 2017.[12]
Filmography Edit
List of films directed
Year Title Role(s) Notes
1994 River of Grass Director/Screenwriter
1999 Ode Director Short Film
2001 Then a Year Director Short Film
2004 Travis Director Short Film
2006 Old Joy Director/Screenwriter/Editor
2008 Wendy and Lucy Director/Screenwriter/Editor
2010 Meek's Cutoff Director/Editor
2013 Night Moves Director/Screenwriter/Editor
2016 Certain Women Director/Screenwriter/Editor
References Edit
^ Hudson, D.W. (September 22, 2008). "NYFF: Wendy and Lucy". GreenCine Daily. Archived
from the original on June 25, 2013. Retrieved July 22, 2014.
^ "River of Grass". Variety.[dead link]
^ http://sensesofcinema.com/2014/great-directors/kelly-reichardt/
^ Bradshaw, Peter (September 6, 2010). "Meek's Cutoff and Post Mortem shine at Venice film
festival". The Guardian.
^ "Faculty: Kelly Reichardt". Bard College. June 20, 2014. Retrieved July 22, 2014.
^ "Kelly Reichardt". John Simon Guggenheim Memorial Foundation. 2014. Retrieved July 22,
2014.
^ https://variety.com/2015/film/news/kristen-stewart-joins-kelly-reichardts-montana-drama-
1201443766/
^ http://deadline.com/2015/04/kelly-reichardt-laura-dern-kristen-stewart-michelle-williams-sony-
pictures-worldwide-acquisitions-1201410685/
^ "60th BFI London Film Festival announces 2016 awards winners" (Press release). BFI. 2016-10-
17. Retrieved 2016-10-18.
^ http://www.latimes.com/entertainment/movies/la-et-mn-kelly-reichardt-certain-women-nyff-
kristen-stewart-20161010-snap-story.html
^ http://wwd.com/eye/lifestyle/director-kelly-reichardt-certain-women-michelle-williams-kristen-
stewart-10618672/
^ https://www.press.uillinois.edu/books/catalog/23xbe2zy9780252041242.html
External links Edit
Gregory, Alice (14 October 2016). "The Quiet Menace of Kelly Reichardt's Feminist Westerns".
New York Times.
Wigon, Zachary (12 December 2008). "A completely false security: an interview with Kelly
Reichardt". MUBI.
Kelly Reichardt on IMDb
Rodriguez-Ortega, Vicente (Fall 2006). "An interview with Kelly Reichardt, director of Old Joy".
Reverse Shot.
Seymour, Nicole (December 2017). "Kelly Reichardt: Emergency and the Everyday". Kelly
Reichardt: Emergency and the Everyday.
Last edited 5 months ago by KolbertBot
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1994 film by Kelly Reichardt
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David Lynch
Director de cine, productor de música electrónica y guionista estadounidense
David Keith Lynch (Missoula, Montana, Estados Unidos, 20 de enero de 1946), conocido como
David Lynch, es un director de cine, actor, productor de música electrónica y guionista
estadounidense. Su actividad artística se extiende asimismo al terreno de la pintura, la música, la
publicidad, la fotografía, e incluso el diseño de mobiliario.
David Lynch
David Lynch Cannes 2017.jpg
Lynch en el Festival de Cannes de 2017
David Keith Lynch
Nacimiento
Missoula, Montana,
Flag of the United States.svg Estados Unidos
Residencia
Los Ángeles Ver y modificar los datos en Wikidata
Nacionalidad
Estadounidense
Partido político
Partido Demócrata Ver y modificar los datos en Wikidata
Altura
1,80 m
Familia
Cónyuge
Peggy Lynch (1967-1974)
Mary Fisk (1977-1987)
Mary Sweeney (2006-2006)
Pareja
Isabella Rossellini (1986-1991)
Hijos
Jennifer Chambers Lynch (1968)
Austin Jack Lynch (1982)
Riley Lynch (1992)
Educación
Alma máter
Universidad George Washington
Pennsylvania Academy of the Fine Arts
AFI Conservatory Ver y modificar los datos en Wikidata
Ocupación
Director, productor, guionista, actor, pintor, músico
Cargos ocupados
Presidente del jurado del Festival de Cannes Ver y modificar los datos en Wikidata
Años activo
desde 1966
Año de debut
1966
Año de retiro
presente
Género
Surrealismo y realismo mágico Ver y modificar los datos en Wikidata
Premios artísticos
Festival de Cannes
Palma de Oro
1990 Corazón salvaje
Mejor director
2001 Mulholland Drive
Premios César
Mejor película de habla extranjera
1982 El hombre elefante
2002 Mulholland Drive
Distinciones
Goslarer Kaiserring
César a la mejor película extranjera (1982)
Palma de Oro (1990)
Premio Saturn (1993)
Caballero de la Legión de Honor (2002)
León de Oro (2006)
Oficial de la Legión de Honor (2007) Ver y modificar los datos en Wikidata
Web
Sitio web
www.davidlynch.com
Facebook
davidlynchofficial Ver y modificar los datos en Wikidata
Twitter
david_lynch Ver y modificar los datos en Wikidata
Reconocido admirador de Stanley Kubrick, Jacques Tati, Ingmar Bergman y Werner Herzog, su
amor por el dadaísmo y el surrealismo queda patente en algunas de sus películas, cuya misteriosa
atmósfera mezcla lo cotidiano con lo soñado, escapando a veces a la comprensión exhaustiva del
espectador. Estos rasgos están presentes desde su primer largometraje, Eraserhead (1977). Su
segunda película, El hombre elefante (1980), fue un gran éxito crítico y comercial, recibiendo 8
nominaciones a los Premios Óscar. Su tercer film, Dune (1984), no contó con el respaldo de la
crítica y supuso un fracaso comercial. Seguidamente dirigió Blue Velvet (1986), con la que volvió
a recibir la aclamación crítica y una nueva nominación al Óscar en la categoría de mejor director.
Posteriormente se unió a Mark Frost para crear la serie de televisión Twin Peaks (1990–1991;
2017), que gozó de gran popularidad y apoyo unánime por parte de la crítica, siendo considerada
una serie de culto. Con Corazón Salvaje (1990) recibió la Palma de Oro en el Festival de Cannes.
Su siguiente largometraje fue Twin Peaks: Fire walk with me (1992), una precuela de la serie.
Regresó con Lost Highway (1997), un thriller psicológico que aunque recibió críticas mixtas, en la
actualidad es considerada una película de culto. Posteriormente dirigió el que se considera su film
más accesible, The Straight Story (1999), que contó con gran aclamación de la crítica. Ya en el
siglo XXI, realizó Mulholland Drive (2001), un nuevo thriller psicológico de estructura no lineal
por el que recibió el Premio del Festival de Cannes al mejor director y su tercera nominación al
Óscar como mejor director. Su décimo y último largometraje, que le ocupó varios años de rodaje
usando exclusivamente técnicas digitales, ha sido Inland Empire (2006). En la actualidad, algunos
de sus proyectos cinematográficos y de animación son sólo accesibles a través de su sitio web.
Un elemento recurrente en su cine es describir los entresijos de pequeñas comunidades de Estados

Unidos, como es el caso de Blue Velvet o Twin Peaks, sintiendo también predilección por los
secretos ocultos de los barrios periféricos de Los Ángeles, retratados en Lost Highway,
Mulholland Drive e Inland Empire. El sonido en sus películas es de gran importancia, y por ello
cada banda sonora es trabajada con esmero. El responsable de ese sonido es el compositor Angelo
Badalamenti, colaborador habitual del director y creador entre otras de la reconocida banda sonora
de la serie Twin Peaks, o de la de The Straight Story y Mulholland Drive, ambas nominadas al
Globo de Oro. Lynch ha conseguido destacarse según la crítica como uno de los pocos directores
actuales con un estilo auténticamente personal y un referente ineludible en el cine contemporáneo.
Índice
Biografía y obra Editar
Niñez y juventud (1946 - 1965) Editar
Lynch podría considerarse el arquetipo del muchacho estadounidense de clase media. Según
Thierry Jousse, redactor de la revista "Cahiers du cinéma" y autor de un libro sobre Lynch,
«cuando habla de su infancia Lynch la describe invariablemente como una etapa idílica, una
especie de permanente sueño despierto, cuyo único aspecto problemático fue, sin duda, una
forzada vida nómada».[1] Su padre, Donald, fue un científico adscrito al Ministerio de Agricultura
norteamericano, y su madre Sunny era profesora de lengua. La familia vivió en distintos lugares,
entre el noroeste del país y Carolina del Norte. Lynch fue boy scout y a los 15 años participó como
acomodador en la toma de posesión del presidente John F. Kennedy.
Pronto experimentó impulsos artísticos y asistió al Corcoran School of Art en Washington, D.C.
mientras terminaba sus estudios secundarios en Alexandria, Virginia. Después se apuntó al School
of the Museum of Fine Arts de Boston durante un año, antes de partir rumbo a Europa en
compañía de su amigo y colega artístico Jack Fisk. Sus planes eran estudiar con el pintor del
expresionismo austríaco Oskar Kokoschka (quien resultaría uno de sus principales referentes
artísticos) durante tres años. Sin embargo, Lynch regresó a los Estados Unidos al cabo de sólo 15
días.
Filadelfia y primeros cortometrajes (1966 - 1970) Editar

En 1966, Lynch se instala en la ciudad Filadelfia, Pensilvania, asistiendo al Pennsylvania
Academy of Fine Arts (PAFA). Allí se dedicó en principio a la confección de complejos mosaicos
a base de figuras geométricas, a los que él llamó Industrial Symphonies. Por aquel tiempo, tuvo
sus primeros devaneos cinematográficos. Su primer corto recibió el título de Six Men Getting Sick
("Seis hombres enfermos") (1966). Él lo describió como "57 segundos de desarrollo y pasión, y
tres segundos de vómito". Con esta pieza ganó el certamen anual de la Academia. Este pequeño
éxito le permitió abordar su segundo cortometraje: The Alphabet.
A partir de 1970, Lynch se centró exclusivamente en el arte cinematográfico. Consiguió un premio

de 5.000 dólares del American Film Institute por The Grandmother, ("La abuela") sobre un pobre
chico de la calle que se las ingenia para conseguir una abuela a partir de una semilla. Esta película
de 30 minutos de duración muestra ya muchos de los patrones característicos en su cine de
madurez, incluyendo un sonido perturbador y envolvente y una potente imaginería enfocada a los
deseos y al inconsciente reprimido, todo ello lejos de los métodos tradicionales de narrar.
Los Ángeles y Eraserhead (1971 - 1979) Editar
Póster de Eraserhead.
En 1971, Lynch se trasladó a Los Ángeles para asistir a las clases del American Film Institute
Conservatory. Fue allí donde empezó a trabajar en su primer largometraje, Eraserhead,
aprovechando una ayuda de 10.000 dólares concedida por dicha institución. Este dinero no
alcanzó para terminar el film y por este motivo la película no se remataría hasta el año 1977.
Lynch tuvo que pedir dinero a amigos y familiares, incluyendo a su amigo de la infancia Jack
Fisk, diseñador de producción y marido de la actriz Sissy Spacek, e incluso se dedicó a vender
periódicos para financiarla.
Eraserhead es una película enigmática y sombría, plena de guiños surrealistas y elementos

desasosegantes. Por tal motivo fue rodada apropiadamente en blanco y negro. Cuenta la historia de
un joven tranquilo (papel que interpreta Jack Nance) que vive en una especie de área industrial y
cuya novia da a luz a una rara bestezuela que no para de gemir. Lynch se refiere a la película como
“mi historia de Filadelfia”, aludiendo al hecho de que refleja muy bien todas las crudas
experiencias que vivió en esa ciudad en su etapa de estudiante, experiencias que le marcaron
profundamente.
Sobre la película, la crítica ha afirmado que sugiere o intenta sugerir los miedos y ansiedades del
propio cineasta acerca de la paternidad, personificados en el grotesco aspecto del bebé, que se ha
convertido en uno de los íconos del cine fantástico de todas las épocas. El director ha rehuido en
más de una ocasión explicar cómo fue elaborada la criatura, pero la leyenda cuenta que fue
construida a partir de un feto de vaca embalsamado.
Debido a sus extravagantes contenidos, al principio se pensó que Eraserhead no podría ser
exhibida comercialmente. Sin embargo, gracias al esfuerzo del distribuidor Ben Barenholtz, se
convirtió pronto en un clásico, típico en salas especializadas en proyecciones de medianoche,
fuera de las grandes audiencias. La crítica más avanzada la alabó inmediatamente como obra
maestra, lo que colocó al director a la cabeza de la vanguardia cinematográfica. El gran director
Stanley Kubrick afirmó con admiración que era una de sus películas favoritas de toda la historia
del cine. El éxito provocó que el equipo de actores y técnicos (entre ellos el cámara Frederick
Elmes, el técnico de sonido Alan Splet, y el actor Jack Nance) siguieran trabajando con Lynch en
años posteriores.
El hombre elefante y éxito comercial (1980 - 1982) Editar

Eraserhead atrajó la atención del productor Mel Brooks, quien contrató a Lynch para dirigir la
película de 1980 The Elephant Man (El hombre elefante). Escrita por Chris de Vore y Eric
Bergren, se trata de un biopic inspirado en la figura de Joseph Merrick, un hombre de clase baja
con tremendas malformaciones físicas. El film fue protagonizado por John Hurt como John
Merrick (su nombre real fue cambiado) y Anthony Hopkins como Frederick Treves. El rodaje tuvo
lugar en Londres, y Lynch le dio su propio enfoque surrealista a la película, filmándola como la
anterior en blanco y negro. No obstante, ha sido descrita como "una de las más convencionales" de
sus películas. El hombre elefante fue un gran éxito comercial y obtuvo ocho nominaciones a los
Óscar, incluyendo la de mejor director y mejor guion adaptado para Lynch. De este modo quedó
probada la viabilidad comercial de sus propuestas.
Los films con De Laurentiis: Dune y Blue Velvet (1983 - 1986) Editar
Posteriormente, el cineasta aceptó dirigir una superproducción que adaptaba la novela de ciencia
ficción Dune, del escritor Frank Herbert, para el productor italiano Dino De Laurentiis, con la
condición de que la productora se comprometiera a financiar un segundo proyecto sobre el cual
Lynch mantendría control creativo total. Aunque el productor esperaba que Dune (1984) supondría
algo así como una nueva Guerra de las galaxias, la película resultó un gran fiasco comercial,
siendo además vapuleada por la crítica. Se calculó que ingresaría 45 millones de dólares que al
final se quedaron en sólo 27,4. Para compensar pérdidas, el estudio elaboró una versión alargada
para la televisión que desvirtuaba el montaje del director y que Lynch desautorizó
inmediatamente.
La segunda película de Lynch producida por De Laurentiis fue Blue Velvet (Terciopelo azul,
1986), la historia de un joven universitario (representado por el actor que protagonizara Dune,
Kyle MacLachlan) que descubre el lado oscuro de una pequeña ciudad, al investigar la
procedencia de una oreja cortada que había encontrado casualmente en el transcurso de un paseo
campestre. La película muestra actuaciones memorables de Isabella Rossellini, en el papel de una
cantante atormentada, y de Dennis Hopper en el de un criminal psicópata, líder de una banda de
matones de medio pelo.
Blue Velvet obtuvo un gran éxito de crítica y proporcionó a Lynch su segunda nominación al
Óscar al mejor director. La película presenta algunos lugares comunes en su cine: una cuidadísima
puesta en escena, ciertos episodios y conductas inexplicables, mujeres ultrajadas, los malsanos
entresijos de una pequeña comunidad, y la utilización poco convencional de canciones antiguas.
Blue velvet, de Bobby Vinton e In dreams de Roy Orbison suenan en este film extrañas y
perturbadoras. Esta fue la primera ocasión en que Lynch trabajaba con el compositor Angelo
Badalamenti, quien contribuiría en todas sus películas posteriores.
El director Woody Allen, cuya cinta Hannah y sus hermanas fue nominada como mejor película,
afirmó que Blue Velvet era el mejor filme del año. La película, que es comúnmente considerada
como una de las obras maestras del cine contemporáneo, ha llegado a convertirse en un icono de la
cultura popular.
Twin Peaks, Corazón salvaje y Fire Walk with Me (1987 - 1996) Editar
David Lynch en los Premios Emmy de 1990.
Lynch junto a Isabella Rossellini en el Festival de Cannes de 1990, donde obtuvo la Palma de Oro
por Corazón salvaje.
Al no obtener financiación para posteriores guiones, a finales de los 80 Lynch optó por colaborar
con el productor televisivo Mark Frost en la serie televisiva Twin Peaks, acerca de una pequeña
localidad de Washington donde ocurren extraños sucesos. La historia se centraba en las
investigaciones realizadas por el agente especial del FBI Dale Cooper (de nuevo Kyle
MacLachlan) en torno a la muerte de una conocida estudiante de secundaria llamada Laura
Palmer, una investigación que iba revelando los escabrosos secretos de muchos ciudadanos
aparentemente respetables. El cineasta dirigió seis episodios en total, incluyendo los dos primeros,
y escribió o co-escribió algunos más, e incluso apareció como actor en algunos de ellos.
La serie se estrenó en la cadena ABC el 8 de abril de 1990 y poco a poco fue revelándose como
todo un fenómeno cultural. Ningún otro proyecto de Lynch ha obtenido semejante aceptación. La
serie fue vendida a infinidad de países, y algunos de sus latiguillos ingresaron en la cultura
popular. Se hicieron parodias de la misma en el show Saturday Night Live y en la serie de
animación Los Simpson. Lynch apareció en la portada de la revista Time en gran medida debido al
gran éxito cosechado con Twin Peaks. El director encarnó el papel del vociferante y medio sordo
jefe del agente Cooper, Gordon Cole. Pese a todo, Lynch chocó con los responsables de la cadena
por distintos motivos, en especial por la posibilidad de revelar o no la identidad del asesino de
Laura Palmer. La cadena insistía en desenmascararlo ya en la segunda temporada, pero Lynch
quería guardarlo en secreto hasta el final. Lynch pronto se desencantó de la serie y como resultado
muchos miembros del reparto declararon sentirse “abandonados”.
Fue en aquel tiempo cuando Lynch empezó a colaborar con la editora, productora y su compañera
en la vida real, Mary Sweeney, que había trabajado como asistente para él en Blue Velvet. Esta
colaboración se prolongaría a lo largo de once proyectos. De su relación nació un hijo.
Su siguiente largometraje fue una adaptación de la novela de Barry Gifford, Wild at Heart
(Corazón salvaje), una road movie protagonizada por los actores Nicolas Cage y Laura Dern. La
producción obtuvo la Palma de Oro en el Festival de Cannes de 1990, pero no contó con la
aprobación de la crítica ni el respaldo del gran público.
Twin Peaks acabó sufriendo serios reveses de audiencia y fue retirada en 1991. Mientras tanto
Lynch escribió una precuela sobre los últimos siete días en la vida del personaje de Laura Palmer,
que dio lugar al largometraje Twin Peaks: Fuego camina conmigo (1992), que fracasó en taquilla y
acarreó al director las peores críticas de su carrera.
El eslabón perdido entre Twin Peaks y Wild at Heart, es el espectáculo musical Industrial
Symphony No. 1: The Dream of the Broken Hearted, una nueva colaboración con Angelo
Badalamenti en la que canta Julee Cruise y actúan varios actores de Twin Peaks, así como Nicolas
Cage y Laura Dern. Lynch confesó que la obra reflejaba de alguna forma una relación sentimental
rota. El director produjo en 1990 un vídeo de 50 minutos sobre la obra.
Durante este periodo Lynch volvió a colaborar con Mark Frost la serie documental American
Chronicles (1990) y en la serie de humor On the Air (1992) para la ABC, sobre los orígenes de la
televisión. En EE.UU. sólo se emitieron tres episodios. Su siguiente proyecto fue la miniserie para
la cadena HBO titulada Hotel Room (1993), la cual narraba los acontecimientos que se
enmarcaban en una misma habitación de hotel a lo largo de varias décadas.
Lost Highway, The Straight Story y Mulholland Drive (1997 - 2001) Editar
En 1997 Lynch volvió a la palestra con el complejo film de argumento no lineal Lost Highway
(Carretera perdida), el cual poseía muchos elementos de cine negro. Fue coescrito con Barry
Gifford y protagonizado por los actores Bill Pullman y Patricia Arquette. La película fracasó
comercialmente, pero recibió críticas contrapuestas. No obstante, gracias en parte a la banda
sonora en que aparecían cantantes y grupos como Marilyn Manson, Rammstein, Nine Inch Nails y
The Smashing Pumpkins, Lynch obtuvo una nueva audiencia por parte de espectadores de la
llamada Generación X.
Naomi Watts, David Lynch, Laura Harring y Justin Theroux en la presentación de Mulholland
Drive durante el Festival de Cannes en 2001.
En 1999, sorprendió muy positivamente a sus fans y a la crítica con una película producida por la
compañía Disney: The Straight Story (Una historia verdadera/Una historia sencilla), que era, al
menos aparentemente, una sencilla película sin pretensión alguna contando una historia real acerca
de un hombre de pueblo (interpretado por el veterano actor Richard Farnsworth) que emprende un
largo viaje de estado en estado, a bordo de un cortacésped, con el único fin de hacer las paces con
su hermano enfermo. La película recibió críticas muy elogiosas y proporcionó a su autor nuevas
audiencias. Fue nominada la Palma de Oro, recibió dos nominaciones a los Globos de Oro (banda
sonora y actor dramático), y Richard Farnsworth fue nominado a los Óscar en la categoría de
mejor actor.
Ese mismo año Lynch tentó una vez más a la cadena ABC con la idea de un drama para la
televisión. La cadena dio el visto bueno y se grabó el episodio piloto, de dos horas de duración.
Pero controversias sobre el contenido y la duración de la serie la aparcaron definitivamente. Con
la aportación de 7 millones de dólares por parte de la productora francesa Studio Canal, el director
convirtió ese episodio piloto en el largometraje Mulholland Drive. Estrenada finalmente en 2001,
es una historia que trata de ahondar en la vertiente oscura de Hollywood, la “fábrica de sueños”.
Está protagonizada por Naomi Watts, Laura Harring y el actor Justin Theroux. En lo comercial, la
película funcionó relativamente bien en todo el mundo, mereciendo además reseñas positivas, y
Lynch obtuvo por ella el premio al mejor director en el Festival de Cannes del año 2001 (este
premio lo compartió con Joel Coen por El hombre que nunca estuvo allí) y otro premio al mejor
director otorgado por la New York Film Critics Association. El film recibió además cuatro
nominaciones a los Globos de Oro y supuso además la tercera nominación al Óscar como mejor
director de David Lynch.
Trabajo para Internet e Inland Empire (2001 - presente) Editar

En 2002, Lynch desarrolló una serie de cortos para Internet titulada DumbLand. Los ochos
episodios de que constaba, intencionadamente muy duros de contenido e interpretación,
aparecieron posteriormente en formato DVD.
Lynch dedicó a sus incondicionales ese mismo año una comedia de situación a través de su página
web. La serie se tituló Rabbits ("Conejos") y constó de ocho episodios plenos de surrealismo que
se desarrollaban en un cuarto habitado por extrañas personas con cabeza de roedor.
Posteriormente, el director rodó en vídeo digital el corto Darkened Room, a imitación del exitoso
cine de terror japonés de los últimos años.
Lynch recibiendo el León de Oro en el Festival de Venecia de 2006.

En el Festival de Cannes correspondiente a 2005, el cineasta anunció que durante un año había
estado rodando en Polonia, por medio de técnicas digitales, su último film. La película, titulada
Inland Empire, es interpretada como un compendio del cine de Lynch. La historia, compleja y con
tintes pesadillescos, desarrolla distintos niveles argumentales entremezclados, sin aclarar nunca
los nexos lógicos entre ellos. Abunda en primeros planos expresionistas (especialmente de Laura
Dern), el sonido es distorsionado y envolvente, y los efectos especiales unidos a las numerosas
escenas cómico-grotescas que contiene producen un gran impacto visual. El reparto de la película
incluye actores habituales de Lynch como la ya mencionada Laura Dern, Justin Theroux, Harry
Dean Stanton o Grace Zabriskie, así como Jeremy Irons, Karolina Gruszka, Peter J. Lucas,
Krzysztof Majchrzak, Julia Ormond o Diane Ladd. Además, Naomi Watts y Laura Harring prestan
su voz a dos de los conejos de la película. Lynch describió la película como "un misterio acerca de
una mujer metida en grandes dificultades”. Se estrenó en diciembre de 2006, suscitando entre los
críticos, al igual que los últimos largometrajes del director, multitud de comentarios enfrentados,
aunque la opinión fue mayoritariamente muy positiva.
Influencias Editar
David Lynch en 2007.

Lynch ha declarado a menudo admirar profundamente a los cineastas Stanley Kubrick y Federico
Fellini, al escritor Franz Kafka y al pintor Francis Bacon. Sostiene que muchas de las películas de
Kubrick se encuentran entre sus preferidas, y que las obras de Kafka y Bacon lo subyugan por su
fuerza visual y su conmovedora sensibilidad. Igualmente ha citado al pintor expresionista
austriaco Oskar Kokoschka como fuente de inspiración. Lynch se siente desde siempre hechizado
por la película The Wizard of Oz ("El mago de Oz"), aunque no con el culto típico norteamericano
y a menudo ha hecho clara referencia a la misma en cintas como Wild at Heart, donde crea una
gran polémica al parodiarla.
Una influencia temprana en él fue el libro The Art Spirit del artista y profesor norteamericano
Robert Henri, del cual afirmó que le ayudó a decidir el curso que tomaría su trabajo plástico.
Como Henri, Lynch se trasladó del campo a un entorno urbano para desarrollar su carrera artística.
Henri era un pintor realista urbano, que adoptaba la vida en la ciudad como materia principal de su
trabajo, lo que imitó Lynch en sus orígenes. Y si la obra de Henri sirvió de puente entre la
Norteamérica agrícola del siglo XIX y la urbana del XX, las cintas de Lynch entremezclan la
nostalgia feliz de los años 50 con la extrañeza existencial de los 80 y 90.
Tienen gran peso sobre su obra igualmente los cineastas Luis Buñuel, Werner Herzog y Roman
Polanski, alguno de los cuales ha reconocido también al propio Lynch como referente.
Colaboradores habituales Editar

Lynch emplea a menudo a los mismos actores y al mismo equipo técnico y artístico en sus
producciones:
12 Producciones:
Angelo Badalamenti: música de los largometrajes Blue Velvet, Twin Peaks, Wild at Heart, On the
Air, Lost Highway y Mulholland Drive. También escribió la música de Industrial Symphony No.
1, Twin Peaks: Fire Walk With Me, Hotel Room, The Straight Story, Darkened Room y Rabbits.
10 Producciones:
Mary Sweeney, su habitual editora y productora. Escribió el guion de The Straight Story. Trabajó
igualmente en: Blue Velvet (1986), Wild at Heart (1990), Twin Peaks serie de TV, Twin Peaks:
Fire Walk with Me (1992), Hotel Room, serie de TV (1993), Lost Highway (1997), Mulholland
Drive (2001), Inland Empire (2006) y co-produjo Nadja (1994) con Lynch.
7 Producciones:
Jack Nance: en Eraserhead, Dune, Blue Velvet, The Cowboy and the Frenchman, Twin Peaks,
Wild at Heart y Lost Highway
6 Producciones:
Harry Dean Stanton: The Cowboy and the Frenchman, Wild at Heart, Twin Peaks: Fire Walk With
Me, Hotel Room, The Straight Story e Inland Empire.
5 Producciones:
Scott Coffey: Wild at Heart, Lost Highway, Mulholland Drive, Rabbits e Inland Empire.
Freddie Jones: The Elephant Man, Dune, Wild at Heart, Hotel Room y On the Air.
4 Producciones:
Michael J. Anderson: Twin Peaks, Industrial Symphony No. 1, Twin Peaks: Fire Walk With Me y
Mulholland Drive.
Eric DaRe: Twin Peaks, Wild at Heart (casting), Twin Peaks: Fire Walk With Me y Lost Highway
(departamento artístico).
Laura Dern: Blue Velvet, Wild at Heart, Industrial Symphony No. 1 e Inland Empire.
Bellina Logan: Wild at Heart, Twin Peaks, On the Air e Inland Empire.
Kyle MacLachlan: Dune, Blue Velvet, Twin Peaks y Twin Peaks: Fire Walk With Me.
Grace Zabriskie: Twin Peaks, Wild at Heart, Twin Peaks: Fire Walk With Me e Inland Empire.
3 Producciones:
Jack Fisk: Eraserhead, The Straight Story y Mulholland Drive.
Frances Bay: Blue Velvet, Twin Peaks y Wild at Heart.
Catherine E. Coulson: The Amputee, Twin Peaks y Twin Peaks: Fire Walk With Me.
Miguel Ferrer: Twin Peaks, Twin Peaks: Fire Walk With Me y On the Air.
Laura Harring: Mulholland Drive, Rabbits e Inland Empire.
Sheryl Lee: Twin Peaks, Wild at Heart y Twin Peaks: Fire Walk With Me.
Everett McGill: Dune, Twin Peaks y The Straight Story.
Frank Silva: Twin Peaks y Twin Peaks: Fire Walk With Me, y trabajó como encargado de
vestuario en Wild at Heart.
Charlotte Stewart: Eraserhead, Twin Peaks y Twin Peaks: Fire Walk With Me.
Naomi Watts: Mulholland Drive, Rabbits e Inland Empire.
Alicia Witt: Dune, Twin Peaks y Hotel Room.
2 Producciones:
Jeanne Bates: Eraserhead y Mulholland Drive.
Nicolas Cage: Wild at Heart e Industrial Symphony No. 1.
Brad Dourif: Dune y Blue Velvet.
Sherilyn Fenn: en Twin Peaks y Wild at Heart.
Crispin Glover: Wild at Heart y Hotel Room. Lynch estaba interesado en producir el debut como
director de Glover, What is it?.
Diane Ladd: Wild at Heart e Inland Empire.
Dean Stockwell: Dune y Blue Velvet.
Justin Theroux: Mulholland Drive e Inland Empire.
Músicos que han aparecido en sus films: Sting en Dune, Chris Isaak en Twin Peaks: Fire Walk
With Me, David Bowie en Twin Peaks: Fire Walk With Me, Julee Cruise en Twin Peaks y Twin
Peaks: Fire Walk With Me, John Lurie en Wild at Heart, Marilyn Manson, Twiggy Ramirez y
Henry Rollins en Lost Highway y Billy Ray Cyrus en Mulholland Drive.
El propio Lynch se reservó pequeños papeles en The Amputee, Dune, Twin Peaks y Twin Peaks:
Fire Walk With Me. También hizo cameos de voz en INLAND EMPIRE y Nadja, y aparecía en
una escena suprimida de Lost Highway. También interpreta al cantinero Gus en la serie animada
de tv The Cleveland Show tanto en la voz como en la apariencia.[2]
Otras actividades Editar
Lynch hablando sobre Meditación Trascendental y el proceso creativo en 2007.

Durante su trayectoria también dedica su trabajo al formato publicitario, llevando a cabo multitud
de spots televisivos desde 1988, entre los que se encuentran distintos fines comerciales; perfumes,
artículos de deporte, productos alimenticios, automóviles o dispositivos de entretenimiento.
A parte del cine, David Lynch ha desarrollado su creatividad en el campo de la pintura. En España
su obra pictórica pudo verse con la exposición Action-reaction, que recorrió en 2009 ciudades
como Zaragoza y Granada.
Lynch también ha colaborado en el mundo de la música con la creación de videoclips, entre los
que destacan Dangerous de Michael Jackson (1992), Longing de Yoshiki (1995), Rammstein de
Rammstein (1996), Shot in the Black of the Head de Moby (2009) y Came back Haunted de Nine
Inch Nails (2013), entre otros.
También es destacable su labor en la divulgación de la Meditación Trascendental (MT), desde que

se iniciara en ella hacia 1973. En julio de 2005 fundó la David Lynch Foundation For
Consciousness-Based Education and World Peace (también conocida simplemente como David
Lynch Foundation), para ayudar económicamente a los estudiantes en las escuelas intermedias y
secundarias que estén interesados en la Meditación Trascendental y para financiar la investigación
sobre la técnica y sus efectos en el aprendizaje. Con los años, la Fundación ha ampliado su
enfoque para incluir otras poblaciones "en riesgo", tales como las personas sin hogar, los veteranos
de guerra estadounidenses, los refugiados de las guerras africanas y los presos.[3]

En lo personal, Lynch ha mantenido relaciones sentimentales con la actriz Isabella Rossellini (a
raíz del rodaje de Terciopelo azul), y ha estado casado tres veces: con Peggy Lentz (1967-1974;
una hija, Jennifer Chambers Lynch, 1968, ahora directora cinematográfica). Con Mary Fisk (1977-
1987) (un hijo, nacido en 1982, Austin Jack Lynch). Y con la editora y productora de sus películas
Mary Sweeney (2006; un hijo nacido en 1992, Riley Lynch).
Filmografía Editar
Six Men Getting Sick (Six Times) (1966)
Fictitious Anacin Commercial (1967)
Absurd Encounter with Fear (1967)
The Alphabet (1968)
The Amputee (1974)
The Cowboy and the Frenchman (El vaquero y el francés, 1988)
Premonitions Following an Evil Deed (1995)
The Short Films of David Lynch (2002). Recopilación de cortometrajes
Darkened Room (2002)
Blue Green (2007)
Boat (2007)
Absurda (2007)
Out Yonder - Neighbor Boy (2008)
Industrial Soundscape (2008)
Bug Crawls (2008)
Lady Blue Shanghai (2010)
The 3 Rs (2011)
I Touch A Red Button Man (2011)
Crazy Clown Time (2012)
Idem Paris (2012)
MediometrajesEditar
The Grandmother (1970)
Industrial Symphony No. 1 (1990)
Eraserhead (1977)
The Elephant Man (1980)
Dune (1984)
Blue Velvet (1986)
Wild at Heart (1990)
Twin Peaks: Fire Walk With Me (1992)
Lost Highway (1997)
The Straight Story (1999)
Mulholland Drive (2001)
Inland Empire (2006)
Spots televisivos Editar
Obsession by Calvin Klein (1988)
Georgia Coffee (1991)
We Care About New York (1991)
Who is Gio? (1992)
Dangerous Teaser (1993)
Alka-Seltzer Plus (1993)
Tresor (1993)
Barilla Pasta (1993)
The Wall (1993)
Revealed (1993)
The Instinct of Life (1993)
Sun Moon Stars (1994)
Dead Leaves, Aunt Droid, Nuclear Winter and Rocket (1997)
Clear Blue Easy (1997)
Parisienne (1998)
Playstation 2: The Third Place (2000)
Nissan Micra (2002)
Series Editar
Twin Peaks (1990-1991). Serie de televisión
On the Air (1992). Serie de televisión
Hotel Room (1993). Serie de televisión
DumbLand (2002). Serie de Internet
Rabbits (2002). Serie de Internet
Twin Peaks: The Return (2017). Serie de televisión
Documentales Editar
Stories: David Lynch recuerda "Eraserhead" (2001)
More Things That Happened (2007). Selección de escenas desechadas de Inland Empire
Duran Duran: Unstaged (2011)
Meditation, Creativity, Peace (2012)
Twin Peaks: Las piezas desaparecidas (2014)
Discografía Editar
Álbumes de estudioEditar
The Big Dream (2013)
Premios Editar
Lynch en el Festival de Cannes de 1990.
Óscar
2001 Mejor dirección Mulholland Drive Nominado
1986 Mejor dirección Blue Velvet Nominado
1980 Mejor dirección
Mejor guion adaptado El hombre elefante Nominado
Globos de Oro
2001 Mejor dirección
Mejor guion Mulholland Drive Nominado
1986 Mejor guion Blue Velvet Nominado
1980 Mejor dirección El hombre elefante Nominado
Otros galardones Editar
Lynch ha ganado dos veces el Premio César francés a la mejor película extranjera (por El hombre
elefante y Mulholland Drive). En el Festival de Cannes ganó la Palma de Oro en 1990 por
Corazón salvaje y logró el premio al mejor director en 2001 por Mulholland Drive. En 2002 fue
presidente del jurado de dicho festival. En 2002 fue asimismo galardonado por el gobierno francés
con la Legión de Honor. El 6 de septiembre de 2006 recibió el León de Oro en el Festival de
Venecia por sus contribuciones al Séptimo Arte. En este mismo festival presentó su último film,
Inland Empire.
Referencias Editar
Citas Editar
↑ Jousse, 9
↑ cleveland.wikia.com (ed.). «David Lynch» (en inglés). Consultado el 1 de mayo de 2014.
↑ elpais.com, ed. (13 de octubre de 2013). «David Lynch: “La meditación trascendental mejora
mi obra”». Consultado el 1 de mayo de 2014.
Jousse, Thierry (2008). El libro de David Lynch. Madrid: Prisa-El País ("Cahiers du cinéma",
París, 2007). ISBN 978-84-9815-885-4.
Le Blanc, Michelle & Odell, Colin (2000). David Lynch. Harpenden, Hertfordshire: Pocket
Essentials. ISBN 1-903047-06-4.
Lynch, David & Rodley, Chris (2005). Lynch on Lynch. (revised edition) New York: Faber and
Faber. ISBN 978-0-571-22018-2.
Wikimedia Commons alberga una galería multimedia sobre David Lynch.
David Lynch en Internet Movie Database (en inglés)
DavidLynch.com
Universo David Lynch
Los 10 Magníficos: monográfico sobre David Lynch en TCM
Director de cine pero también fotógrafo: David Lynch
Última edición hace 8 días por MetroBot
Wikipedia
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Wikipedia
David Lynch
For other people named David Lynch, see David Lynch (disambiguation).
David Keith Lynch (born January 20, 1946) is an American filmmaker, painter, musician, actor,
and photographer. He has been described by The Guardian as "the most important director of this
era,"[1] while AllMovie called him "the Renaissance man of modern American filmmaking."[2]
He has received three Academy Award nominations[3] for Best Director, and has won France's
César Award for Best Foreign Film twice, as well as the Palme d'Or at the Cannes Film Festival[4]
and a Golden Lion award for lifetime achievement at the Venice Film Festival. His films Blue
Velvet (1986) and Mulholland Drive (2001) are widely considered by critics to be among the
greatest films of their respective decades.[5][6] Following the success of his 1990–91 television
series Twin Peaks, film critic Pauline Kael labeled him "the first popular Surrealist."[7]
David Lynch
David Lynch head 07.jpg
Lynch in 2007
Born
David Keith Lynch
Missoula, Montana, U.S.
Residence
Other names
Judas Booth
Alma mater
Pennsylvania Academy of the Fine Arts, Philadelphia
AFI Conservatory
Occupation
Director, screenwriter, producer, painter, musician, sound designer, photographer, actor
Years active
1966–present
Spouse(s)
Peggy Lentz
(m. 1967; div. 1974)
Mary Fisk
(m. 1977; div. 1987)
Mary Sweeney
(m. 2006; div. 2006)
Emily Stofle
(m. 2009)
Children
4, including Jennifer
Born to a middle-class family in Missoula, Montana, Lynch spent his childhood traveling around
the United States before he studied painting at the Pennsylvania Academy of Fine Arts in
Philadelphia, where he first made the transition to producing short films. He moved to Los
Angeles, where he produced his first motion picture, the surrealist horror film Eraserhead (1977).
After Eraserhead became a cult classic on the midnight movie circuit, Lynch was employed to
direct the biographical film The Elephant Man (1980), from which he gained mainstream success.
He was then employed by the De Laurentiis Entertainment Group and proceeded to make two
films: the science-fiction epic Dune (1984), which proved to be a critical and commercial failure,
and then a neo-noir mystery film Blue Velvet (1986), which stirred controversy over its violence
but later grew in critical reputation.
Next, Lynch created his own television series with Mark Frost, the popular murder mystery Twin
Peaks (1990–1991). He also created a cinematic prequel, Twin Peaks: Fire Walk with Me (1992),
a road film Wild at Heart (1990) and a family film The Straight Story (1999) in the same period.
Turning further towards surrealist filmmaking, three of his subsequent films operated on "dream
logic" non-linear narrative structures: Lost Highway (1997), Mulholland Drive (2001), and Inland
Empire (2006). Meanwhile, Lynch embraced the Internet as a medium, producing several web-
based shows, such as the animated DumbLand (2002) and the surreal sitcom Rabbits (2002).
Lynch and Frost reunited for the Showtime limited series Twin Peaks: The Return (2017), with
Lynch co-writing and directing every episode.
Lynch's other artistic endeavours include: his work as a musician, encompassing two solo albums
—Crazy Clown Time (2011) and The Big Dream (2013)—as well as music and sound design for a
variety of his films; painting and photography; writing two books—Images (1994) and Catching
the Big Fish (2006); and directing several music videos and advertisements, including the Dior
promotional film Lady Blue Shanghai (2006). An avid practitioner of Transcendental Meditation
(TM), Lynch founded the David Lynch Foundation in 2005, which sought to fund the teaching of
TM in schools and has since widened its scope to other "at-risk populations", including the
homeless, veterans, and refugees.
Contents
Early life Edit
Main article: Early life of David Lynch
My childhood was elegant homes, tree-lined streets, the milkman, building backyard forts, droning
airplanes, blue skies, picket fences, green grass, cherry trees. Middle America as it's supposed to
be. But on the cherry tree there's this pitch oozing out – some black, some yellow, and millions of
red ants crawling all over it. I discovered that if one looks a little closer at this beautiful world,
there are always red ants underneath. Because I grew up in a perfect world, other things were a
contrast.
David Lynch[8]
Lynch was born in Missoula, Montana on January 20, 1946.[9] His father, Donald Walton Lynch
(1915–2007), was a research scientist working for the U.S. Department of Agriculture, and his
mother, Edwina "Sunny" Lynch (née Sundholm; 1919–2004), was an English language tutor.
Two of Lynch's maternal great-grandparents were Finnish, and had immigrated to the United
States from Finland in the 19th century.[10] Lynch was raised a Presbyterian.[11][12]
The Lynch family often moved around according to where the USDA assigned Donald. It was
because of this that when he was two months old, Lynch moved with his parents to Sandpoint,
Idaho, and only two years after that, following the birth of his brother John, the family moved to
Spokane, Washington. It was here that Lynch's sister Martha was born. The family then moved to
Durham, North Carolina, then Boise, Idaho, and then Alexandria, Virginia.[9] Lynch found this
transitory early life relatively easy to adjust to, noting that he found it fairly easy to meet new
friends whenever he started attending a new school.[13] Commenting on much of his early life,
Lynch has remarked:
I found the world completely and totally fantastic as a child. Of course, I had the usual fears, like
going to school ... For me, back then, school was a crime against young people. It destroyed the
seeds of liberty. The teachers didn't encourage knowledge or a positive attitude.[14]
Alongside his schooling, Lynch joined the Boy Scouts, although he would later note that he only
"became [a Scout] so I could quit and put it behind me". He rose to the highest rank of Eagle
Scout. It was through being an Eagle Scout that he was present with other Boy Scouts outside of
the White House at the inauguration of President John F. Kennedy, which took place on Lynch's
birthday in 1961.[15] Lynch had become interested in painting and drawing from an early age,
becoming intrigued by the idea of pursuing it as a career path when living in Virginia, where his
friend's father was a professional painter.[16]
At Francis C. Hammond High School in Alexandria, Lynch did poorly academically, having little
interest in school work, but was popular with other students, and after leaving decided that he
wanted to study painting at college, beginning his studies at the School of the Museum of Fine
Arts, Boston in 1964, where he was a roommate of Peter Wolf.[17] Nonetheless, he left the School
of the Museum of Fine Arts after only a year, stating that "I was not inspired AT ALL in that
place", and instead deciding that he wanted to travel around Europe for three years with his friend
Jack Fisk, who was similarly unhappy with his studies at Cooper Union. They had some hopes
that in Europe they could train with the expressionist painter Oskar Kokoschka at his school. Upon
reaching Salzburg, however, they found that he was not available and, disillusioned, returned to
the United States after spending only 15 days of their planned three years in Europe.[18]
Career Edit
Philadelphia and short films: 1966–1970 Edit
Back in the United States, Lynch returned to Virginia, but since his parents had moved to Walnut
Creek, California, he stayed with his friend Toby Keeler for a while. He decided to move to the
city of Philadelphia and enroll at the Pennsylvania Academy of Fine Arts, after advice from Jack
Fisk, who was already enrolled there. He preferred this college to his previous school in Boston,
claiming that "In Philadelphia there were great and serious painters, and everybody was inspiring
one another and it was a beautiful time there."[19] It was here that he began a relationship with a
fellow student, Peggy Reavey, and they were married in 1967. The following year, Peggy gave
birth to their daughter Jennifer. Later describing this situation, Peggy stated that "[Lynch]
definitely was a reluctant father, but a very loving one. Hey, I was pregnant when we got married.
We were both reluctant."[20] As a family, they moved to the Fairmount neighborhood of
Philadelphia, where they were able to purchase a large 12-room house for the relatively low price
of $3,500 due to the high crime and poverty rates in the area. Later describing living there, Lynch
stated that
We lived cheap, but the city was full of fear. A kid was shot to death down the street ... We were
robbed twice, had windows shot out and a car stolen. The house was first broken into only three
days after we moved in ... The feeling was so close to extreme danger, and the fear was so intense.
There was violence and hate and filth. But the biggest influence in my whole life was that city.[21]
Meanwhile, to help financially support his family alongside his art studies, he took up a job
printing engravings.[22]
At the Pennsylvania Academy Lynch made his first short film, which was titled Six Men Getting
Sick (Six Times) (1967). He had first come up with the idea when he developed a wish to see his
paintings move, and he subsequently began discussing the idea of creating an animation with an
artist named Bruce Samuelson. When this project never came about, Lynch decided to work on a
film alone, and so purchased the cheapest 16mm camera that he could find in order to do so.
Taking one of the abandoned upper rooms of the Academy as a working space, he spent $200 –
which at the time he felt to be a lot of money – to produce Six Men Getting Sick.[23] Describing
the work as "57 seconds of growth and fire, and three seconds of vomit", Lynch played the film on
a loop at the Academy's annual end-of-year exhibit, where it shared joint first prize with a painting
by Noel Mahaffey.[24][25] This led to a commission from one of his fellow students, the wealthy
H. Barton Wasserman, who offered him $1000 to create a film installation in his home. Spending
$478.28 of that on purchasing the second-hand Bolex camera "of [his] dreams", Lynch produced a
new animated short, but upon getting the film developed, realized that the result was simply a
blurred, frameless print. As he would later relate, "So I called up Bart [Wasserman] and said, 'Bart,
the film is a disaster. The camera was broken and what I've done hasn't turned out.' And he said,
'Don't worry, David, take the rest of the money and make something else for me. Just give me a
print.' End of story."[26]
Using this leftover money, Lynch decided to experiment on making a work that was a mix of
animation with live action, producing a four-minute short called The Alphabet (1968). The film
starred Lynch's wife Peggy as a character known as The Girl, who chants the alphabet to a series
of images of horses before dying at the end by hemorrhaging blood all over her bed sheets. Adding
a sound effect, Lynch used a broken Uher tape recorder to record the sound of his baby daughter
Jennifer crying, creating a distorted sound that Lynch felt to be particularly effective. Later
describing what had inspired him, Lynch stated that "Peggy's niece was having a bad dream one
night and was saying the alphabet in her sleep in a tormented way. So that's sort of what started
The Alphabet going. The rest of it was just subconscious."[25][27]
Learning about the newly founded American Film Institute, which gave grants to film makers who
could support their application with a prior work and a script for a new project, Lynch decided to
send them a copy of The Alphabet along with a script that he had written for a new short film, one
that would be almost entirely live action, named The Grandmother.[28] The Institute agreed to
help finance the work, initially offering him $5000 out of his requested budget of $7,200, but later
granting him the additional $2,200 that he had requested. Starring people he knew from both work
and college and filmed in his own house,[29] The Grandmother featured a neglected boy who
"grows" a grandmother from a seed to care for him. The film critics Michelle Le Blanc and Colin
Odell later remarked that "this film is a true oddity but contains many of the themes and ideas that
would filter into his later work, and shows a remarkable grasp of the medium".[30]
Los Angeles and Eraserhead: 1971–1979 Edit
Lynch's Eraserhead, featuring Henry Spencer (Jack Nance)

In 1971, Lynch moved with his wife and daughter to Los Angeles, where he began studying
filmmaking at the AFI Conservatory, a place that he would later describe as being "completely
chaotic and disorganized, which was great ... you quickly learned that if you were going to get
something done, you would have to do it yourself. They wanted to let people do their thing."[31]
He began writing a script for a proposed work titled Gardenback, which had "unfolded from this
painting I'd done". In this venture he was supported by a number of figures at the Conservatory,
who encouraged him to lengthen the script and add more dialogue, something that he reluctantly
agreed to do. Nonetheless, with all the interference on his Gardenback project, he became fed up
with the Conservatory and quit after returning to start the second year and being put in first year
classes. Dean of the AFI, Frank Daniel, asked Lynch to reconsider, believing that he was one of
the school's best students. Lynch agreed on the condition that he could create his own project that
would not be interfered with. Feeling that Gardenback was "wrecked", he instead set about on a
new film, which he called Eraserhead.[32]
Despite the fact that the film was planned to be about forty-two minutes long (it ended up being
eighty-nine minutes long), the script for Eraserhead was only 21 pages long, and Lynch was able
to create the film free from interference. Filming, which began on May 29, 1972, took place at
night in some abandoned stables, allowing the production team, which was largely Lynch and
some of his friends, including Sissy Spacek, Jack Fisk, cinematographer Frederick Elmes and
sound designer Alan Splet to set up a camera room, green room, editing room, sets as well as a
food room and a bathroom.[33] Initially, funding for the project came from the AFI, who gave
Lynch a $10,000 grant, but it was not enough to complete the work, and under pressure from
studios after the success of the relatively cheap feature film Easy Rider, they were unable to
provide him with any more. Lynch was then supported by a loan from his father, and by money
that he was able to bring in from a paper route that he took up delivering the Wall Street Journal.
[34][35] Not long into the production of Eraserhead, Lynch and his wife Peggy amicably
separated and divorced, and so he began living full-time on set. In 1977, Lynch would remarry,
this time to Mary Fisk, sister of Jack Fisk.[36]
Filmed in black and white, Eraserhead tells the story of a quiet young man named Henry (Jack
Nance) living in a dystopian industrial wasteland, whose girlfriend gives birth to a deformed baby
whom she leaves in his care. The baby constantly cries, causing much concern. When he realizes
the baby has actually become ill, Henry tries to help it. This leads to its accidental death, after
which he is haunted by what seem to be daemons that represent the baby and Henry finds himself
in a "heaven" which he arrives at by entering the center of a planet rock. Lynch has consistently
refused to either confirm or deny any interpretation of Eraserhead, or to "confess his own thinking
behind the many abstractions in the film".[37] Nonetheless, he admits that it was heavily
influenced by the fearful mood of Philadelphia, and referred to the film as "my Philadelphia
Story".[38][39]
Due to financial problems the filming of Eraserhead was haphazard, regularly stopping and
starting again. It was in one such break in 1974 that Lynch created a short film titled The
Amputee, which revolved around a woman with two amputated legs (played by Jack Nance's wife,
Catherine Coulson) reading aloud a letter and having her stumps washed by a doctor (played by
Lynch himself).[40][41]
Eraserhead was finally finished in 1976, after five years of production. Lynch subsequently tried
to get the film entered into the Cannes Film Festival, but while some reviewers liked it, others felt
that it was awful, and so it was not selected for screening. Similarly, reviewers from the New York
Film Festival also rejected it, though it was screened at the Los Angeles Film Festival, where Ben
Barenholtz, the distributor of the Elgin Theater, heard about it.[42] He was very supportive of the
movie, helping to distribute it around the United States in 1977, and Eraserhead subsequently
became popular on the midnight movie underground circuit,[37] and was later described as one of
the most important midnight movies of the seventies along with El Topo, Pink Flamingos, The
Rocky Horror Picture Show, The Harder They Come and Night of the Living Dead.[43] The
acclaimed film maker Stanley Kubrick said that it was one of his all-time favorite films.[44]
The Elephant Man and mainstream success: 1980–1982 Edit

After the cult success of Eraserhead on the underground circuit, Stuart Cornfeld, an executive
producer for Mel Brooks, saw it and later remarked that "I was just 100 percent blown away ... I
thought it was the greatest thing I'd ever seen. It was such a cleansing experience."[45] Contacting
Lynch, he agreed to help him with his next planned project, a film titled Ronnie Rocket for which
Lynch had already written a script. However, Lynch soon realized that Ronnie Rocket, a film that
he described as being about "electricity and a three-foot guy with red hair", was not going to be
picked up by any financiers, and so he asked Cornfeld to find him a script written by someone else
which he could direct. Cornfeld found him four possible scripts. On hearing the title of the first,
The Elephant Man, Lynch chose the script.[46]
The Elephant Man script, written by Chris de Vore and Eric Bergren, was based on a true story,
that of Joseph Merrick, a heavily deformed man living in Victorian London, who was held in a
sideshow but was later taken under the care of a London surgeon, Frederick Treves. Lynch wanted
to make some alterations that would alter the story from true events, but in his view make a better
plot.[47] However, in order to do so he would have to get the permission of Mel Brooks, whose
company, Brooksfilms, would be responsible for production; subsequently Brooks viewed
Eraserhead, and after coming out of the screening theatre, embraced Lynch, declaring that "You're
a madman, I love you! You're in."[48]
The resulting film, The Elephant Man, starred John Hurt as John Merrick (his name was changed
from Joseph), as well as Anthony Hopkins as Frederick Treves. Filming took place in London, and
Lynch brought his own distinctively surrealist approach to the film, filming it in color stock black
and white. Nonetheless it has been described as "one of the most conventional" of his films.[49]
The Elephant Man was a huge critical and commercial success, and earned eight Academy Award
nominations, including Best Director and Best Adapted Screenplay for Lynch personally.[50]
The De Laurentiis films, Dune and Blue Velvet: 1983–1986 Edit

Following on from the success of The Elephant Man, the filmmaker George Lucas, himself a fan
of Eraserhead, offered Lynch the opportunity to direct the third film in his Star Wars trilogy,
Return of the Jedi. Lynch refused, arguing that Lucas should direct the film himself as the movie
should reflect his own vision, not Lynch's take on it.[39][51] Soon after however, the opportunity
to direct another big-budget science fiction epic arose when Dino de Laurentiis of the De
Laurentiis Entertainment Group asked him to create a film adaptation of Frank Herbert's science
fiction novel Dune (1965).[51] Lynch agreed, and in doing so was also contractually obliged to
produce two other works for the company. He then set about writing a script based upon the
original novel, initially with both Chris de Vore and Eric Bergren, and then just by himself when
De Laurentiis wasn't happy with their ideas.[52] Lynch also helped build some of the sets,
attempting to create "a certain look" for the film, and he particularly enjoyed building the set for
the oil planet of Giedi Prime, for which he "used steel, bolts, and porcelain to construct" it.[53]
Dune is set in the far future, when humans live in an interstellar empire under a feudal system. The
main character, Paul Atreides (played by Kyle MacLachlan), is the son of a noble who takes
control of the desert planet Arrakis, which grows the rare spice melange, the most highly prized
commodity in the empire. Lynch, however, was unhappy with the work, later remarking that
"Dune was a kind of studio film. I didn't have final cut. And, little by little, I was subconsciously
making compromises" to his own vision.[54] Much of his footage was eventually removed from
the final theatrical cut, dramatically condensing the plot.[55] Although De Laurentiis hoped it
would be as successful as Star Wars, Lynch's Dune (1984) was a critical and commercial dud; it
had cost $45 million to make, and grossed a mere $27.4 million domestically. Later on, Universal
Studios released an "extended cut" of the film for syndicated television, containing almost an hour
of cutting-room-floor footage and new narration. Such was not representative of Lynch's
intentions, but the studio considered it more comprehensible than the original two-hour version.
Lynch objected to these changes and had his name struck from the extended cut, which has "Alan
Smithee" credited as the director and "Judas Booth" (a pseudonym which Lynch himself invented,
inspired by his own feelings of betrayal) as the screenwriter.[56]
Meanwhile, in 1983, he had begun the writing and drawing of a comic strip, The Angriest Dog in
the World, which featured unchanging graphics of a tethered dog that was so angry that it could
not move, alongside cryptic philosophical references. It ran from 1983 until 1992 in the Village
Voice, Creative Loafing and other tabloid and alternative publications.[57] It was around this
period that Lynch also became interested in photography as an art form, and travelled to northern
England to take photos of the degrading industrial landscape, something that he was particularly
interested in.[58]
Following on from Dune, Lynch was contractually still obliged to produce two other projects for
De Laurentiis: the first of these was a planned sequel, which due to the film's lack of success never
went beyond the script stage.[52] The other was a more personal work, based upon a script that
Lynch had been working on for some time. Developing from ideas that Lynch had had since 1973,
the resulting film, Blue Velvet, was set in the fictional town of Lumberton, USA, and revolves
around a college student named Jeffrey Beaumont (Kyle MacLachlan), who finds a severed ear in
a field. Subsequently, investigating further with the help of friend Sandy (Laura Dern), he
uncovers that it is related to a criminal gang led by psychopath Frank Booth (Dennis Hopper),
who has kidnapped the husband and child of singer Dorothy Vallens (Isabella Rossellini) and
repeatedly subjects her to rape. Lynch himself characterizes the story as "a dream of strange
desires wrapped inside a mystery story".[59]
For the film, Lynch decided to include pop songs from the 1960s, including "In Dreams" by Roy
Orbison and "Blue Velvet" by Bobby Vinton, the latter of which was largely inspirational for the
film, with Lynch stating that "It was the song that sparked the movie ... There was something
mysterious about it. It made me think about things. And the first things I thought about were lawns
– lawns and the neighborhood."[60] Other music for the film was also produced, this time
composed by Angelo Badalamenti, who would go on to produce the music for most of Lynch's
subsequent cinematic works.[61] Dino de Laurentiis loved the film, and it achieved support from
some of the early specialist screenings, but the preview screenings to a mainstream audience were
instead highly negative, with most of the audience hating the film.[62] Although Lynch had found
success previously with The Elephant Man, Blue Velvet's controversy with audiences and critics
introduced him into the mainstream, and it became a huge critical and moderate commercial
success. The film earned Lynch his second Academy Award nomination for Best Director. Woody
Allen, whose film Hannah and Her Sisters was nominated for Best Picture, said that Blue Velvet
was his favorite film of the year.[63]
Twin Peaks, Wild at Heart and Fire Walk with Me: 1987–1996 Edit
Lynch at the 1990 Emmy Awards ceremony

During the late 1980s, Lynch had begun to work in television as well as cinema, directing a short
piece titled The Cowboy and the Frenchman for French television in 1989.[64] Around this time,
he met the television producer Mark Frost, who had formerly worked on such projects as the
television police series Hill Street Blues, and they decided to start working together on a biopic of
singer and actress Marilyn Monroe based upon Anthony Summers's book, The Goddess: The
Secret Lives of Marilyn Monroe. While this project never got off the ground, the duo went on to
work on a comedy script named One Saliva Bubble, but that did not see completion either.[65][66]
While they were talking in a coffee shop, Lynch and Frost had the idea of a corpse washing up on
the shore of a lake, and subsequently set about on their third project, initially called Northwest
Passage but would eventually become the television series Twin Peaks (1990–1991).[67] A
drama series set in a small Washington town where popular high school student Laura Palmer has
been raped and murdered, Twin Peaks featured FBI Special Agent Dale Cooper (Kyle
MacLachlan) as the investigator trying to unearth the killer, and discovering not only the
supernatural elements to the murder but also the secrets of many of the local townsfolk; as Lynch
himself summed it up, "The project was to mix a police investigation with the ordinary lives of the
characters." Lynch later revealed that "[Mark Frost and I] worked together, especially in the initial
stages. Later on we started working more apart." They pitched the series to the ABC Network,
who agreed to finance the pilot episode and eventually commissioned the first season, comprising
seven episodes.[68]
A second season went into production soon on 22 additional episodes. Lynch himself only directed
six episodes of the series, devoting his time to working on the film Wild at Heart, but carefully
chose the directors for other episodes.[69] Lynch appeared in several episodes of the series as the
deaf FBI agent Gordon Cole. The series was a success, with high ratings both in the United States
and in many nations abroad, and soon spawned a cult following. Executives at the ABC Network,
however, believed that public interest in the show was decreasing. The network insisted that Lynch
and Frost reveal who the killer of Laura Palmer was prematurely, which they begrudgingly agreed
to do.[70] Lynch felt that agreeing to do so is one of his biggest professional regrets.[71]
Following the revealing of the murderer and the series' move from Thursday to Saturday night,
Twin Peaks continued for several more episodes, but was cancelled following a ratings drop.
Lynch, who disliked the direction that the writers and directors took in the previous episodes,
directed the final episode. He ended the season on a cliffhanger, later remarking that "that's not the
ending. That's the ending that people were stuck with."[72]
While Twin Peaks was in production, the Brooklyn Academy of Music asked Lynch and the
composer Angelo Badalamenti, who had been responsible for the music in Twin Peaks, to create a
theatrical piece which would be performed only twice in 1989 as a part of the New Music America
Festival. The result was Industrial Symphony No. 1: The Dream of the Broken Hearted, which
starred frequent Lynch collaborators such as Laura Dern, Nicolas Cage and Michael J. Anderson,
and contained five songs sung by Julee Cruise. David Lynch produced a fifty-minute video of the
performance in 1990.[73] Meanwhile, Lynch was also involved in the creation of various
commercials for different companies, including perfume companies like Yves Saint Laurent,
Calvin Klein and Giorgio Armani and the Japanese coffee company Namoi, which featured a
Japanese man searching the town of Twin Peaks for his missing wife.[74]
1990 was Lynch's annus mirabilis: Wild at Heart won the Palme d'Or at Cannes, and the television
series Twin Peaks was proving a smash hit with audiences across the world. The
musical/performance piece Industrial Symphony No. 1, which Lynch had staged with Angelo
Badalamenti at the Brooklyn Academy of music, had spawned the album Floating into the Night
and launched singer Julee Cruise. Five one-man exhibitions between 1989 and 1991 emphasized
Lynch's roots in fine art and painting, and a rash of ads (including a teaser trailer for Michael
Jackson's 'Dangerous' tour) confirmed the demand for the Lynch touch ... In an unlikely scenario
for the maker of Eraserhead, Lynch had become an influential and fashionable brand name.
Christopher Rodley[75]
Lynch at the 1990 Cannes Film Festival

While Lynch was working on the first few episodes of Twin Peaks, his friend Monty Montgomery
"gave me a book that he wanted to direct as a movie. He asked if I would maybe be executive
producer or something, and I said 'That's great, Monty, but what if I read it and fall in love with it
and want to do it myself?' And he said, 'In that case, you can do it yourself'." The book was Barry
Gifford's novel Wild at Heart: The Story of Sailor and Lula, which told the tale of two lovers on a
road trip. Lynch felt that it was "just exactly the right thing at the right time. The book and the
violence in America merged in my mind and many different things happened."[76] With Gifford's
support, Lynch adapted the novel into a film called Wild at Heart, a crime and road movie starring
Nicolas Cage as Sailor and Laura Dern as Lula.[77] Describing his plot as a "strange blend" of "a
road picture, a love story, a psychological drama and a violent comedy", Lynch altered much from
the original novel, changing the ending and incorporating numerous references to the classic film
The Wizard of Oz.[78] Despite receiving a muted response from American critics and viewers, it
won the Palme d'Or at the 1990 Cannes Film Festival.[4]
Following on from the success of Wild at Heart, Lynch decided to return to the world of the now-
cancelled Twin Peaks, this time without Mark Frost, to create a film that acted primarily as a
prequel but also, in part, as a sequel, with Lynch stating that "I liked the idea of the story going
back and forth in time."[79] The result, Twin Peaks: Fire Walk with Me (1992), primarily revolved
around the last few days in the life of Laura Palmer, and was much "darker" in tone than the
television series, having much of the humour removed, and dealing with such topics as incest and
murder. Lynch himself stated that the film was about "the loneliness, shame, guilt, confusion and
devastation of the victim of incest". Twin Peaks: Fire Walk with Me was financed by the company
CIBY-2000, and most of the cast of the series agreed to reprise their roles for the film, although
some refused and many were not enthusiastic about the project.[80] The film was a commercial
and critical failure in the United States; however, it was a hit in Japan and some critics, such as
Mark Kermode, have hailed it as Lynch's "masterpiece".[81]
Meanwhile, Lynch worked with Mark Frost on some new television shows. After Twin Peaks, they
produced a series of documentaries titled American Chronicles (1990) which examined life across
the United States, the comedy series On the Air (1992), which was cancelled after only three
episodes had aired, and the three-episode HBO miniseries Hotel Room (1993) about events that
happen in one hotel room but on different dates.[82]
Lost Highway, The Straight Story and Mulholland Drive: 1997–2001 Edit
Following these unsuccessful television ventures, Lynch returned to making feature films. In 1997
he released the non-linear, noiresque Lost Highway, which was co-written by Barry Gifford and
starred Bill Pullman and Patricia Arquette. The film failed commercially and received a mixed
response from critics.[83][84]
Following Lost Highway, Lynch began work directing a film from a script written by Mary
Sweeney and John E. Roach. The resulting motion picture, The Straight Story was based upon a
true story: that of Alvin Straight (played in the film by Richard Farnsworth), an elderly man from
Laurens, Iowa, who goes on a three hundred mile journey to visit his sick brother (played by
Harry Dean Stanton) in Mount Zion, Wisconsin, riding a lawnmower for the entire journey.
Commenting on why he chose this script, Lynch said that "that's what I fell in love with next", and
displayed his admiration for Straight, describing him as "like James Dean, except he's old".[85]
Angelo Badalamenti again produced the music for the film, although it was "very different from
the kind of score he's done for [Lynch] in the past".[86]
Among the many differences with his earlier films, The Straight Story did not contain profanities,
sexual content or violence; it was rated G (general viewing) by the Motion Picture Association of
America, which came as "shocking news" to many in the film industry, who were surprised that it
"did not disturb, offend or mystify".[87] As Le Blanc and Odell stated, the plot made it "seem as
far removed from Lynch's earlier works as could be imagined, but in fact right from the very
opening, this is entirely his film – a surreal road movie".[88]
Naomi Watts, David Lynch, Laura Elena Harring and Justin Theroux at the 2001 Cannes Film
Festival
The same year, Lynch approached ABC once again with ideas for a television drama. The network
gave Lynch the go-ahead to shoot a two-hour pilot for the series Mulholland Drive, but disputes
over content and running time led to the project being shelved indefinitely. However, with seven
million dollars from the French production company StudioCanal, Lynch completed the pilot as a
film, Mulholland Drive. The film, a non-linear narrative surrealist tale of the dark side of
Hollywood, stars Naomi Watts, Laura Harring and Justin Theroux. The film performed relatively
well at the box office worldwide and was a critical success, earning Lynch a Best Director prize at
the 2001 Cannes Film Festival (shared with Joel Coen for The Man Who Wasn't There) and a Best
Director award from the New York Film Critics Association. In addition, Lynch received his third
Academy Award nomination for Best Director.[89] In 2016, the film was named the top film of the
21st century by the BBC following a poll of 177 film critics from 36 countries.[90]
Internet work and Inland Empire: 2002–2013 Edit

With the rising popularity of the Internet, Lynch decided to utilize it as a new distribution channel,
releasing several new series that he had created exclusively on his website, davidlynch.com. In
2002, he created a series of online shorts named DumbLand. Intentionally crude both in content
and execution, the eight-episode series was later released on DVD.[91] The same year, Lynch
released a surreal sitcom on his website called Rabbits, about a family of humanoid rabbits. Later,
he made his experiments with Digital Video available in the form of the Japanese-style horror
short Darkened Room. In 2006, Lynch's feature film Inland Empire was released. At three hours
long, it was the longest of Lynch's films. Like Mulholland Drive and Lost Highway before it, the
film did not follow a traditional narrative structure. It starred Lynch regulars Laura Dern, Harry
Dean Stanton and Justin Theroux, with cameos by Naomi Watts and Laura Harring (voices of
Suzie and Jane Rabbit), and a performance by Jeremy Irons. Lynch described the piece as "a
mystery about a woman in trouble". In an effort to promote the film, Lynch made appearances
with a cow and a placard bearing the slogan "Without cheese there would be no Inland Empire".
[92]
In 2009, Lynch produced a documentary web series directed by his son, Austin Lynch, and friend
Jason S. called Interview Project.[93] Interested in working with Werner Herzog, Lynch
collaborated with him in 2009 to produce Herzog's film My Son, My Son, What Have Ye Done?.
Using a non-standard narrative, the film was based on the true story of an actor who committed
matricide while acting in a production of the Oresteia, and starred Grace Zabriskie, a Lynch
regular.[94] Lynch has plans to direct a documentary on Maharishi Mahesh Yogi consisting of
interviews with people who knew him.[95]
In 2010, Lynch began making guest appearances on the Family Guy spin-off The Cleveland Show
as Gus the Bartender. He had been convinced to appear in the show by its lead actor, Mike Henry,
who is a fan of Lynch and who felt that his whole life had changed after seeing Wild at Heart.[96]
Lady Blue Shanghai is a 16-minute promotional film that was written, directed and edited by
Lynch for Dior. It was released on the Internet in May 2010.
Lynch directed a concert by English new wave band Duran Duran on March 23, 2011. The concert
was streamed live on YouTube from the Mayan Theater in Los Angeles as the kickoff to the
second season of Unstaged: An Original Series from American Express. "The idea is to try and
create on the fly, layers of images permeating Duran Duran on the stage", Lynch said. "A world of
experimentation and hopefully some happy accidents".[97] The animated short I Touch a Red
Button Man, a collaboration between Lynch and the band Interpol, played in the background
during Interpol's concert at the Coachella Valley Music and Arts Festival in April 2011. The short,
which features Interpol's song "Lights", was later made available online.[98]
It was believed that Lynch was going to retire from the film industry; according to Abel Ferrara,
Lynch "doesn't even want to make films any more. I've talked to him about it, OK? I can tell when
he talks about it."[99] However, in a June 2012 Los Angeles Times interview, Lynch stated that he
lacked the inspiration to start a new movie project, but "If I got an idea that I fell in love with, I'd
go to work tomorrow".[100] In September 2012, Lynch appeared in the three-part "Late Show" arc
on FX's Louie as Jack Dahl. In November 2012, Lynch hinted at plans for a new film while
attending Plus Camerimage in Bydgoszcz, Poland. Speaking at the festival, Lynch said "something
is coming up. It will happen but I don't know exactly when".[101] At Plus Camerimage, Lynch
was also presented with a lifetime achievement award and the key to the city by Bydgoszcz's
mayor Rafał Bruski.[102] During an interview with the Los Angeles Times in January 2013,
frequent Lynch collaborator Laura Dern confirmed she and Lynch are planning a new project,
[103][104] and The New York Times later revealed Lynch is working on the script.[105] Idem
Paris, a short documentary film about the lithographic process, was released online in February
2013.[106] On June 28, 2013, a music video directed by Lynch for the Nine Inch Nails song
"Came Back Haunted" was released.[107] He also did photography for the self-titled album from
Dumb Numbers released August 2013.[108]
Reviving Twin Peaks: 2014–present Edit
Lynch (left) with Kyle MacLachlan at the 2017 premier of Twin Peaks: The Return.
On October 6, 2014, Lynch confirmed via Twitter that he would start shooting together with Mark
Frost a new, nine-episode season of Twin Peaks in 2015, with the episodes expected to air in early
2016 on Showtime.[109] Lynch and Frost wrote all nine episodes. On April 5, 2015, Lynch
announced via Twitter that the project was still alive, but he was no longer going to direct because
the budget was too low for what he wanted to do.[110] However, he later announced on May 15,
2015, via Twitter, that he would indeed be returning to the revival, as he had sorted out his issues
with Showtime.[111] This was later confirmed by Showtime CEO David Nevins, who announced
that Lynch would direct every episode of the revival and that the original order of nine episodes
had been extended to eighteen episodes.[112] By January 2016, the series was halfway through
the shooting schedule and filming was completed by April 2016.[113][114] The two-episode
premiere aired May 21, 2017.[115] While doing press for Twin Peaks, he was again asked if he
was retired from film and confirmed that he had made his last feature film, responding, "Things
changed a lot... So many films were not doing well at the box office even though they might have
been great films and the things that were doing well at the box office weren't the things that I
would want to do".[116] Lynch later clarified that this statement had been misconstrued, and
reiterated "I did not say I quit cinema. Simply that nobody knows what the future holds."[117]
Since the last episode of The Return aired, there has been speculation on whether there will be a
fourth season of Twin Peaks or not. Though Lynch has not denied the possibility of another
season, he has said it would be unlikely to air before 2021.[118]
Cinematic influences and themes Edit

Influences Edit
I look at the world and I see absurdity all around me. People do strange things constantly, to the
point that, for the most part, we manage not to see it. That's why I love coffee shops and public
places – I mean, they're all out there.
David Lynch[119]
Lynch says that his work is more similar in many respects to that of European filmmakers than
American ones, believing that most films that "get down and thrill your soul" are from European
directors.[120] Lynch has commented on his admiration for such film makers as Federico Fellini,
[120] Werner Herzog, Alfred Hitchcock,[121] Roman Polanski, and Jacques Tati,[120] along with
the American movie directors Stanley Kubrick and Billy Wilder. He has stated that Billy Wilder's
Sunset Boulevard (1950) is one of his favourite motion pictures,[122] as is Kubrick's Lolita
(1962).[123] He has also cited Herk Harvey's Carnival of Souls (1962) and Jerzy Skolimowski's
Deep End (1970) as an influence on his work.[124]
Motifs Edit
There are several recurring themes within Lynch's work, leading film critics Le Blanc and Odell to
state that "his films are so packed with motifs, recurrent characters, images, compositions and
techniques that you could view his entire output as one large jigsaw puzzle of ideas".[125] One of
the key themes that they noted was the usage of dreams and dreamlike imagery and structure
within his works, something they related to the "surrealist ethos" of relying "on the subconscious
to provide visual drive". This can be seen in John Merrick's dream of his mother in The Elephant
Man, Agent Cooper's dreams of the red room in Twin Peaks and the "dreamlike logic" of the
narrative found in Eraserhead, Mulholland Drive and Inland Empire.[126] Discussing his attitude
to dreams, Lynch has stated that "Waking dreams are the ones that are important, the ones that
come when I'm quietly sitting in a chair, letting my mind wander. When you sleep, you don't
control your dream. I like to dive into a dream world that I've made or discovered; a world I
choose ... [You can't really get others to experience it, but] right there is the power of
cinema."[127] His films are known for their use of magic realism.
Another of Lynch's prominent themes is industry, with repeated imagery of "the clunk of
machinery, the power of pistons, shadows of oil drills pumping, screaming woodmills and smoke
billowing factories", as can be seen with the industrial wasteland in Eraserhead, the factories in
The Elephant Man, the sawmill in Twin Peaks and the lawn mower in The Straight Story.[128]
Describing his interest in such things, Lynch stated that "It makes me feel good to see giant
machinery, you know, working: dealing with molten metal. And I like fire and smoke. And the
sounds are so powerful. It's just big stuff. It means that things are being made, and I really like
that."[129]
Another theme is the dark underbelly of violent criminal activity within a society, such as with
Frank's gang in Blue Velvet and the cocaine smugglers in Twin Peaks. The idea of deformity is
also found in several of Lynch's films, from The Elephant Man to the deformed baby in
Eraserhead, as well as death from head wounds, found in most of Lynch's films. Other imagery
commonly used in Lynch's works are flickering electricity or lights, fire and stages upon which a
singer performs, often surrounded by drapery.[128]
With the exception of The Elephant Man and Dune, which are set in Victorian London and a
fictitious galaxy respectively, all of Lynch's films have been set in the United States, and he has
stated that "I like certain things about America and it gives me ideas. When I go around and I see
things, it sparks little stories, or little characters pop out, so it just feels right to me to, you know,
make American films."[130] A number of his works, including Blue Velvet, Twin Peaks and Lost
Highway are intentionally reminiscent of the 1950s American culture despite being set in the later
decades of the 20th century. Lynch stated that "It was a fantastic decade in a lot of ways ... there
was something in the air that is not there any more at all. It was such a great feeling, and not just
because I was a kid. It was a really hopeful time, and things were going up instead of going down.
You got the feeling you could do anything. The future was bright. Little did we know we were
laying the groundwork for a disastrous future."[131]
Lynch also tends to feature his leading female actors in "split" roles, so that many of his female
characters have multiple, fractured identities. This practice began with his choice to cast Sheryl
Lee as both Laura Palmer and her cousin Maddy Ferguson in Twin Peaks and continued in his
later works. In Lost Highway, Patricia Arquette plays the dual role of Renee Madison/Alice
Wakefield, while in Mulholland Drive Naomi Watts plays Diane Selwyn/Betty Elms and Laura
Harring plays Camilla Rhodes/Rita and in Inland Empire Laura Dern plays Nikki Grace/Susan
Blue. The numerous alternate versions of lead characters and numerous examples of fragmented
timelines may echo and/or reference the many worlds interpretation of quantum physics and
perhaps Lynch's broader interest in quantum physics/ quantum theory.[132] Some have also
suggested that Lynch's love for the 1958 Alfred Hitchcock film Vertigo, which employs a split lead
character (the Judy Barton and Madeleine Elster characters, both portrayed by Kim Novak) may
have had an influence on this aspect of Lynch's work.[133][134]
He frequently tends to have characters that have supernatural and omnipotent qualities. They can
be seen as physical manifestations of various different concepts, such as hatred or fear. Examples
of these characters are The Man Inside the Planet from Eraserhead, Bob from Twin Peaks, The
Mystery Man from Lost Highway, The Bum in Mulholland Drive, and The Phantom in Inland
Empire. Lynch approaches his characters and film content in a way that steeps them in a dream
state rather than reality.[135]

Main article: List of frequent David Lynch collaborators
Lynch is also widely noted for his collaborations with various production artists and composers on
his films and other productions.[136] He frequently works with Angelo Badalamenti to compose
music for his productions, former wife Mary Sweeney as a film editor, casting director Johanna
Ray, and cast members Harry Dean Stanton, Jack Nance, Kyle MacLachlan, Naomi Watts, Isabella
Rossellini, Grace Zabriskie, and Laura Dern.
Other work Edit

Painting Edit
Lynch's painting So This Is Love, 1992

Lynch first trained as a painter, and although he is now better known as a filmmaker, he has
continued to paint. Lynch has stated that "all my paintings are organic, violent comedies. They
have to be violently done and primitive and crude, and to achieve that I try to let nature paint more
than I paint."[137] Many of his works are very dark in colour, and Lynch has said this is because
I wouldn't know what to do with [colour]. Colour to me is too real. It's limiting. It doesn't allow
too much of a dream. The more you throw black into a colour, the more dreamy it gets ... Black
has depth. It's like a little egress; you can go into it, and because it keeps on continuing to be dark,
the mind kicks in, and a lot of things that are going on in there become manifest. And you start
seeing what you're afraid of. You start seeing what you love, and it becomes like a dream.[138]
Many of his works also contain letters and words added to the painting. He explains:
The words in the paintings are sometimes important to make you start thinking about what else is
going on in there. And a lot of times, the words excite me as shapes, and something'll grow out of
that. I used to cut these little letters out and glue them on. They just look good all lined up like
teeth ... sometimes they become the title of the painting.[137]
Lynch considers the 20th-century Irish-born British artist Francis Bacon to be his "number one
kinda hero painter", stating that "Normally I only like a couple of years of a painter's work, but I
like everything of Bacon's. The guy, you know, had the stuff."[139]
Lynch was the subject of a major art retrospective at the Fondation Cartier, Paris from March 3 –
May 27, 2007. The show was titled The Air is on Fire and included numerous paintings,
photographs, drawings, alternative films and sound work. New site-specific art installations were
created specially for the exhibition. A series of events accompanied the exhibition including live
performances and concerts.[140] Some of Lynch's art include photographs of dissected chickens
and other animals as a "Build your own Chicken" toy ad.
His alma mater, the Pennsylvania Academy of Fine Arts, presented an exhibition of his work,
entitled "The Unified Field", which opened on September 12, 2014 and ended in January 2015.
[141]
His favorite photographers include William Eggleston (The Red Ceiling), Joel-Peter Witkin, and
Diane Arbus.[142]
Music Edit
Lynch in August 2007

Lynch has also been involved in a number of music projects, many of them related to his films.
His album genres switch mainly between experimental rock, ambient soundscapes and, most
recently, avant-garde electropop music. Most notably he produced and wrote lyrics for Julee
Cruise's first two albums, Floating into the Night (1989) and The Voice of Love (1993), in
collaboration with Angelo Badalamenti who composed the music and also produced. Lynch also
worked on the 1998 Jocelyn Montgomery album Lux Vivens. For his own productions, he
composed music for Wild at Heart, Twin Peaks: Fire Walk with Me, Mulholland Drive, and
Rabbits. In 2001, he released BlueBob, a rock album performed by Lynch and John Neff. The
album is notable for Lynch's unusual guitar playing style. He plays "upside down and backwards,
like a lap guitar", and relies heavily on effects pedals.[143] Most recently Lynch composed several
pieces for Inland Empire, including two songs, "Ghost of Love" and "Walkin' on the Sky", in
which he makes his public debut as a singer. In 2009, his new book-CD set Dark Night of the Soul
was released.[144] In 2008, he started his own record label called David Lynch MC which first
released Fox Bat Strategy: A Tribute to Dave Jaurequi in early 2009. In August 2009, it was
announced that he was releasing Afghani/American singer Ariana Delawari's Lion of Panjshir
album in conjunction with Manimal Vinyl record company.
In November 2010, Lynch released two electropop music singles, "Good Day Today" and "I
Know", through the independent British label Sunday Best Recordings. Describing why he created
them, he stated that "I was just sitting and these notes came and then I went down and started
working with Dean [Hurley, his engineer] and then these few notes, 'I want to have a good day,
today' came and the song was built around that".[145] The singles were followed by an album,
Crazy Clown Time, which was released in November 2011 and described as an "electronic blues
album".[146] The songs were sung by Lynch, with guest vocals on one track by Karen O of the
Yeah Yeah Yeahs,[147] and composed and performed by Lynch and Dean Hurley.[146]
On September 29, 2011, Lynch released This Train with vocalist and long-time musical
collaborator Chrysta Bell on the La Rose Noire label.[148] The 11-song album was produced by
Lynch and co-written primarily by Lynch and Chrysta Bell.[149] It includes the song "Polish
Poem" which is featured on the Inland Empire soundtrack. The musical partnership also yielded a
5- song EP entitled Somewhere In the Nowhere, released October 7, 2016, on Meta Hari Records.
[150]
Lynch's second studio album, The Big Dream, was released in 2013 and included the single, "I'm
Waiting Here", with Swedish singer-songwriter Lykke Li.[151] The Big Dream's release was
preceded by TBD716, an enigmatic 43-second video featured on Lynch's YouTube and Vine
accounts.[152]
For Record Store Day 2014 David Lynch released The Big Dream Remix EP which featured four
songs from his album remixed by various artists. This included the track "Are You Sure" remixed
by Bastille. The band Bastille have been known to take inspiration from David Lynch's work for
their songs and music videos, the main one being their song "Laura Palmer" which is influenced
by Lynch's television show Twin Peaks.[153]
Design Edit
Lynch designed and constructed furniture for his 1997 film Lost Highway, notably the small table
in the Madison house and the VCR case.
In April 1997 he presented a furniture collection at the prestigious Milan Furniture Fair in Italy.
"Design and music, art and architecture – they all belong together."[154]
Working with designer Raphael Navot, architectural agency Enia and light designer Thierry
Dreyfus, Lynch has conceived and designed a nightclub in Paris.[155] "Silencio" opened in
October 2011, and is a private members' club although is free to the public after midnight. Patrons
have access to concerts, films and other performances by artists and guests. Inspired by the club of
the same name in his 2001 film Mulholland Drive, the underground space consists of a series of
rooms, each dedicated to a certain purpose or atmosphere. "Silencio is something dear to me. I
wanted to create an intimate space where all the arts could come together. There won't be a
Warhol-like guru, but it will be open to celebrated artists of all disciplines to come here to
programme or create what they want."[156]
LiteratureEdit
In 2006, Lynch authored a short book describing his creative processes, stories from throughout
his career, and the benefits he had realized through his practice of Transcendental Meditation
called Catching the Big Fish: Meditation, Consciousness, and Creativity. He describes the
metaphor behind the title in the introduction:
Ideas are like fish.
If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big
fish, you've got to go deeper.
Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're
very beautiful.
The book weaves a non-linear autobiography with descriptions of Lynch's cognitive experiences
during Transcendental Meditation.[157] All author's royalties will be donated to the David Lynch
Foundation.
Personal life Edit

Lynch has had several long-term relationships. In 1967, he married Peggy Lentz in Chicago,
Illinois.[158] They had one child, Jennifer Chambers Lynch, born in 1968, who is a film director.
They filed for divorce in 1974. On June 21, 1977, Lynch married Mary Fisk, and the couple had
one child, Austin Jack Lynch, born in 1982. They divorced in 1987, and Lynch later developed a
relationship with Mary Sweeney, with whom he had one son. Sweeney also worked as Lynch's
longtime film editor/producer and co-wrote and produced The Straight Story. The two married in
May 2006, but divorced that July. In 2009 Lynch married actress Emily Stofle, who appeared in
his 2006 film Inland Empire as well as the 2017 revival of Twin Peaks. The couple have one child,
Lula Boginia Lynch, born in 2012.
Political viewsEdit
Lynch has said that he is "not a political person" and that politics are "something I know little
about."[159] However, in the 1990s he expressed admiration for former US President Ronald
Reagan,[160] stating that "I mostly liked that he carried a wind of old Hollywood, of a
cowboy."[159] Describing his political philosophy, he stated, "at that time, I thought of myself as a
libertarian. I believed in next to zero government. And I still would lean toward no government
and not so many rules, except for traffic lights and things like this. I really believe in traffic
regulations."[161] Lynch continued to state that "I'm a Democrat now. And I've always been a
Democrat, really. But I don't like the Democrats a lot, either, because I'm a smoker, and I think a
lot of the Democrats have come up with these rules for non-smoking."[161]
He endorsed the center-left Natural Law Party in the 2000 presidential election[162] and later
stated that he would vote for Democratic incumbent Barack Obama in the 2012 presidential
election.[163] In the 2016 United States presidential election, he endorsed Bernie Sanders,[164]
whom he described as "for the people."[165]
Transcendental Meditation Edit

Lynch speaking on Transcendental Meditation and the creative process in 2007[166]
Lynch advocates the use of Transcendental Meditation in bringing peace to the world.[167] He
was initiated into Transcendental Meditation in July 1973, and has practiced the technique
consistently since then.[168][169] Lynch says he met Maharishi Mahesh Yogi, the founder of the
TM movement, for the first time in 1975 at the Spiritual Regeneration Movement center in Los
Angeles, California.[170][171] He reportedly became close with the Maharishi during a month-
long "Millionaire's Enlightenment Course" held in 2003, the fee for which was US$1 million.
[172]
In July 2005, he launched the David Lynch Foundation for Consciousness-Based Education and
Peace,[173][174] established to help finance scholarships for students in middle and high schools
who are interested in learning the Transcendental Meditation technique and to fund research on the
technique and its effects on learning. Together with John Hagelin and Fred Travis, a brain
researcher from Maharishi University of Management (MUM), Lynch promoted his vision on
college campuses with a tour that began in September 2005.[175] Lynch is on the board of trustees
of MUM[176] and has hosted an annual "David Lynch Weekend for World Peace and Meditation"
there since 2005.[177]
Lynch was working for the building and establishment of seven buildings, in which 8,000 salaried
people would practice advanced meditation techniques, "pumping peace for the world". He
estimates the cost at US$7 billion. As of December 2005, he had spent US$400,000 of personal
money, and raised US$1 million in donations.[169] In December 2006, the New York Times
reported that he continued to have that goal.[173] Lynch's book, Catching the Big Fish
(Tarcher/Penguin 2006), discusses the impact of the Transcendental Meditation technique on his
creative process. Lynch attended the funeral of the Maharishi in India in 2008.[172] He told a
reporter, "In life, he revolutionised the lives of millions of people. ... In 20, 50, 500 years there
will be millions of people who will know and understand what the Maharishi has done."[178] In
2009, he went to India to film interviews with people who knew the Maharishi as part of a
biographical documentary.[179][180]
In 2009, Lynch organized a benefit concert at Radio City Music Hall for the David Lynch
Foundation. On April 4, 2009, the "Change Begins Within" concert featured Paul McCartney,
Ringo Starr, Donovan, Sheryl Crow, Eddie Vedder, Moby, Bettye LaVette, Ben Harper, and Mike
Love of the Beach Boys.[181] David Wants to Fly, released in May 2010, is a documentary by
German filmmaker David Sieveking "that follows the path of his professional idol, David Lynch,
into the world of Transcendental Meditation (TM)".[182][183]
An independent project starring Lynch called Beyond The Noise: My Transcendental Meditation
Journey, directed by film student Dana Farley, who has severe dyslexia and attention deficit
disorder, was shown at film festivals in 2011,[184] including the Marbella Film Festival.[185]
Filmmaker Kevin Sean Michaels is one of the producers.[186] In 2013 Lynch wrote:
"Transcendental Meditation leads to a beautiful, peaceful revolution. A change from suffering and
negativity to happiness and a life more and more free of any problems."[167]
Website Edit
Lynch designed his personal website, a site exclusive to paying members, where he posts short
videos and his absurdist series Dumbland, plus interviews and other items. The site also featured a
daily weather report, where Lynch gives a brief description of the weather in Los Angeles, where
he resides. Until June 2010, this weather report (usually no longer than 30 seconds) was also being
broadcast on his personal YouTube channel, David Lynch – Daily Weather Report.[187][188] An
absurd ringtone ("I like to kill deer") from the website was a common sound bite on The Howard
Stern Show in early 2006.
Lynch is a coffee drinker and even has his own line of special organic blends available for
purchase on his website as well as in Whole Foods.[189][190] Called "David Lynch Signature
Cup", the coffee has been advertised via flyers included with several recent Lynch-related DVD
releases, including Inland Empire and the Gold Box edition of Twin Peaks. The possibly self-
mocking tag-line for the brand is "It's all in the beans ... and I'm just full of beans."[191] This is
also a quote of a line said by Justin Theroux's character in Inland Empire.
Archive Edit
The moving image collection of David Lynch is held at the Academy Film Archive, which has
preserved two of his student films therein.[192]
Solo exhibitions Edit

1967: Vanderlip Gallery, Philadelphia
1983: Puerto Vallarta, Mexico
1987: James Corcoran Gallery, Los Angeles
1989: Leo Castelli Gallery, New York
1990: Tavelli Gallery, Aspen
1991: Museum of Contemporary Art Tokyo
1992: Sala Parpallo, Valencia
1993: James Corcoran Gallery, Los Angeles
1995: Painting Pavilion, Open Air Museum, Hakone
1996: Park Tower Hall, Tokyo
1997: Galerie Piltzer, Paris
2007: Fondation Cartier pour l'Art Contemporain, Paris
2008: Epson Kunstbetrieb, Düsseldorf
2009: Max-Ernst-Museum, Brühl
2010: Mönchehaus Museum, Goslar
2010: GL Strand, Copenhagen[193]
2012: Galerie Chelsea, Sylt
2012: Galerie Pfefferle, Munich
2013: Galerie Barbara von Stechow, Frankfurt
2014: The Photographers´ Gallery, London
2014: Middlesbrough Institute of Modern Art
2014/15: Pennsylvania Academy of the Fine Arts, Philadelphia
2015: Queensland Gallery of Modern Art, Brisbane
Discography Edit
Main article: David Lynch discography
Studio albums
Ghost of Love EP (2007)

The Big Dream (2013)
Collaborative albums
BlueBOB (with John Neff) (2001)

The Air Is On Fire (with Dean Hurley) (2007)
This Train (with Chrysta Bell) (2011)
Polish Night Music (with Marek Zebrowski) (2015)
Somewhere in the Nowhere (with Chrysta Bell) (2016)
Filmography Edit
Main article: David Lynch filmography
Features Edit
Year Film Oscars BAFTA Golden Globe Cannes Film Festival
Nominations Wins Nominations Wins Nominations Wins Nominations Wins
1977 Eraserhead
1980 The Elephant Man 8 7 3 4
1984 Dune 1
1986 Blue Velvet 1 2
1990 Wild at Heart 1 1 1 Palme d'Or Palme d'Or
1992 Twin Peaks: Fire Walk with Me Palme d'Or
1997 Lost Highway
1999 The Straight Story 1 2 Palme d'Or
2001 Mulholland Drive 1 2 1 4 Palme d'Or Best Director
2006 Inland Empire
Main article: List of accolades received by David Lynch
Academy Awards
Year Nomination Category Film Result
1980 Best Director The Elephant Man Nominated
1980 Best Adapted Screenplay The Elephant Man Nominated
1987 Best Director Blue Velvet Nominated
2002 Best Director Mulholland Drive Nominated
BAFTA Awards
1981 Best Direction The Elephant Man Nominated
1981 Best Screenplay The Elephant Man Nominated
Cannes Film Festival
1990 Golden Palm Wild at Heart Won
1992 Golden Palm Twin Peaks: Fire Walk with Me Nominated
1999 Golden Palm The Straight Story Nominated
2001 Best Director Mulholland Drive Won (Tied with Joel Coen for The Man Who Wasn't
There)
2001 Golden Palm Mulholland Drive Nominated
DGA Award
1980 Outstanding Directorial Achievement in Motion Pictures The Elephant Man
Nominated
Emmy Awards
1990 Outstanding Achievement in Main Title Theme Music Twin Peaks Nominated
1990 Outstanding Achievement in Music and Lyrics Twin Peaks for the song "Into the
Night" Nominated
1990 Outstanding Directing in a Drama Series Twin Peaks: Pilot Episode Nominated
1990 Outstanding Writing in a Drama Series Twin Peaks: Pilot Episode Nominated
1990 Outstanding Drama Series Twin Peaks Nominated
Golden Globes
1980 Best Director The Elephant Man Nominated
1987 Best Screenplay Blue Velvet Nominated
2002 Best Screenplay Mulholland Drive Nominated
Independent Spirit Awards
1987 Best Director Blue Velvet Nominated
1987 Best Screenplay Blue Velvet Nominated
2000 Best Director The Straight Story Nominated
2007 Special Distinction Award (shared with Laura Dern) For their collaborative work
Won
Saturn Awards
1993 Best Writing Twin Peaks: Fire Walk with Me Nominated
1993 Life Career Award Won
2018 Best Guest Performance in a Television Series Twin Peaks Pending
Venice Film Festival
2006 Future Film Festival Digital Award Inland Empire Won
2006 Career – Golden Lion Won
WGA Award
Year Nomination Category Film Won
1981 Best Drama Adapted from Another Medium The Elephant Man Nominated
1987 Best Original Screenplay Blue Velvet Nominated
See also Edit
David Lynch's unrealized projects
References Edit
^ "40 best directors". London: The Guardian Online. 2007. Archived from the original on July 27,
2007. Retrieved November 29, 2010.
^ Ankeny, Jason. "David Lynch: Biography". AllMovie. Retrieved November 29, 2010.
^ charitybuzz (2012). "Have 3-Time Academy Award-Nominated Filmmaker David Lynch Review
Your Screenplay in LA". charitybuzz. Charitybuzz Inc. Retrieved August 16, 2012.
^ a b "Festival de Cannes: Wild at Heart". festival-cannes.com. Retrieved August 7, 2009.
^ "David Lynch's Acclaimed Films". They Shoot Pictures, Don't They. Retrieved November 3,
2016.
^ "Film Critics Pick the Best Movies of the Decade". Metacritic. January 3, 2010. Retrieved
November 3, 2016.
^ Pauline Kael, quoted in Lynch and Rodley 2005. p. xi.
^ Lynch and Rodley 2005. pp. 10–11.
^ a b Lynch and Rodley 2005. p. 1.
^ David Lynch: "Den Här Världen Är Full Av Hat Och Ångest" (in Swedish)
^ Williams, Alex (December 31, 2007). "David Lynch's Shockingly Peaceful Inner Life". New
York Times. Archived from the original on September 10, 2013. Retrieved November 29, 2010.
^ Sadighian, David (October 1, 2005). "David Lynch thinks we're all lightbulbs. What?". Yale
Daily News. Retrieved November 29, 2010.
^ Lynch and Rodley 2005. p. 14.
^ Peter Wolf (2011). "Peter'sBio". Peter Wolf. Peter Wolf. Archived from the original on June 15,
^ a b Le Blanc and Odell 2000. pp. 15–16.
^ Lynch and Rodley 2005. pp. 39–40
^ Le Blanc and Odell 2000. p. 18.
^ Lynch and Rodley 2005. p. 76 and 60.
^ "David Lynch". The Wall Street Journal. July 21, 2012. Archived from the original on July 22,
2012. Retrieved July 22, 2012.
^ Lynch and Rodley 2005. pp. 60, 80, 110.
^ a b David Lynch interview 1985 Archived January 18, 2010, at WebCite
^ Midnight Movies: From the Margin to the Mainstream on IMDb
^ Le Blanc and Odell 2000. pp. 29–30.
^ Erica Sheen; Annette Davison (2004). The cinema of David Lynch: American dreams, nightmare
visions. Wallflower Press. ISBN 978-1-903364-85-7.
^ Peary, Danny (1988). Cult Movies 3. New York: Simon & Schuster Inc. pp. 38 –42. ISBN 0-
671-64810-1.
^ "A Slice of Lynch", a featurette included in the Twin Peaks Definitive Gold Box Edition DVD
set, October 2007.
^ "His dark materials". www.newstatesman.com. Retrieved November 15, 2017.
^ Lynch and Rodley 2005. pp. 193–194, 198.
^ Kermode, Mark (February 8, 2007). "David Lynch". The Guardian. London. Retrieved October
27, 2009.
^ "Lost Highway (1997)". The Numbers. Retrieved August 3, 2016.
^ "Lost Highway Reviews". Metacritic. Retrieved August 3, 2016.
^ Lynch and Rodley 2005. pp. 247, 252.
^ "Academy Award Database: Lynch, David". Academy of Motion Picture Arts and Sciences.
Archived from the original on January 13, 2012. Retrieved April 23, 2011.
^ Brown, Mark (August 22, 2016). "Mulholland Drive leads the pack in list of 21st century's top
films". The Guardian. Retrieved August 23, 2016.
^ Leo Charney (January 4, 2006). "It's Just Lynch". Philadelphia Weekly. Review Publishing
Limited Partnership. Archived from the original on September 12, 2012. Retrieved August 16,
2012.
^ Neva Chonin (February 7, 2007). "Lynch dives within". San Francisco Chronicle. Retrieved
March 21, 2011.
^ Hart, Hugh (May 30, 2009). "David Lynch's Interview Project Probes American Dreams".
Wired. Retrieved August 30, 2011.
^ Kay, Jeremy (June 22, 2010). "Werner Herzog: a killer at the table". The Guardian. London.
^ "David Lynch to shoot film about TM guru Maharishi Mahesh Yogi in India". Daily News &
Analysis. November 18, 2009. Retrieved November 29, 2010.
^ Faye, Denis. "A Kinder, Gentler Family Guy". Writers Guild of America, West. Archived from
the original on November 30, 2010. Retrieved November 29, 2010.
^ Lewis, Dave. "Watch: David Lynch, Duran Duran team for 'Unstaged' streaming concert".
www.HitFix.com. Retrieved March 22, 2011.
^ Emami, Gazelle (July 13, 2011). "David Lynch/Interpol Collaboration, 'I Touch A Red Button
Man' (EXCLUSIVE)". The Huffington Post. Retrieved October 30, 2011.
^ Leigh, Danny (August 19, 2011). "Has David Lynch retired, or is it just a bad dream?". The
Guardian. Retrieved September 7, 2015.
^ Zeitchik, Steven David Lynch says he doesn't have any ideas for a new film Los Angeles Times,
June 22, 2012
^ Rosser, Michael (November 26, 2012). "David Lynch hints at new film | Diary Blog". Screen
International. Top Right Group. Retrieved November 26, 2012.
^ Rosser, Michael (November 25, 2012). "David Lynch and Keanu Reeves open Plus Camerimage
| News". Screen International. Top Right Group. Retrieved November 26, 2012.
^ Blake, Meredith (January 15, 2013). "Laura Dern's Enlightened approach". Los Angeles Times.
Tribune Company. Retrieved January 17, 2013.
^ Weston, Hilary (January 16, 2013). "David Lynch and Laura Dern Have a Mysterious Project in
the Works – Movies". BlackBook. VIBE Media. Archived from the original on February 13,
2013. Retrieved January 17, 2013.
^ Hoffman, Claire (February 22, 2013). "David Lynch Is Back ... as a Guru of Transcendental
Meditation". The New York Times. The New York Times Company. Retrieved February 23, 2013.
^ Fischer, Russ (February 12, 2013). "David Lynch Short Film Idem Paris Recalls the Industrial
Tone of His Debut". /Film. Retrieved February 25, 2013.
^ Jon Blistein (June 27, 2013). "Nine Inch Nails Photos Preview 'Came Back Haunted' Clip".
Rolling Stone.
^ "Dumb Numbers II, by Dumb Numbers".
^ Littleton, Cynthia (October 6, 2014). "Twin Peaks Revival to Air on Showtime in 2016". Variety.
^ Alex Stedman, "David Lynch Says He Won’t Direct the ‘Twin Peaks’ Revival", Variety,
April 6, 2015.
^ McCown, Alex (May 15, 2015). "David Lynch just announced he's rejoined Showtime's Twin
Peaks". The A.V. Club. Retrieved August 3, 2016.
^ Yaniz Jr., Robert (August 12, 2015). "'Twin Peaks' Revival To Resolve Questions From Previous
Seasons". Screen Rant. Retrieved August 3, 2016.
^ Andreeva, Nellie (January 12, 2016). "'Twin Peaks' Update: Premiere Set For Early 2017, David
Lynch Halfway Done". Deadline Hollywood. Retrieved August 3, 2016.
^ Andreeva, Nellie (April 25, 2016). "'Twin Peaks': Here Is the Full Cast Of David Lynch's
Showtime Reboot". Deadline Hollywood. Retrieved August 3, 2016.
^ Snyder, Chris (February 10, 2017). "'Twin Peaks' is coming back after 25 years – here's
everything you need to know about it". Business Insider. Retrieved February 17, 2017.
^ Idato, Michael (May 5, 2017). "David Lynch on the Return of Twin Peaks and Why He Will
Never Make Another Film". Sydney Morning Herald.
^ Sharf, Zack (May 26, 2017). "David Lynch Is Not Retiring From Filmmaking After All, But His
Future Still Remains Unclear". Indiewire.
^ Mitovich, Matt. "Twin Peaks: David Lynch Lays Out Timetable for Any Potential Season 4". TV
Line.
^ a b c Lynch and Rodley 2005. p. 62.
^ Interview with David Lynch https://www.youtube.com/watch?v=G1s7EwOeowU
^ "Retro Cinema: Carnival of Souls". Moviefone. October 12, 2007. Retrieved February 17, 2017.
^ a b Le Blanc and Odell 2000. pp. 9–11.
^ Lynch and Rodley 2005. p. 3–5.
^ David Lynch on World Peace From the Quantum Level https://www.tm.org/blog/video/world-
peace-from-the-quantum-level-david-lynch-and-john-hagelin/
^ David Lynch Attends Vertigo Screening http://cinearchive.org/post/116927300550/david-lynch-
watching-vertigo-the-most-studied
^ 10 Films Influenced by Vertigo http://www.indiewire.com/2015/04/9-great-films-influenced-by-
alfred-hitchcocks-vertigo-62999/
^ Guan, Frank. "What Does David Lynch Have to Say About Race?". Vulture. Retrieved
November 15, 2017.
^ "My Beautiful Broken Brain: The woman who 'video-selfied' her stroke". The Independent.
2016-03-17. Retrieved 2018-03-26.
^ Wyatt, Caroline (March 2, 2007). "David Lynch's dark arts laid bare". BBC News. Retrieved
May 1, 2010.
^ "David Lynch: The Unified Field". pafa.org.
^ "David Lynch interview: 'There is something so incredibly cosmically magical about curtains'".
^ "BOSS Users Group magazine Vol. 5, No. 1 Summer 2001". Lynchnet.com. Retrieved July 6,
2011.
^ "Music – New Music News, Reviews, Pictures, and Videos".
^ Topping, Alexandra (November 28, 2010). "The latest offbeat experiment from filmmaker David
Lynch: pop singles". London: The Guardian. Retrieved November 30, 2010.
^ a b Lynch, David (November 11, 2011). "Music, Not Movies, But Still Exploring Places of
Darkness". The New York Times. Retrieved January 30, 2012.
^ Powell, Mike (November 8, 2011). "Crazy Clown Time". Pitchfork. Retrieved January 30, 2012.
^ Battan, Carrie. "David Lynch Unveils Album Cover Art". Pitchfork.
^ Dombal, Ryan. "David Lynch Talks New Music Projects". Pitchfork.
^ Strauss, Matthew. "David Lynch and Chrysta Bell Team Up for New EP". Pitchfork.
^ Minkser, Evan (June 3, 2013). "David Lynch Announces New Album, The Big Dream, Shares
Track Featuring Lykke Li | News". Pitchfork. Retrieved June 3, 2013.
^ "Video of the day: David Lynch's TBD716". Notebook. MUBI. May 31, 2013. Retrieved June 3,
2013.
^ "David Lynch collaborates with Moby and Bastille for Record Store Day EP – listen".
^ "The City of Absurdity: David Lynch's Furniture".
^ "Silencio by David Lynch". September 7, 2011.
^ Gibbons, Fiachra (August 31, 2011). "Inside David Lynch's Paris nightclub" – via The
Guardian.
^ Lynch, David (2006). Catching the Big Fish: Meditation, Consciousness, and Creativity. The
Penguin Group. p. 1. ISBN 978-1-58542-540-2. Retrieved June 14, 2014.
^ "Peggy Reavey".
^ a b Barney, Richard (November 19, 2009). "David Lynch - Interviews". University Press of
Mississippi. Retrieved November 9, 2017.
^ Willow, Hank (November 19, 2001). "Twin Peaks Director David Lynch – Admires Reagan,
Natural Law Party". hollywoodinvestigator. Retrieved November 9, 2012.
^ a b "Was David Lynch the Original Libertarian Democrat?". December 11, 2006.
^ Barney, Richard A. (2009). David Lynch: Interviews. University Press of Mississippi. ISBN
978-1-60473-236-8.
^ Lynch, David. "Reason 52: I Have Noticed Something in Mitt Romney's name". 90 Days, 90
Reasons. Retrieved October 26, 2012.
^ David Lynch (March 29, 2016). "Dear Twtter Friends, YAY! BERNIE SANDERS FOR
PRESIDENT!!!". (Tweet). Retrieved March 29, 2016.
^ David Lynch (March 29, 2016). "Dear Twtter Friends, YAY! BERNIE SANDERS FOR
PRESIDENT!!!https://twitter.com/david_lynch/status/724991687286628352?lang=en". (Tweet).
^ Audio of his lecture is available from KUOW-FM.
^ a b "David Lynch on meditation: Heaven is a place on earth". New Statesman. Archived from
the original on November 2, 2013. Retrieved November 2, 2013.
^ Lynch, David (July 3, 2008). "'The pleasure of life grows'". The Guardian. London.
^ a b William Booth, "Yogi Bearer: Dark Films Aside, David Lynch Brims With the Light of
Transcendental Meditation", Washington Post, December 2, 2005
^ The Washington Post, David Lynch's Guru and His Art, Claire Hoffman, February 7, 2008
^ Kress, Michael. "David Lynch's Peace Plan". BeliefNet. Retrieved November 29, 2010.
^ a b Stevens, Jacqueline; Barkham, Patrick (January 27, 2009). "And now children, it's time for
your yogic flying lesson". The Guardian. London.
^ a b Alex Williams, "David Lynch's Shockingly Peaceful Inner Life", New York Times,
December 31, 2006, section 9, p. 1
^ David Lynch Foundation For Consciousness-Based Education Archived February 17, 2015, at
the Wayback Machine.
^ Institute of Science, Technology and Public Policy (2005). "David Lynch – John Hagelin Tour
Inspires Thousands of College Students on East and West Coasts". Institute of Science,
Technology and Public Policy. Institute of Science, Technology and Public Policy. Retrieved
August 16, 2012.
^ "Filmmaker David Lynch to Give 2016 Commencement Address at Maharishi University of
Management". April 18, 2016. Archived from the original on January 28, 2018. Retrieved January
28, 2018.
^ Reimer, Emily (October 30, 2009). "Fourth Annual David Lynch Weekend for World Peace and
Meditation Taking Place in Iowa". Paste Magazine. Retrieved November 15, 2009.
^ Mukherjee, Krittivas (February 11, 2008). "West meets East on guru Mahesh Yogi's funeral
pyre". Reuters. Retrieved May 7, 2010.
^ "David Lynch to shoot film about TM guru Maharishi Mahesh Yogi in India". Thaindian News.
November 18, 2009.
^ David Lynch to Make Film About the Beatles Guru November 18, 2009
^ Jon Pareles, "Paul McCartney and Ringo Starr Reunite at Radio City", New York Times, April 4,
2009, Arts Section
^ German Documentaries, AGDF, March 2010. "The young filmmaker David Sieveking follows
the path of his professional idol, David Lynch, into the world of Transcendental Meditation (TM)."
^ Variety, David Wants to Fly Review, Alissa Simon February 14, 2010 Variety Reviews - David
Wants to Fly - Film Reviews - Berlin - Review by Alissa Simon" "David Wants to Fly" follows
German writer-helmer David Sieveking on his road to enlightenment, a journey that involves
David Lynch, various headquarters of the Transcendental Meditation (TM) movement and the icy
source of the Ganges."[dead link]
^ "Beyond The Noise". David Lynch Foundation. August 24, 2010. Retrieved August 24, 2010.
^ List of 2011 documentaries Marbella Film Festival archive section
^ "Beyond the Noise: My Transcendental Meditation Journey" at IMDb
^ "Remember when David Lynch used to do weather reports on the Internet?".
dangerousminds.net. August 25, 2016.
^ Ivie, Devon. "Here's a Friendly Reminder That David Lynch Used to Do Kooky Weather
Reports". Vulture. Retrieved August 18, 2017.
^ "Archived copy". Archived from the original on July 13, 2015. Retrieved August 22, 2015.
^ "David Lynch's Philosophy on Drinking Coffee". Munchies (in French). Retrieved August 18,
2017.
^ David Lynch Signature Cup flyer, included with the Twin Peaks Definitive Gold Box Edition
DVD set, October 2007, the digitally remastered Eraserhead DVD in 2006, and in other Lynch
DVD releases in 2005–2007.
^ "David Lynch Collection". Academy Film Archive.
^ "Review: David Lynch Art Exhibit in Copenhagen". www.elephantjournal.com. Retrieved
December 1, 2014.
Bibliography Edit
Le Blanc, Michelle and Odell, Colin (2000). David Lynch. Harpenden, Hertfordshire: Pocket
Essentials. ISBN 1-903047-06-4.
Lynch, David and Rodley, Chris (2005). Lynch on Lynch (revised edition). New York: Faber and
Faber. ISBN 978-0-571-22018-2.
David Lynch: The Art of the Real, the website of a 2012 Berlin conference on the artistic work of
David Lynch with all lectures in text form.
David Lynch: The Unified Field by Robert Cozzolino with Alethea Rockwell (Pennsylvania
Academy of the Fine Arts, Philadelphia and the University of California Press, 2014 ISBN
9780520283961).
David Lynch: Interviews, a collection of interviews with Lynch from 1977 to 2008, edited by
Richard A. Barney for the series Conversations with Filmmakers (University Press of Mississippi,
2009, ISBN 978-1-60473-237-5 [paperback], ISBN 978-1604732368 [hardback]). This volume
covers topics that include Lynch's filmmaking, furniture design, painting, and music career.
The Passion of David Lynch: Wild at Heart in Hollywood by Martha Nochimson (University of
Texas Press, 1997, ISBN 0-292-75565-1).
The Complete Lynch by David Hughes (Virgin Virgin, 2002, ISBN 0-7535-0598-3).
Weirdsville U.S.A.: The Obsessive Universe of David Lynch by Paul A. Woods (Plexus
Publishing. UK, Reprint edition, 2000, ISBN 0-85965-291-2).
David Lynch (Twayne's Filmmakers Series) by Kenneth C. Kaleta (Twayne Publishers, 1992,
ISBN 0-8057-9323-2).
Pervert in the Pulpit: Morality in the Works of David Lynch by Jeff Johnson (McFarland &
Company, 2004, ISBN 0-7864-1753-6).
Catching the Big Fish: Meditation, Consciousness, and Creativity by David Lynch (Jeremy P.
Tarcher, 2006, ISBN 978-1-58542-540-2 / 978–1585425402).
Snowmen by David Lynch (Foundation Cartier pour l'art contemporain, Paris, 2008, ISBN 978-3-
86521-467-6).
David Lynch: Beautiful Dark by Greg Olson (Scarecrow Press, 2008, ISBN 0-8108-5917-3).
The Film Paintings of David Lynch: Challenging Film Theory by Allister Mactaggart (Intellect,
2010, ISBN 978-1-84150-332-5).
Interpretazione tra mondi. Il pensiero figurale di David Lynch by Pierluigi Basso Fossali (Edizioni
ETS, Pisa, 2008, ISBN 88-467-1671-X, 9788846716712).
David Lynch ed. by Paolo Bertetto (Marsilio, Venezia, 2008, ISBN 88-317-9393-4,
9788831793933).
David Lynch – Un cinéma du maléfique, by Enrique Seknadje, Editions Camion Noir, 2010.
ISBN 978-2-35779-086-5.
David Lynch in Theory, a collection of essays edited by Francois-Xavier Gleyzon (Charles
University Press, 2010) ISBN 978-80-7308-317-5.
David Lynch, 2nd Edition by Michel Chion (bfi Publishing, 2006, ISBN 978-1-84457-030-0).
External links Edit
Official website (Requires Adobe Flash Player)
David Lynch at Encyclopædia Britannica
David Lynch Foundation : Education : Transcendental Meditation
David Lynch on IMDb
David Lynch at Allmovie
David Lynch at Moviefone
David Lynch at Rotten Tomatoes
Bibliography of books and articles about Lynch via UC Berkeley Media Resources Center
Last edited 13 days ago by an anonymous user
Wikipedia

Wikipedia
Alfonso Cuarón
Cineasta mexicano
Alfonso Cuarón Orozco (Ciudad de México, 28 de noviembre de 1961) es un director, guionista y
productor de cine mexicano. Ganador en 2014 del Premio de la Academia como Mejor Director.
Es hermano de Carlos Cuarón y estuvo casado con la crítica de cine italiana Annalisa Bugliani. Se
le considera uno de los cineastas mexicanos más prometedores de su generación, junto a otros
como Guillermo del Toro o Alejandro González Iñárritu quienes también han conseguido
trascendencia internacional en los últimos años. Es, desde el 4 de septiembre de 2017, el 102°
miembro de El Colegio Nacional.
Alfonso Cuarón
Desierto 02 (20880138223).jpg
Alfonso Cuarón en 2016
Alfonso Cuarón Orozco
Nacimiento
28 de noviembre de 1961 (56 años)
Bandera de México Ciudad de México, Distrito Federal, México
Residencia
Londres Ver y modificar los datos en Wikidata
Nacionalidad
Mexicano
Altura
1,83 m
Familia
Hijos
Jonás Cuarón (1981)
Tess Bu Cuarón (2003)
Olmo Teodoro Cuarón (2005)
Educación
Alma máter
Universidad Nacional Autónoma de México
Centro Universitario de Estudios Cinematográficos Ver y modificar los datos en Wikidata
Ocupación
Director, Guionista, Productor
Año de debut
1983
Año de retiro
presente
Obras notables
Gravity
Premios artísticos
Premios Óscar
Mejor director
2013 Gravity
Mejor montaje
2013 Gravity
Globos de Oro
Mejor director
2013 Gravity
Premios BAFTA
Mejor película británica
2013 Gravity
Mejor director
2013 Gravity
Otros premios
2013 Gravity
Premio del Sindicato de Directores al mejor director
2014 Gravity
Teen Choice Awards
2005 Harry Potter y el prisionero de Azkaban
Distinciones
Premio del Sindicato de Directores Ver y modificar los datos en Wikidata
Cuarón comenzó dirigiendo la cinta Sólo con tu pareja en su país natal, pero el reconocimiento
internacional le llegó con producciones norteamericanas como La princesita (basada en la obra de
Frances Hodgson Burnett) y con su cuarto largometraje, Y tu mamá también. Posteriormente
dirigió proyectos de grandes presupuestos y bien recibidos por la crítica como Harry Potter y el
prisionero de Azkaban, Hijos de los hombres y Gravity, película con la que ganó el Óscar al mejor
director, lo que lo convirtió en el primer director latinoamericano en obtener dicho galardón;
igualmente ganó el Óscar al mejor montaje.
Su hijo y su hermano (Jonás y Carlos Cuarón respectivamente), son escritores y directores. Ambos
han actuado como co-escritores en algunas de sus obras. También es amigo de sus compañeros
directores mexicanos Guillermo del Toro y Alejandro González Iñárritu, quienes son descritos
como "los tres amigos del cine".
Índice
Biografía Editar
Inicio Editar
Creció cerca de los Estudios Churubusco en la capital mexicana. Estudió la preparatoria en el
Centro Universitario México. Empezó a filmar a los 12 años cuando le regalaron su primera
cámara. Durante sus estudios en el Centro Universitario de Estudios Cinematográficos de la
UNAM conoció a la futura madre de su hijo Jonás, al director Carlos Marcovich y al fotógrafo
Emmanuel Lubezki. En el CUEC realizó un cortometraje llamado "Vengeance is mine"; la
creencia popular dice que fue expulsado de ésta escuela debido a que el cortometraje estaba en
inglés, cosa que resulta falsa. Cuarón no fue expulsado de la institución, sino que él decidió
dejarla debido a que no recibió la autorización para que pudiera comercializar su cortometraje.
Carrera en México Editar

Después de dejar la escuela del CUEC de la máxima casa de estudios UNAM, trabajó como
empleado conserje en el Museo Nacional de Arte y luego como asistente de dirección en Nocaut
(de José Luis García Agraz), entre otros filmes. Dirigió algunos episodios de la serie de suspenso
de Televisa La Hora Marcada (fue en esta época cuando conoció a Guillermo del Toro). Guillermo
se acercó a Cuarón y le dijo "Tú te robaste la historia de Stephen King", Cuarón contestó "Sí", a lo
que Del Toro agregó "¿Y por qué si la historia de King era tan buena, tu episodio es tan malo?"...
Fue así como se hicieron amigos. Junto con su hermano Carlos escribió el guion para una película,
su primer largometraje, Sólo con tu pareja. La película resultó ser un éxito y llamó la atención de
productores de Hollywood que lo invitaron a trabajar en Estados Unidos.
Carrera en Estados Unidos Editar
Cuarón junto a Clive Owen en 2006

En Hollywood solo dirigió algunos programas de televisión hasta que firmó un contrato con
Warner Brothers para dirigir Addicted to Love ("Adictos al amor") con Meg Ryan y Matthew
Broderick. Al leer el guion de La princesita (A little princess) prefirió dirigir esta película a la que
le habrían ofrecido. La película no fue un éxito taquillero pero fue nominada para dos Oscars y
obtuvo excelentes críticas, con lo que su productora la estrenó de nuevo. Después la 20th Century
Fox le ofreció dirigir una versión moderna de Grandes esperanzas (Great Expectations), el clásico
de Charles Dickens, pero esta vez Cuarón no tuvo el reconocimiento de la crítica.
De vuelta en México, se asoció con el millonario hombre de negocios Jorge Vergara para crear
Producciones Anhelo donde produjo varias cintas como Crónicas del director ecuatoriano
Sebastián Cordero y estelarizada por Damián Alcázar y John Leguizamo, The Assassination of
Richard Nixon del director Niels Muller y protagonizada por Sean Penn además de producir,
también dirigió Y tu mamá también, que se convertiría en una de las películas más exitosas del
cine mexicano y una de las más notorias en el extranjero. La película, protagonizada por Maribel
Verdú, Gael García Bernal y Diego Luna, no participó como película mexicana enviada a los
Oscars; ese año, pese a la incorfomidad de los productores y la crítica, se envió "el crimen del
padre Amaro", protagonizada también por Gael García, la cinta resultó nominada a mejor película
extranjera, sin embargo Cuarón y su hermano Carlos estuvieron nominados al Óscar por el mejor
guion original, quedando la sensación de que seguramente hubiera estado nominada a mejor
película extranjera y con grandes posibilidades de haber ganado.
En el 2004, Warner Brothers le ofreció dirigir la tercera cinta sobre la serie de libros Harry Potter.
La cinta Harry Potter y el prisionero de Azkaban es actualmente la más taquillera de este director.
Cuarón fue sugerido por la misma J. K. Rowling para el trabajo de director ya que a ella le fascinó
su película La Princesita, adaptación de uno de sus libros favoritos, que también produjo Warner
Brothers. Cuarón estaba algo inseguro sobre dirigir la película, pero al leer el guion se convenció.
Nunca había leído los libros hasta que dirigió la película. Rowling asegura que Cuarón dirigió la
película tan acertadamente que hasta le dieron escalofríos ver la manera en la que se conectó con
la historia, ya que agregó - sin tener información privilegiada - pistas a futuros libros[cita
requerida]. Cuarón aseguró que los dos años que trabajó en Harry Potter fueron los más bellos de
su vida[cita requerida]. No dudó en dejar un sello mexicano en la película. Durante la escena en la
tienda de dulces Honeydukes podemos ver cientos de calaveritas de azúcar que Cuarón ordenó
traer de México especialmente para la filmación. También podemos escuchar a Dumbledore
tararear una canción mexicana al dejar a Harry y Hermione después de liberar a Sirius Black. En
el patio de entrada del castillo hay una fuente con águilas devorando serpientes. Como mera
curiosidad, Warner Bros. le prohibió taxativamente cualquier insulto bajo contrato durante la
producción.
Tras su incursión en el mundo de Harry Potter, dirigió Hijos de los hombres, un thriller distópico
situado en un futuro cercano. En el mismo año, se encargó de la producción de El laberinto del
fauno, que, si bien no era hablada en inglés, logró grandes reconocimientos en todo el mundo,
obteniendo el Óscar por mejor fotografía, mejor dirección de arte y mejor maquillaje (además de
otras tres nominaciones) y el BAFTA a mejor película de habla no inglesa y mejor maquillaje.
Durante el festival de Cannes 2007, Alfonso Cuarón, Guillermo del Toro y Alejandro González
Iñárritu, firmaron con Universal Pictures una excelente negociación donde Universal financiará las
primeras 5 películas de Cha Cha Chá Films, productora conformada por este trío de cineastas, este
apoyo es por más de 100 millones de dólares.
La primera película de Cha Cha Chá Films, es la ópera prima de Carlos Cuarón titulada Rudo y
cursi, dicha cinta es estelarizada por Diego Luna, Gael García Bernal y la participación del actor
argentino Guillermo Francella.
Posteriormente, la compañía de declaró en quiebra.
Él creó la compañía de producción y distribución "Esperanto Filmoj" ("Esperanto Películas",

llamado así debido a su apoyo a la lengua internacional Esperanto[1]), que tiene créditos en las
películas Temporada de patos, El laberinto del fauno y Gravity.
Cuarón también dirigió el polémico anuncio de servicio público "Soy autista" de Autism Speaks
que fue duramente criticado por los grupos de derechos de los discapacitados por su imagen
negativa del autismo.
En 2010, Cuarón empezó a desarrollar una película de ciencia ficción llamada Gravity. Fue
acompañado por el productor David Heyman, quien trabajó con Cuarón en Harry Potter.
Protagonizada por Sandra Bullock y George Clooney, la película fue estrenada en el otoño de
2013 y abrió el 70º Festival Internacional de Cine de Venecia en agosto. En 2013, Cuarón crea la
serie de ciencia ficción, Believe, transmitida en Estados Unidos en la cadena de televisión NBC
como una entrada a mitad de temporada. La serie fue creada por Cuarón para Bad Robot
Productions y Warner Bros. Television.
El 12 de enero de 2014 ganó el Globo de Oro al mejor director por su película Gravity y el 2 de
marzo del mismo año ganó el Óscar al mejor director y mejor montaje por dicha película.
Actualmente está grabando en la Ciudad de México su nueva película, titulada Roma.
Reconocimiento por la revista TIME Editar

Fue elegido por la revista ´Time´ entre las 100 figuras más destacadas de la vida pública mundial,
colocándolo en la Séptima posición de la categoría de "pioneros", siendo uno de los 5
latinoamericanos más influyentes según esta fuente. Time también celebra la originalidad de sus
películas, "la creación de nuevos mundos y la presentación de nuevos personajes".
Filmografía Editar
Cuarón durante la promoción de Gravity en la Comic-Con celebrada en San Diego (Estados

Unidos).
Cine Editar
Año Título Director ProductorGuionista otros Notas
1988 Les Pyramides Bleues Sí
1989 Romero Sí
1991 Sólo con tu pareja Sí Sí Sí Sí Debut como Director
1995 La princesita Sí
1998 Grandes esperanzas Sí
2001 Y tu mamá también Sí Sí Sí Sí
2004 Harry Potter y el prisionero de Azkaban Sí
Crónicas Sí
The Assassination of Richard Nixon Sí
2005 El laberinto del fauno Sí
Sol negro Sí
2006 Children of Men Sí Sí Sí
2007 Año uña Sí
2008 Rudo y Cursi Sí
2013 Gravity Sí Sí Sí Óscar al mejor director
2016 Desierto Sí
2018 Jungle Book: Origins Sí Sí Consultor creativo
Roma Sí Sí
Televisión Editar
Año Programa Papel Notas
2014 Believe Director Serie de TV
Premios Editar
Alfonso Cuarón en el Festival Internacional de Cine de Venecia de 2015

Premios Óscar Editar
2014 Mejor director Gravity Ganador
2014 Mejor película Gravity Nominado
2014 Mejor montajeGravity Ganador
2006 Mejor guion adaptado Children of Men Nominado
2006 Mejor montajeChildren of Men Nominado
2002 Mejor guion original Y tu mamá también Nominado
Critics’ Choice AwardsEditar
Premios BAFTA Editar
2002 Mejor película de habla no inglesa Y tu mamá también Nominado
2002 Mejor guion original Y tu mamá también Nominado
2014 Mejor película Gravity Nominado
2014 Mejor guion original Gravity Nominado
2014 Mejor montajeGravity Nominado
2014 Mejor película británica Gravity Ganador
DGA Awards Editar
2014 Mejor director de película nueva Gravity Ganador
Premios del Sindicato de Directores Editar
2014[2] Mejor director Gravity Ganador
Teen Choice Awards Editar
2005 Mejor película de verano: drama/acción aventura Harry Potter y el prisionero de
Azkaban Ganador
2005 Mejor película de verano Harry Potter y el prisionero de AzkabanNominado
Referencias Editar
↑ Entrevista con Alfonso Cuarón en la web de la Federación Española de Esperanto
↑ http://www.imdb.com/event/ev0000212/2014
Wikimedia Commons alberga una galería multimedia sobre Alfonso Cuarón.
Alfonso Cuaron en Biosstars International
Biografía y filmografía de Alfonso Cuarón, con curiosidades sobre su vida y críticas de todas sus
películas
Ensayo de Fernanda Solórzano sobre Hijos de los hombres, publicado en Letras Libres
Sitio de El Prisionero de Azkaban
Curiosidades y excentricidades del director
Los personajes más influyentes según la revista Time
Cuarón, entre influyentes
http://www.afp.com/es/node/2321432
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Alfonso Cuarón
This name uses Spanish naming customs: the first or paternal family name is Cuarón and the
second or maternal family name is Orozco.
Alfonso Cuarón Orozco (Spanish pronunciation: [alˈfonso kwaˈɾon]; born November 28, 1961) is
a Mexican film director, screenwriter, producer, and editor. He is best known for his dramas A
Little Princess (1995) and Y Tu Mamá También (2001), fantasy film Harry Potter and the Prisoner
of Azkaban (2004), dark fantasy drama Pan's Labyrinth (2006), and science fiction thrillers
Children of Men (2006) and Gravity (2013). Cuarón is the first Mexican director to win the
Academy Award for Best Director.[1]
Alfonso Cuarón
Alfonso Cuarón (2013) cropped.jpg
Cuarón in July 2013
Born
Alfonso Cuarón Orozco
November 28, 1961 (age 56)
Mexico City, Mexico
Residence
London, England, United Kingdom
Occupation
Director, screenwriter, producer, editor
Years active
1981–present
Spouse(s)
Mariana Elizondo
(m. 1980; div. 1993)
Annalisa Bugliani
(m. 2001; div. 2008)
Children
3, including Jonás Cuarón
Relatives
Carlos Cuarón (brother)
Most of Cuaron's work has been praised by critics. He has been nominated for six Academy
Awards, including Best Original Screenplay for Y Tu Mamá También, Best Adapted Screenplay
and Best Film Editing for Children of Men, and Best Adapted Screenplay and Best Editing for
Pan's Labyrinth. He was awarded the BAFTA Award for Best Film Not in the English Language as
producer of Pan's Labyrinth. For Gravity, Cuarón received several major accolades for his
achievement in direction, winning the Academy Award for Best Director and Best Film Editing,
the Golden Globe Award for Best Director, the BAFTA Award for Best Direction and the Directors
Guild of America Award for Outstanding Directing – Feature Film.
Contents
Early life
Alfonso Cuarón Orozco was born in Mexico City on November 28, 1961, the son of Alfredo
Cuarón, a nuclear physicist who worked for the United Nations' International Atomic Energy
Agency for many years. He has two brothers, Carlos, also a filmmaker, and Alfredo, a
conservation biologist. Cuarón studied philosophy at the National Autonomous University of
Mexico (UNAM) and filmmaking at CUEC (Centro Universitario de Estudios Cinematográficos),
a school within the same university. There, he met the director Carlos Marcovich and
cinematographer Emmanuel Lubezki, and they made what would be his first short film, Vengeance
Is Mine.
Career
Early career
Cuarón began working in television in Mexico, first as a technician and then as a director. His
television work led to assignments as an assistant director for several film productions including
La Gran Fiesta, Gaby: A True Story and Romero, and in 1991, he landed his first big-screen
directorial assignment.
Sólo con tu pareja

Sólo con tu pareja was a sex comedy about a womanizing businessman (played by Daniel
Giménez Cacho) who, after having sex with an attractive nurse, is fooled into believing he's
contracted AIDS. In addition to writing, producing and directing, Cuarón co-edited the film with
Luis Patlán. It is somewhat unusual for directors to be credited co-editors, although the Coen
Brothers and Robert Rodriguez have both directed and edited nearly all of their films. Cuarón
continued this close involvement in editing on several of his later films.
The film, which also starred cabaret singer Astrid Hadad and model/actress Claudia Ramírez (with
whom Cuarón was linked between 1989 and 1993), was a big hit in Mexico. After this success,
director Sydney Pollack hired Cuarón to direct an episode of Fallen Angels, a series of neo-noir
stories produced for the Showtime premium cable network in 1993; other directors who worked
on the series included Steven Soderbergh, Jonathan Kaplan, Peter Bogdanovich and Tom Hanks.
International success
Cuarón at San Diego Comic-Con (Estados Unidos)

In 1995, Cuarón released his first feature film produced in the United States, A Little Princess, an
adaptation of Frances Hodgson Burnett's classic novel. Cuarón's next feature was also a literary
adaptation, a modernized version of Charles Dickens's Great Expectations starring Ethan Hawke,
Gwyneth Paltrow and Robert De Niro.
Cuarón's next project found him returning to Mexico with a Spanish-speaking cast to film Y Tu
Mamá También, starring Gael García Bernal, Diego Luna and Maribel Verdú. It was a provocative
and controversial road comedy about two sexually obsessed teenagers who take an extended road
trip with an attractive married woman that is much older than them. The film's open portrayal of
sexuality and frequent rude humor, as well as the politically and socially relevant asides, made the
film an international hit and a major success with critics. Cuarón shared an Academy Award
nomination for Best Original Screenplay with co-writer and brother Carlos Cuarón.
In 2004, Cuarón directed the third film in the successful Harry Potter series, Harry Potter and the
Prisoner of Azkaban. Cuarón faced criticism from some of the more purist Harry Potter fans for
his approach to the film. At the time of the movie's release, however, author J. K. Rowling, who
had seen and loved Cuarón's film Y Tu Mamá También, said that it was her personal favorite from
the series so far.[2] Critically, the film was also better received than the first two installments, with
some critics remarking its new tone and for being the first Harry Potter film to truly capture the
essence of the novels.[3] It remained as the most critically acclaimed film of the Harry Potter film
franchise.
Cuarón's feature Children of Men, an adaptation of the P. D. James novel starring Clive Owen,
Julianne Moore and Michael Caine, received wide critical acclaim, including three Academy
Award nominations. Cuarón himself received two nominations for his work on the film in Best
Film Editing (with Alex Rodríguez) and Best Adapted Screenplay (with several collaborators).
He created the production and distribution company Esperanto Filmoj (Esperanto Films, named
because of his support for the international language Esperanto[4]), which has credits in the films
Duck Season, Pan's Labyrinth, and Gravity.
Cuarón also directed the controversial public service announcement "I Am Autism" for Autism
Speaks that was sharply criticized by disability rights groups for its negative portrayal of autism.
[5]
In 2010, Cuarón began to develop the film Gravity, a drama set in space. He was joined by
producer David Heyman, with whom Cuarón worked on Harry Potter and the Prisoner of
Azkaban. Starring Sandra Bullock and George Clooney, the film was released in the fall of
2013[6] and opened the 70th Venice International Film Festival in August.[7] On January 12,
2014, Alfonso accepted the Golden Globe Award in the category of Best Director. The film
received ten Academy Award nominations, including Best Picture and Best Director. Cuarón won
for Best Directing, becoming the first Latin American to win the award, while he and Mark Sanger
shared the award for Best Film Editing.
In 2013, Cuarón created Believe, a science fiction/fantasy/adventure series that was broadcast as
part of the 2013–14 United States network television schedule on NBC as a mid-season entry.
The series was created by Cuarón for Bad Robot Productions and Warner Bros. Television. In
2014, TIME placed him in its list of "100 Most Influential People in the World" – Pioneers.[8]
In May 2015 Cuarón was announced as the President of the Jury for the 72nd Venice International
Film Festival.[9]
On September 8, 2016, it was announced that he would be writing and directing Roma, a project
focusing on a Mexican family living in Mexico City in the 1970s. Production began in fall 2016.
[10] The project will be produced by Cuarón, Gabriela Rodríguez and Nicolás Celis. On
November 3, 2016, it was revealed that the crew was robbed on set during filming.[11]
Personal life
Cuarón is a vegetarian[12][13] and has been living in London since 2000.[14] He was 20 when his
girlfriend at the time became pregnant with Jonás.[12] He was married to Italian actress and
freelance journalist Annalisa Bugliani from 2001 to 2008. They have two children: daughter Tess
Bu Cuarón (born 2002) and son Olmo Teodoro Cuarón (born 2005).
Filmography
Feature films
Year Film Credited as
Director Writer Producer Editor Cinematographer Assistant director Associate
producer
1982 La Víspera No No No No No Yes No
1984 Nocaut No No No No No Yes No
1985 La Gran FiestaNo No No No No Yes No
1987 Noche de Calífas No No No No No Yes No
1987 Gaby: A True Story No No No No No Yes No
1988 Les Pyramides Bleues No No No No No Yes No
1989 Romero No No No No No Yes No
1991 Sólo con tu pareja Yes Yes Yes Yes No No No
1995 A Little Princess Yes No No No No No No
1998 Great Expectations Yes No No No No No No
2001 Y Tu Mamá También Yes Yes Yes Yes No No No
2004 Harry Potter and the Prisoner of Azkaban Yes No No No No No No
Crónicas No No Yes No No No No
The Assassination of Richard Nixon No No Yes No No No No
2005 Black Sun No No Yes No No No No
2006 Children of Men Yes Yes No Yes No No No
Pan's Labyrinth No No Yes No No No No
2007 Year of the Nail No No Yes No No No No
2008 Rudo y Cursi No No Yes No No No No
2010 Biutiful No No No No No No Yes
2013 Gravity Yes Yes Yes Yes No No No
2018 Roma Yes Yes Yes Yes Yes No No
Short films
Who's He Anyway (1983)
Vengeance Is Mine (1983) Co-director
Cuarteto para el fin del tiempo (1983)
Paris, je t'aime (2006) (segment "Parc Monceau")
The Shock Doctrine (2007)
Aningaaq (2013) Associate producer
Desierto (2015) Producer
Documentary films
The Possibility of Hope (2007) Short
This Changes Everything (2015) Executive producer[15]
Television
La Hora Marcada (1988–1989)
Fallen Angels (1993) (episode "Murder, Obliquely")
Believe (2014)
Awards and nominations
Year Award Category Nominated work Result
2001 Venice Film Festival Golden Lion Y tu mamá también Nominated
Best Screenplay Won
2003 Academy Awards Best Screenplay – Original Nominated
British Academy Film Awards Best Film Not in the English Language Nominated
Best Screenplay – Original Nominated
Independent Spirit Awards Best Foreign Film Won
2004 British Academy Film Awards BAFTA Children's Award – Best Feature Film
Harry Potter and the Prisoner of Azkaban Won
Saturn Awards Best Fantasy Film Nominated
2005 British Academy Film Awards Alexander Korda Award for Best British Film
Nominated
2006 Venice Film Festival Golden Lion Children of Men Nominated
Laterna Magica Prize Won
Saturn Awards Best Science Fiction Film Won
2007 Academy Awards Best Screenplay – Adapted Nominated
Best Editing Nominated
British Academy Film Awards Best Film Not in the English Language Pan's Labyrinth
Won
Saturn Award Best International Film Won
Independent Spirit Awards Best Feature Nominated
2011British Academy Film Awards BAFTA Children's Award – First Light Awards – Kids'
Vote for Film of the Decade Harry Potter and the Prisoner of Azkaban Won
Michael Balcon Award for Outstanding British Contribution to Cinema Harry Potter series
(shared with Harry Potter cast and crew) Won
2013 Venice Film Festival Future Film Digital Award Gravity Won
2014 Academy Awards Best Picture Nominated
Best Director Won
Best Film Editing Won
British Academy Film Awards Best FilmNominated
Best Director Won
Alexander Korda Award for Best British Film Won
Best Editing Nominated
Critics' Choice Movie Award Best Director Won
Directors Guild of America Award Outstanding Directorial Achievement in Motion Pictures
Won
Empire Awards Best Director Won
Golden Globe Awards Best Director Won
International Online Film Critics' Poll Best Editing Won
Producers Guild of America Award Best Theatrical Motion Picture Won
Saturn Award Best Science Fiction Film Won
Best Director Won
Best Editing Won
Silver Condor Award Best Foreign Film Nominated
See also
Cha Cha Cha Films
Cinema of Mexico
List of Academy Award records
References
^ Pulver, Andrew (March 2, 2014). "Alfonso Cuarón wins best director Oscar" – via The
Guardian.
^ J.K. Rowling Archived February 4, 2007, at the Wayback Machine. Accessed January 17, 2007.
^ "Harry Potter and the Prisoner of Azkaban".
^ Interview by Sam Green with Cuarón.
^ Asansouthwestohio (September 23, 2009). "Autistic Self Advocacy Network, SW Ohio: Autistic
Community Condemns Autism Speaks".
^ "Movie News: Movie Reviews, Trailers, Photos - EW.com".
^ Venice Film Festival 2013: Sandra Bullock stuns in a scarlet dress with George Clooney | Mail
Online. Dailymail.co.uk. Retrieved on 2014-05-22.
^ "The 100 Most Influential People – Pioneers: Alfonso Cuarón". TIME.com. April 23, 2014.
^ "Director Alfonso Cuarón President of the International Jury for the Venezia 72 Competition".
Venice Biennale. 11 May 2015. Retrieved 11 May 2015.
^ Kroll, Justin (September 8, 2016). "Alfonso Cuaron Sets Mexican Family Drama as Next Film".
Variety.
^ "Alfonso Cuarón film crew 'attacked and robbed' in Mexico City".
^ a b Dan P. Lee (22 September 2013). "The Camera's Cusp: Alfonso Cuarón Takes Filmmaking to
a New Extreme With Gravity". Vulture.com. London, United Kingdom: New York. Retrieved 12
July 2015.
^ "Vogue Arts – Down to Earth". Loquet London. 12 December 2013. Archived from the original
on December 12, 2013. Retrieved 26 July 2015.
^ Baftas 2014: Alfonso Cuarón wins best director for Gravity | Film. theguardian.com. Retrieved
on 2014-05-22.
^ "'This Changes Everything' Trailer: Climate Change Docu Based On Naomi Klein's Bestseller
Set For Toronto Premiere". Deadline Hollywood. 26 August 2015. Retrieved 30 August 2015.
External links
Wikimedia Commons has media related to Alfonso Cuarón.
Alfonso Cuarón on IMDb
Alfonso Cuarón: A Life in Pictures, BAFTA webcast, July 27, 2007
Last edited 2 days ago by Ad Orientem
Wikipedia

Wikipedia
Alejandro González Iñárritu
Director de cine mexicano
Para otros usos de este término, véase Alejandro González (desambiguación).
Alejandro González Iñárritu (Ciudad de México, 15 de agosto de 1963) es un cineasta, guionista,
productor, locutor y compositor mexicano, ganador de cinco premios Óscar. Es considerado uno
de los mejores cineastas en la actualidad.
Iñárritu guarda una amistad con los directores mexicanos Guillermo del Toro y Alfonso Cuarón,
juntos son conocidos como "Los Tres Amigos del Cine", quienes han recibido el reconocimiento
de la crítica gracias a sus respectivos trabajos.

Alejandro Inarritu Cannes 2017.jpg
Iñárritu en el Festival de Cannes del 2017.
Nacimiento
Bandera de México Ciudad de México
Nacionalidad
Mexicano
Altura
1,78 m
Familia
Cónyuge
María Eladia Hagerman
Hijos
María Eladia
Eliseo
Educación
Alma máter
Universidad Iberoamericana Ciudad de México Ver y modificar los datos en Wikidata
Ocupación
Director, productor, guionista, compositor
Año de debut
1995
Obras notables
The Revenant
Birdman
Premios artísticos
Premios Óscar
Mejor película
2015 Birdman
Mejor director
2015 Birdman
2016 The Revenant
Mejor guion original
2015 Birdman
Mejor director
2017 oscar especial por proyecto de RV "Carne y Arena"
Globos de Oro
Mejor película - Drama
2006 Babel
2016 The Revenant
Mejor director
2016 The Revenant
Mejor guion
2015 Birdman
Premios BAFTA
Mejor película de habla no inglesa
2001 Amores Perros
Mejor director
2016 The Revenant
Festival de Cannes
Mejor director
2006 Babel
Premios Ariel
Mejor director
2001 Amores perros
Otros premios
'Premio Independent Spirit a la mejor película
2014 Birdman
Premio de la Crítica Cinematográfica al mejor guion original y al mejor director
2014 Birdman
Premio del Sindicato de Directores a la mejor dirección
2015 Birdman
2016 The Revenant
2017 Carne y Arena
Distinciones
AACTA International Award for Best Direction (2015)
Premio del Sindicato de Directores a la mejor dirección (2015) Ver y modificar los datos en
Wikidata
Firma
Alejandro Gonzalez Innaritu Signature.svg
González Iñárritu es el primer cineasta mexicano en obtener dos veces consecutivas el premio
Óscar al Mejor director y el Premio del Sindicato de Directores (DGA). También es el primero en
dirigir una cinta ganadora del premio a la Mejor película que otorga anualmente la Academia de
Artes y Ciencias Cinematográficas. Además, recibió el premio al mejor director en el festival de
Cannes (2006), por su trabajo en la cinta Babel.
Quinto Oscar
La innovadora instalación de realidad virtual (RV) de Alejandro González Iñárritu, Carne y arena
(virtualmente presente, físicamente invisible) fue reconocida con un Oscar especial por su
narrativa visionaria y poderosa.
La Junta de Gobernadores de la Academia de las Artes y Ciencias Cinematográficas, otorgó la

estatuilla en la novena entrega anual de los Premios de los Gobernadores el 11 de noviembre de
2017 en Los Ángeles, La instalación de RV de siete minutos busca capturar la experiencia de los
migrantes que cruzan la frontera entre Estados Unidos y México. Iñárritu colaboró con su
fotógrafo habitual, Emmanuel Chivo Lubezki, en el proyecto, cuya realización tomó cuatro años,
El presidente de la Academia, John Bailey, dijo en un comunicado: "Carne y arena, la experiencia
en multimedia y cine de Iñárritu, es una aventura sumamente emocional y psicológicamente
inmersa al mundo de los inmigrantes, “Nos conecta con la situación política y social de las
fronteras entre Estados Unidos y México”, continuó, El premio viene 22 años después de que se
le otorgara el mismo honor a John Lasseter, por crear el primer largometraje animado en
computadora: Toy Story, mientras que sólo 18 preseas similares se han entregado en los 90 años
de historia de la premiación.
Sus seis largometrajes, Amores perros (2000), 21 gramos (2003), Babel (2006), Biutiful (2010)
Birdman (2014) y The Revenant (2015) han sido aclamados por la crítica a nivel mundial, todos
ellos han recibido premios en festivales internacionales y nominaciones al Óscar en diferentes
categorías. A lo largo de su carrera Iñarritu ha ganado 4 Globos de oro, 3 premios BAFTA y un
premio al Mejor Director del festival de Cannes. En 2015 ganó 3 premios Óscar por su película
Birdman: premio al mejor director, mejor guion original y mejor película. En 2016 ganó un
premio Óscar por su película El renacido: al mejor director, convirtiéndose así, en el primer
mexicano y el tercer cineasta en ganar dos premios Óscar de manera consecutiva, en la categoría
de mejor director en los últimos 60 años (Lo habían conseguido antes John Ford en 1940-1941 y
Joseph L. Mankiewicz en 1949-1950).
Índice
Biografía Editar
Alejandro González Iñárritu nació el 15 de agosto de 1963 en Mexico, D.F., hijo de Luz María
Iñárritu y Héctor González Gama.[1] Cruzando el Atlántico y laborando en un barco carguero,
primero a los 17 y después a los 19 años, González Iñárritu trabajó en Europa y África en dos
diferentes periodos de su vida. Atribuye a estas experiencias la mayor influencia en su trabajo.
Finalmente, sus películas han sido ubicadas en los lugares por donde viajó.[2][3]
WFM Editar
Después de sus viajes, el cineasta regresó a la Ciudad de México e ingresó a la Universidad
Iberoamericana, en 1985, González Iñárritu empezó su carrera en la estación mexicana de radio
WFM y dos años más tarde deja a un lado la carrera de comunicación para dedicarse de lleno a la
práctica. En 1987, llegó a ser el director de esta estación de rock y música eléctrica. A lo largo de
los próximos cinco años, el cineasta entrevista a estrellas mundiales de rock y transmite conciertos
de rock en vivo vía satélite. Por cinco años consecutivos, WFM se convierte en la estación número
uno de la ciudad de México. De 1987 a 1989, compuso la música para seis películas mexicanas.
González Iñárritu considera que la música ha tenido más influencia en él de lo que han tenido las
películas.
Z Films Editar
En los años noventa, creó Z Films con Raúl Olvera en México con la finalidad de empezar a
escribir, producir y dirigir películas, cortos, audiovisuales, anuncios y programas de televisión.
Con Z Films, González Iñárritu empezó a escribir, producir y dirigir cortometrajes y anuncios.
Durante su exploración en televisión, González Iñárritu estudió dirección de teatro durante tres
años con el prestigioso dramaturgo y director de teatro polaco Ludwik Margules y con Judith
Weston en Los Ángeles. En 1995, González Iñárritu escribió y dirigió su primer piloto de
televisión, Detrás del dinero, protagonizado por Miguel Bosé. Z Films se convirtió en una de las
mayores compañías de producción y más relevantes de México. Apoyó y fomentó el lanzamiento
de siete jóvenes directores en el campo de la publicidad y el cine.
Amores perrosEditar
En 1999 el cineasta dirigió su primer largometraje Amores perros, escrita por Guillermo Arriaga.
Amores Perros exploró la sociedad mexicana de la capital con la perspectiva de tres historias que
se entrelazan. En 2000, Amores perros se estrenó en el Festival de Cannes y ganó el gran premio
de la semana de la crítica. También fue la película que presentó al público a Gael García Bernal,
quien aparecería más tarde en Babel y Rudo y Cursi, cinta producida por Iñarritu. Amores perros
fue ese año la película más premiada en los festivales de cine y fue nominada al Óscar como
Mejor Película Extranjera.
21 Gramos Editar
Después del éxito de Amores perros, Iñárritu y Arriaga retoman la estructura de historias cruzadas
de Amores Perros en el segundo filme de Iñarritu, 21 gramos(2003), escrita de nuevo por
Guillermo Arriaga. 21 gramos fue protagonizada por Sean Penn, Benicio del Toro y Naomi Watts.
La película fue seleccionada para competir por el León de Oro en el Festival de Venecia, y Sean
Penn ganó la Copa Volpi para el mejor actor. Benicio Del Toro recibió una nominación al Óscar
como Mejor Actor de reparto y Naomi Watts fue nominada como Mejor Actriz.
Babel Editar
En 2005 González Iñárritu lanzó su tercera película, Babel, la última de su "trilogía de la muerte"
(cintas que poseen temática similar e historias conectadas y no lineales), escrita nuevamente por
Guillermo Arraiga. Situada en 3 continentes, 4 países, y en 4 idiomas diferentes, Babel consiste en
cuatro historias situadas en Marruecos, México, Estados Unidos, y Japón. La película tuvo como
protagonistas a las estrellas Brad Pitt, Cate Blanchett y Gael García Bernal, pero también presentó
un elenco de nuevos actores como Adriana Barraza, Rinko Kikuchi y trabajó también con una gran
cantidad de no actores en las historias de Marruecos y Japón. La película compitió en el Festival
de Cannes 2006 dónde González Iñárritu ganó el premio al Mejor Director (Prix de La Mise en
Scene), convirtiéndose en el primer director nacido en México en ganar dicho reconocimiento.
Babel fue estrenada en el noviembre de 2006 y recibió 7 nominaciones para la Edición 79 de los
Premios de la Academia, incluyendo Mejor Película y Mejor Director. Gustavo Santaolalla, el
compositor del filme, recibió el premio de la Academia a la Mejor banda sonora. El 15 de enero de
2007, la cinta ganó el Globo de Oro a la Mejor Película Dramática. González Iñarritu se convirtió
en el primer cineasta mexicano nominado al Óscar como Mejor director y al premio del Sindicato
de Directores(DGA). Después de su tercera colaboración, González Iñárritu y su compañero de
redacción, Guillermo Arriaga, se separaron profesionalmente para centrarse en sus visiones
individuales y crecer como cineastas.
Biutiful Editar
Alejandro González Iñárritu en 2008

En 2008 y 2009 González Iñárritu escribió, dirigió y produjo Biutiful, protagonizada por Javier
Bardem.
El guion fue escrito por Alejandro González Iñárritu, Nicolás Giacobone y Armando Bo Jr
estableciendo así su nuevo equipo de colaboradores en la escritura.
La película se presentó en el Festival de Cannes el 17 de mayo de 2011. Javier Bardem ganó el

premio del Mejor Actor (compartido con Elio Germano por La nostra vita) en Cannes. Biutiful
recibió nuevamente dos nominaciones al Óscar como Mejor Película Extranjera y una nominación
al Óscar para Mejor Actuación Masculina.
Biutiful es la segunda película en español, idioma nativo de González Iñárritu, desde su debut,
Amores perros.
Por segunda ocasión en su carrera, Alejandro González Iñárritu recibe una nominación al Óscar en
la categoría de Mejor Película de Idioma Extranjero y por primera vez un actor en una película en
idioma español es nominado al Óscar como Mejor Actor.
Birdman Editar
Durante la primavera del 2013 González Iñárritu rodó en Nueva York su quinta película titulada
Birdman or the unexpected virtue of ignorance.
Birdman fue filmada en la ciudad de Nueva York durante la primavera de 2013 con un
presupuesto de 16.5 millones de dólares, financiada conjuntamente por New Regency y Fox
Searchlight Pictures. Fue estrenada en agosto de 2014 durante el Festival Internacional de Cine de
Venecia. Ha sido aclamada por la crítica, con especial atención a la actuación del elenco y a la
fotografía, es considerada una de las mejores películas del 2014, además recibió múltiples premios
y nominaciones. Está escrita por el mismo González Iñárritu, Nicolás Giacobone, Armando Bo Jr
y Alexander Dinelaris. La película está protagonizada por Michael Keaton, Naomi Watts, Edward
Norton, Emma Stone, Zach Galifianakis, y Andrea Riseborough. Birdman se estrenó en los
Estados Unidos el 17 de octubre de 2014.
Ganó los premios Óscar a Mejor director, Mejor guion original, Mejor fotografía[4] y Mejor
película, convirtiéndose en la segunda película dirigida por un mexicano en ganar este último
premio. Ha recaudado más de 98 millones de dólares, lo que la convierte en una de las películas
más importantes del año 2014.
El cineasta mexicano no solo trabajó con un nuevo equipo de colaboradores sino que también
exploró un nuevo género, ya que Birdman es su primera exploración en la comedia negra.
The Revenant Editar

También dirigió, produjo y escribió el guion junto con Mark L. Smith de The Revenant (El
renacido, en español). La película estrenada en diciembre de 2015 está basada en la novela del
mismo título de Michael Punke y es protagonizada por Leonardo DiCaprio y Tom Hardy. El
rodaje inició en octubre de 2014, finalizando en junio de 2015. En enero de 2016 gana tres
Premios Globo de Oro: mejor director, mejor actor (Leonardo DiCaprio) y mejor película
dramática. El 14 del mismo mes la película recibe 12 nominaciones al Óscar incluidas las
categorías de mejor dirección, mejor película, mejor actor y mejor actor de reparto, consideradas
categorías de más peso dentro de los premios de la Academia de artes y cinematografía. En la
ceremonia de entregas del Óscar Alejandro González Iñárritu entró al selecto grupo de directores
que han ganado el premio a mejor director en dos años consecutivos. Hecho que se repite luego de
66 años. En la entrega de los premios Óscar 2016 se llevó nuevamente la anhelada estatuilla como
mejor director de esta cinta.
Desde 2001 a 2011, González Iñárritu ha dirigido siete cortometrajes.
En 2001 el cineasta dirigió un segmento de la película de once minutos y nueve segundos para
11.09.01, que se compone de varios cortometrajes que exploran los efectos de los ataques
terroristas del 9/11 desde diferentes puntos de vista de todo el mundo y con la participación de 11
prestigiados directores mundiales.
En 2007 González Iñárritu escribió y dirigió Anna el cual se proyectó en el Festival de Cannes de
2007 en Chacun son cinema. Como parte del aniversario 60.º del festival, Chacun son cinema es
una serie de cortometrajes realizados por 33 destacados cineastas de todo el mundo.
En 2012 el cineasta hizo el cortometraje experimental Naran Ja: One Act Orange Dance, inspirado
en L.A Dance Project a cargo del coreógrafo francés Benjamin Millepied.
En 2017 estrenó Carne y arena, un corto de realidad virtual que intenta situar a "los espectadores
en la dura vida de un migrante".[5] La fotografía del proyecto estuvo a cargo de Emmanuel
Lubezki quien colaboró con ILMxLAB y la Fondazione Prada de Italia. El corto se estrenó en el
Festival de Cannes 2017 como parte de la selección oficial, siendo el primer proyecto de este tipo
en ser presentado en este evento. La instalación se presenta acompañada con una exposición de
testimonios de migrantes además de presentar un fragmento del muro fronterizo real.[6]
Anuncios publicitarios Editar
En 2001 y 2002 González Iñárritu dirigió Powder Keg, un episodio para la serie de cine
publicitario BMW The Hire, protagonizada por Clive Owen y la cual obtuvo el León de Oro del
Festival de Cannes como la mejor campaña publicitaria de ese año.
En 2010 el cineasta dirigió Write the Future, un anuncio de fútbol para Nike antes de la copa
mundial de FIFA. Nuevamente Write the Future ganó el premio de Grand Prix en la festival de
publicidad Cannes Lions.
En 2012 González Iñárritu dirigió el anuncio Best Job de Procter & Gamble para los Juegos
Olímpicos de 2012. Ganó el Emmy al Mejor Anuncio Primetime de los Premios de Creative Arts
Emmy y terminó en segundo lugar en el Festival de Cannes.
Filmografía Editar
Cine Editar
Año Título Papel Nota
2000 Amores perrosDirector, Productor
2002 11'09"01 - September 11 Director, Guionista
2003 21 gramos Director, Productor
2006 Babel Director, Productor
2007 Chacun son cinéma (segmento "Anna") Director
2010 Biutiful Director, Productor, Guionista
2014 Birdman or (The Unexpected Virtue of Ignorance) Director, Productor, Guionista
2015 The Revenant Director, Productor, Guionista
Televisión Editar
Título Año Nota
1995 Detrás del dinero Película de tv
Premios Óscar
2016 Mejor película The Revenant Nominado
Mejor director Ganador
2015 Mejor película Birdman or (The Unexpected Virtue of Ignorance) Ganador
2010 Mejor película extranjera Biutiful Nominado
2006 Mejor película Babel Nominado
Mejor director Nominado
2001 Mejor película extranjera Amores perrosNominado
Premios Globo de Oro
2016 Mejor película - Drama The Revenant Ganador
2015 Mejor película - Comedia o musical Birdman or (The Unexpected Virtue of
Ignorance) Nominado
Mejor guion Ganador
2010 Mejor película extranjera Biutiful Nominado
2006 Mejor película - Drama Babel Ganador
Premios BAFTA
2016 Mejor película The Revenant Ganador
2015 Mejor película Birdman or (The Unexpected Virtue of Ignorance) Nominado
2010 Mejor película de habla no inglesa Biutiful Nominado
2006 Mejor película Babel Nominado
2001 Mejor película de habla no inglesa Amores perrosGanador
Festival de Cannes
2006 Mejor director Babel Ganador
Festival Internacional de Cine de Venecia
2003 León de Oro 21 gramos Nominado
Festival Internacional de Cine de Tokio
2000 Tokyo Sakura Grand Prix Amores PerrosGanador
Referencias Editar
↑ «1963: El mundo recibe a Alejandro González Iñárritu, internacional cineasta mexicano». El
Siglo de Torreón. 15 de agosto de 2014. Consultado el 22 de febrero de 2015.
↑ «Recuento de “El Negro”, Alejandro González Iñárritu». Publímetro. 20 de febrero de 2015.
↑ Jan Martínez Ahrens (15 de febrero de 2015). «Fórmula Iñárritu». El País. Consultado el 22 de
febrero de 2015.
↑ Ayuso, Rocío (23 de febrero de 2015). «Los pájaros de ‘Birdman’ se hacen con el Oscar».
El País. Consultado el 23 de febrero de 2015.
↑ «Carne y Arena: Alejandro Iñárritu's virtual reality project». Financial Times. Consultado el 9
de noviembre de 2017.
↑ «Carne y Arena: la nueva locomotora - La Hoja de Arena». La Hoja de Arena. 1 de noviembre
de 2017. Consultado el 9 de noviembre de 2017.
Wikimedia Commons alberga una categoría multimedia sobre Alejandro González Iñárritu.
Alejandro González Iñárritu en Internet Movie Database (en inglés)
Alejandro González Iñárritu en AllMovie.
Alejandro González Iñárritu en Rotten Tomatoes.
Wikipedia
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Wikipedia
This name uses Spanish naming customs: the first or paternal family name is González and the
second or maternal family name is Iñárritu.
Alejandro González Iñárritu (American Spanish: [aleˈxandɾo gonˈsales iˈɲaritu]; credited since
2014 as Alejandro G. Iñárritu; born August 15, 1963) is a Mexican film director, producer, and
screenwriter.

Alejandro Inarritu Cannes 2017.jpg
Iñárritu at the 2017 Cannes Film Festival
Born
August 15, 1963 (age 54)
Mexico City, Mexico
Other names
Alejandro G. Iñárritu
Occupation
Film director, film producer, screenwriter
Years active
1984–present
Spouse(s)
Maria Eladia Hagerman
Children
2
Signature
Alejandro Gonzalez Innaritu Signature.svg
His feature films have garnered critical acclaim and numerous accolades, including five Academy
Awards. In 2006, he became the first Mexican director to be nominated for the Academy Award
for Best Director and the Directors Guild of America Award for Outstanding Directing for Babel.
In 2015, he won three Academy Awards for Best Picture, Best Director, and Best Original
Screenplay for Birdman or (The Unexpected Virtue of Ignorance) (2014). The following year, he
won a second Academy Award for Best Director for The Revenant (2015), making him the third
director to win back to back Academy Awards, and the first since 1950. Additionally, he was
awarded a Special Achievement Academy Award for his virtual reality project Flesh and Sand in
2017, the first time it was awarded since 1995.[1]
Contents
Early life
Iñárritu was born in Mexico City, the youngest of seven children to Luz María Iñárritu and Héctor
González Gama.[2] Crossing the Atlantic Ocean on a cargo ship at the ages of 16 and 18, Iñárritu
worked his way across Europe and Africa.[3][4] He has noted that these early travels as a young
man have had a great influence on him as a filmmaker.[4] The settings of his films have often been
in the places he visited during this period. After his travels, Iñárritu returned to Mexico City and
majored in communications at Universidad Iberoamericana, one of the most prestigious private
universities in Mexico.[5]
Career
Iñárritu began his career in 1984 as a radio host at the Mexican radio station WFM, the country's
most popular rock music station, where he "pieced together playlists into a loose narrative arc".[4]
[5] During his time in radio he also wrote and broadcast small audio stories and storytelling
promos, that would become a reference for generations of audio producers, radio Dj's and
broadcasters as to how to use radio as a more creative media outlet. He later became the youngest
producer for Televisa, the largest mass media company in Latin America.[5] From 1987 to 1989,
he composed music for six Mexican feature films. During this time, Iñárritu became acquainted
with Mexican writer Guillermo Arriaga, beginning their screenwriting collaborations.[5] Iñárritu
has stated that he believes music has had a bigger influence on him as an artist than film itself.[4]
In the early 1990s, Iñárritu created Z films, a production company, with Raul Olvera in Mexico.[6]
Under Z Films, he started writing, producing and directing short films and advertisements.[5]
Making the final transition into TV and film directing, he studied under well-known theater
director Ludwik Margules, as well as Judith Weston in Los Angeles.[7][8] In 1995, Iñárritu wrote
and directed his first TV pilot for Z Films, called Detrás del dinero, or Behind the Money, starring
Miguel Bosé.[6] Z Films went on to be one of the biggest and strongest film production
companies in Mexico, launching seven young directors in the feature film arena.[citation needed]
2000–2011: Amores perros, 21 Grams, Babel, Biutiful

In 2000, Iñárritu directed his first feature film Amores perros, co-written with Guillermo Arriaga.
[5] Amores perros explored Mexican society in Mexico City told via three intertwining stories. In
2000, Amores perros premiered at the Cannes Film Festival and won the Critics' Week Grand
Prize.[9] It was the film debut of actor Gael García Bernal, who would later appear in Babel and
the Iñárritu-produced Mexican film Rudo y Cursi. Amores perros was nominated for the Academy
Award for Best Foreign Language Film.[10]
After the success of Amores Perros, Iñárritu and Arriaga revisited the intersected-stories structure
of Amores perros in Iñárritu's second feature film, 21 Grams (2003).[5] The film starred Benicio
del Toro, Naomi Watts and Sean Penn. It was selected to compete for the Golden Lion at the
Venice Film Festival, where Penn received the Volpi Cup for Best Actor.[11][12] At the 76th
Academy Awards, Del Toro and Watts received nominations for their performances.[13]
Iñárritu embarked on his third film, Babel (2006), co-written with Arriaga.[14][15] Babel
comprises four interrelated stories set in Morocco, Mexico, the United States, and Japan, in four
different languages.[16] The film stars Brad Pitt, Cate Blanchett, Adriana Barraza, Gael Garcia
Bernal, Rinko Kikuchi and Kōji Yakusho. The rest of the cast comprised non-professional actors.
[17] The film competed at the 2006 Cannes Film Festival, where Iñárritu received the Best
Director Award (Prix de la mise en scène),[18] becoming the first Mexican-born director to win
the award.[19]
Babel received seven nominations at the 79th Academy Awards, including Best Picture and Best
Director.[11] Gustavo Santaolalla, the film's composer, won the Academy Award for Best Original
Score.[20] The film won the Golden Globe Award for Best Motion Picture – Drama in 2007.[21]
Iñárritu became the first Mexican director to be nominated for the Academy Award for Best
Directing and the Directors Guild of America Award for Outstanding Directing.[22][23] After this
third feature film collaboration with writing partner Arriaga, Iñárritu and he professionally parted
ways, following Iñárritu's barring of Arriaga from the set during filming. Arriaga told the Los
Angeles Times in 2009, "It had to come to an end, but I still respect [González Iñárritu]."[24]
Iñárritu in Barcelona, Spain

In 2010, Iñárritu directed and produced Biutiful, starring Javier Bardem, written by Iñárritu,
Armando Bó Jr., and Nicolás Giacobone.[25] The film premiered at the Cannes Film Festival in
May 2010.[26] Bardem went on to win Best Actor (shared with Elio Germano for La nostra vita)
at Cannes.[27] Biutiful is Iñárritu’s first film in his native Spanish since his debut feature
Amores perros. The film was nominated at the 2011 Golden Globes for Best Foreign Language
Film, and at the BAFTA Awards for Best Film Not in the English Language and Best Actor.[28]
[29] For the second time in his career, Iñárritu's film was nominated for Best Foreign Language
Film at the Academy Awards; Javier Bardem’s performance was also nominated for the
Academy Award for Best Actor.[30]
2013–present: Birdman and The Revenant
Iñárritu in 2014
In 2014, Iñárritu directed, co-produced and co-wrote his first comedy, Birdman or (The
Unexpected Virtue of Ignorance), starring Michael Keaton, Edward Norton, Emma Stone, Naomi
Watts, Zach Galifianakis, and Andrea Riseborough. Birdman is about a washed-up actor famed for
playing an iconic superhero who tries to revive his career by doing a play based on the Raymond
Carver short story "What We Talk About When We Talk About Love." The film and Iñárritu won
the Golden Globe Award for Best Screenplay, and the Academy Award for Best Picture, Best
Directing, and Best Original Screenplay.[31][32]
Iñárritu's next film as a director was The Revenant, which he and Mark L. Smith adapted from
Michael Punke's novel of the same name.[33][34] The film starred Leonardo DiCaprio, Tom
Hardy, Domhnall Gleeson, and Will Poulter.[35] It is a "gritty" 19th-century period drama-thriller
about fur trapper Hugh Glass, a real person who joined the Rocky Mountain Fur Company on a
"journey into the wild" and was robbed and abandoned after being mauled by a grizzly bear.[34]
The film considers the nature and stresses on relationships under the duress of the wilderness, and
issues of revenge and pardon via Glass's pursuit of the man who was responsible for his hardship.
[33][36] The Revenant took nine months to shoot.[37] The film received "generally favorable"
reviews,[38] and was nominated for 12 Academy Awards, including Best Picture and Best
Director, winning Best Director, Best Cinematography and Best Actor.[39][40] It was also
nominated for four Golden Globe Awards, winning three, including Best Motion Picture – Drama
and Best Director,[41] and received nine Critics' Choice Movie Awards nominations, including
Best Picture and Best Director.[42]
The One Percent is an upcoming American television drama series created and written by Iñárritu,
Alexander Dinelaris Jr., Nicolás Giacobone and Armando Bó. The quartet, who also collaborated
on Birdman, will serve as executive producers. Iñárritu will direct the first two episodes and set
the visual style of the show. A 10-episode first season has been ordered by the American premium
cable network Starz,[43] though Starz later dropped the series.[44]
Short films and commercials

From 2001 to 2011, Iñárritu directed several short films. In 2001, he directed an 11-minute film
segment for 11'09"01 September 11 - which is composed of several short films that explore the
effects of the 9/11 terrorist attacks from different points of view around the world.[5] In 2007, he
made ANNA, part of French anthology film Chacun son cinéma, which screened at the 2007
Cannes Film Festival. Chacun son cinéma, a collection of 34 short films by 34 renowned film
directors representing 25 countries, was produced for the 60th anniversary of the film festival.[45]
[better source needed] In 2012, Iñárritu made the experimental short film Naran Ja: One Act
Orange Dance, inspired by L.A Dance Project's premiere performance, featuring excerpts from the
new choreography Benjamin Millepied crafted for Moving Parts. The story takes place in a
secluded, dusty space and centers around LADP dancer Julia Eichten.[46]
In 2002, Iñárritu directed "Powder Keg", an episode for the BMW short film series The Hire,
starring Clive Owen as the driver and Stellan Skarsgård as a war photographer. It won the Cannes
Gold Lion Advertising Award.[47] In 2010, Iñárritu directed "Write the Future", a football-themed
commercial for Nike ahead of the 2010 FIFA World Cup, which went on to win the Grand Prix at
the Cannes Lions Advertising Festival.[48] In 2012, he directed Procter & Gamble's "Best Job"
commercial spot for the 2012 Olympic Ceremonies. It won the Best Primetime Commercial
Emmy at Creative Arts Emmy Awards[49] and the DGA Award for Outstanding Directorial
Achievement in Commercials.[50]
On October 4, 2012, Facebook released an Iñárritu-directed brand film titled The Things That
Connect Us to celebrate the social network reaching one billion users.[51]
Virtual reality
Iñárritu's virtual reality project Carne y Arena was first presented at the 2017 Cannes Film Festival
and later featured at the Prada Foundation in Milan.[citation needed]
Personal life
Iñárritu is married to Maria Eladia Hagerman, an editor and graphic designer. They have a
daughter, Maria Eladia, and a son, Eliseo.[52][53]
Filmography
Year Film Director Producer Writer Editor Note
1996 El Timbre Yes Yes Yes Yes Short film
2000 Amores perrosYes Yes No Yes
2001 Powder Keg Yes No Yes Yes Short film; The Hire series for BMW
2002 11'09"01 Yes Yes Yes Yes Short film; 11'09"01 September 11
2003 21 GramsYes Yes No No Credited as Story Collaborator
2006 Babel Yes Yes No No
2007 ANNA Yes Yes Yes No Short film; Chacun son cinema
2008 Rudo y Cursi No Yes No No
2010 Biutiful Yes Yes Yes No
2012 Naran Ja Yes Yes Yes No Short film[54]
2014 Birdman or (The Unexpected Virtue of Ignorance) Yes Yes Yes No
2015 The Revenant Yes Yes Yes No
2017 Flesh and Sand Yes No Yes No Short film
Critical reception
Year Film Rotten Tomatoes Metacritic[55]
2000 Amores perros92%[56] 83
2003 21 Grams80%[57] 70
2006 Babel 69%[58] 69
2010 Biutiful 64%[59] 58
2014 Birdman or (The Unexpected Virtue of Ignorance) 91%[60] 88
2015 The Revenant 80%[61] 76
Accolades
Main article: List of awards and nominations received by Alejandro González Iñárritu
Iñárritu has been recognized with multiple awards for his films, including four Academy Awards,
two Directors Guild of America Awards, a Producers Guild of America Award, three British
Academy Film Awards, three AACTA Awards, three Golden Globe Awards, two Independent
Spirit Awards, two American Film Institute Awards, and three Cannes Film Festival Award. He is
the first Mexican director to be nominated for the Academy Award for Best Director and the
Directors Guild of America Award for Outstanding Directing, and the first to win the Best Director
Award at the Cannes Film Festival.[22][23] In 2015, Iñárritu won, among many other accolades,
the Directors Guild Award for Outstanding Directing, the Producers Guild of America Award for
Best Theatrical Motion Picture, and the Academy Award for Best Picture, Best Original
Screenplay and Best Directing for Birdman, becoming the first Mexican to win three Academy
awards.[62] In 2016, Iñárritu won the Academy Award for Best Director for his work on The
Revenant, marking the first time in 65 years that a director has won the award in two consecutive
years. Iñárritu is the third director to accomplish this feat, following John Ford and Joseph L.
Mankiewicz.[40]
In 2006, Iñárritu was honored at the Gotham Awards' World Cinema Tribute, alongside fellow
Mexican filmmakers Alfonso Cuarón and Guillermo del Toro.[63] In 2015, Iñárritu received the
Sundance Institute's Vanguard Leadership Award for the "originality and independent spirit" of his
films.[19] He was also honored by the Los Angeles County Museum of Art at its Art + Film Gala.
[64]
Directed Academy Award Performances

As of 2018, each of Iñárritu's feature films, with the exception of Amores perros, showcases at
least one Academy Award nominated performance.

2010 Javier Bardem Biutiful Nominated
2014 Michael Keaton Birdman or (The Unexpected Virtue of Ignorance) Nominated
2015 Leonardo DiCaprio The Revenant Won
Academy Award for Best Actress
2003 Naomi Watts 21 GramsNominated
2003 Benicio del Toro 21 GramsNominated
2014 Edward Norton Birdman or (The Unexpected Virtue of Ignorance) Nominated
2015 Tom Hardy The Revenant Nominated
2006 Adriana Barraza Babel Nominated
Rinko KikuchiNominated
2014 Emma Stone Birdman or (The Unexpected Virtue of Ignorance) Nominated
See also
Cinema of Mexico
Cha Cha Cha Films
List of directors with two or more Academy Awards for Best Director
References
^ Tapley, Khristopher (October 29, 2017). "Oscars: Alejandro G. Inarritu's Virtual Reality
Installation Carne y Arena to Receive Special Award". Variety.
^ Agencias / El Siglo De Torreón (August 15, 2014). "1963: El mundo recibe a Alejandro
González Iñárritu, internacional cineasta mexicano". Elsiglodetorreon.com.mx. Retrieved
February 24, 2015.
^ "Alejandro Gonzalez Iñárritu: What I've Learned". Esquire. January 12, 2015. Retrieved March
8, 2015.
^ a b c d Tobias, Scott (December 3, 2003). "Alejandro González Iñárritu". The A.V. Club.
^ a b c d e f g h "Alejandro González Iñárritu". Encyclopædia Britannica. Retrieved March 8,
2015.
^ a b "Alejandro González Iñárritu y sus emblemáticos 3 Premios Oscar". CinePremiere.com.mx.
February 26, 2015. Retrieved March 8, 2015.
^ "'Birdman' y la dualidad que todos tenemos". The New York Times. February 21, 2015.
^ "JUDITH WESTON STUDIO FOR ACTORS AND DIRECTORS". Judithweston.com.
^ "Cannes Prospects: 'Foxcatcher,' Inarritu's 'Birdman' Likely Headed to the Croisette". Variety.
March 26, 2014. Retrieved October 21, 2015.
^ "THE 73RD ACADEMY AWARDS - 2001". Oscars.org. Retrieved 19 March 2015.
^ a b "Alejandro González Iñárritu - Biography - Songwriter, Director, Television Producer". FYI.
^ "Sean Penn wins Volpi Cup for best actor at Venice Film..." Chicago Tribune. September 8,
2003.
^ "Oscars 2004: The winners". BBC Online. March 1, 2004. Retrieved March 8, 2015.
^ Foundas, Scott (August 27, 2014). "Interview: 'Birdman' Director Alejandro Gonzalez Inarritu
on His First Comedy". Variety. Retrieved July 19, 2015.
^ "Who Is Alejandro González Iñárritu? 5 Fast Facts About The 'Birdman' Director After Academy
Award Win". International Business Times. February 23, 2015. Retrieved October 27, 2015.
^ "Babel Movie Review & Film Summary (2006)". Rogerebert.com. September 22, 2007.
^ "Iñárritu's Babel To Be Honored By 18th Annual Palm Springs International Film Festival
Awards Gala". Palm Springs International Film Festival. November 30, 2006. Archived from the
original on October 14, 2007. Retrieved March 8, 2015.
^ "Alejandro González Iñárritu to Receive Sundance Institute's Vanguard Leadership Award".
Indiewire. January 14, 2015. Retrieved March 8, 2015.
^ a b "Alejandro Gonzalez Inarritu to Receive Sundance Institute's Vanguard Leadership Award".
The Hollywood Reporter. January 14, 2015. Retrieved March 5, 2015.
^ "Film Composer Gustavo Santaolalla's Oscar-Worthy Music Studio". Variety. June 28, 2013.
^ "Babel, Dreamgirls take top Golden Globe Awards". CBC.ca. January 15, 2007. Retrieved
March 8, 2015.
^ a b Mitchell, Elvis (2014). "Alejandro González Iñárritu". Interview. Retrieved July 18, 2015.
^ a b "BIRDMAN's Alejandro Gonzalez Inarritu Wins Oscar for Best Director".
BroadwayWorld.com. February 22, 2015. Retrieved October 27, 2015.
^ Whipp, Glenn. "Guillermo Arriaga tells his story". Los Angeles Times.
^ A.O. Scott (December 28, 2010). "The Mob Work Is Tough; Then He Has to Go Home". The
New York Times. Retrieved May 22, 2015.
^ "Cannes Premiere: Javier Bardem Stars in Alejandro Inarritu's Biutiful". The Huffington Post.
May 19, 2010. Retrieved March 8, 2015.
^ "Javier Bardem Wins Best Actor Award at Cannes Film Festival". Latin American Herald
Tribune. Retrieved March 8, 2015.
^ "2011 Golden Globe Nominations Announced". Deadline.com. December 14, 2010. Retrieved
March 8, 2015.
^ "Baftas nominations 2011: full list". The Guardian. January 18, 2011. Retrieved March 8, 2015.
^ "Oscars 2011 Nominations List: Academy Awards Nominees". The Huffington Post. January 25,
^ "Golden Globes: 'Birdman's' Alejandro González Inarritu, Nicolas Giacobone, Alexander
Dinelaris Jr., and Armando Bo Win for Best Screenplay". The Hollywood Reporter. January 11,
^ "Oscars: Alejandro Gonzalez Inarritu Wins Best Director for 'Birdman'". Variety. February 22,
^ a b Fleming Jr., Mike (April 15, 2014). "Leonardo DiCaprio, Alejandro González Iñárritu
Commit To September Start For New Regency's 'The Revenant'". Deadline. Retrieved July 29,
2014.
^ a b "Leonardo DiCaprio will make his return in The Revenant". The Guardian. Retrieved June
27, 2014.
^ "Leonardo DiCaprio's Survival Drama 'The Revenant' Attracts Megan Ellison's Annapurna".
Variety. July 11, 2014. Retrieved January 20, 2016.
^ Masters, Kim (July 22, 2015). "How Leonardo DiCaprio's 'The Revenant' Shoot Became "A
Living Hell"". The Hollywood Reporter. Retrieved July 22, 2015.
^ Chitwood, Adam (February 3, 2015). "Alejandro González Iñárritu Explains Why The Revenant
Is Taking 9 Months to Shoot". Collider. Retrieved August 11, 2015.
^ "The Revenant". Metacritic. Retrieved December 28, 2015.
^ "Oscar Nominations: The Complete List". The Hollywood Reporter. January 14, 2016. Retrieved
January 29, 2016.
^ a b "Alejandro Innaritu Wins Best Director Oscar For The Revenant". Deadline. February 28,
2016. Retrieved February 28, 2016.
^ "The Revenant Wins Best Dramatic Film at the Golden Globes". The New York Times. January
^ "Critics' Choice Award Nominations Led by 'Mad Max,' 'Fargo'". Variety. December 14, 2015.
^ Andreeva, Nellie (August 12, 2014). "Alejandro Gonzalez Iñárritu's 'One Percent' Gets Series
Order At Starz". Deadline. Retrieved August 12, 2014.
^ Andreeva, Nellie (March 2, 2017). "Alejandro G. Iñárritu's MRC Series 'The One Percent' No
Longer At Starz, Moves Forward With Greg Kinnear As New Lead". Deadline. Retrieved March
3, 2017.
^ "To Each His Own Cinema (2007)". IMDb.
^ "Watch: 'Trash Humpers'-Esque Experimental Dance Short Film 'Naran Ja' Directed By
Alejandro González Iñárritu". Indiewire. October 26, 2012. Retrieved March 8, 2015.
^ "González Iñárritu, el director publicista GANADOR del Óscar". Roastbrief.com.mx. February
22, 2015. Retrieved March 8, 2015.
^ "Anatomy of a Cannes Winner: Nike "Write The Future"". Fast Company. June 28, 2011.
^ "P&G Earns Praise For 'Best Job' Commercial, Innovation, Sustainability Efforts". Procter &
Gamble. September 19, 2012. Retrieved March 8, 2015.
^ "DGA Awards: Alejandro G. Iñárritu Wins Best Feature Film Director For 'Birdman', TV
Winners Include Lesli Linka Glatter 'Homeland' & Jill Soloway 'Transparent'". Deadline.com.
February 7, 2015. Retrieved March 8, 2015.
^ "Facebook runs first ad as it reaches 1 billion users". Creative Review. October 4, 2012.
Archived from the original on January 6, 2015. Retrieved January 6, 2015.
^ Romney, Jonathan. "Alejandro González Iñárritu: 'When you see The Revenant you will say
"Wow"'". The Guardian. Retrieved 28 June 2017.
^ "In 'Birdman,' Alejandro G. Inarritu takes his doubts and lets them fly". Los Angeles Times. 10
October 2014. Retrieved 12 July 2015.
^ Naran Ja. YouTube.
^ "ALEJANDRO GONZÁLEZ IÑÁRRITU". Metacritic. Retrieved 21 July 2017.
^ "Amores Perros". Rotten Tomatoes. Retrieved 9 June 2016.
^ "21 Grams". 21 November 2003. Retrieved 9 June 2016.
^ "Babel". 27 October 2006. Retrieved 9 June 2016.
^ "Biutiful". 29 December 2010. Retrieved 9 June 2016.
^ "Birdman". 17 October 2014. Retrieved 9 June 2016.
^ "The Revenant (2015)". Rotten Tomatoes. Retrieved 9 June 2016.
^ "Alejandro G. Iñárritu Makes History As First Mexican With 3 Oscars: Best Movie, Best
Director And Best Screenplay". Latin Times. February 23, 2015. Retrieved October 27, 2015.
^ "Alfonso Cuaron, Alejandro Gonzalez Inarritu and Guillermo del Toro". Variety. November 28,
^ "Alejandro Gonzalez Inarritu, James Turrell to be honored by LACMA". Variety. July 15, 2015.
External links
Wikimedia Commons has media related to:
Alejandro González Iñárritu (category)
Alejandro G. Iñárritu on IMDb
Alejandro González Iñárritu at AllMovie
Alejandro González Iñárritu at Rotten Tomatoes
Last edited 8 days ago by Kailash29792
Wikipedia


Wikipedia
Guillermo del Toro
Director, guionista y novelista mexicano
Guillermo del Toro Gómez (Guadalajara, Jalisco; 9 de octubre de 1964) es un director, guionista,
productor y novelista mexicano, galardonado con el Premio Goya y varias veces con el Premio
Ariel. En 2018 se hizo acreedor al Globo de Oro como mejor director por su película La forma del
agua. Un mes después también se le galardonó como Mejor director y Mejor película en la 90ª
edición de los premios Óscar por la misma película.
Guillermo del Toro

Guillermo del Toro in 2017.jpg
Del Toro en el Festival de Sitges de 2017.
Guillermo del Toro Gómez
Nacimiento
9 de octubre de 1964 (53 años)
Bandera de México Guadalajara, Jalisco, México
Nacionalidad
Mexicano
Altura
1,78 m
Familia
Cónyuge
Lorenza Newton
(1986-2017; divorciados)[1][2]
Hijos
2
Ocupación
Director, Guionista, Productor, Novelista
Años activo
desde 1985
Año de debut
1984
Géneros
Fantasía, terror y drama Ver y modificar los datos en Wikidata
Obras notables
Cronos
Hellboy
Pacific Rim
El laberinto del fauno
The Shape of Water
Premios artísticos
Premios Óscar
Mejor película
2017 La forma del agua
Mejor director
Globos de Oro
Mejor director
Premios BAFTA
Mejor director
2007 El laberinto del fauno
Festival de Cannes
Premio Mercedes-Benz
1993 Cronos
Premios Goya
Premios Ariel
Mejor película
1993 Cronos
Mejor dirección
1993 Cronos
Mejor ópera prima
1993 Cronos
Mejor argumento original
1993 Cronos
Mejor guion cinematográfico
1993 Cronos
Premios Cóndor de Plata
Mejor película iberoamericana
Distinciones
Premio Nébula
Premio Hugo a la mejor representación dramática (formato largo) (2007)
León de Oro (2017) Ver y modificar los datos en Wikidata
Firma
Guillermo del Toro signature.svg
Web
Sitio web
www.deltorofilms.com Ver y modificar los datos en Wikidata
Twitter
RealGDT Ver y modificar los datos en Wikidata
Comenzó a filmar en México desde adolescente, cuando estaba en el Instituto de Ciencias, en la
ciudad de Guadalajara. Pasó diez años en diseño de maquillaje y formó su propia compañía,
Necropia, antes de poder ser el productor ejecutivo de su primer filme a los 21 años. Fue
cofundador del Festival de Cine de Guadalajara y creó la compañía de producción Tequila Gang.
Actualmente vive en Los Ángeles, Estados Unidos.
Índice
Biografía Editar
Del Toro nació en Guadalajara, Jalisco, México, hijo de Guadalupe Gómez, actriz, y Federico del
Toro Torres, un negociante en compra venta de automóviles usados.[3] Creció en un hogar
estrictamente católico.[4] Del Toro estudió en el Centro de Investigación y Estudios
Cinematográficos, de la Universidad de Guadalajara.

Guillermo del Toro es un cineasta que ha dirigido una amplia variedad de películas, desde
adaptaciones de cómics (como Hellboy y Blade II), hasta películas de terror y fantasía histórica,
dos de las cuales se sitúan en España en la época de la Guerra Civil Española y el periodo
inmediatamente posterior, durante el régimen dictatorial del general Francisco Franco. Estas
películas, El espinazo del diablo y El laberinto del fauno también comparten aspectos similares:
protagonistas (niños pequeños) y temática (como la relación entre terror y fantasía y el vivir bajo
el yugo de un régimen fascista o dictatorial).
Se caracteriza por imprimir una estética y ambientación espectaculares a sus películas, creando
ambientes tétricos y agobiantes o situaciones mágicas y fantásticas. Su estilo está marcado por su
gusto por la biología y por la escuela de arte simbolista, su fascinación por el mundo fantástico
desde el punto de vista de los cuentos de hadas y su gusto por los temas oscuros. Sus trabajos
incluyen frecuentemente monstruos o seres fantásticos. Del Toro siempre ha afirmado estar
enamorado de los monstruos: «mi fascinación hacia ellos es casi antropológica... los estudio, los
disecciono en algunas de mis películas: quiero saber cómo funcionan, qué aspecto tienen por
dentro y cómo se comportan». También tiene una lista de otras cosas que le fascinan y que se han
convertido en piezas habituales de sus películas: «tengo una especie de fetichismo por los
insectos, la relojería, la maquinaria y los engranajes, monstruos, lugares oscuros, cosas sin
nacer...»
Guillermo del Toro es también amigo de Alfonso Cuarón y Alejandro González Iñárritu, otros dos
directores mexicanos renombrados. Los tres influyen a veces en las decisiones de los demás en
cuestiones de dirección, han sido entrevistados juntos por Charlie Rose y Cuarón fue uno de los
productores de El laberinto del fauno con su compañía Esperanto Filmoj. Los tres fueron
nominados a los Premios Óscar de 2006, celebrados en febrero de 2007: Del Toro fue nominado
por El laberinto del fauno (que obtuvo seis nominaciones, incluyendo mejor película de habla no
inglesa), Cuarón por escribir y editar Children of men e Iñárritu por producir y dirigir Babel.
Su película como director de 2017, La forma del agua, fue proyectada en la sección de
competición principal de la 74ª edición del Festival Internacional de Cine de Venecia,
estrenándose así el 31 de agosto de 2017,[5] y siendo galardonada con el León de Oro a la mejor
película.[6][7]
ProyectosEditar
Del Toro y Matthew Robbins escribieron en 2006 una adaptación de At the mountains of madness,
una novela de horror de H.P. Lovecraft, la cual fue rechazada originalmente por Warner. En 2010
retomó el proyecto que contaría con las actuaciones de Tom Cruise y de Ron Perlman y con la
producción de James Cameron, del cual durante nueve meses se hicieron bosquejos, se diseñaron
criaturas y se construyeron foros hasta que la productora Universal decidió cancelarlo en 2011
porque requería de un costoso presupuesto de $150 millones de dólares para su realización en
Alaska y por la insistencia del tapatío en obtener una clasificación tipo R (restringido a menores
de 17 años que no estén acompañados por un adulto) para hacer justicia a la visión del autor,
aunado a que, tras el estreno de Prometheus, la compañía juzgó que había demasiadas ideas
similares a las de la precuela de Alien. En julio de 2014, Del Toro comentó la posibilidad de
retomar la película bajo la producción de Legendary mostrando su disposición para llevar a cabo
las necesarias variaciones con el fin de pasar de la calificación R a la más comercial PG-13: «voy
a explorar las maneras de hacerla tan terrorífica como sea posible, sólo que no tan explícita».[8]
A finales de enero de 2008, se publicó que dirigiría las películas basadas en la novela El hobbit,
del escritor británico J. R. R. Tolkien, a partir de la que se realizarían dos películas, cuyo estreno
se preveía para 2012 y 2013. Sin embargo, a pesar de haberse involucrado por más de dos años en
el diseño y producción de las adaptaciones al cine de dicha novela,[9] el 31 de mayo de 2010, Del
Toro renunció a la dirección de las cintas, a causa del retraso en el comienzo de la filmación
debido primordialmente a problemas financieros que atravesaba la productora Metro Goldwyn
Mayer.[10][11] Finalmente, ha quedado acreditado sólo como guionista en cada uno de los filmes
de lo que acabó siendo una trilogía.
También en 2008 comenzó a involucrarse en el desarrollo la producción de una nueva adaptación

en tercera dimensión de Pinocho en stop motion. En mayo de 2012, con el financiamiento de The
Jim Henson Co., Del Toro anunció que codirigiría la película con Mark Gustafson ya que, según
declaró, «debía dirigirla por la gran influencia que la historia había generado a lo largo de su
vida»; sin embargo, el inicio del rodaje se fue alargando dado el temor de los estudios ante la
recuperación económica del proyecto, con lo cual en 2013 Del Toro volvió al rol de productor
mientras que la dirección recayó en manos del artista gráfico Gris Grimly. Ante el fracaso en la
taquilla estadounidense de Frankenweenie, el proyecto ha quedado en pausa.[12]
En junio de 2010 se anunció a Del Toro como guionista de una nueva historia de Van Helsing que
podría haber producido para Universal y de la que se especulaba si se haría cargo de la dirección.
[13]
El 22 de julio de 2010 se anunció en la Convención Internacional de Cómics de San Diego que
estaba en desarrollo un nuevo filme basado en la atracción de Disneylandia The haunted mansion,
con Guillermo del Toro involucrado en la escritura del guion y en su producción para Disney. El 7
de agosto de 2012, el realizador declaró al sitio Collider que coescribiría el guion pero que no
dirigiría la película.[14]
Aunque en octubre de 2010 se difundieron rumores de que Del Toro sería el director de la nueva
adaptación cinematográfica de Godzilla al poco tiempo él mismo lo negó.[15]
También en 2010 el cineasta fue cuestionado acerca de la realización de un tercer fime de Hellboy
pero él mismo desestimó cualquier posibilidad. Sin embargo, en julio de 2012, ante los rumores
durante la Comic-Con de que se haría Hellboy III, reveló a Entertainment Weekly: «puedo decir
públicamente que estamos juntos tratando de hacerla». En 2013, a través de las redes sociales, el
actor Ron Perlman instó a los seguidores de la saga a mostrar su apoyo al proyecto con el fin de
que Columbia y Universal confiaran en que era una inversión rentable ante los temores por su
recuperación financiera dado el enorme presupuesto que requería su filmación y el hecho de que
las ganancias de las películas anteriores residieron en las ventas para formatos caseros.
Finalmente, en julio de 2014 Del Toro sentenció: «No vislumbramos esa película en el horizonte,
pero la idea consistía en que Hellboy finalmente se percatara que su destino, su inevitable destino,
era convertirse en la bestia del Apocalipsis y que él y Liz encararan esa parte de su naturaleza. Él
tenía que hacerlo, irónicamente, con el objetivo de ser capaz de derrotar al adversario que tendría
que encarar en la tercera película. Debe convertirse en la bestia del Apocalipsis para ser capaz de
proteger a la humanidad, pero al mismo tiempo se convierte en un ser mucho más obscuro. Es un
final muy interesante a la serie, pero no creo que suceda».[16]
Asimismo, en 2012 se anunció que Marvel tenía en desarrollo una nueva serie de televisión de El
increíble Hulk. Sin embargo, tras la buena recepción del personaje luego del estreno de The
avengers, la productora retomó el plan para hacer una nueva película con el personaje de Bruce
Banner interpretado por Mark Ruffalo por lo que el proyecto televisivo está en pausa.[17]
En septiembre de 2012, Rupert Wyatt dejó la dirección de Dawn of the planet of the apes, ante lo
cual Del Toro apareció entre los directores considerados por 20th Century Fox para hacerse cargo
de esta secuela del reboot de la franquicia, la cual finalmente quedó en manos de Matt Reeves.[18]
Del Toro en el Festival Annecy de 2016.

Antes de la WonderCon de Los Ángeles de 2013, Guillermo del Toro inició conversaciones con
Warner Bros. Pictures y la compañía de historietas DC Comics para trabajar en una adaptación
que reuniera en un grupo de súperhéroes paranormales a personajes clásicos del sello Vertigo
como Etrigan el Demonio, El Espectro, Deadman, Zatanna, John Zatara, Sargón, El Extranjero
Fantasma, John Constantine, La Cosa del Pantano, Madame Xanadú, Sombra y Encantadora, junto
con otros nuevos como Mindwarp, tomando como base el reciente éxito comercial de una serie
basada en Los Nuevos 52 -reinicio de las historias de DC- llamada La Liga de la Justicia Oscura,
de la que también se desprenderían series de películas para cada personaje. Con el aval de las
compañías, Del Toro ya les había entregado para noviembre de 2014 un guion titulado Dark
universe, el cual se mantiene en los planes de producción hasta la fecha, pero de la que se anunció
en junio de 2015 que el director ya no se encontraba vinculado al proyecto.[19]
Su proyecto actual es Pacific Rim: Uprising, producida por Universal Pictures y Legendary
Pictures, cuya fecha de estreno prevista es el 23 de marzo de 2018.
Otras actividades Editar

Del Toro como novelista Editar
En 2009 Guillermo del Toro debutó como escritor al verse publicada su primera novela: Nocturna,
primer volumen de la Trilogía de la Oscuridad (Nocturna, Oscura y Eterna), escrita conjuntamente
con Chuck Hogan y que trata de un virus que transforma a las personas en vampiros. En el
segundo semestre de 2010 Del Toro y Hogan publicaron en todo el mundo Oscura, la segunda
entrega de la trilogía.
Videojuegos Editar
En 2010, Mercury Steam utilizó de la película El laberinto del fauno el personaje del fauno como
parte importante del juego Castlevania Lords of Shadows.
Guillermo del Toro tenía planeado lanzar un videojuego con la compañía THQ titulado INSANE,
un juego de supervivencia como Silent Hill. Se esperaba que el lanzamiento se produjera a
mediados de 2013, pero el 6 de agosto de 2012 el proyecto fue cancelado por la misma THQ. El 6
de enero de 2013, Guillermo del Toro declaró que el proyecto seguía en pie y que estaba en
negociaciones con «una compañía grande» que financiaría la publicación del juego.
Durante la Gamescom 2014 se dio a conocer al público una demostración titulada «P. T.» (siglas
de "Playable Teaser"), la cual consistía en un pequeño juego de horror en primera persona donde
el jugador debe resolver un acertijo sin ninguna clase de pista o instrucción específica dentro de
una pequeña casa, la cual cambia ligeramente de escenarios y genera un ciclo de infinitos sótanos
y pasillos hasta que el jugador pueda resolver el acertijo.
En los créditos de dicha demostración, se puede apreciar el nombre de Guillermo del Toro junto
con Hideo Kojima y Norman Reedus, desvelando al final el título del próximo videojuego que se
estaba desarrollando: Silent Hills, que podría basarse en la clásica franquicia del Survival Horror
Silent Hill aunque segundos después aparecía otro anuncio advirtiendo al público que la
demostración no tiene relación alguna con el juego en el que se estaba trabajando. El proyecto fue
luego cancelado, al parecer por la dificultad que Konami, su desarrolladora, vio venir tras la
posibilidad de no sólo no tener ganancias, sino de también no recuperar lo invertido al crearlo
pues, según trascendió, este "playable teaser" por sí solo costó demasiado a la compañía, lo cual
generó incertidumbre.
Actualmente se encuentra trabajando en Death Stranding junto con Hideo Kojima y Norman
Reedus, juego del que todavía se desconocen muchas cosas.
Filmografía Editar
Guillermo del Toro

firmando un autógrafo de Blade II
Cine Editar
Año Título Acreditado como
Director Guionista ProductorProductor ejecutivo Notas
1985 Doña Herlinda y su hijo Sí
1986 Doña Lupe Sí Sí Sí Cortometraje
1987 Geometría Sí Sí Sí Cortometraje
1993 Cronos Sí Sí
1997 Mimic Sí Sí
1998 Un embrujo Sí
2001 El espinazo del diablo Sí Sí Sí
2002 Asesino en serio Sí
Blade II Sí
2004 Crónicas Sí
Hellboy Sí Sí
2006 Hellboy animated: Sword of storms Productor creativo.
Telefilme de animación.
El laberinto del fauno Sí Sí Sí
2007 Hellboy animated: Blood and iron Productor creativo. Telefilme de
animación.
El orfanato Sí
Hellboy animated: Iron shoes Productor creativo. Cortometraje de animación
en vídeo.
2008 While she was out Sí
Rudo y Cursi Sí
Cosas insignificantes Sí
Hellboy II: The golden army Sí Sí
2009 Rabia Sí
Splice Sí
2010 Megamind Asesor creativo
Biutiful Sí
Los ojos de Julia Sí
2011Kung fu panda 2 Consultor creativo
Don't be afraid ot the dark Sí Sí
Puss in Boots Sí Voz del Comandante
2012 Rise of the guardians Sí
The hobbit: An unexpected journey Sí
The captured bird Sí Cortometraje
2013 The hobbit: The desolation of Smaug Sí
Mamá Sí
Pacific rim Sí Sí Sí
2014 The hobbit: The battle of the five armies Sí
The book of life Sí
Dinner Asesor creativo. Cortometraje.
2015 Crimson Peak Sí Sí Sí
La delgada línea amarilla Sí
2016 Kung fu panda 3 Sí
2017 The shape of water Sí Sí Sí
2018 Pacific rim: Uprising Sí Sí Posproducción
Televisión Editar
Años Programa Papel Notas
1988 - 1989 Hora marcada Director
2014 - 2017 The Strain Co-Creador, Productor ejecutivo Creado junto a Chuck Hogan
2016 - Presente Trollhunters Creador, Productor ejecutivo
Actores recurrentes Editar
Actores Cronos
(1993) Mimic
(1997) El espinazo del diablo
(2001) Blade II
(2002) Hellboy
(2004) El laberinto del fauno
(2006) Hellboy II: The golden army
(2008) Pacific rim
(2013) Crimson Peak
(2015) The shape of water
(2017)
Federico Luppi ✘ ✘ ✘
Ron Perlman ✘ ✘ ✘ ✘ ✘
Norman Reedus ✘ ✘
Doug Jones ✘ ✘ ✘ ✘ ✘ ✘
Fernando Tielve ✘ ✘
Íñigo Garcés ✘ ✘
Luke Goss ✘ ✘
Karel Roden ✘ ✘
Santiago Segura ✘ ✘ ✘ ✘
Ladislav Beran ✘ ✘
Selma Blair ✘ ✘
John Hurt ✘ ✘
Charlie Hunnam ✘ ✘
Burn Gorman ✘ ✘
Crítica Editar
Película
Rotten Tomatoes
Cronos 89%[20]
Mimic 61%[21]
El espinazo del diablo 92%[22]
Blade II 57%[23]
Hellboy 81%[24]
El laberinto del fauno 95%[25]
Hellboy II: The golden army 85%[26]
Pacific rim 72%[27]
Crimson Peak 69%[28]
The shape of water 92%[29]
Galardones Editar
Para el extenso y completo listado de galardones véase, Lista de premios y nominaciones
recibidos de Guillermo del Toro.
Referencias Editar
↑ «Mini Bio». IMDb. Consultado el 14 de febrero de 2018.
↑ Macnab, Geoffrey. «Guillermo del Toro interview: 'I think adversity is good – that is very
Catholic of me'». The Independent. Consultado el 14 de febrero de 2018.
↑ Betancourt, José Díaz (19 de marzo de 2007). «El laberinto del fauno». La gaceta (Universidad
de Guadalajara). Consultado el 6 de marzo de 2018.
↑ Applebaum, Stephen (16 de agosto de 2008). «Like his blue-collar demon hero Hellboy,
Guillermo del Toro has a few issues with authority». The Scotsman. Consultado el 6 de marzo de
2018.
↑ «Venice Competition Includes Films From George Clooney, Guillermo del Toro, Darren
Aronofsky». The Hollywood Reporter. Prometheus Global Media. Consultado el 27 de julio de
2017.
↑ Vicente, Álex (9 de septiembre de 2017). «‘La forma del agua’, de Guillermo del Toro, gana
el León de Oro del festival de Venecia». El País. Consultado el 9 de septiembre de 2017.
↑ «Guillermo del Toro's The Shape of Water wins Venice Golden Lion». The Guardian (Guardian
Media Group). Consultado el 9 de septiembre de 2017.
↑ «Guillermo Del Toro retomará 'At The Mountains Of Madness' - CINEMANÍA».
CINEMANÍA. Consultado el 1 de enero de 2016.
↑ «A por los dólares de la Tierra Media». El País. 12 de febrero de 2008. Consultado el 17 de
junio de 2008.
↑ «Mexicano Guillermo del Toro renuncia a la dirección de "The Hobbit"». AFP. 31 de mayo de
2010. Archivado desde el original el 10 de agosto de 2013. Consultado el 31 de mayo de 2010.
↑ «Guillermo Del Toro departs “The Hobbit”». TheOneRing.net. 31 de mayo de 2010.
Consultado el 31 de mayo de 2010.
↑ «La película sobre 'Pinocho' producida por Guillermo del Toro se retrasa indefinidamente».
www.ecartelera.com. Consultado el 1 de enero de 2016.
↑ «Guillermo del Toro Writing and Producing New Van Helsing». The Film Stage. 10 de junio de
2010. Archivado desde el original el 13 de junio de 2010. Consultado el 10 de junio de 2010.
↑ «Guillermo del Toro Talks JUSTICE LEAUE DARK, HAUNTED MANSION and KUNG FU
PANDA 3». Collider (en inglés estadounidense).
https://plus.google.com/104101817592325028893. Consultado el 1 de enero de 2016.
↑ «Exclusive: Guillermo del Toro on Hellboy 3 & Pacific Rim». Consultado el 21 de diciembre
de 2011.
↑ «Guillermo del Toro confirma que no habrá Hellboy 3». www.cinepremiere.com.mx.
https://plus.google.com/+cinepremiere. Consultado el 1 de enero de 2016.
↑ «No esperen que se concrete la serie de The Hulk con Guillermo del Toro». Consultado el 1 de
enero de 2016.
↑ «Consideran a del Toro para secuela de 'Planeta de simios'». Espectáculos. 26 de septiembre de
2012. Consultado el 1 de enero de 2016.
↑ Dark Universe, Próximo proyecto de Guillermo del Toro, Universo Oscuro de DC Comics al
cine. - lashorasperdidas.com
↑ «Tomatazos: Cronos». Tomatazos. Consultado el 15 de marzo de 2012.
↑ «Tomatazos: Mimic». Tomatazos. Consultado el 15 de marzo de 2012.
↑ «Tomatazos: El Espinazo del Diablo». Tomatazos. Consultado el 15 de marzo de 2012.
↑ «Tomatazos: Blade II». Tomatazos. Consultado el 15 de marzo de 2012.
↑ «Tomatazos: Hellboy». Tomatazos. Consultado el 15 de marzo de 2012.
↑ «Tomatazos: El Laberinto del Fauno». Tomatazos. Consultado el 15 de marzo de 2012.
↑ «Tomatazos: Hellboy II: The Golden Army». Tomatazos (en inglés). Consultado el 15 de marzo
de 2012.
↑ «Rotten Tomatoes: Pacific rim». Rotten Tomatoes (en inglés). Consultado el 17 de enero de
2013.
↑ «Tomatazos: Crimson peak». Tomatazos. Consultado el 17 de enero de 2013.
↑ «Tomatazos: La forma del agua». Tomatazos. Consultado el 31 de enero de 2018.
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Wikipedia
Guillermo del Toro
Not to be confused with Guillermo de Torre.
This name uses Spanish naming customs: the first or paternal family name is del Toro and the
second or maternal family name is Gómez.
Guillermo del Toro Gómez (Spanish: [ɡiˈʝeɾmo ðel ˈtoɾo]; born October 9, 1964) is a Mexican
film director, screenwriter, producer, and novelist. In his filmmaking career, del Toro has shifted
between Spanish-language dark fantasy pieces, such as the gothic horror films The Devil's
Backbone (2001) and Pan's Labyrinth (2006), and more mainstream American action films, such
as the vampire superhero action film Blade II (2002), the supernatural superhero film Hellboy
(2004), its sequel Hellboy II: The Golden Army (2008), and the science fiction monster film
Pacific Rim (2013).
Guillermo del Toro

Guillermo del Toro in 2017.jpg
Del Toro at the Sitges Film Festival in 2017
Born
Guillermo del Toro Gómez[1]
October 9, 1964 (age 53)
Zapopan , Jalisco, Mexico
Residence
Agoura Hills, California, U.S.
Occupation
Film director, screenwriter, producer, novelist
Years active
1985–present
Spouse(s)
Lorenza Newton (m. 1986; div. 2017)[2][3]
Children
2
Signature
Guillermo del Toro signature.svg
His 2017 fantasy film The Shape of Water received critical acclaim and won a Golden Lion at the
74th Venice International Film Festival as well as the Academy Award for Best Picture. Del Toro
also received an Academy Award for Best Director for the film, as well as the Golden Globe
Award, BAFTA Award, Critics' Choice Award, and Directors Guild of America Award.
In addition to his directing works, del Toro is a prolific producer. His producing credits include the
films The Orphanage (2007), Julia's Eyes (2010), Biutiful (2010), Kung Fu Panda 2 (2011), Puss
in Boots (2011), Mama (2013), and Kung Fu Panda 3 (2016).
Del Toro's work is characterised by a strong connection to fairy tales and horror, with an effort to
infuse visual or poetic beauty.[4] He has had a lifelong fascination with monsters, which he
considers symbols of great power.[5]
Del Toro is known for his use of insectile and religious imagery, the themes of Catholicism and
celebrating imperfection, underworld and clockwork motifs, practical special effects, dominant
amber lighting, and his frequent collaborations with actors Ron Perlman and Doug Jones.[6][7] He
is friends with fellow Mexican filmmakers Alfonso Cuarón and Alejandro G. Iñárritu, collectively
known as "The Three Amigos of Cinema."[8]
Contents
Early life
Del Toro promoting his first feature film, Cronos, which was released in 1993
Del Toro was born in Guadalajara, Jalisco, Mexico, the son of Guadalupe Gómez and Federico del
Toro Torres, an automotive entrepreneur.[9] He was raised in a strict Catholic household.[10] Del
Toro studied at the Centro de Investigación y Estudios Cinematográficos, at the University of
Guadalajara.[11]
When del Toro was about eight years old, he began experimenting with his father's Super 8
camera, making short films with Planet of the Apes toys and other objects. One short focused on a
"serial killer potato" with ambitions of world domination; it murdered del Toro's mother and
brothers before stepping outside and being crushed by a car.[12] Del Toro made about 10 short
films before his first feature, including one titled Matilde, but only the last two, Doña Lupe and
Geometria, have been made available.[13] He wrote four episodes and directed five episodes of
the cult series La Hora Marcada, along with other Mexican filmmakers such as Emmanuel
Lubezki and Alfonso Cuarón.[14]
Del Toro studied special effects and make-up with special-effects artist Dick Smith.[15] He spent
10 years as a special-effects make-up designer and formed his own company, Necropia. He also
co-founded the Guadalajara International Film Festival. Later in his directing career, he formed his
own production company, the Tequila Gang.[16]
In 1997, at the age of 33, Guillermo was given a $30 million budget from Miramax Films to shoot
another film, Mimic. He was ultimately unhappy with the way Miramax had treated him during
production, which led to his friend James Cameron almost coming to blows with Miramax co-
founder and owner Harvey Weinstein during the 70th Academy Awards.[17]
Career
Del Toro has directed a wide variety of films, from comic book adaptations (Blade II, Hellboy) to
historical fantasy and horror films, two of which are set in Spain in the context of the Spanish
Civil War under the authoritarian rule of Francisco Franco. These two films, The Devil's Backbone
and Pan's Labyrinth, are among his most critically acclaimed works. They share similar settings,
protagonists and themes with the 1973 Spanish film The Spirit of the Beehive, widely considered
to be the finest Spanish film of the 1970s.[18]
I cannot pontificate about it, but by the time I'm done, I will have done one movie, and it's all the
movies I want.
People say, you know, "I like your Spanish movies more than I like your English-language movies
because they are not as personal", and I go "Fuck, you're wrong!" Hellboy is as personal to me as
Pan's Labyrinth. They're tonally different, and yes, of course you can like one more than the other
– the other one may seem banal or whatever it is that you don't like. But it really is part of the
same movie. You make one movie.
Hitchcock did one movie, all his life.
—Guillermo del Toro, Twitch Film, January 15, 2013[4]
Del Toro views the horror genre as inherently political, explaining, "Much like fairy tales, there
are two facets of horror. One is pro-institution, which is the most reprehensible type of fairy tale:
Don't wander into the woods, and always obey your parents. The other type of fairy tale is
completely anarchic and antiestablishment."[19]
He is close friends with two other prominent and critically praised Mexican filmmakers Alfonso
Cuarón and Alejandro González Iñárritu.[20] The three often influence each other's directorial
decisions, and have been interviewed together by Charlie Rose. Cuarón was one of the producers
of Pan's Labyrinth, while Iñárritu assisted in editing the film. The three filmmakers, referred to as
the "Three Amigos" founded the production company Cha Cha Cha Films, whose first release was
2008's Rudo y Cursi.[21][22]
Del Toro has also contributed to the web series Trailers From Hell.[23]
Del Toro being interviewed in 2002

In April 2008, del Toro was hired by Peter Jackson to direct the live-action film adaptation of J. R.
R. Tolkien's The Hobbit. On May 30, 2010, del Toro left the project due to extended delays
brought on by MGM's financial troubles. Although he did not direct the films, he is credited as co-
writer in An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies.
[24]
On December 1, 2008, del Toro expressed interest in a stop-motion remake to Roald Dahl's novel
The Witches, collaborating with Alfonso Cuarón.[25] However, no update of this project has been
made since the announcement.
On June 2, 2009, del Toro's first novel, The Strain, was released. It is the first part of an
apocalyptic vampire trilogy co-authored by del Toro and Chuck Hogan. The second volume, The
Fall, was released on September 21, 2010. The final installment, The Night Eternal, followed in
October 2011. Del Toro cites writings of Antoine Augustin Calmet, Montague Summers and
Bernhardt J. Hurwood among his favourites in the non-literary form about vampires.[26]
On December 9, 2010, del Toro launched Mirada Studios with his long-time cinematographer
Guillermo Navarro, director Mathew Cullen and executive producer Javier Jimenez. Mirada was
formed in Los Angeles, California to be a collaborative space where they and other filmmakers
can work with Mirada's artists to create and produce projects that span digital production and
content for film, television, advertising, interactive and other media. Mirada launched as a sister
company to production company Motion Theory.[27]
Del Toro directed Pacific Rim, a science fiction film based on a screenplay by del Toro and Travis
Beacham. In the film, giant monsters rise from the Pacific Ocean and attack major cities, leading
humans to retaliate with gigantic mecha suits called Jaegers. Del Toro commented, "This is my
most un-modest film, this has everything. The scale is enormous and I'm just a big kid having
fun."[28] The film was released on July 12, 2013 and grossed $411 million at the box office.
Del Toro directed "Night Zero", the pilot episode of The Strain, a vampire horror television series
based on the novel trilogy of the same name by del Toro and Chuck Hogan. FX has commissioned
the pilot episode, which del Toro scripted with Hogan and was filmed in Toronto in September
2013.[29][30] FX ordered a thirteen-episode first season for the series on November 19, 2013, and
series premiered on July 13, 2014.[31]
After The Strain's pilot episode, del Toro directed Crimson Peak, a gothic horror film he co-wrote
with Matthew Robbins and Lucinda Cox. Del Toro has described the film as "a very set-oriented,
classical but at the same time modern take on the ghost story", citing The Omen, The Exorcist and
The Shining as influences. Del Toro also stated, "I think people are getting used to horror subjects
done as found footage or B-value budgets. I wanted this to feel like a throwback." Jessica
Chastain, Tom Hiddleston, Mia Wasikowska, and Charlie Hunnam starred in the film.[32][33]
Production began February 2014 in Toronto, with an April 2015 release date initially planned. The
studio later pushed the date back to October 2015, to coincide with the Halloween season.[34]
Guillermo del Toro in Annecy in 2016

He was selected to be on the jury for the main competition section of the 2015 Cannes Film
Festival.[35][36]
Del Toro directed the Cold War drama film The Shape of Water, starring Sally Hawkins, Octavia
Spencer, and Michael Shannon.[37]
Filming began on August 15, 2016 in Toronto,[38][39][40] and wrapped twelve weeks later.[41]
On August 31, 2017, the movie premiered in the main competition section of the 74th Venice
International Film Festival, where it was awarded the Golden Lion for best film, making Del Toro
the first Mexican director to win the award.[42][43] For his work, del Toro won the Academy
Award for Best Director and the Academy Award for Best Picture.
At the D23 Expo in 2009, his Double Dare You production company and Disney announced a
production deal for a line of darker animated films. The label was announced with one original
animated project, Trollhunters.[44][45] However, del Toro moved his deal to DreamWorks in late
2010.[46] Trollhunters was released to great acclaim on Netflix and "is tracking to be its most-
watched kids original ever".[47]
In 2017, Del Toro had an exhibition of work at the Minneapolis Institute of Art titled Guillermo
del Toro: At Home with Monsters, featuring his collection of paintings, drawings, maquettes,
artifacts, and concept film art. [48] The exhibition ran from March 5, 2017 - May 28,
2017[citation needed].
Personal life
He was married to Lorenza Newton, cousin of Mexican singer Guadalupe Pineda. They have two
daughters, Marisa and Mariana. He started dating Lorenza when both were studying at the
Instituto de Ciencias in Guadalajara. Del Toro and Newton separated in early 2017, and divorced
in September of the same year. He maintains residences in Toronto and Agoura Hills, California,
and returns to Guadalajara every six weeks to visit his family.[49][50]
Guillermo del Toro in 2013

He also owns two separate houses exclusively to house his books, poster artwork and other
belongings pertaining to his work, explaining, "As a kid, I dreamed of having a house with secret
passages and a room where it rained 24 hours a day. The point of being over 40 is to fulfill the
desires you've been harboring since you were 7."[19]
Politics
In a 2007 interview, del Toro described his political position as "a little too liberal". He pointed out
that the villains in most of his films, such as the industrialist in Cronos, the Nazis in Hellboy, and
the Francoists in Pan's Labyrinth, are united by the common attribute of authoritarianism. "I hate
structure. I'm completely anti-structural in terms of believing in institutions. I hate them. I hate
any institutionalised social, religious, or economic holding."[51]
Religion
Del Toro was raised Roman Catholic. In a 2009 interview with Charlie Rose, he described his
upbringing as excessively "morbid," saying, "I mercifully lapsed as a Catholic ... but as Buñuel
used to say, 'I'm an atheist, thank God.'" Though insisting that he is spiritually "not with Buñuel"
and that "once a Catholic, always a Catholic, in a way." He concluded, "I believe in Man. I believe
in mankind, as the worst and the best that has happened to this world."[52] He has also responded
to the observation that he views his art as his religion by saying, "It is. To me, art and storytelling
serve primal, spiritual functions in my daily life. Whether I'm telling a bedtime story to my kids or
trying to mount a movie or write a short story or a novel, I take it very seriously."[19]
Nevertheless, he became a "raging atheist" after seeing a pile of human fetuses while volunteering
at a Mexican hospital.[53] He has claimed to be horrified by the way the Catholic Church
complied with Francoist Spain, down to having a character in his film quote what actual priests
would say to Republican faction members in concentration camps.[54] Upon discovering the
religious beliefs of C.S. Lewis, Del Toro has stated that he no longer feels comfortable enjoying
his work, despite doing so beforehand.[55] He describes Lewis as "too Catholic" for him, despite
the fact that Lewis was never a Catholic.[56]
Personal tastes
In 2010, del Toro revealed that he was a fan of video games, describing them as "the comic books
of our time" and "a medium that gains no respect among the intelligentsia". He has stated that he
considers Ico and Shadow of the Colossus to be masterpieces.[57]
He has cited Gadget Invention, Travel, & Adventure, Cosmology of Kyoto, Asteroids and Galaga
as his favorite games.[58] He was also co-director of the video game P.T. along with Hideo
Kojima.[citation needed]
Del Toro's favorite film monsters are Frankenstein's monster, the Alien, Gill-man, Godzilla, and
the Thing.[59] Frankenstein in particular has a special meaning for him, in both film and literature,
as he claims he has a "Frankenstein fetish to a degree that is unhealthy," and that it's "the most
important book of my life, so you know if I get to it, whenever I get to it, it will be the right way".
[60] He has Brazil, Nosferatu, Freaks and Bram Stoker's Dracula listed among his favourite
movies. [61][62]
Del Toro is also highly interested in Victorian culture. He said: "I have a room of my library at
home called ‘The Dickens room’. It has every work by Dickens, Wilkie Collins and many
other Victorian novelists, plus hundreds of works about Victorian London and its customs,
etiquette, architecture. I’m a Jack The Ripper aficionado, too. My museum-slash-home has a
huge amount of Ripperology in it".[63]
Father's 1997 kidnapping

Around 1997, his father Federico del Toro Torres was kidnapped in Guadalajara. Del Toro's family
had to pay twice the amount originally asked for as a ransom; immediately after learning of the
kidnapping, fellow filmmaker James Cameron, a friend of Del Toro since they met during the
production of 1993's Cronos, withdrew over $1 million in cash from his bank account and gave it
to Del Toro to help pay the ransom.[64] After the ransom was paid, Federico was released, having
spent 72 days kidnapped; the culprits were never apprehended, and the money of both Cameron
and Del Toro's family was never recovered.[64] The event prompted del Toro, his parents, and his
siblings to move abroad. In a 2008 interview with Time magazine, he said this about the
kidnapping of his father: "Every day, every week, something happens that reminds me that I am in
involuntary exile [from my country]."[65][19]
Recurring collaborators
Del Toro at the San Diego Comic-Con in 2015

Screenwriter
Matthew Robbins (Mimic, Don't Be Afraid of the Dark, Crimson Peak)
Producers
Bertha Navarro (Cronos, Under a Spell, The Devil's Backbone, I Murder Seriously, Chronicles,
Pan's Labyrinth, Insignificant Things, Rage)
Alfonso Cuarón (Chronicles, Pan's Labyrinth)
Lawrence Gordon, Lloyd Levin and Mike Richardson (Hellboy, Hellboy II: The Golden Army)
Jon Jashni and Thomas Tull (Pacific Rim, Crimson Peak)
J. Miles Dale (The Strain, The Shape of Water)
Cinematographers
Guillermo Navarro (Cronos, The Devil's Backbone, Hellboy, Pan's Labyrinth, Hellboy II: The
Golden Army, Pacific Rim)
Dan Laustsen (Mimic, Crimson Peak, The Shape of Water)
Gabriel Beristain (Blade II, The Strain)
Composers
Javier Navarrete (The Devil's Backbone, Pan's Labyrinth)
Marco Beltrami (Mimic, Blade II, Hellboy, Don't Be Afraid of the Dark)
Fernando Velázquez (The Orphanage, Julia's Eyes, Mama, Crimson Peak)
Ramin Djawadi (Pacific Rim, The Strain)
Alexandre Desplat (Trollhunters, The Shape of Water)
Editors
Bernat Vilaplana (Pan's Labyrinth, Hellboy II: The Golden Army, Crimson Peak)
Peter Amundsen (Blade II, Hellboy, Pacific Rim (with John Gilroy))
Sidney Wolinsky (The Strain, The Shape of Water)
Actors
Since del Toro's first feature film Cronos, he has collaborated with Ron Perlman on a total of six
films and one television series.
Federico Luppi (Cronos, The Devil's Backbone, Pan's Labyrinth)
Ron Perlman (Cronos, Blade II, Hellboy, Hellboy II: The Golden Army, Pacific Rim, Book of
Life, Trollhunters)
Norman Reedus (Mimic, Blade II, PT / Silent Hills)
Doug Jones (Mimic, Hellboy, Pan's Labyrinth, Hellboy II: The Golden Army, The Strain, Crimson
Peak, The Shape of Water)
Fernando Tielve (The Devil's Backbone, Pan's Labyrinth)
Íñigo Garcés (The Devil's Backbone, Pan's Labyrinth)
Luke Goss (Blade II, Hellboy II: The Golden Army)
Karel Roden (Blade II, Hellboy)
Santiago Segura (Blade II, Hellboy, Hellboy II: The Golden Army, Pacific Rim)
Ladislav Beran (Blade II, Hellboy)
John Hurt (Hellboy, Hellboy II: The Golden Army, The Strain)
Belén Rueda (The Orphanage, Julia's Eyes)
David Bradley (The Strain, Trollhunters)
Diego Luna (Rudo y Cursi, Book of Life)
Jessica Chastain (Mama, Crimson Peak)
Javier Botet (Mama, The Strain, Crimson Peak)
Charlie Hunnam (Pacific Rim, Crimson Peak)
Burn Gorman (Pacific Rim, Crimson Peak)
Robert Maillet (Pacific Rim, The Strain)
Leslie Hope (The Strain, Crimson Peak)
Jonathan Hyde (The Strain, Crimson Peak, Trollhunters)
Tom Hiddleston (Crimson Peak, Trollhunters)
Filmography
Del Toro at the 2015 Cannes Film Festival

Main article: Guillermo del Toro filmography
Feature films directed
Cronos (1993)
Mimic (1997)
The Devil's Backbone (2001)
Blade II (2002)
Hellboy (2004)
Pan's Labyrinth (2006)
Hellboy II: The Golden Army (2008)
Pacific Rim (2013)
Crimson Peak (2015)
The Shape of Water (2017)
Bibliography
Year Title
2009 The Strain
2010 The Fall
2011The Night Eternal
2016 Trollhunters
Awards and nominations
Main article: List of awards and nominations received by Guillermo del Toro
See also
Cinema of Mexico
Guillermo del Toro's unrealized projects
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Institute of Art". Minneapolis Institute of Art. Retrieved 2018-02-17.
^ "Guillermo del Toro". IMDb.
^ "Going to Mexico? Director Guillermo del Toro has some recommendations". Toronto Star.
2018-02-10. Retrieved 2018-03-06.
^ "Guillermo del Toro: "I hate structure."". YouTube. August 6, 2007. Retrieved May 23, 2012.
^ "A conversation with Guillermo del Toro". Charlie Rose. 2009-07-02. Archived from the
original on 2010-03-13. Retrieved 2010-03-14.
^ Zalewski, Daniel (February 7, 2011). "Show the Monster". The New Yorker. Retrieved
September 29, 2017.
^ "PAN'S LABYRINTH—Interview With Guillermo Del Toro". Screenanarchy.com. 17 December
2006. Retrieved 30 October 2017.
^ McDonald, Keith; Clark, Roger (27 February 2014). "Guillermo del Toro: Film as Alchemic
Art". Bloomsbury Publishing USA. Retrieved 30 October 2017 – via Google Books.
^ "Why C.S. Lewis Never Became a Catholic".
^ Staff (August 26, 2008). "Hellboy Director Talks Gaming". Edge Online. Archived from the
original on April 14, 2009. Retrieved May 23, 2012.
^ "Hellboy Director Talks Gaming". Next-gen.biz. 2008-08-26. Archived from the original on
2010-08-12. Retrieved 2011-10-27.
^ Mr. Beaks (August 24, 2011). "Guillermo Del Toro And Mr. Beaks Discuss DON'T BE AFRAID
OF THE DARK, PACIFIC RIM And The Far-From-Used-Up Future Of AT THE MOUNTAINS
OF MADNESS!". aintitcool.com. Retrieved September 29, 2012.
^ "Guillermo Del Toro Speaks On The Set Of 'Mama' - The State of Horror, Overextending
Himself, Battling the MPAA, Frankenstein And Much More - /Film". Slashfilm.
^ "5 of Guillermo del Toro's Favorite Surrealistically Creepy Films". 11 October 2017.
^ "Guillermo Del Toro's 11 Rules for Becoming a Visionary Filmmaker". 21 June 2016.
^ "Guillermo Del Toro Reveals His Influences". 15 October 2014.
^ a b Wakeman, Gregory (2014). "How James Cameron Saved Guillermo del Toro's Father From
Mexican Kidnappers". Cinema Blend. Retrieved March 6, 2018.
^ "'Somos una familia de cirqueros'" (in Spanish). El Mañana. July 13, 2008. Archived from the
original on July 14, 2008. Retrieved July 11, 2015.
External links
Wikimedia Commons has media related to Guillermo del Toro.
Wikiquote has quotations related to: Guillermo del Toro
Guillermo del Toro on IMDb
Guillermo del Toro at AllMovie
Del Toro Webcast on BAFTA.org
Premiere Magazine: Inside Del Toro's Sketchbook
Last edited 9 days ago by Volvlogia
Wikipedia

Wikipedia
David Cronenberg
Director de cine y guionista canadiense
David Paul Cronenberg (Toronto, 15 de marzo de 1943) es un director de cine y guionista
canadiense. Es uno de los principales exponentes de lo que se ha denominado horror corporal, el
cual explora los miedos humanos ante la transformación física y la infección. Inaugura y abandera
el concepto de la "nueva carne", eliminando las fronteras entre lo mecánico y lo orgánico. En sus
películas, usualmente se mezcla lo psicológico con lo físico. En la primera mitad de su carrera
exploró estos temas en el género fantástico, principalmente a través del horror y de la ciencia
ficción, aunque su trabajo hace tiempo se ha extendido más allá de estos géneros. Junto a John
Carpenter y a Wes Craven se le ha llegado a considerar dentro de un grupo denominado de "las
tres C" del cine de horror contemporáneo.[1] En 2002, fue nombrado Oficial de la Orden de
Canadá.
David Cronenberg
David Cronenberg Cannes 2014.jpg
Cronenberg en el Festival de Cannes de 2014.
David Paul Cronenberg
Nacimiento
15 de marzo de 1943 (75 años)
Bandera de Canadá Toronto, Ontario, Canadá
Nacionalidad
Canadiense
Religión
Jedi Ver y modificar los datos en Wikidata
Altura
1,75 m
Familia
Cónyuge
Margaret Hindson (1970-1977)
Caroline Zeifman (1979-presente)
Hijos
Cassandra Cronenberg (1972)
Caitlin Cronenberg (1984)
Brandon Cronenberg (1980)
Educación
Alma máter
Universidad de Toronto Ver y modificar los datos en Wikidata
Ocupación
director de cine, productor, guionista, actor
Cargos ocupados
Año de debut
1966
Año de retiro
presente
Premios artísticos
Festival de Cannes
Premio del Jurado
1996 Crash
Distinciones
Caballero de la Legión de Honor
Caballero de las Artes y las Letras
Compañero de la Orden de Canadá
Orden de Ontario
Orden de las Artes y las Letras
Premio especial del jurado del festival de Angoulême
Academy of Canadian Cinema and Television Award for Best Motion Picture (1989)
Carrosse d'or (2006) Ver y modificar los datos en Wikidata
Índice
Biografía Editar
Nació en Toronto en el seno de una familia de inmigrantes judíos provenientes de Lituania; su
padre, Milton Cronenberg, era escritor, editor y periodista, su madre, Esther Sumberg, era pianista.
Cronenberg creció rodeado de libros, en una familia culta y amante de las artes. Se crio en la
comunidad hebrea de Toronto, en donde conoció a Ivan Reitman, futuro director y productor de
sus primeras películas. Asistió al Harbord Collegiate Institute en su juventud y luego se graduó de
la carrera de literatura en la Universidad de Toronto. Ha citado a William S. Burroughs (autor cuya
obra, "Naked Lunch" adaptó para el cine) y a Vladimir Nabokov como sus influencias.
Obra Editar
Después de dos cortometrajes, realiza dos largometrajes experimentales (Stereo, en blanco y
negro, y Crimes of the Future, en color), en los cuales Cronenberg se asoció con Ivan Reitman
para producir sus filmes, llegando a obtener financiamiento del gobierno canadiense.
Cronenberg alternó junto a sus originales películas de horror corporal como Shivers, un peculiar
proyecto que reflejaba su interés por las carreras de autos y las pandillas de motociclistas Fast
Company. Rabia explotó el insospechado talento en la actuación de la estrella porno Marilyn
Chambers (Cronenberg había elegido para el papel a una joven desconocida llamada Sissy
Spacek). Rabia resultó una revelación tras su distribución internacional y sus dos siguientes
películas de horror ganaron un apoyo más sólido.
Durante su carrera, sus películas han seguido una progresión definida, un movimiento del mundo
social a la vida interior. En sus primeras cintas, experimentos científicos modificaban cuerpos
humanos, lo cual daba lugar a alteraciones en el sistema social (como en Shivers, Rabia o The
Brood). En 1981 escribe y dirige Scanners, cinta multipremiada en festivales de cine fantástico,
que trata de modificaciones genéticas realizadas a mujeres embarazadas por una corporación y que
dan como resultado telépatas con poderes telequinéticos.
En un periodo posterior, es el científico el que resulta alterado por su experimento (como en The
Fly). Este periodo concluye con Dead Ringers, una de sus mejores obras, en la cual un par de
ginecólogos gemelos viven íntimamente vinculados, a un grado donde la individualidad de cada
uno se diluye, en medio de su adicción a las drogas.
Sus películas recientes tienden más hacia la exploración psicológica del individuo, a menudo
contrastando realidades subjetivas y objetivas (M. Butterfly, eXistenZ, Spider).
Cronenberg ha dicho que sus películas deberían ser vistas "desde el punto de vista de la
enfermedad", lo cual se ejemplifica claramente en los personajes de Shivers después de que han
llegado a infectarse con los parásitos anárquicos. Esta perspectiva está ilustrada también en The
Fly cuando el protagonista descubre que ha sido genéticamente fusionado con un insecto, tras lo
cual el personaje en lugar de pensar "Mi telepod se ha descompuesto" podría decir "Mi telepod se
ha transformado en un empalmador genético".
Igualmente, en Crash (1996), la gente que ha resultado herida en accidentes de tránsito asume su
traumatismo como "un fertilizante, en vez de un evento destructivo". En 2006, Cronenberg habría
manifestado que estaba molesto con Paul Haggis por haber elegido el mismo nombre para su
galardonada película Crash, declarando que no sólo era éticamente incorrecto, sino irritante
también. Después de Videodrome (1983), The Dead Zone (1983) y The Fly (1986), Cronenberg no
ha vuelto a trabajar dentro del sistema de grandes estudios y de altos presupuestos de Hollywood,
aunque ha recibido ocasionales ofrecimientos. Por ejemplo, en algún momento fue considerado
por George Lucas como un posible director para la película Star Wars: Episode VI - Return of the
Jedi (la cual inicialmente le fue ofrecida a David Lynch) pero finalmente fue desestimado.
Posteriormente, Cronenberg trabajó por casi un año en una adaptación de Total Recall pero tuvo
que desistir después de "diferencias creativas" con los productores Dino de Laurentiis y Ronald
Shusett. La película fue realizada finalmente por Paul Verhoeven. Luego, a fines de la década de
1990, se anunció a Cronenberg como director de Basic Instinct 2, secuela de otra película de Paul
Verhoeven pero se retiró del proyecto tras desaveniencias con la productora y protagonista Sharon
Stone.
El thriller, A History of Violence (2005), es una de las cintas de más alto presupuesto y de mayor
recepción masiva que ha filmado a la fecha. Él ha dicho que la decisión de dirigirla fue motivada
por haber tenido que bajar su salario debido al bajo presupuesto del filme Spider, la cual ha
resultado una de sus películas más aclamadas por la crítica.
Cronenberg ha contratado a Howard Shore para componer la banda sonora en prácticamente todas
sus películas. Otros colaboradores regulares incluyen a su hermana, la diseñadora de vestuario
Denise Cronenberg, al actor Robert Silverman, al director de arte Carol Spier, al editor Ronald
Sanders, al editor de sonido Bryan Day y, de 1979 a 1988, el director de fotografía Mark Irwin.
Desde Dead Ringers (1988), Cronenberg ha trabajado con el director de fotografía Peter
Suschitzky en cada una de sus películas. Cronenberg ha dicho repetidamente que el trabajo de
Suschitzky en Star Wars Episode V: The Empire Strikes Back la hizo la más hermosa película de
ciencia ficción que haya visto, lo cual fue un factor que lo motivó a invitarlo a trabajar en Dead
Ringers.
A la par de la lealtad que muestra con sus colaboradores clave, Cronenberg continúa siendo un
cineasta de tierra canadiense incondicional, ya que casi todas sus películas –incluyendo las de
grandes estudios hollywoodenses The Dead Zone y The Fly– han sido filmadas en su provincia
natal de Ontario (con excepción de M. Butterfly y Spider, las cuales fueron filmadas en su mayor
parte en China e Inglaterra, respectivamente, así como de Rabia, que aunque fue filmada en
Canadá, sus locaciones fueron en los alrededores de la ciudad de Montreal). Sus películas
recientes han sido financiadas, al menos parcialmente, por Telefilm Canada y Cronenberg es un
partidario de que los proyectos fílmicos sean apoyados por los gobiernos, argumentando que "cada
país necesita un sistema de fondos gubernamentales con el fin de tener un cine nacional frente a
Hollywood".
Cronenberg estrenó en 2011 en el Festival Internacional de Cine de Venecia Un método peligroso,

cuyo argumento gira alrededor de las relaciones profesionales y afectivas surgidas entre Sabina
Spielrein, Carl Gustav Jung y Sigmund Freud. Sus protagonistas son Keira Knightley (Spielrein),
Michael Fassbender (Jung) y Viggo Mortensen (Freud).[2] También en 2011 filmó Cosmopolis,
adaptación de la novela homónima de Don Delillo.
Ya en 2014 estrenó Maps to the Stars, con Julianne Moore, Robert Pattinson o John Cusack.[3]
Cronenberg también se ha estrenado recientemente como novelista, publicando en 2016 (España),

"Consumidos" (Anagrama, 2016)
Como actor Editar
En 2012.
Cronenberg también ha aparecido como actor en películas de otros directores. La mayoría de sus
papeles son cameos, como en Into The Night de su amigo John Landis (donde conoció a Jeff
Goldblum a quien escogió como protagonista de The Fly) y en la serie televisiva Alias, aunque en
alguna ocasión ha interpretado papeles principales, como en Nightbreed o Last Night. También
aparece en el papel de un asesino a sueldo al final de la película industrial de Gus Van Sant To Die
For y como sacerdote en Resurrección de Russell Mulcahy. No ha interpretado ningún papel
relevante en alguna de sus películas aunque puede ser visto fugazmente entre la multitud de
obsesos sexuales en Shivers, en una breve aparición como ginecólogo en The Fly y una parte
hablada fuera de cuadro como un aparcador en Crash.
Filmografía Editar
Stereo (1969)
Crimes of the Future (1970)
Shivers or They Came From Within (1975)
Rabid (1977)
Fast Company (1979)
The Brood (1979)
Scanners (1981)
Videodrome (1983)
The Dead Zone (1983)
The Fly (1986)
Dead Ringers (1988)
Naked Lunch (1991)
M. Butterfly (1993)
Crash (1996)
eXistenZ (1999)
Spider (2002)
A History of Violence (2005)
Eastern Promises (2007)
Un método peligroso (2011)
Cosmopolis (2012)
Maps to the Stars (2014)
Cortometrajes y episodios de TV Editar
Transfer (1966, cortometraje)
From the Drain (1967, cortometraje)
Tourettes (TV) (1971)
Secret Weapons (TV, episodio de la serie Programme X) (1972)
The Victim (TV, episodio de la serie Peep Show de la CBC) (1975)
The Lie Chair (TV, episodio de la serie Peep Show de la CBC) (1975)
The Italian Machine (TV, episodio de la serie Teleplay de la CBC) (1976)
Camera, episodio de Short 6 (2001)
At the Suicide of the Last Jew in the World in the Last Cinema in the World, episodio de Chacun
son cinéma (2007)
Intervenciones como actor Editar
Into the Night (1985)
Nightbreed (1990)
To Die For (1995)
Last Night (1998)
Resurrection (1999)
Jason X (2001)
Referencias Editar
↑ «Grandes Maestros, las 3 "C" del terror». Consultado el 2 de noviembre de 2011.
↑ «Primer vistazo a la cinta de Cronenberg, 'A Dangerous Method'». Consultado el 6 de julio de
2010.
↑ «Hollywood (según Cronenberg) no convence en Cannes». Consultado el 31 de mayo de 2014.
David Cronenberg Bibliography (via UC Berkeley)
Wikimedia Commons alberga una categoría multimedia sobre David Cronenberg.
David Cronenberg en Internet Movie Database (en inglés)
Senses of Cinema: Great Directors Critical Database
The Plasma Pool: David Cronenberg Fan Site
A fine fan site
An article on Salon.com
An interview, circa 1999
Director's statement by David Cronenberg on 'Stereo' and 'Crimes of the Future', 2005
Biografía de David Cronenberg
Deleuze y Cronenberg
Entrevista de Eduard Punset con David Cronenberg.
Crítica/reseña de Consumed, primer libro de David Cronenberg
Última edición hace 4 días por BOT-Superzerocool

Wikipedia
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Wikipedia
David Cronenberg
David Paul Cronenberg, CC OOnt FRSC (born March 15, 1943) is a Canadian director,
screenwriter and actor.[1] He is one of the principal originators of what is commonly known as the
body horror genre, with his films exploring visceral bodily transformation, infection, technology,
and the intertwining of the psychological with the physical. In the first half of his career, he
explored these themes mostly through horror and science fiction films such as Scanners (1981)
and Videodrome (1983), although his work has since expanded beyond these genres.
David Cronenberg
CC OOnt FRSC
David Cronenberg 2012-03-08.jpg
Cronenberg at the 2012 Genie Awards
Born
David Paul Cronenberg
March 15, 1943 (age 75)
Toronto, Ontario, Canada
Nationality
Canadian
Alma mater
University of Toronto
Occupation
Director, screenwriter, actor
Years active
1966–present
Spouse(s)
Margaret Hindson
(m. 1970; div. 1977)
Carolyn Zeifman
(m. 1979; d. 2017)
Children
3, including Brandon Cronenberg
Cronenberg's films have polarized audiences and critics alike; he has earned critical acclaim and
has sparked controversy for his depictions of gore and violence.[2][3] The Village Voice called
him "the most audacious and challenging narrative director in the English-speaking world".[4] His
films have won numerous awards, including the Jury Prize at the Cannes Film Festival for his film
Crash (1996).[5]
Early life Edit

Born in Toronto, Ontario, Cronenberg is the son of Esther (née Sumberg), a musician, and Milton
Cronenberg, a writer and editor.[6] He was raised in a "middle-class progressive Jewish family".
[7][8] His father was born in Baltimore, Maryland, and his mother was born in Toronto; all of his
grandparents were from Lithuania.[9]
He began writing as a child and wrote constantly. He attended high school at Harbord Collegiate
Institute and North Toronto Collegiate Institute. A keen interest in science, especially botany and
lepidopterology, led him to enter the Honours Science program at the University of Toronto in
1963, but he switched to Honours English Language and Literature later in his first year.
Cronenberg's fascination with the film Winter Kept Us Warm (1966), by classmate David Secter,
sparked his interest in film. He began frequenting film camera rental houses, learning the art of
filmmaking, and made two 16mm films (Transfer and From the Drain). Inspired by the New York
underground film scene, he founded the Toronto Film Co-op with Iain Ewing and Ivan Reitman.
After taking a year off to travel in Europe, he returned to Canada in 1967 and graduated from
University College at the top of his class.[10]
Career Edit
After two short sketch films and two short art-house features (the black-and-white Stereo and the
colour Crimes of the Future) Cronenberg went into partnership with Ivan Reitman. The Canadian
government provided financing for his films throughout the 1970s. He alternated his signature
"body horror" films such as Shivers with projects reflecting his interest in car racing and bike
gangs (Fast Company). Rabid provided pornographic actress Marilyn Chambers with work in a
different genre. (Cronenberg's first choice for the role had been a then little-known Sissy Spacek).
Rabid was a breakthrough with international distributors, and his next two horror features gained
stronger support.
Cronenberg's films follow a definite progression: a movement from the social world to the inner
life. In his early films, scientists modify human bodies, which results in the breakdown of social
order (e.g. Shivers, Rabid). In his middle period, the chaos wrought by the scientist is more
personal, (e.g. The Brood, Scanners, Videodrome). In the later middle period, the scientist himself
is altered by his experiment (e.g. his remake of The Fly). This trajectory culminates in Dead
Ringers in which a twin pair of gynecologists spiral into codependency and drug addiction. His
later films tend more to the psychological, often contrasting subjective and objective realities
(eXistenZ, M. Butterfly, Spider).[citation needed]
Cronenberg has cited William S. Burroughs and Vladimir Nabokov as influences.[11] Perhaps the
best example of a film that straddles the line between his works of personal chaos and
psychological confusion is Cronenberg's 1991 "adaptation" of Naked Lunch (1959), his literary
hero William S. Burroughs' most controversial book. The novel was considered "unfilmable", and
Cronenberg acknowledged that a straight translation into film would "cost 400 million dollars and
be banned in every country in the world". Instead—much like in his earlier film, Videodrome—he
consistently blurred the lines between what appeared to be reality and what appeared to be
hallucinations brought on by the main character's drug addiction. Some of the book's "moments"
(as well as incidents loosely based upon Burroughs' life) are presented in this manner within the
film. Cronenberg stated that while writing the screenplay for Naked Lunch (1991), he felt a
moment of synergy with Burroughs' writing style. He felt the connection between his
screenwriting style and Burroughs' prose style was so strong, that he jokingly remarked that
should Burroughs pass on, "I'll just write his next book."[citation needed]
Cronenberg has said that his films should be seen "from the point of view of the disease", and that
in Shivers, for example, he identifies with the characters after they become infected with the
anarchic parasites. Disease and disaster, in Cronenberg's work, are less problems to be overcome
than agents of personal transformation. Of his characters' transformations, Cronenberg said, "But
because of our necessity to impose our own structure of perception on things we look on ourselves
as being relatively stable. But, in fact, when I look at a person I see this maelstrom of organic,
chemical and electron chaos; volatility and instability, shimmering; and the ability to change and
transform and transmute."[12] Similarly, in Crash (1996), people who have been injured in car
crashes attempt to view their ordeal as "a fertilizing rather than a destructive event". In 2005,
Cronenberg publicly disagreed with Paul Haggis' choice of the same name for the latter's Oscar-
winning film Crash (2004), arguing that it was "very disrespectful" to the "important and seminal"
J.G. Ballard novel on which Cronenberg's film was based.[13]
Aside from The Dead Zone (1983) and The Fly (1986), Cronenberg has not generally worked
within the world of big-budget, mainstream Hollywood filmmaking, although he has had
occasional near misses. At one stage he was considered by George Lucas as a possible director for
Return of the Jedi (1983) but was passed over. Cronenberg also worked for nearly a year on a
version of Total Recall (1990), but experienced "creative differences" with producers Dino De
Laurentiis and Ronald Shusett; a different version of the film was eventually made by Paul
Verhoeven. A fan of Philip K. Dick's, author of "We Can Remember it For You Wholesale", the
short story upon which the film was based, Cronenberg related in the biography/overview of his
work, ''Cronenberg on Cronenberg'' (1992) that his dissatisfaction with what he envisioned the
film to be and what it ended up being pained him so greatly that for a time, he suffered a migraine
just thinking about it, akin to a needle piercing his eye.[14]
In the late 1990s, Cronenberg was announced as director of a sequel to another Verhoeven film,
Basic Instinct (1992), but this also fell through. His thriller A History of Violence (2005) is one of
his highest budgeted and most accessible to date. He has said that the decision to direct it was
influenced by his having had to defer some of his salary on the low-budgeted Spider (2002), but it
was one of his most critically acclaimed films to date, along with Eastern Promises (2007), a film
about the struggle of one man to gain power in the Russian Mafia.
Cronenberg at the 2011 Toronto International Film Festival

Cronenberg has collaborated with composer Howard Shore on all of his films since The Brood
(1979), (see List of noted film director and composer collaborations) with the exception of The
Dead Zone (1983), which was scored by Michael Kamen. Other regular collaborators include
actor Robert Silverman, art director Carol Spier, sound editor Bryan Day, film editor Ronald
Sanders, his sister, costume designer Denise Cronenberg, and, from 1979 until 1988,
cinematographer Mark Irwin. In 2008, Cronenberg directed Howard Shore's first opera, The Fly.
Since Dead Ringers (1988), Cronenberg has worked with cinematographer Peter Suschitzky on
each of his films (see List of film director and cinematographer collaborations). Suschitzky was
the director of photography for The Empire Strikes Back (1980), and Cronenberg remarked that
Suschitzky's work in that film "was the only one of those movies that actually looked good",[15]
which was a motivating factor to work with him on Dead Ringers.
Having worked with many Hollywood stars, Cronenberg says that he did not get to make a film
with an actor he wanted to work with for a long time, Burt Reynolds. Cronenberg remains a
staunchly Canadian filmmaker, with nearly all of his films (including major studio vehicles The
Dead Zone and The Fly) having been filmed in his home province Ontario. Notable exceptions
include M. Butterfly (1993), most of which was shot in China, Spider, and Eastern Promises
(2007), which were both filmed primarily in England, and A Dangerous Method (2011), which
was filmed in Germany and Austria. Rabid and Shivers were shot in and around Montreal. Most of
his films have been at least partially financed by Telefilm Canada, and Cronenberg, a vocal
supporter of government-backed film projects, has said: "Every country needs [a system of
government grants] in order to have a national cinema in the face of Hollywood".[16]
Cronenberg has also appeared as an actor in other directors' films. Most of his roles are cameo
appearances, as in the films Into the Night (1985), Blood and Donuts (1995), To Die For (1995),
and Jason X (2002) and the television series Alias, but on occasion he has played major roles, as in
Nightbreed (1990) and Last Night (1998). He has not played major roles in any of his own films,
but he did put in a brief appearance as a gynecologist in The Fly; he can also be glimpsed among
the sex-crazed hordes in Shivers; he can be heard as an unseen car-pound attendant in Crash; his
hands can be glimpsed in eXistenZ (1999); and he appeared as a stand-in for James Woods in
Videodrome for shots in which Woods' character wore a helmet that covered his head.
In 2008, Cronenberg realized two extra-cinematographic projects: the exhibition Chromosomes at

the Rome Film Fest, and the opera The Fly at the LaOpera in Los Angeles and Theatre Châtelet in
Paris. In July 2010, Cronenberg completed production on A Dangerous Method (2011), an
adaptation of Christopher Hampton's play The Talking Cure, starring Keira Knightley, Michael
Fassbender, and frequent collaborator Viggo Mortensen. The film was produced by independent
British producer Jeremy Thomas.[17][18]
In 2012, his film Cosmopolis competed for the Palme d'Or at the 2012 Cannes Film Festival.[19]
[20]
In the October 2011 edition of Rue Morgue, Cronenberg stated that he has written a companion
piece to his 1986 remake of The Fly, which he would like to direct if given the chance. He has
stated that it is not a traditional sequel, but rather a "parallel story".[citation needed]
For a time it appeared that, as Eastern Promises producer Paul Webster told Screen International, a
sequel is in the works that would reunite the key team of Cronenberg, Steven Knight, and Viggo
Mortensen. The film was to be made by Webster's new production company Shoebox Films in
collaboration with Focus Features, and shot in early 2013.[21] However, in 2012, Cronenberg
commented that the Eastern Promises sequel had fallen through due to budget disagreement with
Focus Features.[22]
Filming for Cronenberg's next film, a satire drama entitled Maps to the Stars (2014)—with
Julianne Moore, Mia Wasikowska, John Cusack, and Robert Pattinson[23][24]—began on July 8,
2013 in Toronto, Ontario and Los Angeles.[25][26] This was the first time Cronenberg filmed in
the United States.
In a September 2013 interview, Cronenberg stated that he is not concerned about posthumous
representations of his film work: "It wouldn't disturb me to think that my work would just sink
beneath the waves without trace and that would be it. So what? It doesn't bother me." In the same
interview, Cronenberg revealed that it depends on the "time of day" as to whether or not he is
afraid of death.[27]
On June 26, 2014, Cronenberg's short film The Nest was published on YouTube. The film was
commissioned for "David Cronenberg - The Exhibition" at EYE Film Institute in Amsterdam and
was available on YouTube for the duration of the exhibition, until September 14, 2014.[28]
In a 2016, Viggo Mortensen revealed in an interview that Cronenberg is considering retiring due
to difficulty financing his film projects.[29]
Fiction Edit
In 2014, Cronenberg published his first novel, Consumed.[30]
Personal life Edit

He married his first wife, Margaret Hindson, in 1972: their seven-year marriage ended in 1979
amidst personal and professional differences. They had one daughter, Cassandra Cronenberg.
He was married to film editor Carolyn Zeifman until her death in 2017.[31] The couple met on the
set of Rabid while she was working as a production assistant.[31] They have two children, Caitlin
and Brandon.[32] In the book Cronenberg on Cronenberg (1992), he revealed that The Brood was
inspired by events that occurred during the unraveling of his first marriage, which caused both
Cronenberg and his daughter Cassandra a great deal of turmoil. The character Nola Carveth,
mother of the brood, is based on Cassandra's mother. Cronenberg said that he found the shooting
of the climactic scene, in which Nola was strangled by her husband, to be "very satisfying".[33]
Cronenberg lives in Toronto.[1]
Cronenberg describes himself as an atheist.[34][35] His atheism was further explained in a

September 2013 interview:
"Anytime I've tried to imagine squeezing myself into the box of any particular religion, I find it
claustrophobic and oppressive. I think atheism is an acceptance of what is real."[27]
In the same interview, Cronenberg revealed that film director Martin Scorsese admitted to him that
he was intrigued by Cronenberg's early work but was subsequently "terrified" to meet him in
person. Cronenberg responded to Scorsese: "You're the guy who made Taxi Driver and you're
afraid to meet me?"[27]
Awards and recognition Edit

Cronenberg has appeared on various "Greatest Director" lists. In 2004, Science Fiction magazine
Strange Horizons named him the second greatest director in the history of the genre, ahead of
better known directors such as Steven Spielberg, James Cameron, Jean-Luc Godard, and Ridley
Scott.[36] In the same year, The Guardian listed him 9th on their list of "The world's 40 best
directors".[37] In 2007, Total Film named him as the 17th greatest director of all-time.[38] Film
professor Charles Derry, in his overview of the horror genre Dark Dreams, called the director one
of the most important in his field, and that "no discussion of contemporary horror film can
conclude without reference to the films of David Cronenberg."[39]
Cronenberg received the Special Jury Prize at the 1996 Cannes Film Festival for Crash.[40] In
1999, he was inducted onto Canada's Walk of Fame,[41] awarded the Silver Bear Award at the
49th Berlin International Film Festival.[42] and that November received the Governor General's
Performing Arts Award, Canada's highest honour in the performing arts.[43]
In 2002, he was made an Officer of the Order of Canada, and was promoted to Companion of the
Order of Canada (the order's highest rank) in 2014.[44] In 2006 he was awarded the Cannes Film
Festival's lifetime achievement award, the Carrosse d'Or.[45] Also in 2006, Cronenberg was made
a Fellow of the Royal Society of Canada, the senior national body of distinguished Canadian
scientists and scholars.[46] In 2009 Cronenberg received the Légion d'honneur from the
government of France.[47] The following year Cronenberg was named an honorary patron of the
University Philosophical Society, Trinity College, Dublin.[citation needed] In 2012, he received
the Queen Elizabeth II Diamond Jubilee Medal.[48]
The opening of the "David Cronenberg: Evolution" Toronto International Film Festival (TIFF)
exhibition occurred on October 30, 2013. Held at the TIFF Bell Lightbox venue, the exhibition
paid tribute to the director's entire filmmaking career and the festival's promotional material
referred to Cronenberg as "one of Canada's most prolific and iconic filmmakers". The exhibition
was shown internationally following the conclusion of the TIFF showing on January 19, 2014.[27]
[49]
In 2014, he was made a Member of the Order of Ontario in recognition for being "Canada's most
celebrated internationally acclaimed filmmaker".[50]
On April 2018, it was announced that Cronenberg will receive the honorary Golden Lion at the
75th Venice International Film Festival.[51]
Filmography Edit
As director Edit
Feature films
Stereo (1969)
Shivers (1975)
Rabid (1977)
Fast Company (1979)
The Brood (1979)
Scanners (1981)
Videodrome (1983)
The Dead Zone (1983)
The Fly (1986)
Dead Ringers (1988)
Naked Lunch (1991)
M. Butterfly (1993)
Crash (1996)
eXistenZ (1999)
Spider (2002)
A History of Violence (2005)
Eastern Promises (2007)
A Dangerous Method (2011)
Cosmopolis (2012)
Maps to the Stars (2014)
Short films
Transfer (1966)
From the Drain (1967)
Camera (2000)
To Each His Own Cinema (Chacun son cinéma) (2007)
segment: At the Suicide of the Last Jew in the World in the Last Cinema in the World
The Nest (2013)[52]
Television spots
Jim Ritchie Sculptor (1971)
Letter from Michelangelo (1971)
Tourettes (1971)
Don Valley (1972)
Fort York (1972)
Lakeshore (1972)
Winter Garden (1972)
Scarborough Bluffs (1972)
In the Dirt (1972)
Television series
Programme X
Episode: "Secret Weapons" (1972)
Peep Show
Episodes: "The Victim" (1975) & "The Lie Chair" [1975]
Teleplay
Episode: "The Italian Machine" (1976)
Friday the 13th: The Series
Episode: "Faith Healer" (1987)
Scales of Justice
Episodes: "Regina vs Horvath" (1990) & "Regina vs Logan" (1990)
Commercials
Hydro
Client: Ontario Hydro
Product: Energy conservation
Agency: Burghardt Wolowich Crunkhorn
Production company: The Partners' Film Company Ltd.
Format: 4 x 30-second commercials
Titles: Hot Showers, Laundry, Cleaners, Timers
Caramilk
Client: William Neilson Ltd.
Product: Cadbury Caramilk
Agency: Scali McCabe, Sloves (Canada) Ltd.
Format: 2 x 30-second commercials
Titles: Bistro, Surveillance
Nike
Client: Nike International
Product: Nike Air 180
Agency: Wieden and Kennedy
Format: 1 x 15-second/4 x 30-second commercials
Title: Transformation
As producer Edit
Transfer (1966)
Stereo (1969)
Dead Ringers (1988)
Crash (1996)
I'm Losing You (1998)
eXistenZ (1999)
Spider (2002)
As actor Edit
Videodrome (1983, uncredited)[53]
Into the Night (1985)
The Fly (1986, cameo)
Nightbreed (1990)
Henry & Verlin (1994)
To Die For (1995, cameo)
Blood and Donuts (1995)
The Stupids (1996, cameo)
Extreme Measures (1996, cameo)
The Newsroom (TV) (1997) (Episode "The Meltdown: Part 1")
Last Night (1998)
Resurrection (1999)
Jason X (2001) - Dr. Wimmer
Alias (TV) (2003) (Episodes "Remnants" and "Conscious")
Barney's Version (2010, cameo)
Rewind (2013)
Alias Grace (TV) (2017)
Collaborator Stereo
(1969) Crimes of the Future
(1970) Shivers
(1975) Rabid
(1977) Fast Company
(1979) The Brood
(1979) Scanners
(1981) Videodrome
(1983) The Dead Zone
(1983) The Fly
(1986) Dead Ringers
(1988) Naked Lunch
(1991) M. Butterfly
(1993) Crash
(1996) eXistenZ
(1999) Spider
(2002) A History of Violence
(2005) Eastern Promises
(2007) A Dangerous Method
(2011) Cosmopolis
(2012) Maps to the Stars
(2014) Total
Nicholas Campbell
4
Leslie Carlson
3
Vincent Cassel
2
Sarah Gadon
3
Ian Holm
2
Jeremy Irons
2
Stephen Lack
2
Peter MacNeill
3
Ronald Mlodzik
4
Viggo Mortensen
3
Robert Pattinson
2
Howard Shore
15
Joe Silver
2
Mark Irwin
6
Peter Suschitzky
11
Robert A. Silverman
5
Denise Cronenberg
8
Writings Edit
Cronenberg, David (1992). Rodley, Chris, ed. Cronenberg on Cronenberg (1st ed.). Faber & Faber.
ISBN 978-0-571-14436-5.
Cronenberg, David (1997). Crash. Faber and Faber. ISBN 0-571-19127-4.
Cronenberg, David (1999). eXistenZ: A Graphic Novel. Key Porter Books. ISBN 1-55263-027-7.
Cronenberg, David (2002). David Cronenberg: Collected Screenplays 1: Stereo, Crimes of the
Future, Shivers, Rabid. Faber and Faber. ISBN 0-571-21017-1.
Cronenberg, David (2005). Red Cars. Volumina Artbooks. Bologna, Italia: Associazione culturale
Volumina. ISBN 978-88-901996-8-4.
Cronenberg, David (2014). Consumed: A Novel. Scribner. ISBN 1-416-59613-5.
Grünberg, Serge & Cronenberg, David (2005). David Cronenberg: Interviews with Serge
Grünberg. Plexus Publishing. ISBN 0-85965-376-5.
References Edit
^ a b Cronenberg 1992, p. 1.
^ "Cronenberg defends movie's naked bathhouse scene". CTVNews. 2007-09-11. Retrieved 2017-
06-22.
^ "Director David Cronenberg: Responsible violence? - CNN.com". www.cnn.com. Retrieved
2017-06-22.
^ J. Hoberman (May 17, 2005). "Historical Oversight". The Village Voice. Archived from the
original on June 29, 2011. Retrieved May 18, 2011.
^ "Google". Retrieved December 2, 2016.
^ "David Cronenberg Biography (1943–)". Filmreference.com. Retrieved May 18, 2011.
^ "Archived copy". Archived from the original on August 17, 2012. Retrieved August 19, 2012.."
^ "Canadian Icon: David Cronenberg". April 14, 2014. Retrieved December 2, 2016.
^ "Film-Related 2007". Retrieved December 2, 2016.
^ "David Cronenberg: Full Biography". New York Times. January 8, 2012. Archived from the
original on February 22, 2009. Retrieved April 16, 2017.
^ Browning, Mark (2007). David Cronenberg: Author or Film-maker?. Intellect Books. ISBN 1-
84150-173-5.
^ Gordon, Bette (Winter 1989). "David Cronenberg". BOMB Magazine. Retrieved July 25, 2011.
^ "Double Trouble". Slate Magazine. May 12, 2005. Retrieved December 13, 2009.
^ Cronenberg, David (1992). Cronenberg on Cronenberg. Faber & Faber. ISBN 9780571144365.
^ "David Cronenberg Re-Examines David Cronenberg". Film Freak Central. March 9, 2003.
Archived from the original on April 1, 2003. Retrieved March 9, 2003.
^ Phipps, Keith. "David Cronenberg". The A.V. Club. Retrieved May 18, 2011.
^ "Viggo Mortensen Replaces Christoph Waltz As Sigmund Freud in David Cronenberg's 'The
Talking Cure'". The Playlist. March 9, 2010. Retrieved May 18, 2011.
^ "Keira Knightley Takes The Talking Cure". Empire. December 23, 2009. Retrieved May 18,
2011.
^ "2012 Official Selection". Cannes Film Festival. Retrieved April 19, 2012.
^ "Cannes Film Festival 2012 line-up announced". Timeout. Retrieved April 19, 2012.
^ "Paul Webster". Screen International. Retrieved April 23, 2012.
^ Taylor, Drew (2012-12-14). "Exclusive: David Cronenberg Shares Details Of Canceled 'Eastern
Promises 2' & 'The Fly' Remake". Penske Business Media, LLC. IndieWire. Retrieved 19 January
2018.
^ "David Cronenberg's 'Maps to the Stars' Finds Julianne Moore, John Cusack & EOne". Deadline.
Retrieved February 4, 2013.
^ "Julianne Moore, John Cusack & Sarah Gadon Join Robert Pattinson in David Cronenberg's
'Map to the Stars'". IndieWire. Retrieved February 4, 2013.
^ "Cronenberg starts Maps shoot". Screen Daily. Retrieved July 16, 2013.
^ "David Cronenberg Says His Novel May Arrive in 2013, Talks Working With Robert Pattinson,
'Map to the Stars' & More". IndieWire. Retrieved June 27, 2013.
^ a b c d Henry Barnes (September 12, 2013). "David Cronenberg: 'I never thought of myself as a
prophet'". The Guardian. Retrieved September 13, 2013.
^ IFFR presents: The Nest by David Cronenberg. YouTube. June 26, 2014.
^ ((http://www.indiewire.com/2016/05/david-cronenberg-why-hes-considering-retiring-from-
filmmaking-290720/))
^ Pevere, Geoff. "David Cronenberg's consuming obsession". Quill and Quire. Retrieved 16
November 2014.
^ a b "Carolyn Cronenberg, Film Editor and Wife of David Cronenberg, Dies at 66". The
Hollywoord Reporter. July 5, 2017.
^ Mottram, James (October 21, 2007). "David Cronenberg: 'I'm not ready to embrace Hollywood
respectability quite yet". The Independent. Retrieved 8 January 2012.
^ Cronenberg 1992, p. 84.
^ Guttsman, Janet (September 10, 2007). "Cronenberg gets down and dirty with Russian mob".
Reuters. "I'm an atheist," Cronenberg said."
^ "Interview". Esquire. February 1992. "I'm simply a nonbeliever and have been forever. ... I'm
interested in saying, 'Let us discuss the existential question. We are all going to die, that is the end
of all consciousness. There is no afterlife. There is no God. Now what do we do.' That's the point
where it starts getting interesting to me."
^ Jeremy Adam Smith (April 19, 2004). "The Ten Best Science Fiction Film Directors".
strangehorizons.com. Retrieved May 18, 2011.
^ "The world's 40 best directors". The Guardian. London. Retrieved May 18, 2011.
^ "Greatest Directors Ever". Total Film. August 20, 2007. Retrieved May 18, 2011.
^ Derry, Charles (1987), "More Dark Dreams: Some Notes on the Recent Horror Film", in Waller,
Gregory, American Horrors: Essays on the Modern American Horror Film, Chicago: University of
Illinois Press, p. 173, ISBN 0-252-01448-0
^ "Festival de Cannes: Crash". festival-cannes.com. Retrieved September 15, 2009.
^ "David Cronenberg, film director, Cannes Film Festival winner". Canada's Walk of Fame.
Archived from the original on August 26, 2006.
^ "Berlinale: 1999 Prize Winners". berlinale.de. Retrieved January 29, 2012.
^ "David Cronenberg biography". Governor General's Performing Arts Awards Foundation.
Retrieved 4 February 2015.
^ "Order of Canada Appointments". June 30, 2014. Retrieved July 1, 2014.
^ Dupont, Joan (May 19, 2006). "Cronenberg: An intellectual with ominous powers". The New
York Times. Retrieved April 30, 2011.
^ "2006 New Fellow Citations" (PDF). Royal Society of Canada. January 9, 2007. Retrieved May
18, 2011.
^ "Cronenberg to receive France's Légion d'honneur". CBC. March 12, 2009. Archived from the
original on April 5, 2009. Retrieved January 25, 2010.
^ "Diamond Jubilee Gala toasts exceptional Canadians". CBC. June 18, 2012. Retrieved June 19,
2012.
^ "Evolution". tiff. Toronto International Film Festival Inc. September 2013. Archived from the
original on September 9, 2013. Retrieved September 13, 2013.
^ "New Appointees to the Order of Ontario". January 23, 2014.
^ "A David Cronenberg il Leone d'oro alla Carriera". April 19, 2018.
^ 10-minute dramatic short for the TIFF exhibition David Cronenberg: Evolution (Toronto
2013/14); Howell, Peter (October 31, 2013). "David Cronenberg at TIFF: Evolution, Mugwumps
and Kubrick". Toronto: The Star. Retrieved November 5, 2013.
^ Cronenberg, David; Irwin, Mark (2004). Director David Cronenberg and Director of
Photography Mark Irwin commentary on Videodrome [DVD; Audio Track 2]. Criterion
Collection. (According to the DVD, the commentary was recorded in Toronto and Los Angeles in
the winter and spring of 2004)
Dreibrodt, Thomas J. Dreibrodt (2000). Lang lebe das neue Fleisch. Die Filme von David
Cronenberg — von 'Shivers' bis 'eXistenZ' (in German). ISBN 978-3-932872-05-1.
Handling, Piers (1983). The Shape of Rage: The Films of David Cronenberg. ISBN 978-0-7736-
1137-5.
Humm, Maggie (1997). "Cronenberg's Films and Feminist Theories of Mothering". Feminism and
Film. Edinburgh University Press. ISBN 978-0-253-21146-0.
Newman, Kim (1989). Nightmare Movies: A Critical History of the Horror Film 1968–1988.
ISBN 978-0-517-57366-2.
Robnik, Drehli Robnik; Palm, Michael, eds. (1992). Und das Wort ist Fleisch geworden. Texte
über Filme von David Cronenberg. Vienna: PVS. ISBN 978-3-901196-02-7.
External links Edit
Wikimedia Commons has media related to David Cronenberg.
Wikiquote has quotations related to: David Cronenberg
David Cronenberg on IMDb
David Cronenberg at Rotten Tomatoes
The Literary Adaptations of David Cronenberg (via LitReactor, 2011)
David Cronenberg Bibliography (via UC Berkeley)
David Cronenberg Profile by The New York Times Magazine (September 2005)
Teleplay episode "The Italian Machine" online at the Channel4 website (RealMedia)
Last edited 8 days ago by Bearcat
Wikipedia

Wikipedia
Spike Lee
Cineasta estadounidense
Shelton Jackson Lee (Atlanta, 20 de marzo de 1957), más conocido como Spike Lee, es un
director de cine, guionista, productor y actor estadounidense. Entre sus películas destacan La
última noche (25th hour) (2002), Malcolm X (1992) y Do the Right Thing (Haz lo correcto en
Latinoamérica, Haz lo que debas en España). También es un reconocido documentalista y enseña
cine en la Universidad de Nueva York. Es fiel seguidor de los New York Knicks de la NBA donde
son famosos sus piques con las estrellas rivales como Reggie Miller, Paul Pierce o Lebron James.
[cita requerida]
Spike Lee
Spike Lee at the 2009 Tribeca Film Festival.jpg
Spike Lee en 2009
Shelton Jackson Lee
Nacimiento
20 de marzo de 1957 (61 años)
Bandera de Estados Unidos Atlanta, Georgia, Estados Unidos
Nacionalidad
Estadounidense
Altura
1,68 m
Familia
Cónyuge
Tonya Lewis (1993-presente)
Hijos
Satchel (1994)
Jackson (1997)
Educación
Alma máter
Tisch School of the Arts
Morehouse College Ver y modificar los datos en Wikidata
Ocupación
Director, productor, guionista, actor
Años activo
desde 1977
Año de debut
1977
Año de retiro
presente
Miembro de
Premios artísticos
Premios Óscar
Óscar honorífico
2015
Distinciones
Premio Primetime Emmy
NAACP Image Award – Hall of Fame Award (2003)
Premio George Polk (2006) Ver y modificar los datos en Wikidata
Web
Twitter
SpikeLee Ver y modificar los datos en Wikidata
En 2015, le entregaron el Óscar honorífico[1]
Índice
Biografía Editar
Nacido en Atlanta, Georgia, su familia se mudó a Brooklyn, Nueva York cuando aún era joven.
Desarrolló sus cualidades para el cine en Morehouse College de Atlanta y en la Tisch School of
the Arts de la New York University, graduándose en 1982.
En el año 1991 demandó a The Nashville Network (TNN) cuando ésta pasó a llamarse Spike TV,
Lee perdió la demanda y el canal pudo cambiar de nombre, aunque actualmente el canal se llama
únicamente 'Spike' Spike TV.R
Es conocida su simpatía hacia el nacionalismo negro y los movimientos de resistencia.[cita

requerida] Su productora "40 Acres & A Mule" lleva ese nombre recordando que, tras la supresión
de la esclavitud al final de la Guerra de Secesión en 1865, en Georgia se tomó la decisión de
distribur lotes de 40 acres de tierra (160,000 m2) y una mula a algunos de los antiguos esclavos.
Filmografía selecta Editar

Oldboy (2013) (Director)
Bad 25 (2012) (Director)
Red Hook Summer (2012) (Productor)
Da Brick TV Movie (2011) (Productor)
Brooklyn Loves Michael Jackson (2010) (Director)
Kobe Doin' Work (2009) (Director)
Miracle at St. Anna (2008) (Director)
Plan oculto o Plan perfecto (2006) (Director)
She Hate Me (2004) (Director y guionista)
La última noche (25th hour) (2003) (Director)
Amor y baloncesto (2000) (Director)
Bamboozled (2000) (Director y guionista)
The Original Kings of Comedy (2000) (Director)
Wait here (videoclip del grupo español Deviot) (director)1999
Ruidos (spot de Pepsi protagonizado por Deviot) (director)1999
Summer of Sam (1999) (Director, guionista y actor)
He Got Game (El juego sagrado en Latinoamérica, Una mala jugada en España) (1998) (Director
y guionista)
Get on the Bus (La marcha del millón de hombres) (1996) (Director)
Girl 6 (1996) (Director y actor)
They Don't Care About Us (Videoclip de la canción) (1996)
Clockers (1995) (Director y actor)
Crooklyn (1994) (Director, guionista y actor)
Escuadrón de secuestros (1994) (Actor)
Cosas de la vida (videoclip de Eros Ramazzotti) (1993) (Director)
Malcolm X (1992) (Director y actor)
Fiebre salvaje (1991) (Director, guionista y actor)
Mo' Better Blues (Mejores blues y más en Latinoamérica, Cuanto más, mejor en España) (1990)
(Director y actor)
Do the Right Thing (Haz lo correcto en Latinoamérica, Haz lo que debas en España) (1989)
(Director, guionista y actor)
Aulas turbulentas (1988) (Director, guionista y actor)
Nola Darling (1986) (Director, guionista y actor)
Premios Editar
Óscar Editar
2015 Óscar honorífico Ganador
1989 Mejor Guion Original Do the Right Thing Candidato
Referencias Editar
↑ Ayuso, Rocío (28 de agosto de 2015). «El honor del Oscar es para Spike Lee, Gena Rowlands y
Debbie Reynolds». El País. Consultado el 21 de febrero de 2017.
Spike Lee en Internet Movie Database (en inglés)
Wikimedia Commons alberga una galería multimedia sobre Spike Lee.
Última edición hace 4 meses por Popraka - luna

Wikipedia
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Wikipedia
Spike Lee
Shelton Jackson "Spike" Lee (born March 20, 1957) is an American film director, producer, writer,
and actor. His production company, 40 Acres and a Mule Filmworks, has produced over 35 films
since 1983.
Spike Lee
Spike Lee at the 2009 Tribeca Film Festival.jpg
Lee at the 2009 Tribeca Film Festival
Born
Shelton Jackson Lee
March 20, 1957 (age 61)
Atlanta, Georgia, U.S.
Residence
New York City, New York, U.S.
Nationality
American
Alma mater
Morehouse College
New York University (Tisch School of the Arts)
Occupation
Film director, producer, screenwriter, actor, professor
Years active
1977–present
Home town
Brooklyn, New York, U.S.
Board member of
40 Acres and a Mule Filmworks
Spouse(s)
Tonya Lewis
(m. 1993)
Children
Satchel Lee
Jackson Lee
Parent(s)
Bill Lee
Jacqueline Carroll
Relatives
Joie Lee (sister)
Cinqué Lee (brother)
David Lee (brother)
Malcolm D. Lee (cousin)
Awards
List of awards and nominations received by Spike Lee
He made his directorial debut with She's Gotta Have It (1986), and has since directed such films
as Do the Right Thing (1989), Malcolm X (1992), The Original Kings of Comedy (2000), 25th
Hour (2002), Inside Man (2006), and most recently Chi-Raq (2015). Lee has acted in ten of his
own films.
Lee's movies have examined race relations, colorism in the black community, the role of media in
contemporary life, urban crime and poverty, and other political issues. Lee has received two
Academy Award nominations, a Student Academy Award and an Academy Honorary Award from
the Academy of Motion Picture Arts and Sciences, and won numerous other awards, including two
Emmy Awards, two Peabody Awards, an honorary BAFTA Award, an Honorary César and the
2013 Gish Prize.[1][2][3][4]
Contents
Early life
Lee was born in Atlanta, Georgia, the son of Jacqueline Carroll (née Shelton), a teacher of arts and
black literature, and William James Edward Lee III, a jazz musician and composer.[5][6] Lee also
had three younger siblings Joie, David, and Cinqué, who all worked in many different positions in
Lee's films. Director Malcolm D. Lee is his cousin. When he was a child, the family moved to
Brooklyn, New York. His mother nicknamed him "Spike" during his childhood. He attended John
Dewey High School in Brooklyn's Gravesend neighborhood.
Lee enrolled in Morehouse College, a historically black college, where he made his first student
film, Last Hustle in Brooklyn. He took film courses at Clark Atlanta University and graduated
with a B.A. in mass communication from Morehouse. He did graduate work at New York
University's Tisch School of the Arts, where he earned a Master of Fine Arts in film & television.
[7]
Career
Professor
In 1991, Lee taught a course at Harvard about filmmaking and in 1993 he began to teach at New
York University’s Tisch School of the Arts in the Graduate Film Program. It was there that he
received his Master of Fine Arts and was appointed Artistic Director in 2002.[8]
Film
Main article: Spike Lee filmography
Lee in 2007
Lee's independent film, Joe's Bed-Stuy Barbershop: We Cut Heads, was the first student film to be
showcased in Lincoln Center's New Directors/New Films Festival.
In 1985, Lee began work on his first feature film, She's Gotta Have It. With a budget of $175,000,
he shot the film in two weeks. When the film was released in 1986, it grossed over $7,000,000 at
the U.S. box office.[9]
Lee's 1989 film Do the Right Thing was nominated for an Academy Award for Best Original
Screenplay in 1989. Many people, including Hollywood's Kim Basinger, believed that Do the
Right Thing also deserved a Best Picture nomination. Driving Miss Daisy won Best Picture that
year. Lee said in an April 7, 2006 interview with New York magazine that the other film's success,
which he thought was based on safe stereotypes, hurt him more than if his film had not been
nominated for an award.[10]
After the 1990 release of Mo' Better Blues, Lee was accused of antisemitism by the Anti-
Defamation League and several film critics. They criticized the characters of the club owners Josh
and Moe Flatbush, described as "Shylocks". Lee denied the charge, explaining that he wrote those
characters in order to depict how black artists struggled against exploitation. Lee said that Lew
Wasserman, Sidney Sheinberg or Tom Pollock, the Jewish heads of MCA and Universal Studios,
were unlikely to allow antisemitic content in a film they produced. He said he could not make an
antisemitic film because Jews run Hollywood, and "that's a fact".[11]
His 1997 documentary 4 Little Girls, about the children killed in the 16th Street Baptist Church
bombing in Birmingham, Alabama in 1963, was nominated for the Best Feature Documentary
Academy Award.
Lee with his Peabody Award, 2011

On May 2, 2007, the 50th San Francisco International Film Festival honored Spike Lee with the
San Francisco Film Society's Directing Award. In 2008, he received the Wexner Prize.[12] In
2013, he won The Dorothy and Lillian Gish Prize, one of the richest prizes in the American arts
worth $300,000.[13] In 2015, Lee received an Academy Honorary Award from the Academy of
Motion Picture Arts and Sciences for his contributions to film.[14]
Lee directed, wrote, and produced the MyCareer story mode in the video game NBA 2K16.[15]
Lee's films are typically referred to as "Spike Lee Joints" and the closing credits always end with
the phrases "By Any Means Necessary", "Ya Dig" and "Sho Nuff".[16] However, his 2013 film,
Oldboy uses the traditional "A Spike Lee Film" credit after producers heavily re-edited it.[17]
Commercials
In mid-1990, Levi's began producing a series of TV commercials directed by Lee for their 501
button fly jeans.[18]
Marketing executives from Nike[19] offered Lee a job directing commercials for the company.
They wanted to pair Lee's character, the Michael Jordan–loving Mars Blackmon, and Jordan in a
marketing campaign for the Air Jordan line. Later, Lee was called on to comment on the
controversy surrounding the inner-city rash of violence involving youths trying to steal Air
Jordans from other kids.[20] He said that, rather than blaming manufacturers of apparel that
gained popularity, "deal with the conditions that make a kid put so much importance on a pair of
sneakers, a jacket and gold".
Through the marketing wing of 40 Acres and a Mule, Lee has directed commercials for Converse,
[21] Jaguar,[22] Taco Bell,[23] and Ben & Jerry's.[24]
Personal life
Lee speaking at a rally in support of the presidential campaign of Bernie Sanders in Washington
Square Park, April 2016
Lee met his wife, attorney Tonya Lewis, in 1992 and they were married a year later in New York.
[25] They have one daughter, Satchel, born in 1994, and a son, Jackson, born in 1997.[26][27]
Spike Lee is a fan of the American baseball team the New York Yankees, basketball team the New
York Knicks, and the English football team Arsenal.[28] One of the documentaries in ESPN's 30
for 30 series, Winning Time: Reggie Miller vs. The New York Knicks, focuses partly on Lee's
interaction with Miller at Knicks games in Madison Square Garden.
In June 2003, Lee sought an injunction against Spike TV to prevent them from using his
nickname.[29] Lee claimed that because of his fame, viewers would think he was associated with
the new channel.[30][31]
When asked by the BBC if he believed in God, Lee said: "Yes. I have faith that there is a higher
being. All this cannot be an accident."[32]
While Lee continues to maintain an office in Fort Greene, Brooklyn, he and his wife live on the
Upper East Side of Manhattan.[33]
Controversial remarks
Lee in September 2011

In May 1999, the New York Post reported that Lee made an inflammatory comment about
Charlton Heston, president of the National Rifle Association, while speaking to reporters at the
Cannes Film Festival. Lee was quoted as saying the National Rifle Association should be
disbanded and, of Heston, someone should "Shoot him with a .44 Bull Dog."[34][35] Lee said he
intended it as a joke. He was responding to coverage about whether Hollywood was responsible
for school shootings. "The problem is guns," he said.[36] Republican House Majority Leader Dick
Armey condemned Lee as having "nothing to offer the debate on school violence except more
violence and more hate."[36]
In October 2005, Lee responded to a CNN anchor's question as to whether the government
intentionally ignored the plight of black Americans during the 2005 Hurricane Katrina catastrophe
by saying, "It's not too far-fetched. I don't put anything past the United States government. I don't
find it too far-fetched that they tried to displace all the black people out of New Orleans."[37] In
later comments, Lee cited the government's past including the Tuskegee Study of Untreated
Syphilis in the Negro Male.[38][39]
At the 2008 Cannes Film Festival, Lee, who was then making Miracle at St. Anna, about an all-
black U.S. division fighting in Italy during World War II, criticized director Clint Eastwood for not
depicting black Marines in his own World War II film, Flags of Our Fathers. Citing historical
accuracy, Eastwood responded that his film was specifically about the Marines who raised the flag
on Mount Suribachi at Iwo Jima, pointing out that while black Marines did fight at Iwo Jima, the
U.S. military was racially segregated during World War II, and none of the men who raised the
flag were black. He angrily said that Lee should "shut his face". Lee responded that Eastwood was
acting like an "angry old man", and argued that despite making two Iwo Jima films back to back,
Letters from Iwo Jima and Flags of Our Fathers, "there was not one black soldier in both of those
films".[40][41][42] He added that he and Eastwood were "not on a plantation."[43] Lee later
claimed that the event was exaggerated by the media and that he and Eastwood had reconciled
through mutual friend Steven Spielberg, culminating in his sending Eastwood a print of Miracle at
St. Anna.[44]
In March 2012, after the shooting of Trayvon Martin, Spike Lee was one of many people who
used Twitter to circulate a message which claimed to give the home address of the shooter George
Zimmerman. The address turned out to be incorrect, causing the real occupants, Elaine and David
McClain, to leave home and stay at a hotel due to numerous death threats.[45] Lee issued an
apology and reached an agreement with the McClains which reportedly included "compensation",
with their attorney stating "The McClains’ claim is fully resolved".[46][47] Nevertheless, in
November 2013, the McClains filed a negligence lawsuit which accused Lee of "encouraging a
dangerous mob mentality among his Twitter followers, as well as the public-at-large".[45][48] The
lawsuit, which a court filing reportedly valued at $1.2 million, alleged that the couple suffered
"injuries and damages" that continued after the initial settlement up through Zimmerman's trial in
2013.[45] A Seminole County judge dismissed the McClains' suit, agreeing with Lee that the issue
had already been settled previously.[49]
Filmography
Main article: Spike Lee filmography
Awards, honors and nominations
Main article: List of awards and nominations received by Spike Lee
Early in his career he won the Student Academy Award for his film Joe's Bed-Stuy Barbershop:
We Cut Heads. He won awards at the Black Reel Awards for Love and Basketball, the Black
Movie Awards for Inside Man, and the Berlin International Film Festival for Get on the Bus.
He has been nominated twice for an Academy Award, but never won; in November 2015, he was
given an Honorary Academy Award for his contributions to film-making.
References
^ "Spike Lee wins $300,000 Gish Prize". BBC News. Retrieved 30 April 2014.
^ "Spike Lee Awarded $300,000 Prize From Dorothy and Lillian Gish Foundation". BET: Black
Entertainment Television. Retrieved 30 April 2014.
^ "Spike Lee awarded $300,000 Gish Prize". Los Angeles Times. Retrieved 30 April 2014.
^ "Spike Lee to receive prestigious Lillian Gish award". Hollywood. Retrieved 1 May 2014.
^ "Spike Lee Biography (1956?-)". Filmreference.com. Retrieved August 14, 2010.
^ "7". Who Do You Think You Are?. Season 1. Episode 7. April 30, 2010. NBC.
^ "SHELTON "SPIKE" LEE '79". Morehouse College. April 9, 2012. Archived from the original
on May 6, 2012. Retrieved April 9, 2012.
^ "Professor web page". NYU Tish Directory. NYU. Retrieved 25 November 2015.
^ "She's Gotta Have It (1986)". Box Office Mojo. August 26, 1986. Retrieved June 13, 2011.
^ Hill, Logan (April 7, 2008). "Q&A with Spike Lee on Making 'Do the Right Thing'". New York.
^ James, Caryn (August 16, 1990). "Spike Lee's Jews and the Passage from Benign Cliche into
Bigotry". The New York Times. Retrieved December 1, 2009.
^ ""Spike Lee to Receive the Wexner Prize"; Wexner Center for the Arts". Wexarts.org. Archived
from the original on June 14, 2011. Retrieved June 13, 2011.
^ Chris Lee (September 18, 2013). "Spike Lee awarded $300,000 Gish Prize". Los Angeles Times.
^ "Spike Lee, Debbie Reynolds And Gena Rowlands To Receive Academy's 2015 Governors
Awards". August 27, 2015.
^ Plunkett, Luke (June 4, 2015). "Spike Lee Is Writing A Video Game Campaign". Kotaku.
^ "Spike Lee Biography". Yahoo! Movies. Retrieved 2009-02-10.
^ Maane Khatchatourian (November 29, 2013). "'Oldboy' Will Likely Be Trampled by New
Releases in Thanksgiving Rush". Variety. Retrieved 2016-08-04.
^ Elliott, Stuart (July 22, 1991). "THE MEDIA BUSINESS: Advertising; Levi and Spike Lee
Return In 'Button Your Fly' Part 2". The New York Times.
^ "Kindred, Dave; "Mars points NBA to next Milky Way – advertising character Mars
Blackmon"; findarticles.com; July 21, 1997". Findarticles.com. July 21, 1997. Archived from the
original on May 26, 2012. Retrieved June 13, 2011.
^ Chucksconnection.com Archived August 11, 2006, at the Wayback Machine.
^ "Converse Splits With Butler". Retrieved 2018-02-15.
^ "Jaguar enlists Spike Lee to help diversify market". Retrieved 2018-02-15.
^ JOHNSON, GREG (1995-07-07). "Basketball Stars Team Up for Taco Bell Ad Campaign :
Marketing: Shaquille O'Neal and Hakeem Olajuwon go one-on-one in television commercials that
follow up provocative teasers in several papers". Los Angeles Times. ISSN 0458-3035. Retrieved
2018-02-15.
^ "BEN & JERRY'S & SPIKE & SMOOTH ICE CREAMS' FIRST BIG AD EFFORT BOASTS A
SOCIAL CONSCIENCE". Retrieved 2018-02-15.
^ Rothkranz, Lindzy. "Tonya Lewis Lee, Spike's Wife: 5 Fast Facts You Need to Know". Heavy.
^ "Milestones". Time. December 19, 1994.
^ :am (October 27, 2009). "Black Celebrity Kids, babies, and their Parents » SPIKE LEE AND
KIDS ATTEND MICHAEL JACKSON'S THIS IS IT PREMIERE". Blackcelebkids.Com.
Archived from the original on January 18, 2013. Retrieved August 28, 2012.
^ "Arsenal Supporters Series: Spike Lee". Arsenal.theoffside.com. Archived from the original on
December 2, 2009. Retrieved August 14, 2010.
^ Romano, Allison (April 21, 2003). "TNN Hopes Mainly Men Will Watch "Spike TV"s".
^ Breaking... – 6/16/2003 – Broadcasting & Cable
^ "Spike sues over channel name". BBC News. June 4, 2003. Retrieved May 23, 2010.
^ Papamichael, Stella. "Calling the Shots: No.21: Spike Lee". BBC. Retrieved 23 March 2017.
^ "Real Estate 2001: Neighborhood Profiles".
^ "Spike Lee Says Remark About Shooting Heston Was A Joke – Chicago Tribune".
Articles.chicagotribune.com. May 28, 1999. Retrieved February 13, 2013.
^ "Heston was always a man of his words – Los Angeles Times". Articles.latimes.com. April 8,
2008. Retrieved February 13, 2013.
^ a b "Living foot to mouth". Salon.com. May 28, 1999. Archived from the original on June 23,
2008. Retrieved June 13, 2011.
^ Lee Won't Dismiss Theories Of A Flooding Conspiracy
^ "All about Spike Lee's latest film".
^ "Clip of Lee expressing his views of the Hurricane Katrina and Tuskegee matters on ''Real Time
with Bill Maher''". Youtube.com. Retrieved June 13, 2011.
^ Marikar, Sheila (June 6, 2008). "Spike Strikes Back: Clint's 'an Angry Old Man'". ABC News.
^ "Eastwood hits back at Lee claims". BBC News. June 6, 2008. Retrieved August 4, 2009.
^ Lyman, Eric J. (May 21, 2008). "Lee calls out Eastwood, Coens over casting". The Hollywood
Reporter (8): 3, 24.
^ Wainwright, Martin (June 9, 2008). "'We're not on a plantation, Clint'". The Guardian.
^ "Access Exclusive: Spike Lee On Clint Eastwood: 'We're Cool'" OMG!/Yahoo! September 6,
2008 Archived January 5, 2010, at the Wayback Machine.
^ a b c "Elderly Couple Sues Spike Lee Over Tweet". The Smoking Gun. November 8, 2013.
^ "Spike Lee apologizes for retweeting wrong Zimmerman address". CNN. March 29, 2012.
^ Muskal, Michael (March 29, 2012). "Trayvon Martin: Spike Lee settles with family forced to
flee home". Los Angeles Times. Retrieved April 1, 2012.
^ Colleen Curry (November 11, 2013). "Spike Lee Sued Over George Zimmerman Tweet". ABC
News. Retrieved November 11, 2013.
^ TV, Centric. "Judge Dismisses Lawsuit Against Spike Lee Over George Zimmerman Tweet -
What's Good - Entertainment - Articles - Centric".
External links
Wikimedia Commons has media related to Spike Lee.
Spike Lee on IMDb
Spike Lee on Twitter
Spike Lee on Charlie Rose
"Spike Lee collected news and commentary". The New York Times.
"Spike Lee collected news and commentary". The Guardian.
Appearances on C-SPAN
Ubben Lecture at DePauw University
Criterion Collection Essay on Spike Lee's Do the Right Thing
Lee's Lens Exposes Inequalities, but he's no Revolutionary by Brendan Kelly, Canwest, April 11,
2009
Last edited 23 days ago by Popcornduff
Wikipedia


Wikipedia
Hermanos Coen
Hermanos cineastas estadounidenses
Joel David Coen (29 de noviembre de 1954) e Ethan Jesse Coen (21 de septiembre de 1957),[n. 3]
conocidos profesionalmente como los hermanos Coen, son dos cineastas estadounidenses
ganadores de cuatro Premios Óscar, dos BAFTA y un Globo de Oro, entre otros reconocimientos.
Hermanos Coen
Coen brothers Cannes 2015 2.jpg
Ethan (izquierda) y Joel Coen (derecha)
en el Festival de Cannes de 2015
Joel David Coen[n. 1]
Ethan Jesse Coen
Nacimiento
29 de noviembre de 1954 (63 años) (Joel)
21 de septiembre de 1957 (60 años) (Ethan)
Bandera de Estados Unidos Minneapolis, Minnesota (ambos)
Residencia
Manhattan, Nueva York
Nacionalidad
Estadounidenses
Familia
Cónyuge
Frances McDormand (matr. 1984) (Joel)
Tricia Cooke (matr. 1990) (Ethan)
Educación
Alma máter
Universidad de Nueva York (Joel)
Universidad de Princeton (Ethan)
Ocupación
Directores, productores, guionistas, montadores
Cargos ocupados
Años activo
1984-presente
Seudónimo
Roderick Jaynes[n. 2]
Premios artísticos
Premios Óscar
Mejor película
2007 No Country for Old Men
Mejor dirección
Mejor guion adaptado
1996 Fargo
Globos de Oro
Mejor guion
Premios BAFTA
Mejor dirección
1996 Fargo
Festival de Cannes
Mejor dirección
1991 Barton Fink
1996 Fargo
2001 The Man Who Wasn't There
2013 Inside Llewyn Davis
Palma de Oro
1991 Barton Fink
Otros premios
Véase premios y nominaciones
Web
Sitio web
www.coenbrothers.net Ver y modificar los datos en Wikidata
Sus inicios en la industria del cine se remontan a principios de los años 1980, cuando Joel
trabajaba como asistente de montaje en películas de terror de bajo presupuesto[5] e Ethan
colaboraba como guionista en la serie policiaca Cagney & Lacey.[6] Mientras tanto empezaron a
escribir el guion del que fue su debut como directores, el thriller neo-noir Blood Simple (1984),
cuyo modesto éxito en la taquilla y a nivel crítico logró abrirles el camino y los dio a conocer
como parte de una nueva generación de directores independientes.[7] Desde entonces han
funcionado en conjunto para escribir, producir, dirigir y montar sus propios filmes. Debido a su
tendencia a trabajar juntos y su similar visión artística, se ha hecho referencia a ellos como el
«director bicéfalo» —two-headed director—.[8] Entre su filmografía se destacan títulos como
Miller's Crossing (1990), Barton Fink (1991), Fargo (1996), El gran Lebowski (1998), O Brother,
Where Art Thou? (2000), The Man Who Wasn't There (2001), No Country for Old Men (2007) y
True Grit (2010). Sus películas se caracterizan por combinar géneros, contener personajes
excéntricos, tramas complejas,[9] humor negro,[10] retratar la violencia,[11] y estar influenciadas
por fuentes literarias[12] y géneros del cine clásico —especialmente el cine negro—.[13]
Recursos como la mézcla de géneros y la influencia del cine pasado han llevado a teóricos del cine
a considerar los filmes de los Coen como ejemplos de cine posmoderno.[14] Debido a su
característico estilo y la libertad creativa que poseen en sus producciones, los Coen han sido
descritos por algunos críticos de cine como autores,[15] aunque ellos mismos rechazan esa
denominación.[16]
A lo largo de una carrera que hasta el momento ha abarcado cuatro décadas, los Coen han sido
capaces de entusiasmar tanto al público como a los críticos de cine. Asimismo, han resultado
ganadores de múltiples galardones; uno de sus primeros reconocimientos más relevantes fue
gracias a Barton Fink, cinta por la cual lograron la Palma de Oro en el Festival de Cannes. Tras el
éxito de Fargo en 1996, recibieron varios premios, incluyendo el Premio del Festival de Cannes al
mejor director, el Oscar al mejor guion original y el BAFTA al mejor director. Ya entrado el nuevo
milenio, lograron excelentes resultados con No Country for Old Men, por la que ganaron tres
Oscar —incluyendo mejor película—, un Globo de Oro, un BAFTA y diversos premios
adicionales.[17]
Además de producir sus propias películas, los Coen han intervenido como guionistas o
productores ejecutivos en filmes de otros realizadores. Uno de sus primeros colaboradores fue el
director Sam Raimi, a quien Joel conoció mientras trabajaba en The Evil Dead (1981).[5] Junto a
Raimi escribieron Crimewave (1985) y El gran salto (1994), la primera película dirigida por Raimi
y la segunda por los Coen. Más adelante trabajaron como productores en Bad Santa (2003) y
como guionistas en Unbroken (2014). Por su parte, Ethan se ha desempeñado como escritor de
teatro, cuentos cortos y poesía; entre sus trabajos más notables se encuentra el libro Gates of Eden
(1998), una colección de cuentos influenciados por temáticas noir y su propia juventud.[18]
Índice
Joel nació el 29 de noviembre de 1954 e Ethan el 21 de septiembre de 1957, hijos de Rena —cuyo
apellido de soltera era Neumann—, profesora de historia del arte de la Universidad St. Cloud
State, y Edward Coen, profesor de economía de la Universidad de Minnesota.[19] Crecieron junto
a su hermana mayor, Deborah,[19] en St. Louis Park, una zona residencial de Minnesota,
Minneapolis.[20] Más tarde Joel describió su sitio de crianza como «Siberia con restaurantes
familiares».[21] La familia Coen era judía y de clase media.[19] Su madre, Rena (1925-2001),
provenía de una familia judía ortodoxa de origen letón,[22][23] mientras que su padre, Edward
(1919-2012), nació en Nueva York pero se crio en Londres, ciudad de origen de sus padres.[23]
[24] El bisabuelo de Joel e Ethan, un polaco judío que emigró a Londres, modificó su complicado
apellido polaco para que sonara irlandés, dando así origen al apellido Coen.[25][3]
De niños, los hermanos pasaban gran parte de los inviernos viendo la televisión y desarrollaron un
interés particular por películas antiguas de variadas procedencias y estilos,[19] como por ejemplo
cintas de Federico Fellini, Tarzán o comedias de Jerry Lewis.[26] Mientras cursaba la educación
primaria, Ethan empezó a escribir y demostró su capacidad temprana para el humor en una obra
acerca del Rey Arturo. Los hermanos incluso comenzaron a escribir un diario titulado The Flag
Street Sentinel, que vendían a dos centavos por copia y duró solo dos ediciones. Joel describió sus
vidas durante esos años como «increíblemente mundanas».[26] A pesar de dormir en la misma
habitación, ambos hermanos no pasaban mucho tiempo juntos y en ciertas épocas asistían a
diferentes escuelas.[26]
Ya durante su adolescencia, un amigo de los Coen llamado Ron Neter —quien más tarde se volvió
productor— tuvo la idea de comprar una cámara para combatir el aburrimiento.[26] Joel utilizó el
dinero que ganaba cortando césped para comprar una Vivitar Super-8 usada.[19][27] Poco tiempo
después, los Coen comenzaron a realizar sus propios remakes y películas propias de forma casera,
incluyendo una titulada Henry Kissinger: Man on the Go.[28] Uno de sus vecinos y amigo de la
niñez, Mark Zimering —conocido por los Coen como «Zeimers»— participaba como actor en las
primeras producciones de los hermanos, como Zeimers in Zambezi (1970) —basada en The
Naked Prey (1965) de Cornel Wilde— y Lumberjacks at Play (1971).[29] El propio Zimering
comentó años más tarde, acerca de los cineastas, que Joel era el más sociable del par,[26] mientras
que Ethan, a diferencia de su hermano, «era tranquilo, tímido y rara vez hablaba», según las
palabras del que fuera vecino y amigo de la niñez de los Coen.[29]
Educación Editar
Tisch School of the Arts de la Universidad de Nueva York, donde Joel Coen estudió cine.
Mientras asistía a una escuela secundaria hebrea, Joel convenció a sus padres para cambiarse al
Bard College at Simon's Rock de Great Barrington, Massachusetts, donde los estudiantes podían
tomar cursos de nivel universitario al mismo tiempo que cursaban la secundaria.[28][20] En 1971,
Joel se mudó a Massachusetts para asistir a dicha institución y cuando Ethan comenzó la
secundaria en 1974, también asistió a Simon's Rock. Su paso por Simon's Rock los ayudó a
incentivar sus habilidades artísticas.[28][30] Completaron la secundaria en 1973 y 1976
respectivamente. Tras perderse las fechas de matriculación de la mayoría de las universidades,
Joel se mudó al Upper West Side y logró entrar a la Universidad de Nueva York para estudiar cine
durante cuatro años.[30] Su tesis fue una película de 30 minutos llamada Soundings, que mostraba
a una mujer involucrada sexualmente con su novio sordo mientras fantaseaba verbalmente sobre
tener sexo con el mejor amigo él, quien escuchaba en la habitación de al lado.[31] Durante su
época en la universidad, el trabajo de Joel se caracterizaba por contener escenas exageradas, como
vómitos o palizas.[29] Una vez graduado, Joel asistió por un semestre a otro curso de cine en la
Universidad de Texas pero lo abandonó y volvió definitivamente a Nueva York.[32][31][33] Ethan
por su parte, sin tener claro a que dedicar su vida, ingresó a la Universidad de Princeton en 1977 y
se graduó en filosofía en 1979.[34][20] Su tesis se trató de un ensayo de 41 páginas titulado «Dos
vistazos a la filosofía tardía de Wittgenstein».[35] Después de graduarse, Ethan se mudó a Nueva
York en 1980 y compartió un apartamento con Joel.[36][37]
Vida privada Editar

Joel se casó por primera vez en 1979 con una estudiante de la Universidad de Texas, pero el
matrimonio duró menos de un año.[38] En 1984, contrajo matrimonio con la actriz Frances
McDormand, después de conocerla durante la filmación de Blood Simple, dos años antes.[39] En
1995, adoptaron un niño de Paraguay llamado Pedro.[40][41]
Ethan se casó por primera vez en 1985 con su pareja de ese entonces, Hilary, de quien se divorció
más adelante.[42] En 1990, contrajo nupcias con la montadora Tricia Cooke,[43] con quien tuvo
una hija, Dusty, y un hijo, Buster, nacido en 1996.[18][44]
Ambas parejas viven en el distrito de Manhattan, en la ciudad de Nueva York.[45][46]
Ideología religiosa Editar

Pese a ser judío y a hacer referencia a la religión tanto en sus películas como en sus trabajos como
escritor, Ethan redactó en su tesis para la universidad: «Entiendo lo que significa decir que hay un
creador omnipotente y benévolo, y esa afirmación me parece la cima de la estupidez».[47][48]
En 2011 los Coen visitaron por primera vez Israel para recibir un premio de la Universidad de Tel
Aviv. Criados en el Medio Oeste de los Estados Unidos, se declararon «ignorantes» con respecto
al Estado de Israel.[49] Refiriéndose al boicot por parte de algunos cineastas y músicos contra el
Estado de Israel debido a sus acciones políticas, Ethan opinó: «La gente responde a los problemas
reales desde el corazón y piensan que es lo correcto. Nosotros no estamos de acuerdo con esa
opinión, que eso sea la manera de tratar esos problemas».[50]
Con respecto a las polémicas sobre la supuesta falta de diversidad en Hollywood, los Coen
opinaron que no es responsabilidad de los cineastas el promoverla, argumentando que ellos
escriben sobre lo que conocen: filmes cuyos personajes son «judíos o minesotanos». Joel dijo:
«No puedes sentarte y decir: “Voy a escribir algo que sigue los dictámenes de lo que la cultura
piensa que debe suceder, en términos de diversidad cultural en la narración”. A decir verdad, eso
es totalmente descabellado».[51]
Carrera Editar
Década de 1980 Editar
Después de concluir sus estudios, Joel comenzó a conseguir trabajos como miembro del equipo
técnico en producciones audiovisuales de la ciudad de Nueva York.[52] A menudo era contratado
como asistente de producción en filmes publicitarios y trabajó en algunos videoclips musicales.
Uno de sus amigos de la universidad, Barry Sonnenfeld, que contrató a Joel, lo recordó años más
tarde como «el peor asistente de producción del mundo» y agregó: «Recibió tres multas de
estacionamiento, llegaba tarde, prendió fuego la máquina de humo».[52] No obstante, logró
conseguir trabajo como montador en algunas películas de terror de bajo presupuesto y durante esa
época conoció al director Sam Raimi, para quien trabajó como asistente de montaje en The Evil
Dead (1981).[5][53] Joel trabajó en otras dos producciones de terror, Fear No Evil (1981) y
Nightmare (1981), de la cual fue despedido por decir que el metraje era demasiado incoherente
como para armar una película con él.[54] Una vez que Ethan llegó a la ciudad, se mudaron juntos
a un apartamento en la zona de West Side, donde compartían una máquina de escribir con la que
empezaron a redactar algunos guiones.[37]
Mientras Joel trabajaba como montador e Ethan como mecanógrafo de estadísticas en una tienda
de Macy's —también escribía ocasionalmente para la serie policial Cagney & Lacey—,[6] los
hermanos lograron vender un guion titulado Suburbicon y en sus tiempos libres empezaron a
escribir el guion para su primer largometraje.[54][32][55] Su debut como directores se tituló
Blood Simple (1984), y debido a la falta de experiencia previa como directores, la financiación de
la película no fue tarea fácil. «Nadie en la industria del cine nos escuchaba porque no habíamos
hecho nada», comentó Joel. «Así que pedimos pequeñas contribuciones a personas particulares,
pequeños negociantes, empresarios, y en esencia formamos una sociedad para realizar la
película».[21] Mientras Ethan continuaba trabajando en Nueva York, Joel recorría los barrios de
Minneapolis ofreciendo la oportunidad de invertir en el filme, tratando de convencer a los posibles
inversores con el apoyo de un trailer de dos minutos rodado con la ayuda de Barry Sonnenfeld
como camarógrafo y Bruce Campbell como actor.[56][57] Durante nueve meses, Joel logró
recolectar 750 000 dólares por parte de acaudalados patrocinadores de St. Louis Park y unos 550
000 dólares extra provenientes de pequeños inversores —incluyendo sus propios padres—.[56]
Para la producción, lograron reunir un presupuesto total de 1 500 000 dólares provenientes de 168
inversores privados, mayoritariamente de su ciudad natal y también de Nueva York, Nueva Jersey
y Texas.[58]
La hicimos enteramente por fuera de Hollywood. Yendo más allá, la hicimos por fuera de
cualquier compañía de cine establecida... Queríamos hacer la película, y la manera en que la
hicimos era la única manera en que la podríamos haber hecho. La principal consideración al
empezar fue que queríamos que nos dejasen en paz, sin nadie que nos dijera qué hacer.[58]
Joel Coen
La producción de Blood Simple se llevó a cabo en Texas entre 1982 y 1983.[59][58] La trama
contaba la historia del dueño de un bar sórdido que contrata un detective privado para asesinar a
su esposa y al amante de ésta. La cinta contenía considerables elementos a señalar en sus futuras
direcciones: homenajes a otras películas del género —en este caso cine negro y terror—, giros
argumentales sobre historias simplistas, retorcido sentido del humor y violencia.[36] La película
fue coprotagonizada por Frances McDormand, en ese entonces una actriz sin experiencia en uno
de sus primeros papeles, y los Coen contrataron a Sonnenfeld como director de fotografía.[60]
Aunque sus decisiones creativas funcionaron en conjunto, los hermanos eligieron nombrar
oficialmente a Ethan como productor y a Joel como director, quien tendía a ser el más
comunicativo con los actores.[59] La proyección de Blood Simple en varios festivales de cine
obtuvo buenos resultados y llamó la atención de Circle Films, que se encargó de distribuir la
película en los cines estadounidenses y firmó un contrato con los Coen para producir sus próximos
dos filmes.[61] Tras su estreno, Blood Simple logró un considerable éxito comercial y alcanzó a
recuperar los 1 500 000 dólares invertidos en sus primeros seis meses —se calcula que cada
inversor consiguió una ganancia aproximada de ciento cincuenta por ciento—.[62] En cuanto a la
reacción de la crítica, la película recibió la aprobación de periódicos como The New York Times,
que elogió su estilo visual,[63] o el Chicago Sun-Times, donde en una reseña positiva el crítico
Roger Ebert escribió que el filme «tiene un alto nivel de energía e intensidad que asociamos con
cineastas jóvenes».[64] Asimismo, formó parte de algunas de las listas de mejores películas del
año 1985, entre ellas la del National Board of Review,[58] y ganó algunos prestigiosos galardones
como el Premio del Gran Jurado del Festival de Cine de Sundance y un Independent Spirit Award
al mejor director.[65][58]
Paralelamente, el director Sam Raimi —quien había forjado amistad con Joel durante su trabajo en
The Evil Dead— contrató a los Coen para coescribir la comedia negra The XYZ Murders, más
tarde titulada Crimewave.[37] En un principio, Raimi no estaba convencido del talento de los
Coen, en parte, debido a que Ethan «era tan solo un estadístico en Macy's» en ese entonces.[66]
Sin embargo, el guion de Blood Simple convenció a Bruce Campbell, actor y productor del
proyecto, que lo comparó con el trabajo de Alfred Hitchcock.[66] El filme se estrenó en 1985 y
recibió varias críticas negativas. Incluso los Coen, al igual que Raimi y Campbell, expresaron
descontento con el resultado final puesto que no contaron con un total control creativo y el estudio
se impuso en la toma de algunas decisiones.[37][66]
La siguiente película escrita y dirigida por los Coen fue Raising Arizona (1987). Escribir el guion
les llevó tres meses y medio y empezaron a trabajar en él con la idea de hacer algo más optimista y
alegre que su debut, Blood Simple.[67][68] Raising Arizona presenta la historia de una pareja
inverosímil: un ex convicto llamado H.I. —interpretado por Nicolas Cage— y Ed —interpretada
por Holly Hunter—, una ex policía, quienes desean tener un hijo pero son incapaces de concebir.
La fortuna les sonríe cuando un magnate local aparece en televisión con sus recién nacidos
quintillizos y diciendo en broma que son más de los él puede controlar. Viendo esto como un
«signo» y una oportunidad para compensar su dificultad para procrear, H.I. y Ed roban uno de los
quintillizos. Al momento de su estreno el filme dividió a los críticos,[69] algunos medios como
The New Yorker y Chicago Reader valoraron el trabajo de dirección[70][71] y otros como Variety
y The New York Times[72] criticaron el argumento: «Mientras que el filme está lleno de
espléndidos detalles y bastantes chistes, por momentos no se mantiene como una historia
coherente», indicó la reseña de la revista Variety.[73] Con el paso del tiempo la valoración de la
película se acrecentó y llegó a ocupar el número treinta y uno en una lista de las mejores cien
comedias del siglo veinte elaborada por el American Film Institute.[74] «Pienso que aprendimos
mucho entre nuestra primera y segunda película», declaró Joel años más tarde, recordando su
trabajo como director en Blood Simple y Raising Arizona. «Hay un gran salto en tu confianza con
respecto a tu trabajo después de que has hecho tu primera película, o por lo menos así fue para
nosotros», agregó.[75] El estreno de Raising Arizona llamó la atención de Warner Bros, que les
ofreció dirigir Batman, pero los Coen rechazaron la propuesta para dedicarse a su próximo
largometraje y colaborar en el guion de Darkman de Sam Raimi.[3]

Su siguiente trabajo, una película que homenajeó al género de gángsters titulada Miller's Crossing,
estuvo fuertemente influenciada por el escritor Dashiell Hammett. Ethan describió Miller's
Crossing como un «robo» a dicho autor, basado en las novelas The Glass Key y Cosecha roja.[76]
El proceso de escritura no resultó fácil para los Coen, cuyo ritmo de trabajo se enlenteció con el
guion a medio terminar —en parte debido a la complejidad de la trama—.[77][78][79] Para
aclarar sus ideas con respecto a Miller's Crossing, los hermanos se trasladaron por un tiempo a Los
Ángeles y comenzaron desarrollar conceptos para un proyecto diferente que se llamó Barton Fink.
[79] De vuelta en Nueva York, los Coen completaron el primer borrador de Barton Fink en un
periodo de tres semanas[79] y a continuación reanudaron la escritura de Miller's Crossing. El
intervalo dio resultados: «Barton Fink de alguna forma nos lavó el cerebro y fuimos capaces de
volver para terminar Miller's Crossing», afirmó Joel.[77] Miller's Crossing llegó a los cines en
1990 y contó con las actuaciones de Albert Finney, Gabriel Byrne y John Turturro, protagonizando
la historia de una disputa entre la mafia irlandesa e italiana de una ciudad estadounidense,
ambientada durante la ley seca, en el año 1929. La película fue un fracaso comercial al momento
de su estreno[80] y la opinión de los críticos estuvo dividida.[81] Contrastando con otras cintas de
gángsters de ese año cuyas historias ofrecían un enfoque serio —como Goodfellas o The
Godfather Part III—, Miller's Crossing fue una aproximación posmoderna al género e incluso lo
trató de manera irónica, según The New Yorker: «Esta no es tanto una película de gángsters sino
una extendida y elaborada referencia a una».[82]
Las huellas de Joel e Ethan Coen en el camino de la fama de Cannes impresas en 1994
Barton Fink, escrita en medio de los problemas de escritura de Miller's Crossing, se estrenó al año
siguiente. Un filme ambientado en 1941 que narra la historia de un dramaturgo neoyorquino —
encarnado por John Turturro en el papel que da nombre a la película— que se traslada a Los
Ángeles para escribir una B movie. Fink se aloja en un inusual hotel para comenzar a escribir pero
demasiado pronto un bloqueo de escritor le impide continuar, mientras recibe ayuda de un afable
vecino de la habitación contigua —encarnado por John Goodman—. Barton Fink se estrenó en el
Festival de Cannes, donde ganó el premio Palma de Oro por decisión unánime, como también los
premios a mejor director y mejor actor para Turturro, logrando ser la única película en la historia
del festival en ganar los tres premios juntos.[83] Además fue un éxito entre los críticos,[83]
muchos de los cuales la encontraron enigmática y simbólica.[84] La revista Variety escribió:
«Escena tras escena está llena de una fuerza y humor feroz»,[85] mientras que el crítico Peter
Travers de la Rolling Stone se refirió a Barton Fink como «en parte divertidísima, en parte
espeluznante, totalmente fascinante».[86] Esta fue la primera producción de los hermanos Coen
que contó con el trabajo del director de fotografía Roger Deakins, una figura clave en la carrera
cinematográfica de los directores durante los años venideros.[3]
Tras conocer al director Sam Raimi en The Evil Dead (1981), los Coen y el director comenzaron a
desarrollar la idea de El gran salto, un proceso intermitente que se extendió hasta 1985.[87][88]
Allá en los años 1980 en Nueva York, los Coen compartían apartamento con Raimi, quien fue
clave para incitar a los hermanos a terminar el guion.[89] Aunque lograron terminarlo, la
producción de la cinta no fue posible en ese entonces, según Joel porque: «Todavía no eramos
muy populares. Además, el guion era muy caro y recién acabábamos de hacer Blood Simple, que
era una película independiente».[90] Ya en 1991, tras el estreno de Barton Fink, los Coen
reflotaron el guion de El gran salto, aplicando algunos retoques en su escritura, y lograron atraer la
financiación de Silver Pictures y Warner Bros. Pictures, al mismo tiempo que mantuvieron un
completo control creativo.[91] Con un presupuesto mayor que en cualquiera de sus anteriores
producciones y con Tim Robbins, Jennifer Jason Leigh y Paul Newman encabezando el reparto,
los Coen comenzaron a filmar la película en 1992. El gran salto se estrenó a principio de 1994. La
historia giraba en torno a un empleado joven e inexperto que es colocado por sus directores a la
cabeza de una gran corporación como parte de un plan para hacer decaer las acciones y así
cometer un delito societario. Raimi describió la historia como «una comedia del mundo de los
negocios».[89] La película resultó un fracaso en la taquilla estadounidense, donde recaudó menos
de tres millones de dólares —lejos de alcanzar los veinticinco millones de dólares que costó su
realización— y los críticos fueron muy poco entusiastas con respecto al trabajo de los Coen.[92]
Muchos resaltaron el aspecto visual del filme pero menospreciaron su argumento,[93][94] como es
el caso de Roger Ebert del Chicago Sun-Times, quien elogió el diseño de producción y la
fotografía pero comentó que «todo es superficial y no hay contenido».[95]
Después de lo que el biógrafo de los Coen, Ronald Bergan, describió como «su película más
costosa y su único desastre en la taquilla»,[96] refiriéndose a El gran salto, los directores
regresaron a su Minnesota natal para filmar el thriller Fargo, una cinta que combinó elementos del
cine negro con humor.[97] Luego de que Warner rechazó el guion de Fargo, los directores
volvieron a trabajar de manera independiente con un presupuesto mucho más acotado que el de El
gran salto —esta vez de seis millones y medio de dólares, parecido al de su segunda película,
Raising Arizona—.[98] La trama se centra en Jerry Lundegaard (William H. Macy), un hombre
con problemas de dinero que planea el secuestro de su esposa para obtener así el dinero del rescate
de su adinerado suegro. El plan falla cuando los secuestradores que él contrató se desvían del plan
acordado y la policía local Marge Gunderson (Frances McDormand) comienza a investigar el
asunto. Después de su estreno en 1996, Fargo se transformó en la película más exitosa de los
Coen, tanto comercialmente como a nivel de la crítica.[99] Su éxito estuvo acompañado de
múltiples premios, incluyendo reconocimientos al trabajo de dirección en los Premios BAFTA y el
Festival de Cannes, y dos Premios Óscar: uno al mejor guion original y otro a la mejor actriz para
McDormand.[100]
En 1998 se estrenó El gran Lebowski, una comedia que los Coen tenían escrita desde incluso antes
de filmar El gran salto y que estaban esperando a realizar cuando el actor Jeff Bridges estuviese
disponible.[98] El personaje de Bridges y protagonista de la cinta era «The Dude», un bohemio
desempleado aficionado al bowling y a beber rusos blancos que, al ser confundido con un
millonario, se ve involucrado involuntariamente en un secuestro falso. John Goodman, Julianne
Moore y Steve Buscemi acompañaron a Bridges en los papeles principales. La historia se
ambientó en la ciudad de Los Ángeles en la década de 1990 y, de acuerdo con Ethan, «fue
concebida principalmente sobre la relación entre The Dude y Walter [personaje de Goodman]»,
idea que surgió a raíz de las escenas entre los dos personajes principales de Barton Fink,
interpretados por Turturro y Goodman.[101] A su vez, algunas escenas y personajes incluidos en la
película estuvieron inspirados en situaciones reales y personas conocidas de los Coen, como es el
caso de The Dude —por una parte basado en un hombre que le gustaba beber rusos blancos y
llegó a ser conocido como «The Dude», y por otra, basado en un veterano de la Guerra de Vietnam
que vivía en una pocilga y estaba orgulloso de una pequeña alfombra que «combinaba con la
habitación»—.[102] La película también estuvo influenciada por el cine negro y las novelas
detectivescas del autor Raymond Chandler —de quien tomaron prestado algunos elementos de sus
historias como alucinaciones o tramas complejas—.[98][103][104] Ethan explicó:
Queríamos algo que generara cierta sensación narrativa, como una historia moderna de Raymond
Chandler, y por eso tenía que estar ambientada en Los Ángeles [...] Queríamos tener una corriente
narrativa, una historia que se desplazara como un libro de Chandler, a través de diferentes partes
de la ciudad y diferentes clases sociales.[105]
El gran Lebowski no llegó a ser tan famosa como Fargo y en ese entonces muchos críticos la
consideraron un paso en falso de los Coen.[103] Tras su estreno en el Festival de Cine de
Sundance, Peter Howell, del periódico Toronto Star, escribió: «Es difícil creer que este es el
mismo equipo de trabajo que el año pasado ganó un Oscar al mejor guion original por Fargo. Hay
una gran cantidad de blasfemias en la película, lo que parece un débil intento de ocultar vacíos en
los diálogos».[106] Mientras tanto, el filme logró convencer a Roger Ebert, que la describió como
«extrañamente cautivadora».[107] Asimismo, la banda sonora compuesta por covers, canciones
clásicas y composiciones de Carter Burwell, fue elogiada por Todd McCarthy de Variety,[108] y la
actuación de Bridges fue bien valorada por Janet Maslin, que escribió en su reseña para The New
York Times: «El señor Bridges encuentra un papel tan ideal para él que parece que nunca ha
estado en otro sitio».[109] No obstante, con el paso de los años El gran Lebowski se transformó en
una película de culto y pasó a formar parte de la cultura popular,[103][110] ejemplos de ello son el
festival anual Lebowski Fest —donde los asistentes participan de actividades relacionadas al filme
— o la religión fundada en 2005 conocida como dudeísmo.[111][112]
Ethan y Joel Coen en el Festival de Cannes 2001 en el estreno de The Man Who Wasn't There
El filme de aventuras O Brother, Where Art Thou? llegó a los cines en el año 2000 y estuvo
ligeramente influenciado por la Odisea de Homero. La trama está ambientada en la Mississippi
rural de 1937, durante la Gran Depresión y sigue los pasos de tres convictos —interpretados por
George Clooney, John Turturro y Tim Blake Nelson— que acaban de escapar de prisión con el
objetivo de recuperar el botín de un atraco a un banco, que uno de ellos ha enterrado. Joel la
describió como «una película de Los tres chiflados con alusiones homéricas» y fue hasta ese
momento el filme menos violento de su filmografía.[113] Fue notable por su banda sonora, que
incluyó música tradicional de la región Sur de Estados Unidos.[114][115] O Brother, Where Art
Thou? fue bien recibida por la crítica,[116] que además de la música, destacó el aspecto virado a
sepia logrado por el director de fotografía Roger Deakins.[117][118][119][113] La cinta obtuvo
una buena recaudación[120] y además fue nominada a dos Premios Oscar —en las categorías
mejor guion adaptado y mejor fotografía— y dos Globo de Oro —recibiendo Clooney el premio al
mejor actor—.
Al año siguiente, los Coen estrenaron la cinta neo-noir The Man Who Wasn't There, ambientada a
finales de los 1940 en un pueblo de California. La película cuenta la historia de Ed Crane —
encarnado por Billy Bob Thornton—, un lacónico barbero que en un intento por conseguir dinero
para invertir en un negocio, decide chantajear al jefe de su esposa, quien además es el amante de
ésta. Este fue el primer trabajo de los Coen proyectado completamente en blanco y negro; tomó
elementos del cine negro clásico como la voz en off del protagonista y estuvo influenciado por las
novelas del escritor James M. Cain —específicamente por Double Indemnity, El cartero siempre
llama dos veces y Mildred Pierce—.[121][122][123] En mayo de 2001 se estrenó en el Festival de
Cannes y Joel Coen se llevó el premio al mejor director.[124] A pesar del buen recibimiento en
Cannes, la recaudación en las salas de cine no alcanzó para igualar el costo de producción —de
aproximadamente veinte millones de dólares—.[125][126] Sin embargo, The Man Who Wasn't
There recibió críticas favorables al desempaño de su protagonista, al estilo cinematográfico de sus
directores[125] y especialmente a Roger Deakins, ampliamente alabado por su trabajo de
fotografía.[127][128][129][130] Críticos como Peter Travers y Peter Bradshaw catalogaron la
cinta como una de las mejores del año 2001 y, de la misma forma, el National Board of Review la
incluyó dentro de sus diez mejores películas de ese año.[131][132][133] Además de las buenas
críticas, recibió múltiples premios y nominaciones, incluyendo una candidatura al Oscar y tres al
Globo de Oro.[134][135]
En 2001, los Coen planeaban filmar una adaptación del libro To the White Sea, un drama escrito
por James Dickey, con Brad Pitt en el papel de un piloto estadounidense que colisiona en Japón
durante la Segunda Guerra Mundial. Antes de empezar a rodar, el proyecto fue abandonado debido
a que el dinero que el estudio estaba dispuesto a invertir no era suficiente, de acuerdo con los
Coen, como para realizar la película como era necesario.[75][136] A continuación, los Coen
fueron contratados por primera vez para escribir un guion en conjunto: Intolerable Cruelty, una
historia concebida por John Romano y escrita en principio por Robert Ramsey y Matthew Stone.
En 1994, Joel e Ethan habían empezado a trabajar en el guion de Intolerable Cruelty sin
intenciones de dirigirlo ellos mismos.[137] Después de que varios directores se desligaron del
proyecto y George Clooney fue contratado como actor principal, los Coen aceptaron hacerse cargo
de la película como directores y compartir las tareas de producción con Brian Grazer.[136] Esta
fue la producción más cara de los directores hasta ese entonces: sesenta millones de dólares,
exactamente el presupuesto que necesitaban para To the White Sea.[18] La comedia, sobre un
abogado especializado en divorcios y una mujer que busca conseguir dinero de sus rupturas
(Catherine Zeta-Jones), se estrenó en 2003 y fue un éxito en la taquilla, donde recaudó más de
ciento veinte millones de dólares en todo el mundo.[138] El filme generó reacciones mixtas[139]
y al tratarse de un trabajo de los Coen, algunos críticos notaron un inusual tono comercial, como
USA Today, que la catalogó como su «película más mainstream» hasta ese momento, o Sight and
Sound, que la describió como un «producto envasado para consumirse».[140]
El mismo año se estrenó Bad Santa, una comedia negra en la que Joel e Ethan estuvieron
involucrados como productores ejecutivos y reescribieron partes del guion junto a su director
Terry Zwigoff. La producción de la misma estuvo entorpecida por desacuerdos entre los Coen,
Zwigoff y Bob Weinstein, de la productora Miramax.[141][142] Si bien hubo diferencias con
respecto al casting, los roces más serios surgieron cuando, en un intento por hacer la película más
comercial, Weinstein filmó algunas secuencias adicionales sin la aprobación del director y las
incluyó en el montaje.[141] Esto conllevó una agitada discusión con los Coen, quienes sintieron
que el productor había intentado «transformar el filme en American Pie» y describieron la película
como «un pedazo de mierda».[141] Más tarde, los Coen declararon: «Hemos estado toda nuestra
carrera evitando a Miramax, y ésta es la razón».[143] Como resultado, se montaron dos cortes de
Bad Santa, la versión del director y la comercial.[141]
La comedia negra The Ladykillers, un remake del clásico británico El quinteto de la muerte
(1955), se estrenó en 2004. Al igual que en su anterior película, los Coen recurrieron a otro
reconocido actor para protagonizar la cinta, Tom Hanks, quien interpretó a un profesor y líder de
una banda de ladrones que alquila una habitación en la casa de una anciana desde donde los
protagonistas planean ejecutar un robo. Cuando la mujer comienza a sospechar del plan, el grupo
decide asesinarla para no arruinar el trabajo. Con una recaudación aceptable en la taquilla,[144] la
película tuvo un recibimiento tibio por parte de los críticos y aunque la consideraron un trabajo
menor de los hermanos Coen,[145] la actuación de Hanks fue bien recibida.[146][147][148][149]
[150] Geoff Andrew, de la revista londinense Time Out, concluyó su reseña comentando:
«Mientras que está lejos de lo mejor de los Coen, no deja de ser más inteligente y ambiciosa que la
mayoría de las comedias de Hollywood actuales».[151] El estreno de The Ladykillers se derivó en
un periodo de tres años hasta su siguiente largometraje, No Country for Old Men.[145] Durante
este tiempo, participaron como productores ejecutivos en la cinta musical Romance & Cigarettes
(2005) de John Turturro y realizaron uno de los cortometrajes incluidos en el filme Paris, je t'aime
(2006), donde a través de veinte segmentos de diferentes directores se exploran diversas versiones
de la vida en París. Esta fue la primera vez que Joel e Ethan filmaron fuera de su país de origen.
[152] El corto de los hermanos, titulado Tuileries, reunió una vez más a los directores con el actor
Steve Buscemi, quien encarnó a un turista estadounidense envuelto en un problema con una pareja
francesa en el metro de la ciudad.[145] «Tomamos algunos de los requerimientos dados para los
cortos, como mostrar puntos de referencia parisinos y describir la ciudad como una ciudad para el
amor, y los dimos vuelta, sin pensar que iba a ser aprobado», dijo Ethan.[152]
Javier Bardem y los Coen en el Festival de Cannes 2007

En noviembre de 2007 llegó a los cines la que quizá sea la película más alabada de los directores
desde Fargo, No Country for Old Men, una adaptación de la novela del mismo nombre escrita por
Cormac McCarthy. Narra la historia de Llewelyn —interpretado por Josh Brolin—, un hombre
que encuentra dos millones de dólares provenientes del narcotráfico en la frontera de Texas y
México y decide guardarlos. Como consecuencia de esta acción, es perseguido por quienes buscan
el dinero, incluido un siniestro asesino a sueldo (Javier Bardem), que complica las intenciones de
Llewelyn y de un oficial local (Tommy Lee Jones). No Country for Old Men fue un rotundo éxito
de crítica y ganó numerosos premios, incluyendo el Oscar a mejor película, mejor director, mejor
guion adaptado y mejor actor de reparto. Muchos críticos la incluyeron en sus listas de las mejores
películas de 2007[153] y otros la consideraron la mejor de los hermanos Coen hasta ese momento.
[154][155][156][157] El crítico David Stratton de At the Movies comentó que «Hitchcock no
habría hecho un mejor suspense»[158] y el propio autor de la novela declaró que la adaptación fue
«una muy buena película».[159] Ese mismo año rodaron el cortometraje World Cinema como
parte de Chacun son cinéma, una producción conmemorando el sesenta aniversario del Festival de
Cannes. Casi con el mismo aspecto que en No Country for Old Men, Josh Brolin interpreta a un
hombre en la taquilla de un cine alternativo decidiendo entre dos proyecciones, la clásica La regla
del juego de Jean Renoir o una cinta contemporánea turca, İklimler.[160]
Burn After Reading (2008) fue el primer largometraje dirigido sobre la base de un guion original
de los Coen desde The Man Who Wasn't There. Con George Clooney, Frances McDormand, John
Malkovich, Tilda Swinton y Brad Pitt como actores principales, se trató de una comedia de
espionaje[161] y fue la tercera parte de lo que los Coen llamaron «trilogía idiota» con Clooney —
las anteriores fueron O Brother, Where Art Thou? e Intolerable Cruelty—.[162] La película llegó
al número uno en su debut en la taquilla estadounidense[163] y obtuvo buenas opiniones de gran
parte de la crítica especializada.[164][165][166] «Filmada, musicalizada y montada como un
thriller conspiracionista, pero actuada con exuberancia cómica por un reparto brillante», escribió
Colin Covert en su reseña para Star Tribune, «se presenta a sí misma de forma seria mientras que
difícilmente tenga algún sentido», concluyó el crítico.[167]
En septiembre de 2008, volvieron a Minnesota por primera vez desde Fargo para rodar A Serious
Man. El resultado fue una comedia negra sobre la vida de una familia judía de académicos, similar
a la propia familia Coen, ambientada en St. Louis Park alrededor del año 1967.[168] La historia se
basó en parte en el Libro de Job y en la propia niñez de los hermanos.[168] «Pensamos que sería
interesante hacer algo ambientado en 1967 en esa comunidad, porque fue un punto muy
interesante de nuestra propia niñez», explicó Joel. «Y parte del filme vino de pensar acerca de la
música de ese periodo, la combinación de música litúrgica judía y Jefferson Airplane. Un montón
de cosas diferentes».[169][170] La película se estrenadó en 2009 y aunque solo fue proyectada en
cines selectos, el bajo presupuesto empleado para su realización le permitió reportar buenas
ganancias en la taquilla.[171] Sumado a esto los críticos la recibieron favorablemente y valoraron
de forma positiva la reaparición de fortalezas mostradas en los primeros trabajos de los directores.
[171] Por consiguiente, A Serious Man fue nominada al Oscar en dos categorías, mejor película y
mejor guion original, además de recibir múltiples candidaturas a otros galardones y ser incluida
entre las mejores diez películas del año según el American Film Institute y el National Board of
Review.[172][173]

En 2010 estrenaron True Grit, un filme western que adaptó a la gran pantalla la novela del mismo
nombre de 1968 escrita por Charles Portis.[171] Esta adaptación fílmica —llevada al cine
anteriormente en 1969— estuvo protagonizada por Hailee Steinfeld y Jeff Bridges. Después de
que un forajido asesina a su padre, Mattie Ross, una chica de 14 años, contrata a un alguacil
bebedor y de gatillo fácil llamado «Rooster» Cogburn para que la ayude a encontrar al asesino y
vengar la muerte de su padre. La película tuvo gran resonancia tanto en el público como en la
crítica. Los Coen experimentaron su mayor éxito comercial hasta ese momento, recaudando más
de doscientos cincuenta millones de dólares en todo el mundo y superando por primera vez los
cien millones de dólares en Estados Unidos.[174] Asimismo, la cinta fue ovacionada ampliamente
por los críticos; Colin Covert de Star Tribune la describió como «magistral»[175] y Dave Calhoun
de Time Out dijo que «podría ser la película más directa de los Coen, pero también una de las
mejores».[176] Varias de las reseñas señalaron que True Grit era un trabajo más accesible y menos
personal, notando la ausencia de elementos típicos de filmes previos de los hermanos Coen;[174]
[177][178] Roger Ebert comentó al respecto: «Estoy sorprendido de que los Coen hayan hecho
este filme tan diferente a sus otros trabajos, excepto en calidad».[179] Una vez más el trabajo de
Joel e Ethan se vio recompensado con nominaciones a los Oscar con diez candidaturas en total,
incluyendo mejor película, mejor director y mejor guion adaptado.[180]
Los Coen en el Festival de Cannes 2015

El siguiente proyecto de los cineastas fue Inside Llewyn Davis, una historia que narra una semana
en la vida de Llewyn Davis, un cantautor que recorre la escena musical folk del barrio
neoyorquino de Greenwich Village en 1961. Joel describió el personaje principal —interpretado
por Oscar Isaac— como «alguien que no es exitoso en lo que hace, pero no porque no sea bueno»
e Ethan agregó: «Pensamos en el filme como una odisea que no va hacia ningún lado».[181] La
película se estrenó en el Festival de Cannes 2013, donde obtuvo el Gran Premio del Jurado.[182]
En su estreno en los cines estadounidenses a fines de ese año, el filme tuvo una buena respuesta y
recaudó aproximadamente el triple de los once millones de dólares que costó su producción.[183]
[184] Los críticos la recibieron con entusiasmo[185] y algunos repararon en su aire melancólico y
el característico humor de los Coen.[186][187][188][189][190] Inside Llewyn Davis recibió
múltiples nominaciones a diversos premios, incluyendo el Oscar, BAFTA y Globo de Oro.[191]
[192][193]
En 2014 se estrenó a través del canal FX la serie de televisión Fargo, inspirada en la película de
1996. La versión televisiva de Fargo contó con los Coen como productores ejecutivos y su estreno
estuvo acompañado de excelentes reseñas.[194] El éxito de Fargo trajo consigo múltiples
reconocimientos y fue renovada para subsiguientes temporadas.[195] Previo a su próxima labor
como directores, contribuyeron como guionistas para dos producciones —como ya lo habían
hecho antes con Gambit—.[196] En la primera de ellas, Unbroken, los Coen fueron contratados
para reescribir la primera versión del guion, un drama bélico basado en el libro acerca de las
experiencias del militar Louis Zamperini en la Guerra del Pacífico durante la Segunda Guerra
Mundial.[197][196] Por su segundo trabajo, el guion del drama sobre el incidente del U-2, Bridge
of Spies, recibieron una candidatura al Oscar al mejor guion original.[198]
Tres años después de su última dirección, estrenaron la comedia Hail, Caesar! en 2016, la cual
tiene a Josh Brolin interpretando a un productor de un estudio cinematográfico durante la era del
cine clásico de Hollywood en los años 1950. El resto del reparto fue conformado por otros actores
antes vistos en producciones de los Coen como George Clooney, Frances McDormand y Tilda
Swinton. La crítica recibió Hail, Caesar! con opiniones positivas en general[199] y tuvo el éxito
suficiente en la taquilla como para recaudar casi el triple de su presupuesto —de veintidós
millones de dólares—.[200] Manohla Dargis de The New York Times posicionó al filme «entre
medio de las obras maestras y fracasos» de los directores[201] y Bill Goodykoontz de Arizona
Republic señaló que es «mejor que, por ejemplo, Intolerable Cruelty, pero ni cerca de la genialidad
de El gran Lebowski».[202] Otros críticos, aunque calificándola positivamente, coincidieron en
que el filme no alcanzaba el nivel de los mejores trabajos de los Coen.[203][204][205] Al año
siguiente, George Clooney estrenó como director Suburbicon en el Festival Internacional de Cine
de Venecia, cuyo guion había sido escrito por los Coen originalmente en 1986 —después de Blood
Simple— y que se había estado planeando producir desde 2005.[206][207] Suburbicon muestra el
lado violento de una aparentemente pacífica comunidad suburbana hacia fines de los años 1950.
Tras su estreno en Venecia, la reacción de los críticos fue tibia;[208] el periódico The Guardian la
calificó como una de las «mayores decepciones» del festival y el sitio web Vox a pesar de apreciar
su premisa la consideró «una desconcertante decepción, un fracaso de proporciones épicas».[209]
[210]
Otros trabajos Editar

A mediados de los años 1990, los hermanos Coen comenzaron a realizar anuncios publicitarios
para algunas marcas reconocidas, entre ellas Olympus y Honda. Uno de sus anuncios más
destacados fue para la marca Gap en 2002, el cual incluyó a los actores Dennis Hopper y Christina
Ricci.[211][212] Otro de sus spots destacados fue para la compañía H&R Block, emitido durante
el Super Bowl XXXVI.[213] Mientras escribía el anuncio para H&R Block, la firma publicitaria
Mithun Agency se inspiró en El gran salto y más tarde invitaron a los Coen a dirigirlo.[213] En
1992 fundaron en Nueva York su propia productora cinematográfica, Mike Zoss Productions —
nombrada en honor a Mike Zoss Drugs, una farmacia de Minneapolis—.[214][215] El primer
proyecto que produjeron con ella fue O Brother, Where Art Thou? y le siguieron otros
largometrajes de los hermanos y la serie Fargo.
En noviembre de 1998, Ethan editó Gates of Eden, una recopilación de cuentos cortos, algunos de
ellos nuevos y otros publicados antes en medios como Playboy, Vanity Fair y The New Yorker.
[18] Al mismo tiempo fue lanzado en versión audiolibro con las narraciones de actores regulares
de sus películas como John Turturro, Steve Buscemi y John Goodman.[216] El libro, que se
inspira en la juventud de Ethan en Minneapolis y homenajea temáticas criminales y noir, recibió
buenas críticas.[18][217] Keith Phipps de The A.V. Club escribió: «Gran parte de la colección [...]
está muy arraigada a la ingeniosa sensibilidad Coen. Pero otra gran parte no, y es este elemento lo
que hace Gates of Eden aún mejor de lo que se podría esperar».[218] Tres años más tarde, en
2001, editó otro libro titulado The Drunken Driver Has the Right of Way, esta vez de poesía. Al
igual que con su libro anterior, los críticos buscaron similitudes con su trabajo cinematográfico.
[216] En 2012, lanzó otra colección de poesía, The Day the World Ends.[219]
En 2005, los Coen se reunieron con Charlie Kaufman para componer el proyecto de radioteatro
«Theater of the New Ear» que consistió en dos obras presentadas en vivo en Nueva York, Los
Ángeles y Londres. Una de ellas, titulada Sawbones, escrita y dirigida por los Coen, fue
protagonizada por John Goodman, Steve Buscemi, Philip Seymour Hoffman y Marcia Gay
Harden, entre otros.[216] Después de recibir el proyecto, el compositor Carter Burwell se contactó
con los Coen para preguntarles si tenían alguna historia archivada que quisieran aportar y estos se
ofrecieron para escribir una obra nueva.[220] La obra, una sátira de quince minutos de duración,
trata sobre una serie de televisión llamada Sawbones, acerca de las aventuras de un doctor —
encarnado por Hoffman— en el Viejo Oeste y sus amigos, al mismo tiempo que se retrata la vida
de dos televidentes de Sawbones.
Además de su trabajo como escritor de cuentos y poesía, Ethan ha escrito varias obras de teatro.
[216] La primera de ellas fue Almost an Evening, una obra dividida en tres actos presentada off-
Broadway en la Atlantic Theater Company durante 2008. El crítico de The New York Times, Ben
Brantley, escribió que Almost an Evening «está influenciada por la premisa de que el infierno
acecha el día a día justo bajo la superficie, o justo a la vuelta de la esquina».[221][216] Su
segunda obra se estrenó en el mismo teatro al año siguiente, y se tituló Offices. Dicho trabajo
mantuvo la misma estructura de tres obras de un acto que presentó su predecesora, esta vez
tratando temáticas relacionadas al mundo laboral y corporativo.[222] Ethan volvió a estrenar otro
trío de obras titulado Happy Hour en 2012, dirigidas —al igual que las dos anteriores— por Neil
Pepe, cuyos personajes principales incluyeron al dueño de un bar, un guitarrista de los años 1970 y
un hombre de negocios viajero.[219]
Ethan participó por primera vez en Broadway entre 2011 y 2012 con la producción Relatively
Speaking, dividida en tres obras de un acto, uno de ellos escrito por Ethan y titulado «Talking
Cure». Su obra, acerca de un hombre confinado en un hospital psiquiátrico y un terapeuta que trata
de ayudarlo, fue descrita por Charles Isherwood de The New York Times como «un mordaz y
divertido tironeo» entre sus protagonistas.[223] Contrariamente, Michael Feingold de The Village
Voice catalogó la obra como «sin gracia» y la describió como un «garabateo sin terminar».[219]
En septiembre de 2013, se estrenó su primera obra de larga duración, Women or Nothing, dirigida
por David Cromer, una comedia sobre una pareja de lesbianas desesperadas por tener un hijo.
[219][224]
Como homenaje a los hermanos Lumière y los ciento veinte años de la invención del cine,[225]
los Coen fueron presidentes del jurado en el Festival de Cannes 2015, siendo ésta la primera vez
que dos personas presidieron el jurado del certamen.[226] Asimismo, fue la primera vez que los
hermanos formaron parte de un jurado, lo que no cambió su forma de observar las películas:
«Cuando veo una película, trato de verla como cualquier otro espectador», afirmó Joel. «No
estamos aquí para ser críticos de cine. Estamos para ver qué filmes nos gustan más, con cuáles
estamos todos de acuerdo».[227]
Estilo e influencias Editar

Los hermanos Coen tienen un estilo propio muy reconocible, que suele manifestarse en películas
en donde los directores combinan diferentes géneros,[228][9] principalmente el drama y la
comedia —varias de sus producciones han sido clasificadas como comedias negras—. A lo largo
de su carrera, han mantenido un balance entre filmes cómicos y dramáticos, en parte, para
«tomarse un respiro» entre un drama y el siguiente.[229] Durante pasajes en sus películas, también
han sabido abordar otros géneros como el musical —por ejemplo en O Brother, Where Art Thou?
o Hail, Caesar!— o la ciencia ficción.[161] Sus filmes incluyen elementos recurrentes como la
excentricidad de sus personajes, la violencia[11] y tramas enrevesadas,[9] las cuales pueden girar
en torno al dinero o al secuestro.[230] Personajes como Karl Mundt, en Barton Fink, o Anton
Chigurh, en No Country for Old Men, personifican el arquetipo de «malvado imparable» —
unstoppable evil—.[231] La violencia y las excentricidades en sus cintas han sido a menudo
atribuidas al periodo de la juventud de los Coen, como una forma de compensar el aburrimiento y
cotidianidad vivida durante esa época de sus vidas.[232]
Las acciones de algunos personajes son reminicentes al sueño americano, como por ejemplo en
The Man Who Wasn't There, Fargo o Burn After Reading, donde la búsqueda de oportunidades o
cambios de sus personajes tiene efectos primordiales en el argumento.[233][234] El uso de la
ironía, el humor negro y los típicos personajes y tramas de sus películas a veces se resumen
mediante el uso del término «coenesco» —del inglés coenesque—,[235] un adjetivo que ya fue
incluido en el Collins English Dictionary.[236] Ante la pregunta de si tenían un estilo personal,
Joel contestó: «No creo que haya un hilo, al menos de forma consciente, que una las historias que
contamos», e Ethan reflexionó: «Es lo que llamas estilo solo en retrospectiva. Al momento de
hacer la película, solo se trata de tomar decisiones individuales. [...] Si eso tiene cierta
consistencia, dicen: ‘Bueno, ese es el estilo de ellos’».[237]
La comedia Los viajes de Sullivan (1941), de Preston Sturges, inspiró el título y parte del
argumento de O Brother, Where Art Thou?.[238]
Muchas de sus películas son homenajes o están influidas por géneros del cine clásico, como el
cine de gángsters de los años 1930, el cine negro y las comedias screwball de los años 1930 y
1940.[239] Una de las mayores inspiraciones de los Coen son las películas del cineasta Preston
Sturges, cuyas formas narrativas, lado satírico o diálogos pueden apreciarse en los filmes de los
hermanos.[240] Al mismo tiempo, sus trabajos están notoriamente influenciados por escritores de
novelas negras como James M. Cain y Raymond Chandler;[241][242] tales influencias noir son
visibles, por ejemplo, en Blood Simple, Miller's Crossing —que se basa en gran parte en The
Glass Key y Cosecha roja, de Dashiell Hammett—, Fargo y The Man Who Wasn't There,
catalogadas dentro del movimiento neo-noir.[243] De sus influencias cinematográficas y literarias
surgen algunos de los elementos presentes en las películas de los directores, como las voces en off,
las secuencias de ensueño y el humor absurdo.[235] Debido a esto, gran parte de las cintas que
conforman su filmografía son recreaciones de época.[244] «Ambientar una historia en el pasado es
una manera de ficcionalizarla más», explicaron los hermanos. «No se trata de reminiscencia,
porque nuestras películas son acerca de un pasado que nunca hemos vivido. Se trata más de
imaginación».[245] A esto se le suman las experiencias personales de los Coen: su niñez y su
juventud durante los inviernos en Minneapolis y su crianza dentro de la religión judía.[235] Su
predisposición a mezclar géneros y homenajear estilos cinematográficos tradicionales han llevado
a algunos autores contemporáneos a calificar sus cintas como posmodernas,[246] como por
ejemplo O Brother, Where Art Thou?[247] o El gran salto —la cual explora y reinventa estilos del
cine clásico—.[248] Con respecto a dicha denominación, Ethan declaró no tener «muy claro de
qué se trata el posmodernismo».[248]
Como consecuencia de la diversidad de géneros y épocas, sus películas están ambientadas a lo

largo y ancho de los Estados Unidos: Texas (Blood Simple, No Country for Old Men), Arizona
(Raising Arizona), Los Ángeles (El gran Lebowski, Intolerable Cruelty), Santa Rosa (The Man
Who Wasn't There), Hollywood (Barton Fink, Hail, Caesar!), Mississippi (O Brother, Where Art
Thou?, The Ladykillers), Nueva York (El gran salto, Inside Llewyn Davis), Minnesota (Fargo, A
Serious Man), Washington D. C. (Burn After Reading) o Arkansas (True Grit).[234] Con respecto
a la ambientación rural de The Man Who Wasn't There, el historiador y crítico José María
Caparrós señaló: «Pocas veces el cine estadounidense se ha asomado de una forma tan sutil y
contundente para ofrecer un testimonio del hondo vacío existencial y de la mediocridad de la
América profunda.»[249] Casi la totalidad de sus historias transcurren en su país de origen, y esto
se debe, según los Coen, a que las temáticas que manejan y a las que se sienten conectados están
arraigadas a su país de origen.[250]
Su manera de rodar se caracteriza por ser simple y precisa, filmar con lentes gran angular y utilizar
la técnica plano-contraplano, situando la cámara entre ambos personajes.[251][252] Aunque en los
créditos de sus primeros trabajos aparece únicamente Joel como director, ambos se encargan de la
escritura, producción, dirección y, por lo general, también del montaje.[n. 4] Con respecto al
montaje, Joel sostuvo: «Preferimos un abordaje práctico en vez de sentarnos al lado de alguien y
decirle cuando cortar. Pensamos que es más fácil».[250] Por su constante habilidad para trabajar
juntos y su similar visión artística, a menudo se ha hecho referencia a ellos como el «director
bicéfalo» —two-headed director—.[8] Muchos de los que han trabajado con ellos contaron la
anécdota de que al estar tan compenetrados, al hacer una pregunta, sobre el guion o sus personajes
a cada uno de ellos, recibieron exactamente la misma respuesta de cada hermano. Los Coen son
conocidos por planificar hasta el más mínimo detalle, ser muy precisos y coordinados, planeando
cada día de rodaje mediante storyboards de los segmentos del guion a ser filmados.[254] Varios
actores y miembros del equipo técnico han mencionado que los hermanos «saben exactamente que
quieren».[255][256][257][258][259] Después de su experiencia en dos de sus cintas, el actor Peter
Stormare dijo: «Tienen el producto en su cabeza. Conocen exactamente el resultado final».[254]
Desde sus inicios, los Coen han logrando mantener autonomía creativa y el final cut de sus
películas,[260][239] logrando producirlas al margen del modelo del cine de industria y de quienes
las financian. «Afortunadamente estamos libres del proceso de desarrollo y del proceso de
realización de la película del comité de Hollywood», afirmó Joel, y agregó: «Ellos entienden que
si van a hacer una película con nosotros, nos dejarán hacerla a nuestra manera».[237] A diferencia
de otros realizadores independientes, las películas de los Coen no están dirigidas a un público
selecto y aunque trabajan con bajos presupuestos para lograr independencia, también sacan
provecho de la mayor distribución que los grandes estudios pueden proveerles.[261] En algunos
casos han tenido que ajustarse a las exigencias del mercado, por ejemplo con Blood Simple y The
Hudsucker Proxy, para las cuales Joel e Ethan abandonaron la idea de estrenarlas en blanco y
negro para facilitar su distribución —finalmente en 2001 estrenaron The Man Who Wasn't There
en blanco y negro—.[261] A pesar de su libertad creativa y control sobre sus creaciones, los Coen
no se definen como «autores» —como los han definido ciertos escritores y críticos de cine—[262]
[15] y, aunque han alcanzado un estatus de cineastas de culto, no se ven afectados o influenciados
por la popularidad.[237][16] Al respecto, Barry Sonnenfeld comentó: «Eso es lo genial de Joel e
Ethan. No quieren aparecer en el Today Show. No quieren aparecer en People. No les importa».
[263]
Tras su debut en 1984, los Coen pasaron a formar parte de una nueva generación de cineastas
independientes —junto a otros como Sam Raimi y Jim Jarmusch— y su estilo sirvió de influencia
a películas de cine independiente estadounidense que les siguieron.[7] Con el paso del tiempo, los
directores han logrado tener éxito comercial sin dejar de ser independientes.[244][228]
Los directores según la críticaEditar

En un artículo de 2013 para Entertainment Weekly, Darren Franich nombró a los hermanos Coen
como «los principales profesionales contemporáneos» tanto del western como del cine negro.[264]
Robert C. Sickels añadió que las películas de los directores «están muy arraigadas a uno o más
géneros tradicionales».[265] La revista Empire escribió que los Coen «son una ley en sí mismos,
bailando sus propias canciones sin ser responsables ante nadie a excepción de ellos mismos».[266]
El crítico Jonathan Romney de Sight and Sound los describió como «los cineastas estadounidenses
más puramente lúdicos».[267]
En su libro de 1996 el autor y cineasta John Pierson incluyó el debut como directores de los Coen
en 1984 como parte de la «verdadera época dorada del cine independiente» y los llamó «los
independientes con el atractivo más comercial».[268] De forma similar, Geoff King escribió que
representan el espacio que separa los filmes independientes de los de estudio.[269] La crítica
Manohla Dargis escribió en el año 2000 que los filmes de Joel e Ethan Coen «han sido todos
técnicamente impecables, caracterizados por movimientos de cámara giratorios y lánguidos, y
exuberantes en cuanto al meticuloso diseño de producción». También reconoció el humor presente
en casi toda la filmografía —a excepción de El gran salto— y comentó que el talento de los Coen
para la crueldad «parece indistinguible» de su ingenio.[270] Allen Redmon indicó que las
películas de los Coen requieren a menudo más de un visionado y variadas formas de interpretarlas:
«El dúo carga sus filmes con tantas estructuras estilísticas y narrativas que siempre existe más de
una manera de leerlos».[271]
Después del estreno de Intolerable Cruelty, un grupo de críticos de The Guardian colocó a los
hermanos Coen en el tercer puesto en la lista de los mejores cuarenta directores en actividad, por
detrás de David Lynch y Martin Scorsese. «La especial mezcla de picardía, diálogos esculpidos,
homenajes a la historia del cine y cinematografía encuadrada meticulosamente de los Coen nunca
les ha fallado», escribió el periódico.[272] En un estudio realizado en base a datos de Metacritic,
el sitio web Quartz hizo una lista de los cien mejores directores de los últimos veinticinco años,
donde los Coen ocuparon el quinto lugar.[273] En la lista de las 100 mejores películas del siglo
XXI de la BBC publicada en 2016, los Coen estuvieron entre el grupo de directores con más
cantidad de filmes presentes en la lista, tres en total.[274]
Filmografía Editar
Artículo principal: Filmografía de los hermanos Coen
Largometrajes como directores
Blood Simple (1985)
Raising Arizona (1987)
Miller's Crossing (1990)
Barton Fink (1991)
El gran salto (1994)
Fargo (1996)
El gran Lebowski (1998)
O Brother, Where Art Thou? (2000)
The Man Who Wasn't There (2001)
Intolerable Cruelty (2003)
The Ladykillers (2004)
No Country for Old Men (2007)
Burn After Reading (2008)
A Serious Man (2009)
True Grit (2010)
Inside Llewyn Davis (2013)
Hail, Caesar! (2016)
Otros trabajos
Crimewave (1985) - Guionistas
Bad Santa (2003) - Guionistas, productores ejecutivos
Romance & Cigarettes (2005) - Productores ejecutivos
Tuileries (2006, cortometraje) - Directores, guionistas
World Cinema (2007, cortometraje) - Directores, guionistas
Gambit (2012) - Guionistas
Unbroken (2014) - Guionistas
Bridge of Spies (2015) - Guionistas
Suburbicon (2017) - Guionistas
The Ballad of Buster Scruggs (2018, serie de televisión) - Directores, guionistas, productores
Colaboradores Editar
Los hermanos Coen seleccionan con frecuencia a ciertos actores, entre los que más veces han
participados de sus producciones se encuentran Frances McDormand —esposa de Joel—, Steve
Buscemi, John Goodman, Jon Polito y John Turturro.[275] Otros actores que ha aparecido por lo
menos en tres ocasiones son George Clooney, Michael Badalucco, Holly Hunter, Stephen Root,
Josh Brolin, Richard Jenkins y Bruce Campbell.
De manera similar tienden a trabajar con el mismo equipo de filmación: el director de fotografía
Roger Deakins, los diseñadores de producción Dennis Gassner y Jess Gonchor, el editor de sonido
Skip Lievsay[276] y la jefa de vestuario Mary Zophres. En sus primeras tres películas, trabajaron
con Barry Sonnenfeld como director de fotografía, hasta que Sonnenfeld abandonó para dedicarse
a su carrera como director.[3] Desde entonces Deakins se ha encargado de la fotografía de los
Coen en casi todos sus filmes, a excepción de Burn After Reading, para la cual emplearon a
Emmanuel Lubezki,[277] e Inside Llewyn Davis, donde Bruno Delbonnel ocupó su lugar.[278]
Carter Burwell ha compuesto la música de la mayoría de las películas de los Coen y T-Bone
Burnett produjo gran parte de la música tradicional de O Brother, Where Art Thou? y seleccionó la
música de El gran Lebowski.[279] En la mayoría de las cintas de los directores el montador
acreditado es Roderick Jaynes, un alias utilizado por los Coen.[n. 2] La esposa de Ethan, Tricia
Cooke, trabajó como montadora en tres de sus producciones —El gran Lebowski, O Brother,
Where Art Thou? y The Man Who Wasn't There— después de trabajar como asistente de montaje
en cuatro de sus filmes previos —Miller's Crossing, Barton Fink, The Hudsucker Proxy y Fargo
—.
El realizador Sam Raimi es otro colaborador frecuente desde que conoció a Joel cuando este
último trabajaba como asistente de montaje en The Evil Dead. Ha ayudado a los Coen en el guion
de El gran salto, y los Coen escribieron el guion de Crimewave, que Raimi dirigió. El director
además hizo cameos en Miller's Crossing y El gran salto.
Actores habituales
Actor Blood Simple (1984) Raising Arizona (1987) Miller's Crossing (1990) Barton Fink
(1991) El gran salto (1994)Fargo (1996) El gran Lebowski (1998) O Brother, Where Art
Thou? (2000) The Man Who Wasn't There (2001) Intolerable Cruelty (2003) The
Ladykillers (2004) Tuileries (segmento de Paris, je t'aime) (2006) No Country for Old Men
(2007) World Cinema (segmento de Chacun son cinéma) (2007) Burn After Reading (2008)
A Serious Man (2009) True Grit (2010) Inside Llewyn Davis (2013) Hail, Caesar!
(2016)
Michael Badalucco
Josh Brolin
Steve Buscemi
Bruce Campbell (Sin acreditar) (Sin acreditar)

(Sin acreditar)
George Clooney
John Goodman
Holly Hunter (Sólo voz, sin acreditar)
Richard Jenkins
Warren Keith (Voz)

(Voz)
Frances McDormand (Voz, sin acreditar)
Jon Polito
Stephen Root
J.K. Simmons
John Turturro
Equipo de filmación habitual

Persona Blood Simple (1984) Raising Arizona (1987) Miller's Crossing (1990) Barton Fink
(1991) El gran salto (1994)Fargo (1996) The Big Lebowski (1998) O Brother, Where Art
Thou? (2000) The Man Who Wasn't There (2001) Intolerable Cruelty (2003) The
Ladykillers (2004) No Country for Old Men (2007) Burn After Reading (2008) A Serious
Man (2009) True Grit (2010) Inside Llewyn Davis (2013) Hail, Caesar! (2016)
Carter Burwell
Roger Deakins
Dennis Gassner
Jess Gonchor
Nancy Haigh
Richard Hornung
Tom Johnston
Peter F. Kurland
Skip Lievsay
Betsy Magruder
Mary Zophres
Galardones Editar
Artículo principal: Premios y nominaciones de los hermanos Coen
Los hermanos Coen han obtenido una considerable variedad de reconocimientos y honores a lo
largo de su trayectoria en el cine. Han conseguido algunos de los premios más prestigiosos de la
industria cinematográfica, incluyendo el Oscar, Globo de Oro y BAFTA. En 1991, consiguieron la
Palma de Oro, el mayor premios del Festival de Cannes, por Barton Fink; la película resultó
también ganadora de los premios a mejor director y mejor actor, una triple victoria sin
precedentes.[282] Años más tarde, volvieron a triunfar en Cannes, ganando el premio al mejor
director en dos ocasiones más, por Fargo y The Man Who Wasn't There, y el Gran Premio del
Jurado por Inside Llewyn Davis. Gracias a su labor en Fargo, ganaron su primer premio Oscar al
mejor guion original y fueron candidatos a tres premios más en el mismo certamen, incluyendo
mejor película y mejor director. En la misma época recibieron múltiples nominaciones a diversos
galardones por Fargo y Joel recibió el BAFTA al mejor director.[n. 4]
Tras el estreno de No Country for Old Men en 2007, los Coen recibieron un amplio
reconocimiento por parte de varias organizaciones —como la Asociación de Críticos de Cine de
Chicago[283] o el Círculo de Críticos de Nueva York[284]— y volvieron a ser candidatos a los
premios de la Academia. Se llevaron los premios Oscar a mejor película, mejor director y mejor
guion adaptado. Al recibir la estatuilla a mejor director, Joel recordó uno de sus primeros trabajos
como principiantes, Henry Kissinger: Man on the Go, filmado en Super-8 y comentó: «Ethan y yo
hemos estado contando historias con cámaras desde que eramos niños. Honestamente, lo que
hacemos ahora no parece tan diferente a lo que hacíamos en ese entonces».[285][286] Los Coen se
transformaron en los primeros hermanos en ganar el premio a mejor director en conjunto y el
segundo dúo en compartir dicho premio —el primer par fue Robert Wise y Jerome Robbins por
West Side Story—.[285] No Country for Old Men los llevó a ser candidatos también en los Globo
de Oro, donde ganaron el premio al mejor guion,[287] y en los BAFTA, donde se les entregó el
BAFTA al mejor director.[288] En 2013, recibieron la medalla de comendadores de las Artes y de
las Letras, el mayor reconocimiento cultural otorgado por el gobierno de Francia. «Este es uno de
los más afortunados chistes que creo que nos ha hecho la vida», bromeó Joel al recibir el honor. La
ministra de cultura Aurélie Filippetti agregó: «Tenemos lazos muy fuertes entre el cine francés y el
cine estadounidense así que es natural este reconocimiento a dos de los más grandes directores de
Estados Unidos en la actualidad».[289]
Taquilla Editar
Siempre hemos sido exitosos comercialmente. No en el sentido de hacer grandes cantidades de
dinero, lo que rara vez hacemos, sino en términos de no perder dinero y recaudar modestas
cantidades. En ese aspecto somos constantes. Por eso hemos sido capaces de continuar haciendo
películas y además porque, extrañamente, hemos tenido patrocinadores de estudios, empezando
por Barry Diller. A veces son gente de negocios que saben que no van a hacer enormes cantidades
de dinero, pero les gustan tus películas. Ellos también son aficionado al cine.[290]
Ethan Coen
De acuerdo con el sitio web Box Office Mojo, las películas que han dirigido los Coen han
recaudado alrededor de 573 millones de dólares en Estados Unidos.[291] Tras los beneficios en la
taquilla de Blood Simple y Raising Arizona,[292] la carrera de los Coen continuó con una serie de
fracasos comerciales: Miller's Crossing, Barton Fink y El gran salto. Esta última significó su
mayor traspié en la taquilla —con un presupuesto de veinticinco millones de dólares, la cinta
recaudó cerca de tres millones de dólares en su país de origen—, y como consecuencia, los Coen
dispusieron de un presupuesto más acotado para Fargo, su siguiente producción,[293] que sería el
primer trabajo de los Coen que llegó a un público masivo, y que fue proyectada en 716 cines —el
mayor alcance de un filme de los hermanos hasta ese momento— y recaudó alrededor de
veinticuatro millones de dólares en territorio estadounidense.[294] Pese a la tibia recepción de la
crítica, las comedias Intolerable Cruelty y The Ladykillers recaudaron en Estados Unidos treinta y
cinco y treinta y nueve millones, respectivamente, cifras positivas en comparación con trabajos
anteriores.[295] Posteriormente obtuvieron grandes resultados económicos, recaudando un total de
171 627 166 dólares por No Country for Old Men, 163 720 069 por Burn After Reading y 252 276
927, su mayor recaudación hasta el momento, por True Grit.[291]
Presupuestos y recaudaciones
Las cifras se expresan en dólares estadounidenses.
Título Presupuesto Estados Unidos Resto del mundo Total

Blood Simple 1 500 000[58] 3 851 855[296] s/d s/d
Raising Arizona 6 000 000[297] 22 847 564[298] 6 332 716[298] 29 180 280[298]
Miller's Crossing 11 000 000[299] 5 080 409[80] s/d s/d
Barton Fink 9 000 000[300] 6 153 939[301] s/d s/d
El gran salto 25 000 000[302] 2 816 518[303] s/d s/d
Fargo 6 500 000[98] 24 611 975[304] 36 000 000[304] 60 611 975[304]
El gran Lebowski 15 000 000[305] 17 451 873[306] s/d 27 000 000[103]
O Brother, Where Art Thou? 26 000 000[116] 45 512 588[120] 26 355 739[120] 71 868
327[120]
The Man Who Wasn't There 20 000 000[307] 7 504 257[126] 11 412 366[126] 18 916
623[126]
Intolerable Cruelty 60 000 000[139] 35 327 628[138] 84 889 781[138] 120 217 409[138]
The Ladykillers 35 000 000[144] 39 799 191[144] 36 948 250[144] 76 747 441[144]
No Country for Old Men 25 000 000[17] 74 283 625[308] 97 343 541[308] 171 627
166[308]
Burn After Reading 37 000 000[309] 60 355 347[309] 103 364 722[309] 163 720 069[309]
A Serious Man 7 000 000[310] 9 228 768[311] 22 201 566[311] 31 430 334[311]
True Grit 38 000 000[312] 171 243 005[312] 81 033 922[312] 252 276 927[312]
Inside Llewyn Davis 11 000 000[183] 13 235 319[184] 19 700 000[184] 32 935
319[184]
Hail, Caesar! 22 000 000[200] 30 080 225[200] 33 149 571[200] 63 229 796[200]
Notas Editar
↑ David es el segundo nombre de Joel según la base de datos creada por el Ministerio de Salud
de Minnesota,[1] aunque también puede aparecer como Joel Daniel Coen en fuentes como The
Coen Brothers Encyclopedia[2] y Masters of Cinema: Ethan and Joel Coen.[3]
↑ a b Roderick Jaynes es el seudónimo usado por los Coen para montar sus películas, debido a
que no querían que sus nombres se repitieran tantas veces en los créditos.[280] Los hermanos
revelaron ser los montadores detrás del seudónimo después de que Jaynes fue nominado al Premio
Óscar y la idea de mandar a Albert Finney disfrazado a la ceremonia de entrega fue rechazada por
la Academia.[281]
↑ Debido al orden de nacimiento Joel debe aparecer en primer lugar e Ethan en segundo. De
acuerdo con la RAE, en este caso la conjunción utilizada antes de Ethan debe ser e en lugar de y
para evitar así la cacofonía, al tratarse de una voz extranjera que empieza con e pero cuyo sonido
es /i/.[4]
↑ a b Durante muchos años, Joel e Ethan no compartieron los créditos como directores debido a
que las reglas del Sindicato de Directores de Estados Unidos no lo permitían. Es por esto que Joel
aparecía como único director e Ethan como único productor. No fue hasta el año 2004 con la cinta
The Ladykillers que empezaron a compartir los créditos de dirección y producción.[253]
Referencias Editar
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↑ Chapman King, 2014, p. 41
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↑ a b c Levine, 2000, p. 9
↑ a b Robson, 2011, p. 9
↑ a b Bergan, 2016, p. II: King of the Indies - 7 - Independents' Day
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↑ Bergan, 2016, p. XVI: A Good Jew - 102 - Lost in Transposition
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2016.
↑ Rainer, Peter (21 de diciembre de 2010). «True Grit: movie review». CSMonitor.com.
↑ Rea, Steven (21 de diciembre de 2010). «'True Grit,' the Coens’ wry biblical western».
Philly.com. Consultado el 17 de junio de 2016.
↑ Ebert, Roger (21 de diciembre de 2010). «True Grit». RogerEbert.com. Consultado el 17 de
junio de 2016.
↑ «THE 83RD ACADEMY AWARDS - 2011». Oscars.org. Consultado el 17 de junio de 2016.
↑ Bonner, Michael (12 de febrero de 2016). «An interview with the Coen Brothers: “We sold
out long ago…”». Uncut. Consultado el 18 de junio de 2016.
↑ «Todos los premiados de Cannes 2013». El País. 26 de mayo de 2013. Consultado el 18 de
junio de 2016.
↑ a b «When movies make the most of their budgets, it shows». Chicago Tribune. Tribune
Company. 24 de octubre de 2013. Consultado el 2 de agosto de 2016.
↑ a b c d «Inside Llewyn Davis». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ Edward Helmore (25 de enero de 2014). «Why Inside Llewyn Davis doesn't get inside the
Village». The Guardian. Consultado el 19 de julio de 2016.
↑ Jolin, Dan (9 de mayo de 2013). «Inside Llewyn Davis Review». Empire. Consultado el 18 de
junio de 2016.
↑ Jagernauth, Kevin (18 de mayo de 2013). «Cannes Review: The Coens Brothers’ ‘Inside
Llewyn Davis’ Is A Funny, Melancholy Look At A Wayfaring Stranger». IndieWire. Consultado
↑ Anderson, Kyle (20 de mayo de 2013). «REVIEW: INSIDE LLEWYN DAVIS IS THE COEN
BROTHERS AT THEIR MOST MELANCHOLIC». Nerdist. Consultado el 18 de junio de 2016.
↑ Phillips, Michael (17 de diciembre de 2013). «Review: 'Inside Llewyn Davis' ★★★ 1/2».
Chicago Tribune. Consultado el 18 de junio de 2016.
↑ LaSalle, Mick (19 de diciembre de 2013). «'Inside Llewyn Davis' review: Folk era an empty
prop to Coens». San Francisco Chronicle. Consultado el 18 de junio de 2016.
↑ «Nominees for the 86th Academy Awards». AMPAS. Consultado el 18 de junio de 2016.
↑ «BAFTA Film Awards 2014 - nominations in full». Digital Spy (Hearst Corporation). 8 de
enero de 2014. Consultado el 18 de junio de 2016.
↑ «Golden Globes Nominations: The Full List». Variety (Penske Media Corporation). 11 de
enero de 2014. Consultado el 18 de junio de 2016.
↑ Melissa Maerz (17 de junio de 2014). «'Fargo' season review: Why it's one of the year's best
dramas». Entertainment Weekly. Consultado el 19 de julio de 2016.
↑ Rawden, Jessica (2016). «What The Coen Brothers Think Of Fargo, The TV Show».
Cinemablend. Consultado el 2 de julio de 2016.
↑ a b Rodriguez, Cain (26 de febrero de 2013). «Coen Brothers To Rewrite Angelina Jolie’s
WWII Drama ‘Unbroken’». IndieWire. Consultado el 1 de julio de 2016.
↑ «Angelina Jolie's WWII film Unbroken 'not easy to shoot' according to screenwriters the Coen
brothers». Daily Mail Online. 11 de enero de 2014. Consultado el 1 de julio de 2016.
↑ Yamato, Jen (4 de febrero de 2016). «The Coen Brothers: ‘The Oscars Are Not That
Important’». The Daily Beast. Consultado el 1 de julio de 2016.
↑ Ben Child (8 de febrero de 2016). «Hail, Caesar! is Coens' biggest US box-office bomb since
Intolerable Cruelty». The Guardian. Consultado el 19 de julio de 2016.
↑ a b c d e «Hail, Caesar!». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ Dargis, Manohla (4 de febrero de 2016). «Review: In ‘Hail, Caesar!’ the Coens Revisit Old
Hollywood». The New York Times. ISSN 0362-4331. Consultado el 8 de febrero de 2016.
↑ Goodykoontz, Bill (4 de febrero de 2016). «'Hail, Caesar!' review: Coen brothers' comedy
doesn't live up to expectations». Arizona Republic. Consultado el 19 de junio de 2016.
↑ Lumenick, Lou (4 de febrero de 2016). «‘Hail, Caesar!’ isn’t a major Coen movie, but
it’s super entertaining». New York Post. Consultado el 19 de junio de 2016.
↑ Rainer, Peter (5 de febrero de 2016). «'Hail, Caesar!' is sharp and amusing but a minor work by
the Coen brothers». Christian Science Monitor. Consultado el 19 de junio de 2016.
↑ Macdonald, Moira (3 de febrero de 2016). «‘Hail, Caesar!’: Fun star turns in Coen
brothers’ latest film». The Seattle Times. Consultado el 19 de junio de 2016.
↑ Radish, Christina (20 de mayo de 2016). «Producer Joel Silver on ‘The Nice Guys’,
‘Sherlock Holmes 3′, and Joss Whedon’s ‘Wonder Woman’». Collider. Consultado el 11
de septiembre de 2017.
↑ «George Clooney Back With Coen Brothers». Empire. 22 de noviembre de 2005. Consultado el
11 de septiembre de 2017.
↑ Auger, Andrew (2 de septiembre de 2017). «Suburbicon Early Reviews Mixed; New Poster
Shows Broken America». Screen Rant. Consultado el 11 de septiembre de 2017.
↑ Romney, Jonathan (10 de septiembre de 2017). «Venice film festival 2017: murder and
mayhem on the Lido». The Guardian. Consultado el 11 de septiembre de 2017.
↑ Wilkinson, Alissa (10 de septiembre de 2017). «Suburbicon shows what happens when a Coen
brothers script goes very wrong». Vox. Consultado el 11 de septiembre de 2017.
↑ Haglund, David (10 de agosto de 2011). «That Rug Really Tied the Room Together». Slate.
↑ Gandert, Sean (1 de octubre de 2009). «Salute Your Shorts: The Coen Brothers' Short Films
and Commercials». Paste. Consultado el 30 de junio de 2016.
↑ a b McCarthy, Michael (11 de enero de 2002). «H&R Block gets Coen brothers for Super Bowl
ad». USA Today. Consultado el 30 de junio de 2016.
↑ Netburn, Deborah (26 de febrero de 2001). «Coen Brothers Join Harvey and Co., Buying
Quirky Tribeca Office». Observer. Consultado el 2 de julio de 2016.
↑ «The Coen Brothers». SLPhistory.org. Consultado el 2 de julio de 2016.
↑ a b c d e Chapman King, 2014, p. 48
↑ Friesen, Christopher (Enero de 2007). «The Gates of Eden by Ethan Cohen».
ThrillingDetective.com. Consultado el 16 de junio de 2016.
↑ Phipps, Keith (29 de marzo de 2002). «Ethan Coen: Gates of Eden». The A.V. Club.
↑ a b c d Chapman King, 2014, p. 49
↑ Schillinger, Liesl (10 de abril de 2005). «Celebrities Opt to Be Heard Rather Than Seen». The
New York Times. Consultado el 16 de junio de 2016.
↑ Brantley, Ben (23 de enero de 2008). «A World Right Around the Corner From Hell». The New
York Times. Consultado el 16 de junio de 2016.
↑ Chapman King, 2014, p. 48-49
↑ Isherwood, Charles (20 de octubre de 2011). «Each Family, Tortured in Its Own Way». The
↑ «The Verdict: Critics Review Ethan Coen's Women Or Nothing, Directed by David Cromer, at
Atlantic Theater Company». Playbill. 17 de septiembre de 2013. Consultado el 17 de junio de
2016.
↑ «Rossy de Palma y Guillermo del Toro, en el jurado de Cannes». El País. Consultado el 4 de
julio de 2016.
↑ «Cannes festival: Coen brothers to head jury». The Local. 20 de enero de 2015. Consultado el 4
de julio de 2016.
↑ Soghomonian, Talia (14 de mayo de 2015). «Meet the Jury of Cannes Film Festival 2015». El
País. Consultado el 4 de julio de 2016.
↑ a b Palmer, 2004, p. 43
↑ Gelzer-Govatos, Asher (10 de febrero de 2016). «The Coen brothers keep making the same
film twice—and it’s brilliant». The A.V. Club. Consultado el 23 de junio de 2016.
↑ Stone, Doug (9 de marzo de 1998). «The Coens Speak (Reluctantly)». IndieWire. Consultado
↑ Phillips, Michael (21 de mayo de 2007). «Coen brothers revisit Unstoppable Evil archetype».
Chicago Tribune. Consultado el 22 de junio de 2016.
↑ Nathan, 2012, p. 7
↑ Palmer, 2004, p. 54
↑ a b Formo, Brian (30 de mayo de 2016). «Why the Coen Brothers Are Our Most American
Filmmakers». Collider. Consultado el 23 de junio de 2016.
↑ a b c Nathan, 2012, p. 5
↑ «Coenesque». Collins Dictionary (en inglés). Consultado el 23 de junio de 2016.
↑ a b c Adams, 2015, p. 6-7
↑ Brody, Richard (17 de junio de 2014). «Movie of the week: “Movie of the week: Sullivan's
Travels”». The New Yorker. Consultado el 27 de enero de 2018.
↑ a b Anthony, Andrew (13 de enero de 2008). «Masters of the film universe». The Guardian.
↑ Nathan, 2012, p. 55
↑ Coughlin, Paul (Mayo de 2003). «Joel and Ethan Coen». Senses of Cinema. Consultado el 21
de junio de 2016.
↑ Orr, Christopher (16 de septiembre de 2014). «30 Years of Coens: The Big Lebowski».
↑ Palmer, 2004, p. 46
↑ a b Adams, 2015, p. 8
↑ Palmer, 2004, p. 58
↑ Booker, M. Keith (2007). Postmodern Hollywood: What's New in Film and why it Makes Us
Feel So Strange (en inglés). Greenwood Publishing Group. p. 146. ISBN 9780275999001.
↑ a b Conard, 2009, p. 196
↑ Caparrós, José María (2004). El cine del nuevo siglo. Ediciones Rialp. p. 166. ISBN
9788432134968.
↑ a b Palmer, 2004, p. 191
↑ «5 Filmmaking Techniques the Coen Brothers Use for Dialog Scenes». No Film School. 27 de
febrero de 2016. Consultado el 21 de junio de 2016.
↑ Rodgers, Blake (29 de febrero de 2016). «ANALYZING THE COEN BROTHERS’ STYLE
WITH EVERY FRAME A PAINTING». Nerdist. Consultado el 21 de junio de 2016.
↑ Aftab, Kaleem (10 de enero de 2014). «There's nowt as queer as folk: Inside the Coen
brothers». The Independent. Consultado el 28 de junio de 2016.
↑ a b «The Coen Brothers (TV Movie 2000)». BBC. 2000. Consultado el 28 de junio de 2016.
↑ Scott, Mike (16 de diciembre de 2013). «John Goodman, on 'Inside Llewyn Davis' and working
with the Coen brothers for a sixth time». NOLA.com. Consultado el 28 de junio de 2016.
↑ Ktorides, Christa (22 de enero de 2014). «INTERVIEW: OSCAR ISAAC». DIY. Consultado el
↑ Anderson, Kyle (21 de diciembre de 2013). «F. MURRAY ABRAHAM ON FOLK MUSIC,
GATEKEEPERS, AND INSIDE LLEWYN DAVIS». Nerdist. Consultado el 28 de junio de 2016.
↑ McDonald, William (3 de marzo de 1996). «Brothers in a Movie World of Their Own». The
↑ Tucker, Betty Jo (2008). «Coen Brothers Strike Again!». ReelTalk. Consultado el 28 de junio
de 2016.
↑ Nathan, 2012, p. 96
↑ a b Luhr, 2004, p. 5
↑ Will Self (11 de febrero de 2011). «Will Self considers the Coen brothers». The Guardian.
↑ Franich, Darren (7 de diciembre de 2013). «12 Signs You're Watching a Coen Brothers Pic».
Entertainment Weekly. Consultado el 23 de enero de 2018.
↑ Redmon, 2015, p. 10
↑ Williams, Owen (14 de marzo de 2016). «The Coen Brothers: Clooney, Bridges and more on
what makes them tick». Empire. Consultado el 23 de enero de 2018.
↑ Newman, Michael Z. (2011). Indie: An American Film Culture. Columbia University Press. p.
146. ISBN 9780231513524.
↑ Pierson, John (2014). Spike, Mike, Slackers & Dykes: A Guided Tour Across a Decade of
American Independent Cinema. Texas: University of Texas Press. pp. 28, 90. ISBN
9780292757684.
↑ King, Geoff (2005). American Independent Cinema. I.B.Tauris. pp. 83, 107, 151. ISBN
9781850439370.
↑ Dargis, Manohla (5 de julio de 2000). «Too Simple». L.A. Weekly. Consultado el 23 de enero
de 2018.
↑ Redmon, 2015, p. 14
↑ Bradshaw, Peter; Brooks, Xan; Haskell, Molly; Malcolm, Derek; Pulver, Andrew; Rich, B
Ruby; Rose, Steve. «The world's 40 best directors». The Guardian. Consultado el 23 de enero de
2018. «The Coens' special mix of arch, sculpted dialogue, film-history homage and scrupulously-
framed cinematography has never failed them yet.»
↑ Shepherd, Jack (7 de febrero de 2017). «100 best directors of the last 25 years, according to
thousands of critics». The Independent. Consultado el 23 de enero de 2018.
↑ «Surprising facts from the 100 greatest films of the 21st Century». BBC. Consultado el 23 de
enero de 2018.
↑ Palmer, 2004, p. 51
↑ Beggs, Scott (24 de abril de 2015). «Tribeca: Here's Why the Coen Brothers' Films Always
Sound Magnificent». Indiewire. Consultado el 26 de junio de 2016.
↑ «Burn After Reading: The Coens go back to their kooky roots». Empire. Diciembre de 2007. p.
30.
↑ Desowitz, Bill (4 de diciembre de 2013). «New York Film Critics' Cinematography Winner
Delbonnel Goes 'Inside Llewyn Davis'». Indiewire. Consultado el 26 de junio de 2016.
↑ Mottram, James (19 de enero de 2014). «T Bone Burnett: 'Inside Llewyn Davis? It’s the story
of my life'». The Independent. Consultado el 26 de junio de 2016.
↑ Levine, 2000, p. 28
↑ Nathan, 2012, p. 64
↑ Bergan, Ronald (2000). The Coen Brothers. Nueva York: Thunder's Mouth Press. p. 143. ISBN
1-56025-254-5.
↑ «Chicago Film Critics Awards - 1998-2007». Chicago Film Critics. Consultado el 27 de julio
de 2016.
↑ Dade Hayes (10 de diciembre de 2007). «‘No Country’ tops with N.Y. critics». Variety.
↑ a b «Coen brothers make Oscar history». TODAY.com. 25 de febrero de 2008. Consultado el
↑ «The Coen Brothers winning an Oscar® for Directing "No Country for Old Men"». Oscars. 25
de febrero de 2008. Consultado el 29 de junio de 2016.
↑ «WINNERS & NOMINEES: No Country For Old Men». GoldenGlobes.com. 2008.
↑ «Film Awards Winners in 2008». BAFTA.org. 2008. Consultado el 29 de junio de 2016.
↑ «Coen Brothers awarded top cultural prize in France». Express. 17 de octubre de 2013.
↑ Manohla Dargis (4 de septiembre de 2013). «‘We Are the Establishment Now’». The New
York Times. Consultado el 1 de agosto de 2016.
↑ a b «Joel Coen Movie Box Office Results». Box Office Mojo. Consultado el 28 de julio de
2016.
↑ The Coen Brothers and Frances McDormand on Charlie Rose (1997). Estados Unidos. 1997.
Escena en 10:42. Archivado desde el original el 28 de julio de 2016. Consultado el 28 de julio de
2016.
↑ Luhr, 2004, p. 12
↑ Rowell, 2007, p. 172
↑ Rowell, 2007, p. 311
↑ «Blood Simple». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ Nathan, 2012, p. 15
↑ a b c «Raising Arizona». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ Nathan, 2012, p. 19
↑ Nathan, 2012, p. 25
↑ «Barton Fink». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ Rowell, 2007, p. 140
↑ «The Hudsucker Proxy». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ a b c «Fargo». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ «The Big Lebowski - Financial Information». The Numbers. Consultado el 2 de agosto de
2016.
↑ «The Big Lebowski». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ Nathan, 2012, p. 60
↑ a b c «No Country for Old Men». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ a b c d «Burn After Reading». Box Office Mojo. Consultado el 2 de agosto de 2016.
↑ Nathan, 2012, p. 83
↑ a b c «A Serious Man». Box Office Mojo. Consultado el 3 de julio de 2016.
↑ a b c d «True Grit». Box Office Mojo. Consultado el 2 de agosto de 2016.
Levine, Josh (2000). The Coen Brothers: The Story of Two American Filmmakers (en inglés).
Toronto: ECW Press. ISBN 9781550224245.
Bergan, Ronald (2001). The Coen Brothers (en inglés). Londres: Phoenix Books. ISBN
9780753814154.
Russell, Carolyn R. (2001). The Films of Joel and Ethan Coen (en inglés). Carolina del Norte:
McFarland. ISBN 9780786409730.
Luhr, William (2004). The Coen Brothers' Fargo (en inglés). Cambridge: Cambridge University
Press. ISBN 9780521005012.
Palmer, R. Barton (2004). Joel and Ethan Coen (Contemporary Film Directors) (en inglés).
Illinois: University of Illinois Press. ISBN 978-0252071850.
Allen, William Rodney; Coen, Joel; Coen, Ethan (2006). The Coen Brothers: Interviews (en
inglés). Mississippi: Univ. Press of Mississippi. ISBN 9781578068890.
Rowell, Erica (2007). The Brothers Grim: The Films of Ethan and Joel Coen (en inglés).
Maryland: Scarecrow Press. ISBN 9781461664086.
Conard, Mark T. (2009). The Philosophy of the Coen Brothers (en inglés). Kentucky: University
Press of Kentucky. ISBN 9780813125268.
Doom, Ryan P. (2009). The Brothers Coen: Unique Characters of Violence (en inglés). California:
ABC-CLIO. ISBN 9780313355981.
Robson, Eddie (2011). Coen Brothers - Virgin Film (en inglés). Nueva York: Random House.
ISBN 9780753547700.
Hamen, Susan E. (2012). How to Analyze the Films of the Coen Brothers (en inglés). Minnesota:
ABDO Publishing Company. ISBN 9781614801542.
Nathan, Ian (2012). Masters of Cinema: Ethan and Joel Coen (en inglés). Londres: Phaidon Press.
ISBN 9782866429034.
Chapman King, Lynnea (2014). The Coen Brothers Encyclopedia (en inglés). Maryland: Rowman
& Littlefield. ISBN 9780810885776.
Adams, Jeffrey (2015). The Cinema of the Coen Brothers: Hard-Boiled Entertainments (en
inglés). Nueva York: Columbia University Press. ISBN 9780231850810.
Redmon, Allen (2015). Constructing the Coens: From Blood Simple to Inside Llewyn Davis (en
inglés). Maryland: Rowman & Littlefield. ISBN 9781442244856.
Bergan, Ronald (2016). The Coen Brothers, Second Edition (en inglés). Nueva York: Skyhorse
Publishing, Inc. ISBN 9781628726244.
Wikiquote alberga frases célebres de o sobre los hermanos Coen.
Wikimedia Commons alberga una categoría multimedia sobre los hermanos Coen.
Joel Coen en Internet Movie Database (en inglés)
Ethan Coen en Internet Movie Database (en inglés)
Análisis de las películas y carrera de los Coen
Documental del año 2000 sobre los Coen
Última edición hace 2 meses por Machete kills
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Wikipedia
Coen brothers
"Ethan Coen" and "Joel Coen" redirect here. For others with similar names, see Ethan Cohen
(disambiguation) and Joel Cohen (disambiguation).
Joel David Coen[1] (born November 29, 1954) and Ethan Jesse Coen[1] (born September 21,
1957), collectively referred to as the Coen brothers, are American filmmakers. Their films span
many genres and styles, which they frequently subvert or parody.[2] Their most acclaimed works
include Miller's Crossing (1990), Fargo (1996), The Big Lebowski (1998), No Country for Old
Men (2007), A Serious Man (2009), True Grit (2010), and Inside Llewyn Davis (2013).
The Coen brothers

Coen brothers Cannes 2015 2 (CROPPED).jpg
Ethan (left) and Joel Coen, at the 2015 Cannes Film Festival
Residence
Other names
Roderick Jaynes
Occupation
Film directors, producers, screenwriters, film editors
Joel Coen
Born
Joel David Coen
November 29, 1954 (age 63)
St. Louis Park, Minnesota, U.S.
Years active
1984–present
Spouse(s)
Frances McDormand (m. 1984)
Children
1
Ethan Coen
Born
Ethan Jesse Coen
September 21, 1957 (age 60)
St. Louis Park, Minnesota, U.S.
Years active
1984–present
Spouse(s)
Tricia Cooke (m. 1990)
Children
2
The brothers write, direct and produce their films jointly, although until The Ladykillers (2004)
Joel received sole credit for directing and Ethan for producing. They often alternate top billing for
their screenplays while sharing editing credits under the alias Roderick Jaynes. They have been
nominated for thirteen Academy Awards together, and individually for one award each, winning
Best Original Screenplay for Fargo and Best Picture, Best Director and Best Adapted Screenplay
for No Country for Old Men. The duo also won the Palme d'Or for Barton Fink (1991).
The Coen brothers have written a number of films they did not direct, including the biographical
war drama Unbroken (2014), the historical legal thriller Bridge of Spies (2015), and lesser-known,
commercially unsuccessful comedies such as Crimewave (1985), The Naked Man (1998) and
Gambit (2012). Ethan is also a writer of short stories, theater and poetry.
Known for many distinctive stylistic trademarks including genre hybridity,[3] the brothers' films
No Country for Old Men, A Serious Man and Inside Llewyn Davis have been ranked in the BBC's
2016 poll of the greatest motion pictures since 2000.[4]
Contents
Background Edit
Early life Edit
Joel and Ethan Coen were born and raised in St. Louis Park, Minnesota, a suburb of Minneapolis.
[5] Their mother, Rena (née Neumann), was an art historian at St. Cloud State University,[6] and
their father, Edward Coen, was an economist at the University of Minnesota.[7] Their family is
Jewish.[8][9][10][11][12]
When they were children, Joel saved money from mowing lawns to buy a Vivitar Super 8 camera.
Together, the brothers remade movies they saw on television, with their neighborhood friend Mark
Zimering ("Zeimers") as the star.[13] Their first attempt was a romp entitled Henry Kissinger,
Man on the Go. Cornel Wilde's The Naked Prey (1965) became their Zeimers in Zambia, which
also featured Ethan as a native with a spear.[14]
Joel Coen has said: "In regards to whether our background influences our film making ... who
knows? We don't think about it ... There's no doubt that our Jewish heritage affects how we see
things."[8]
Education Edit
Joel and Ethan graduated from St. Louis Park High School in 1973 and 1976, respectively,
[citation needed] and from Bard College at Simon's Rock in Great Barrington, Massachusetts.[5]
Joel then spent four years in the undergraduate film program at New York University, where he
made a 30-minute thesis film called Soundings. Ethan went on to Princeton University and earned
an undergraduate degree in philosophy in 1979.[5] His senior thesis was a 41-page essay, "Two
Views of Wittgenstein's Later Philosophy".[15]
Personal lives Edit

Joel has been married to actress Frances McDormand since 1984. They adopted a son from
Paraguay named Pedro McDormand Coen.[16] McDormand has acted in several Coen Brothers
films, including a minor appearance in Miller's Crossing, a supporting role in Raising Arizona,
lead roles in Blood Simple and The Man Who Wasn't There, her Academy Award-winning role in
Fargo, and her starring role in Burn After Reading. She also did a voice-over in Barton Fink.
Ethan married film editor Tricia Cooke in 1990. They have two children: daughter Dusty and son
Buster Jacob, who goes to Vassar College.[17]
Both couples live in New York.[18]
Career Edit
1980s Edit
After graduating from New York University, Joel worked as a production assistant on a variety of
industrial films and music videos. He developed a talent for film editing and met Sam Raimi while
assisting Edna Ruth Paul in editing Raimi's first feature film, The Evil Dead (1981).[19]
In 1984, the brothers wrote and directed Blood Simple, their first commercial film together. Set in
Texas, the film tells the tale of a shifty, sleazy bar owner who hires a private detective to kill his
wife and her lover. The film contains elements that point to their future direction: distinctive
homages to genre movies (in this case noir and horror), plot twists layered over a simple story,
dark humor, and mise-en-scène. The film starred Frances McDormand, who went on to feature in
many of the Coen brothers' films (and marry Joel). Upon release the film received much praise
and won awards for Joel's direction at both the Sundance and Independent Spirit awards.[20]
Their next project was Crimewave (1985), directed by Sam Raimi and written by the Coens and
Raimi. Joel and Raimi also made cameo appearances in Spies Like Us (1985).
The brothers' next film was Raising Arizona (1987), the story of an unlikely married couple: ex-
convict H.I. (Nicolas Cage) and police officer Ed (Holly Hunter), who long for a baby but are
unable to conceive. When a local furniture tycoon (Trey Wilson) appears on television with his
newly born quintuplets and jokes that they "are more than we can handle", H.I. steals one of the
quintuplets to bring up as their own. The film featured Frances McDormand, John Goodman,
William Forsythe, Sam McMurray, and Randall "Tex" Cobb.
1990s Edit
Miller's Crossing, released in 1990, starred Albert Finney, Gabriel Byrne, and John Turturro. The
film is about feuding gangsters in the Prohibition era, inspired by Dashiell Hammett's novels Red
Harvest (1920) and The Glass Key (serialized in 1930).
The following year, they released Barton Fink (1991); set in 1941, in which a New York
playwright (the eponymous Barton Fink played by John Turturro) moves to Los Angeles to write a
B-movie. He settles down in his hotel room to commence writing but suffers writer's block until
he is invaded by the man next door (John Goodman). Barton Fink was a critical success, earning
Oscar nominations and winning three major awards at the 1991 Cannes Film Festival, including
the Palme d'Or.[21] It was their first film with cinematographer Roger Deakins, a key collaborator
for the next 25 years.
The Hudsucker Proxy (co-written with Raimi) was released in 1994. In it, the board of a large
corporation in 1958 New York City appoints a naive schmo as president (Tim Robbins) for
underhanded reasons. The film bombed at the box office ($30 million budget, $3 million gross in
the USA), even though it featured Paul Newman and Jennifer Jason Leigh. Frances McDormand
appears in a brief uncredited role.
The Coens wrote and directed the crime thriller Fargo (1996), set in their home state of Minnesota.
Jerry Lundegaard (William H. Macy), who has serious financial problems, has his wife kidnapped
so that his wealthy father-in-law will pay the ransom. His plan goes wrong when the kidnappers
deviate from the plan and local cop Marge Gunderson (McDormand) starts to investigate.
Produced on a small budget of $7 million, Fargo was a critical and commercial success, with
particular praise for its dialogue and McDormand's performance. The film received several
awards, including a BAFTA award and Cannes award for direction, and two Oscars: a Best
Original Screenplay and a Best Actress Oscar for McDormand.[22][23]
In the Coens' next film, the black comedy The Big Lebowski (1998), "The Dude" (Jeff Bridges), a
Los Angeles slacker, is used as an unwitting pawn in a kidnapping plot with his bowling buddies
(Steve Buscemi and John Goodman). Despite initially receiving mixed reviews and
underperforming at the box office, it is now well received by critics,[24] and is regarded as a
classic cult film.[25] An annual festival, Lebowski Fest, began in 2002, and many adhere to the
philosophy of "Dudeism".[26] Entertainment Weekly ranked it 8th on their Funniest Movies of the
Past 25 Years list in 2008.[27]
Gates of Eden, a collection of short stories written by Ethan Coen, was published in 1998.[28][29]
The same year, Ethan co-wrote the comedy The Naked Man, directed by their storyboard artist J.
Todd Anderson.[30]
2000s Edit
Ethan and Joel at the 2001 Cannes Film Festival

The Coen brothers' next film, O Brother, Where Art Thou? (2000), was another critical and
commercial success. The title was borrowed from the Preston Sturges film Sullivan's Travels
(1941), whose lead character, movie director John Sullivan, had planned to make a film with that
title.[31] Based loosely on Homer's Odyssey (complete with a cyclops, sirens, et al.), the story is
set in Mississippi in the 1930s and follows a trio of escaped convicts who, after absconding from a
chain gang, journey home to recover bank-heist loot the leader has buried—but they have no clear
perception of where they are going. The film highlighted the comic abilities of George Clooney as
the oddball lead character Ulysses Everett McGill, and of Tim Blake Nelson and John Turturro,
his sidekicks. The film's bluegrass and old-time soundtrack, offbeat humor and digitally
desaturated cinematography made it a critical and commercial hit.[32][33] It was the first feature
film to use all-digital color grading.[34] The film's soundtrack CD was also successful, spawning a
concert and concert/documentary DVD, Down from the Mountain, that coincided with a
resurgence in interest in American folk music.[citation needed]
The Coen brothers next produced another noirish thriller, The Man Who Wasn't There (2001). Set
in late 1940s California, a laconic chain-smoking barber (played by Billy Bob Thornton) discovers
a way to blackmail his wife's lover and use the proceeds to invest in a dry cleaning business.
The Coens directed the 2003 film Intolerable Cruelty, starring George Clooney and Catherine
Zeta-Jones, a throwback to the romantic comedies of the 1940s. It focuses on hotshot divorce
lawyer Miles Massey and a beautiful divorcée whom Massey managed to prevent from receiving
any money in her divorce. She vows to get even with him while, at the same time, he becomes
smitten with her. Intolerable Cruelty received generally positive reviews, although it is considered
one of the duo's weaker films.[35] Also that year, they executive produced and did an uncredited
rewrite of the Christmas black comedy Bad Santa, which garnered positive reviews.[36]
In 2004, the Coen brothers made The Ladykillers, a remake of the Ealing Studios classic.[37] A
professor, played by Tom Hanks, assembles a team to rob a casino. They rent a room in an elderly
woman's home to plan the heist. When the woman discovers the plot, the gang decides to murder
her to ensure her silence. The Coens received some of the most lukewarm reviews of their careers
in response to this film.[38]
They directed two short films for two separate anthology films—Paris, je t'aime (Tuileries, 2006)
starring Steve Buscemi,[39] and To Each His Own Cinema (World Cinema, 2007) starring Josh
Brolin.[40] Both films received highly positive reviews.[41][42]
With Javier Bardem at the 2007 Cannes Film Festival

No Country for Old Men, released in November 2007, closely follows the 2005 novel of the same
name by Cormac McCarthy. Vietnam veteran Llewelyn Moss (Josh Brolin), living near the
Texas/Mexico border, stumbles upon, and decides to take, two million dollars in drug money. He
must then go on the run to avoid those trying to recover the money, including sociopathic killer
Anton Chigurh (Javier Bardem), who confounds both Llewelyn and local sheriff Ed Tom Bell
(Tommy Lee Jones). The plotline is a return to noir themes, but in some respects it was a departure
for the Coens; with the exception of Stephen Root, none of the stable of regular Coen actors
appears in the film. No Country received nearly universal critical praise, garnering a 94% "Fresh"
rating at Rotten Tomatoes.[43] It won four Academy Awards, including Best Picture, Best Director
and Best Adapted Screenplay, all of which were received by the Coens, as well as Best Supporting
Actor received by Bardem. The Coens, as "Roderick Jaynes", were also nominated for Best Editor,
but lost. It was the first time since 1961 (when Jerome Robbins and Robert Wise won for West
Side Story) that two directors received the Academy Award for Best Director at the same time.[44]
In January 2008, Ethan Coen's play Almost an Evening premiered off-broadway at the Atlantic
Theater Company Stage 2, opening to mostly enthusiastic reviews. The initial run closed on
February 10, 2008, but the same production was moved to a new theatre for a commercial off-
Broadway run at the Bleecker Street Theater in New York City. Produced by The Atlantic Theater
Company, it ran there from March 2008 through June 1, 2008.[45] and Art Meets Commerce.[46]
In May 2009, the Atlantic Theater Company produced Coen's Offices, as part of their mainstage
season at the Linda Gross Theater.[47]
Burn After Reading, a comedy starring Brad Pitt and George Clooney, was released September 12,
2008, and portrays a collision course between a gym instructor, spies and Internet dating. Released
to positive reviews, it debuted at #1 in North America.[48]
In 2009, the Coens directed a television commercial titled "Air Freshener" for the Reality
Coalition.[49][50]
They next directed A Serious Man, released October 2, 2009, a "gentle but dark" period comedy
(set in 1967) with a low budget.[51] The film is based loosely on the Coens' childhoods in an
academic family in the largely Jewish suburb of Saint Louis Park, Minnesota;[51] it also drew
comparisons to the Book of Job.[52][53] Filming took place late in the summer of 2008, in the
neighborhoods of Roseville and Bloomington, Minnesota, at Normandale Community College,
and at St. Olaf College.[54][55] The film was nominated for the Oscars for Best Picture and Best
Original Screenplay.[56]
2010s Edit
True Grit (2010) is based on the 1968 novel of the same name by Charles Portis.[57] Filming was
done in Texas and New Mexico. Hailee Steinfeld stars as Mattie Ross along with Jeff Bridges as
Marshal Rooster Cogburn. Matt Damon and Josh Brolin also appear in the movie.[58] True Grit
was nominated for ten Academy Awards, including Best Picture.[59][60]
The Coens, presidents of the 2015 Cannes Film Festival jury

Ethan Coen wrote the one-act comedy Talking Cure, which was produced on Broadway in 2011 as
part of Relatively Speaking, an anthology of three one-act plays by Coen, Elaine May, and Woody
Allen.[61]
Inside Llewyn Davis (2013) is a treatise on the 1960s folk music scene in New York City's
Greenwich Village, and very loosely based on the life of Dave Van Ronk.[62] The film stars Oscar
Isaac, Justin Timberlake and Carey Mulligan.[63] It won the Grand Prix at the 2013 Cannes Film
Festival, where it was highly praised by critics.[64] They received a Golden Globe nomination for
Best Original Song for "Please Mr. Kennedy", which is heard in the film.[65]
Fargo, a television series inspired by their film of the same name, premiered in June 2014 on the
FX network. It is created by Noah Hawley and executive produced by the brothers.[66]
The Coens also contributed to the screenplay for Unbroken, along with Richard LaGravenese and
William Nicholson. The film, directed by Angelina Jolie, and based on Laura Hillenbrand's non-
fiction book, Unbroken: A World War II Story of Survival, Resilience, and Redemption (2010)
which itself was based on the life of Louis Zamperini, was released on December 25, 2014 to
average reviews.[67]
The Coens co-wrote, with playwright Matt Charman, the screenplay for the dramatic historical
thriller Bridge of Spies, about the 1960 U-2 Incident. The film was directed by Steven Spielberg,
and released on October 4, 2015 to critical acclaim.[68] They were nominated for the Best
Original Screenplay at the 88th Academy Awards.[69]
The Coens' most recent film, Hail, Caesar!, is about a "fixer" in 1950s Hollywood trying to
discover what happened to a cast member who vanishes during filming. It stars Coen regulars
George Clooney, Josh Brolin, Frances McDormand, Scarlett Johansson and Tilda Swinton, as well
as Channing Tatum, Ralph Fiennes, Jonah Hill, and Alden Ehrenreich.[70] The film was released
on February 5, 2016.
In 2016, the Coens gave to their longtime friend and collaborator John Turturro the right to use his
character of Jesus Quintana from The Big Lebowski in his own spin-off, Going Places, which he
would also write and direct. The Coens have no involvement in the production. In August 2016,
the film began principal photography.[71][72]
The Coens first wrote the script for Suburbicon in 1986. The film was eventually directed by
George Clooney and began filming in October 2016. It was released by Paramount Pictures in the
fall of 2017.[73]
Planned and uncompleted projects Edit
In a 1998 interview with Alex Simon for Venice magazine, the Coens discussed a project called
The Contemplations, which would be an anthology of short films based on stories in a leather
bound book from a "dusty old library".[74]
In 2001, Joel stated that "a Cold War comedy called 62 Skidoo is one I'd like to do someday".[75]
The Coens had hoped to film James Dickey's novel To the White Sea.[76] They were due to start
production in 2002, with Jeremy Thomas producing and Brad Pitt in the lead role, but it was
canceled when the Coens felt that the budget offered was not enough to successfully produce the
film.
In 2008, it had been announced that the Coen brothers would write and direct an adaptation of
Michael Chabon's novel, The Yiddish Policemen's Union (2007). They were to produce the film
with Scott Rudin for Columbia Pictures.[77] In the fall of 2012, however, Chabon told Mother
Jones that "the Coen brothers wrote a draft of a script and then they seemed to move on", and that
the film rights had "lapsed back to me".[78]
In 2009, the Coen brothers stated that they are interested in making a sequel to Barton Fink called
Old Fink, which would take place in the 1960s, around the same time period as A Serious Man.
The brothers also stated that they have had talks with John Turturro in reprising his role as Fink,
but they were waiting "until he was actually old enough to play the part".[79]
In 2011, the brothers were working on a television project, called Harve Karbo, about a quirky Los
Angeles private eye for Imagine Television.[80]
In December 2013, the Coens stated in an interview that they are working on a new musical
comedy centered around an opera singer, though they have said it is "not a musical per se". In the
same interview, they revealed they are also working on a sword and sandals drama film set in
ancient Rome.[81]
In August 2015, it was announced that Warner Bros. had optioned the film rights to Ross
Macdonald's novel Black Money for the Coen brothers to potentially write and direct.[82]
In October 2016, The Hollywood Reporter reported that the Coens would work on the
screenplay[83] for Fox titled Dark Web, and based on Joshuah Bearman's two-part Wired
article[84] about Ross Ulbricht and his illicit Silk Road online marketplace. The project originated
in 2013, with novelist Dennis Lehane on board for the screenplay. Chernin Entertainment will
produce.[85]
In their first project for television, the Coens created the anthology series The Ballad of Buster
Scruggs which will be released on Netflix in 2018.[86][87]
Production company Edit

The Coen brothers' own film production company, Mike Zoss Productions located in New York
City, has been credited on their films from O Brother, Where Art Thou? onwards.[88] It was
named after Mike Zoss Drugs, the brothers' beloved hangout when they were growing up in the
Twin Cities. The name was also used for the pharmacy in No Country for Old Men.[89]
Directing distinctions Edit

Up to 2003, Joel received sole credit for directing and Ethan for producing, due to guild rules that
disallowed multiple director credits to prevent dilution of the position's significance. The only
exception to this rule is if the co-directors are an "established duo". Now that they are able to share
the director credit (as an established duo), the Coen brothers have become only the third duo to be
nominated for the Academy Award for Best Director. The first two pairs to achieve this were
Robert Wise and Jerome Robbins (who won for West Side Story in 1961), and Warren Beatty and
Buck Henry (who were nominated for Heaven Can Wait in 1978).
Only six other directors have won three Oscars for the same film, a distinction the duo shares with
Billy Wilder, James L. Brooks, Francis Ford Coppola, James Cameron, Peter Jackson and later
Alejandro González Iñárritu in 2015.[citation needed]
With eight Academy Award nominations for No Country for Old Men, including Best Picture,
Director, Adapted Screenplay, and Film Editing (Roderick Jaynes), the Coen brothers have tied the
record for the most nominations by a single nominee (counting an "established duo" as one
nominee) for the same film. Orson Welles set the record in 1941 with Citizen Kane being
nominated for Best Picture, Director, Actor, and Screenplay (with Herman J. Mankiewicz). Warren
Beatty received the same nominations, first for Heaven Can Wait in 1978 and again in 1981 with
Reds. Alan Menken also then achieved the same feat when he was nominated for Best Score and
triple-nominated for Best Song for Beauty and the Beast in 1991.[citation needed]
Collaborators Edit
See also: List of frequent Coen Brothers collaborators
Joel's wife Frances McDormand is their most frequent acting collaborator

The Coen brothers often cast certain actors in their films, most frequently Frances McDormand
(Joel's wife), Steve Buscemi, John Goodman, Jon Polito, and John Turturro. They have worked
twice with Jeff Bridges and at least three times with Michael Badalucco, George Clooney, Richard
Jenkins, Stephen Root, Bruce Campbell, and Josh Brolin.
The Coens similarly tend to work with certain crews as well, especially Roger Deakins, Jess
Gonchor, Skip Lievsay, and Mary Zophres. They used cinematographer Barry Sonnenfeld on their
first three films, through Miller's Crossing, until Sonnenfeld left to pursue his own directing
career. Deakins has been the Coen brothers' cinematographer for all their subsequent films except
Burn After Reading, on which they employed Emmanuel Lubezki,[90] and Inside Llewyn Davis,
on which they employed Bruno Delbonnel.[91]
Sam Raimi is another frequent collaborator. He helped write The Hudsucker Proxy, which the
Coen brothers directed, and the Coen brothers helped write Crimewave, which Raimi directed.
Raimi took tips about filming A Simple Plan (1998) from the Coen brothers, who had recently
finished Fargo. (Both films are set in blindingly white snow, which reflects a lot of light and can
make metering for a correct exposure tricky).[citation needed] Raimi has cameo appearances in
Miller's Crossing and The Hudsucker Proxy. Raimi and the Coens met when Raimi directed The
Evil Dead (1981), for which Joel was hired as an assistant editor.[92]
Carter Burwell has scored all of the Coens' films, aside from Crimewave (1985), although T Bone
Burnett produced much of the traditional music in O Brother, Where Art Thou? and The
Ladykillers, and was in charge of archive music for The Big Lebowski.[93] Skip Lievsay handles
the sound editing for all of the Coens' films.[94]
Most of the Coens' films have been credited to the editor "Roderick Jaynes", an alias which refers
collectively to the two Coen brothers.[95] Tricia Cooke, Ethan's wife, was also an editor on three
of their films (The Big Lebowski, O Brother, Where Art Thou?, and The Man Who Wasn't There)
after working as assistant editor on four of their earlier films (Miller's Crossing, Barton Fink, The
Hudsucker Proxy, and Fargo). Michael R. Miller edited Raising Arizona and Miller's Crossing.

2010 Jeff Bridges True Grit Nominated
1996 Frances McDormand Fargo Won
1991 Michael Lerner Barton Fink Nominated
1996 William H. Macy Fargo Nominated
2007 Javier Bardem No Country for Old Men Won
2010 Hailee Steinfeld True Grit Nominated
Accolades Edit
Main article: List of awards and nominations received by Coen brothers
Filmography Edit
Main article: Coen brothers filmography
Bibliography Edit
Cheshire, Ellen; Ashbrook, John (2005). Joel and Ethan Coen (3rd Revised ed.). The Pocket
Essential. ISBN 978-1-904048-39-8. (Includes all films up to The Ladykillers and some subsidiary
works [Crimewave, Down from the Mountain, Bad Santa].)
Chapman King, Lynnea (2014). The Coen Brothers Encyclopedia. Lanham: Rowman &
Littlefield. ISBN 978-0-8108-8576-9.
References Edit
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^ Austerlitz, Saul (December 19, 2010). "Joel and Ethan Coen: A study in subversion". Boston
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^ Jaffe, Ira. "Hollywood Hybrids: Mixing Genres in Contemporary Films". Rowman & Littlefield
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^ a b c "Coen brothers prove two heads are better than one". Agence France-Presse. February 24,
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^ "Rena Neumann Coen, 76, Was Art Historian, Filmmakers' Mother". St. Paul Pioneer Press.
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^ Lehmberg, Stanford E. (2001). The University of Minnesota, 1945–2000. University of
Minnesota Press. p. 27.
^ a b "Coen Brothers: Boycotting Israel is a mistake", Haaretz, May 15, 2011
^ Papish, Brian (March 31, 2016). "Everything You Need to Know About the Coen Brothers'
Cinematic Style". Highsnobiety. Retrieved April 27, 2018.
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2018.
^ "Q&A with Joel and Ethan Coen". Working Title Films. November 16, 2009. Retrieved April 27,
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^ Friedman, Gabe (February 28, 2016). "9 famous Jews who attended Jewish summer camp". JTA
- Jewish news. Retrieved April 27, 2018.
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^ "Page for Ethan Coen's senior thesis". Retrieved April 18, 2015.
^ Durbin, Karen (March 2, 2003). "The Prime Of Frances McDormand". The New York Times.
^ Verini, James (March 28, 2004). "The United States of Coen". Los Angeles Times. Retrieved
March 15, 2012.
^ Nathan, Ian (January 2008). "The Complete Coens". Empire. p. 173.
^ Campbell, Bruce (2002). If Chins Could Kill (First ed.). New York, NY: LA Weekly Books. p.
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^ "Blood Simple – Cast, Crew, Directors and Awards". The New York Times. Retrieved January
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^ "Festival de Cannes: Barton Fink". festival-cannes.com. Retrieved August 9, 2009.
^ "Festival de Cannes: Fargo". festival-cannes.com. Retrieved January 14, 2016.
^ "'English Patient' Dominates Oscars With Nine, Including Best Picture". The New York Times.
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^ "The big Lebowski (1998)". Rotten Tomatoes.
^ Morgenstern, Joe (November 7, 2006). "Deconstructing the Dude – Why 'The Big Lebowski' is
a cult classic – and a cultural touchstone". The Wall Street Journal. Retrieved October 5, 2008.
^ Ehrlich, Richard. "The man who founded a religion based on 'The Big Lebowski'". CNN.
^ "The Comedy 25: The Funniest Movies of the Past 25 Years". Entertainment Weekly. Retrieved
January 14, 2016.
^ Lehmann-Haupt, Christopher (December 17, 1998). "BOOKS OF THE TIMES; Shadowy
Snapshots of a Nightmare Dreamscape". The New York Times.
^ Lindquist, Mark (December 20, 1998). "Gates of Eden". The New York Times.
^ Phipps, Keith. "The Naked Man". The A.V. Club. Retrieved January 15, 2016.
^ "Movie of the Week: "Sullivan's Travels"". The New Yorker.
^ "O Brother, Where Art Thou? (2000)". Rotten Tomatoes. Flixster. Retrieved January 14, 2016.
^ "O Brother, Where Art Thou? (2000)". Box Office Mojo. Retrieved January 14, 2016.
^ "O Brother, This Was the First Movie to Use All-Digital Color Grading".
^ "Intolerable Cruelty". Rotten Tomatoes. October 10, 2003.
^ "Terry Zwigoff Talks Battling Over 'Bad Santa,' His Preferred Director's Cut & Much More In
Candid Interview". Indiewire. Retrieved January 15, 2016.
^ "Disney remakes The Lady Killers". The Daily Telegraph.
^ "The Ladykillers Movie Reviews, Pictures". Rotten Tomatoes. Retrieved September 27, 2010.
^ Springer, Mike. "Tuileries: A Short, Slightly Twisted Film by Joel and Ethan Coen". Open
Culture. Retrieved January 15, 2016.
^ Fischer, Russ. "Big Directors Small Films: The Coen Brothers Short Film 'World Cinema'".
Slash Film. Retrieved January 15, 2016.
^ "To Each His Own Cinema (2007)". Rotten Tomatoes. Retrieved January 15, 2016.
^ "Paris, I Love You (2007)". Rotten Tomatoes. Retrieved January 15, 2016.
^ "No Country for Old Men (2007)". Rotten Tomatoes. Retrieved October 5, 2008.
^ "The 80th Academy Awards (2008)". The Academy of Motion Pictures Arts and Sciences
(AMPAS). February 24, 2008.
^ "Atlantic Theater Company". Atlantic Theater Company. Retrieved February 28, 2011.
^ "Art Meets Commerce". artmeetscommerce.net.
^ Brantley, Ben. "Coen's-Eye View of 9 to 5". The New York Times. Retrieved January 14, 2016.
^ "Burn After Reading (2008) – Weekend Box Office Results". Box Office Mojo. Retrieved
September 26, 2008.
^ Burdick, Dave (February 26, 2009). "Coen Brothers Direct New 'Clean Coal' Ad". HuffPost.
^ "Coen Brothers". thisisreality. Archived from the original on February 28, 2009.
^ a b Covert, Colin (September 6, 2008). "In Twin Cities, Coen brothers shoot from heart". Star
Tribune. Retrieved October 5, 2008.
^ Evans, K.L. (2012). "How Job Begat Larry: The Present Situation in A Serious Man". In Conard,
Mark T. The Philosophy of the Coen Brothers. University Press of Kentucky. pp. 289–303. ISBN
978-0813134451.
^ Tollerton, David (2012). "Job of Suburbia? A Serious Man and Viewer Perceptions of the
Biblical". Journal of Religion & Film. Omaha, Nebraska: University of Nebraska. 15 (2): 10.
^ Henke, David (August 19, 2008). "Coen brothers will use St. Olaf for movie". Northfield News.
^ Gonnerman, David (October 9, 2008). "St. Olaf gets 'Serious'". St. Olaf College News. Archived
from the original on August 8, 2010. Retrieved January 14, 2016.
^ "The 82nd Academy Awards (2010) Nominees and Winners". Academy of Motion Picture Arts
and Sciences (AMPAS). Retrieved January 14, 2016.
^ Fleming, Michael (March 22, 2009). "Coen brothers to adapt 'True Grit' – Entertainment News,
Film News, Media". Variety. Retrieved February 28, 2011.
^ "Coen Brothers to film 'True Grit' remake in NM". Boston Herald. February 12, 2010. Retrieved
February 28, 2011.
^ "Oscar nominations 2011 in full". BBC News. January 25, 2011. Retrieved July 10, 2014.
^ "Oscar nominees 2011". MSN Movies UK. January 25, 2011. Retrieved July 10, 2014.
^ Isherwood, Charles. "Each Family, Tortured in Its Own Way". The New York Times. Retrieved
January 14, 2016.
^ Fischer, Russ (June 25, 2011). "The Coen Bros. New Script is Based on the 60's NYC Folk
Scene". /Film. Retrieved June 25, 2011.
^ Labrecque, Gabe (October 31, 2011). "Coen brothers target Justin Timberlake for 'Inside Llewyn
Davis'". Entertainment Weekly. Retrieved November 5, 2011.
^ "2013 Official Selection". Cannes. April 18, 2013. Retrieved April 18, 2013.
^ "Golden Globes Nominations: The Full List". Variety. January 11, 2014. Retrieved January 14,
2016.
^ Andreeva, Nellie (September 21, 2012). "FX Teams With Joel & Ethan Coen And Noah Hawley
For Series Adaptation Of 'Fargo'". Deadline.com. Retrieved January 15, 2016.
^ Kit, Borys. "Coen Brothers to Rewrite Angelina Jolie's 'Unbroken' (Exclusive)". The Hollywood
Reporter.
^ "Bridge of Spies". Rotten Tomatoes. Retrieved January 14, 2016.
^ Rothman, Michael; McKenzie, Joi-Marie. "Oscars 2016: Complete List of Nominees". ABC
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^ Kit, Borys (July 10, 2014). "Jonah Hill Joining Channing Tatum, George Clooney in Coen
Brothers' 'Hail, Caesar!'". The Hollywood Reporter. Retrieved July 10, 2014.
^ "'Big Lebowski' Spinoff 'Going Places': First Photo of John Turturro as Jesus Revealed".
IndieWire. August 22, 2016. Retrieved August 29, 2016.
^ "WILL FERRELL AND JOHN C. REILLY REUNITE TO PLAY HOLMES AND WATSON,
PLUS MORE MOVIE NEWS". Rotten Tomatoes. August 19, 2016. Retrieved August 29, 2016.
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^ Smriti Mundhra (October 31, 2001). "10 Questions: Joel Coen". IGN. Retrieved April 6, 2008.
^ Patterson, John (December 21, 2007). "We've killed a lot of animals". The Guardian. London.
^ Purcell, Andrew (February 8, 2008). "Scott Rudin is on a roll". The Guardian. London.
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September 9, 2012.
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^ Goldberg, Lesley (October 4, 2011). "Fox, Coen Brothers Team for Comedy Project". The
Hollywood Reporter. Retrieved October 31, 2011.
^ "The Coen Brothers are Writing a Film About an Opera Singer". SlashFilm.com.
^ Fleming, Mike Jr. "Coen Brothers To Write & Direct Ross MacDonald Novel 'Black Money' –
Deadline". Deadline.
^ Hollywood Reporter, October 2016. [1].
^ Bearman, Joshua (May 2015). "The Rise and Fall of Silk Road". Wired. Retrieved October 17,
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^ Siege, Tatiana (October 14, 2016). "Coen Brothers to Write Internet Thriller 'Dark Web' for Fox
(Exclusive)". The Hollywood Reporter. Retrieved October 17, 2016.
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January 10, 2017. ISSN 0261-3077. Retrieved January 11, 2017.
^ Otterson, Joe (2017-08-09). "Coen Brothers' TV Series 'Ballad of Buster Scruggs' Lands at
Netflix". Variety. Retrieved 2017-08-09.
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Production Inc. Retrieved August 3, 2010.
^ Ross, Jenna (November 9, 2007). "Drugstore has role in lives, film of Coen brothers". Star
Tribune. Minneapolis. Archived from the original on April 3, 2015.
^ "Burn After Reading: The Coens go back to their kooky roots". Empire. December 2007. p. 30.
^ Desowitz, Bill (December 4, 2013). "New York Film Critics' Cinematography Winner Delbonnel
Goes 'Inside Llewyn Davis'". Indiewire. New York City. Retrieved December 6, 2013.
^ Beggs, Scott (May 23, 2012). "6 FILMMAKING TIPS FROM THE COEN BROTHERS". Film
School Rejects. Archived from the original on March 4, 2016. Retrieved January 14, 2016.
^ Mottram, James (January 19, 2014). "T Bone Burnett: 'Inside Llewyn Davis? It's the story of my
life'". The Independent. Retrieved January 14, 2016.
^ Beggs, Scott (April 24, 2015). "Tribeca: Here's Why the Coen Brothers' Films Always Sound
Magnificent". Indiewire. Retrieved January 14, 2016.
^ Yuan, Jada (January 22, 2008). "Roderick Jaynes, Imaginary Oscar Nominee for 'No Country'".
New York. Retrieved July 10, 2014.
External links Edit
Wikimedia Commons has media related to Coen brothers.
Wikiquote has quotations related to: Coen brothers
Joel Coen on IMDb
Ethan Coen on IMDb
Joel and Ethan Coen at Rotten Tomatoes
Coenesque: The Films of the Coen Brothers
video: The Films of the Coen Brothers, compilation of movie clips, 3 min.
Roderick Jaynes at Library of Congress Authorities, with 0 catalog records (joint pseudonym)
Ethan and Joel Coen at LC Authorities, with 27 and 20 records
Ethan and Joel Coen at WorldCat – their 16 works most widely held by participating libraries are
identical, followed by Ethan Coen, Garden of Eden: stories (NY: Rob Weisbach Books, 1998),
OCLC 39162269
Last edited 8 days ago by Crboyer
Wikipedia


Wikipedia
Lars von Trier
Director danés
Lars von Trier (nombre de nacimiento Lars Trier; Copenhague, 30 de abril de 1956) es un director
de cine y guionista danés. Junto a Thomas Vinterberg estableció las reglas del manifiesto Dogma
95. Destaca ante todo por su fuerte personalidad creativa y es considerado uno de los directores
más innovadores y multidisciplinares del cine actual, a pesar de la controversia de algunas de sus
obras.[1]
Lars von Trier

LarsVonTrier.jpg
Lars von Trier en el Festival de Cannes 2000.
Lars Trier
Otros nombres
Eric Nietzsche, Lars Trier
Nacimiento
30 de abril de 1956 (62 años)
Bandera de Dinamarca Copenhague Dinamarca
Nacionalidad
Danesa Ver y modificar los datos en Wikidata
Religión
Educación
Alma máter
Escuela Nacional de Cine de Dinamarca Ver y modificar los datos en Wikidata
Ocupación
Director de cine y guionista Ver y modificar los datos en Wikidata
Movimiento
Dogma 95 Ver y modificar los datos en Wikidata
Premios artísticos
Festival de Cannes
Premio del Jurado
1991 Europa
1996 Breaking the Waves
Palma de Oro
2000 Dancer in the Dark
Premios César
Mejor película extranjera
1996 Breaking the Waves
Distinciones
Caballero de la Orden de Dannebrog
(1996)
Premio del Cine Europeo a la mejor película (1996)
Konrad Wolf Prize (2004)
(2006)
Premio Sonning (2018) Ver y modificar los datos en Wikidata
Índice
Biografía Editar
Nació en Copenhague (Dinamarca) el 30 de abril de 1956.
Lars von Trier fue uno de los creadores de Dogma 95, un movimiento cinematográfico con el cual
se llama al regreso de historias más creíbles en la industria fílmica, al uso mínimo de los efectos
especiales.
Su primera película como graduado de la escuela de cine fue Forbrydelsens Element (El elemento
del crimen). A pesar de alcanzar un mayor reconocimiento con películas como Europa, von Trier
se consagró como uno de los directores de cine más importantes de Europa en 1996 con
Rompiendo las olas.
Esta última producción, junto con Bailando en la oscuridad (donde actúan la cantante islandesa
Björk, la actriz francesa Catherine Deneuve y el sueco Peter Stormare) y Los idiotas o Dogma #2,
forma la trilogía Los corazones de oro. Von Trier ha venido preparando una nueva trilogía en torno
a los Estados Unidos, cuya primera entrega fue Dogville de 2003, donde actúa la actriz australiana
Nicole Kidman. La segunda parte, titulada Manderlay, se estrenó en 2005. La tercera aún no se ha
estrenado, y el título será Washington.
Lars von Trier también se dedica a la pintura, y uno de sus cuadros se exhibe en la última planta
del castillo de Hillerod, en Dinamarca. Refleja un universo casi monocromático y angustiante,
como en sus películas.
Infancia e interés por el cine Editar

Lars Von Trier se crio en un ambiente de cinéfilos. Consiguió a la edad de 11 años su primera
cámara, una Super 8 con la que filmaba a sus amigos en producciones caseras y entró en la escuela
de cine de Copenhague en la década de 1980. En 1981 y 1982 ganó varios premios en el Festival
de Cine de Múnich por sus películas de estudiante.
En 1983, después de haberse graduado, estrenó su opera prima: El elemento del crimen (1984),
con la que logró llamar la atención en el Festival de Cine de Cannes, donde recibió un premio por
Logro Técnico.
Von Trier agregó “von” a su nombre cuando el profesor Gert Fredholm lo sorprendió junto con
otros colegas de curso, en la sala de montaje, por la noche, y les recordó que era hora de cerrar; los
alumnos respondieron increpándole hasta ponerlo fuera de sí. A los insultos, el profesor respondió
diciendo: "sois peores que los niñatos de Sealand", con lo que se refería a los hijos de los
burgueses de Copenhague. Y justo después les incitó a poner un "von" delante de sus apellidos,
para que así todo el mundo los reconociera. Sus compañeros no le hicieron caso, pero para Lars el
tener algo en común con los directores Erich von Stroheim y Josef von Sternberg le atraía, y
decidió cambiar su nombre.
Lars von Trier continuó con su Trilogía Europa en 1987, con la película Epidemic, acerca de un
director de cine –interpretado por él mismo- que trata de juntar dinero para hacer una película
acerca de un virus que diezmaba a Alemania.
Después de Medea, realizada para la televisión danesa en 1988, von Trier culminó su trilogía
europea con Europa en 1991, una comedia negra ubicada en la posguerra de la Segunda Guerra
Mundial en Alemania. Europa consiguió llamar la atención de sus espectadores con el uso de
superposiciones, proyección trasera y cambios dramáticos entre escenas en blanco y negro y color.
Retitulada Zentropa para la versión estadounidense (para no ser confundida con la película Europa
Europa) Europa le dio a von Trier el reconocimiento cinematográfico. Desilusionado por su tercer
puesto en el Festival de Cannes, aceptó el premio con un agradecimiento al “enano” presidente
del jurado Roman Polański.
Lars von Trier continuó experimentando con su visión fílmica a través de un proyecto de
filmación llamado Dimensión, que constará de segmentos de tres minutos durante treinta años.
Los resultados de esta película todavía están por verse.
Rebelado contra su pasado al enterarse, a través de su padre biológico, de la muerte de su madre y

de que a su padre no le importaba von Trier, además de convertirse al catolicismo, terminó con el
perfeccionismo de su trilogía europea. Por su honestidad, admiraba el trabajo iconoclasta de Carl
Theodor Dreyer, con su castidad artística autoimpuesta. Fue así como se convirtió en el coautor de
Dogma 95, al lado de Dane Thomas Vinterberg, con quien lanzó un llamado colectivo que exhorta
al regreso de historias más creíbles en la industria fílmica sin el uso de los efectos especiales y
centradas principalmente en un uso técnico mínimo.
Por este motivo, sus películas se ruedan con cámara al hombro, sólo en contadas ocasiones con
una cámara fija. Una de las características fundamentales de este tipo de películas es que se utiliza
la iluminación natural y el tipo de edición es imprevisto con algunas escenas y tomas, cortadas en
medio del diálogo de los personajes, que no encajan con los tiempos, lo que les da un aspecto
documental o informal, para crear un mayor realismo (sobre todo en momentos críticos), aspecto
que la crítica puede considerar un método de abreviación.
En junio de 1989 Lars von Trier se describió a sí mismo en una entrevista como "un melancólico
danés masturbándose en la oscuridad ante las imágenes de la industria del cine". A pesar de que
buscaba una audiencia más amplia con películas de habla inglesa, consiguió, gracias a su éxito, la
resurrección del cine escandinavo.
En 1992 Trier fundó su propio estudio, Zentropa (nombre proveniente de una compañía ferroviaria
ficticia en su película Europa).
Trabajo en la televisión danesa Editar

Lars von Trier también ha dirigido series para la televisión danesa: The Kingdom (Riget) y The
Kingdom II, un par de miniseries, filmadas en 16 milímetros, acerca de un hospital embrujado. La
muerte de Ernst-Hugo Jaregard en 1998 impidió que von Trier realizara la tercera versión de The
Kingdom. Tal vez un relanzamiento llevado a cabo por el escritor Stephen King, basado en la serie
de von Trier, titulado Stephen King’s Kingdom Hospital, llegue a las pantallas a través de la
cadena norteamericana ABC.
Reconocimiento de la crítica por su punto de vista dramático Editar

Por su película Rompiendo las olas, acerca del sacrificio de una mujer y su martirio sexual, se
destacó con la intervención del cinematógrafo Robby Müller y el surgimiento de la nueva actriz
Emily Watson, quien interpretó un papel intenso y de carácter simple, von Trier recibió el Premio
Especial del Jurado en el Festival de Cine de Cannes. La película estaba segmentada en capítulos
coloreados, realizados por el pintor Pers Kirkeby. Emily Watson recibió una nominación al Óscar
a la mejor actriz.
Después del éxito alcanzado por Celebración, de Vinterberg, von Trier presentó en 1998 su propio
trabajo de Dogma con la película The Idiots, película rodada en video digital por la que logró
llamar la atención al negarse a cortar una secuencia de desnudos para una escena de orgía y
limitarse solamente a cubrir los genitales con barras negras. En 1999 von Trier se sintió ofendido
cuando los productores realzaron los colores artificialmente para el lanzamiento en video, algo que
iba en contra del movimiento del Dogma 95.
En 1999, después de haber sido el productor ejecutivo de una novela para la televisión de
Dinamarca llamada Morten Korch, se embarcó en la realización de un drama musical; fue así
como en 2000 realizó Dancer in the Dark, por la que recibió la Palma de Oro en Cannes por Mejor
Película y Mejor Actriz para la cantante islandesa Björk, quien hizo el papel de Selma, una
inmigrante checa que va perdiendo la vista.
Con Dancer in the Dark (Bailando en la oscuridad) von Trier pudo sorprender nuevamente al
público con el uso de cien cámaras digitales fijas, empleadas para las escenas de la canción de
Björk I've Seen It All, las cuales transcurren en un tren en movimiento. Por otra parte, la canción
fue nominada a un Óscar a la mejor canción en 2001.
Con Dancer in the Dark, von Trier inició su fijación por Estados Unidos, con lo que inició su
nuevo proyecto: una trilogía sobre la sociedad estadounidense. La primera de las películas que
conformaría esta trilogía fue Dogville (2003), que se rodó íntegramente en el interior de un hangar
cerrado, con un decorado mínimo, y con marcas en el suelo para indicar muros y otros elementos
de atrezzo. En ella, la actriz australiana Nicole Kidman encarna el papel de Grace, una mujer que
está escapando de un pasado misterioso.
En Manderlay, segunda parte de la trilogía, von Trier lleva a Grace, en esta ocasión interpretada
por al actriz Bryce Dallas Howard, hasta una plantación explotada por esclavos, y vuelve a hacer
hincapié en la vida de un grupo de personajes que sufren y son humillados continuamente por una
sociedad individualista impulsada por el egoísmo, el poder y los intereses personales.
En el Festival de Cannes de 2009 presenta Antichrist, polémica película protagonizada por Willem
Dafoe, que recibe duras críticas por sus escenas de sexo y automutilación.
La última de las películas de la trilogía Estados Unidos: tierra de oportunidades será Washington.
En cuanto a sus trabajos a partir de 2010, Melancolía es un drama psicológico sobre el fin del
mundo, protagonizado por Kirsten Dunst. La película se estrenó en el Festival de Cannes de 2011
con una acogida bastante buena, a pesar de la polémica que despertaron las declaraciones del
director danés sobre su postura con respecto a la ideología nazi.
Von Trier anunció que, después de Melancolía, comenzaría la producción de Nymphomaniac, una
película sobre el despertar sexual de una mujer (interpretada por Charlotte Gainsbourg, quien
apareció también en Melancolía).
Una peculiaridad acerca de von Trier es que tiene aviofobia (pánico a volar), y por este motivo
jamás ha salido más allá de lo que se lo permiten las carreteras, lo que ha dificultado su trabajo en
las ocasiones en las que sus películas se basan en territorios extranjeros como los Estados Unidos,
para lo cual siempre ha recurrido a emplazamientos en Dinamarca y sus alrededores.
Polémicas Editar
El 19 de mayo de 2011, el Festival de Cannes declaró al cineasta "persona non grata", con su
consiguiente expulsión del festival. La polémica se desató después de que von Trier afirmó:
"Comprendo a Hitler... creo que hizo algunas cosas malas, sí, puedo verlo sentado en su búnker al
final... Entiendo al hombre, no fue lo que llamaríamos un buen tipo, pero lo entiendo bastante y
simpatizo un poco con él. Pero no estoy con la Segunda Guerra Mundial, y no estoy en contra de
los judíos. No, ni siquiera contra Susanne Bier... Eso también fue un chiste. Los aprecio mucho.
Bueno, no demasiado, porque Israel es un dolor de cabeza. ¿Cómo escapo de esta frase? [...] Ok,
soy nazi".[2][3]
Las declaraciones las hizo por la mañana. Esa misma tarde emitió un comunicado público en el
que pedía disculpas: "Si he herido a alguien con mis palabras de esta mañana en la rueda de
prensa, le pido disculpas sinceramente [...] No soy antisemita, ni tengo prejuicios raciales de
ningún tipo, ni soy nazi". Posteriormente declaró a la prensa que todo fue una "broma muy
pesada", y que en la rueda de prensa un periodista francés ubicado en Cannes, debido según el
cineasta a su "mal inglés", le hizo una pregunta que quizá interpretó mal, argumentando que "yo
mismo soy judío, tengo amigos judíos y hacemos bromas entre nosotros".
Acusaciones de acoso sexual Editar

El 16 de octubre de 2017, la cantante islandesa Bjork lo acusó implícitamente de acoso sexual,
indicando en un post en su Facebook personal, haber sido víctima de acoso sexual "por parte de un
director danes". Siendo Dancer in the Dark la única película que ella ha rodado, cuyo director es
von Trier. Lo acusó de tocarla indebidamente, de haber intentado manipularla desde su posición de
director y de haberla maltratado luego de que ella lo rechazara.[4] Por su parte, von Trier negó las
acusaciones, aunque admitió que hubo incidentes entre ambos en el set.[5]
Filmografía Editar
Ochidégartneren (The Orchid Gardener) (dirección, guion, edición, cinematografía, actuación en
el papel de Victor Morse) (1977)
Menthe – la bienheureuse (dirección, guion, edición, cinematografía, actuación en el papel del
conductor) (1979)
Nocturne (dirección y guion) (1980–1981)
Den Sidste Detalje (The Last Detail) (dirección) (1981)
Befrielsesbilleder (Image of relief) (dirección y guion) (1982)
Forbrydelsens Element (El elemento del crimen) (dirección, guion, actuación como Schmuck of
Ages, operador de cámara de la segunda unidad) (1984, primera parte de la trilogía Europa)
Epidemic (dirección, guion, edición, actuación como Lars/Dr. Mesmer) (1987, segunda parte de la
trilogía Europa)
Medea (dirección y guion) (1988) (TV)
Europa (dirección, guion, guion de filmación, actuación como judío, tercera parte de la trilogía
Europa)
Riget (The Kingdom) (dirección, guion, actuación como él mismo) (1994) (miniserie de
televisión)
Rompiendo las olas (dirección y guion) (1996, primera parte de la trilogía Golden Heart)
Riget II (The Kingdom II) (dirección, guion, actuación como él mismo) (1997) (miniserie de
televisión)
Idioterne (The Idiots) (dirección, guion, cinematografía, actuación: voz de entrevistador) (1998,
segunda parte de la trilogía Golden Heart)
D-dag (dirección) (2000) (televisión)
D-dag – Lise (dirección) (2000) (televisión)
Bailando en la oscuridad (dirección, guion, operador de cámara, letra de canciones: Cvalda, In The
Musicals; con Björk, Mark Bell, Sjón; I’ve Seen It All, Scatterheart, 107 Steps y New World,
con Björk y Sjón) (2000, tercera parte de la trilogía Golden Heart)
D-dag - Den færdige film (D-dag - Editors Cut) (dirección) (2001)
D-dag – Den færdige film (D-dag – Editors Cut) (dirección) (2001) (televisión)
Dogville (dirección, guion, operador de cámara) (2003) (primera parte de la trilogía U.S.A.)
De Fem Benspænd (´Las cinco condiciones´, con segmentos de la película The Perfect Human:
Avedøre, Denmark) (dirección, guion, actuación, como el Obstructor) (2003)
Manderlay (dirección, guion) (2005) (segunda parte de la trilogía U.S.A.)
El jefe de todo esto (Direktøren for det hele) (2007)
Anticristo (2009) (primera parte de la Trilogía de la depresión)
Washington (no ha sido producida hasta ahora, tercera parte de la trilogía U.S.A.)
Melancolía (2011) (segunda parte de la Trilogía de la depresión)
Nymphomaniac (2013) (tercera parte de la Trilogía de la depresión)
Filmografía como colaborador Editar
Hemmelig Sommer (actuación como Lars Trier) (1969)
Kaptajn Klyde og hans venner vender tilbage (actuación como Lars Trier) (1980)
En Verden til forskel (A World of Difference) (actuación como taxista) (1989)
Lærerværelset (guion) (1994) (miniserie de televisión)
I Am Curious (como él mismo) (1995)
Tranceformer - A Portrait of Lars von Trier ( (1997)
Kvinnan i det låsta rummet (agradecimiento) (1998) (miniserie de televisión)
Hela härligheten (Love Fools) (agradecimiento) (1998)
Constance (coproductor ejecutivo) (sin créditos) (1998). Versión danesa: Constance - uddrag fra
en ung piges dagbog (versión erótica)
De Ydmygede (The Humiliated) (como él mismo) (1998)
Lars from 1-10 (como él mismo) (1998)
Pink Prison (coproductor ejecutivo) (sin créditos) (1999)
I Lars von Triers rige (como él mismo) (1999) (televisión)
Store Klaus og lille Lars (como él mismo) (1999) (serie de televisión)
Morten Korch - Solskin kan man altid finde (como él mismo) (1999)
Kopisten (The Copier) (como él mismo) (1999)
Foot on the Moon (como él mismo) (1999)
D-dag - Instruktørene (aparece dirigiendo) (2000) (televisión)
D-dag - Boris (asistente de dirección) (2000) (televisión)
D-dag - Carl (asistente de dirección) (2000) (televisión)
D-dag - Niels-Henning (asistente de dirección) (2000) (televisión)
Von Trier's 100 øjne (Von Trier's 100 Eyes) (como él mismo) (2000)
The Name of this Film Is Dogme 95 (como él mismo) (2000)
100 Cameras: Capturing Lars Von Trier's Visión (como él mismo) (2000)
HotMen CoolBoyz [Coproductor ejecutivo] (sin créditos) (2000)
De Udstillede (The Exhibited) (guion, aparición como él mismo) (2000)
Digtere, divaer og dogmebrødre (como él mismo) (2001) (miniserie de televisión. Episodio 1.8
“2000”) (archivo fílmico)
The 2001 IFP/West Independent Spirit Awards (como él mismo) (2001) (televisión)
De Lutrede (The Purified) (como él mismo) (2002)
Wilbur quiere suicidarse (consultor de guion) (2002)
Trier, Kidman og Cannes (como él mismo) (2003) (televisión)
Dogville Confessions (agradecimiento, aparición como él mismo) (2003)
A Boy Named Joshua (aparece como él mismo) (2004)
Dear Wendy (guion) (2004)
Kingdom Hospital (guion de personajes) (2004) (serie de televisión)
All About Anna (coproductor ejecutivo) (sin créditos) (2005)
Apariciones como invitado en televisión Editar
Mens vi venter på kometen [papel de él mismo. Episodio #1.5] (2001)
Referencias Editar
↑ Biografía de Lars von Trier
Archivado el 27 de noviembre de 2009 en la Wayback Machine.
↑ «Lars Von Trier's 'Nazi' gaffe at Cannes Film Festival as he jokes about Adolf Hitler». Youtube.
The Telegraph. 18 de mayo de 2011. Consultado el 29 de junio de 2017.
↑ http://www.europapress.es/cultura/cine-00128/noticia-lars-von-trier-expulsado-cannes-
comentarios-nazis-20110519142020.html
↑ Cills, Hazel. «Björk Further Details Sexual Harassment Allegations Against Lars Von Trier».
Jezebel (en inglés estadounidense). Consultado el 21 de diciembre de 2017.
↑ «Björk details alleged harassment; Lars von Trier denies accusations». Los Angeles Times (en
inglés). 17 de octubre de 2017. Consultado el 2 de mayo de 2018.
Georg Tiefenbach: Drama und Regie (Writing and Directing): Lars von Trier's Breaking the
Waves, Dancer in the Dark, Dogville. Würzburg: Königshausen & Neumann 2010. ISBN 978-3-
8260-4096-2.
Lars von Trier en Internet Movie Database (en inglés)
Ficha del director en filmin y películas para ver online en calidad DVD
Zentropa Entertainments, sitio web oficial
Los 10 Magníficos: Reportaje monográfico sobre von Trier en TCM
Foro de Fans
Filmografía en Filmaffinity
Biografía de Lars von Trier
La fascinación del exceso, por A.G. Calvo
Entrevista realizada por Stig Björkman (2003)
Carlos Gamerro: Anti natura (2010)
Noticias de Lars von Trier
Filmografía en Nordiken.net
[1]
Última edición hace 6 días por Machete kills

Wikipedia
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Wikipedia
Lars von Trier
Lars von Trier (born Lars Trier; 30 April 1956)[3] is a Danish film director and screenwriter[4]
with a prolific and controversial[5][6] career spanning almost four decades. His work is known for
its genre and technical innovation;[7][8] confrontational examination of existential, social,[9][10]
and political[5][11] issues; and his treatment of subjects[11] such as mercy,[12] sacrifice, and
mental health.[13]
Lars von Trier

Lars Von Trier Cannes 2011 crop.JPG
Trier at the 2011 Cannes Film Festival
Born
Lars Trier
30 April 1956 (age 62)
Kongens Lyngby, Denmark
Nationality
Danish
Education
National Film School of Denmark, University of Copenhagen
Occupation
Film director and screenwriter
Years active
1977–present
Notable work
Breaking the Waves (1996)
Dancer in the Dark (2000)
Dogville (2003)
Antichrist (2009)
Melancholia (2011)
Movement
Hyperrealism, Dogme 95, German Expressionism
Spouse(s)
Cæcilia Holbek (m. 1987; div. 1995)[1]
Bente Frøge (m. 1997; div. 2015)[2]
Children
Benjamin Trier, Ludvig Trier, Selma Trier, Agnes Trier
Awards
Palme d'Or, EFA, Cesar, Bodil, Goya, FIPRESCI
Honours
Unicef Cinema for Peace, Knight of the Order of the Dannebrog
Among his more than 100 awards and 200 nominations[14] at film festivals worldwide, von Trier
has received: the Palme d'Or (for Dancer in the Dark), the Grand Prix (for Breaking the Waves),
the Prix du Jury (for Europa), and the Technical Grand Prize (for The Element of Crime and
Europa) at the Cannes Film Festival. In March 2017, he began filming The House That Jack Built,
an English-language, serial killer thriller.[15][16]
Von Trier is the founder and shareholder of the international film production company Zentropa
Films,[17][18] which has sold more than 350 million tickets and garnered seven Academy Award
nominations over the past 25 years.[19]
Contents
Early life and education Edit
Von Trier was born in Kongens Lyngby, Denmark, north of Copenhagen, to Inger Høst and Fritz
Michael Hartmann (the head of Denmark's Ministry of Social Affairs and a World War II
resistance fighter).[20] He received his surname from Høst's husband, Ulf Trier, whom he believed
was his biological father until 1989.[20]
He studied film theory at the University of Copenhagen and film direction at the National Film
School of Denmark.[21] At 25, he won two Best School Film awards at the Munich International
Festival of Film Schools[22] for Nocturne and Last Detail.[23] The same year, he added the
German nobiliary particle "von" to his name, possibly as a satirical homage to the equally self-
invented titles of directors Erich von Stroheim and Josef von Sternberg,[24] and saw his
graduation film Images of Liberation released as a theatrical feature.[25]
Career Edit
In 1984, The Element of Crime, von Trier's breakthrough film, received twelve awards at seven
international festivals[26] including the Technical Grand Prize at Cannes, and a nomination for the
Palme d'Or.[27] The film's slow, non-linear pace,[28] innovative and multi-leveled plot design,
and dark dreamlike visual effects[26][not in citation given] combine to create an allegory for
traumatic European historical events.[29]
His next film, Epidemic (1987), was also shown at Cannes in the Un Certain Regard section. The
film features two story lines that ultimately collide: the chronicle of two filmmakers (played by
von Trier and screenwriter Niels Vørse) in the midst of developing a new project, and a dark
science fiction tale of a futuristic plague – the very film von Trier and Vørsel are depicted
making.
Von Trier has occasionally referred to his films as falling into thematic and stylistic trilogies. This
pattern began with The Element of Crime (1984), the first of the Europa trilogy, which illuminated
traumatic periods in Europe both in the past and the future. It includes The Element of Crime
(1984), Epidemic (1987), and Europa (1991).
Europa Edit
Von Trier directed Medea (1988) for television, which won him the Jean d'Arcy prize in France. It
is based on a screenplay by Carl Th. Dreyer and stars Udo Kier. Trier completed the Europa
trilogy in 1991 with Europa (released as Zentropa in the US), which won the Prix du Jury at the
1991 Cannes Film Festival,[30] and picked up awards at other major festivals. In 1990 he also
directed the music video for the song "Bakerman" by Laid Back.[31] This video was re-used in
2006 by the English DJ and artist Shaun Baker in his remake of the song.
Zentropa filmsEdit
Main article: Zentropa
Seeking financial independence and creative control over their projects, in 1992 von Trier and
producer Peter Aalbæk Jensen founded the film production company Zentropa Entertainment.
Named after a fictional railway company in Europa,[21] their most recent film at the time,[13]
Zentropa has produced many movies other than Trier's own, as well as several television series. It
has also produced hardcore sex films: Constance (1998), Pink Prison (1999), HotMen CoolBoyz
(2000), and All About Anna (2005). To make money for his newly founded company,[22] von
Trier made The Kingdom (Danish title Riget, 1994) and The Kingdom II (Riget II, 1997), a pair of
miniseries recorded in the Danish national hospital, the name "Riget" being a colloquial name for
the hospital known as Rigshospitalet (lit. The Kingdom's Hospital) in Danish. A projected third
season of the series was derailed by the death in 1998 of Ernst-Hugo Järegård, who played Dr.
Helmer, and that of Kirsten Rolffes, who played Mrs.Drusse, in 2000, two of the major characters.
Inventing a style manifesto Edit
Dogme 95 Certificate for Susanne Bier's film Open Hearts

In 1995 von Trier and Thomas Vinterberg presented their manifesto for a new cinematic
movement, which they called Dogme 95. The Dogme 95 concept, which led to international
interest in Danish film, inspired filmmakers all over the world.[32] In 2008, together with their
fellow Dogme directors Kristian Levring and Søren Kragh-Jacobsen, von Trier and Thomas
Vinterberg received the European film award for European Achievement in World Cinema.
In 1996 von Trier conducted an unusual theatrical experiment in Copenhagen involving 53 actors,
which he titled Psychomobile 1: The World Clock. A documentary chronicling the project was
directed by Jesper Jargil, and was released in 2000 with the title De Udstillede (The Exhibited).
From international sensation to auteur director Edit

Von Trier achieved his greatest international success with his Golden Heart trilogy. Each film in
the trilogy is about naive heroines who maintain their "golden hearts" despite the tragedies they
experience. This trilogy consists of: Breaking the Waves (1996), The Idiots (1998), and Dancer in
the Dark (2000).[33] While all three films are sometimes associated with the Dogme 95
movement, only The Idiots is a certified Dogme 95 film.
Breaking the Waves and The Idiots Edit

Breaking the Waves (1996), the first film in his Golden Heart trilogy, won the Grand Prix at the
Cannes Film Festival and featured Emily Watson, who was nominated for the Academy Award for
Best Actress. Its grainy images, and hand-held photography, pointed towards Dogme 95 but
violated several of the manifesto's rules, and therefore does not qualify as a Dogme 95 film. The
second film in the trilogy, The Idiots (1998), was nominated for a Palme d'Or, with which he was
presented in person at the Cannes Film Festival despite his dislike of travelling.
Dancer in the Dark Edit

In 2000 von Trier premiered a musical featuring Icelandic musician Björk, Dancer in the Dark.
The film won the Palme d'Or at Cannes.[34] The song "I've Seen It All" (co-written by von Trier)
received an Academy Award nomination for Best Original Song.
The Five Obstructions Edit

The Five Obstructions (2003), made by von Trier and Jørgen Leth, is a documentary that
incorporates lengthy sections of experimental films. The premise is that von Trier challenges
director Jørgen Leth, his friend and mentor, to remake his old experimental film The Perfect
Human (1967) five times, each time with a different "obstruction" (or obstacle) specified by von
Trier.[35]
The "Land of Opportunities" Trilogy Edit

The proposed trilogy consists of Dogville (2003), Manderlay (2005), and Wasington, which is yet
to be made. The two completed movies were shot in the same distinctive style – on a bare sound
stage with no set and with buildings marked by lines on the floor. This style is inspired by 1970s
televised theatre.
Dogville (2003) starred Nicole Kidman and Manderlay (2005) starred Bryce Dallas Howard in the
same role as Grace Margaret Mulligan a character in both films. Both films are extremely stylised,
with the actors playing their parts on a nearly empty sound stage with little but chalk marks on the
floor to indicate the sets. Both films have casts of major international actors including: Harriet
Andersson, Lauren Bacall, James Caan, Danny Glover, Willem Dafoe, and questioned various
issues relating to American society, such as intolerance (in Dogville) and slavery (in Manderlay).
The US was also the location for Dear Wendy (2005), a feature film directed by von Trier's
"Dogme-brother" Thomas Vinterberg from a script by von Trier. It starred Jamie Bell and Bill
Pullman and dealt with gun worship and violence in American society.
In 2006 von Trier released a Danish-language comedy film, The Boss of It All. It was shot using a
process that he has called Automavision, which involves the director choosing the best possible
fixed camera position and then allowing a computer to randomly choose when to tilt, pan, or
zoom.
This comedy was followed by an autobiographical film, The Early Years: Erik Nietzsche Part 1
(da) (2007), scripted by von Trier but directed by Jacob Thuesen, which tells the story of von
Trier's years as a student at the National Film School of Denmark. It stars Jonatan Spang as von
Trier's alter ego, called "Erik Nietzsche", and is narrated by von Trier himself. All the main
characters in the film are based on real people from the Danish film industry,[citation needed] with
thinly veiled portrayals including Jens Albinus as director Nils Malmros, Dejan Čukić as
screenwriter Mogens Rukov, and Søren Pilmark.
Exploring popular genres, cinematic limits and the personal struggle Edit
The Depression trilogy consists of Antichrist, Melancholia, and Nymphomaniac. The three films
star Charlotte Gainsbourg, and deal with characters who suffer depression or grief in different
ways. This trilogy is said to represent the depression that Trier himself experiences.[36]
Antichrist Edit
Von Trier's next feature film was Antichrist, a film about "a grieving couple who retreat to their
cabin in the woods, hoping a return to Eden will repair their broken hearts and troubled marriage;
but nature takes its course and things go from bad to worse". The film stars Willem Dafoe and
Charlotte Gainsbourg. It premiered in competition at the 2009 Cannes Film Festival, where the
festival's jury honoured the movie by giving the Best Actress award to Gainsbourg.[37]
Melancholia Edit
In 2011 von Trier released Melancholia, a psychological drama. The film was in competition at the
2011 Cannes Film Festival.[38]
Cannes press conference incident Edit

Known to be provocative in interviews,[39] von Trier's remarks during the press conference
before the premiere of Melancholia in Cannes[40] caused significant controversy in the media,
leading the festival to declare him persona non grata and to ban him from the festival[41] for one
year[42] (without, however, excluding Melancholia from that year's competition).[43] Minutes
before the end of the interview, Trier was asked by a journalist about his German roots and the
Nazi aesthetic in response to the director's description of the film's genre as "German romance".
[clarification needed][44] The director – who was brought up Jewish, and only found out in later
life that his real father was a non-Jewish German,[45] – appeared offended by the
connotation[clarification needed][46] and responded by discussing his German identity. He joked
that since he was no longer Jewish he now "understands" and sympathizes with Hitler, that he is
not against the Jews except for Israel which is "a pain in the ass" and that he is a Nazi.[44] These
remarks caused a stir in the media which, for the most part, presented the incident as an
antisemitic[47] scandal. The director released a formal apology immediately after the
controversial press conference[48] and kept apologizing for his joke during all of the interviews he
gave in the weeks following the incident,[49][50][51] admitting that he was not sober,[52] and
saying that he did not need to explain that he is not a Nazi.[46][53] The actors of Melancholia who
were present during the incident — Dunst, Gainsbourg, Skarsgård — defended the director,
pointing to his provocative sense of humor[54][55] and his depression.[56] The director of the
Cannes festival later characterised the controversy as "unfair" and as "stupid" as von Trier's bad
joke, concluding that his films are welcome at the festival and that von Trier is considered a
"friend".[42]
Nymphomaniac Edit
Following Melancholia, von Trier began the production of Nymphomaniac, a film about the
sexual awakening of a woman played by Charlotte Gainsbourg.[57]
In early December 2013, a four-hour version of the five-and-a-half-hour film was shown to the
press in a private preview session. The cast also included Stellan Skarsgård (in his sixth film for
von Trier), Shia LaBeouf, Willem Dafoe, Jamie Bell, Christian Slater, and Uma Thurman. In
response to claims that he had merely created a "porn film", Skarsgård stated "... if you look at this
film, it's actually a really bad porn movie, even if you fast forward. And after a while you find you
don't even react to the explicit scenes. They become as natural as seeing someone eating a bowl of
cereal." Von Trier refused to attend the private screening due to the negative response to Nazi-
related remarks he had made at the 2011 Cannes Film Festival, which had led to his expulsion
from it. In the director's defense, Skarsgård stated at the screening, "Everyone knows he's not a
Nazi, and it was disgraceful the way the press had these headlines saying he was."[58]
For its public release in the United Kingdom, the four-hour version of Nymphomaniac was
divided into two "volumes" – Volume I and Volume II – and the film's British premiere was on
22 February 2014. In interviews prior to the release date, Gainsbourg and co-star Stacy Martin
revealed that prosthetic vaginas, body doubles, and special effects were used for the production of
the film. Martin also stated that the film's characters were a reflection of the director himself and
referred to the experience as an "honour" that she enjoyed.[59]
The film was also released in two "volumes" for the Australian release on 20 March 2014, with an
interval separating the back-to-back sections. In his review of the film for 3RRR's film criticism
program, Plato's Cave, presenter Josh Nelson stated that, since the production of Breaking the
Waves, the filmmaker von Trier is most akin to is Alfred Hitchcock, due to his portrayal of
feminine issues. Nelson also mentioned filmmaker Andrei Tarkovsky as another influence whom
Trier himself has also cited.[60]
In February 2014, an uncensored version of Volume I was shown at the Berlin Film Festival, with
no announcement of when or if the complete five-and-a-half-hour Nymphomaniac would be made
available to the public.[61] The complete version premiered at the 2014 Venice Film Festival and
was shortly released in a limited theatrical run worldwide that fall.
Upcoming projects Edit

Von Trier is working on a new feature film The House That Jack Built, which was originally
planned as an eight-part television series. The story will be about a serial killer, seen from the
murderer's point of view.[62][63] Shooting started in March 2017 in Sweden, with shooting
moving to Copenhagen in May.[15]
In February 2017, Von Trier said that The House That Jack Built "celebrates the idea that the life is
evil and soulless, which is sadly proven by the recent rise of the Homo trumpus – the rat king".
[15]
Aesthetics, themes, and style of working Edit

Influences Edit
Von Trier is heavily influenced by the work of Carl Theodor Dreyer[64] and the film The Night
Porter.[65] He was so inspired by the short film The Perfect Human, directed by Jørgen Leth, that
he challenged Leth to redo the short five times in the feature film The Five Obstructions.[66]
Writing Edit
Filming techniques Edit
Von Trier has said that "a film should be like a stone in your shoe". To create original art he feels
that filmmakers must distinguish themselves stylistically from other films, often by placing
restrictions on the film making process. The most famous such restriction is the cinematic "vow of
chastity" of the Dogme 95 movement with which he is associated. In Dancer in the Dark, he used
jump shots[67] and dramatically-different color palettes and camera techniques for the "real
world" and musical portions of the film, and in Dogville everything was filmed on a sound stage
with no set, where the walls of the buildings in the fictional town were marked as lines on the
floor.
Von Trier often shoots digitally and operates the camera himself, preferring to continuously shoot
the actors in-character without stopping between takes. In Dogville he let actors stay in character
for hours, in the style of method acting. These techniques often put great strain on the actors, most
famously with Björk during the filming of Dancer in the Dark.[citation needed]
Von Trier would later return to explicit images in Antichrist (2009), exploring darker themes, but
he ran into problems when he tried once more with Nymphomaniac, which had ninety minutes cut
out (reducing it from five-and-one-half to four hours) for its international release in 2013 in order
to be commercially viable,[68] taking nearly a year to be shown complete anywhere in an
uncensored Director's Cut.[69]
Production Edit
Approach to actors Edit
In a Skype interview for IndieWire, von Trier compared his approach to actors with "how a chef
would work with a potato or a piece of meat," clarifying that working with actors has differed on
each film based on the production conditions.[70]
Von Trier has occasionally courted controversy by his treatment of his leading ladies.[71] He and
Björk famously fell out during the shooting of Dancer in the Dark, to the point where Björk would
abscond from filming for days at a time.[citation needed] Despite this, other actresses such as
Kirsten Dunst and Charlotte Gainsbourg have spoken out in defence of von Trier's approach.[72]
[73][74] Nymphomaniac star Stacy Martin has stated that he never forced her to do anything that
was outside her comfort zone. She said "I don't think he's a misogynist. The fact that he sometimes
depicts women as troubled or dangerous or dark or even evil; that doesn't automatically make him
anti-feminist. It's a very dated argument. I think that Lars loves women."[75]
Nicole Kidman, who starred in von Trier's Dogville, said in an interview with ABC Radio
National: "I think I tried to quit the film three times because he said, 'I want to tie you up and whip
you, and that's not to be kind.' I was, like, what do you mean? I've come all this way to rehearse
with you, to work with you, and now you're telling me you want to tie me up and whip me? But
that's Lars, and Lars takes his clothes off and stands there naked and you're like, 'Oh, put your
clothes back on, Lars, please, let's just shoot the film.' But he's very, very raw and he's almost like
a child in that he'll say and do anything. And we would have to eat dinner every night and most of
the time that would end with me in tears because Lars would sit next to me and drink peach
schnapps and get drunk and get abusive and I'd leave and...anyway, then we'd go to work the next
morning."[76]
Sexual harassment allegation Edit
Björk made a public statement regarding Von Trier's sexual harassment,[77] in which Von Trier
remains unnamed, though the Los Angeles Times has found corroboration identifying him.[78] In
the Facebook posting, Björk describes the difficulties in facing his retribution: "It was extremely
clear to me when I walked into the actresses profession that my humiliation and role as a lesser
sexually harassed being was the norm and set in stone with the director and a staff of dozens who
enabled it and encouraged it. I became aware of that it is a universal thing that a director can touch
and harass his actresses at will and the institution of film allows it. When I turned the director
down repeatedly he sulked and punished me and created for his team an impressive net of illusion
where I was framed as the difficult one." She also stated "And in my opinion he had a more fair
and meaningful relationship with his actresses after my confrontation so there is hope. Let's hope
this statement supports the actresses and actors all over. Let's stop this. There is a wave of change
in the world".[77][79] Von Trier has denied the accusations made against him.[78]

Von Trier has a known penchant for working with actors and production members more than once.
His main crew members and producer team has remained intact since the film Europa.[80] The list
of actors reappearing on his films, even for small parts or cameos is also extensive and many of
them have repeatedly expressed their devotion[81] to von Trier and willingness to return on set
with him,[82][83][84] even without payment.[85][86] He uses the same regular group of actors in
many of his films including Jean-Marc Barr, Udo Kier and Stellan Skarsgård who was cast in
several Lars von Trier films: The Kingdom, Breaking the Waves, Dancer in the Dark, Dogville,
Melancholia, and Nymphomaniac.
Actor The Element of Crime Epidemic Medea Europa The Kingdom Breaking the
Waves The Idiots Dancer in the Dark Dogville Manderlay The Boss of It All
Antichrist Melancholia Nymphomaniac The House That Jack Built[87] Total
Jens Albinus Yes Yes Yes Yes 4
Lauren Bacall Yes Yes 2
Jean-Marc Barr Yes Yes Yes Yes Yes Yes Yes 7
Jesper Christensen Yes Yes 2
Willem Dafoe Yes Yes Yes 3
Jeremy Davies Yes Yes 2
Siobhan Fallon Hogan Yes Yes Yes
3
Charlotte Gainsbourg Yes Yes Yes
3
Vera Gebuhr Yes Yes Yes 3
Sofie Gråbøl Yes Yes 2
John Hurt Yes Yes Yes 3
Željko Ivanek Yes Yes Yes 3
Ernst-Hugo Järegård Yes Yes
2
Dick Kayso Yes Yes 2
Udo Kier Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes 10
Preben Lerdorff Rye Yes Yes
2
Nikolaj Lie Kaas Yes Yes 2
Troels Lyby Yes Yes 2
Louise Mieritz Yes Yes 2
Baard Owe Yes Yes Yes 3
Henrik Prip Yes Yes 2
Mogens Rukov Yes Yes 2
Chloë Sevigny Yes Yes 2
Stellan Skarsgård Yes Yes Yes Yes Yes Yes 6
Uma Thurman Yes Yes 2
Erik Wedersøe Yes Yes 2
Personal life Edit
Family Edit
In 1989, von Trier's mother told him on her deathbed that the man von Trier thought was his
biological father was not, and that he was the result of a liaison she had with her former employer,
Fritz Michael Hartmann (1909–2000),[88] who was descended from a long line of German-
speaking, Roman Catholic classical musicians. Hartmann's grandfather was Emil Hartmann, his
great-grandfather J. P. E. Hartmann, his uncles included Niels Gade and Johan Ernst Hartmann,
and Niels Viggo Bentzon was his cousin. She stated that she did this to give her son "artistic
genes".[89]
"Until that point I thought I had a Jewish background. But I'm really more of a Nazi. I believe that
my biological father's German family went back two further generations. Before she died, my
mother told me to be happy that I was the son of this other man. She said my foster father had had
no goals and no strength. But he was a loving man. And I was very sad about this revelation. And
you then feel manipulated when you really do turn out to be creative. If I'd known that my mother
had this plan, I would have become something else. I would have shown her. The slut!"[90]
During the German occupation of Denmark, von Trier's supposed father Fritz Michael Hartmann
worked as a civil servant and joined a resistance group, Frit Danmark, actively counteracting any
pro-German and pro-Nazi colleagues in his department.[91] Another member of this infiltrative
resistance group was Hartmann's colleague Viggo Kampmann, who would later become prime
minister of Denmark.[92] After von Trier had had four awkward meetings with his biological
father, Hartmann refused further contact.[93]
Family background, and political and religious views Edit

Von Trier's mother considered herself a Communist, while his father was a Social Democrat. Both
were committed nudists, and von Trier went on several childhood holidays to nudist camps. His
parents regarded the disciplining of children as reactionary. He has noted that he was brought up
in an atheist family, and that although Ulf Trier was Jewish, he was not religious. His parents did
not allow much room in their household for "feelings, religion, or enjoyment," and also refused to
make any rules for their children, with complex effects upon von Trier's personality and
development.[94][95]
In a 2005 interview with Die Zeit, von Trier said, "I don't know if I'm all that Catholic really. I'm
probably not. Denmark is a very Protestant country. Perhaps I only turned Catholic to piss off a
few of my countrymen."[90]
In 2009, he said, "I'm a very bad Catholic. In fact I'm becoming more and more of an atheist."[96]
Mental health Edit

Von Trier periodically suffers from depression, and also from various fears and phobias, including
an intense fear of flying. This fear frequently places severe constraints on him and his crew,
necessitating that virtually all of his films be shot in either Denmark or Sweden. As he quipped in
an interview, "Basically, I'm afraid of everything in life, except film making."[97]
On numerous occasions, von Trier has also stated that he suffers from occasional depression which
renders him incapable of performing his work and unable to fulfill social obligations.[98]
Awards and honors Edit

Main article: List of awards and nominations received by Lars von Trier
Filmography Edit
Main article: Lars von Trier filmography
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^ Heath, Chris (17 October 2011). "Lars von Trier Interview GQ October 2011". Retrieved 9 May
2017.
^ Regnier, Isabelle (28 January 2014). "Charlotte Gainsbourg : « Je suis prête à excuser beaucoup
chez Lars »" – via Le Monde.
^ Hoeij, Boyd van. "Charlotte Gainsbourg On Being Lars von Trier's 'Nymphomaniac': 'I was
disturbed, embarrassed and a little humiliated…' - IndieWire". www.indiewire.com.
^ Brooks, Xan (6 February 2014). "Nymphomaniac stars: 'Lars isn't a misogynist, he loves
women'" – via www.theguardian.com.
^ "Interview with Nicole Kidman, actor, 'Margot at the Wedding'".
^ a b Nyren, Erin (15 October 2017). "Björk Shares Experience of Harassment By 'Danish
Director:' He Created 'An Impressive Net of Illusion'". Variety. Retrieved 17 October 2017.
^ a b D'Zurilla, Christie (17 October 2017). "Björk details alleged harassment; Lars von Trier
denies accusations". Los Angeles Times. Retrieved 17 October 2017.
^ Björk (15 October 2017). "i am inspired by the women everywhere who are speaking up online
to tell about my experience with a danish director". Facebook. Archived from the original on 16
October 2017. Retrieved 16 October 2017.
^ "Lars von Trier". Internet Movie Database. Retrieved 27 July 2016.
^ "Stellan Skarsgard on his long ongoing collaboration with Lars Von Trier".
^ "Kirsten Dunst on Lars von Trier & Feeling Free". 11 November 2011. Retrieved 27 July 2016.
^ "Jean-Marc Barr Talks Lars von Trier's NYMPHOMANIAC". 24 January 2013. Retrieved 27
July 2016.
^ Smith, Nigel M. (6 March 2014). "Willem Dafoe on Reuniting With Wes Anderson, Working
With Lars von Trier and Why He Doesn't Want to Be Famous". Retrieved 27 July 2016.
^ selinakyle (10 June 2012), Charlie Rose – An Interview with Nicole Kidman, retrieved 27 July
2016
^ Anne Thompson (16 November 2011), Kirsten Dunst 1, retrieved 27 July 2016
^ Christian Monggaard (8 March 2017). "Lars von Trier talks Uma Thurman, serial killers and
Cannes at first press conference since Nazi row". Screen Daily. Retrieved 2017-03-09.
^ Philipps-Universität Marburg; Universität-Gesamthochschule-Siegen (2004). Medien
Wissenschaft (in German). Niemeyer. p. 112. Retrieved 11 October 2010.
^ Grodal, Torben Kragh; Laursen, Iben Thorving (2005). Visual authorship: creativity and
intentionality in media. Museum Tusculanum Press. p. 124. ISBN 978-87-635-0128-6. Retrieved
11 October 2010.
^ a b Nicodemus, Katja (10 November 2005). "Lars von Trier, Katja Nicodemus: "I am an
American woman" (17/11/2005) – signandsight". Die Zeit. Archived from the original on 10
^ "Entry on Fritz Michael Hartmann in the Database of the Danish Resistance Movement" (in
Danish). Archived from the original on 26 May 2012.
^ Skov, Jesper (2004). "Viggo Kampmann under besættelsen" (PDF). Siden Saxo (in Danish) (4):
39. Archived from the original (PDF) on 10 August 2011. Retrieved 21 May 2011.
^ "Stranger and fiction". The Sydney Morning Herald. 22 December 2003. Archived from the
original on 12 September 2012.
^ "Copenhagen: Lars von Trier". Visit-copenhagen.com. Archived from the original on 16 July
2012. Retrieved 15 July 2010.
^ Nicodemus, Katja (10 November 2005). "Lars von Trier, Katja Nicodemus: "I am an American
woman" (17/11/2005) – signandsight". Die Zeit. Archived from the original on 10 September
2012. Retrieved 14 October 2010. I come from a family of communist nudists. I was allowed to do
or not do what I liked. My parents were not interested in whether I went to school or got drunk on
white wine. After a childhood like that, you search for restrictions in your own life.
^ Fielder, Miles (4 August 2009). "Lars von Trier". Archived from the original on 18 August
2009.. The Big Issue Scotland. Retrieved 11 September 2011.
^ Burke, Jason (13 May 2007). "Guardian UK interview 2007". The Guardian. London. Archived
from the original on 20 September 2012. Retrieved 5 September 2010.
^ Goss, Brian Michael (January 2009). Global auteurs: politics in the films of Almodóvar, von
Trier, and Winterbottom. Peter Lang. p. 118. ISBN 978-1-4331-0134-2. Retrieved 11 October
2010.
Bainbridge, Caroline (2007). The Cinema of Lars von Trier: Authenticity and Artifice. Wallflower
Press. ISBN 978-1-905674-44-2.
Goss, Brian Michael (January 2009). Global auteurs: politics in the films of Almodóvar, von Trier,
and Winterbottom. Peter Lang. ISBN 978-1-4331-0134-2.
Lasagna, Roberto; Lena, Sandra (1 June 2003). Lars von Trier (in French). Gremese Editore.
ISBN 978-88-7301-543-7.
Livingston, Paisley; Plantinga, Carl R.; Hjort, Mette (3 December 2008). The Routledge
companion to philosophy and film. Routledge. ISBN 978-0-415-77166-5.
Lumholdt, Jan (2003). Lars von Trier: interviews. Univ. Press of Mississippi. ISBN 978-1-57806-
532-5.
Schepelern, Peter (2000). Lars von Triers film: tvang og befrielse (in Danish). Rosinante. ISBN
978-87-621-0164-7.
Simons, Jan (15 September 2007). Playing the waves: Lars Von Trier's game cinema. Amsterdam
University Press. ISBN 978-90-5356-979-5.
Stevenson, Jack (2003). Dogme uncut: Lars von Trier, Thomas Vinterburg, and the gang that took
on Hollywood. Santa Monica Press. ISBN 978-1-891661-35-8.
Stevenson, Jack (2002). Lars von Trier. British Film Institute. ISBN 978-0-85170-902-4.
Stühl, Leo (2013). Die Kunst im Horrorgenre: Gewaltexzesse und Pornografie in Lars von Triers
Antichrist. Hamburg: Diplomica. ISBN 978-3-95549-099-7.
Tiefenbach, Georg (2010). Drama und Regie (Writing and Directing): Lars von Trier's Breaking
the Waves, Dancer in the Dark, Dogville. Königshausen & Neumann. ISBN 978-3-8260-4096-2.
von Trier, Lars; Addonizio, Antonio (1 January 1999). Il dogma della libertà: conversazioni con
Lars von Trier (in Italian). Edizioni della battaglia. ISBN 978-88-87630-07-7.
von Trier, Lars; Björkman, Stig (2003). Trier on von Trier. Faber and Faber. ISBN 978-0-571-
20707-7.
External links Edit
Wikimedia Commons has media related to Lars von Trier.
Wikiquote has quotations related to: Lars von Trier
Zentropa official website – von Trier's production company
Lars von Trier on IMDb
Lars von Trier in the Danish Film Database
Last edited 6 days ago by AA Pilot16
Wikipedia

Wikipedia
Ang Lee
Ang Lee (en chino: 李安 , pinyin: Lǐ Ān) (n. Pingtun, Taiwán, 23 de octubre de 1954) es un
director de cine taiwanés.
Ang Lee
Ang Lee - 66eme Festival de Venise (Mostra) 2.jpg
Como miembro del jurado en la 66.ª edición del
Festival Internacional de Cine de Venecia (2009).
Ang Lee
(en chino: 李安, pinyin: Lǐ Ān)
Nacimiento
Bandera de Taiwán Pingtun, Taiwán
Nacionalidad
[cita requerida]
Altura
1,70 m
Familia
Padre
Lee Sheng Ver y modificar los datos en Wikidata
Cónyuge
Jane Lin (1983–presente)
Hijos
Haan Lee (1984)
Mason Lee (1990)
Educación
Educación
Bandera de TaiwánNational Taiwan University of Arts
Flag of the United States.svg Estados Unidos, New York University
Alma máter
Tisch School of the Arts
Universidad de Illinois
Universidad de Illinois en Urbana-Champaign Ver y modificar los datos en Wikidata
Ocupación
Director
Productor
Guionista
Años activo
desde 1992
Año de debut
1990
Año de retiro
presente
Obras notables
Wo hu cang long
Brokeback Mountain Ver y modificar los datos en Wikidata
Miembro de
Premios artísticos
Premios Óscar
Mejor director
2012 Life of Pi
2005 Brokeback Mountain
2000 El tigre y el dragón
Globos de Oro
Mejor director
Mejor película en lengua no inglesa
Premios BAFTA
Mejor película
1995 Sense and Sensibility
Mejor director
Otros premios
Oso de Oro - Festival de Cine de Berlín
1993 The Wedding Banquet
1995 Sense and Sensibility
León de Oro - Festival de Cine de Venecia
2007 Lust, Caution
Distinciones
Caballero de las Artes y las Letras
Festival Internacional de Cine de Berlín
Hong Kong Film Award for Best Director
Orden de la Estrella Brillante
Orden de las Artes y las Letras
Premio del Sindicato de Directores
Golden Horse Award for Best Director (1993 y 2007)
Oso de oro (1993 y 1996)
León de Oro (2007) Ver y modificar los datos en Wikidata
Muchas de sus películas han enfocado las interacciones entre la modernidad y la tradición. Sus
obras también tienden a tener un tono de comedia ligera que marca una ruptura con el realismo
trágico que caracteriza el cine de Taiwán tras el fin del período de ley marcial en los años 1990.
Fue el primero en introducir temas homosexuales en el cine asiático y también fue pionero en las
películas de artes marciales/exotismo oriental de gran presupuesto de Hollywood.
Ha estudiado teatro en la universidad de Illinois e hizo su máster en la escuela de arte Tisch de la

Universidad de Nueva York, donde en 1984 realizó una película titulada Fine Line como tesis. Fue
compañero de clase de Spike Lee.
En 2013, el presidente de Taiwan, Ma Ying-jeou, le condecoró con la Orden de la Estrella

Brillante con Cordón Especial, el máximo rango por la difusión internacional de Taiwán y la
importante impulso que dio a la industria cinematográfica local, convirtiéndose en la primera
persona del mundo de la cultura que logra esta distinción desde que se creó la condecoración.[1]
Índice
Trayectoria Editar
En 1992 se da a conocer internacionalmente en un film sobre un anciano que no sabe/puede
adaptarse a la vida occidental moderna (Manos que empujan), y obtiene la etiqueta de
"prometedor". Al año siguiente, presenta una película que afianza su carrera y le revela como uno
de los máximos exponentes de su generación dentro del cine taiwanés: la co-produción El
banquete de bodas, en la que revela una frescura inusual y un talento aún por calibrar. Su siguiente
producción va a consagrarle a nivel mundial: Comer, beber, amar (1994), le proporciona uno de
sus mayores éxitos personales, logrando que su universo cinematográfico trascienda el film de
cintas coétaneas que fracasaban en mayor o menor medida en su intento por conjugar las culturas
oriental-occidental dentro de historias intimistas y familiares donde se da la consabida ruptura-
dominación por la tradición (Cometé una taza de té de Wayne Wang, 1988, es un buen ejemplo).
En 2001 fue profesor visitante en la universidad de Dartmouth y allí estrenó Wo hu cang long, un
auténtico fenómeno a nivel mundial que se convirtió casi desde su estreno en un clásico moderno
instantáneo.
Por Brokeback Mountain ganó el León de Oro del Festival de Venecia del 2005. Repitió éxito en
el mismo festival, dos años después, con una obra totalmente distinta, que aborda la historia de su
país: Lujuria y traición.
Por todo ello, Ang Lee es un cineasta poco corriente en el panorama actual.
Filmografía Editar
The Hire (BMW Short Movie) - Chosen (2002)
Sensatez y Sentimiento (1995)
Manos pujantes (1992)
El banquete de bodas (1993)
Comer, beber, amar (1994)
Sense and Sensibility (1995)
La tormenta de hielo (1997)
Cabalga con el diablo (1999)
Tigre y dragón (2000)
Hulk (2003)
Brokeback Mountain (2005)
Deseo, peligro (2007)
Taking woodstock (2009)
La vida de Pi (2012)
Premios Editar
Premios Óscar:

2000 Mejor película de habla no inglesa Tigre y dragónGanador
2000 Mejor película Tigre y dragónCandidato
2000 Mejor director Tigre y dragónCandidato
2005 Mejor director Brokeback Mountain Ganador
2013 Mejor película Life of Pi Candidato
2013 Mejor director Life of Pi Ganador
Premios Globo de Oro:

1995 Mejor director Sense and Sensibility Candidato
2000 Mejor película en lengua no inglesa Tigre y dragónGanador
2000 Mejor director Tigre y dragónGanador
2008 Mejor película en lengua no inglesa Lust, Caution Candidato
2013 Mejor película - Drama Life of Pi Candidato
2013 Mejor director Life of Pi Candidato
Premios BAFTA:

1995 Mejor película Sense and Sensibility Ganador
1995 Mejor director Sense and Sensibility Candidato
2000 Mejor película en lengua no inglesa Tigre y dragónGanador
2000 Mejor director Tigre y dragónGanador
2013 Mejor director Life of Pi Candidato
Wikimedia Commons alberga una categoría multimedia sobre Ang Lee.
Ang Lee en Internet Movie Database (en inglés)
Conferencia de prensa de Ang Lee en el Festival de Cine de Venecia (en inglés)

Referencias Editar
↑ Taipei Times. «Director Ang Lee receives medal from President» (en inglés). Consultado el 29
de abril de 2017.
Última edición hace 2 meses por un usuario anónimo
Wikipedia
Open main menu

Wikipedia
Ang Lee
Page issues
This is a Chinese name; the family name is Lee.
Ang Lee OBS (Chinese: 李安; pinyin: Lǐ Ān; born October 23, 1954) is a Taiwanese film director,
screenwriter, and producer.[1][2]
Ang Lee
Ang Lee - 66ème Festival de Venise (Mostra).jpg
Lee at the 2009 Venice International Film Festival
Born
October 23, 1954 (age 63)
Chaochou, Pingtung, Taiwan island, Republic of China
Education
University of Illinois at Urbana-Champaign
Alma mater
Tisch School of the Arts of New York University
Occupation
Film director, producer, screenwriter
Years active
1982–present
Notable work
Sense and Sensibility
Crouching Tiger, Hidden Dragon
Hulk
Brokeback Mountain
Life of Pi
Spouse(s)
Jane Lin (林惠嘉) (m. 1983)
Children
Haan Lee (b. 1984)
Mason Lee (b. 1990)
Ang Lee
Li An (Chinese characters).svg
"Ang Lee (Li An)" in Chinese characters
Chinese
李安
Transcriptions
Standard Mandarin
Hanyu Pinyin Lǐ Ān
Wade–Giles Li3 An1
IPA [lì án]
Yue: Cantonese
Yale Romanization Léih Ōn
IPA [le̬i ɔ́ːn]
Jyutping Lei5 On1
Southern Min
Hokkien POJ Lí An
Lee's earlier films, such as The Wedding Banquet, Pushing Hands, and Eat Drink Man Woman
explored the relationships and conflicts between tradition and modernity, Eastern and Western.
Lee also deals with repressed, hidden emotions in many of his films, including Crouching Tiger,
Hidden Dragon, The Ice Storm, Hulk, and Brokeback Mountain. Lee's work is known for its
emotional charge, which critics believe is responsible for his success in offsetting cultural barriers
and achieving international recognition.[3][4][5][6][7][8]
Contents
Early life Edit
Childhood and education Edit
"I was never a citizen of any particular place... My parents left Mainland China to go to Taiwan
island. We were outsiders there. We moved to the States. Outsiders. Back to China. Now we were
outsiders there, too – outsiders from America."
—Ang Lee, interview with Roger Ebert, December 11, 2005[9]
Ang Lee was born in a Waishengren family, in a military dependents' village of the Republic of
China Armed Forces, located at Chaochou, Pingtung,[10] a southern agricultural county in
Republic of China(Taiwan). Both of Lee's parents moved from Mainland China to Taiwan island
following the Chinese civil war in 1949. He grew up in a household that put heavy emphasis on
education.[11]
Lee studied in the Provincial Tainan First Senior High School (now National Tainan First Senior
High School) where his father was the principal. He was expected to pass the annual Joint
College/University Entrance Examination, the only route to a university education in Republic of
China. But after failing the exam twice, to the disappointment of his father, he entered a three-year
college, the National Arts School (now reorganized and expanded as National Taiwan University
of Arts), and graduated in 1975. His father had wanted him to become a professor, but he had
become interested in drama and the arts at college. This early frustration set his career on the path
of performance art. Seeing Ingmar Bergman's film The Virgin Spring (1960) was a formative
experience for him.[12]
After finishing his mandatory military service in the Republic of China Navy (ROCN), Lee went
to the US in 1979 to study at the University of Illinois at Urbana-Champaign, where he completed
his bachelor's degree in theater in 1980. Originally, Lee was interested in acting, but his challenges
with speaking English made it difficult and he quickly turned to directing.[13] At UIUC, Lee met
his future wife Jane Lin (Chinese: 林惠嘉; pinyin: Lín Huìjiā), also a student from Republic of
China, who pursued her Ph.D. degree. Thereupon, he enrolled at the Tisch School of the Arts of
New York University, where he received his MFA in film production. He was a classmate of Spike
Lee and worked on the crew of his thesis film, Joe's Bed-Stuy Barbershop: We Cut Heads.
During graduate school, Lee finished a 16mm short film, Shades of the Lake (1982), which won
the Best Drama Award in Short Film in R.O.C. His own thesis work, a 43-minute drama, Fine
Line (1984), won NYU's Wasserman Award for Outstanding Direction and was later selected for
the Public Broadcasting Service.
Life after graduation Edit

Lee's NYU thesis drew attention from the William Morris Agency, the famous talent and literary
agency that later represented Lee. At first, though, WMA found Lee few opportunities, and Lee
remained unemployed for six years. During this time, he was a full-time house-husband, while his
wife Jane Lin, a molecular biologist, was the sole breadwinner for the family of four. This
arrangement put enormous pressure on the couple, but with Lin's support and understanding, Lee
did not abandon his career in film but continued to generate new ideas from movies and
performances. He also wrote several screenplays during this time.[14]
In 1990, Lee submitted two screenplays, Pushing Hands and The Wedding Banquet, to a
competition sponsored by Government Information Office of R.O.C., and they came in first and
second, respectively. The winning screenplays brought Lee to the attention of Hsu Li-kong
(Chinese: 徐立功; pinyin: Xú Lìgōng), a recently promoted senior manager in a major studio who
had a strong interest in Lee's unique style and freshness. Hsu, a first-time producer, invited Lee to
direct Pushing Hands, a full-length feature that debuted in 1991.
Career Edit
Debut from R.O.C. Edit
The 'Father Knows Best' trilogy
Pushing Hands (1992) was a success in R.O.C. both among critics and at the box office. It
received eight nominations in the Golden Horse Film Festival, R.O.C.'s premier film festival.
Inspired by the success, Hsu Li-kong collaborated with Lee in their second film, The Wedding
Banquet (1993), which won the Golden Bear at the 43rd Berlin International Film Festival[15] and
was nominated as the Best Foreign Language Film[16] in both the Golden Globe and the
Academy Awards. In all, this film collected eleven Taiwanese and international awards and made
Lee a rising star. These first two movies were based on stories of Chinese Americans, and both
were filmed in the US.
In 1994, Hsu invited Lee to return to Republic of China to make Eat Drink Man Woman, a film
that depicts traditional values, modern relationships, and family conflicts in Taipei. The film was a
box office hit and was critically acclaimed. For a second consecutive year, Lee's film received the
Best Foreign Language Film nomination in both the Golden Globe and Academy Awards, as well
as in the British Academy Award. Eat Drink Man Woman won five awards in R.O.C. and
internationally, including the Best Director from Independent Spirit.
The three films show the Confucian family at risk and star the Taiwanese Chinese actor Sihung
Lung to form what has been called Lee's "Father Knows Best" trilogy.[17]
Arrival in Hollywood Edit

Sense and Sensibility Edit
In 1995, Lee directed Columbia TriStar's British classic Sense and Sensibility. This made Lee a
second-time winner of the Golden Bear at the Berlin Film Festival. It was nominated for seven
Academy Awards, and won Best Adapted Screenplay for screenwriter Emma Thompson, who also
starred in the movie alongside Alan Rickman, Hugh Grant and Kate Winslet. Sense and Sensibility
also won the Golden Globe Award for Best Motion Picture - Drama. Thompson has described the
experience of working with Lee in his first English language film, noting how taken aback Lee
was when the actors asked questions or provided suggestions, something Thompson notes as
uncommon in Chinese culture. Once this disjuncture was bridged, Thompson remembered having
"the most wonderful time because his notes were so brutal and funny."[18]
After this, Lee directed two more Hollywood movies: The Ice Storm (1997), a drama set in 1970s
suburban America, and Ride with the Devil (1999), an American Civil War drama. Although the
critics still highly praised these latter two films, they were not particularly successful at the box
office, and for a time this interrupted Lee's unbroken popularity – from both general audiences
and arthouse aficionados – since his first full-length movie. However, in the late 1990s and
2000s, The Ice Storm had high VHS and DVD sales and rentals and repeated screenings on cable
television, which has increased the film's popularity among audiences.
1999 onward Edit

Crouching Tiger, Hidden Dragon Edit
In 1999, Hsu Li-kong, Lee's old partner and supporter, invited him to make a movie based on the
traditional "wuxia" genre concerning the adventures of martial artists in ancient China. Excited
about the opportunity to fulfill his childhood dream, Lee assembled a team from the United States,
Taiwan, Hong Kong, Malaysia and Mainland China for Crouching Tiger, Hidden Dragon (2000).
The film was a surprising success worldwide. With Chinese dialogue and English subtitles, the
film became the highest grossing foreign film in many countries, including the United States and
the United Kingdom, and was nominated in 10 categories at the Academy Awards, including Best
Picture, Best Foreign Language Film, and Best Director. It ended up winning Best Foreign
Language Film and three technical awards. The success of Crouching Tiger demonstrated that
Lee's artistry had a general appeal; it also inspired such established directors as Zhang Yimou and
Chen Kaige to explore wuxia films for Western audiences.[citation needed]
Hulk Edit
In 2003, Lee returned to Hollywood to direct Hulk, his second big-budget movie after the
disappointment of Ride with the Devil's restricted release. The film received mixed reviews while
being a financial success, grossing over $245 million at the box office. After the setback, Lee
considered retiring early, but his father encouraged him to continue making movies.
Brokeback Mountain Edit

Lee decided to take on a small-budget, low-profile independent film based on Annie Proulx's
Pulitzer Prize-finalist short story, Brokeback Mountain. In a 2005 article[19] by Robert K. Elder,
Lee was quoted as saying, "What do I know about gay ranch hands in Wyoming?" In spite of the
director's distance from the subject at hand, Brokeback Mountain showcased Lee's skills in
probing the depths of the human heart. The 2005 movie about the forbidden love between two
Wyoming sheepherders immediately caught public attention and became a cultural phenomenon,
initiating intense debates and becoming a box office hit.
The film was critically acclaimed at major international film festivals and won Lee numerous Best
Director and Best Picture awards worldwide. Brokeback Mountain was the most acclaimed film of
2005, winning 71 awards and an additional 52 nominations. It won the Golden Lion (best film)
award at the Venice International Film Festival and was named 2005's best film by the Los
Angeles, New York, Boston, and London film critics. It also won best picture at the 2005
Broadcast Film Critics Association, Directors Guild of America, Writers Guild of America
(Adapted Screenplay), Producers Guild of America and the Independent Spirit Awards as well as
the Golden Globe Award for Best Motion Picture – Drama, with Lee winning the Golden Globe
Award for Best Director. Brokeback Mountain also won Best Film and Best Director at the 2006
British Academy Awards (BAFTA). Brokeback Mountain was nominated for a leading eight
Oscars and was the front runner for Best Picture heading into the March 5 ceremony, but lost out
to Crash, a story about race relations in Los Angeles, in a controversial upset. He became the first
non-white person to win the Best Director at the Academy Awards (when he won again for Life of
Pi, he became the second non-white person to win). In 2006, following his Best Director Oscar,
Ang Lee was bestowed the Order of Brilliant Star with Grand Cordon, the second highest civilian
honour, by the R.O.C. government.[20]
Lust, Caution Edit

After Brokeback Mountain, Lee returned to a Chinese topic. His next film was Lust, Caution,
which was adapted from a short novel by the Chinese author Eileen Chang. The story was written
in 1950, and was loosely based on an actual event that took place in 1939 –1940 in Japanese-
occupied Shanghai, China, during World War II. Similar to Brokeback Mountain, Ang Lee adapted
and expanded a short, simple story into a feature film in a way that allows individual figures to
develop sophisticated layers of reserved emotions, without being sidetracked by complicated plots
or overstuffed material.[citation needed]
Lust, Caution was distributed by Focus Features and premiered at international film festivals in
the summer and early fall of 2007. In the U.S., the movie received a NC-17 rating (no one 17 and
under admitted) from the MPAA mainly due to several strongly explicit sex scenes. This was a
challenge to the film's distribution because many theater chains in the United States refuse to show
NC-17 films. The director and film studio decided not to appeal the decision. Lee removed 9
minutes from the film to make the content suitable for minor audiences in order to be permitted to
show Lust, Caution in mainland China.[21]
Lust, Caution captured the Golden Lion from the 2007 Biennale Venice Film Festival, making Lee
the winner of the highest prize for the second time in three years (Lee is one of only four
filmmakers to have won the Golden Lion twice). When Lust, Caution was played in Lee's native
R.O.C. in its original full-length edition, it was very well received.[citation needed] Staying in
R.O.C. to promote the film and to participate in a traditional holiday, Lee got emotional[citation
needed] when he found that his work was widely applauded by fellow Taiwanese. Lee admitted
that he had low expectations for this film from the U.S. audience since "its pace, its film
language;– it's all very Chinese."[22] The film was ignored by the Oscars, receiving zero
nominations. It was snubbed from consideration in the Best Foreign Language Film category; after
being officially submitted by R.O.C., the Academy ruled that an insufficient number of R.O.C.
nationals had participated in the production, thus disqualifying it from further consideration.
Lee was chosen as president of the jury for the 2009 edition of the Venice Film Festival that took
place from September 2 to 12, 2009.[23]
Life of Pi Edit
Lee's next film after 2009's Taking Woodstock was Life of Pi, which was adapted from the novel
of the same name written by Yann Martel.
The story was a retrospective first-person narrative from Pi, a then 16-year-old boy from India,
who is the only human to survive the sinking of a freighter on the way from India to Canada. He
finds himself on a lifeboat with an orangutan, a hyena, a wounded zebra and a Bengal tiger.[24]
During this unlikely journey, young Pi questions his belief in God and the meaning of life. The
novel was once considered impossible to make into a movie, but Lee persuaded 20th Century Fox
to invest $120 million and heavily relied on 3D special effects in post-production. Unlike most
other sci-fi precedents, Lee explores the artistic horizon of applying 3D effects and pushes the
boundary of how this technology can serve the movie's artistic vision. The movie made its
commercial premiere during the Thanksgiving weekend of 2012 in the US and worldwide and
became a critical and box office success. In January 2013, Life of Pi earned 11 Academy Award
nominations, including Best Picture, Best Director, Best Adapted Screenplay and Best Visual
Effects.[25] He went on to win the Academy Award for Best Director.
In 2013, he was selected as a member of the main competition jury at the 2013 Cannes Film
Festival.[26]
Billy Lynn's Long Halftime Walk Edit

Lee next directed Billy Lynn's Long Halftime Walk based on the novel of the same name. It was
his first film since winning the Oscar for Best Director for Life of Pi. The film was released in
November 2016, and received a mixed response from audiences and critics alike.
Upcoming Projects Edit

Thrilla in Manila Edit
In 2013, Ang Lee began development on the project with a screenplay written by Peter Morgan,
but later put it on hold in 2014 in order to make Billy Lynn's Long Halftime Walk.[27][28] In
December 2015, it was announced that the project, tentatively titled Thrilla in Manila, would be
his next film after Billy Lynn's Long Halftime Walk. David Oyelowo and Ray Fisher are
reportedly Lee’s top choices for the leading roles.[29]
Gemini Man Edit

In April 2017, Ang Lee began discussions with Skydance Media to helm a sci-fi action film that
follows a senior NSA official being hunted by a young clone of himself right as he is about to
retire from the agency.[30] The film is set to star Will Smith in the lead role with a release date set
for October 4, 2019.[31] In January 2018, it was announced that Clive Owen and Mary Elizabeth
Winstead had been cast as the antagonist and female lead respectively.
Directing for television Edit

In March 2013, it was announced that Lee would direct a television pilot for the drama series
Tyrant, created by Gideon Raff and developed by Howard Gordon and Craig Wright. Production
was scheduled for the summer of 2013 for the FX series.[32] However, Lee decided to quit the
project to take a break from his hectic schedule.[33]

Ang Lee has had a career-long collaboration with producer and screenwriter James Schamus[34]
and editor Tim Squyres. He has also worked several times with music composer Mychael Danna
and a few times with Danny Elfman.[b]
Year Title James Schamus Tim Squyres Mychael Danna Danny Elfman
Producer Writer Editor Music Music
1992 Pushing Hands Yes Yes Yes
1993 The Wedding Banquet Yes Yes Yes
1994 Eat Drink Man Woman Yes Yes Yes
1995 Sense and Sensibility Yes Yes
1997 The Ice Storm Yes Yes Yes Yes
1999 Ride with the Devil Yes Yes Yes Yes
2000 Crouching Tiger, Hidden Dragon Yes Yes Yes
2003 Hulk Yes Yes Yes Yes
2005 Brokeback Mountain Yes
2007 Lust, Caution Yes Yes Yes
2009 Taking Woodstock Yes Yes Yes Yes
2012 Life of Pi Yes Yes
2016 Billy Lynn's Long Halftime Walk Yes Yes
Personal life Edit
Lee lives in Larchmont, in Westchester County, New York, with his wife Jane Lin, a
microbiologist, whom he married in 1983. They have two sons, Haan (born 1984), and Mason
(born 1990).[35] Lee is sometimes described as a naturalized US citizen,[36][37][38] but he
claims that he is a permanent resident of United States.[39][40] Lee is a Buddhist.[41]
Filmography Edit
Lee has been involved in the process of filmmaking in various capacities, though the highlight of
his career and legacy is his directorial work. The following are Lee's various credits.
Year Film Director Producer Writer Editor Actor

1992 Pushing Hands Yes Yes Yes
1993 The Wedding Banquet Yes Yes Yes
1994 Eat Drink Man Woman Yes Yes Yes
1995 Sense and Sensibility Yes
Siao Yu Yes Yes
1997 The Ice Storm Yes
1999 Ride with the Devil Yes
2000 Crouching Tiger, Hidden Dragon Yes Yes
2002 The Hire (segment The Chosen) Yes
2003 Hulk Yes
2005 Brokeback Mountain Yes
2007 Lust, Caution Yes Yes
Hollywood Chinese Yes
2009 Taking Woodstock Yes Yes
2012 Life of Pi Yes Yes Cameo
2016 Billy Lynn's Long Halftime Walk Yes Yes
2019 Gemini Man Yes
Accolades Edit
Below are Ang Lee's films' major nominations and awards.
Year Film Academy Award nominations Academy Award wins BAFTA nominations BAFTA
wins Golden Globe nominations Golden Globe wins
1993 The Wedding Banquet 1 1
1994 Eat Drink Man Woman 1 1 1
1995 Sense and Sensibility 7 1 12 3 6 2
1997 The Ice Storm 2 1 1
2000 Crouching Tiger, Hidden Dragon 10 4 14 4 3 2
2005 Brokeback Mountain 8 3 9 4 7 4
2007 Lust, Caution 2 1
2012 Life of Pi 11 4 9 2 3 1
Total 38 12 49 14 23 9
Lee has won a myriad of major international awards, including 3 Academy Awards, 4 BAFTA
Awards, 3 Golden Globe Awards; 3 Independent Spirit Awards ; 2 Golden Lion awards and 2
Golden Bear awards.
Awards and nominations received by Ang Lee Edit

Award Category Year Title Result
Academy Awards Best Foreign Language Film 1993 The Wedding Banquet Nominated
1994 Eat Drink Man Woman Nominated
2000 Crouching Tiger, Hidden Dragon Won
Best Picture 2000 Crouching Tiger, Hidden Dragon Nominated
2005 Brokeback Mountain Nominated
2012 Life of Pi Nominated
Best Director 2000 Crouching Tiger, Hidden Dragon Nominated
2005 Brokeback Mountain Won
2012 Life of Pi Won
Cannes Film Festival Golden Palm 1997 The Ice Storm Nominated
2009 Taking Woodstock Nominated
Berlin International Film Festival Golden Berlin Bear 1993 The Wedding Banquet Won
1996 Sense and Sensibility Won
Venice Film Festival Golden Lion 2005 Brokeback Mountain Won
2007 Lust, Caution Won
Golden Globe Award Best Foreign Language Film 1993 The Wedding Banquet
Nominated
2008 Lust, Caution Nominated
Best Motion Picture — Drama 2012 Life of Pi Nominated
Best Director 1996 Sense and Sensibility Nominated
British Academy Film Awards Best Film Not in the English Language 1995 Eat Drink
Man Woman Nominated
2008 Lust, Caution Nominated
Best Film1996 Sense and Sensibility Won
2001 Crouching Tiger, Hidden Dragon Nominated
David Lean Award for Direction 1996 Sense and Sensibility Nominated
Producers Guild of America Award PGA Award – Motion Pictures 2001 Crouching
Tiger, Hidden Dragon Nominated
Critics' Choice Award Best Director 2006 Brokeback Mountain Won
Directors Guild of America Award DGA Award – Motion Pictures 1996 Sense and
Sensibility Nominated
Independent Spirit Awards Best Feature 1994 The Wedding Banquet Nominated
Best Director 1994 The Wedding Banquet Nominated
Best Screenplay 1994 The Wedding Banquet Nominated
NBR Award Best Director 1995 Sense and Sensibility Won
Saturn Award Best Direction 2001 Crouching Tiger, Hidden Dragon Nominated
Best Action or Adventure Film 2001 Crouching Tiger, Hidden Dragon Won
Best Science Fiction Film 2003 Hulk Nominated
Best Fantasy Film 2012 Life of Pi Won
AACTA Awards Best Direction – International 2012 Life of Pi Nominated
Notes Edit
a.^ In the 2007 book The Cinema of Ang Lee: The Other Side of the Screen, Whitney Crothers
Dilley has analyzed in detail the striking diversity of Lee's films, as well as Lee's recurring themes
of alienation, marginalization, and repression.[42] Many of Lee's films, particularly his early
Chinese trilogy, have also focused on the interactions between modernity and tradition.
b.^ Mychael Danna was originally hired to score Hulk, but he was removed from the project,
apparently at the request of the studio, and another composer completed the final score. Ang Lee
spoke publicly about this in 2012 at a director's roundtable, calling it the moment he regretted
most in his career. Danna subsequently received his first Oscar nomination and went on to win
that award for scoring Life of Pi, his first reunion with Lee since that time.
References Edit
^ Williams, Sarah (February 20, 2013). "'Life of Pi's Ang Lee Conquers Anti-Asian Bias". Voice of
America. Retrieved February 20, 2013. Like many Asian-Americans in Hollywood's film industry,
Chinese-born American film director Ang Lee struggled for acceptance early in his career.
^ Corliss, Richard (November 20, 2012). "Ang Lee's Life of Pi: Storm and Fang, Water and
Wonder". Time. Retrieved November 20, 2012. The Chinese-born American director mastered the
nuances of 19th-century English manners in Sense and Sensibility, set martial-artist adversaries to
dancing on tree tops in Crouching Tiger, Hidden Dragon and sold the mainstream audience on the
love story of two cowboys in Brokeback Mountain.
^ "Life of Pi - film that transcends global emotions". indiatimes.com. September 27, 2012.
^ "Speaking a Universal Language: Director Ang Lee". gotoread.com. Archived from the original
on May 5, 2015. Retrieved February 18, 2008.
^ "Ang Lee and His Thoughts". asian-nation.org. December 28, 2005. Retrieved December 28,
2005.
^ Phippen, Richard (November 18, 2008). "Ang Lee's Hulk - FOR (& Against)". sky.com.
Archived from the original on December 3, 2013. Retrieved November 18, 2008.
^ "The Western look Ang Lee: everywhere, nor sets traces". best-news.us. March 12, 2013.
^ "Kevin Kline, Ang Lee, and Sigourney Weaver on "The Ice Storm"". filmscouts.com. 4 June
2010. Archived from the original on February 25, 2010. Retrieved 4 June 2010.
^ Ebert, Roger (2005-12-11). "Lonesome love". Chicago Sun-Times.
^ Ho Yi. Family and friends praise Ang Lee's quiet dedication. Taipei Times. March 7, 2006.
^ Lipworth, Elaine (2013-04-26). "Ang Lee: My family values". The Guardian. ISSN 0261-3077.
^ Interview from Studio 360 Archived August 11, 2008, at the Wayback Machine.
^ HBO Directors Dialogues: Ang Lee. October 5, 2012 – via YouTube.
^ "Ang Lee: A Never-Ending Dream". gotoread.com. Retrieved January 18, 2014.
^ "Berlinale: 1993 Prize Winners". berlinale.de. Retrieved June 7, 2011.
^ "The 66th Academy Awards (1994) Nominees and Winners". oscars.org. Retrieved 25
September 2015.
^ Wei Ming Dariotis, Eileen Fung, "Breaking the Soy Sauce Jar: Diaspora and Displacement in the
Films of Ang Lee," in Hsiao-peng Lu, ed., Transnational Chinese Cinemas: Identity, Nationhood,
Gender (Honolulu: University of Hawaii Press, 1997), p. 242.
^ "Emma Thompson: A Life in Pictures". BAFTA Guru. 24 November 2014. Retrieved 17 August
2015.
^ "Lee sees his `Brokeback Mountain' as a unifying force". Chicago Tribune. September 9, 2015.
^ "Presidential Office mulling honor for Ang Lee". Focus Taiwan News Channel. February 23,
2013.
^ AFP (September 11, 2007). "Ang Lee bows to China and self-censors award-winning film".
Yahoo! News.
^ Min Lee, Associated Press (September 23, 2007). "Ang Lee: Don't expect much from 'Lust,
Caution'". USA Today.
^ "Ang Lee to head Venice festival". BBC News. February 27, 2009. Archived from the original
on February 27, 2009. Retrieved February 27, 2009.
^ "Life of Pi". ComingSoon.net. Retrieved June 2, 2011.
^ "Life of pi succession".
^ Saperstein, Pat (23 April 2013). "Nicole Kidman, Christopher Waltz, Ang Lee Among Cannes
Jury Members". Variety. Reed Business Information. Retrieved 23 April 2013.
^ "Ang Lee's Next Film Is A 3D Drama About Boxing History". August 8, 2013. Retrieved
November 23, 2017.
^ "The Unfortunate Reason Ang Lee's Groundbreaking Ali/Frazier Biopic Might Not Happen".
September 15, 2014. Retrieved November 23, 2017.
^ "Ang Lee's 3D 'Thrilla in Manila' Boxing Movie Is Back On". ScreenCrush. Retrieved
November 23, 2017.
^ "Ang Lee Eyed to Direct Twisty Actioner 'Gemini Man' for Skydance".
^ "Ang Lee's 'Gemini Man' Gets October 2019 Release".
^ Kondolojy, Amanda (March 14, 2013). "Ang Lee to Direct FX Drama Pilot 'Tyrant'". FX press
release. TV by the Numbers. Retrieved March 14, 2013.
^ "Ang Lee walks away from debut TV project". msn.com. May 21, 2013. Retrieved May 21,
2013.
^ "Lee, Schamus Discuss Film Collaborations". Archived from the original on March 27, 2009.
^ Frey, Jennifer (November 25, 2007). "A Chicken Coop, but No Tigers". The New York Times.
^ Frater, Patrick (October 4, 2007). "Taiwan breaking the arthouse mold". Variety.
^ Abramowitz, Rachel (Aug 27, 2009). "Ang Lee, hippie?". Los Angeles Times.
^ "Ang Lee 'very satisfied' new film shown in entirety". The China Post. Archived from the
original on February 21, 2012.
^ "戰爭人性與電影科技李安：視覺對我是信仰 [Humanity during War and Film Technologies:
Interview of Ang Lee]". 中天的夢想驛站 (in Standard Chinese). November 12, 2016. Event
occurs at 23:20. CtiTV. 我很想跟他們講其實我也沒有入美國籍，我拿的還是綠卡。(I want to
tell them that I am not naturalized. I still hold the green card.)
^ Dilley, Whitney Crothers (December 23, 2014). The Cinema of Ang Lee: The Other Side of the
Screen 2nd Edition. Wallflower Press. p. 29. ISBN 978-0231167734.
^ "Ang Lee: Of water and Pi". Chicago Sun-Times.
^ "Melancholic nostalgia pervades life in front of Ang Lee's lens". Taipei Times. December 16,
2007.
Dilley, Whitney Crothers. The Cinema of Ang Lee: The Other Side of the Screen. London:
Wallflower Press, 2007.
"Taking Stock of 'Taking Woodstock'" Rushprnews October 5, 2008
"Ang Lee's movie has a backstory of pure serendipity" by Dan Bloom, Taipei Times. October 11,
2008
Cheshire, Ellen. Ang Lee. London: Pocket Essentials, 2001.
Ang Lee 64th Venice Film Festival press conference
DGA Quarterly interview
Ang Lee: A Life in Pictures at BAFTA
A Never-Ending Dream - A short essay by Ang Lee on his road to success
External links Edit
Wikiquote has quotations related to: Ang Lee
Wikimedia Commons has media related to Ang Lee.
Ang Lee on IMDb
Ang Lee at the TCM Movie Database
Wikipedia

Wikipedia
Jean-Marc Vallée
Director y guionista canadiense
Jean-Marc Vallée (nacido en Montreal, Quebec, Canadá en 1963) es un director de cine y
guionista canadiense.
Jean-Marc Vallée
Jean-Marc Vallée, Genie Awards 2012.jpg
Nacimiento
1963
Bandera de Canadá Montreal, Quebec
Nacionalidad
canadiense
Educación
Alma máter
Universidad de Quebec en Montreal Ver y modificar los datos en Wikidata
Ocupación
Director de cine y escritor
Premios artísticos
Premios Emmy
Mejor director - miniserie, telefilme o especial dramático
2017 Big Little Lies
Índice
Filmografía Editar
Les Fleurs magiques (1995)
Liste noire (1995)
Los Locos (1997)
Les Mots magiques (1998)
Loser Love (1999)
C.R.A.Z.Y. (2005)
The young Victoria (2009)
Café de Flore (2011)
Dallas Buyers Club (2013)
Wild (2014)
Demolition (2015)
TeleseriesEditar
1996 : Extraños (1996/I, episodio Leave)
2000 : Las Aventuras Secretas de Julio Verne
2017 : Big Little Lies
Jean-Marc Vallée en Internet Movie Database (en inglés)
Jean-Marc Vallée Página del director en Yahoo! Cine
Entrevista de Golem Distribución con Jean Marc Vallée sobre su película C.R.A.Z.Y.
Enciclopedia Cinematográfica Canadiense - Una publicación de La Librería Cinematográfica
Canadiense (en inglés)
northernstars.ca (en inglés)
Última edición hace 6 meses por InternetArchiveBot

Marc-André Grondin
actor canadiense
Premios Genie
Premio Iris (Canadá)
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Wikipedia
Jean-Marc Vallée
Jean-Marc Vallée, OC (born March 9, 1963) is a French Canadian film director, producer, and film
editor. After studying film at the Université du Québec à Montréal, Vallée went on to make a
number of acclaimed short films, including Stéréotypes (1991), Les Fleurs magiques (1995), and
Les Mots magiques (1998).
Jean-Marc Vallée
Jean-Marc Vallée, Genie Awards 2012.jpg
Vallée at the 32nd Genie Awards, 2012
Born
March 9, 1963 (age 55)
Montreal, Quebec, Canada
Alma mater
Université du Québec à Montréal
Occupation
Director, editor, producer
Years active
1991–present
His debut feature, Black List (1995), was nominated for nine Genie Awards, including nods for
Vallée's direction and editing. His fourth feature film, C.R.A.Z.Y. (2005), received further critical
acclaim and was a financial success. Vallée's followup, The Young Victoria (2009), garnered
strong reviews and received three Academy Award nominations, while his sixth film, Café de
Flore (2011), was the most nominated film at the 32nd Genie Awards. Vallée's next film, Dallas
Buyers Club, was released in 2013 to critical acclaim and earned him an Academy Award
nomination in the category of Best Film Editing. He next directed Wild (2014). Vallée's next film,
Demolition (2015), starred Jake Gyllenhaal and Naomi Watts, and opened the Toronto
International Film Festival in September 2015.[1] In 2017, he directed and executive-produced the
acclaimed HBO miniseries Big Little Lies, winning a Primetime Emmy Award for Outstanding
Directing for a Limited Series, Movie, or Dramatic Special.
Contents
Early life Edit
Vallée was born and raised in Montreal, Quebec.[2] He studied filmmaking at the Collège
Ahuntsic and the Université du Québec à Montréal.[2]
Career Edit
Early work Edit
In the 1990s, Vallée produced a number of short films that aroused considerable critical interest.
[3] In 1991, Stereotypes, a fantastique comedy inspired by some American classic films, received
numerous prizes at several events, including Best Promising Director for Vallée at the Rendez-
vous du cinéma québécois.[4]
Vallée later adopted a more personal and autobiographical tone with Les Fleurs magiques (1995)
and Les Mots magiques (1998), awarded respectively Best Short Film at the 16th Genie Awards
and the 1st Jutra Awards, in which the director explored the relationship between father and son.
[3]
Vallée made his feature-length debut in 1995 with Liste noire (Black List), which became the
highest-grossing film in Quebec that year and received nine Genie Award notimations, including
Best Motion Picture and Best Achievement in Direction.[5] In the wake of this success, Vallée
moved to Los Angeles where he directed Los Locos (1998), a Western film written by and starring
Mario Van Peebles, and Loser Love (1999).[5] After these two low-budget productions, he
directed two episodes of the television series The Secret Adventures of Jules Verne (2000).
C.R.A.Z.Y. Edit
During the mid-1990s, Vallée was preparing C.R.A.Z.Y. from a screenplay inspired by his own
youth and that of his co-writer, François Boulay. Vallée wanted to shoot the film in the United
States, but his friend Michel Côté, who also starred in Black List, convinced him to shoot in
Quebec.[2] After ten years in production, C.R.A.Z.Y. was finally released in 2005 and became one
of the most successful films in Quebec history, both financially and critically.[6]
It tells the story of Zachary Beaulieu, a young man dealing with homophobia and heterosexism
while growing up with four brothers and a conservative father in 1960s and 1970s Quebec. The
role of Zachary Beaulieu was portrayed by Marc-André Grondin, while Michel Côté and Danielle
Proulx starred as Zachary's parents. C.R.A.Z.Y. had its world premiere at the 2005 Toronto
International Film Festival and was awarded Best Canadian Feature Film.[7] It received
unanimous praise from film critics, with the film aggregator website, Rotten Tomatoes, giving the
film a 100% "Certified Fresh" rating, based on reviews from 17 critics.[8] It received several
accolades, including eleven Genie Awards and thirteen Jutra Awards.[7] C.R.A.Z.Y. was also
selected as Canada's official submission for the 2005 Academy Award for Best Foreign Language
Film.[9]
The Young Victoria Edit

After the success of C.R.A.Z.Y., Graham King and Martin Scorsese hired Jean-Marc Vallée to
direct the period drama The Young Victoria.[10] Written by Julian Fellowes, the film is based on
the early life and reign of Queen Victoria, and her marriage to Prince Albert of Saxe-Coburg and
Gotha. The film stars Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson and Jim
Broadbent among a large ensemble cast. Critical reception was generally positive and the film was
nominated for three Academy Awards, winning the 2009 Academy Award for Best Costume
Design.[11]
Café de Flore Edit

In 2011, Vallée wrote, directed and edited Café de Flore, a love story which connects a man and
woman living in present-day Montreal with a mother and her son in 1960s Paris.[12] The film
starred French popstar Vanessa Paradis and Québécois actors Kevin Parent, Hélène Florent, and
Evelyne Brochu. It was acclaimed by film critics and garnered thirteen nominations at the 32nd
Genie Awards.[13]
Dallas Buyers Club Edit

Vallée's next film, Dallas Buyers Club, starred Matthew McConaughey, Jared Leto and Jennifer
Garner.[14] The film is based on the true-life tale of Ron Woodroof, a Texas electrician diagnosed
with AIDS and given 30 days to live, who began smuggling alternative medicine into the United
States to help himself and other AIDS patients. The film was released in 2013 to critical acclaim,
earning Matthew McConaughey the Golden Globe Award for Best Actor and Jared Leto a Golden
Globe Award for Best Supporting Actor. The film was nominated for six Academy Awards,
including Best Picture and Best Original Screenplay, and conquered the awards for Best Actor for
McConaughey, and Best Supporting Actor for Leto, repeating the Golden Globes. Vallée also
received a nomination for the Academy Award for Best Film Editing under his alias, John Mac
McMurphy.[15]
WildEdit
Vallée's film Wild, starring Reese Witherspoon, premiered on August 29, 2014 at the Telluride
Film Festival, and was also featured at the Toronto International Film Festival on September 8 and
the San Diego Film Festival on September 24.[16] It was released in North America on December
5, 2014.[17]
In May 2015, Vallée received the National Arts Centre Award, a companion award of the
Governor General's Performing Arts Awards, given to an artist in recognition of work of an
extraordinary nature over the previous performance year.[18] The film was nominated for two
Academy Awards, Best Actress for Reese Witherspoon, and Best Supporting Actress for Laura
Dern.[citation needed]
Personal life Edit

Vallée has two children, Alex and Émile.[19]
Filmography Edit
Feature films Edit
Year Title Director Writer Editor Other Notes
1995 Black List Yes Yes
1997 Los Locos Yes Yes
1999 Loser Love Yes Yes
2005 C.R.A.Z.Y. Yes Yes Yes Actor, also co-producer
2009 The Young Victoria Yes
2011Café de Flore Yes Yes Yes Yes Actor, also co-producer
2013 Dallas Buyers Club Yes Yes
2014 WildYes Yes
2015 Demolition Yes Yes
Short films Edit
1991 Stéréotypes Yes Yes
1995 Les Fleurs magiques Yes Yes Yes
1998 Les Mots magiques Yes Yes
2012 Little Pig Yes Executive producer
Television Edit
2017 Big Little Lies Yes Yes TV miniseries; also executive producer
2018 Sharp Objects Yes Yes TV miniseries; also executive producer
Reception Edit
Critical and commercial reception to films Vallée has directed as of April 19, 2015.
Film Rotten Tomatoes[20] Metacritic[21] Budget Box office[22]

C.R.A.Z.Y. 100% (17 reviews) 81 (5 reviews) N/A N/A
The Young Victoria 76% (145 reviews) 64 (29 reviews) $35 million $27.4 million
Café de Flore 63% (52 reviews) 53 (13 reviews) N/A N/A
Dallas Buyers Club 93% (228 reviews) 84 (47 reviews) $5 million $55.2 million
Wild90% (222 reviews) 76 (47 reviews) $15 million $52.5 million
Demolition 53% (171 reviews) 49 (42 reviews) N/A $1.9 million
References Edit
^ "Demolition - Gala Presentations". TIFF. Toronto International Film Festival. Retrieved 20
August 2015.
^ a b c Jourdain, Alexandre. "Jean-Marc Vallée : Sa biographie". AlloCiné (in French). Tiger
Global. Retrieved December 9, 2012.
^ a b Czach, Liz. "Jean-Marc Vallée". Canadian Film Encyclopedia. Toronto International Film
Festival. Archived from the original on February 22, 2013. Retrieved December 9, 2012.
^ "Stéréotypes" (in French). GPA Films. Retrieved December 9, 2012.
^ a b "Jean-Marc Vallée" (in French). Télé-Québec. Retrieved December 9, 2012.
^ Kelly, Brendan (March 20, 2006). "Quebec kudos just 'C.R.A.Z.Y.' for pic". Variety. Penske
Business Media. Retrieved December 9, 2012.
^ a b "Jutra judges wild about C.R.A.Z.Y." Canada.com. Postmedia News. March 20, 2006.
Archived from the original on June 22, 2015. Retrieved December 9, 2012.
^ "C.R.A.Z.Y. (2005)". Rotten Tomatoes. Retrieved December 9, 2012.
^ "Hoping for Oscar Attention, A Trio of Foreign Language Titles Win Over Audiences".
IndieWire. November 9, 2005. Retrieved December 9, 2012.
^ Fox, Chloe (February 4, 2009). "The Young Victoria: we were amused". The Daily Telegraph.
^ Tschorn, Adam (March 7, 2010). "'Young Victoria' earns Sandy Powell a third Oscar for costume
design". Los Angeles Times. Retrieved December 9, 2012.
^ "Café de Flore" at IMDb
^ Barnard, Linda (January 17, 2012). "'Café de Flore', 'A Dangerous Method' lead Genie Awards
race". Toronto Star. Archived from the original on March 19, 2012. Retrieved December 9, 2012.
^ Kit, Borys (November 6, 2012). "Jared Leto Returning to Acting with 'Dallas Buyer's Club'".
The Hollywood Reporter. Retrieved November 27, 2012.
^ Lussier, Marc-André (February 25, 2014). "Jean-Marc Vallée aux Oscars alias John Mac
McMurphy". La Presse. Retrieved June 3, 2015.
^ McNary, Dave (August 29, 2014). "Reese Witherspoon's 'Wild' to Open San Diego Film Festival
(EXCLUSIVE)". Variety. Retrieved August 29, 2014.
^ Sperling, Nicole (May 12, 2014). "Reese Witherspoon-starrer 'Wild' gets a release date".
Entertainment Weekly. Retrieved May 13, 2014.
^ "Jean-Marc Vallée biography". Governor General's Performing Arts Awards. Governor General's
Performing Arts Awards Foundation. Retrieved 20 August 2015.
^ "Jean-Marc Vallée Biography". IMDB.
^ "Matt Reeves". Rotten Tomatoes. Retrieved April 19, 2015.
^ "Matt Reeves". Metacritic. Retrieved April 19, 2015.
^ "Jean-Marc Vallee Movie Box office". boxofficemojo.com. Amazon.com. Retrieved April 19,
2015.
External links Edit
Wikimedia Commons has media related to Jean-Marc Vallée.
Jean-Marc Vallée on IMDb
Jean-Marc Vallée at Rotten Tomatoes
Last edited 19 hours ago by SibTower1987
Wikipedia

Wikipedia
Richard Linklater
Actor y guionista estadounidense
Richard Stuart Linklater (Houston, Texas; 30 de julio de 1960) es un director de cine y guionista
estadounidense, conocido principalmente por las películas Slacker, Dazed and Confused, Escuela
de Rock, Boyhood (por la cual ganó dos Globos de Oro) y la serie Antes (Antes del amanecer,
Antes del atardecer y Antes del anochecer).
Richard Linklater
Richard Linklater April 2015.jpg
Linklater en 2015
Richard Stuart Linklater
Nacimiento
30 de julio de 1960 (57 años)
Bandera de Estados Unidos Houston, Texas
Nacionalidad
Estadounidense
Familia
Hijos
Lorelei Linklater (n. 1994)
Ocupación
Director, guionista, productor
Años activo
1985-presente[1]
Premios artísticos
Globos de Oro
2014 Boyhood
Mejor director
2014 Boyhood
Premios BAFTA
Mejor película
2014 Boyhood
Mejor director
2014 Boyhood
Otros premios
Oso de Plata al mejor director - Festival de Cine de Berlín
1995 Before Sunrise
2014 Boyhood
2014 Boyhood
2014 Boyhood
Web
Sitio web
detourfilm.com
Fue uno de los primeros y más exitosos directores en emerger durante la década de los 90 en el
firmamento del cine independiente. En 1994 tuvo una hija, Lorelei Linklater, la cual interpretó
algunas líneas en su película Despertando a la vida y tuvo un papel más relevante en la oscarizada
Boyhood.
Índice
Linklater nació en Houston, Texas. Estudió en la Secundaria Huntsville (Huntsville High School)
y en la Universidad estatal de Sam Houston (Sam Houston State University); dejó la universidad
en 1982 para trabajar en una plataforma petrolífera en el golfo de México. Durante su estancia en
la plataforma dedicaba su tiempo libre a leer literatura, pero desarrolló un gran amor por el cine
gracias a sus sucesivas visitas a un cine local de Houston. Fue en este momento cuando Linklater
se convenció de que quería ser director de cine. Linklater usó el dinero que había ahorrado
mientras trabajaba en la plataforma para comprar una videocámara súper 8, un proyector y
algunos equipos de edición, y se mudó a Austin. Fue allí donde el joven director fundó la Austin
Film Society y creció apreciando a autores como Robert Bresson, Yasujiro Ozu, Rainer Werner
Fassbinder, Josef von Sternberg y Carl Theodor Dreyer. En otoño de 1984 ingresó en la
Universidad de Austin para estudiar cine.[2]
Desde que tenía aproximadamente veinte años ha sido vegetariano.[3]
Carrera Editar
Sociedad cinematográfica de Austin Editar
Linklater fundó la Austin Film Society en 1985 junto con su frecuente colaborador Lee Daniel, y
es reconocido por promocionar y consolidar la ciudad de Austin como un centro de cine
independiente.
Inspiraciones Editar
Su trabajo está en buena medida influenciado por su experiencia con Raging Bull. Linklater le dijo
a Robert K. Elder en una entrevista para The Film That Changed My Life:[4]
Me hizo ver el cine como una salida para lo que estaba pensando y deseaba expresar. A ese punto,
yo era un artista inconforme. En ese momento, algo estaba cocinándose dentro de mí, pero Raging
Bull hizo que hirviera.[5]
Primeros trabajos dirigidos Editar

Por varios años, Linklater hizo varios cortometrajes que fueron principalmente ejercicios y
experimentos de técnicas cinematográficas. Su primera película, la apenas exhibida It's Impossible
to Learn to Plow by Reading Books (disponible en la edición de Criterion Collection de Slacker),
fue realizada con una súper 8 y tomó un año en ser grabada y otro año en ser editada. La película
es importante en la medida en que introduce muchas de las preocupaciones presentes en varios de
los trabajos de Linklater. Se caracteriza por tener mínimos movimientos de cámara y la falta de
narrativa, y examina la idea de viajar sin ninguna dirección particular en mente. Estos temas serán
explorados con más detalle en posteriores trabajos de Linklater.
Filmografía Editar
Everybody Wants Some!! (2016). Director, guionista, productor.
Boyhood (2014). Director, guionista, productor.
Before Midnight (2013). Director, guionista, productor.
Bernie (2012). Director, guionista.
Up to Speed (Serie de televisión. 1.ª temporada. Capítulos 2, 3, 4, 5 y 6) (2012). Director.
Me and Orson Welles (2009). Director.
Inning by Inning: A Portrait of a Coach (2008). Director.
A Scanner Darkly (2006). Director, guionista. (Basada en la novela Una mirada a la oscuridad, de
Philip K. Dick).
Fast Food Nation (2006). Director, guionista.
Bad News Bears (2005). Director.
Antes del atardecer (2004). Director, guionista, producción.
$5.15/Hr. (2004). Director, guionista.
Escuela de rock (2003). Director.
Despertando a la vida (Waking Life, 2002). Director, fotografía, guionista.
Live from Shiva's Dance Floor (2002). Director.
Tape (2001). Director.
Spy Kids (2001). Actor.
The Newton Boys (1998). Director.
SubUrbia (1996). Director.
Antes del amanecer (1995). Director, guionista.
Dazed and Confused (1993). Director, guionista.
Heads I Win/Tails You Lose (1991). Director, guionista, producción.
Slacker (1991). Director, productor, actor.
It's Impossible to Learn to Plow by Reading Books (1988). Director, fotografía, guionista.
Woodshock (1985). Director, fotografía, guionista.
Premios Editar
Óscar Editar
2015 Mejor película Boyhood Nominado
2015 Mejor director Boyhood Nominado
2015 Mejor guion original Boyhood Nominado
2014 Mejor guion adaptado Before Midnight Nominado
2005 Mejor guion adaptado Before Sunset Nominado
Globos de Oro Editar
2015 Mejor película - Drama Boyhood Ganador
2015 Mejor director Boyhood Ganador
2015 Mejor guion Boyhood Nominado
BAFTA Editar
2015 Mejor película Boyhood Ganador
2015 Mejor director Boyhood Ganador
2015 Mejor guion original Boyhood Nominado
Referencias Editar
↑ Black, Louis. (3 de octubre de 2003).'The Austin Chronicle' and Richard Linklater. The Austin
Chronicle. Recuperado el 20 de octubre de 2013.
↑ Macor, Alison. (2010). Chainsaws, Slackers, and Spy Kids 30 Years of Filmmaking in Austin.
Austin: Texas University of Texas Press.
↑ Brooks, Xan (2006-05-22). "I've never been in the firing line like this before".
theguardian.co.uk. Recuperado el 20 de octubre de 2013.
↑ Robert K. Elder. (2011). The Film That Changed My Life: 30 Directors on Their Epiphanies in
the Dark. Amazon.com. Recuperado el 20 de octubre de 2013.
↑ Linklater, Richard. Entrevistado por Robert K. Elder. En: Robert K. Elder. (2011). The Film
That Changed My Life. Chicago: Chicago Review Press, N. p197.
Richard Linklater en Internet Movie Database (en inglés)
Última edición hace 8 meses por Machete kills

Wikipedia
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Wikipedia
Richard Linklater
Richard Stuart Linklater (/ˈlɪŋkleɪtər/; born July 30, 1960)[2] is an American filmmaker and actor.
Linklater is mostly known for his realistic and natural humanist films which revolve mainly
around suburban culture and the effects of the passage of time. Some notable films of his include
the observational comedy film Slacker (1990); the coming-of-age comedy Dazed and Confused
(1993); the romantic drama film trilogy Before Sunrise (1995), Before Sunset (2004), and Before
Midnight (2013); the music-themed comedy School of Rock (2003); and the rotoscope animated
films Waking Life (2001) and A Scanner Darkly (2006).
Richard Linklater
Richard Linklater April 2015.jpg
Linklater in 2015
Born
Richard Stuart Linklater
July 30, 1960 (age 57)
Houston, Texas, U.S.
Occupation
Director, screenwriter, producer, actor
Years active
1985–present[1]
Website
detourfilm.com
In 2002, he began filming Boyhood (2014), a passion project which took over twelve years to
complete. The film was released in 2014 to widespread critical acclaim. Linklater won the Golden
Globes, Critics' Choice Movie Awards, and BAFTAs for Best Director and Best Picture. He also
received his first nomination for the Academy Award for Best Director, along with nominations for
Best Original Screenplay and Best Picture. In 2015, Linklater was included on the annual Time
100 list of the 100 most influential people in the world.[3]
Many of his films are noted for their loosely structured narrative; several of his projects—the
Before... films and Boyhood—feature the same actors filmed over an extended period of years. He
is also known for loyalty to his actors, having worked with Ethan Hawke and Matthew
McConaughey in many of his films.
In February of 2018, it was announced that Richard Linklater had already been working on a
secret film project centered around the time of the 1969 moon landing.
Contents
Early life Edit
Linklater was born in Houston, Texas, the son of Diane Margaret (née Krieger), who taught at
Sam Houston State University, and Charles W. Linklater, III.[4][5] He attended Huntsville High
School in Huntsville, Texas, during grades 9–11, and finished at Bellaire High School in Bellaire,
Texas for his senior year. As a teen, Linklater also won a Scholastic Art and Writing Award.[6]
Linklater studied at Sam Houston State University (where he also played baseball),[7] until
dropping out to work on an off-shore oil rig in the Gulf of Mexico. He frequently read novels on
the rig and, upon returning to land, developed a love of film through repeated visits to a repertory
theater in Houston. At this point, Linklater realized he wanted to be a filmmaker. He used his
savings to buy a Super-8 camera, a projector, and editing equipment, and moved to Austin, Texas.
He was influenced by Martin Scorsese,[8][9] Robert Bresson, Yasujirō Ozu, Rainer Werner
Fassbinder, Josef Von Sternberg, and Carl Theodor Dreyer.[10][11] He enrolled in Austin
Community College in the fall of 1984 to study film.[12] Since his early 20s, Linklater has been a
vegetarian. In 2015, he explained the dietary lifestyle in a Boyhood-style documentary for PETA.
[13]
Career Edit
Austin Film Society Edit
Linklater founded the Austin Film Society in 1985 together with his frequent collaborator Lee
Daniel. One of the mentors for the Film Society was former New York City critic for the Soho
Weekly News George Morris who had relocated to Austin and taught film there. Morris had
previously written articles on Leo McCarey, Vincente Minnelli, George Sidney, and Douglas Sirk.
Early directingEdit
For several years, Linklater made many short films that were exercises and experiments in film
techniques. He finally completed his first feature, the rarely seen It's Impossible to Learn to Plow
by Reading Books (which is now available in The Criterion Collection edition of his second
feature, Slacker), a Super-8 feature that took a year to shoot and another year to edit. The film is
significant in the sense that it establishes most of Linklater's preoccupations. The film has his
trademark style of minimal camera movements and lack of narrative, while it examines the theme
of traveling with no real particular direction in mind. These idiosyncrasies would be explored in
greater detail in future projects. To this end Linklater created Detour Filmproduction (an homage
to the 1945 low budget film noir by Edgar G. Ulmer), and subsequently made Slacker for only
$23,000. It went on to gross more than $1.25 million. The film is an aimless day in the life of the
city of Austin, Texas showcasing its more eccentric characters.
Inspiration for Linklater's work was largely based on his experience viewing the film Raging Bull,
Linklater told Robert K. Elder in an interview for The Film That Changed My Life.[14]
It made me see movies as a potential outlet for what I was thinking about and hoping to express.
At that point I was an unformed artist. At that moment, something was simmering in me, but
Raging Bull brought it to a boil.[15]
While gaining a cult following in the independent film world, he made his third film, Dazed and
Confused, based on his years at Huntsville High School and the people he encountered there. The
film garnered critical praise and grossed $8 million in the United States while becoming a hit on
VHS. This film was also responsible for the breakout of fellow Texas native Matthew
McConaughey. In 1995, Linklater won the Silver Bear for Best Director for the film Before
Sunrise at the 45th Berlin International Film Festival.[16] His next feature, subUrbia, had mixed
reviews critically, and did very poorly at the box office. In 1996, Linklater lent his voice to the
critically acclaimed animated feature Beavis and Butt-Head Do America. In 1998, he took on his
first Hollywood feature, The Newton Boys, which received mixed reviews while tanking at the
box office.
21st century Edit

With the rotoscope films Waking Life and A Scanner Darkly, and his mainstream comedies,
School of Rock and the remake of Bad News Bears, he gained wider recognition. In 2003, he
wrote and directed a pilot for HBO with Rodney Rothman called $5.15/hr, about several minimum
wage restaurant workers. The pilot deals with themes later examined in Fast Food Nation. In 2004,
the British television network Channel 4 produced a major documentary about Linklater, in which
the filmmaker frankly discussed the personal and philosophical ideas behind his films. St Richard
of Austin was presented by Ben Lewis and directed by Irshad Ashraf and broadcast on Channel 4
in December 2004 in the UK. In 2005, Linklater was nominated for an Academy Award for Best
Adapted Screenplay for his film Before Sunset, and was nominated for the same award with its
sequel Before Midnight in 2014.
Many of Linklater's films take place in one day, a narrative approach that has gained popularity in
recent years. Slacker, Dazed and Confused, Tape, Before Sunrise, Before Sunset, and Before
Midnight are examples of this method. Two of his films, (A Scanner Darkly and Waking Life),
used rotoscoping animation techniques. Working with Bob Sabiston and Sabiston's program
Rotoshop to create this effect, Linklater shot and edited both movies completely as live action
features, then employed a team of artists to "trace over" individual frames. The result is a
distinctive "semi-real" quality, praised by such critics as Roger Ebert (in the case of Waking Life)
as being original and well-suited to the aims of the film.
Fast Food Nation (2006) is an adaptation of the best selling book that examines the local and
global influence of the United States fast food industry. The film was entered into the 2006 Cannes
Film Festival[17] before being released in North America on November 17, 2006 and in Europe
on March 23, 2007. After releasing Fast Food Nation to mixed reviews, Linklater returned to form
as a critical darling with A Scanner Darkly (released in the same year), 2009's Me and Orson
Welles garnering an 85% rating on Rotten Tomatoes, and 2012's Bernie receiving a 91% rating.
[18]
In 2014 he released a film in the making for 12 years titled Boyhood, which received
overwhelming critical acclaim. His daughter Lorelei Linklater co-stars in the film as the sister of
the central character. For a while Linklater was attached to direct a remake of The Incredible Mr.
Limpet for Warner Brothers.[19] In 2014, however, he dropped the project in favor of working on
a spiritual successor to Dazed and Confused, titled Everybody Wants Some!!,[19] with backing
from Annapurna Pictures and Paramount distributing the film in North America.[20] The film was
released in March 2016 and was well received by critics, but it failed to recoup its budget of 10
million dollars, grossing only 4.6 million.[21][22]
In August 2016, it was announced that he will write and direct Last Flag Flying, starring Bryan
Cranston, Laurence Fishburne, and Steve Carell. The film is a sequel to Hal Ashby's 1973 film
The Last Detail. Filming began in November 2016 and the film is expected to be released on
November 3, 2017.[23]
Linklater was attached to direct an adaptation of Graeme Simsion's novel The Rosie Project that
would have starred Jennifer Lawrence in the lead role, but Linklater dropped out of directing when
Lawrence dropped out of the project.[24] Linklater is attached to direct an adaptation of Maria
Semple's novel Where'd You Go, Bernadette, produced by Annapurna Pictures.[25]
Despite the popularity of many of his films and having directed multiple high-paying Hollywood
productions, Linklater remains in Austin, Texas and refuses to live or work in Hollywood for any
extended period of time. Linklater is known for using the same actors in many of his films
including Ethan Hawke, Jack Black, Matthew McConaughey, Julie Delpy, and Patricia Arquette.
Significance Edit
In the early 1990s, Slacker was widely considered an accurate depiction of Generation X because
the film's young adult characters are more interested in quasi-intellectual pastimes and socializing
than career advancement.[26] However, Linklater has long since eschewed the role of generational
spokesperson and is ironically a "Baby Boomer" himself. Moreover, the movie actually includes
various generations, and many of its themes are universal rather than generation-specific.[27]
Filmography Edit
Feature films Edit
Year Name Director Writer Producer Actor Role Notes
1988 It's Impossible to Learn to Plow by Reading Books Yes Yes Yes Yes Unnamed
character Also editor and cinematographer
1990 Slacker Yes Yes Yes Yes "Should Have Stayed at the Bus Station"
1993 Dazed and Confused Yes Yes Yes
1995 Before SunriseYes Yes
The Underneath Yes Ember Doorman
1996 Beavis and Butt-Head Do America Yes Tour Bus Driver (voice)
SubUrbia Yes
1998 The Newton Boys Yes Yes
Scotch and Milk Yes Cab Passenger
2001 Spy Kids Yes Cool Spy
Chelsea Walls Yes Crony #2
Waking Life Yes Yes Yes Pinball Playing Man / Man on Back of Boat Also
cinemtographer
TapeYes
2003 School of Rock Yes
2004 Before Sunset Yes Yes Yes
2005 Bad News Bears Yes Yes
2006 Fast Food Nation Yes Yes
The Hottest State Yes John Wayne Enthusiast
A Scanner Darkly Yes Yes
2008 Me and Orson Welles Yes Yes
RSO (Registered Sex Offender) Yes Principal Mallard
2011Bernie Yes Yes Yes Yes
2013 Before Midnight Yes Yes Yes
2014 Boyhood Yes Yes Yes
2015 I Dream Too Much Yes Executive producer
2016 Everybody Wants Some!! Yes Yes Yes
2017 Last Flag Flying Yes Yes
2018 Blaze Yes
2018 Where'd You Go, Bernadette Yes Yes Post-production
TBA Untitled 1969 Moon Landing Film Yes Yes Yes Filming
Other works Edit
Year Name Director Writer Producer Notes
1985 Woodshock Yes short
1991 Heads I Win/Tails You Lose Yes Yes Yes experimental video project
2003 Live from Shiva's Dance Floor Yes short
2004 $5.15/Hr. Yes Yes Yes television pilot
2008 Inning by Inning: A Portrait of a Coach Yes documentary
2012 Up to Speed Yes Yes Yes television series
2016–present School of Rock[28] Yes television series; executive producer
Reception Edit
Critical reception Edit
Film Rotten Tomatoes Metacritic
Slacker 85%[29] 69[30]
Dazed and Confused 94%[31] 78[32]
Before Sunrise100%[33] 77[34]
SubUrbia 64%[35] 62[36]
The Newton Boys 62%[37] 57[38]
Waking Life 80%[39] 82[40]
Tape78%[41] 71[42]
School of Rock 92%[43] 82[44]
Before Sunset 95%[45] 90[46]
Bad News Bears 48%[47] 65[48]
Fast Food Nation 50%[49] 64[50]
A Scanner Darkly 69%[51] 73[52]
Me and Orson Welles 85%[53] 73[54]
Bernie 90%[55] 75[56]
Before Midnight 98%[57] 94[58]
Boyhood 97%[59] 100[60]
Everybody Wants Some!! 88%[61] 83[62]
Last Flag Flying 73%[63] 65[64]
Average 81% 76
Box office Edit
Film Release date Revenue Budget Reference
United States Outside United States Worldwide
Slacker July 27, 1990 $1,228,208 N/A $1,228,208 $23,000 [65]
Dazed and Confused September 24, 1993 $7,993,039 N/A $7,993,039 $6.9 million
[66]
Before SunriseJanuary 27, 1995 $5,535,405 N/A $5,535,405 $2.5 million [67]
SubUrbia February 7, 1997 $656,747 N/A $656,747 N/A [68]
The Newton Boys March 27, 1998 $10,452,012 N/A $10,452,012 $27 million [69]
Waking Life October 19, 2001 $2,901,447 $275,433 $3,176,880 N/A [70]
TapeNovember 2, 2001 $490,475 $25,425 $515,900 $100,000 [71]
School of Rock October 3, 2003 $81,261,177 $50,021,772 $131,282,949 $35 million
[72]
Before Sunset July 2, 2004 $5,820,649 $10,171,966 $15,992,615 $2.7 million [73]
Bad News Bears July 22, 2005 $32,868,349 $1,384,498 $34,252,847 $35 million
[74]
A Scanner Darkly July 7, 2006 $5,501,616 $2,158,302 $7,659,918 $8.7 million[75]
[76]
Fast Food Nation November 17, 2006$1,005,539 $1,203,783 $2,209,322 N/A [77]
Me and Orson Welles November 25, 2009$1,190,003 $1,146,169 $2,336,172 $25
million [78]
Bernie April 27, 2012 $9,206,470 $884,171 $10,090,641 $6 million [79]
Before Midnight May 24, 2013 $8,114,627 $3,061,842 $23,376,973 $3 million[80]
[81]
Boyhood July 11, 2014 $25,071,500 $19,143,000 $44,214,500 $4 million [82]
Total $198,132,207 $89,476,361 $287,608,568 $155.923 million
Main article: List of accolades received by Richard Linklater
Slacker (1991) was nominated for Best Director at the Independent Spirit Awards.
Before Sunrise (1995) won the Silver Bear for Best Director at the Berlin International Film
Festival.
Waking Life (2001) was nominated for Best Director and Best Screenplay at the Independent
Spirit Awards.
Before Sunset (2004) was nominated for Best Adapted Screenplay by the Academy of Motion
Picture Arts and Sciences and Best Screenplay at the Independent Spirit Awards.
A Scanner Darkly (2006) – Named Best Austin Film by the Austin Film Critics Association.
Me and Orson Welles (2008) – Named Best Austin Film by the Austin Film Critics Association.
Bernie (2011) – Named Best Austin Film by the Austin Film Critics Association.
Before Midnight (2013) was nominated for Best Adapted Screenplay by the Academy of Motion
Picture Arts and Sciences and Best Screenplay at the Independent Spirit Awards.
Boyhood (2014) was nominated for Best Picture, Best Director, Best Original Screenplay, Best
Film Editing, Best Supporting Actor, and Best Supporting Actress by the Academy of Motion
Picture Arts and Sciences and won Best Supporting Actress for Patricia Arquette. It also won
Golden Globes for Best Director and Best Motion Picture – Drama, as well as the Silver Bear for
Best Director at the 64th Berlin International Film Festival.[83] Received Best Film and Best
Director honors from Los Angeles Film Critics Association, Boston Society of Film C,ritics, New
York Film Critics Circle, Washington D.C. Area Film Critics Association and New York Film
Critics Online.
References Edit
^ http://www.austinchronicle.com/screens/2003-10-03/180136/
^ According to the State of Texas. Texas Birth Index, 1903–1997. At Ancestry.com
^ "Richard Linklater". Time. Retrieved July 11, 2017.
^ https://familysearch.org/pal:/MM9.1.1/VD5S-BGQ
^ http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=11287806
^ Scholastic Inc., Newsroom, AMERICA’S MOST CREATIVE TEENS NAMED AS
NATIONAL 2016 SCHOLASTIC ART & WRITING AWARDS RECIPIENTS
^ Sam Houston State University Facebook. "Throwing back to the 1980 #SHSU Baseball team in
which writer, director and producer Richard Linklater was a member of. #TBT". 6 April 2016.
^ "Richard Linklater: The director on the humour in Raging Bull, rearing". The Independent.
2015-01-11. Retrieved 2017-07-12.
^ Elder, Robert K. (2011). The Film That Changed My Life: 30 Directors on Their Epiphanies in
the Dark. Chicago Review Press. ISBN 9781569768280.
^ "10 Films That Had The Biggest Influences On The Films Of Richard Linklater". Taste of
Cinema – Movie Reviews and Classic Movie Lists. Retrieved 2017-02-11.
^ "Richard Linklater's Top 10". The Criterion Collection. Retrieved 2017-02-11.
^ Alison Macor. Chainsaws, Slackers, and Spy Kids 30 Years of Filmmaking in Austin, Texas
University of Texas Press: Austin, 2010.
^ Robert Philpot, "Richard Linklater Does ‘Veghood’ for PETA," Star-Telegram, 17 February
2015.
^ "The Film That Changed My Life: 30 Directors on Their Epiphanies in the Dark". Amazon.com.
^ Linklater, Richard. Interview by Robert K. Elder. The Film That Changed My Life. By Robert
K. Elder. Chicago: Chicago Review Press, 2011. N. p197. Print.
^ "Berlinale: 1995 Prize Winners". berlinale.de. Retrieved 2011-12-30.
^ "Festival de Cannes: Fast Food Nation". festival-cannes.com. Retrieved 2009-12-13.
^ "Rotten Tomatoes: Richard Linklater". Retrieved 2009-12-13.
^ a b Fischer, Russ. "Richard Linklater Leaves 'The Incredible Mr. Limpet' to Focus on 'That's
What I'm Talking About'". /Film. Retrieved August 21, 2014.
^ Patches, Matt (September 30, 2014). "Annapurna to produce Richard Linklater's 'Dazed' spiritual
sequel". Retrieved February 15, 2017.
^ "Everybody Wants Some!! Metascore". Metacritic.com. Retrieved April 27, 2016.
^ "Everybody Wants Some!! (2016) – Weekend Box Office Results". www.boxofficemojo.com.
^ Busch, Anita (28 July 2017). "'Last Flag Flying' Moves To Lionsgate And Up A Week On
Release Schedule". Deadline. Retrieved August 18, 2017.
^ Kit, Borys. "Richard Linklater Follows Jennifer Lawrence Off Sony's 'Rosie Project'
(Exclusive)". The Hollywood Reporter. Retrieved December 22, 2015.
^ Siegel, Tatiana; Kit, Borys (February 26, 2015). "Richard Linklater in Talks to Direct 'Where'd
You Go, Bernadette' (Exclusive)". HollywoodReporter.com. Retrieved February 28, 2015.
^ Richard Linklater, Slacker, St Martins Griffin, 1992.
^ Lesley Speed, "The Possibilities of Roads Not Taken", Journal of Popular Film & Television,
vol. 35, no. 3, Fall 2007, p. 103.
^ "Nickelodeon Upfront 2016". Nick and More. Retrieved 2017-07-12.
^ "Slacker Movie Reviews, Pictures". Rotten Tomatoes.
^ "Slacker Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com.
^ "Dazed and Confused Movie Reviews, Pictures". Rotten Tomatoes.
^ "Dazed and Confused Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com.
^ "Fight Club Movie Reviews, Pictures". Rotten Tomatoes.
^ "Before Sunrise Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com.
^ "Panic Room Movie Reviews, Pictures". Rotten Tomatoes.
^ "SubUrbia Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com.
^ "The Newton Boys Movie Reviews, Pictures". Rotten Tomatoes.
^ "The Newton Boys Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com.
^ "Waking Life Movie Reviews, Pictures". Rotten Tomatoes.
^ "Waking Life Reviews, Ratings, Credits, and More at Metacritic". Metacritic.com.
^ "Tape Movie Reviews, Pictures". Rotten Tomatoes.
^ Tape. Metacritic.
^ "School of Rock Movie Reviews, Pictures". Rotten Tomatoes.
^ School of Rock. Metacritic.
^ "Before Sunset Movie Reviews, Pictures". Rotten Tomatoes.
^ "Before Sunset Reviews – Metacritic". Metacritic.com.
^ "Bad News Bears Movie Reviews, Pictures". Rotten Tomatoes.
^ Bad News Bears. Metacritic.
^ "Fast Food Nation Movie Reviews, Pictures". Rotten Tomatoes.
^ Fast Food Nation. Metacritic.
^ "A Scanner Darkly Movie Reviews, Pictures". Rotten Tomatoes.
^ A Scanner Darkly. Metacritic.
^ "Me and Orson Welles Movie Reviews, Pictures". Rotten Tomatoes.
^ Me and Orson Welles. Metacritic.
^ "Bernie Movie Reviews, Pictures". Rotten Tomatoes.
^ Bernie. Metacritic.
^ "Before Midnight Movie Reviews, Pictures". Rotten Tomatoes.
^ Before Midnight. Metacritic.
^ "Boyhood Movie Reviews, Pictures". Rotten Tomatoes.
^ Boyhood. Metacritic.
^ "Everybody wants some!!Movie Reviews, Pictures". Rotten Tomatoes.
^ [1]. Metacritic.
^ "Last Flag Flying Movie Reviews, Pictures". Rotten Tomatoes.
^ [2]. Metacritic.
^ "Slacker (1991)". Box Office Mojo.
^ "Dazed and Confused (1993)". Box Office Mojo.
^ "Before Sunrise (1995)". Box Office Mojo.
^ "SubUrbia (1997)". Box Office Mojo.
^ "The Newton Boys (1998)". Box Office Mojo.
^ "Waking Life (2001)". Box Office Mojo.
^ "Tape (2002)". Box Office Mojo.
^ "School of Rock (2003)". Box Office Mojo.
^ "Before Sunset (2004)". Box Office Mojo.
^ "Bad News Bears (2005)". Box Office Mojo.
^ La Franco, Robert (March 2006). "Trouble in Toontown". Wired magazine. Retrieved 2007-07-
31.
^ "A Scanner Darkly (2006)". Box Office Mojo.
^ "Fast Food Nation (2006)". Box Office Mojo.
^ "Me and Orson Welles (2009)". Box Office Mojo.
^ "Bernie (2012)". Box Office Mojo.
^ Borrelli, Christopher (May 24, 2013). "Richard Linklater finishes trilogy with 'Before
Midnight'". Chicago Tribune. Retrieved August 29, 2013.
^ "Before Midnight (2013)". Box Office Mojo.
^ "Boyhood (2014)". Box Office Mojo.
^ "Richard Linklater". allmovie.com. Retrieved June 28, 2013.
External links Edit
Official website
Richard Linklater at Curlie (based on DMOZ)
Richard Linklater on IMDb
Last edited 5 days ago by IAmTylerSanders
Wikipedia

Wikipedia
Sofia Coppola
Directora, guionista y actriz estadounidense
Para otros usos de este término, véase Coppola (desambiguación).
Sofia Carmina Coppola (Nueva York; 14 de mayo de 1971) es una directora, actriz, productora y
guionista de cine estadounidense.[2] En 2003 ganó un Premio Óscar a mejor guion original por
Lost in Translation, además de ser la tercera mujer en la historia en ser nominada a mejor director
por la Academia de los Óscar. Es hija del famoso director, guionista y productor de cine Francis
Ford Coppola.
Sofia Coppola
Sofia Coppola Cannes 2013.jpg
Coppola en 2013
Sofia Carmina Coppola
Nacimiento
14 de mayo de 1971 (46 años)
Bandera de Estados Unidos Nueva York, Estados Unidos
Nacionalidad
estadounidense
Altura
1,64 m (5 ft 5 in)[1]
Familia
Padres
Francis Ford Coppola Ver y modificar los datos en Wikidata
Eleanor Coppola Ver y modificar los datos en Wikidata
Cónyuge
Spike Jonze (1999-2003)
Thomas Mars (2011-presente)
Hijos
Romy y Cosima
Educación
Alma máter
Instituto de Artes de California
Mills College Ver y modificar los datos en Wikidata
Ocupación
Directora
Productora
Guionista
Actriz
Años activa
desde 1972
Año de debut
1972
Premios artísticos
Premios Óscar
2003 Lost in Translation
Globos de Oro
Mejor guion
Festival de Cannes
Mejor director
2017 The Beguiled
Otros premios
Premio Independent Spirit al mejor guion
León de Oro - Festival de Cine de Venecia
2010 Somewhere
Distinciones
Premio WGA Ver y modificar los datos en Wikidata
Índice
Sofia nació en Nueva York, hija del director y productor Francis Ford Coppola y la decoradora y
artista Eleanor Coppola (nacida Eleanor Jessie Neil), con lo que tiene ascendencia irlandesa,
inglesa e italiana.[3] En 1989 se graduó en la Escuela Secundaria de Santa Helena, más tarde
asistió a Mills College y al Instituto de Artes de California. Tras abandonar la universidad,
Coppola creó una línea de ropa llamada Milkfed, que actualmente sólo se vende en Japón. Estuvo
casada con el director Spike Jonze entre el 26 de junio de 1999 y el 5 de diciembre de 2003,
cuando presentaron una demanda de separación alegando "diferencias irreconciliables". En 2011
se casó con el cantante de la banda francesa Phoenix, Thomas Mars, con el que tiene dos hijas,
Romy, llamada así en honor al hermano de Sofia, Roman, y otra, Cosima. Es sobrina de la actriz
Talia Shire y prima del actor Nicolas Cage.[4]
Contrajo matrimonio en 2011 con el padre de sus hijas, Thomas Mars, en la tierra de sus
antepasados, Bernalda.[5]
Carrera Editar
Actriz Editar
La carrera cinematográfica de Sofia Coppola comenzó a muy temprana edad, ya que siendo un
bebé apareció en la película "El padrino" en la escena del bautismo interpretando a Michael
Francis Rizzi y en "El Padrino II" aparece como un niño inmigrante. Además ha participado en
siete de las películas de su padre. Su papel más conocido fue el de Mary Corleone en "The
Godfather Part III" (1990), en un papel que estaba pensado inicialmente para Winona Ryder, pero
al que una enfermedad de esta última impidió representar.[6] Esta interpretación recibió muchas
críticas y terminó con la carrera interpretativa de Sofia, aunque posteriormente hizo pequeñas
apariciones en las películas "Inside Monkey Zetterland" (1992), "Star Wars: Episode I - The
Phantom Menace" (1999) y en siete de las películas de su padre. Su primera interpretación no
relacionada con el trabajo de su padre fue en "Frankenweenie" de Tim Burton, bajo el nombre de
Domino.[7]
Directora de cine Editar
Coppola con el elenco de la película The Beguiled.

Su primera experiencia detrás de la cámara fue con el corto Lick the star (1998). Posteriormente,
llegaría su reconocimiento a nivel mundial con Las vírgenes suicidas (1999)[8] y más adelante,
Lost in Translation (2003). Por esta última película ganó el premio Óscar al mejor guion original
(además de obtener otras tres nominaciones, entre ellas la de mejor película) y tres premios
Globos de Oro, entre ellos el de mejor película en la categoría de comedia o musical. Con su
nominación a los Óscar en la categoría de mejor director, se convirtió en la tercera mujer en estar
nominada en esta categoría y la primera estadounidense.[9] En 2004 fue invitada a unirse a la
AMPAS.[10]
En 2006 estrena su película Marie Antoinette (2006), adaptación de la biografía de la reina de

Francia escrita por la historiadora británica Antonia Fraser.[11] La actriz Kirsten Dunst interpreta
en papel de la reina, y el actor Jason Schwartzman (primo de la directora) interpreta el papel de
Luis XVI.[12]
En 2010 gana el León de Oro del Festival Internacional de Cine de Venecia por su película
Somewhere, la historia de una estrella de Hollywood interpretada por Stephen Dorff, que vive en
el famoso hotel Chateau Marmont de Los Ángeles y el cambio radical de vida que sufre con la
llegada de su hija, interpretada por Elle Fanning.[13]
En 2013 estrenó la cinta The Bling Ring,[14] protagonizada por Emma Watson y Taissa Farmiga,
[15] abrió la sección Un Certain Regard del Festival de Cannes del mismo año.[16]
La directora colaboró de nuevo con Bill Murray en una nueva producción titulada A Very Murray
Christmas, protagonizada por Murray y Mitch Glazer. Es una película de comedia con temática
navideña, fue estrenada de manera exclusiva en Netflix en diciembre de 2015.[17]
En el Festival de Cine de Cannes de 2017 se convirtió en la segunda mujer (y primera mujer

americana) en la historia del festival en ganar un galardón a mejor dirección, triunfó con su trabajo
en la cinta The Beguiled.[18]
Filmografía Editar
Año Título Directora Guionista Productora Notas
1998 Lick the Star Sí Sí Sí Cortometraje
1999 The Virgin Suicides Sí Sí
2003 Lost in Translation Sí Sí Sí
2006 Marie Antoinette Sí Sí Sí
2010 Somewhere Sí Sí Sí
2013 The Bling Ring Sí Sí Sí
2015 A Very Murray Christmas Sí Sí Sí Especial navideño de Netflix
2017 The Beguiled Sí Sí Sí
Como actriz Editar
Año Película Papel Director Notas
1972 El padrino NiñaFrancis Ford Coppola Sin acreditar
1974 El padrino, parte II NiñaFrancis Ford Coppola Sin acreditar
1983 The Outsiders Niña pequeña Francis Ford Coppola Como Domino
Rumble Fish Donna Francis Ford Coppola Como Domino
1984 Frankenweenie Anne Chambers Tim Burton Como Domino
The Cotton Club Niña en la calle Francis Ford Coppola Como Domino
1986 Peggy Sue Got Married Nancy Kelcher Francis Ford Coppola
1986 Faerie Tale Theatre: The Princess Who Had Never Laughed Gwendolyn Mark
Cullingham Como Domino
1987 Anna Noodle Yurek Bogayevicz
1988 Tucker: The Man and His Dream sin acreditar Francis Ford Coppola
1990 El padrino, parte IIIMary Corleone Francis Ford Coppola
1992 Inside Monkey Zetterland Cindy Jefery Levy
1992 Deeper and Deeper Madonna Herself Bobby Woods
1999 Star Wars: Episode I – The Phantom Menace Saché George Lucas
2001 CQ Roman Coppola
Videos musicales (directora) Editar
"I just don't know what to do with myself" - The White Stripes
"This here giraffe" - The Flaming Lips
"City girl" - Kevin Shields
"Playground love" - Air
"Shine" - Walt Mink
"Chloroform" - Phoenix
Publicidad Editar
Miss Dior Chérie fragance por Christian Dior con Maryna Linchuk (2008).
City of Light fragrance por Christian Dior con Natalie Portman (2010).
Marni colección para H & M protagonizada por Imogen Poots (2012).
Referencias Editar
↑ «Sofia Coppola Height, Weight, Bra Size, Shoe Size, Body, Measurements, Waist, Hips».
Celebrity Measurements. 25 de enero de 2015. Consultado el 25 de enero de 2015.
↑ «Sofia Coppola biography» (en inglés). FilmReference. 25 de enero de 2018.
↑ «Sofia Coppola interview» (en inglés). The Talks. 25 de enero de 2018.
↑ «Sofia Coppola: Discreet, chic and grown-up» (en inglés). The New York Times. 25 de enero
de 2018.
↑ «Sofia se casa en la tierra del abuelo Coppola» El País. Consultado el 22 de diciembre de 2013.
↑ «Sofia Coppola Mimics Hollywood Life In 'Somewhere'» (en inglés). National Public Radio.
25 de enero de 2018.
↑ «Sofia Coppola on The Bling Ring: 'What these kids did really took ingenuity'» (en inglés).
The Guardian. 25 de enero de 2018.
↑ «'The Virgin Suicides' an Affecting, Somber Tale of Repressed Lives» (en inglés). Los Angeles
Times. 25 de enero de 2018.
↑ «What Else Was Lost in Translation» (en inglés). The New York Times. 25 de enero de 2018.
↑ «Academy Invites 127 to Membership» (en inglés). Oscars.org. 25 de enero de 2018.
↑ «Festival de Cannes: Marie Antoinette» (en inglés). Festival de Cannes. 25 de enero de 2018.
↑ «Marie Antoinette - a Quotational Reference Guide» (en inglés). Bigscreenlittlescreen.net. 25
de enero de 2018.
↑ «Sofia Coppola books Marmont film» (en inglés). Variety Magazine. 25 de enero de 2018.
↑ «Sofia Coppola Reportedly Planning Movie On The Hollywood Hills Burglar Bunch; Tess
Taylor Apparently Stars & The Playlist» (en inglés). IndieWire. 25 de enero de 2018.
↑ «Emma Watson To Star In Sofia Coppola's Next Film 'The Bling Ring'» (en inglés). IndieWire.
25 de enero de 2018.
↑ «Bling Ring 2013 Un Certain Regard Opening Film» (en inglés). DeadLine. 25 de enero de
2018.
↑ «Watch: First Teaser For Sofia Coppola's 'A Very Murray Christmas' With Bill Murray» (en
inglés). DeadLine. 25 de enero de 2018.
↑ «Sofia Coppola is first woman to win Cannes director prize in 56 years» (en inglés). CNN. 25
de enero de 2018.
Bibliografía utilizada Editar
López, Miguel (2012). Los Coppola, una familia de cine. Linterna Sorda. ISBN 978-84-938273-4-
2.
Wikimedia Commons alberga una categoría multimedia sobre Sofia Coppola.
Sofia Coppola en Internet Movie Database (en inglés)
The Coppola Smart Mob artículo en The New York Times
Sofia Coppola en Internet Movie Database (en inglés)
Milk fed., marca de moda japonesa de Sofia Coppola

Wikipedia
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Wikipedia
Sofia Coppola
Sofia Carmina Coppola (/ˈkoʊpələ/ KOH-pə-lə; born May 14, 1971)[1] is an American
screenwriter, director, producer, and former actress.
Sofia Coppola
Sofia Coppola Cannes 2014.jpg
Coppola at the 2014 Cannes Film Festival
Born
Sofia Carmina Coppola
May 14, 1971 (age 46)
Residence
West Village, New York City, New York, U.S.
Other names
Domino Coppola
Occupation
Director producer screenwriter actress
Years active
1972–present
Home town
Rutherford, California, U.S.
Spouse(s)
Spike Jonze
(m. 1999; div. 2003)
Thomas Mars
(m. 2011)
Children
2
Parent(s)
Francis Ford Coppola
Eleanor Neil
Relatives
Gian-Carlo Coppola (brother)
Roman Coppola (brother)
Gia Coppola (niece)
Nicolas Cage (cousin)
Talia Shire (aunt)
Family
Coppola
She is the daughter of director, producer, and screenwriter Francis Ford Coppola, and made her
film debut as an infant in her father's acclaimed crime drama film, The Godfather (1972). She later
appeared in a supporting role in Peggy Sue Got Married (1986) and portrayed Mary Corleone, the
daughter of Michael Corleone, in The Godfather: Part III (1990). The latter film earned her much
derision and critical backlash, effectively ending her acting career. Coppola then turned her
attention to filmmaking.
She made her feature-length debut with the coming-of-age drama The Virgin Suicides (1999),
based on the novel of the same name by Jeffery Eugenides. It was the first of her collaborations
with actress Kirsten Dunst. In 2003, she received the Academy Award for Best Original
Screenplay for the comedy-drama Lost in Translation and became the third woman to be
nominated for an Academy Award for Best Director. In 2006, Coppola directed the historical
drama Marie Antoinette, starring Dunst as the ill-fated French queen. In 2010, with the drama
Somewhere, Coppola became the first American woman (and fourth American filmmaker) to win
the Golden Lion, the top prize at the Venice Film Festival.[2] In 2013, she directed the satirical
crime film The Bling Ring, based on the crime ring of the same name.
At the 2017 Cannes Film Festival, Coppola became the second woman (and the first American
woman) in the festival's history to win the Best Director award, for the drama film The Beguiled.
[3][4]
Contents
Early life Edit
Sofia Coppola was born in New York City, New York, the youngest child and only daughter of set
decorator/artist Eleanor Coppola (née Neil) and director Francis Ford Coppola. Her father is of
Italian descent.[5] She was raised on her parents' farm in Rutherford, California, a rural area in
Napa Valley, and graduated from St. Helena High School in 1989.[6] She later attended Mills
College and the California Institute of the Arts.[7] At 15, she interned with Chanel.[8] After
dropping out of college, Coppola started a clothing line called Milkfed, which is now sold
exclusively in Japan.[9] Among extensive Hollywood family are her aunt Talia Shire, and her first
cousins Nicolas Cage and Jason Schwartzman.
Career Edit
Early career Edit
Coppola's acting career, marked by frequent criticisms of nepotism and negative reviews,[10][11]
began while she was an infant, as she made background appearances in seven of her father's films.
The best known of these is her appearance in The Godfather as the infant Michael Francis Rizzi,
in the baptism scene.[12][13] Coppola returned to her father's trilogy in both the second and third
Godfather films, playing an immigrant child in The Godfather Part II and Michael Corleone's
daughter in The Godfather Part III, after the originally cast actress, Winona Ryder, discontinued
her involvement with the film.[14][15] Coppola responded to a question about her role in The
Godfather Part III in a 2013 interview:
Let's see. Did I not wanna do it? Um. I was game. I was trying different things. It sounded better
than college. I didn't really think about the public aspect of it. That took me by surprise. The whole
reaction. People felt very attached to the Godfather films. I grew up with them being no big deal. I
mean, I understand they're great films but... I dunno. I'm not surprised. It makes sense that people
would have an opinion about it but I got a lot of attention I wasn't expecting. I was going to art
school anyway so I was able to get back to what I was doing. It was before the Internet so
magazines would come out but then the next month they were gone. There wasn't even as much
paparazzi around then.[14]
It has been suggested that the situation further damaged Francis Ford Coppola’s career and
ruined Sofia’s before it had even begun[16]. Coppola has said that she never really wanted to act
and only did it to help out when her father asked her to[17]. After shooting, she confirmed that she
did not want to go into acting[17]. It has also been suggested that Sofia ’s role in the film may
have contributed to its box office performance, which started strong and then began to decline[16].
Coppola has said that her father based a lot of her character on her while writing the script, before
she was even cast into the role[16]. Sofia had herself worried that she had only been given the
role because she was the director’s daughter, and the role placed a strain on her during the time
of shooting that her mother observed in a series of diaries she wrote for vogue during the
filming[16].
Coppola also acted in her father's films The Outsiders (1983), in a scene where Matt Dillon,
Tommy Howell, and Ralph Macchio are eating at a Dairy Queen; Rumble Fish (1983); The Cotton
Club (1984); and as Kathleen Turner's sister Nancy Kelcher in Peggy Sue Got Married (1986) [15]
whom she would later work with on her feature film directing debut, The Virgin Suicides.[18]
Frankenweenie (1984) was the first film she performed in that was not associated with her father;
however, it often goes unnoted due to her stage name "Domino", which she adopted at the time
because she thought it was glamorous.[19] The short film, titled Life Without Zoe (1989) and
released as part of a tripartite anthology film New York Stories, was co-written by a teenage
Coppola with her father, who also directed the film.[20]
After she was critically panned for her performance in The Godfather Part III, for which she was
named "Worst Supporting Actress" and "Worst New Star" at the 1990 Golden Raspberry Awards,
Coppola ended her acting career, although she appeared in the independent film Inside Monkey
Zetterland (1992), as well as in the backgrounds of films by her friends and family: for example,
she appeared as Saché in George Lucas' Star Wars: Episode I – The Phantom Menace (1999).[14]
She has since been quoted as saying that she was not hurt by the criticism from her role in The
Godfather Part III, because she never especially wanted an acting career.[21]
Coppola also appears in several music videos from the 1990s: The Black Crowes' "Sometimes
Salvation"; Sonic Youth's "Mildred Pierce"; Madonna's "Deeper and Deeper"; The Chemical
Brothers' "Elektrobank", which was directed by her future husband Spike Jonze; and later
Phoenix's "Funky Squaredance".[14]
Filmmaking Edit
Coppola in 2003
Coppola's first short film was Lick the Star (1998). It played many times on the Independent Film
Channel. She made her feature film directing debut with The Virgin Suicides (1999); it received
critical acclaim upon its premiere in North America at the 2000 Sundance Film Festival and was
released later that year.
Her second feature was Lost in Translation (2003). Coppola won the Academy Award for her
original screenplay and three Golden Globe Awards including Best Picture Musical or Comedy.
After Lina Wertmüller and Jane Campion, Coppola became the third female director to be
nominated for an Academy Award for Directing and the second to win the Original Screenplay
award, after Campion in 1994 (Wertmüller was also nominated), thus establishing a pattern for the
female directors to be nominated for both awards. Her win for best original screenplay in 2003
made her a third-generation Oscar winner. In 2004, Coppola was invited to join the Academy of
Motion Picture Arts and Sciences.[22]
Her third film was the biopic Marie Antoinette (2006), adapted from the biography by British
historian Antonia Fraser. Kirsten Dunst plays the title character, who marries King Louis XVI,
played by Jason Schwartzman, Coppola's cousin. It debuted at the 2006 Cannes Film Festival[23]
where, despite boos in the audience, it received a standing ovation.[24] Critics were divided.
Her fourth film was Somewhere (2010), filmed at Chateau Marmont. The plot focuses on a "bad
boy" actor (portrayed by Stephen Dorff) who is forced to reevaluate his life when his daughter
(played by Elle Fanning) arrives unexpectedly.[25] The film won the prestigious Golden Lion at
the Venice Film Festival. In November 2010, Coppola was interviewed by Joel Coen, who
professed his admiration of her work, at the DGA screening of Somewhere in New York City.[26]
Coppola's next film, The Bling Ring (2013), was based on actual events centered around the Bling
Ring, a group of California teenagers who burgled the homes of several celebrities over 2008 and
2009, stealing around $3 million in cash and belongings.[27] Emma Watson,[28] Taissa Farmiga,
[29] Leslie Mann, Israel Broussard,[30] Katie Chang, and Claire Julien starred in the film, which
opened the Un Certain Regard section of the 2013 Cannes Film Festival.[31]
Coppola in 2013
An announcement in mid-December 2013 stated that American Zoetrope had successfully attained
the screen rights for the memoir Fairyland: A Memoir of My Father and that Coppola will adapt
the book with Andrew Durham. Coppola will also produce the film with her brother Roman.[32]
In March 2014, it was reported that Coppola was in negotiations to direct a live-action adaptation
of The Little Mermaid from a script by Caroline Thompson.[33] Coppola wanted to shoot her
version underwater, and although she later admitted that such a prospect was unrealistic, test
footage was shot.[34] In June 2015, it was announced Coppola had dropped out of the film due to
creative differences.[35]
Coppola collaborated again with her Lost in Translation star Bill Murray on A Very Murray
Christmas, which starred Murray and was co-written by herself, Murray and Mitch Glazer. The
film, an homage to classic Christmas-themed variety shows, was released in December 2015 on
Netflix.[36]
Coppola directed The Beguiled (2017), a remake of the 1971 eponymous Western film, starring
Nicole Kidman, Elle Fanning, and Kirsten Dunst.[37] The film premiered at the 2017 Cannes Film
Festival, where Coppola became the second woman (and the first American woman) to win the
Best Director award.[3][4]
Major Works Edit

The Virgin Suicides (1999) Edit
Coppola was first drawn to the story after reading the book by Jeffrey Eugenides, who she said she
felt really understood the teenage experience and the mystery that exists between boys and girls,
as well as emotions[38]. She has also said that if not for the book, she does not know that she
would have a career in film[38]. Coppola was scared to direct the film, but felt so connected to the
material that she felt she needed to create it[38]. Specifically, Coppola has highlighted the
representation of teenagers “lazing around,” a situation she connected with but felt was not seen
very much in films in any relatable way[38].
The story’s theme of loss was a personal connection for Coppola, after her oldest brother had
died suddenly in a boating accident, though she says this personal connection was one she says
she did not immediately realize[38]. She wanted to make a quality film for young audiences and
treat that group with respect and properly examine this deeply emotional period of childhood[38].
The film was low budget and critics were supportive[38]. Coppola credits the start of her career to
the Cannes festival after the film premiered there, and has said that this film was what made her a
film-maker[38].
The film has also been said to mark the point at which the public ceased to point to Coppola's
father as a reason for her success[39]. Coppola's father would not help her secure the rights to the
novel, and so at that point she adapted the screenplay herself[39].
Lost in Translation (2003) Edit

Coppola’s desire to shoot in Tokyo, specifically at the Park Hyatt hotel, is what brought the film
to life[40]. The film was a challenge to make, with a low budget and a time frame of 27 days[40].
Coppola wanted to make a film that was a romantic love story without being nerdy[40].
Marie Antoinette (2006) Edit

Marie Antoinette was shot on location at the Château de Versailles[41].
Coppola has stated that with time, reception to the film has strengthened and reception has
warmed and that the film has found its own place, describing it has having more of a life now than
when it first came out[42].
Coppola has managed to forge a distinctive identity in spite of her father’s reputation as a major
figure in American cinema. Notably, a commonality of her films is that they all in some way touch
on complex relationships between youth and age[41].
The Virgin Suicides, Lost in Translation, Marie Antoinette, the three aforementioned films, all in
some way approach issues of identity and the question of whether it is made or imposed, and do so
through elements of teen films such the rites-of-passage narrative and contemporary scores, yet
still manage to maintain a specific European arthouse feeling[41] It has also been suggested that
Coppola herself identifies with film’s young woman protagonist, characterized by a sense of
naivety and uncertainty of the future[41].
Coppola herself has claimed that she was initially pulled towards the character of Marie Antoinette
as an innocent and caring character who found herself in a situation outside of her control, and that
rather than creating a historical representation, she wanted to create a more intimate look into the
world of the heroine[41].
Scholars have highlighted the film as one that contains obvious parallels between Coppola’s own
life as a Hollywood “royal” and Marie Antoinette’s position as the victim of xenophobia,
malice, and envy[41].
In terms of Coppola’s personal connections to her films, scholars have described the films as
“deliberately idiosyncratic,” as opposed to explicitly autobiographical[41]. Coppola has also
not disputed viewers’ readings of her films as somewhat personal to her own life and story, and
has claimed that her films are made more for friends and family than the outside world[41].
In regards to the critics’ divided views of Marie Antoinette, it has been said that Coppola’s use
of travesty in the film could have been a factor in the industry’s disparate opinions[41]. Fashion,
which can facilitate travesty, is a large part of Coppola’s film in the ways it was used to represent
the nature of the period of time and create mood[41].
The Bling Ring (2013) Edit

The film premiered at Cannes and Coppola described the reception as enthusiastic and
exciting[43].
The film was inspired by a Vanity Fair feature by Nancy Jo Sales entitled "The Suspects Wore
Louboutins.[44]" Coppola was first attracted to the story because she felt that it had elements that
would make an entertaining movie but also said something important about contemporary
culture[44]. Coppola was also struck by the difference in the mentality surrounding fame than
when she was growing up[43]. Coppola’s intended audience for the film was both the age of the
film’s characters as well as her own generation, and thought that the cultural aspect of the film
would be interesting to both audiences.
Coppola has said that younger audiences are more intelligent and mature than most people
perceive them to be, and so she likes making movies for this group[43]. Coppola has described the
group of teenage criminals as “products of our growing reality TV culture”[45]. She chose to
use young, unknown actors (aside from Emma Watson) who were the same age as the real kids
because of the freshness they brought to the film[45].
The house that was used in the shooting of the film was owned by Paris Hilton, who also had a
cameo in the film[44]. Hilton was also a victim of the real robberies[44]. Coppola’s father was
one of the executive producers of the film[45].
The Beguiled (2017) Edit

The film is based on the 1966 book of the same name by author Thomas P. Cullinan[46] and was
made for under $10 million[47]. The film has been described as a departure for Coppola because
of its thriller-like features, among other things, and was the first film she screened for competition
at Cannes since presenting Marie Antoinette in 2006—an experience Coppola herself described as
nerve-wracking[46].
Coppola cited her intrigue with the South as part of the story’s intrigue[46]. Coppola has said
that she “wanted the film to represent an exaggerated version of all the ways women were
traditionally raised there just to be lovely and cater to men—the manners of that whole world, and
how they change when the men go away”[46]. Coppola has cited Gone with the Wind as her
inspiration for creating a film that was relatable despite its position within a different era[46].
The 2017 film, however, was not without its own wave of controversy and division amongst
critics[46]. Coppola faced accusations of ‘whitewashing’ the original story after she chose to
both remove the supporting role of a black female slave in her version of the film as well as
choose actress Kirsten Dunst for a character who was biracial in the original novel[46]. She faced
criticism for minimizing the story of the people experiencing actual hardship during this time
period, in favor of depicting, albeit authentically, the lavish lifestyle of her protagonists[46].
Coppola has spoken out in support of her directorial choice to not lightly brush over what she
recognizes as an important and weighty topic, further citing the presence of young girls as some of
her film audience as a reason not to depict this representation of an African American
character[46]. The Beguiled is not the only of Coppola’s films to be accused of exposing the
sociocultural affordances of her own childhood[46].
Coppola was also drawn to the story on a more personal level. She has explained that she wanted
to tell the story of the male soldier entering into a classically southern, female environment, but
flip it and tell the story from the point of view of the women and represent what was like for
them[46][48]. She has described her version of the film as a reinterpretation, rather than a remake,
of Don Siegel’s 1971 adaption of the same book[46]. Coppola has described her story as one
about strong women, in which she wanted to explore the characters more deeply than was done in
the 1971 version of the film[46]. Coppola thought that the earlier version made the characters out
to be crazy caricatures and did not allow the viewer to know them[46].
While some critics claim that Coppola intended The Beguiled as a feminist work, Coppola has
explained that she is not in favor of that labelling[46]. Though she has said she is happy if others
see the film in this way, she sees it as a film, rather, that possesses a female perspective—an
important distinction[46]. The Beguiled was also made as a contrast to The Bling Ring, and
Coppola has explained that needed to correct that film’s harsh Los Angeles aesthetic with
something more beautiful and poetic[46].
Background on Film Work and Style Edit

Coppola arrived at a career in filmmaking with a background by means of acting, modeling and
design, all of which have influenced her directorial work[49]. Her background in fashion,
especially, has played a large part in the aesthetic tones of her films and has heightened the roles
of design and style in her work[50]. Her upbringing in a Hollywood family has also greatly
influenced her work, as well as her public reception and image, and has always had to fight
accusations against her background of privilege. After both winning an Oscar for Lost in
Translation and showing The Beguiled, Coppola was accused by some critics of displaying the
social and cultural privileges of her own childhood[49].
Coppola has described some of her influence as coming from her own work, with each film
actively influencing the next[51]. She points to Jeffrey Eugenides’s book The Virgin Suicides,
which was the inspiration for her first film of the same name, as the reason for her career in
film[52].
Coppola has had to deal with sexism in the industry, and her quintessentially feminine work has
been dismissed as decorative and insubstantial[51]. Coppola has said that she is proud of the more
“girly” aspects of her work, and that she feels that she has a feminine point of view that she is is
happy to project[51]. She has cited her upbringing around so many strong men as a possible
reason for her strong connection to femininity[52]. She has been open about her experiences with
sexism in the industry and has cited them as a reason she favors working in the independent
realm[51]. Coppola has also said that big budget productions hinder her creative freedom, and so
she prefers to work on films she can control[51]. She has also criticized big studio production for
its focus on business rather than art[51].
Coppola has cited her own perceptions of gaps in the film industry as her own inspiration,
explaining that she has always made the films that she herself would have wanted to see as a
younger person[51]. She has described this younger demographic of girls as deprived of high
quality videography and as disrespected as an audience[51]. She has also said that she likes
making films for a young audience because she perceives them as smarter and more sophisticated
than they are often given credit for[53].
Zoetrope, Francis Ford’s production company, has backed all of her films[51]. Her family ties
have proven to hold both pros and cons for Coppola, which she has articulated. Though she
learned from her father and is proud of her family, she has said she is happy to have carved her
own way[51]. Coppola has also said that she is aware of her hard work and is grateful for her film
education, and that her connections in the film industry were helpful because of the lack of female
directors[54] She said that she did what she could and is confident that her work is her own[54].
After Francis Ford Coppola did not assist Coppola in securing the rights to the Jeffrey Eugenides
novel The Virgin Suicides that her 1999 film was based on, much of the criticism surrounding her
familial benefits subsided[55]. Coppola usually involves her father in her projects[56]. She has
said that she likes being independent but respects him and his suggestions, though in the end
always makes the choice she feels is right for a given movie[56].
Coppola professed a love for being behind the camera and is not upset by the divisive reactions to
some of her films[56]. She has said that she “would rather do something that some people really
connect to and some people reject” and that she never wants to make something that is just
mediocre[56].
Television Edit
In the mid-1990s, Coppola and her best friend Zoe Cassavetes helmed the short-lived series
Comedy Central series Hi Octane, which spotlit performers in underground music. The show was
cancelled after four episodes.[57]
In December 2008, Coppola's first commercial premiered during an episode of Gossip Girl. The
advertisement she directed for the Christian Dior fragrance Miss Dior Chérie, shot in France with
model Maryna Linchuk, was very well received and continues to be popular on YouTube.[58]
In October 2014, Coppola launched a series of Christmas ads for the clothing chain Gap.[59]
Modeling Edit
At the beginning of the 1990s, Coppola was often featured in girl-oriented magazines like
Seventeen and YM. In 1998, she cofounded the clothing line Milk Fed in Japan, with her friend
Stephanie Hayman in cooperation with Sonic Youth's Kim Gordon. In 2002, the fashion designer
Marc Jacobs chose the actress/director to be the "face" of his house's fragrance. The campaign
involved photographs of Coppola shot by photographer Jürgen Teller, in his signature over-
exposed style. The July 2013 issue of Elle featured photographs shot by Coppola of Paris Hilton at
Hilton's Beverly Hills mansion (which makes a cameo in The Bling Ring).[60]
Stage direction Edit

In May 2016, The New York Times reported that Coppola would be making her debut as an opera
director. She is currently directing a production of La Traviata for the Teatro Nazionale in Rome,
Italy.[61]
Awards Edit
Coppola was nominated for three Academy Awards for her film Lost in Translation (2003), in the
categories of Best Picture, Best Director, and Best Original Screenplay. She would go on to win
for Best Original Screenplay but lost the other two nominations to Peter Jackson's The Lord of the
Rings: The Return of the King.
Her nomination for Best Director made her the first American woman in history to be nominated
in that category, and the third woman overall, after Lina Wertmüller and Jane Campion. In 2010,
Kathryn Bigelow became the fourth woman to be nominated, and the first to win the award.
Coppola, however, remains the youngest woman to be nominated in the Best Director category.
Coppola's win for Best Original Screenplay (along with her cousin Nicolas Cage's 1996 win for
Best Actor) resulted in her family's becoming the second three-generation Oscar-winning family,
her grandfather Carmine Coppola and her father Francis Ford Coppola having previously won
Oscars. The first family to achieve this feat was the Huston family, for wins by: Walter, John, and
Anjelica.
For her work on Lost in Translation, Coppola also won the Best Motion Picture and Best
Screenplay Golden Globes, in addition to receiving three BAFTA Award nominations.
On September 11, 2010, Somewhere won the Golden Lion, the top prize at the Venice
International Film Festival.[62] Coppola is the first American woman to win the award.[2]
On May 28, 2017, Coppola was awarded the Best Director Award at the Cannes Film Festival for
The Beguiled, making her the second ever woman (and the first American woman) to win the
award.[3][4]
Personal life Edit

In 1992, Coppola met director Spike Jonze; they married in 1999 and divorced in 2003. In an
official statement, Coppola's publicist explained that the divorce decision was reached "with
sadness". It is widely believed that a minor character in Lost in Translation is based on Jonze, as
Coppola stated after the film's release, "There are elements of Spike there, elements of
experiences."[63][64]
Coppola married musician Thomas Mars on August 27, 2011, at Palazzo Margherita in Bernalda,
Italy.[65] They met while producing the soundtrack to The Virgin Suicides.[66] They have two
daughters: Romy (born November 28, 2006), whose name is an homage to Coppola's brother
Roman,[67][68] and Cosima (born May 2010).
Coppola and her family lived in Paris for several years before moving to New York City in 2010.
[69]
When it comes to her family, Coppola has purposefully kept a low public profile, and ensuring her
daughters’ lives are unaffected by her career and travel is a priority[70]. When asked if her
choices as a parent to keep her children out of the spotlight is a result of her own upbringing,
Coppola has explained that she never wants her children to be jaded[70]. She fails to see the point
of bringing them into her work rather than allowing them to have a real childhood[70].
Filmography Edit
Director Edit
Film Edit
Year Title Director Screenwriter Producer Notes
1998 Lick the Star Yes Yes Yes Short film
1999 The Virgin SuicidesYes Yes
2003 Lost in Translation Yes Yes Yes
2006 Marie Antoinette Yes Yes Yes
2010 Somewhere Yes Yes Yes
2013 The Bling Ring Yes Yes Yes
2015 A Very Murray Christmas Yes Yes Yes Netflix holiday special
2017 The Beguiled Yes Yes Yes
Music videos Edit
"Shine" by Walt Mink (1993)
"This Here Giraffe" by The Flaming Lips (1996)
"Elektrobank" by The Chemical Brothers (1997)
"Playground Love" by Air (2000)
"City Girl" by Kevin Shields (2003)
"I Just Don't Know What to Do with Myself" by The White Stripes (2003)
"Chloroform" by Phoenix (2013)
Advertisements Edit
Miss Dior Chérie fragrance for Christian Dior starring Maryna Linchuk (2008)
City of Light fragrance for Christian Dior starring Natalie Portman (2012)
Marni collection for H&M starring Imogen Poots (2012)
La vie en rose for Christian Dior fragrance Miss Dior starring Natalie Portman (2013)
Daisy fragrance for Marc Jacobs starring Ondria Hardin (2013)
Dress Normal for Gap (2014)
Calvin Klein Underwear Women's Spring (2017)
Actress Edit
Film Edit
Year Film Role Director Notes
1972 The Godfather Michael Francis Rizzi (infant) Francis Ford Coppola Uncredited
1974 The Godfather Part II Child on Ship Francis Ford Coppola Uncredited
1983 The Outsiders Little Girl Francis Ford Coppola Credited as Domino
Rumble Fish Donna Francis Ford Coppola Credited as Domino
1984 Frankenweenie Anne Chambers Tim Burton Credited as Domino
The Cotton Club Child in Street Francis Ford Coppola Credited as Domino
1986 Peggy Sue Got Married Nancy Kelcher Francis Ford Coppola
1986 Faerie Tale Theatre: The Princess Who Had Never Laughed Gwendolyn Mark
Cullingham Credited as Domino
1987 Anna Noodle Yurek Bogayevicz
1988 Tucker: The Man and His Dream (uncredited) Francis Ford Coppola
1990 The Godfather Part III Mary Corleone Francis Ford Coppola Golden Raspberry
Award for Worst Supporting Actress
1992 Inside Monkey Zetterland Cindy Jefery Levy
1999 Star Wars: Episode I – The Phantom Menace Saché George Lucas Nominated
– Golden Raspberry Award for Worst Supporting Actress
2001 CQ Enzo's Mistress Roman Coppola
Music videos Edit
"Mildred Pierce" by Sonic Youth (1990) – directed by Dave Markey
"Deeper and Deeper" by Madonna (1992) – directed by Bobby Woods
"Sometimes Salvation" by The Black Crowes (1992) – directed by Stéphane Sednaoui
"Elektrobank" by The Chemical Brothers (1997) – directed by Spike Jonze
"Funky Squaredance" by Phoenix (2002) – directed by Roman Coppola
See also Edit
Coppola family tree
List of Academy Award-winning families
List of actors who have appeared in multiple Best Picture Academy Award winners
References Edit
^ Some sources give May 12, per "Sofia Coppola Biography (1971-)". FilmReference.com.
^ a b Silverstein, Melissa. "Sofia Coppola Wins Top Prize at Venice Film Festival". Women and
Hollywood. Retrieved September 12, 2010.
^ a b c CNN, Sandra Gonzalez. "Sofia Coppola is first woman to win Cannes director prize in 56
years". CNN. Retrieved 2017-05-30.
^ a b c Blumberg, Naomi. "Sofia Coppola | American director". Britannica.com. Retrieved 2017-
05-30.
^ "Sofia Coppola Interview". The Talks.
^ Coppola, Sofia (June 22, 2017). "Interview with Sofia Coppola". WTF Podcast (Interview).
Interview with Marc Maron.
^ Menkes, Suzy (October 14, 2008). "Sofia Coppola: Discreet, chic and grown-up". The New York
^ Armstrong, Lisa (June 4, 2008). "Sofia Coppola: I'm more interested in looking than being
looked at". The Times. London. Retrieved June 3, 2008.
^ Lee, Helen (November 5, 2007). "Did you know Sofia Coppola has a fashion line called
MilkFed?". Sassybella.com. Retrieved July 29, 2009.
^ "Sofia Coppola from Marie Antoinette – Celebrity Biographies at". Film.com. November 21,
^ Patterson, John (January 12, 2008). "If only... we could confine all nepotism to Los Angeles".
The Guardian. London.
^ Fresh Air. December 20, 2010. Event occurs at 19:25.
^ The Godfather.
^ a b c d Gilbey, Ryan (July 4, 2013). "Sofia Coppola on The Bling Ring: 'What these kids did
really took ingenuity'". The Guardian. Retrieved July 5, 2013.
^ a b "Sofia Coppola Biography". Tribute. Tribute Entertainment Media Group. 2013. Retrieved
July 5, 2013.
^ a b c d "Storm over Sofia Coppola". EW.com. Retrieved 2018-04-16.
^ a b "Revisited: Sofia Coppola - Interview Magazine". Interview Magazine. 2017-10-26.
^ The Virgin Suicides. IMDb.
^ "FFWD Weekly Interview - May 18, 2000". FFWD Weekly. May 18, 2000. Archived from the
original on August 28, 2012. Retrieved August 27, 2012.
^ Lim, Dennis (December 10, 2010). "It's What She Knows: The Luxe Life". The New York
^ "Out of the Godfather's shadow". The Independent. April 30, 2000. Retrieved August 27, 2012.
^ Academy Invites 127 to Membership Archived June 11, 2007, at the Wayback Machine.
^ " Marie Antoinette (2006)". Festival de Cannes. Cannes. Retrieved December 13, 2009.
^ "Marie Antoinette - a Quotational Reference Guide". Big Screen Little Screen. Retrieved August
27, 2012.
^ Siegel, Tatiana (April 16, 2009). "Sofia Coppola books Marmont film". Variety.
^ Rome, Emily. "Sophia Coppola and a Cohen Brother talk Somewhere at DGA Screening".
Entertainment Weekly. Retrieved August 27, 2012.
^ "Sofia Coppola Reportedly Planning Movie On The Hollywood Hills Burglar Bunch; Tess
Taylor Apparently Stars & The Playlist". Indiewire. Retrieved August 27, 2012.
^ "Emma Watson To Star In Sofia Coppola's Next Film 'The Bling Ring' & The Playlist".
Indiewire. February 29, 2012. Retrieved August 27, 2012.
^ "AMERICAN HORROR STORY Star Taissa Farmiga Joins Sofia Coppola's THE BLING RING
and JAMESY BOY". Collider.com. March 1, 2012. Retrieved August 27, 2012.
^ Kit, Borys (March 6, 2012). "Leslie Mann, Israel Broussard Cast in Sofia Coppola's 'Bling Ring'
(Exclusive)". The Hollywood Reporter.
^ "Bling Ring 2013 Un Certain Regard Opening Film". Deadline.com. April 18, 2013. Retrieved
April 18, 2013.
^ "Sofia Coppola To Co-Write 'Fairyland' For American Zoetrope". Deadline.com. December 16,
^ "Sofia Coppola to Direct Universal and Working Title's "Little Mermaid"". Variety. March 18,
2014.
^ Erbland, Kate. "Sofia Coppola Explains Why She Left Her Ambitious Take on 'The Little
Mermaid'". Indiewire. Retrieved 28 June 2017.
^ "Sofia Coppola Drops Out Of 'The Little Mermaid'". Deadline.com. June 1, 2015.
^ Jagernauth, Kevin. "Watch: First Teaser For Sofia Coppola's 'A Very Murray Christmas' With
Bill Murray". Indiewire. Retrieved May 22, 2015.
^ Kroll, Justin (2016-07-14). "Colin Farrell In Talks to Star in Sofia Coppola's 'Beguiled' Remake
(EXCLUSIVE)". Variety. Retrieved 2017-05-30.
^ a b c d e f g h Coppola, Sofia (2018-01-25). "Sofia Coppola on making The Virgin Suicides:
'When I saw the rough cut I thought: Oh no, what have I done?'". the Guardian. Retrieved 2018-
04-15.
^ a b "Revisited: Sofia Coppola - Interview Magazine". Interview Magazine. 2017-10-26.
^ a b c Indiewire (2004-02-04). "Sofia Coppola Talks About "Lost In Translation," Her Love Story
That's Not "Nerdy"". IndieWire. Retrieved 2018-04-16.
^ a b c d e f g h i j "S&S Sofia Coppola.pdf". Google Docs. Retrieved 2018-04-15.
^ Lodge, Guy (2017-07-02). "Sofia Coppola: 'I never felt I had to fit into the majority view'". the
Guardian. Retrieved 2018-04-15.
^ a b c Smith, Nigel M. (2013-06-14). "Sofia Coppola on Her Reasons For Making 'The Bling
Ring,' Casting Emma Watson and Getting to Know Paris Hilton". IndieWire. Retrieved 2018-04-
15.
^ a b c d Miller, Julie. "Sofia Coppola on The Bling Ring, Emma Watson's Kardashian Dialect
Training, and Which of Her Films She'll Allow Her Kids to Watch". HWD. Retrieved 2018-04-15.
^ a b c Hiscock, John (2013-07-04). "Sofia Coppola interview: 'The Bling Ring isn't my world'".
ISSN 0307-1235. Retrieved 2018-04-15.
^ a b c d e f g h i j k l m n o p q Lodge, Guy (2017-07-02). "Sofia Coppola: 'I never felt I had to fit
into the majority view'". the Guardian. Retrieved 2018-04-15.
^ Kohn, Eric (2017-11-27). "Sofia Coppola: How She Survived 'The Beguiled' Backlash, Why She
Won't Do TV, and Why Her Dad is 'Over' Film". IndieWire. Retrieved 2018-04-15.
^ "Revisited: Sofia Coppola - Interview Magazine". Interview Magazine. 2017-10-26. Retrieved
2018-04-15.
^ a b Lodge, Guy (2017-07-02). "Sofia Coppola: 'I never felt I had to fit into the majority view'".
the Guardian. Retrieved 2018-04-15.
^ "S&S Sofia Coppola.pdf". Google Docs. Retrieved 2018-04-15.
^ a b c d e f g h i j Lodge, Guy (2017-07-02). "Sofia Coppola: 'I never felt I had to fit into the
majority view'". the Guardian. Retrieved 2018-04-15.
^ a b Coppola, Sofia (2018-01-25). "Sofia Coppola on making The Virgin Suicides: 'When I saw
the rough cut I thought: Oh no, what have I done?'". the Guardian. Retrieved 2018-04-15.
^ Smith, Nigel M. (2013-06-14). "Sofia Coppola on Her Reasons For Making 'The Bling Ring,'
Casting Emma Watson and Getting to Know Paris Hilton". IndieWire. Retrieved 2018-04-15.
^ a b Kim, Kristen Yoonsoo (2017-06-19). "Sofia Coppola Can Teach You What Women Want".
GQ. Retrieved 2018-04-15.
^ "Revisited: Sofia Coppola - Interview Magazine". Interview Magazine. 2017-10-26. Retrieved
2018-04-15.
^ a b c d Hiscock, John (2013-07-04). "Sofia Coppola interview: 'The Bling Ring isn't my world'".
ISSN 0307-1235. Retrieved 2018-04-15.
^ "Daddy's girl". ThisIsLondon. 2004. Archived from the original on 2012-09-14.
^ Miss Dior Chérie Commercial (Director's Cut). YouTube. 2008. Retrieved August 27, 2012.
^ Nudd, Tim. "Ad of the Day: Sofia Coppola Directs 4 Oddly Charming Holiday Spots for Gap
Love, but not understanding". AdWeek. Retrieved November 7, 2014.
^ "Forget Versailles: When Sofia Met Paris". Elle. June 13, 2013. Retrieved August 2, 2013.
^ "Valentino and Sofia Coppola Make an Opera". The New York Times. 19 May 2016.
^ Vivarelli, Nick (September 11, 2010). "Coppola's 'Somewhere' wins Golden Lion". Variety.
^ "Sofia Coppola, Spike Jonze to divorce". USA Today. December 9, 2003. Retrieved July 5,
2013.
^ Thorpe, Vanessa (December 6, 2009). "Spike Jonze: Master of the Wild Things". The Guardian.
^ "Oscar-winner Sofia Coppola weds Thomas Mars in Italian town of her ancestors". Daily Mail.
August 29, 2011.
^ "Exclusive! Sofia Coppola Gives Birth!". E! Online. November 28, 2006. Retrieved September
12, 2010.
^ Keegan, Rebecca Winters (2006-12-03). "People: Dec. 11, 2006". Time. ISSN 0040-781X.
^ "People: Nicole Kidman, Sofia Coppola, Michael Richards". International Herald Tribune.
March 29, 2009. Retrieved August 27, 2012.
^ https://nypost.com/2010/12/19/my-new-york-sofia-coppola/#1
^ a b c Lodge, Guy (2017-07-02). "Sofia Coppola: 'I never felt I had to fit into the majority view'".
the Guardian. Retrieved 2018-04-15.
"The Coppola Smart Mob". The New York Times. August 31, 2003.
"Sofia Coppola Wins Prize for Best Director at Cannes for Beguiled". Huffington Post. 2017.
"So fine, Sofia". Wine Review. April 21, 2005.
"Sofia Coppola". KCRW's The Treatment.
External links Edit
Wikimedia Commons has media related to Sofia Coppola.
Sofia Coppola on IMDb
Milk fed. - Coppola's Japanese fashion label
Sofia Mini - Coppola's Canned Wine
"Sofia Coppola Marie Antoinette Interview". Clubplanet.
"Sofia Coppola's Parisian Inpired Style". FashionHippo.com.
Awards and achievements
Preceded by
Alexander Payne
for About Schmidt Golden Globe Award for Best Screenplay
for Lost in Translation
2004 Succeeded by
Alexander Payne, Jim Taylor
for Sideways
Preceded by
Clint Eastwood
for Mystic River César Award for Best Foreign Film
for Lost in Translation
2005 Succeeded by
Clint Eastwood
for Million Dollar Baby
Last edited 5 days ago by Greenshed
Wikipedia


Wikipedia
Claire Denis
Claire Denis (n. París, el 21 de abril de 1948) es una directora de cine nacida en Francia y
profesora del European Graduate School en Saas-Fee, Suiza.[1]
Claire Denis
Claire Denis 66ème Festival de Venise (Mostra) 2.jpg
Denis en el Festival de Venecia
Nacimiento
21 de abril de 1948
Paris, Francia
Nacionalidad
Francesa Ver y modificar los datos en Wikidata
Educación
Alma máter
Institut des hautes études cinématographiques Ver y modificar los datos en Wikidata
Ocupación
Actriz, directora de cine, guionista y profesora de universidad Ver y modificar los datos en
Wikidata
Empleador
European Graduate School Ver y modificar los datos en Wikidata
Distinciones
Berliner Kunstpreis (2011) Ver y modificar los datos en Wikidata
Índice
Denis nació en París, y creció en diferentes colonias francesas (Burkina Faso, Somalia, Senegal y
Camerún), donde su padre fue funcionario público.[2]
Carrera Editar
Denis estudió economía, pero abandonó la carrera. Luego asistió al IDHEC, la escuela de cine
francesa. Tras graduarse, trabajó como asistente de Jacques Rivette, Costa-Gavras, Jim Jarmusch y
Wim Wenders. Desde 2002, Claire Denis es profesora de cine en la Escuela Europea de Graduados
en Saas-Fee, Suiza.[1]
Su debut fue en la película Chocolat (1988), una reflexión semi-autobiográfica sobre el

colonialismo africano, que le ganó aclamación de la crítica. Con películas tales como US Go
Home (1994), Nénette et Boni (1996), Beau travail (1999), Trouble Every Day (2001) y Vendredi
soir (2002), estableció una reputación como realizadora, que «ha podido reconciliar la lírica del
cine francés con el impulso por capturar la, a menudo, dura cara de la Francia contemporánea».[3]
Filmografía Editar
Chocolat / Chocolate (1988)
S'en fout la mort / No Fear, No Die (1990)
J'ai pas sommeil / I Can't Sleep (1994)
Nénette et Boni / Nenette and Boni (1996)
Beau travail / Good Work (1999)
Trouble Every Day (2001)
Vendredi soir / Friday Night (2002)
L'intrus / The Intruder (2004)
35 rhums / 35 Shots of Rum (2008)
White Material (2009)
Les salauds (2013)
Keep It for Yourself (1991)
Contre l'oubli / Against Oblivion (1991)
segment: Pour Ushari Ahmed Mahmoud, Soudan
Tous les garçons et les filles de leur âge / All the Boys and the Girls of Their Age (1994)
segment: US Go Home (telefilme)
À propos de Nice, la suite (1995)
segment: Nice, Very Nice
Ten Minutes Older: The Cello (2002)
segment: Vers Nancy / Towards Nancy
Documentales Editar
Man No Run (1989)
Jacques Rivette, le veilleur / Jacques Rivette, the Watchman (1990)
Vers Mathilde / Towards Mathilde (2005)
"L'intrus: An Interview with Claire Denis" by Damon Smith (Senses of Cinema).
"Dancing Reveals So Much: An Interview with Claire Denis" by Darren Hughes (Senses of
Cinema).
"Great Directors: Claire Denis" by Samantha Dinning (Senses of Cinema).
Martine Beugnet, Claire Denis, 2004, Manchester University Press, Manchester and New York.
Judith Mayne, Claire Denis, 2005, University of Illinois Press, Urbana and Chicago.
Referencias Editar
↑ a b «Claire Denis Faculty Page at European Graduate School (Biography, bibliography and
video lectures)». European Graduate School. Archivado desde el original el 24 de octubre de
2010. Consultado el 27 de octubre de 2010.
↑ Hermione Eyre, "Claire Denis on filmmaking and feminism," Prospect, 21 de junio de 2010.
↑ Taylor, Charles (31 de marzo de 2000). «Beau Travail». Salon.com. Consultado el 13 de junio
de 2006. |autor= y |apellido= redundantes (ayuda)
Wikimedia Commons alberga una categoría multimedia sobre Claire Denis.
Claire Denis. Faculty page at European Graduate School (Biography, filmography, photos and
video lectures)
Claire Denis en Internet Movie Database (en inglés)
Conversación entre Claire Denis y Alicia Scherson Entrevista en revista de cine laFuga.cl
Última edición hace 8 meses por InternetArchiveBot

European Graduate School
Heiner Goebbels
compositor alemán
Yang Lian
poeta chino
Wikipedia
Open main menu

Wikipedia
Claire Denis
Not to be confused with Clare Dennis.
Claire Denis (French: [dəni]; born 21 April 1946[1]) is a French film director and writer. Her film
Beau Travail (1999) is considered a modern cinematic masterpiece and one of the greatest female-
directed films in the history of cinema.[2] Other acclaimed works include The Intruder (2004), 35
Shots of Rum (2008), and White Material (2009).[3][4][5][6] Her work has dealt with themes of
colonial and post-colonial West Africa, as well as issues in modern France, and continues to
influence European cinematic identity.[7]
Claire Denis
Claire Denis 66ème Festival de Venise (Mostra) 2.jpg
Denis at the 66th Venice International Film Festival
Born
21 April 1946 (age 72)
Paris, France
Alma mater
IDHEC
Occupation
Director, writer, professor
Contents
Early life Edit
Denis was born in Paris, but raised in colonial French Africa, where her father was a civil servant,
living in Burkina Faso, Cameroon, French Somaliland, and Senegal.[8] Her childhood spent living
in West Africa with her parents and her younger sister would color her perspectives on certain
political issues. It has been a strong influence on her films, which have dealt with themes of
colonialism and post-colonialism in Africa.[9] Her father moved with the family every two years
because he wanted the children to learn about geography. Growing up in West Africa, Denis used
to watch the old and damaged copies of war films sent from the United States. As an adolescent
she loved to read. Completing the required material while in school, at night she would sneak her
mother's detective stories to read.[10] When Denis was 14 years old, she moved with her mother
and sister to a Parisian suburb in France, a country that she hardly knew at all.[11] Her parents
wanted their children to finish their education in France.
Career Edit
Denis initially studied economics, but, she has said, "It was completely suicidal. Everything pissed
me off."[10] She studied at the IDHEC, the French film school, with the encouragement of her
husband. He told her she needed to figure out what she wanted to do.[10] She graduated from the
IDHEC and, since 2002, has been a Professor of Film at the European Graduate School in Saas-
Fee, Switzerland.[12]
Her debut feature film Chocolat (1988), a semi-autobiographical meditation on African

colonialism, won her critical acclaim. It was selected for the Cannes Film Festival and was praised
by critics and audiences alike as a remarkable first film. With films such as US Go Home (1994),
Nénette et Boni (1996), Beau Travail (1999),[13] set in Africa; Trouble Every Day (2001), and
Vendredi soir (2002), she established a reputation as a filmmaker who "has been able to reconcile
the lyricism of French cinema with the impulse to capture the often harsh face of contemporary
France."[13] She returned to Africa again with White Material (2009), set in an unidentified
country during a time of civil war.
According to the Australian James Phillips, when making her films, Denis rejects the marketable
conventions of Hollywood cinema and frees the viewers of her films from the expectations of
clichés.[14] Denis is well known for the way that she combines history with personal history,
giving her films an autobiographical element.[15] This superimposition of the personal with the
historical allows her films to be described as auteur cinema.[16] She is known to work within a
large range of genres, spanning from the themes of horror seen in Trouble Every Day (2001) to the
romance and drama found in Friday Night (2002).[17] While critics have noted recurring themes
within her films, Denis says that she has no coherent vision of her career "trajectory".[18]
Denis carefully chooses the titles of her films. Noëlle Rouxel-Cubberly argues that film titles are
intended to force the viewer to rethink the imagery within a film and Denis cleverly uses titles to
describe the raw reality found within her films. For example, the title of her film Chocolat (1988)
simultaneously refers to the word as a racist term used during the period of the film, the cocoa
exportation from Africa to Europe through a slave system, and the 1950s French expression "être
chocolat", meaning "to be cheated."[19][page needed]
Additionally, Denis is recognized for her process of "shooting fast, editing slowly," which she has
developed. In general, she does a few takes on the set and spends most of her time in the editing
room, creating the film there. This post-production process often involves rearranging scenes out
of the order in the script. For example, she placed the dance in Beau Travail (1999) at the end of
the film, although it was not at the end of the script. In reference to this process, Denis has said,
"I'm always insecure when I'm making a film. I have doubts about myself but rarely about the
actors."[20]
Denis is a highly collaborative filmmaker, saying in an interview that "the film becomes a
relationship...and that is what's important, the relationship."[21] The importance of collaboration
is seen throughout her body of work. She works with many of the same actors, such as Isaach de
Bankole, Vincent Gallo, Béatrice Dalle, Alex Descas, and Grégoire Colin, and also collaborates
often with the screenwriter Jean-Pol Fargeau, composer Stuart Staples, and cinematographer
Agnès Godard, whom she met in the 1970s at the Institut des hautes études cinématographiques.
[21] When asked in an interview about her screen writing process, Denis said, "I often realize I
have Isaach or Grégoire or someone else in mind" when writing scenes. She has also said that
usually she "hold[s] no auditions" for casting in her films.[21]
Her collaboration goes beyond her own films, as she has appeared in other directors' films, such as
Laetitia Masson's En avoir (1995) and Tonie Marshall's Vénus beauté (1999). She shares
screenwriting credit with Yousry Nasrallah for his film El Medina (2000).[22] She also worked as
an assistant director with Wim Wenders on Paris, Texas (1984) and Wings of Desire (1987), and
with Jim Jarmusch on Down by Law (1986).
In 2005 she was a member of the jury at the 27th Moscow International Film Festival.[23]
Her 2013 film Bastards was screened in the Un Certain Regard section at the 2013 Cannes Film
Festival.[24]
In 2013 she was awarded Stockholm Lifetime Achievement Award at the Stockholm Film
Festival.
Denis announced in 2015 that she was partnering with Zadie Smith for her English-language debut
film, High Life. In August of that year she announced that Robert Pattinson had been cast as the
lead.[25]
Style Edit
The majority of Denis' oeuvre uses location work over studio work. She sometimes places her
actors as if they were positioned for still photography. She uses longer takes with a stationary
camera and frames things in long shot, resulting in fewer close ups. However, Denis' cinematic
and topical focus always remains relentlessly on the faces and bodies of her protagonists. The
subject's body in space, and how the particular terrain, weather, and color of the landscape
influences and interacts with the human subjects of her films maintains cinematic dominance.
Tim Palmer explores Denis' work as a self-declared formalist and brilliant film stylist per se; an
approach the filmmaker herself has declared many times in interview to be as much about sounds,
textures, colors and compositions as broader thematic concerns or social commitments.[26]
Filmography Edit
Denis, second from the left, on the jury at the Deauville American Film Festival.
Feature films Edit
Chocolat / Chocolate (1988)
S'en fout la mort / No Fear, No Die (1990)
J'ai pas sommeil / I Can't Sleep (1994)
US Go Home (TV, from the collection Tous les garçons et les filles de leur âge / All the Boys and
the Girls of Their Age) (1994)
Nénette et Boni / Nenette and Boni (1996)
Beau travail / Good Work (1999)
Trouble Every Day (2001)
Vendredi soir / Friday Night (2002)
L'intrus / The Intruder (2004)
35 rhums / 35 Shots of Rum (2008)
White Material (2009)
Bastards / Les Salauds (2013)[27]
Let the Sunshine In (2017)
High Life (2018)
Short films Edit
Le 15 Mai (IDHEC film, based on Frederik Pohl's The Tunnel under the World) (1969)
Keep It for Yourself (1991)
Contre l'oubli / Against Oblivion (1991)
segment: Pour Ushari Ahmed Mahmoud, Soudan
À propos de Nice, la suite (1995)
segment: Nice, Very Nice
Ten Minutes Older: The Cello (2002)
segment: Vers Nancy / Towards Nancy
Venezia 70 - Future Reloaded (2013)
Segment: Claire Denis
Voilà l'enchaînement (2014)
Documentary films Edit
Man No Run (1989)
Jacques Rivette, le veilleur / Jacques Rivette, the Watchman (1990)
Vers Mathilde / Towards Mathilde (2005)
Denis at the 66th Venice International Film Festival.

Year Festival Award Film Result
1988 Cannes Film Festival Palme d'Or Chocolat (1988) Nominated
1989 César Awards, France César for Best First Work Chocolat (1988) Nominated
1994 Torino International Festival of Young Cinema FIPRESCI Prize – Special Mention
Tous les garçons et les filles de leur âge... (1993) Won
1996 Locarno International Film Festival Golden Leopard Nenette and Boni (1996)
Won
1996 Locarno International Film Festival Prize of the Ecumenical Jury – Special
Mention Nenette and Boni (1996)Won
1996 Namur International Festival of French-Speaking Film Golden Bayard for Best Artistic
Contribution Nenette and Boni (1996)Won
1996 Namur International Festival of French-Speaking Film Golden Bayard for Best Film
Nenette and Boni (1996)Nominated
1998 Independent Spirit Awards Independent Spirit Award for Best Foreign Film Nenette
and Boni (1996) Nominated
2000 Berlin International Film Festival Reader Jury of the "Berliner Zeitung" – Special
Mention Beau Travail (1999) Won
2001 Chicago Film Critics Association Awards CFCA Award for Best Foreign Language
Film Beau Travail (1999) Nominated
2001 Rotterdam International Film Festival KNF Award – Special Mention Beau Travail
(1999) Won
2001 Namur International Festival of French-Speaking Film Golden Bayard for Best Film
Trouble Every Day (2001) Nominated
2001 Sitges - Catalan International Film Festival Best FilmTrouble Every Day (2001)
Nominated
2004 Ghent International Film Festival Grand Prix The Intruder (2004)Nominated
2004 Venice Film Festival Golden Lion The Intruder (2004)Nominated
2009 Venice Film Festival Golden Lion White Material (2009) Nominated
2011National Society of Film Critics Awards, USA NSFC Award for Best Foreign Language
Film White Material (2009) 3rd place
References Edit
^ "Claire Denis". Les Gens du Cinéma (in French). 9 July 2013. Retrieved 19 February 2014. This
site uses Denis' birth certificate as its source of information.[according to whom?]
^ twhalliii (2009-12-22). "The Best Films Of The Decade (2000-2009) | #9 Beau Travail/ 35 Shots
Of Rum". IndieWire. Retrieved 2018-04-28.
^ "Indiewire best films 21st century".
^ "BBC best films 21st century".
^ "Metacritics best female directors".
^ "Radiance best female directors".
^ "Film Museum - Claire Denis".
^ Hermione Eyre, "Claire Denis on filmmaking and feminism," Prospect, 21 June 2010, [1]
^ Beugnet, Martine (2004). Claire Denis, p. 8. Manchester University Press, Manchester and New
York. ISBN 0-7190-6481-3.
^ a b c Ancian, Aimé (2002). "Claire Denis: An Interview". Senses of Cinema. Archived from the
original on 18 October 2006. Retrieved 26 November 2006.
^ Beugnet (2004). Claire Denis, p. 14.
^ "Claire Denis Faculty Page at European Graduate School (Biography, bibliography and video
lectures)". European Graduate School. Archived from the original on 24 October 2010. Retrieved
27 October 2010.
^ a b Taylor, Charles (31 March 2000). "Beau Travail". Salon.com. Retrieved 13 June 2006.
^ Phillips, James (2008). Cinematic Thinking: Philosophical Approaches to the New Cinema, p. 3.
Stanford University Press, Stanford. ISBN 978-0-8047-5800-0.
^ Reis, Levilson (2013). "An 'other' scene, an 'other' point of view: France's colonial family
romance, Protée's postcolonial fantasy, and Claire Denis' 'screen' memories." Studies in European
Cinema, 10, 2–3, pp. 119–131, p. 122.
^ Beugnet, Martine (2004). Claire Denis, Manchester University Press, Manchester and New
York. ISBN 0-7190-6481-3.
^ Beugnet, Martine (2004). Claire Denis, p. 2. Manchester University Press, Manchester and New
York. ISBN 0-7190-6481-3.
^ Beugnet (2004). Claire Denis, p. 2
^ Block, Marcelline (2008). Situating the Feminist Gaze and Spectatorship in Postwar Cinema,
Cambridge Scholars Publishing, Newcastle upon Tyne. ISBN 978-1-84718-664-5.
^ Ratner, Megan (Winter 2010). "Moving Toward the Unknown Other: An Interview with Claire
Denis," Cineaste Magazine
^ a b c Ratner (2010). "Moving Toward the Unknown Other"
^ Mayne, Judith (2005). Claire Denis, p. 132. University of Illinois Press, Urbana and Chicago.
ISBN 0-252-02991-7.
^ "27th Moscow International Film Festival (2005)". MIFF. Archived from the original on 3 April
2013. Retrieved 9 April 2013.
^ "2013 Official Selection". Cannes. 30 April 2013. Retrieved 30 April 2013.
^ Wiseman, Andreas. "Robert Pattinson to star in Claire Denis sci-fi". Retrieved 26 August 2015.
^ Palmer, Tim (2011). Brutal Intimacy: Analyzing Contemporary French Cinema, Wesleyan
University Press, Middleton CT. ISBN 0-8195-6827-9.
^ [2]
Michael Omasta, Isabella Reicher (Ed.), Claire Denis. Trouble Every Day,
FilmmuseumSynemaPublikationen, Vienna 2006, ISBN 3-901644-15-6
Levilson Reis, "An 'other' scene, an 'other' point of view: France's colonial family romance,
Protée's postcolonial fantasy, and Claire Denis' 'screen' memories." Studies in European Cinema,
vol. 10, nos. 2–3, 2013, pp. 119–131. DOI: 10.1386/seci.10.2-3.119_1.
"L'intrus: An Interview with Claire Denis" by Damon Smith (Senses of Cinema).
"Dancing Reveals So Much: An Interview with Claire Denis" by Darren Hughes (Senses of
Cinema).
"Great Directors: Claire Denis" by Samantha Dinning (Senses of Cinema).
Martine Beugnet, Claire Denis, 2004, Manchester University Press, Manchester and New York.
Judith Mayne, Claire Denis, 2005, University of Illinois Press, Urbana and Chicago.
Spectacularly Intimate: An Interview with Claire Denis, by Kevin Lee, (MUBI).
Marcelline Block, Situating the Feminist Gaze and Spectatorship in Postwar Cinema, 2008,
Cambridge Scholars Publishing, Newcastle upon Tyne.
James Phillips, Cinematic Thinking: Philosophical Approaches to the New Cinema, 2008,
Stanford University Press, Stanford.
"Feeling and form in the films of Claire Denis" by Ian Murphy (Jump Cut)
"Moving Toward the Unknown Other: An Interview with Claire Denis" by Megan Ratner
(Cineaste)
Claire Denis's "Post-colonial" Films and Desiring Bodies by Susan Hayward (L'Esprit Créateur)
'Enfolding Surfaces, Spaces and Materials: Claire Denis' Neo-Baroque Textures of Sensation' by
Saige Walton (Screening the Past) [3]
"Gestures of Intimacy: Claire Denis' I Can't Sleep" by Saige Walton (Senses of Cinema)
"White Material" by Marcin Wisniewski (Senses of Cinema)
External links Edit
Wikimedia Commons has media related to Claire Denis.
Back to Africa: An Interview with Claire Denis, MUBI
Claire Denis. Faculty page at European Graduate School (Biography, filmography, photos and
video lectures)
Claire Denis on IMDb
Claire Denis, a Reverse Shot symposium
Claire Denis, an interview for the New York Times by Charlotte Druckman
No Fear: The Films of Claire Denis on the IFC Center website
Moving Toward the Unknown Other: An Interview with Claire Denis by Megan Ratner
"Feeling and form in the films of Claire Denis" by Ian Murphy (Jump Cut essay)
The films of Claire Denis, Hell Is For Hyphenates, 30 September 2014
Wikipedia


Wikipedia
David O. Russell
David Owen Russell (Nueva York, 20 de agosto de 1958) es un director, guionista y productor
estadounidense de cine y televisión. Candidato a los premios Óscar y Globo de Oro. Ha dirigido
películas como Tres reyes (1999), I Heart Huckabees (2004) y The Fighter (2010). En varias
ocasiones ha tenido problemas, durante los rodajes, con los actores implicados en sus proyectos
cinematográficos.[1]
David Russell
David O. Russell avp 2014.jpg
David Owen Russell en 2014
David Owen Russell
Nacimiento
Bandera de Estados Unidos Nueva York, Estados Unidos
Nacionalidad
Estadounidense
Altura
1,75 m
Familia
Cónyuge
Janet Grillo (1992-2007)
Hijos
Matthew Antonio
Educación
Alma máter
Amherst College Ver y modificar los datos en Wikidata
Ocupación
Director
Guionista
Productor
Año de debut
1987
Año de retiro
presente
Premios artísticos
Globos de Oro
Mejor película - Comedia o musical
2013 American Hustle
Premios BAFTA
Mejor guion adaptado
2012 Silver Linings Playbook
2013 American Hustle
Web
Sitio web
davidorussell.com Ver y modificar los datos en Wikidata
Índice
Biografía Editar
David Owen Russell nació el 20 de agosto de 1958 en la ciudad de Nueva York (Estados Unidos).
Su padre era judío y su madre era italiana.[2] Acudió durante su adolescencia al Mamaroneck
High School en Nueva York. Se graduó en el Amherst College en 1991 en ciencias políticas e
inglés. Formó parte del jurado del Festival de Cine de Sundance en 2003. Contrajo matrimonio
con la productora Janet Grillo en 1992, con la que tiene un hijo, finalmente se divorciaron en
2007.[3]
Carrera Editar
Su debut en el cine se produjo con el cortometraje Bingo Inferno: A Parody on American
Obsessions (1987), aunque su primera película de éxito (y su primer largometraje) fue Spanking
the Monkey, de 1994. Posteriormente llegaría la comedia Flirting with Disaster (1996) que
también escribió y que estuvo protagonizada por Ben Stiller y Téa Leoni. En 1999 trabajó con
George Clooney y Mark Wahlberg en Tres reyes, siendo nuevamente escrita por él mismo y
actualmente su película mejor valorada por la prensa especializada.[4] Su siguiente trabajo será I
Heart Huckabees (2004) en la que contó de nuevo con Mark Wahlberg y donde también aparecían
otros actores conocidos como Dustin Hoffman, Naomi Watts o Jude Law. Este largometraje fue el
que dio a conocer en la gran pantalla al ahora conocido actor cómico Jonah Hill. Ese mismo año
produjo la cinta protagonizada por Will Ferrell Anchorman: The Legend of Ron Burgundy. Volvió
a coincidir con Wahlberg en el drama The Fighter (2010), por la que fue candidato al Óscar al
mejor director[5] y al Globo de Oro al mejor director[6] y convirtiéndose en su filme más
taquillero hasta la fecha como director.[7] Aparte de Wahlberg, con quien haría su tercera y última
colaboración hasta la fecha, la cinta la protagonizaron Christian Bale(gandor del Óscar al mejor
actor de reparto gracias a su actuación) y Amy Adams. En 2012 estrenó Silver Linings Playbook
cosechando grandes éxitos. Tuvo buena acogida por parte del público, de la crítica y de la
Academia, que otorgó a Jennifer Lawrence el Óscar a la mejor actriz. El 13 de diciembre de 2013
se estrena American Hustle donde cuenta con los protagonistas de sus dos anteriores películas:
Christian Bale y Amy Adams (The Figther), Jennifer Lawrence y Bradley Cooper (Silver Linings
Playbook), además de Jeremy Renner. Su próximo proyecto es la comedia Nailed (2015), de
nuevo escrita por él, en la que cuenta en el reparto con Jake Gyllenhaal y Jessica Biel.
Filmografía Editar
Año Título Rol Notas
Director Guionista Productor
1987 Bingo Inferno: A Parody on American ObsessionsSí SíSí SíNo No
1990 Hairway to the Stars Sí Sí
1994 Spanking the Monkey Sí SíSí SíNo No
1996 Flirting with Disaster Sí SíSí Sí
1999 Tres reyes Sí SíSí Sí
2002 The Slaughter Rule No No
2004 Anchorman: The Legend of Ron Burgundy No No
I Heart Huckabees Sí SíSí SíNo No
Soldiers Pay Sí Sí No No También trabajó como operador de cámara
Wake Up, Ron Burgundy: The Lost Movie No
2009 Outer Space Astronauts Sí Cinco episodios: «Undies», «Diplomatic Hat»,
«Of Cannibals and Cuddlepuffs», «Vast Emptiness» y «One Year Ago»
2010 The Fighter Sí
2012 Silver Linings Playbook Sí Sí
Uncharted: Drake's Fortune No No
2013 American Hustle Sí Sí
2015 Joy Sí Sí Sí
2015 Accidental Love Sí Sí
Óscar
Año Categoría Película Resultado Ref.

2010 Mejor director The Fighter Nominado [5]
2012 Mejor director Silver Linings Playbook Nominado [5]
2012 Mejor guion adaptado Silver Linings Playbook Nominado [5]
2013 Mejor director American Hustle Nominado [5]
2013 Mejor guion original American Hustle Nominado [5]
Globo de Oro
Año Categoría Película Resultado Ref.

2010 Mejor director The Fighter Nominado [6]
2012 Mejor guion Silver Linings Playbook Nominado [6]
2013 Mejor guion American Hustle Nominado [6]
2013 Mejor director American Hustle Nominado [6]
Premios BAFTA

2012 Mejor guion adaptado Silver Linings Playbook Ganador
2013 Mejor director American Hustle Nominado
2013 Mejor guion original American Hustle Ganador
Referencias Editar
↑ Wieselman, Jarett (13 de julio de 2009). «David O. Russell Strikes Again!». New York Post (en
inglés). Archivado desde el original el 30 de junio de 2012. Consultado el 28 de enero de 2011.
↑ Rich, B. Ruby (1 de noviembre de 2004). «This film is part of me». The Guardian (en inglés).
Consultado el 28 de enero de 2011.
↑ «David O. Russell Biography» (en inglés). Yahoo!. Archivado desde el original el 15 de enero
de 2010. Consultado el 20 de mayo de 2011.
↑ «David O. Russell celebrity profile». Rotten Tomatoes (en inglés). Consultado el 28 de enero
de 2011.
↑ a b c d e f «The Winners and Nominees for the 83rd Academy Awards» (en inglés). Asociación
de la Prensa Extranjera de Hollywood. Consultado el 20 de mayo de 2011.
↑ a b c d e «The 68th Annual Golden Globe Awards (2011)» (en inglés). Asociación de la Prensa
Extranjera de Hollywood. Archivado desde el original el 9 de mayo de 2011. Consultado el 20 de
mayo de 2011.
↑ «David O. Russell at Box Office Mojo». Box Office Mojo (en inglés). Consultado el 28 de
enero de 2011.
David O. Russell en Internet Movie Database (en inglés)

Wikipedia
Open main menu

Wikipedia
David O. Russell
For other people named David Russell, see David Russell (disambiguation).
David Owen Russell (born August 20, 1958) is an American film director, screenwriter, and
producer. His early directing career includes the comedy films Spanking the Monkey (1994),
Flirting with Disaster (1996), Three Kings (1999), and I ♥ Huckabees (2004).
David O. Russell
David O. Russell avp 2014.jpg
Russell at the Paris premiere of American Hustle, February 2014
Born
David Owen Russell
August 20, 1958 (age 59)
Residence
Santa Monica, California, U.S.
Other names
David O'Russell
Stephen Greene
Alma mater
Amherst College (B.A.)
Occupation
Film director, screenwriter, producer
Years active
1987–present
Spouse(s)
Janet Grillo (m. 1992–2007)
Partner(s)
Holly Davis (2007–present)
Children
2
Three of Russell's more recent films – the biographical sports drama The Fighter (2010), the
romantic comedy-drama Silver Linings Playbook (2012), and the comedy-drama crime film
American Hustle (2013) – were commercially successful and acclaimed by critics, having earned
Russell three Academy Award nominations for Best Director, as well as a Best Adapted
Screenplay nomination for Silver Linings Playbook and a Best Original Screenplay nomination for
American Hustle. Russell received his seventh Golden Globe nomination for the semi-
biographical comedy-drama Joy (2015).
Contents
Early life Edit
Russell was born in Manhattan, to Maria (née Muzio) and Bernard (Markovski)[1][2][3] Russell.
His parents worked for Simon & Schuster; his father was the vice president of sales for the
company[4][5][6][7] and his mother was a secretary there.[8] His father was from a Russian
Jewish family and his mother was Italian American (of Lucanian descent).[9] Russell's maternal
grandparents were Frank Muzio, born in Craco, and Philomena Brancata, born in Ferrandina, both
in the province of Matera.[10] His paternal grandfather, a butcher from the Upper West Side of
Manhattan, lost many of his relatives in concentration camps.[11]
Russell was raised in Larchmont, New York,[4][12] in an atheist, middle-class household.[13][14]

When he was 13, he made his first film for a school project and used a Super 8 film camera to film
people in New York City.[15] He attended Mamaroneck High School,[16] where he was voted
"Class Rebel".[17] He fell in love with film in his teens (his favorite movies included Taxi Driver,
Chinatown, and Shampoo)[4] but aspired to become a writer; Russell started a newspaper in high
school and wrote short stories.[8] His parents worked for a publishing company, so he grew up in
a household filled with books and novels.[8][18]
Russell received his A.B. degree from Amherst College, where he majored in English and political
science, in 1981.[4][19] He wrote his senior thesis on the United States intervention in Chile from
1963 to 1973.[20]
Career Edit
Early career Edit
After graduating from Amherst, Russell traveled to Nicaragua and taught in a Sandinista literacy
program.[4] He worked manual labor jobs, including waitering, bartending, and catering.[4][21]
Some of his bartending colleagues included members of the Blue Man Group.[14] He worked for
a booksellers' association[14] and later became a community organizer in Maine. He used video
equipment to document slums and bad housing conditions, which later became a documentary of
Lewiston, Maine.[21] Russell was a political activist[22] and canvassed and raised money in
neighborhoods;[17] he also did community work in Boston's South End.[8] In addition to working
in several day jobs, he began to write short films.[21]
Russell directed a documentary about Panamanian immigrants in Boston,[23] which led to a job as
a production assistant on a PBS series called Smithsonian World.[8]
In 1987, Russell wrote, produced, and directed Bingo Inferno: A Parody on American Obsessions,
a film about an obsessive bingo-playing mother.[3] Two years later, he made another short titled
Hairway to the Stars, which featured Bette Davis and William Hickey.[3][24] Both shorts were
shown at the Sundance Film Festival.[3]
Spanking the Monkey Edit

After Russell made an award-winning short film for a Boston television station, he received grants
from the New York State Council on the Arts and the National Endowment for the Arts.[8] Instead
of the money going towards a feature about a fortune cookie writer, he decided to make Spanking
the Monkey, a film about an incestuous mother-son relationship.[25] As a result, Russell had to
return the funds to the NEA.[25]
Spanking the Monkey, the 1994 independent dark comedy, was his first directorial effort. The film
was produced by Dean Silvers, and starred Jeremy Davies as a troubled young man and Alberta
Watson as his lonely mother. Despite the controversial subject matter, the film received critical
acclaim[26] and won him Best First Screenplay and Best First Feature from the Independent Spirit
Awards, as well as the Audience Award at the Sundance Film Festival.[27]
Flirting with Disaster Edit

His next project was the Miramax comedy Flirting with Disaster (1996), his second collaboration
with Dean Silvers, and first with Harvey Weinstein. The film follows a neurotic man (Ben Stiller)
who travels with his wife (Patricia Arquette) and a high-strung caseworker (Téa Leoni) to find his
biological parents. The film also starred Mary Tyler Moore, George Segal, Alan Alda, Josh Brolin,
Richard Jenkins, and Lily Tomlin. It was screened in the Un Certain Regard section at the Cannes
Film Festival, and was well received by most critics.[28] Roger Ebert said of the direction,
"Russell finds the strong central line all screwball begins with, the seemingly serious mission or
quest, and then throws darts at a map of the United States as he creates his characters."[29] Lisa
Schwarzbaum of Entertainment Weekly gave the film a 'B' and declared it "one of the ha-ha
funniest comedies currently at a theater near you."[30]
Three Kings Edit

The success of those two films led to the satirical Gulf War black comedy Three Kings, starring
George Clooney, Mark Wahlberg, Ice Cube and Spike Jonze. Adapted from an earlier script by
former stand-up comic John Ridley, the film follows three American GIs who devise a plan to
steal hidden Kuwaiti gold during the 1991 Iraqi uprising against Saddam Hussein. Filmed in the
deserts of Arizona, California and Mexico, and featuring actual Iraqi refugees as extras, Russell
used several unique cinematic techniques to achieve a feeling of realism. He filmed using
handheld cameras and Steadicam, and shot on Ektachrome slide photography stock that was cross
processed in colour negative chemicals, to reproduce "the odd colour of the newspaper images [of
the Gulf War]."[citation needed] He also insisted on filming all of the explosions in one shot,
unlike a typical action film.
Three Kings was released in 1999 and was his biggest critical and financial success. It grossed $60
million in the United States and over $100 million worldwide.[31] It holds a 94% at Rotten
Tomatoes, with the consensus "Three Kings successfully blends elements of action, drama, and
comedy into a thoughtful, exciting movie on the Gulf War."[32] It ended up being the first of
several collaborations with Mark Wahlberg. During filming, news spread of Russell and George
Clooney nearly having a fistfight on the set. In a 2000 interview, Clooney described his
confrontation with Russell after tensions on the set had been steadily increasing. According to
Clooney, Russell was demeaning the crew verbally and physically. Clooney felt this was out of
line and told Russell, "David, it's a big day. But you can't shove, push or humiliate people who
aren't allowed to defend themselves." After the confrontation escalated when, according to Sharon
Waxman in "Rebels on the Backlot," Russell actually headbutted Clooney and Clooney grabbed
Russell by the throat, Clooney said Russell eventually apologized and filming continued, but
Clooney described the incident as "truly, without exception, the worst experience of my life."
When asked if he would work with Russell again, Clooney responded, "Life's too short."[33] In
early 2012, Clooney indicated that he and Russell had mended their relationship, saying "We made
a really, really great film, and we had a really rough time together, but it's a case of both of us
getting older. I really do appreciate the work he continues to do, and I think he appreciates what
I'm trying to do."[34]
I ♥ Huckabees Edit
Russell's next project was the existential comedy I ♥ Huckabees. Russell had conflicts with Lily
Tomlin during its filming, and in March 2007, two videos were leaked onto YouTube portraying
on-set arguments between Russell and Tomlin, in which among other things he called her sexist
names.[35][36][37] These abusive tirades by Russell were first reported in a 2004 New York
Times article[38] by Sharon Waxman in which she describes him calling Tomlin "...the crudest
word imaginable, in front of the actors and crew." Additionally Waxman describes Russell
storming off the set and back on again, continually shouting, which is corroborated by the leaked
videos. On the set, actors were sometimes driven to their wits' ends after hours of takes.
Afterward, Tomlin remarked that she and Russell are "fine", saying, "I'd rather have someone
human and available and raw and open. Don't give me someone cold, or cut off, or someone who
considers themselves dignified." In a 2011 interview with Movieline, Tomlin was asked about the
incident and she replied:
It happens sometimes—but David is a very mercurial person, and that's part of why he's so
brilliant. He almost reflects the movie. I did two movies with him, and I Heart Huckabees was so
crazy, so all over the place, I think he kind of embodies intuitively whatever he's trying to make
happen. It was just crazy, crazy stuff. We were always doing something, and then we'd get manic
and crazy and I just flipped out on him. Then he flipped out on me. And you know, stuff goes on.
But it's nothing. It's like family. If you have a big fight in your family, usually it's treated that way
on the set. We don't want to misbehave; believe me, it's embarrassing. It's humiliating, you know?
Because you just lose it. You act like a crazy person. [Laughs] But I adore David. I adore him as a
talent. A lot of my friends said, "Well, you won't work with him again." I said, "Of course I would!
I adore him, I love him. He's brilliant." [39]
The film got mixed reviews.[40] Recent collaborator Jennifer Lawrence says it is her favorite
David O. Russell film [41]
Nailed Edit
Nailed is a political comedy co-written by Russell and Kristin Gore, and stars Jessica Biel, Jake
Gyllenhaal, Tracy Morgan, Catherine Keener, Paul Reubens, James Brolin and Kirstie Alley.
Production was delayed or shut down four times in 2008, resulting in IATSE shutting down
production because the crew was not getting paid.[42][43] Actor James Caan left mid-production
"due to creative differences and [the] split was amicable."[44]
The film revolves around the character of Alice Eckle (played by Jessica Biel) who gets
accidentally shot in the head with a nail by a clumsy workman, eliciting wild sexual urges. The
uninsured Eckle goes on a crusade to Washington to fight for the rights of the bizarrely injured.
She meets an immoral congressman (Jake Gyllenhaal) who takes advantage of her sex drive and
capitalizes on her crusade as Eckle heads into her own career in politics.[45] Russell ceased
working on the film in 2010;[46] it was retitled Accidental Love and was released on VOD on
February 10, 2015 before a limited release on March 20, 2015 [47]
The Fighter Edit

In 2010, Russell returned with The Fighter, a biographical sports drama produced by and starring
Mark Wahlberg. The film focuses on junior welterweight boxer Mickey Ward's rise to claim the
WBU Light Welterweight title, as well as his difficult relationship with his mother, Alice Ward
(Melissa Leo), and his older half-brother Dickie Eklund (Christian Bale). The film became a major
critical and financial success, grossing $125 million,[48] and appearing on several critics' year-end
top ten lists.[49] The Fighter also received seven Academy Award nominations, including Best
Picture and Best Director for Russell, the first of his career,[50] and earned awards for both Bale
and Leo, for Best Supporting Actor and Best Supporting Actress, respectively.
Silver Linings Playbook Edit

Silver Linings Playbook was adapted from the serio-comic novel by Matthew Quick.[51] Bradley
Cooper plays Pat and Robert De Niro, who starred with Cooper in Limitless, co-stars as his father.
Jennifer Lawrence plays the lead female role of Tiffany. She commented about Russell, "He’s
really my favorite director since I started watching movies."[52] The cast also includes Jacki
Weaver, Chris Tucker and the veteran Bollywood actor Anupam Kher.[53] The film was released
in the United States and Canada on November 16, 2012.[54]
Russell received the Hollywood Director Award at the 16th annual Hollywood Film Awards and
an Indie Impact Award at the Palm Springs International Film Festival for his work on the film,
[55][56] as well as two Independent Spirit Awards (Best Director, Best Screenplay), two Satellite
Awards (Best Director, Best Adapted Screenplay), a BAFTA Film Award (Adapted Screenplay),
and the AFI Award for Movie of the Year.[57][58][59][60] Silver Linings Playbook won the
People's Choice Award at the 2012 Toronto International Film Festival and garnered four Golden
Globe Award nominations (with one win for Jennifer Lawrence, Best Performance by an Actress
in a Motion Picture – Musical or Comedy) and eight Academy Award nominations, including
Best Picture, Best Director (Russell), Best Adapted Screenplay (Russell), Best Actor in a Leading
Role (Bradley Cooper), Best Actress in a Leading Role (winner, Jennifer Lawrence), Best
Supporting Actor (Robert De Niro), Best Supporting Actress (Jacki Weaver) and Best Film Editing
(Jay Cassidy and Crispin Struthers).[61][62]
Silver Linings Playbook is about a former teacher named Pat Solitano (Bradley Cooper), who
suffers from bipolar disorder, and moves back in with his family. He is initially obsessive about
reuniting with his spouse after having discovered her with a lover and assaulting the man;
however, the story explores the development of his relationship with Tiffany Maxwell (Jennifer
Lawrence). The film was inspired by Devereaux Glenholme School, a 12-month special education
boarding school in Washington, CT. Russell's son is currently a student there, and Russell stated,
"I was so familiar with the issues in the story that I knew how emotional and funny and original it
could be. Without this community I would never have made this film." [63][64]
American Hustle Edit

Russell's next project was American Hustle (2013), a comedy based on the ABSCAM scandal of
the 1970s. The film's plot revolved around skilled con artists Irving Rosenfeld (Christian Bale)
and Sydney Prosser (Amy Adams) being forced to work for unhinged FBI Agent Richie DiMaso
(Bradley Cooper). Their complicated operation eventually involves Mayor Carmine Polito
(Jeremy Renner) of Camden, New Jersey, as well as Irving's unpredictable wife Rosalyn (Jennifer
Lawrence). The film reunited Russell with Bale and Adams after The Fighter, as well as with
Cooper, Lawrence, and De Niro after Silver Linings Playbook.[65] Saïd Taghmaoui, the Iraqi
captain from Three Kings, also makes an appearance.
According to Salon, in the Sony Pictures Entertainment hack, it was revealed that Russell made
"Amy Adams' life a living hell" during the production of the film, and Christian Bale intervened.
Salon reported that, in an email to Sony chief Michael Lynton, journalist Jonathan Alter said: "He
grabbed one guy by the collar, cursed out people repeatedly in front of others and so abused Amy
Adams that Christian Bale got in his face and told him to stop acting like an asshole." Adams told
British GQ, "I was... devastated on set." And added, "Jennifer [Lawrence] doesn't take any of it on.
She's Teflon. And I am not Teflon. But I also don't like to see other people treated badly. It's not
OK with me."[66]
The film received seven Golden Globe nominations, including Best Motion Picture Comedy &
Best Director for Russell, and three wins including Best Motion Picture Comedy, Best Actress for
Amy Adams and Best Supporting Actress for Jennifer Lawrence.[67] Additionally, the film
received ten Academy Award nominations, including Best Picture, Best Director, Best Actor, Best
Actress, Best Supporting Actor and Best Supporting Actress,[68] along with a Screen Actors Guild
Award win for Outstanding Performance by a Cast in a Motion Picture.[69]
Joy Edit
Main article: Joy (film)
In January 2014, it was announced that Russell would rewrite and direct a comedy-drama film
about American inventor and entrepreneur Joy Mangano, a struggling Long Island single mother
of three children. Jennifer Lawrence played the lead role in the film. John Davis and John Fox
produced the film for Davis Entertainment, along with Ken Mok, while 20th Century Fox holds
the distribution rights.[70] Principal photography began on February 17, 2015,[71] and the film,
titled Joy, was released on December 25, 2015.[72] The film received mixed to positive reviews,
focusing mainly on the strong central performance by actor Jennifer Lawrence, Russell's direction,
and the supporting performances by Dianne Ladd, Robert De Niro, and company.[73] Featured
music in the film was a driving force behind the narrative, including a reworked a cappella version
of Cream's "I Feel Free".[74] Strong box office greeted the film's first five days, with a $5900-per-
screen average, and 25 million dollars in gross receipts, according to Box Office Mojo; it grossed
a worldwide total of over $101 million.[75]
The film was nominated for 2 Golden Globe Awards, including Best Musical or Comedy, and Best
Actress in a Musical or Comedy for Jennifer Lawrence, which she won.[76] Lawrence was also
nominated for the Academy Award for Best Actress, the film's only Oscar nomination.[77]
Past Forward Edit

Written and directed by Russell, Past Forward was a short film collaboration between the director
and Prada. A clip of the film premiered in September 2016 at Milan Fashion Week, and premiered
November 2016 in Los Angeles. In the short film, Russell uses three different actors for the same
roles including Kuoth Wiel, Freida Pinto and Allison Williams. The film has been described as a
"surreal dreamscape with an eclectic cast replaying scenes in shifting combinations".[78]
Ghetto Film School Edit

David O. Russell is on the board of Ghetto Film School (GFS), an organization that was founded
in 2000 to educate American storytellers.[79] Russell learned about GFS in 2002 while earning an
honorary degree from his alma mater, Amherst College, from two students who introduced him to
Joe Hall, president of Ghetto Film School.[80][81] Shortly after, Russell joined the board of the
organization.[82]
Along with fellow board members, Russell brought filmmaker friends, industry and movie studio
professionals to donate money and lend their time teaching classes to support young black and
Latino filmmakers from the South Bronx and Harlem.[83] He has involved Tracy Morgan, Jessica
Biel, Amy Adams, James Marsden, Jim Carrey, Mark Wahlberg, and Robert De Niro in the school.
[81]
On June 16, 2014, Ghetto Film School opened its new branch in Los Angeles.[84] This was thanks
in part to Russell with an assist from 21st Century Fox co-COO James Murdoch.[81]
In October 2015, Russell and Jim Gianopulos hosted the premiere of Ghetto Film School Los
Angeles fellows' thesis film Devil's Gate.[85]

Actors Edit
Russell has regularly collaborated with actors, and many of these frequent collaborators appear in
the same movies or as ensemble casts. Russell said "People ask me why I collaborate with
[Jennifer Lawrence] so much, or Robert De Niro or Bradley Cooper. My first answer would be
this: Bette Davis collaborated with William Wyler on five films. Katharine Hepburn and George
Cukor collaborated on seven films. Katharine Hepburn collaborated with George Stevens on three
films. Scorsese with Robert De Niro, eight films. I think DiCaprio is up about six. If you're friends
with somebody and you happen to like and respect each other, you can inspire each other," in an
interview with IndieWire.[86]
Mark Wahlberg partnered with Russell in Three Kings, I ♥ Huckabees, and The Fighter, while
Jennifer Lawrence, Bradley Cooper, and Robert De Niro all appeared in Silver Linings Playbook,
American Hustle, and Joy. Christian Bale and Amy Adams both appeared in The Fighter and
American Hustle.
During her 2016 Golden Globe acceptance speech for Best Performance by an Actress in a Motion
Picture – Comedy or Musical, Lawrence credited her win, and previous wins to Russell.[87]

Russell has directed multiple Oscar winning and nominated performances. He holds the unique
distinction of being the only director to have two films with nominations in all four acting
categories.

2012 Bradley Cooper Silver Linings Playbook Nominated
2013 Christian Bale American Hustle Nominated
2012 Jennifer Lawrence Silver Linings Playbook Won
2013 Amy Adams American Hustle Nominated
2015 Jennifer Lawrence Joy Nominated
2010 Christian Bale The Fighter Won
2012 Robert De Niro Silver Linings Playbook Nominated
2013 Bradley Cooper American Hustle Nominated
2010 Melissa Leo The Fighter Won
2010 Amy Adams The Fighter Nominated
2012 Jackie Weaver Silver Linings Playbook Nominated
2013 Jennifer Lawrence American Hustle Nominated
Crew Edit
Editor Jay Cassidy worked with Russell on Silver Linings Playbook, American Hustle, and Joy,
while Crispin Struthers and Alan Baumgarten co-edited the last two with Cassidy.[88] Producers
Megan Ellison and Jonathan Gordon have worked him two and three times, respectively.[89][90]
Linus Sandgren was cinematographer for American Hustle and Joy.[91]
Personal life Edit

Russell was married to Janet Grillo, who was a producer at Fine Line Features,[4] from 1992 to
2007. He has been with his partner, Holly Davis, since 2007.[14] Davis is a costume designer.
Russell has two children: one with Grillo and an adopted son with Davis.[92] He resides in Santa
Monica, California,[93] and is an advocate for mental illness treatment and support, and an active
supporter of Autism research. Russell’s efforts saw him named the “Essential Puzzle Piece
honoree” by the Light Up the Night Gala for Autism.[94]
In 2013 Russell visited Washington DC to meet with Vice President Joe Biden and Senator Debbie
Stabenow to discuss a new bill regarding Mental Health Care.[95] In May 2014 Russell
participated in a panel at Paley Center for the Media that discussed projects which have brought to
light the stigmas and suffering associated with mental illness.[96] Russell serves on the Creative
Council of Represent.Us, a nonpartisan anti-corruption organization.[97]

Main article: List of awards and nominations received by David O. Russell
Filmography Edit
Film Edit
Title Year Credited as Notes Ref(s)
Director Writer Producer Other
Bingo Inferno: A Parody on American Obsessions1987 Yes Yes Yes Short film
Editor [98]
[99]
Hairway to the Stars 1989 Yes Short film [98]
Spanking the Monkey 1994 Yes Yes Yes Executive producer [100]
Flirting with Disaster 1996 Yes Yes [100]
Three Kings 1999 Yes Yes Yes Hollywood Action Star [100]
Adaptation 2002 Yes Orlean Dinner Guest [101]
The Slaughter Rule Yes [102]
Anchorman: The Legend of Ron Burgundy 2004 Yes Executive producer
[100]
I ♥ Huckabees Yes Yes Yes Also known as I Heart Huckabees [100]
Soldiers Pay Yes Yes Yes Documentary short
Editor, camera operator [103]
The Fighter 2010 Yes [100]
Silver Linings Playbook 2012 Yes Yes [100]
American Hustle 2013 Yes Yes [100]
Accidental Love 2015 Yes Yes Uncredited, disowned the film [104]
Joy Yes Yes Yes [100]
Past Forward 2016 Yes Yes Short film in collaboration with Prada [105]
Television Edit
Title Year Role Network Notes Ref.
Outer Space Astronauts 2009 — Syfy Executive producer [106]
Gossip Girl 2011Himself The CW 2 Episodes [107]
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External links Edit
Official website
David O. Russell on IMDb
David O. Russell on Charlie Rose
"David O. Russell collected news and commentary". The New York Times.
Wikipedia


Wikipedia
Danny Boyle
Danny Boyle (n. Radcliffe, Gran Mánchester; 20 de octubre de 1956) es un director y productor de
cine inglés, hijo de emigrantes irlandeses católicos. Dirigió los filmes Shallow Grave (1994),
Trainspotting (1996), A Life Less Ordinary (1997), La playa (2000), 28 días después (2002),
Millones (2004), Sunshine (2007), Slumdog Millionaire (2008), 127 horas (2010), Trance (2013) y
Steve Jobs (2015). Slumdog Millionaire le valió una estatuilla al mejor director en la 81ª entrega
de los Premios Óscar.
Danny Boyle
Danny Boyle Red Carpet T2 Trainspotting Berlinale 2017 02.jpg
Boyle en la Berlinale 2017.
Daniel Boyle
Nacimiento
Bandera de Reino Unido Radcliffe, Gran Mánchester, Inglaterra
Nacionalidad
británico
Altura
1,88 m.
Educación
Alma máter
Universidad de Bangor Ver y modificar los datos en Wikidata
Ocupación
Director, productor
Años activo
desde 1980
Año de debut
1980
Año de retiro
presente
Premios artísticos
Premios Óscar
Mejor director
2008 Slumdog Millionaire
Globos de Oro
Mejor director
Premios BAFTA
Mejor director
Festival Internacional de San Sebastián
Concha de Plata al mejor director
1994 Shallow Grave
Otros premios
Distinciones
Premio del Sindicato de Directores Ver y modificar los datos en Wikidata
Índice
Biografía Editar
Estudió en el Thornleigh Salesian College y en la Universidad de Gales, Bangor. Boyle obtuvo
reconocimiento en Gran Bretaña por haber dirigido algunas producciones para la televisión
británica, incluidas el Inspector Morse y Mr. Wroe’s Virgins.
Se le asocia por trabajar con el escritor John Hodge el productor Andrew Macdonald, y el actor
Ewan McGregor. Tras obtener atención internacional por la película Trainspotting esperó ganar un
contrato de producción con algún estudio importante de Estados Unidos, pero la única oferta
realizada fue para el cuarto filme de Alien. Usando financiamiento británico Boyle y Hodge
realizaron A Life Less Ordinary, pero debido a que no había mucho presupuesto no tuvo estrellas
importantes ni localizaciones atractivas, lo cual se tradujo en un fiasco de taquilla.
Fue Ewan McGregor quien aconsejó a Boyle el adaptar la novela de culto The Beach, pero luego
descubrió que el estudio quería una estrella más costosa y contrató a Leonardo DiCaprio sin
consultar a Boyle, quien ya le había prometido el protagónico a McGregor. Los medios británicos
y los tabloides armaron un circo de esta situación antes de que Boyle le pudiese explicar a
McGregor lo que había sucedido y desde ese entonces no han trabajado juntos.
Boyle colaboró con el autor de The Beach Alex Garland en la adaptación de 28 Days Later. Su
versatilidad se demuestra en el filme familiar Millions. Boyle dirigió dos filmes para televisión
para la BBC en 2001 Vacuuming Completely Nude In Paradise y Strumpet. También dirigió el
corto Alien Love Triangle protagonizado por Kenneth Branagh que se suponía sería parte de un
largometraje con otros dos cortos incluidos en él, pero el proyecto fue cancelado debido a que los
cortos fueron convertidos en largometrajes. Se trataba de Mimic protagonizada por Mira Sorvino e
Imposter protagonizada por Gary Sinise.
Sus últimos trabajos han sido Sunshine un filme de ciencia ficción protagonizado por su estrella
de 28 Days Later Cillian Murphy, Slumdog Millionaire un gran éxito de público y crítica en todo
el mundo, y 127 horas. Slumdog Millionaire fue la gran triunfadora en la gala de los premios
Óscar 2009 al llevarse ocho estatuillas, incluyendo las de mejor película y mejor director
Sus películas se caracterizan por tratar de temas serios y relacionados con la naturaleza humana.
Su trabajo engloba una ingeniosa y poco convencional comedia. Utiliza el humor negro. Su
creatividad en la fotografía logra crear ambientes de gran realismo.
Cinco películas que han inspirado a Boyle en su carrera de director de cine son: Apocalypse Now
de Francis Ford Coppola, Ladrón de bicicletas de Vittorio de Sica, Wallace y Gromit -- The Wrong
Trousers de Nick Park, Au revoir les enfants de Louis Malle, y Eureka de Nick Roeg.[1]
En el año 2012 fue el encargado de dirigir la ceremonia de inauguración de los XXX Juegos
Olímpicos que tuvo lugar en Londres.
Filmografía Editar
T2: Trainspotting (2017)
Steve Jobs (2015)
Trance (2013)
Ceremonia de apertura de los Juegos Olímpicos de Londres 2012 (2012)
127 horas (2010)
Slumdog Millionaire (2008) (ganador del Globo de Oro y Óscar por mejor director y mejor
película)
David Alan Grier's Chocolate News (2008) (TV) (en rodaje)
28 Weeks Later (2007) (productor ejecutivo)
Sunshine (2007)
Millions (2004)
28 Days Later (2002)
Alien love triangle (2002)
Vacuuming Completely Nude in Paradise (2001) (TV)
Strumpet (2001) (TV)
La playa (2000)
A Life Less Ordinary (1997)
Trainspotting (1996)
Shallow Grave (1994)
Screenplay (1.er episodio, 1993)
Mr. Wroe's Virgins (1993) (mini) TV mini-serie
Inspector Morse (2 episodios, 1990-1992)
Cherubim and Seraphim (1992) TV episodio
Masonic Mysteries (1990) TV episodio
For the Greater Good (1991) (TV)
The Nightwatch (1989) (TV)
The Hen House (1989) (TV)
Monkeys (1989) (TV)
The Venus de Milo Instead (1987) (TV)
Scout (1987) (TV)
Premios Editar
Premios Óscar:

2008 Mejor director Slumdog Millionaire Ganador
2010 Mejor película 127 horasCandidato
2010 Mejor Guion Adaptado 127 horasCandidato
Premios Globos de Oro:

Premios BAFTA:

1996 Mejor Película Británica Trainspotting Candidato
Premios Independent Spirit:
Año Categoria Pelicula Resultado

1996 Mejor Pelicula Extranjera Trainspotting Nominado
Referencias Editar
↑ [1]
Danny Boyle - Entrevista en DeCine21
Danny Boyle en Internet Movie Database (en inglés)
Ficha en la NNDB

Wikipedia
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Wikipedia
Danny Boyle
For other people with the same name, see Daniel Boyle (disambiguation).
Daniel Francis Boyle[1] (born 20 October 1956)[2] is an English director, producer, screenwriter
and theatre director, known for his work on films including Shallow Grave, Trainspotting, The
Beach, 28 Days Later, Sunshine, Slumdog Millionaire, 127 Hours, and Steve Jobs. His debut film
Shallow Grave won the BAFTA Award for Best British Film. The British Film Institute ranked
Trainspotting the 10th greatest British film of the 20th century. Boyle's 2008 film Slumdog
Millionaire, the most successful British film of the decade, was nominated for ten Academy
Awards and won eight, including the Academy Award for Best Director. He also won the Golden
Globe and BAFTA Award for Best Director. Boyle was presented with the Extraordinary
Contribution to Filmmaking Award at the 2008 Austin Film Festival, where he also introduced that
year's AFF Audience Award Winner Slumdog Millionaire.
Danny Boyle
Danny Boyle Red Carpet T2 Trainspotting Berlinale 2017 02.jpg
Boyle in 2017 at the T2 Trainspotting premiere
Born
Daniel Francis Boyle
20 October 1956 (age 61)
Radcliffe, Greater Manchester
Alma mater
Bangor University
Occupation
Director producer screenwriter
Years active
1980–present
Known for
Shallow Grave
Trainspotting
28 Days Later
Slumdog Millionaire
Steve Jobs
2012 Summer Olympics opening ceremony
In 2012, Boyle was the Artistic Director for Isles of Wonder, the opening ceremony of the 2012
London Summer Olympic Games.[3] He was subsequently offered a knighthood as part of the
New Year Honours, but declined.[4] In 2014, it was announced that Boyle would become a patron
of HOME in Manchester.[5]
Contents
Early life and background Edit
Danny Boyle was born on 20 October 1956[2] in Radcliffe, Greater Manchester, about 6 miles
north of Manchester city centre, to Irish parents from County Galway.[6][7] Although he now
describes himself as a "spiritual atheist",[8] he was brought up in a working class Catholic family.
Boyle was an altar boy for eight years and his mother had the priesthood in mind for him, but aged
14 he was persuaded by a priest not to transfer from school to a seminary.[9]
Whether he was saving me from the priesthood or the priesthood from me, I don't know. But quite
soon after, I started doing drama. And there's a real connection, I think. All these directors –
Martin Scorsese, John Woo, M. Night Shyamalan – they were all meant to be priests. There's
something very theatrical about it. It's basically the same job – poncing around, telling people
what to think.[10][11]
He later studied at Thornleigh Salesian College in Bolton,[12] and studied English and Drama at
Bangor University.[6][13] While at university, Boyle dated the actress Frances Barber.[14]
Boyle is the patron of North West-based young people's substance misuse charity, Early Break,
which was founded and based in his home town of Radcliffe. Boyle is also a trustee of the UK-
based African arts charity Dramatic Need.[15]
On 16 February 2017 Boyle announced his bid to help launch a £30m film and media school in
Manchester, stating: "This is just what Manchester needs and I am delighted to be part of the
International Screen School Manchester."[16]
Career Edit
Theatre Edit
Boyle with the cast of The Children's Monologues in 2010

Upon leaving school he began his career at the Joint Stock Theatre Company, before moving onto
the Royal Court Theatre in 1982 where he directed The Genius by Howard Brenton and Saved by
Edward Bond. He also directed five productions for the Royal Shakespeare Company.[17] On 14
November 2010, he directed a one night play at the Old Vic Theatre titled The Children's
Monologues with Sir Ben Kingsley, Benedict Cumberbatch, Tom Hiddleston, Gemma Arterton
and Eddie Redmayne as the cast. In 2011 he directed Frankenstein for the National Theatre.[18]
This production was broadcast to cinemas as a part of National Theatre Live on 17 March 2011.
[19]
Boyle was Artistic Director for the 2012 Summer Olympics Opening Ceremony in London. Over
the years, Olympic Opening Ceremonies have become multimillion-pound theatrical shows, which
have become known for their extravagance and pageantry to celebrate the start of the largest
multi-sport event in the world. The ceremony, entitled Isles of Wonder, charted aspects of British
culture, including the Industrial Revolution and British contributions to literature, music, film and
technology. Reception to the ceremony was generally positive, both nationally in the United
Kingdom and internationally.[20][21][22][23] In December 2012 it was widely reported that
Boyle turned down a knighthood in the New Year Honours list. He told BBC Radio 4 "I'm very
proud to be an equal citizen and I think that's what the Opening Ceremony was actually about." In
2014, it was announced that Boyle would become a patron of HOME in Manchester.[24]
Television Edit
In 1987 Boyle started working in television as a producer for BBC Northern Ireland where he
produced, amongst other TV films, Alan Clarke's controversial Elephant before becoming a
director on shows such as Arise And Go Now, Not Even God Is Wise Enough, For The Greater
Good, Scout and two[25] episodes of Inspector Morse. These were Masonic Mysteries and
Cherubim and Seraphim. He was also responsible for the BBC2 series Mr. Wroe's Virgins.[17]
Danny Boyle is not to be confused with a different Daniel Boyle, who is not related, who scripted
five original teleplays for Inspector Morse at about this time, and who has continued to write and
adapt crime stories for television including the first episode of Lewis, and much of the popular
series Hamish Macbeth.[26]
In between the films The Beach and 28 Days Later Boyle directed two TV films for the BBC in
2001 – Vacuuming Completely Nude in Paradise and Strumpet.[27] He has also appeared on Top
Gear and drove the fastest wet lap at that time.
Films Edit
Boyle's love for film began with his first viewing of Apocalypse Now:
It had eviscerated my brain, completely. I was an impressionable twenty-one-year-old guy from

the sticks. My brain had not been fed and watered with great culture, you know, as art is meant to
do. It had been sandblasted by the power of cinema. And that's why cinema, despite everything we
try to do, it remains a young man's medium, really, in terms of audience.[28]
The first film Boyle directed was Shallow Grave.[17] The film was the most commercially
successful British film of 1995,[29] won the BAFTA Award for Best British Film, and led to the
production of Trainspotting, based on the novel by Irvine Welsh.[30] Working with writer John
Hodge and producer Andrew Macdonald, Shallow Grave earned Boyle the Best Newcomer Award
from the 1996 London Film Critics Circle.[29] Shallow Grave and Trainspotting caused critics to
claim that Boyle had revitalised British cinema in the early '90s.[17] The BFI ranked Trainspotting
the 10th greatest British film of the 20th century.[31]
Boyle declined an offer to direct the fourth film of the Alien franchise, instead making A Life Less
Ordinary using British finance.[32][33] Boyle's next project was an adaptation of the cult novel
The Beach. Filmed in Thailand with Leonardo DiCaprio in a starring role, casting of the film led
to a feud with Ewan McGregor, star of his first three films.[17] He then collaborated with author
Alex Garland on the post-apocalyptic horror film 28 Days Later.[34]
He also directed a short film Alien Love Triangle (starring Kenneth Branagh), which was intended
to be one of three shorts within a feature film. However the project was cancelled after the two
other shorts were made into feature films: Mimic starring Mira Sorvino and Impostor starring
Gary Sinise.[35] In 2004 Boyle directed Millions,[10] scripted by Frank Cottrell Boyce.[36] His
next collaboration with Alex Garland[10] was the science-fiction film Sunshine, featuring 28 Days
Later star Cillian Murphy, and was released in 2007.[37]
Boyle at the 2008 Toronto International Film Festival

In 2008 he directed Slumdog Millionaire, the story of an impoverished child (Dev Patel) on the
streets of Mumbai, India who competes on India's version of Who Wants to Be a Millionaire?, for
which Boyle won Academy and BAFTA Awards for Best Director. The most successful British
film of the decade, the film won eight Academy Awards and seven BAFTA Awards in total.[38]
[39] On film-making Boyle commented, "To be a film-maker...you have to lead. You have to be
psychotic in your desire to do something. People always like the easy route. You have to push very
hard to get something unusual, something different."[17] Andrew Macdonald, producer of
Trainspotting, said "Boyle takes a subject that you've often seen portrayed realistically, in a
politically correct way, whether it's junkies or slum orphans, and he has managed to make it
realistic but also incredibly uplifting and joyful."[17]
In 2010, Boyle directed the film 127 Hours, starring James Franco and featuring Amber Tamblyn
and Kate Mara. It was based on Aron Ralston's autobiography Between a Rock and a Hard Place,
which detailed his struggle of being trapped under a boulder while canyoneering alone in Blue
John Canyon, southeastern Utah, and resorting to desperate measures to survive. The film was
released on 5 November 2010 to critical acclaim. The film got six nominations at the 83rd
Academy Awards, including Best Picture and Best Adapted Screenplay for Boyle and Best Actor
for Franco.
Boyle prior to the 2012 Summer Olympics opening ceremony

Boyle's next film was Trance, while another instalment of the 28 Days Later franchise is in the
development stages.[40][41] Boyle has stated previously that in theory the third instalment of the
series would be titled 28 Months Later, but alluded to a film taking place somewhere else in the
world he created in 28 Days Later and 28 Weeks Later. He is also stated to be producing the
upcoming film Paani.[42] He has directed the sequel to Trainspotting, T2 Trainspotting.[43]
Boyle told an interviewer about the eclectic range of his films, "There's a theme running through
all of them—and I just realised this. They're all about someone facing impossible odds and
overcoming them."[44] With a strong interest in music, Boyle has mentioned in interviews that he
has considered a musical film with original compositions. Boyle has also expressed interest in an
animated film, and, in 2013, a sequel to 28 Weeks Later.[45]
Boyle's eponymous biopic of Apple Inc. founder Steve Jobs closed the 59th BFI London Film
Festival. This was the third time Boyle has had that honour, after Slumdog Millionaire in 2008 and
127 Hours two years later. The BFI's London Film Festival Director, Clare Stewart, said Boyle
had created an exhilarating and audacious film about a complex, charismatic pioneer.[46]
In a BBC interview, Boyle stated that he didn't write his own films but they did reflect his
personality. "I am not a big auteur fan and like to work with writers, but ultimately a film is a
director's vision, because he gets all its elements together towards that vision."[47]
In March 2018, Boyle confirmed he will be directing the new James Bond movie, Bond 25. The
movie has an expected release date of November 8, 2019.[48]
Recognition Edit
In 2010, The Tablet named Boyle one of Britain's most influential Roman Catholics.[49] In 2012,
Boyle was among the British cultural icons selected by artist Sir Peter Blake to appear in a new
version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album
cover – to celebrate the British cultural figures of his lifetime.[50][51]
Awards Edit
Boyle at Ryerson University, Toronto, Canada, 10 September 2008

Main article: List of awards and nominations received by Danny Boyle
Filmography Edit
Film Edit
Year Film Director Producer Screenwriter Notes
1994 Shallow GraveYes
1996 Trainspotting Yes
1997 Twin Town Yes Credited as executive producer
A Life Less Ordinary Yes
2000 The Beach Yes
2002 28 Days Later Yes
2004 Millions Yes
2007 Sunshine Yes
28 Weeks Later Yes Credited as executive producer
2008 Slumdog Millionaire Yes
Alien Love Triangle Yes Short film
2010 127 Hours Yes Yes Yes [52]
2013 Trance Yes Yes
2015 Steve Jobs Yes Yes
2017 T2 Trainspotting Yes Yes
Battle of the Sexes Yes
Television Edit
Year Show Director Producer Screenwriter Notes
1987 The Rockingham Shoot Yes TV film
1987 Scout Yes TV film
1987 The Venus de Milo Instead Yes TV film
1989 Elephant Yes TV short
1989 Monkeys Yes Yes TV film
1989 The Nightwatch Yes Yes TV film
1989–1993 Screenplay Yes 3 episodes
1990–1992 Inspector Morse Yes 2 episodes
1991 For the Greater Good Yes TV film
1993 Mr. Wroe's Virgins Yes 3 episodes
2001 Strumpet Yes TV film
2001 Vacuuming Completely Nude in Paradise Yes TV film
2012 Summer Olympics opening ceremony Yes Yes
2014 Babylon Yes Yes Episode: "Pilot"
2017 Alternativity Yes play of Banksy
2018 Trust Yes Yes 3 episodes
Actor Shallow GraveTrainspotting A Life Less Ordinary Strumpet The Beach 28 Days
Later Millions Sunshine 28 Weeks Later Frankenstein Babylon T2 Trainspotting
Total
Christopher Eccleston 3
Cillian Murphy 2
Ewan McGregor 4
Ewen Bremner 2
Irvine Welsh 2
James Cosmo 2
James Nesbitt 2
Jonny Lee Miller 3
Keith Allen 2
Kelly Macdonald 2
Naomie Harris 2
Paterson Joseph 2
Peter Mullan 2
Robert Carlyle 4
Rose Byrne 2
Shirley Henderson 2
Crew Shallow GraveTrainspotting A Life Less Ordinary The Beach Strumpet
Vacuuming Completely Nude in Paradise 28 Days Later Millions Sunshine Slumdog
Millionaire Alien Love Triangle 127 Hours Trance Steve Jobs T2 Trainspotting
Total
A. R. Rahman 2
Alex Garland 2
Alwin H. Küchler 2
Andrew Macdonald 8
Anthony Dod Mantle
7
Brian Tufano 4
Chris Gill 3
Christian Colson 5
Jim Cartwright 2
John Hodge 7
John Murphy 5
Jon Harris 3
Masahiro Hirakubo 4
Simon Boswell 2
References Edit
^ "Results for England & Wales Births 1837-2006". Find My Past.co.uk
^ a b BOYLE, Danny. ukwhoswho.com. Who's Who. 2015 (online Oxford University Press ed.). A
& C Black, an imprint of Bloomsbury Publishing plc. (subscription required)
^ Hedgecoe, Guy (17 June 2010). "Danny Boyle To Oversee 2012 Olympic Ceremony". The
Huffington Post. Associated Press.
^ "Oscar Winning Director Danny Boyle Says He Turned Down A Knighthood". The Huffington
Post. Associated Press. 19 March 2013.
^ Stage New Manchester venue Home appoints Danny Boyle as patron
^ a b "Danny Boyle". The New York Times. Retrieved 29 October 2008.
^ "Danny Boyle – Biography". Yahoo! Movies. Archived from the original on 16 March 2014.
Retrieved 31 January 2013.
^ Kolan, Patrick. "Interview: Danny Boyle". IGN.
^ Caden, Sarah (22 May 2005), "The man who could have been pope", Sunday Independent,
retrieved 23 February 2009
^ a b c Moggach, Lottie (26 May 2005), "Danny Boyle", The Times, retrieved 11 March 2009
^ Leach, Ben (14 January 2009), "Slumdog Millionaire director Danny Boyle almost became a
priest", The Daily Telegraph, retrieved 23 February 2009
^ Dibbits, Kat (10 January 2009), Golden Globes are calling for Danny Boyle,
theboltonnews.co.uk, retrieved 25 February 2009
^ "Slumdog Millionaire fast becoming one of year's major films". Bangor University. Archived
from the original on 16 March 2014. Retrieved 14 December 2012.
^ Lewis, Tim (21 February 2009), Bangor professor remembers ex-student Danny Boyle,
walesonline.co.uk, retrieved 23 February 2009
^ Boyle, Danny (11 November 2008), "Why the Congo needs art as well as food", The Times,
London, archived from the original on 18 September 2011, retrieved 22 January 2010
^ Williams, Jennifer (16 February 2017), Danny Boyle to help launch £30m film and media school
in Manchester, manchestereveningnews.co.uk, archived from the original on 16 February 2017,
retrieved 17 February 2017
^ a b c d e f g Grice, Elizabeth (24 February 2009). "From fleapit to the red carpet". The Daily
Telegraph. London. Retrieved 11 March 2009.
^ "Danny Boyle to Direct Frankenstein for UK's National Theatre". DreadCentral.
^ Frankenstein – Productions – National Theatre Archived 20 March 2012 at the Wayback
Machine.
^ "Media reaction to London 2012 Olympic opening ceremony". BBC News. 28 July 2012.
^ "London Olympics opening ceremony kicks off". Xinhua News Agency. 28 July 2012. Archived
from the original on 1 August 2012. Retrieved 28 July 2012.
^ Lyall, Sarah (27 July 2012). "A Five-Ring Opening Circus, Weirdly and Unabashedly British".
The New York Times.
^ "Media reaction to London 2012 Olympic opening ceremony". BBC News. Retrieved 28 July
2012.
^ Stage New Manchester venue Home appoints Danny Boyle as patron
^ "Danny Boyle Biography (1956–)". Film Reference.com. Retrieved 5 November 2009.
^ Agent's webpage for Daniel Boyle (writer) Archived 25 July 2011 at the Wayback Machine.
^ "The Danny Boyle Project, Part Five: "Vacuuming Completely Nude in Paradise"". Vanity Fair.
^ Boyle, Danny. Interview by Robert K. Elder. The Film That Changed My Life by Robert K.
Elder. Chicago: Chicago Review Press, 2011. N. p28. Print.
^ a b Mayer & McDonnell 2007, pp. 377–380.
^ "BFI Top 100 British films". BFI. 6 September 2006. Retrieved 23 February 2009.
^ British Film Institute - Top 100 British Films (1999). Retrieved August 27, 2016
^ Martinson, Jane (5 April 2007). "Bringing a ray of sunshine to British films". The Guardian.
London.
^ "Danny Boyle Asked About 'Alien 4', 'Lady Vengeance', '28 Days Later...' Sequel, and More".
WeAreMovieGeeks.
^ Hiscock, John (3 April 2007). "Another bright idea from Mr Sunshine". The Daily Telegraph.
London. Retrieved 26 February 2009.
^ Kermode, Mark (15 February 2008). "Aliens come to Wales". The Guardian. London. Retrieved
1 March 2008.
^ Frank Cottrell Boyce: Writersroom. BBC.
^ "Sunshine (IMDB)". Internet Movie Database. Retrieved 16 April 2010.
^ Anita Singh (23 February 2009). "Oscar winners: Slumdog Millionaire and Kate Winslet lead
British film sweep". The Daily Telegraph. London. Retrieved 27 September 2010.
^ Singh, Anita (23 February 2009). "Oscar winners: Slumdog Millionaire and Kate Winslet lead
British film sweep". The Daily Telegraph. London. Retrieved 23 February 2009.
^ "Danny Boyle On '28 Months Later': It's Not Called '28 Months Later'!". MTV Movies Blog.
Retrieved 21 December 2009.
^ dreadcentral.com, "UPDATED: Exclusive: Danny Boyle Directing the Next 28 Days Later
Sequel". Retrieved 18 October 2010.
^ "Danny Boyle to produce Paani". The Times of India. 3 June 2009. Retrieved 3 June 2009.
^ "Danny Boyle talks Trainspotting Sequel, Porno". /Film.
^ Himes, Geoffrey (12 March 2013). "SXSW: Danny Boyle talks up new film Trance". Baltimore
City Paper. Baltimore, Maryland. Archived from the original on 30 September 2013. Retrieved 2
April 2013.
^ "MOVIE CON III: Danny Boyle and Christian Colson Part 3". Empire. Retrieved 27 August
2010.
^ "What's Worth Seeing: Danny Boyle's Steve Jobs to close LFF 2015". Retrieved 7 August 2015.
^ Husam sam Asi (25 January 2016), Danny Boyle: A film reflects the director's personality –
Interview, retrieved 4 April 2016
^ Guerrasio, Jason (March 15, 2018). "'Trainspotting' director Danny Boyle confirms he will be
directing the next James Bond movie". Business Insider. Retrieved 15 March 2018.
^ "The Tablet's Top 100". Archived from the original on 13 March 2016.
^ "New faces on Sgt Pepper album cover for artist Peter Blake's 80th birthday". The Guardian. 5
October 2016.
^ "Sir Peter Blake's new Beatles' Sgt Pepper's album cover". BBC. 8 November 2016.
^ Brooks, Xan (5 November 2009). "Danny Boyle climbs on mountaineer epic 127 Hours". The
Guardian. Manchester, England. Retrieved 5 November 2009.
Mayer, Geoff; McDonnell, Brian (2007). Encyclopedia of film noir. Greenwood Publishing
Group. ISBN 0-313-33306-8.
External links Edit
Wikimedia Commons has media related to Danny Boyle.
Danny Boyle on IMDb
Danny Boyle biography and credits at the British Film Institute's Screenonline
Interview about Slumdog Millionaire on MyNorthwest.com
Podcast with Danny Boyle on Intent.com
Wikipedia


Wikipedia
Ridley Scott
Director de cine británico
Ridley Scott Kt (South Shields, Inglaterra; 30 de noviembre de 1937) es un director y productor de
cine británico. Ha sido nominado en tres ocasiones a los premios Óscar a la mejor dirección. En
enero de 2003 fue nombrado caballero por la reina Isabel II. Algunas de sus películas son
consideradas como auténticas obras de culto, especialmente Blade Runner y Alien, el octavo
pasajero.
Ridley Scott
NASA Journey to Mars and “The Martian" (201508180030HQ).jpg
Ridley Scott en 2015 promocionando su película The Martian.
Otros nombres
R-Scott, Rid
Nacimiento
30 de noviembre de 1937 (80 años)
Bandera de Reino Unido South Shields, Inglaterra, Reino Unido
Nacionalidad
Británico
Religión
Familia
Madre
Elizabeth Jean Scott Ver y modificar los datos en Wikidata
Cónyuge
Felicity Heywood
(1964-1975)
Sandy Watson
(1979-1989)
Pareja
Giannina Facio
(2000-presente)
Hijos
Jake Scott (1965)
Luke Scott (1968)
Jordan Scott (1978)
Familiares
Tony Scott
(Hermano; fallecido)
Educación
Alma máter
Universidad Real de Arte Ver y modificar los datos en Wikidata
Ocupación
Director, productor
Años activo
desde 1962
Año de debut
1965
Obras notables
Gladiator
Blade Runner
Alien, el octavo pasajero
Premios artísticos
Premios Óscar
Mejor película
2000 Gladiator
Globos de Oro
2000 Gladiator
Mejor película - Comedia o musical
2015 The Martian
Premios BAFTA
Mejor película
2000 Gladiator
Premios Emmy
Mejor telefilme
2002 The Gathering Storm
Mejor especial no ficcional
2011 Gettysburg
Otros premios
Premio de la Crítica Cinematográfica a la mejor película
2000 Gladiator
Distinciones
Comendador de las Artes y las Letras
Commander of the Order of Ouissam Alaouite Ver y modificar los datos en Wikidata
Índice
Biografía Editar
Scott nació el 30 de noviembre de 1937 en South Shields, hijo mediano de Elizabeth y el coronel
Francis Percy Scott. Por el oficio de su padre, éste no estuvo muy presente en la infancia de Scott.
Después de la Segunda Guerra Mundial, su familia se muda a Teeside. Le gustaba mucho ver
películas, siendo sus favoritas Ciudadano Kane de Orson Welles, Lawrence de Arabia de David
Lean y Los siete samuráis de Akira Kurosawa.
Sir Ridley Scott, doctor honoris causa en el Royal College of Art, julio de 2015.
Estudió en la Royal College of Art, donde ayudó a establecer el Departamento de Cine. Dirigió un
cortometraje en blanco y negro titulado Boy and Bicycle, protagonizado por su hermano menor
Tony Scott y su padre. La película tenía las características visuales que serían marca de Scott en
sus futuras películas. En 1963 consiguió un trabajo como escenógrafo en prácticas en la BBC y
trabajó en la serie Out of the Unknown.
En 1968, junto con su hermano Tony, funda Ridley Scott Asociados, con la que producen la serie
The Hunger. Durante los años setenta dirige anuncios televisivos y participa con Alan Parker,
Hugh Hudson y Hugh Johnson.
Carrera artística Editar
Su estilo eleva la importancia de la experiencia sensorial (visual, sonora, auditiva) en un filme. El
cine de Scott utiliza a la iluminación, fotografía, creación de ambientes y sincronía con la música
y el sonido como "actores" adicionales que contribuyen a la experiencia total del espectador. Esta
característica puede ser percibida en los más de 2000 anuncios de televisión que Scott ha dirigido.
Sus primeros filmes (especialmente Los duelistas, Alien, y Blade Runner) proporcionan al
espectador una experiencia completa donde las escenas son recordadas no solamente por los
actores que intervienen o por momentos específicos del guion, sino por el ambiente recreado en
ellas. Se le consideró desde entonces como un visionario del cine. Ridley Scott fue el primero en
utilizar comercialmente la denominación "Director's Cut" (‘montaje del director’) para una
obra que el director reedita para el público y en la que se aprecian diferencias con la versión
estrenada originalmente. También ha participado junto con su hermano Tony en la producción de
la serie basada en el libro del mismo nombre Los pilares de la Tierra.
Los duelistas Editar

Artículo principal: Los duelistas
Adaptando la novela The Duel de Joseph Conrad, Scott nos traslada a las guerras napoleónicas,
donde dos tenientes se baten en salvajes duelos que desencadenan en una enemistad que dura 15
años. Protagonizada por Harvey Keitel y Keith Carradine. Se destacó por su gran calidad visual.
Alien, el octavo pasajeroEditar

Artículo principal: Alien, el octavo pasajero
Estrenada en 1979, esta película de terror y ciencia ficción se ha convertido en un clásico
moderno. La nave de transporte comercial, U.S.C.S.S. Nostromo, regresa a la Tierra, pero se
detiene al detectar una transmisión de origen desconocido. Tras encontrar una hostil criatura
alienígena, ésta les ataca. Sigourney Weaver fue la protagonista, convirtiéndose en una importante
figura en la ciencia ficción. En las décadas posteriores se han hecho varias secuelas (con otros
directores), hasta que en 2012 Scott retomó la saga con dos precuelas: Prometheus y Alien:
Covenant.
Blade Runner Editar

Artículo principal: Blade Runner
Basada parcialmente en la novela ¿Sueñan los androides con ovejas eléctricas? de Philip K. Dick,
Scott siguió con el cine de ciencia ficción.
La película de 1982 describe un futuro en el que seres fabricados a través de la ingeniería genética
—«replicantes»— son empleados en trabajos peligrosos y como esclavos en las «colonias
exteriores» de la Tierra. Los replicantes fueron declarados ilegales en el planeta Tierra tras un
sangriento motín.
Un cuerpo especial de la policía —Blade Runners— se encarga de rastrear y matar (o «retirar») a

los replicantes fugitivos que se encuentran en la Tierra. Con un grupo de replicantes
particularmente brutal y hábil suelto en Los Ángeles, un dubitativo Deckard es invocado desde su
semirretiro para que use algo de «la vieja magia blade runner».
La película recibió grandes elogios por parte de la crítica, que la clasificaron como la mejor
película de ciencia ficción, si bien en su momento no fue un éxito de taquilla, esta cinta se ha
convertido en un clásico y en un filme de culto.
En octubre de 2017 se programó el estreno de la secuela de éste clásico, con el título Blade
Runner 2049. Dirigida por Denis Villeneuve, Scott ejerció de productor ejecutivo.
Legend Editar
Artículo principal: Legend (película)
Ridley cambia de registro con esta película, más enfocada a la acción y a la fantasía. Tom Cruise y
Mia Sara protagonizan esta aventura. Lili es una bella princesa a la que le gusta pasear por el
bosque encantado. Ella dice que va a ver a unos parientes, pero en realidad va a encontrarse con
Jack, un extraño personaje verde. Mientras, una personificación del diablo intentará extender la
noche eterna matando al unicornio de esas tierras. Aunque muchos se mostraron decepcionados
por este cambio, la película cuenta con un grupo de fans incondicionales.
1987-1992 Editar
Tras dirigir en 1987 La sombra del testigo, que recibió muy malas críticas, la reputación de Scott
en Hollywood empezó a decaer. Luego dirigió en 1989 el policial Black Rain en Japón con
Michael Douglas y Andy García, con críticas ambivalentes.
En 1991 dirige Thelma y Louise, protagonizada por Susan Sarandon y Geena Davis. La película
fue un éxito tanto en taquilla como en críticas reafirmando la reputación de Scott y siendo ambas
protagonistas nominadas a los Premios Óscar, aunque perdieron en favor de Jodie Foster por El
silencio de los corderos. El argumento trata sobre dos mujeres que viven rodeadas de machistas e
intentan romper con la situación, viviendo un sinfín de aventuras. Un joven Brad Pitt de 26 años,
entonces un desconocido, tiene una intervención breve pero impactante en esta película, que fue su
empujón al estrellato.
Respaldado de nuevo por el éxito Scott dirige al año siguiente la superproducción 1492: La
conquista del paraíso con Gérard Depardieu y Sigourney Weaver, pero fracasa en taquilla.
Tras el fracaso de 1492: La conquista del paraíso, en cuatro años no vuelve a dirigir una película.
En 1996 dirige Tormenta blanca y al año siguiente La teniente O'Neil.
Gladiador Editar
Artículo principal: Gladiator
El éxito le llega de nuevo en el año 2000 con Gladiator, protagonizada por Russell Crowe y
Joaquin Phoenix. La película obtuvo buenas críticas por parte de la crítica especializada por
revivir el casi extinto género de romanos. Arrasó en los Premios de la Academia, llevándose los
premios de mejor película, mejor actor (Russell Crowe), mejor vestuario, mejor sonido y mejores
efectos visuales.
2001-2005 Editar
En 2001 dirige Hannibal, continuación del clásico El silencio de los corderos, con Anthony
Hopkins en el papel de Hannibal y Julianne Moore sustituyendo a Jodie Foster. Fue un enorme
éxito de taquilla y, aunque parte de la crítica alabó el cambio de la franquicia hacia caminos más
sangrientos, el resto se mostró decepcionada al compararla con su antecesora. En los siguientes
años dirigió éxitos de taquilla. Black Hawk Derribado ganó dos premios Óscar, al mejor sonido y
al mejor montaje. Los impostores, una comedia negra sobre robos y estafas, recibió
mayoritariamente críticas positivas, pero la taquilla no respondió de igual manera, cosechando
moderado éxito. En 2005 dirigió una película sobre las Cruzadas, El reino de los cielos,
protagonizada por Orlando Bloom. Aunque los resultados en taquilla no fueron los esperados, la
crítica la calificó como «mejor y más profunda que Gladiator».
2006-presente Editar
Ridley Scott con su pareja Giannina Facio en la premiere de The Martian

Scott se unió de nuevo con la estrella de Gladiator, Russell Crowe para dirigir Un buen año,
basada en un best-seller. En 2007 dirige American Gangster, basada en la vida real del
narcotraficante Frank Lucas y un detective que trataba de derribar su imperio de la droga, Richie
Roberts. Protagonizada de nuevo por Russell Crowe y Denzel Washington, la crítica alabó
enormemente la película, llamándola incluso "la 'Scarface negra' o el 'Padrino de Harlem'" (Peter
Travers: Rolling Stone). Obtuvo buenos resultados en taquilla.
A finales del 2008 se estrenó Red de mentiras de nuevo con Russell Crowe y también con
Leonardo DiCaprio, que de nuevo abrió taquilla y dividió a la crítica. En el año 2010 estrenó una
revisión moderna del mito de Robin Hood, Robin Hood con Russell Crowe en el papel
protagonista. Las críticas no fueron positivas para la película, que fue criticada por mediar entre la
realidad y la ficción, y por desmitificar a Robin Hood.
En 2012 estrenó Prometheus, inicialmente concebida como precuela de Alien, el octavo pasajero,
pero que, sin embargo, Scott Free y 20th Century Fox comentaron de manera oficial que empleó el
universo Alien como telón de fondo para una historia original, que refleja claros indicios de la
mitología ancestral que se mostró en el film original. Está protagonizada por Noomi Rapace,
Charlize Theron y Michael Fassbender.
En 2013 Scott estrenó The Counselor con Michael Fassbender, Penélope Cruz, Cameron Diaz,
Brad Pitt y Javier Bardem.[1]
En diciembre de 2014 presentó Exodus, un film basado en la historia de Moisés, con Christian
Bale y María Valverde a la cabeza del reparto. El rodaje se realizó en España, principalmente en
Almería (Andalucía) y Fuerteventura (Canarias).
El 2 de octubre de 2015 estrenó The Martian, una película de ciencia ficción protagonizada por
Matt Damon y basada en la novela de Andy Weir El marciano.
El 4 de mayo de 2017 tuvo lugar la premier en Londres de Alien: Covenant, secuela de su anterior
película Prometheus, prosiguiendo de este modo con el desarrollo de la franquicia Alien.[2]
Involucrado como productor, se estrenó Blade Runner 2049, continuación de la cinta original, y
cuya fecha de proyección fue el 6 de octubre de 2017.[3]
El 8 de julio de 2017, se confirmó que Ridley Scott se encontraba en Roma grabando la historia
del secuestro de Paul Getty III, nieto del multimillonario petrolero estadounidense del mismo
nombre, con un reparto compuesto por Michelle Williams, Christopher Plummer, Mark Wahlberg,
Romain Duris, Charlie Plummer, Andrew Buchan y Timothy Hutton. La cinta se tituló All the
Money in the World y se estrenó el 8 de diciembre.[4]
Próximos proyectosEditar
En marzo de 2017, Scott confirmó que ya tenía listo el guion de la secuela de Alien: Covenant y
que el rodaje de tal entrega comenzaría en 2018.[5] En un encuentro posterior, al director se le
escapó el que podría ser el título de dicha película, Alien: Awakening, situándose su trama entre
los acontecimientos de Prometheus y Alien: Covenant. Y que si la franquicia Alien seguía
llamando la atención del público, su intención sería realizar otra trilogía que enlazara directamente
con la película original de 1979.[6] Sin embargo, el 21 de julio de 2017, Hollywood Reporter
aseguró en un reportaje que 20th Century Fox estaba reestudiando las secuelas mientras Scott
estaba ocupado con sus próximos proyectos. Covenant recaudó la mitad que su predecesora,
sumado a la fría recepción que mostró el público habría sido suficiente como para que el estudio
se lo pensara dos veces antes de invertir en las dos secuelas que el director tenía pensadas.[7]
En febrero de 2017 se anunció el rodaje de The Cartel, seleccionando Scott como localización la
vieja cárcel de Málaga (España), cerrada desde 2009. La película narra la lucha sin cuartel por el
control del tráfico de drogas entre México y Estados Unidos. Protagonizada por Leonardo
DiCaprio, tuvo previsto su rodaje en verano de 2017.[8][9]
El 4 de enero de 2018 se informó que Scott estaba en conversaciones con Disney para dirigir una
adaptación cinematográfica de The Merlin Saga, basada en una serie de doce libros sobre el mago
Merlín escrita por T. A. Barron. En ella participaría a su vez la guionista de El Señor de los Anillos
Philippa Boyens.[10]
Filmografía completa Editar

Artículo principal: Anexo:Filmografía de Ridley Scott
Año Película Director ProductorReparto Notas
1965 Boy and Bicycle Sí No con Tony Scott Primer cortometraje
1977 Los duelistas Sí No con Keith Carradine, Harvey Keitel y Albert Finney Primer
largometraje
1979 Alien, el octavo pasajero Sí No con Sigourney Weaver, Tom Skerritt y John Hurt
1982 Blade Runner Sí No con Harrison Ford, Sean Young y Rutger Hauer
1985 Legend Sí No con Tom Cruise, Mia Sara y Tim Curry
1987 La sombra del testigo Sí Sí con Tom Berenger, Mimi Rogers y Lorraine Bracco
1989 Black Rain Sí No con Michael Douglas, Andy García y Kate Capshaw
1991 Thelma y Louise Sí Sí con Susan Sarandon, Geena Davis y Brad Pitt
1992 1492: La conquista del paraíso Sí Sí con Gérard Depardieu, Sigourney Weaver y
Armand Assante
1996 Tormenta blanca Sí No con Jeff Bridges, Caroline Goodall y John Savage
1997 La teniente O'Neil Sí Sí con Demi Moore, Viggo Mortensen y Anne Bancroft
2000 Gladiator Sí No con Russell Crowe, Joaquin Phoenix y Connie Nielsen
2001 Hannibal Sí No con Anthony Hopkins, Julianne Moore y Ray Liotta
2001 Black Hawk Derribado Sí Sí con Josh Hartnett, Eric Bana y Ewan McGregor
2003 Los impostores Sí Sí con Nicolas Cage, Sam Rockwell y Alison Lohman
2005 El reino de los cielos Sí Sí con Orlando Bloom, Eva Green y Liam Neeson
2006 Un buen año Sí Sí con Russell Crowe, Abbie Cornish, Albert Finney y Marion
Cotillard
2007 American Gangster Sí Sí con Denzel Washington y Russell Crowe
2008 Red de mentiras Sí Sí con Leonardo DiCaprio y Russell Crowe
2010 Robin Hood Sí Sí con Russell Crowe y Mark Strong
2012 Prometheus Sí Sí con Noomi Rapace, Charlize Theron y Michael Fassbender
2013 The Counselor Sí Sí con Michael Fassbender, Penélope Cruz, Cameron Diaz, Brad
Pitt y Javier Bardem[11]
2014 Exodus Sí Sí con Christian Bale, Joel Edgerton y Aaron Paul
2015 The Martian Sí Sí con Matt Damon, Jessica Chastain, Jeff Daniels, Michael Peña,
Kristen Wiig y Sebastian Stan
2016 Morgan No Sí con Kate Mara, Anya Taylor-Joy, Toby Jones, Rose Leslie y Boyd
Holbrook
2017 Alien: Covenant Sí Sí con Michael Fassbender y Katherine Waterston
2017 Blade Runner 2049 No Sí con Harrison Ford y Ryan Gosling
2018 All the Money in the World Sí Sí con Michelle Williams, Christopher Plummer,
Mark Wahlberg, Romain Duris, Charlie Plummer, Andrew Buchan y Timothy Hutton
Reconocimientos artísticos Editar
Año Premio Categoría Título Resultado
1977 Festival de Cannes Premio a la mejor película debut Los duelistas Ganador
Palma de Oro Nominado
1979 Premios Saturn Mejor director Alien: el octavo pasajeroGanador
Mejor película de ciencia ficción Ganador
1983 Mejor director Blade Runner Nominado
2001 Gladiator Nominado
2004 Saturn en memoria de George Pal Ganador
1991 Premios del Sindicato de Directores Mejor director - película Thelma y Louise
Nominado
2002 Black Hawk Down Nominado
2015 The Martian Nominado
1991 Premios Óscar Mejor director Thelma y Louise Nominado
2001 Black Hawk Down Nominado
2015 Mejor película The Martian Nominado
2000 Premios Globo de Oro Mejor director – película Gladiator Nominado
2007 American Gangster Nominado
2015 Mejor película - comedia o musical The Martian Ganador
1991 Premios BAFTA Mejor director Thelma y Louise Nominado
1995 Mejor contribución británica al cine Ganador
2001 Premios Satellite Mejor director Gladiator Nominado
2002 American Film Institute Director del año Black Hawk Down Nominado
Película del año Nominado
2000 Premios Primetime Emmy Primetime Emmy al mejor telefilme RKO 281
Nominado
2002 The Gathering Storm Ganador
2008 Primetime Emmy a la mejor miniserie La amenaza de Andrómeda Nominado
2009 Primetime Emmy a la mejor película para televisión Into the Storm Nominado
2010 Primetime Emmy a la mejor serie dramática The Good Wife Nominado
2011Nominado
Primetime Emmy a la mejor miniserie o película The Pillars of the Earth Nominado
Primetime Emmy especial de no ficción Gettysburg Ganador
2014 Primetime Emmy al mejor telefilme Killing Kennedy Nominado
2015 Killing Jesus Nominado
2015 Visual Effects Society Premio a la realización de toda una vida Ganador
2015 National Board of Review Mejor director The Martian Ganador
Referencias Editar
↑ Así será «The counselor», el filme de Ridley Scott, con Brad Pitt y Angelina Jolie
↑ «En vivo: premiere de Alien: Covenant en Londres». movienetworkpr.com. Consultado el 7 de
mayo de 2017.
↑ «Blade Runner 2 cambia su fecha de estreno». Gamer Focus. 20 de abril de 2016. Consultado
el 21 de abril de 2016.
↑ «Ridley Scott graba en Roma la historia del secuestro de Paul Getty III». Huelva Información.
8 de julio de 2017. Consultado el 8 de julio de 2017.
↑ «Ridley Scott confirma que ya tiene listo el guion de la próxima película de Alien». Antena 3. 7
de marzo de 2017. Consultado el 7 de marzo de 2017.
↑ «Ridley Scott revela el título de la próxima entrega de la saga tras ‘Alien: Covenant’».
lacasadeel.net. 17 de marzo de 2017. Consultado el 17 de marzo de 2017.
↑ Martí, Sergio (26 de julio de 2017). 'Alien: Covenant': Las dos secuelas podrían no llegar a
producirse. ecartelera.es. Consultado el 28 de julio de 2017.
↑ «Ridley Scott rodará en Málaga su thriller 'The Cartel'». SUR.es. 13 de febrero de 2017.
↑ «Ridley Scott rodará en la cárcel vieja de Málaga su película sobre El Chapo Guzmán». El
País. Consultado el 14 de febrero de 2017.
↑ «Ridley Scott negocia con Disney dirigir una película sobre Merlín». 20 Minutos. 5 de enero de
2017. Consultado el 5 de enero de 2017.
↑ ABC. «Así será «The counselor», el filme de Ridley Scott, con Brad Pitt y Angelina Jolie».
Consultado el 23 de enero de 2014.
Wikimedia Commons alberga una categoría multimedia sobre Ridley Scott.
Ridley Scott en Internet Movie Database (en inglés)
Ridley Scott en Tomatazos (en español).

Wikipedia
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Wikipedia
Ridley Scott
Sir Ridley Scott (born 30 November 1937) is an English film director and producer. Following his
commercial breakthrough with the science-fiction horror film Alien (1979), further works include
the neo-noir dystopian science fiction film Blade Runner, historical drama Gladiator (which won
the Academy Award for Best Picture), and science fiction film The Martian.
Sir
Ridley Scott
NASA Journey to Mars and “The Martian" (201508180030HQ).jpg
Scott in 2015
Born
30 November 1937 (age 80)
South Shields, County Durham, England
Alma mater
West Hartlepool College of Art
Royal College of Art
Occupation
Director, producer
Years active
1965–present
Spouse(s)
Felicity Heywood
(m. 1964; div. 1975)
Sandy Watson
(m. 1979; div. 1989)
Giannina Facio
(m. 2015)
Children
Jake Scott
Luke Scott
Jordan Scott
Family
Tony Scott (brother)
Scott's work has an atmospheric, highly concentrated visual style.[1][2] Though his films range
widely in setting and period, they frequently showcase memorable imagery of urban
environments, whether 2nd century Rome (Gladiator), 12th century Jerusalem (Kingdom of
Heaven), Medieval England (Robin Hood), contemporary Mogadishu (Black Hawk Down), the
future cityscapes of Blade Runner, or the distant planets in Alien, Prometheus, The Martian and
Alien: Covenant. His films are also known for their strong female characters.[3]
Scott has been nominated for three Academy Awards for Directing (for Thelma & Louise,
Gladiator and Black Hawk Down).[1] In 1995, both Ridley and his brother Tony received a
BAFTA for Outstanding British Contribution To Cinema.[4] In 2003, Scott was knighted for his
"services to the British film industry".[5] In a 2004 BBC poll Scott was named the tenth most
influential person in British culture.[6] In 2015 he received an honorary doctorate from the Royal
College of Art in London. In 2018 Scott received the BAFTA Fellowship for lifetime achievement.
[7]
Early life and career Edit

"My mum brought three boys up: my dad was in the army and so he was frequently away. During
the war (World War II) and post-war, we tended to travel following him around so my mum was
the boss. She laid down the law and the law was God. We just said 'Yup, okay' – we didn't argue.
I think that's where the respect has come from, because she was tough."
— A supporter of heroines in his work, Scott credits his mother Elizabeth as his first feminist role
model.[8]
Scott was born in South Shields, County Durham, North East England,[9] to Elizabeth (Williams)
and Colonel Francis Percy Scott.[10][11] Born shortly before the Second World War, he was
brought up in an army family. His father – an officer in the Royal Engineers – was absent for
most of his early life. His elder brother, Frank, joined the British Merchant Navy when he was still
young, and the pair had little contact.[12] During this time the family moved around, living in
(among other areas) Cumberland in North West England, Wales and Germany. He had a younger
brother, Tony, who also became a film director. After World War II, the Scott family moved back
to their native North East, eventually settling on Greens Beck Road in Hartburn, County Durham,
whose industrial landscape would later inspire similar scenes in Blade Runner.[13] His interest in
science fiction began by reading the works of H. G. Wells as a child.[14] He studied at
Grangefield Grammar School and West Hartlepool College of Art from 1954 to 1958, obtaining a
diploma in design.[15]
"I use everything I learned every day at art school. It's all about white sheets of paper, pens and
drawing."
— Scott speaking on the influence the Royal College of Art has had in designing the visuals for
his films.[16]
Scott went on to study at the Royal College of Art in London, contributing to college magazine
ARK and helping to establish the college film department. For his final show, he made a black and
white short film, Boy and Bicycle, starring both his younger brother and his father (the film was
later released on the "Extras" section of The Duellists DVD). In February 1963 Scott was named
in title credits as "Designer" for the BBC television programme Tonight, about the severe winter
of 1963. After graduation in 1963, he secured a job as a trainee set designer with the BBC, leading
to work on the popular television police series Z-Cars and science fiction series Out of the
Unknown. He was originally assigned to design the second Doctor Who serial, The Daleks, which
would have entailed realising the serial's eponymous alien creatures. However, shortly before
Scott was due to start work, a schedule conflict meant he was replaced by Raymond Cusick.[17]
In 1965, he began directing episodes of television series for the BBC, only one of which, an
episode of Adam Adamant Lives!, is available commercially.[18]
Gold Hill, Shaftesbury in the English county of Dorset where Scott filmed the 1973 Hovis
television commercial
In 1968, Ridley and Tony Scott founded Ridley Scott Associates (RSA), a film and commercial
production company.[19] Working alongside Alan Parker, Hugh Hudson and cinematographer
Hugh Johnson, Ridley Scott made many commercials at RSA during the 1970s, including a
notable 1973 Hovis advertisement, "Bike Round" (underscored by the slow movement of Dvořák's
"New World" symphony rearranged for brass), set in the north of England but filmed in Gold Hill,
Shaftesbury, Dorset.[20][21] A nostalgia themed television advertisement that captured the public
imagination, it was voted the UK's all-time favourite commercial in a 2006 poll.[22][23] In the
1970s the Chanel No. 5 brand needed revitalisation having run the risk of being labelled as mass
market and passé.[24] Directed by Scott in the 1970s and 1980s, Chanel television commercials
were inventive mini-films with production values of surreal fantasy and seduction, which "played
on the same visual imagery, with the same silhouette of the bottle."[24]
Five members of the Scott family are directors, and all have worked for RSA.[25] His brother
Tony was a successful film director whose career spanned more than two decades; his sons Jake
and Luke are both acclaimed directors of commercials, as is his daughter, Jordan Scott. Jake and
Jordan both work from Los Angeles; Luke is based in London. In 1995, Shepperton Studios was
purchased by a consortium headed by Ridley and Tony Scott, which extensively renovated the
studios while also expanding and improving its grounds.[26]
Early films Edit

The Duellists Edit
Main article: The Duellists
The Duellists (1977) marked Ridley Scott's first feature film as director. Shot in Europe, it was
nominated for the main prize at the Cannes Film Festival, and won an award for Best Debut Film.
The Duellists had limited commercial impact internationally. Set during the Napoleonic Wars, it
follows two French Hussar officers, D'Hubert and Feraud (Keith Carradine and Harvey Keitel)
whose quarrel over an initially minor incident turns into a bitter extended feud spanning fifteen
years, interwoven with the larger conflict that provides its backdrop. The film has been acclaimed
for providing a historically authentic portrayal of Napoleonic uniforms and military conduct.[27]
[28] The 2013 release of the film on Blu-ray coincided with the publication of an essay on the film
in a collection of scholarly essays on Scott.[29]
Alien Edit
Main article: Alien (film)
Scott had originally planned next to adapt a version of Tristan and Iseult, but after seeing Star
Wars, he became convinced of the potential of large scale, effects-driven films. He accepted the
job of directing Alien, the 1979 horror/science-fiction film that would win him international
success. Scott made the decision to switch Ellen Ripley from the standard male action hero to a
heroine.[30] Ripley (played by Sigourney Weaver), who appeared in the first four Alien films,
would become a cinematic icon.[30] The final scene of John Hurt's character has been named by a
number of publications as one of the most memorable in cinematic history.[31] Filmed at
Shepperton Studios in England, Alien was the sixth highest-grossing film of 1979, earning over
$104 million worldwide.[32] Scott was involved in the 2003 restoration and re-release of the
original film. In promotional interviews at the time, Scott indicated he had been in discussions to
make a fifth film in the Alien franchise. However, in a 2006 interview, Scott remarked that he had
been unhappy about Alien: The Director's Cut, feeling that the original was "pretty flawless" and
that the additions were merely a marketing tool.[33] Scott later returned to Alien-related projects
when he directed Prometheus and Alien: Covenant three decades after the original film's release.
[34]
Blade Runner Edit

Main article: Blade Runner
"Outside Star Wars, no sci-fi universe has been etched into cinematic consciousness more
thoroughly than Blade Runner. Ridley Scott's definitive 1982 neo-noir offered an immersive
dystopia of rain-soaked windows and shadowy buildings adorned with animated neon billboards,
where flying cars hum through the endless night."
— Eric Kohn, IndieWire, 2017.[35]
After a year working on the film adaptation of Dune, and following the sudden death of his
brother Frank, Scott signed to direct the film version of Philip K. Dick's novel Do Androids
Dream of Electric Sheep? Re-titled Blade Runner and starring Harrison Ford, the film was a
commercial disappointment in cinemas in 1982, but is now regarded as a classic.[36][37] In 1991,
Scott's notes were used by Warner Brothers to create a rushed director's cut which removed the
main character's voiceover and made a number of other small changes, including to the ending.
Later Scott personally supervised a digital restoration of Blade Runner and approved what was
called The Final Cut. This version was released in Los Angeles, New York City and Toronto
cinemas on 5 October 2007, and as an elaborate DVD release in December 2007.[38]
Today, Blade Runner is ranked by many critics as one of the most important and influential
science fiction films ever made,[39] partly thanks to its much imitated portraits of a future
cityscape.[40] It is often discussed along with William Gibson's novel Neuromancer as initiating
the cyberpunk genre. Scott has described Blade Runner as his "most complete and personal film".
[41]
"1984" Apple Macintosh commercial Edit

Main article: 1984 (advertisement)
In 1984, Scott directed a big-budget ($900,000) television commercial, "1984", to launch Apple's
Macintosh computer.[42] Scott filmed the advertisement in England for about $370,000;[43]
which was given a showcase airing in the US on 22 January 1984, during Super Bowl XVIII,
alongside screenings in cinemas.[44] Some consider this advertisement a "watershed event" in
advertising[45] and a "masterpiece".[46] Advertising Age placed it top of its list of the 50 greatest
commercials.[47]
Set in a dystopian future modelled after George Orwell's Nineteen Eighty-Four, Scott's
advertisement used its heroine (portrayed by English athlete Anya Major) to represent the coming
of the Macintosh (indicated by her white tank top adorned with a picture of the Apple Macintosh
computer) as a means of saving humanity from "conformity" (Big Brother), an allusion to IBM, at
that time the dominant force in computing.[48]
Legend Edit
Main article: Legend (1985 film)
In 1985, Scott directed Legend, a fantasy film produced by Arnon Milchan. Scott decided to create
a "once upon a time" tale set in a world of princesses, unicorns and goblins, filming almost
entirely inside the studio. Scott cast Tom Cruise as the film's hero, Jack, Mia Sara as Princess Lili
and Tim Curry as the Satan-horned Lord of Darkness.[49] Scott had a forest set built on the 007
Stage at Pinewood Studios in Buckinghamshire, with trees 60 feet high and trunks 30 feet in
diameter.[50] In the final stages of filming, the forest set was destroyed by fire; Jerry Goldsmith's
original score was used for European release, but replaced in North America with a score by
Tangerine Dream. Rob Bottin provided the film's Academy Award-nominated make-up effects,
most notably Curry's red-coloured Satan figure. Though a major commercial failure on release, the
film has gone on to become a cult classic. The 2002 Director's Cut restored Goldsmith's original
score.[51]
Subsequent films Edit

1987–1992 Edit
Scott made Someone to Watch Over Me, a romantic thriller starring Tom Berenger and Mimi
Rogers in 1987, and Black Rain (1989), a police drama starring Michael Douglas and Andy
García, shot partially in Japan. Both achieved mild success at the box office. Black Rain was the
first of Scott's six collaborations with the composer Hans Zimmer.[52][53]
Road film Thelma & Louise (1991) starring Geena Davis as Thelma, Susan Sarandon as Louise, in
addition to the breakthrough role for Brad Pitt as J.D, proved to be one of Scott's biggest critical
successes, helping revive the director's reputation and receiving his first nomination for the
Academy Award for Best Director.[54][55] His next project, independently-funded historical epic
1492: Conquest of Paradise, was a box office failure. The film recounts the expeditions to the
Americas by Christopher Columbus (French star Gérard Depardieu). Scott did not release another
film for four years.
1993–1999 Edit
In 1995, Ridley and his brother Tony formed a production company, Scott Free Productions, in
Los Angeles. All Ridley's subsequent feature films, starting with White Squall and G.I. Jane, have
been produced under the Scott Free banner. In 1995 the two brothers purchased a controlling
interest in the British film studio Shepperton Studios. In 2001, Shepperton merged with Pinewood
Studios to become The Pinewood Studios Group, which is headquartered in Buckinghamshire,
England.[56]
2000–2005 Edit
Scott's historical drama Gladiator (2000) proved to be one of his biggest critical and commercial
successes. It won five Academy Awards, including Best Picture, Best Actor for the film's star
Russell Crowe, and saw Scott nominated for the Academy Award for Best Director.[1] Scott
worked with British visual effects company The Mill for the film's computer-generated imagery,
and the film was dedicated to Oliver Reed who died during filming – The Mill created a digital
body double for Reed's remaining scenes. Some have credited Gladiator with reviving the nearly
defunct "sword and sandal" historical genre. The film was named the fifth best action film of all
time in the ABC special Best in Film: The Greatest Movies of Our Time.[57]
Scott then turned to Hannibal (2001) starring Anthony Hopkins as Hannibal Lecter. The film was
commercially successful despite receiving mixed reviews. Scott's next film, Black Hawk Down
(2001), based on a group of stranded US soldiers fighting for their lives in Somalia, saw him
receive a nomination for the Academy Award for Best Director.[1] In 2003, Scott directed a
smaller scale project, Matchstick Men, adapted from the novel by Eric Garcia and starring Nicolas
Cage, Sam Rockwell and Alison Lohman. It received mostly positive reviews, but performed
moderately at the box office.
In 2005, he made the modestly successful Kingdom of Heaven, a film about the Crusades. The
film starred Orlando Bloom, and marked Scott's first collaboration with the composer Harry
Gregson-Williams.[58] The Moroccan government sent the Moroccan cavalry as extras for some
battle scenes.[59] Unhappy with the theatrical version of Kingdom of Heaven (which he blamed
on paying too much attention to the opinions of preview audiences in addition to relenting when
Fox wanted 45 minutes shaved off), Scott supervised a director's cut of the film, the true version
of what he wanted, which was released on DVD in 2006.[60] The director's cut of Kingdom of
Heaven has been met with critical acclaim, with Empire magazine calling the film an "epic",
adding: "The added 45 minutes in the director’s cut are like pieces missing from a beautiful but
incomplete puzzle."[61] "This is the one that should have gone out" reflected Scott.[61] Asked if
he was against previewing in general in 2006, Scott stated: "It depends who's in the driving seat. If
you've got a lunatic doing my job, then you need to preview. But a good director should be
experienced enough to judge what he thinks is the correct version to go out into the cinema."[62]
Recent and upcoming films Edit

2006–2011 Edit
Scott teamed up again with Gladiator star Russell Crowe, for A Good Year, based on the best-
selling book by Peter Mayle about an investment banker who finds a new life in Provence. The
film was released on 10 November 2006. A few days later Rupert Murdoch, chairman of studio
20th Century Fox (who backed the film) dismissed A Good Year as "a flop" at a shareholders'
meeting.[63]
Scott's next film was American Gangster, based on the story of real-life drug kingpin Frank Lucas.
Scott took over the project in early 2006, and had screenwriter Steven Zaillian rewrite his script to
focus on the dynamic between Frank Lucas and Richie Roberts. Denzel Washington signed on to
the project as Lucas, with Russell Crowe co-starring. The film premiered in November 2007 to
positive reviews and box office success, and Scott was nominated for a Golden Globe for Best
Director.[1]
In late 2008, Scott's espionage thriller Body of Lies, starring Leonardo DiCaprio and Russell
Crowe, opened to lukewarm ticket-sales and mixed reviews. Scott directed a revisionist adaptation
of Robin Hood, which starred Russell Crowe as Robin Hood and Cate Blanchett as Maid Marian.
It was released in May 2010 to mixed reviews, but a respectable box-office.
Scott speaking with Prometheus stars Charlize Theron and Michael Fassbender at Wondercon
2012 in Anaheim, California on 17 March 2012
On 31 July 2009, news surfaced of a two-part prequel to Alien with Scott attached to direct.[34]
[64] The project, ultimately reduced to a single film called Prometheus, which Scott described as
sharing "strands of Alien's DNA" while not being a direct prequel, was released in June 2012. The
film starred Charlize Theron and Michael Fassbender, with Noomi Rapace playing the leading role
of the scientist named Elizabeth Shaw. The film received mostly positive reviews and grossed
$403 million at the box office.[65][66]
In August 2009, Scott planned to direct an adaptation of Aldous Huxley's Brave New World set in
a dystopian London with Leonardo DiCaprio.[67] In 2009, the TV Series The Good Wife
premiered with Ridley and his brother Tony credited as executive producers. On 6 July 2010,
YouTube announced the launch of Life in a Day, an experimental documentary executive
produced by Scott. Released at the Sundance Film Festival on 27 January 2011, it incorporates
footage shot on 24 July 2010 submitted by YouTube users from around the world.[68] As part of
the buildup to the 2012 London Olympics, Scott produced Britain in a Day, a documentary film
consisting of footage shot by the British public on 12 November 2011.[69]
2012–present Edit
In 2012, Scott produced the commercial for Lady Gaga's fragrance, "Fame." It was touted as the
first ever black Eau de Parfum, in the informal credits attached to the trailer for this advertisement.
On 24 June 2013, Scott's series Crimes of the Century debuted on CNN.[70] In November 2012 it
was announced that Scott would produce the documentary, Springsteen & I directed by Baillie
Walsh and inspired by Life in a Day, which Scott also produced. The film featured fan footage
from throughout the world on what musician Bruce Springsteen meant to them and how he
impacted their lives.[71] The film was released for one day only in 50 countries and on over 2000
film screens on 22 July 2013.[71]
Scott directed The Counselor (2013), with a screenplay by author Cormac McCarthy.[72][73] On
25 October 2013, Indiewire reported that "Before McCarthy sold his first spec script for Scott's
(Counselor) film, the director was heavily involved in developing an adaptation of the author's
1985 novel Blood Meridian with screenwriter Bill Monahan (The Departed). But as Scott said in a
Time Out interview, '[Studios] didn't want to make it. The book is so uncompromising, which is
what's great about it.' Described as an 'anti-western'..."[74] Scott directed the biblically-inspired
epic film Exodus: Gods and Kings, released in December 2014 which received mixed-to-negative
reviews from critics while earning $268 million on a $140 million budget. Filmed at Pinewood
Studios in Buckinghamshire, the film starred Christian Bale in the lead role.[75]
Scott participates in a question and answer session about NASA’s journey to Mars and his film
The Martian, 18 August 2015
In May 2014, Scott began negotiations to direct The Martian, starring Matt Damon as Mark
Watney.[76] Like many of Scott's previous works, The Martian features a heroine in the form of
Jessica Chastain's character who is the mission commander.[77] The film was originally scheduled
for release on 25 November 2015, but Fox later switched its release date with that of Victor
Frankenstein, and thus The Martian was released on 2 October 2015.[78][79] The Martian was a
critical and commercial success, grossed over $630 million worldwide, becoming Scott's highest-
grossing film to date.[80][81][82]
A sequel to Prometheus, Alien: Covenant, started filming in 2016, premiered in London on 4 May
2017, and received general release on 19 May 2017.[83] The film received generally positive
reviews from critics, with many praising Michael Fassbender's dual performance and calling the
film a return to form for both director Ridley Scott and the franchise.[84][85]
In August 2011, information leaked about production of a sequel to Blade Runner by Alcon
Entertainment, with Alcon partners Broderick Johnson and Andrew Kosove.[86] Scott informed
the Variety publication in November 2014 that he was no longer the director for the film and
would only fulfill a producer's role. Scott also revealed that filming would begin sometime within
2015, and that Harrison Ford has signed on to reprise his role from the original film but his
character should only appear in "the third act" of the sequel.[87] On 26 February 2015, the sequel
was officially confirmed, with Denis Villeneuve hired to direct the film, and Scott being an
executive producer.[88] The sequel, Blade Runner 2049, was released on 6 October 2017.[89]
From May to August 2017, Scott filmed All the Money in the World, a drama about the
kidnapping of John Paul Getty III, starring Mark Wahlberg and Michelle Williams.[90][91] Kevin
Spacey originally portrayed Getty Sr. However, after multiple sexual assault allegations against
the actor, Scott made the decision to replace him with Christopher Plummer, saying "You can't
condone that kind of behaviour in any shape or form. We cannot let one person's action affect the
good work of all these other people. It's that simple."[92] Scott began re-shooting Spacey's scenes
with Plummer on 20 November, which included filming at Elveden Hall in west Suffolk, England.
[92] With a release date of 25 December 2017, the film studio had its doubts that Scott would
manage it, saying: "They were like, 'You'll never do it. God be with you.'"[92][93]
Future projects Edit

In January 2016, Scott was in early negotiations to direct the screen version of the 1968 British
TV series The Prisoner.[94] In May 2016, it was announced that Scott and Drew Goddard (who
had worked together on The Martian) would be reteaming to adapt the book Wraiths of the Broken
Land by S. Craig Zahler. It is described as a piece of fiction that combines elements of "horror,
noir, and Asian ultra-violence."[95] In April 2017, 20th Century Fox lined up Scott to direct a film
about the Battle of Britain from WWII, where the Royal Air Force defended the country from
German Luftwaffe attacks, which is described as a "passion project" for the director.[96] Scott has
said that a sequel to Alien: Covenant would film 14 months from May 2017. It will be the final
film in his prequel series to his original film, Alien.[97] On 4 January 2018, it was reported that
Scott is in talks to direct a Disney film adaptation of The Merlin Saga, which is based on a 12-
book series written by T. A. Barron, with a screenplay from Philippa Boyens.[98] On 15 March it
was reported that Scott is in talks to adapt Greg Rucka's graphic novel Queen & Country for 20th
Century Fox.[99]
Television projects Edit

Ridley Scott and his brother Tony produced CBS series Numb3rs (2005–10), a crime drama
about a genius mathematician who helps the FBI solve crimes; and The Good Wife (2009–2016),
a legal drama about an attorney balancing her job with her husband, a former state attorney trying
to rebuild his political career after a major scandal. The two Scotts also produced a 2010 film
adaptation of 1980s television show The A-Team, directed by Joe Carnahan.[100][101]
Ridley Scott was an executive producer of the first season of Amazon's The Man in the High
Castle (2015–16).[102] Through Scott Free Productions, he is an executive producer on the dark
comic science-fiction series BrainDead which debuted on CBS in 2016.[103][104][105]
On 20 November 2017, Amazon struck a deal with AMC Studios for a worldwide release of The
Terror, Scott's series adaptation of Dan Simmons' novel, a speculative retelling of British explorer
Sir John Franklin's lost expedition of HMS Erebus and HMS Terror to the Arctic in 1845–1848 to
force the Northwest Passage, with elements of horror and supernatural fiction), with the series set
for release in 2018.[106][107]
Personal life Edit
Scott with his partner Giannina Facio at the world premiere of The Martian held at the Toronto
International Film Festival on 11 September 2015
Ridley Scott was married to Felicity Heywood from 1964 to 1975. The couple had two sons, Jake
and Luke, both of whom work as directors on Scott's production company, Ridley Scott
Associates. Scott later married advertising executive Sandy Watson in 1979, with whom he had a
daughter, Jordan Scott, and divorced in 1989.[108] His current partner is actress Giannina Facio,
whom he has cast in all his films since White Squall except American Gangster and The Martian.
[109] He divides his time between homes in London, France, and Los Angeles.[75]
His eldest brother Frank died, aged 45, of skin cancer in 1980.[110] His younger brother Tony,
who was also his business partner in their company Scott Free, died on 19 August 2012 at the age
of 68 after jumping from the Vincent Thomas Bridge which spans Los Angeles Harbor, after an
originally disputed long struggle with cancer.[111] Before Tony's death, he and Ridley
collaborated on a miniseries based on Robin Cook's novel, Coma for A&E. The two-part
miniseries premiered on A&E on 3 September 2012, to mixed reviews.[112] In 2013, Ridley
stated that he is an atheist.[113]
Ridley has dedicated several of his films in memory of his family: Blade Runner to his brother
Frank, Black Hawk Down to his mother, and The Counselor and Exodus: Gods and Kings to his
brother Tony.[114] Ridley also paid tribute to his late brother Tony at the 2016 Golden Globes,
after his film, The Martian, won Best Motion Picture – Musical or Comedy.[115]
When asked by the BBC in a September 2014 interview if he believes in God, Scott replied:
I'm not sure. I think there's all kinds of questions raised... that's such an exotic question. If we
looked at the whole thing practically speaking, the big bang occurred and then we go through this
evolution of millions, billions of years where, by coincidence, all the right biological accidents
came out the right way. To an extent, that doesn't make sense unless there was a controlling
decider or mediator in all of that. So who was that? Or what was that? Are we one big grand
experiment in the basic overall blink of the universe, or the galaxy? In which case, who is behind
it? Maybe we're an experiment which can last a billion years, but which is a blink in their terms
and they can then say: 'Right that didn't work, let's blow them up!'[116]
Approach and style Edit

Appearing in the lead role in Scott's Gladiator and Robin Hood, Russell Crowe commented, "I like
being on Ridley's set because actors can perform [...] and the focus is on the performers."[117]
Paul M. Sammon, in his book Future Noir: The Making of Blade Runner, commented in an
interview with Brmovie.com that Scott's relationship with his actors has improved considerably
over the years.[118] More recently during the filming of Scott's 2012 film, Prometheus, Charlize
Theron praised the director's willingness to listen to suggestions from the cast for improvements in
the way their characters are portrayed on screen. Theron worked alongside the writers and Scott to
give more depth to her character during filming.[119]
Scott's work is identified for its striking visuals, with heroines also a common theme.[1][3][8]
[120] His visual style, incorporating a detailed approach to production design and innovative,
atmospheric lighting, has been influential on a subsequent generation of filmmakers.[1][2] Scott
commonly uses slow pacing until the action sequences. Examples include Alien and Blade
Runner; the LA Times critic Sheila Benson, for example, would call the latter "Blade Crawler"
"because it's so damn slow". Another technique he employs is use of sound or music to build
tension, as heard in Alien, with hissing steam, beeping computers and the noise of the machinery
in the space ship. Scott claims to have an eidetic memory, which he says aids him in visualising
and storyboarding the scenes in his films.[121]
Scott has developed a method for filming intricate shots as swiftly as possible: "I like working,
always, with a minimum of three cameras. [...] So those 50 set-ups [a day] might only be 25 set-
ups except I'm covering in the set-up. So you're finished. I mean, if you take a little bit more time
to prep on three cameras, or if it's a big stunt, eleven cameras, and – whilst it may take 45
minutes to set up – then when you're ready you say 'Action!', and you do three takes, two takes
and is everybody happy? You say, 'Yeah, that's it.' So you move on."[117]
Artificial intelligence is a unifying theme throughout Scott's career as a director, particularly in

Blade Runner, Alien, and Prometheus.[122] The recent book The Culture and Philosophy of
Ridley Scott identifies Alan Turing and John Searle, a professor at the University of California, as
presenting relevant models of testing artificial intelligence known as the Turing test and the
Chinese Room Thought Experiment, respectively, in the chapter titled "What's Wrong with
Building Replicants," which has been a recurring theme for many of Scott's films.[123] The
chapter titled "Artificial Intelligence in Blade Runner, Alien, and Prometheus," concludes by
citing the writings of John Stuart Mill in the context of Scott's Nexus-6 Replicants in Blade
Runner (Rutger Hauer), the android Ash (Ian Holm) in Alien, and the android David 8 (Michael
Fassbender) in Prometheus, where Mill is applied to assert that measures and tests of intelligence
must also assess actions and moral behaviour in androids to effectively address the themes which
Scott explores in these films.[124]
DVD format and Director's Cut Edit

Scott is known for his enthusiasm for the DVD format, providing audio commentaries and
interviews for all his films where possible. In the July 2006 issue of Total Film magazine, he
stated: "After all the work we go through, to have it run in the cinema and then disappear forever
is a great pity. To give the film added life is really cool for both those who missed it and those who
really loved it."[62]
Running alongside his enthusiasm for DVD, Scott is known for his use of the director's cut.[61]
The positive reaction to the Blade Runner Director's Cut encouraged Scott to re-cut several movies
that were a disappointment at the time of their release (including Legend and Kingdom of
Heaven), which have been met with great acclaim.[61] Today the practice of alternative cuts is
more commonplace, though often as a way to make a film stand out in the DVD marketplace by
adding new material.
Filmography & Box office performanceEdit
Main article: Ridley Scott filmography
Date Movie Studio United States gross[80] Worldwide gross[80] Theatres[80] Opening
weekend[80] Opening theatres Budget
1977 The Duellists Par. $900,000
1979 Alien Fox $80,931,801 $104,931,801 757 $3,527,881 91 $11,000,000
1982 Blade Runner WB $32,768,670 $33,139,618 1,325 $6,150,002 1,295
$28,000,000
1985 Legend Uni. $15,502,112 $23,506,237 1,187 $4,261,154 1,187
$24,500,000
1987 Someone to Watch Over Me Col. $10,278,549 $10,278,549 894 $2,908,796 892
$17,000,000
1989 Black Rain Par. $46,212,055 $134,212,055 1,760 $9,677,102 1,610
$30,000,000
1991 Thelma & Louise MGM $45,360,915 – 1,180 $6,101,297 1,179
$16,500,000
1992 1492: Conquest of Paradise Par. $7,191,399 $59,000,000 1,008 $3,002,680
1,008 $47,000,000
1996 White Squall BV $10,292,300 $10,292,300 1,524 $3,908,514 1,524
$38,000,000
1997 G.I. Jane BV $48,169,156 $97,169,156 2,043 $11,094,241 1,945
$50,000,000
2000 Gladiator DW $187,705,427 $457,640,427 3,188 $34,819,017 2,938
$103,000,000
2001 Hannibal MGM $165,092,268 $351,692,268 3,292 $58,003,121 3,230
$87,000,000
2001 Black Hawk Down Col. $108,638,745 $172,989,651 3,143 $179,823 4
$92,000,000
2003 Matchstick Men WB $36,906,460 $65,565,672 2,711 $13,087,307 2,711
$65,000,000
2005 Kingdom of Heaven Fox $47,398,413 $211,652,051 3,219 $19,635,996
3,216 $130,000,000
2006 A Good Year Fox $7,459,300 $42,056,466 2,067 $3,721,526 2,066
$35,000,000
2007 American Gangster Uni. $130,164,645 $265,697,825 3,110 $43,565,115 3,054
$100,000,000
2008 Body of Lies WB $39,394,666 $115,321,950 2,714 $12,884,416 2,710
$70,000,000
2010 Robin Hood Uni. $105,269,730 $321,669,730 3,505 $36,063,385 3,503
$200,000,000
2012 Prometheus Fox $126,477,084 $403,354,469 3,442 $51,050,101 3,396
$130,000,000
2013 The CounselorFox $16,973,715 $70,237,649 3,044 $7,842,930 3,044
$25,000,000
2014 Exodus: Gods and KingsFox $65,014,513 $268,031,828 3,503 $24,115,934
3,503 $140,000,000
2015 The Martian Fox $228,433,663 $630,161,890 3,854 $54,308,575 3,831
$108,000,000
2017 Alien: Covenant Fox $74,262,031 $240,745,764 3,772 $36,160,621 3,761
$97,000,000
2017 All the Money in the World TriS $25,113,707 $53,913,707 2,123 $5,584,684
2,074 $50,000,000
Accolades Edit
Sir Ridley Scott, Honorary Doctor, at the Royal College of Art, July 2015
Scott was made a Knight Bachelor in the 2003 New Year Honours for his substantial contribution
to the British film industry.[5][125] He received his accolade from Queen Elizabeth II at
Buckingham Palace on 8 July 2003.[5] Scott admitted feeling "stunned and truly humbled" after
the ceremony, saying, "As a boy growing up in South Shields, I could never have imagined that I
would receive such a special recognition. I am truly humbled to receive this treasured award and
believe it also further recognises the excellence of the British film industry."[126]
He has been nominated for three Academy Awards for Directing—Thelma & Louise, Gladiator
and Black Hawk Down—as well as a Golden Globe, BAFTA and 2 Primetime Emmy Awards. In
1995, Ridley and his brother Tony received the BAFTA for Outstanding British Contribution To
Cinema.[4] In 2018 he received the highest accolade from BAFTA, the BAFTA Fellowship, for
lifetime achievement.[7]
Scott was inducted into the Science Fiction Hall of Fame in 2007.[127] In 2017 the German
newspaper FAZ compared Scott's influence on the science fiction film genre to Sir Alfred
Hitchcock's on thrillers and John Ford's on Westerns.[128] In 2011, he received a star on the
Hollywood Walk of Fame.[129]
In 2012, Scott was among the British cultural icons selected by artist Sir Peter Blake to appear in a
new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band
album cover – to celebrate the British cultural figures of his life that he most admires to mark his
80th birthday.[130] On 3 July 2015, he was awarded an honorary doctorate by the Royal College
of Art in a ceremony at the Royal Albert Hall in London at which he described how he still keeps
on his office wall his school report placing him 31st out of 31 in his class, and how his teacher
encouraged him to pursue what became his passion at art school.[131][132]
Association Year Category Nominated work Result

Academy Awards 1992 Best Director Thelma & Louise Nominated
2001 Gladiator Nominated
2002 Black Hawk Down Nominated
2016 Best Picture The Martian Nominated
American Film Institute 2002 Director of the YearBlack Hawk Down Nominated
Movie of the Year Nominated
BAFTA 1992 Best Director Thelma & Louise Nominated
2016 The Martian Nominated
1992 Best FilmThelma & Louise Nominated
2008 American Gangster Nominated
1995 Outstanding British Contribution To Cinema Won
2018 BAFTA Fellowship Won
Cannes 1977 Best Debut Film Award The Duellists Won
Palme d'Or Nominated
Directors Guild of America 1992 Best Director – Motion Picture Thelma & Louise
Nominated
2002 Black Hawk Down Nominated
2017 Lifetime Achievement Award Won
Emmy Awards 2000 Outstanding Made for Television Movie RKO 281 Nominated
2002 The Gathering Storm Won
2008 Outstanding Miniseries The Andromeda Strain Nominated
2009 Outstanding Made for Television Movie Into the Storm Nominated
2010 Outstanding Drama Series The Good Wife Nominated
2011Nominated
Outstanding Miniseries or Movie The Pillars of the Earth Nominated
Outstanding Nonfiction Special Gettysburg Won
2014 Outstanding Television Movie Killing Kennedy Nominated
2015 Killing Jesus Nominated
Golden Globe Awards 2001 Best Director – Motion Picture Gladiator Nominated
2008 American Gangster Nominated
2018 All the Money in the World Nominated
2016 Best Motion Picture – Musical or Comedy The Martian Won
National Board of Review 2015 Best Director The Martian Won
Saturn Awards 1980 Best Director Alien Won
Best Science Fiction film Won
1983 Best Director Blade Runner Nominated
2004 The George Pal Memorial Award Won
2016 Best Director The Martian Won
Satellite Awards 2001 Best Director Gladiator Nominated
Visual Effects Society 2016 Lifetime Achievement Award Won
References Edit
^ a b c d e f g "Ridley Scott". Encyclopædia Britannica.
^ a b Matthews, Jack (4 October 1992). "Regarding Ridley : For 15 years, Ridley Scott has
dazzled us with expressive imagery. 'Every time you make a film, really you're making a novel,'
says the director". Los Angeles Times.
^ a b "Ridley Scott's History of Directing Strong Women". Newsweek. 17 December 2016.
^ a b "Outstanding British Contribution To Cinema". BAFTA. 12 October 2015.
^ a b c "Queen knights Gladiator director". BBC News. 8 July 2003. Retrieved 6 March 2010.
^ "iPod's low-profile creator tops cultural chart". The Independent. 18 March 2017.
^ a b "Sir Ridley Scott gets top Bafta honour". BBC News. 31 January 2018. Retrieved 18
February 2018.
^ a b "Ridley Scott: Sexism is real, take it seriously". Daily Life. 18 December 2016.
^ "Sir Ridley Scott". Monsters-movies.com. Retrieved 20 December 2010.
^ "How Winston helped save the nation". Scotsman.com Living. 6 July 2002. Retrieved 20
December 2010.
^ "Ridley Scott: England and Wales Birth Registration Index". Family Search.org.
^ "Ten Things About... Ridley Scott". Digital Spy. 19 December 2016.
^ "The Blade Runner Connection". BBC. Retrieved 26 November 2014
^ "Ridley Scott: 'Why the hell would I want to go to Mars?". The Telegraph. 10 October 2017.
^ "Film fans can watch Sir Ridley Scott's first movie for free". Hartlepool Mail. 13 January 2016.
^ Ridley Scott – Hollywood's Best Film Directors. Sky Arts. 2012. Retrieved 2 February 2016
^ Howe, David J.; Mark Stammers, Stephen James Walker (1994). The Handbook: The First
Doctor — The William Hartnell Years 1963–1966. Virgin Books. p. 61. ISBN 0-426-20430-1.
^ "Adam Adamant Lives!". BBC. Retrieved 19 October 2016
^ Dutta, Kunal (30 November 2007). "Great Scott – Forty years of RSA". Campaign.[permanent
dead link]
^ "Jets, jeans and Hovis". The Guardian. 13 June 2015.
^ Iain Sinclair (20 January 2011). "The Raging Peloton". 33 (2). London Review of Books: 3–8.
Retrieved 11 April 2016. As proudly as the freshly baked loaves in Ridley Scott's celebrated
[Hovis] commercial, shot in 1973, on the picturesque slopes of Shaftesbury.
^ "Ridley Scott's Hovis advert is voted all-time favourite" (2 May 2006). The Independent. 13
June 2015.
^ "Hovis: 120 years of Goodness" (PDF). 2006. Archived from the original (PDF) on 19
December 2014. Retrieved 13 January 2015.
^ a b Mazzeo, Tilar J. (2010). The Secret of Chanel No. 5. HarperCollins. pp. 197, 199.
^ "Ridley Scott Associates (RSA)". Rsafilms.com. Retrieved 6 March 2010.
^ "History of Shepperton Studios" (PDF). pinewoodgroup.com. Archived from the original (PDF)
on 9 April 2008.
^ Adam Barkman, Ashley Barkman, Nancy Kang (2013). "The Culture and Philosophy of Ridley
Scott". Chapter 10. Celebrating Historical Accuracy in The Duellists. p.171-178. Lexington Books
^ "The Duellists: it takes two to tangle". The Guardian. 10 January 2015.
^ "A Double-Edged Sword: Honor in The Duellists", in The Culture and Philosophy of Ridley
Scott, eds. Adam Barkman, Ashley Barkman, and Jim McRae (Lexington Books, 2013), 45–60.
^ a b "Great Female Roles That Were Originally Written for Men". Vanity Fair. 17 December
2016.
^ Sources that refer to the final scene of Hurt's character in Alien as one of the most memorable in
cinematic history include these:
BBC News (26 April 2007). "Alien named as top 18-rated scene". British Broadcasting
Corporation. Retrieved 31 May 2010.
"The 100 Scariest Movie Moments". Bravo. Archived from the original on 30 October 2007.
Retrieved 29 May 2010.
"The making of Alien's chestburster scene". The Guardian. 13 October 2009. Retrieved 18 January
2010.
^ "Box Office Information for Alien". Box Office Mojo. Retrieved 11 June 2010.
^ "A good year ahead for Ridley". BBC News. 20 October 2006. Retrieved 6 March 2010.
^ a b Child, Ben (27 April 2010). "Ridley Scott plans two-part Alien prequel". The Guardian.
London. Retrieved 22 May 2010.
^ Kohn, Eric (29 September 2017). "Blade Runner 2049 review – Denis Villeneuve's Neo-Noir
Sequel Is Mind-Blowing Sci-Fi Storytelling". Indiewire. Retrieved 4 September 2017.
^ "Blade Runner tops scientist poll", BBC News, 26 August 2004, retrieved 9 January 2015
^ "How Ridley Scott's sci-fi classic, Blade Runner, foresaw the way we live today". The Spectator.
10 January 2016.
^ "Blade Runner Final Cut Due", SciFi Wire, 26 May 2006 Archived 2 June 2008 at the Wayback
Machine.
^ "Top 10 sci-fi films". The Guardian. UK. Retrieved 6 March 2010.
^ "Impeccably cool 'Blade Runner 2049' is a ravishing visual feast: EW review". 29 September
2017. Retrieved 4 September 2017.
^ Barber, Lynn (2 January 2002). "Scott's Corner". The Observer. London. Archived from the
original on 20 July 2008. Retrieved 22 February 2007.
^ Friedman, Ted (2005). "Chapter 5: 1984". Electric Dreams: Computers in American Culture.
New York University Press. ISBN 0-8147-2740-9. Retrieved 6 October 2011.
^ Burnham, David (4 March 1984). "The Computer, the Consumer and Privacy". Washington DC:
The New York Times. Retrieved 24 January 2014.
^ "Apple's 1984: The Introduction of the Macintosh in the Cultural History of Personal
Computers". Duke.edu. Archived from the original on 5 October 1999. Retrieved 6 March 2010.
^ "Apple's '1984' Super Bowl commercial still stands as watershed event". USA Today. 28 January
2004. Retrieved 6 March 2010.
^ Leopold, Todd (3 February 2006). "Why 2006 isn't like '1984'". CNN. Retrieved 10 May 2008.
^ Elliott, Stuart (14 March 1995). "The Media Business: Advertising; A new ranking of the '50
best' television commercials ever made". The New York Times. Retrieved 22 January 2014. The
choice for the greatest commercial ever was the spectacular spot by Chiat/Day, evocative of the
George Orwell novel 1984, that introduced the Apple Macintosh computer during Super Bowl
XVIII in 1984.
^ Cellini, Adelia (January 2004). "The Story Behind Apple's '1984' TV commercial: Big Brother at
20". MacWorld 21.1, page 18. Archived from the original on 2009-06-28. Retrieved 9 May 2008.
^ "Ridley Scott's beautiful dark twisted fantasy: the making of Legend". The Telegraph. 17
November 2015.
^ Pirani, Adam (December 1985). "Ridley Scott: SF's Visual Magician". Starlog. p. 64.
^ "5 Fractured Fairy Tale Movies Worth Watching After 'Snow White and the Huntsman'".
Blogs.indiewire.com. Retrieved 24 August 2014.
^ "Hans Zimmer career interview". Empire magazine. 21 October 2015.
^ "Orchestral manoeuvres in the dark". GQ. 21 October 2015. Archived from the original on 18
October 2014.
^ Russell Smith (19 October 1993). "Brad Pitt Only Does Interesting Movie Roles". Deseret
News. p. EV6. It was in 1991, when he hitched his ride with Geena Davis and Susan Sarandon in
Thelma & Louise, that Pitt's star began to twinkle in earnest.
^ "Brad Pitt's epic journey". BBC News. 13 May 2004. Retrieved 3 January 2015.
^ "Ridley Scott: 'I'm doing pretty good, if you think about it'". The Independent. 21 October 2015.
^ "Best in Film: The Greatest Movies of Our Time". ABC. 4 October 2017.
^ Gajewski, Ryan (3 October 2015). "'The Martian' Composer on Creating Matt Damon's Theme,
Ridley Scott's 'Prometheus' Plans". The Hollywood Reporter. Retrieved 5 January 2016.
^ "Mooviess.com Kingdom of Heaven production notes".
^ "Kingdom of Heaven: Director's Cut DVD official website".
^ a b c d "Directors Cuts, the Good, the Bad, and the Unnecessary". Empire. 10 January 2015.
^ a b Total Film magazine, July 2006: 'Three hours, eight minutes. It's beautiful.' (Interview to
promote Kingdom of Heaven: The Director's Cut)
^ "A Good Year is a 'flop', Murdoch admits". The Guardian. UK. 16 November 2006. Retrieved 24
February 2007.
^ "Ridley Scott Talks 'Alien' Prequel and Timeline". Bloody-disgusting.com. Retrieved 6 March
2010.
^ "Prometheus Box Office". boxofficemojo.com. Amazon.com. Retrieved 26 December 2015.
^ "Prometheus 2 synopsis reveals Ridley Scott's Alien: Covenant will feature Michael Fassbender
but not another main character". The Independent. 28 December 2015.
^ "Brave move for DiCaprio and Scott". BBC News. 5 January 2015.
^ "Life in a Day". The Official YouTube Blog. 6 July 2010. Retrieved 7 July 2010.
^ "London 2012 Britain in a Day project launched" Archived 1 November 2011 at WebCite. BBC.
Retrieved 9 January 2015
^ "CNN's Newest Series Brings Filmmaker Ridley Scott To Sundays". Variety. 3 June 2013.
^ a b "Springsteen & I: fans tell their stories of The Boss". The Telegraph. 28 December 2015.
^ Fleming, Mike. "Ridley Scott in Talks For Cormac McCarthy's 'The Counselor'". Deadline.
^ "First Looks at Michael Fassbender and Brad Pitt Filming 'The Counselor'". INeedMyFix.com. 1
August 2012. Archived from the original on 3 August 2012. Retrieved 2 August 2012.
^ Indiewire, 25 October 2013.
^ a b "Ridley Scott on the future of Prometheus". The Telegraph (UK). 14 January 2015.
^ "Ridley Scott in Talks to Direct Matt Damon in 'The Martian' (Exclusive)". The Hollywood
Reporter. 13 May 2014. Retrieved 14 May 2014.
^ "Ridley Scott on 'The Martian,' His Groundbreaking '1984' Apple Commercial, and 'Prometheus
2'". Daily Beast. 18 December 2016.
^ Anderton, Ethan (1 August 2014). "Fox Shifts Release Dates for 'The Martian,' 'Miss Peregrine'
& More". firstshowing.net. Retrieved 2 August 2014.
^ Busch, Anita (10 June 2015). "Fox Switches 'The Martian' and 'Victor Frankenstein' Release
Dates". Deadline Hollywood. Retrieved 12 September 2015.
^ a b c d e "Ridley Scott Movie Box Office". boxofficemojo.com. Amazon.com. Retrieved 13
October 2015.
^ Driscoll, Molly (14 September 2015). "Toronto Film Festival: 'The Martian,' 'Room' get critics
talking". The Christian Science Monitor. Retrieved 5 January 2016.
^ Lang, Brent (29 September 2015). "Box Office: 'The Martian' to Blast Off With $45 Million".
Variety. Retrieved 5 January 2016.
^ "'Prometheus 2' Lands 'Green Lantern' Writer; May Feature Multiple Michael Fassbenders
(Exclusive)". TheWrap. 24 March 2014. Retrieved 24 August 2014.
^ Chang, Justin (2017-05-17). "Ridley Scott's 'Alien: Covenant' is a sleek, suspenseful return to
form". Los Angeles Times. ISSN 0458-3035. Retrieved 2017-05-19.
^ ""Alien: Covenant" Film Review: Ridley Scott Returns to Form With Chest-Bursting Thrills".
The Tracking Board. 2017-05-07. Retrieved 2017-05-19.
^ "Ridley Scott To Direct New 'Blade Runner' Installment For Alcon Entertainment". Deadline
New York. 19 August 2011. Archived from the original on 18 April 2014. Retrieved 19 August
2011.
^ Kastrenakes, Jacob (25 November 2014). "Ridley Scott won't direct 'Blade Runner' sequel". The
Verge. Vox Media, Inc. Retrieved 26 November 2014.
^ "'Blade Runner' sequel concept art: See a first look". EW.com. 15 June 2016. Retrieved 4
October 2017.
^ Busch, Anita (October 6, 2016). "'Blade Runner' Sequel Finally Has A Title, Will Offer VR
Experiences For Film Through Oculus – Update". Deadline Hollywood. Retrieved October 6,
2016.
^ Fleming Jr, Mike (13 March 2017). "Ridley Scott To Next Helm Getty Kidnap Drama; Natalie
Portman Courted". Deadline. Retrieved 13 March 2017.
^ Fleming Jr, Mike (31 March 2017). "Michelle Williams, Kevin Spacey, Mark Wahlberg Circling
Ridley Scott's Getty Kidnap Film". Deadline. Retrieved 31 March 2017.
^ a b c "Director Ridley Scott talks about replacing Kevin Spacey in new film". BBC. 1 December
2017.
^ "All the Money in the World (2017)". Box Office Mojo. Retrieved July 15, 2017.
^ Fleming, Mike (8 January 2016). "Ridley Scott Captivated By 'The Prisoner', Film Version of
Patrick McGoohan TV Series". Retrieved 9 January 2016.
^ "Ridley Scott Reteaming with Drew Goddard for Western ‘Wraiths of the Broken Land’ ".
Collider. Retrieved 10 May 2016
^ "Ridley Scott to direct Battle of Britain 'passion project' movie". The Guardian. 5 April 2017.
^ Hicks, Corporal. "Alien: Covenant 2 to Start Shooting in 14 Months?".
^ Galuppo, Mia (4 January 2018). "Ridley Scott in Talks to Direct a 'Merlin' Movie for Disney".
The Hollywood Reporter. Retrieved 5 January 2018.
^ "Ridley Scott in Talks to Direct 'Queen & Country' for Fox". Hollywood Reporter. 15 March
2018. Retrieved 15 March 2018.
^ "Ridley Scott to remake The A-Team". BBC News Online. 28 January 2009. Retrieved 13
January 2015.
^ Fleming, Michael (27 January 2009). "Fox assembles 'A-Team'". Variety. Retrieved 13 January
2015.
^ "Watch The Man in the High Castle Season 1 Episode – Amazon Video". www.amazon.com.
Retrieved 25 March 2016.
^ "BrainDead". Backstage. Retrieved 18 August 2016.
^ "Ridley Scott". Hollywood.com. Retrieved 18 August 2016.
^ Lloyd, Robert (13 June 2016). "'The Good Wife's' creators are back with the imperfect but fun
'Braindead' mixing D.C politics ... and bugs from space". Los Angeles Times. Retrieved 18 August
2016.
^ Andreeva, Nellie (March 2, 2016). "AMC Orders 'The Terror' Anthology Drama Series From
Scott Free". Deadline. Retrieved September 13, 2016.
^ Andreeva, Nellie (February 13, 2013). "AMC Developing 'Terror' Drama Produced By Scott
Free, TV 360 & Alexandra Milchan". Deadline. Retrieved September 13, 2016.
^ "Ridley Scott: Interviews". p. xviii. University Press of Mississippi, 2005
^ "Sir Ridley Scott: Hollywood visionary". BBC. Retrieved 8 December 2012.
^ Harper, Tom; Jury, Louise (20 August 2012). "Hollywood pays tribute to Top Gun director Tony
Scott following suicide leap". London Evening Standard. Retrieved 5 September 2012.
^ "Ridley Scott breaks silence on brother Tony Scott's death". 28 November 2014. Retrieved
September 3, 2017.
^ "Coma – Reviews, Ratings, Credits and More". Metacritic. 31 August 2012. Retrieved 5
September 2012.
^ Sternbergh, Adam (25 October 2013). "Ridley Scott: 'Most Novelists Are Desperate to Do What
I Do'". The New York Times. Retrieved 26 October 2013.
^ "Tony Scott's Spirit Possesses Ridley Scott's The Counselor". Roger Ebert. 4 January 2015.
^ "Golden Globes 2016 ceremony – in pictures". The Guardian. 30 January 2016.
^ Carnevale, Rob (September 24, 2014). "Calling the Shots No.41: Ridley Scott". BBC. Retrieved
July 22, 2017.
^ a b American Gangster DVD, Fallen Empire: The Making of American Gangster documentary
^ Caldwell, David. "Paul M. Sammon interview". BRmovie.com. Retrieved 6 March 2010.
^ ""Prometheus" Crew: On A Mission Collision". Philippine Daily Inquirer. 29 April 2012.
Archived from the original on 14 June 2012. Retrieved 7 May 2012.
^ "Yahoo! Movies: Ridley Scott". Yahoo!. 30 November 1937. Retrieved 6 March 2010.
^ "Ridley Scott: 'Magic comes over the horizon every day' | Hero Complex – movies, comics,
pop culture". Los Angeles Times. 26 April 2012. Retrieved 24 August 2014.
^ The Culture and Philosophy of Ridley Scott, p. 121-142, Lexington Books, 2013.
^ "New Year's Honours List". London Gazette (56797 Supplement 1): 1. 30 December 2002.
Retrieved 4 October 2015.
^ "Queen knights Gladiator director". BBC News. 8 July 2003. Retrieved 2017-08-07.
^ "Science Fiction Hall of Fame to Induct Ed Emshwiller, Gene Roddenberry, Ridley Scott and
Gene Wolfe". Retrieved 26 April 2015.[dead link]. Press release March/April/May 2007.
Experience Music Project and Science Fiction Museum and Hall of Fame (empsfm.org). Archived
14 October 2007. Retrieved 19 March 2013
^ "RIDLEY SCOTT ZUM ACHTZIGSTEN :Der selbstleuchtende Sehnerv". Frankfurter
Allgemeine - FAZ.net. 30 November 2017.
^ Hollywood stars for Simon Fuller and Sir Ridley Scott BBC News. Retrieved 20 June 2010.
^ "New faces on Sgt Pepper album cover for artist Peter Blake's 80th birthday". The Guardian. 5
October 2016.
^ "RCA Convocation 2015". RCA [view from 13:55 and 31:45]. Retrieved 13 July 2015.
^ "Honorary Doctors". RCA. Archived from the original on 15 March 2015. Retrieved 13 July
2015.
External links Edit
Wikiquote has quotations related to: Ridley Scott
Wikimedia Commons has media related to Ridley Scott.
"Ridley Scott biography". Science Fiction and Fantasy Hall of Fame.
Ridley Scott on IMDb
Scott Free Productions on IMDbPro (subscription required)
Ridley Scott at AllMovie
Ridley Scott at Rotten Tomatoes
Ridley Scott at the Internet Speculative Fiction Database
Ridley Scott Associates (RSA)
They Shoot Pictures, Don't They?
Lauchlan, Grant. "Interview". STV. Archived from the original (Video) on 25 October 2008.
Discussing Kingdom of Heaven and Blade Runner
Sullivan, Chris (5 Oct 2006). "Ridley Scott uncut: exclusive online interview". Times. Archived
from the original on 5 July 2008.
"Total Film: Interview with Ridley Scott". 15 Jul 2007. Archived from the original on 26
September 2007.
Last edited 26 days ago by Spencer Maverick
Wikipedia


Wikipedia
Jane Campion
Jane Campion (Wellington, 30 de abril de 1954) es una directora de cine neozelandesa. Es una de
las directoras de cine neozelandesas más conocidas en el mundo, aunque la mayor parte de su
trabajo lo ha realizado fuera de su país, principalmente en Australia (donde reside) y los Estados
Unidos. Es una de las cuatro mujeres que han sido nominadas al Óscar como directoras de cine.
Jane Campion
Jane Campion Cannes 2014 2.jpg
Campion en el Festival de Cannes de 2014.
Nombre en inglés
Elizabeth Jane Campion Ver y modificar los datos en Wikidata
Nacimiento
30 de abril de 1954 (64 años)
Bandera de Nueva Zelanda Wellington,
Nueva Zelanda
Nacionalidad
Neozelandesa
Familia
Padre
Richard Campion Ver y modificar los datos en Wikidata
Cónyuge
Colin Englert (1992-2001)
Hijos
Jasper (1993) (†)
Alice Englert (1994)
Educación
Alma máter
Universidad Victoria en Wellington
Chelsea College of Art and Design
Escuela Australiana de Cine Televisión y Radio Ver y modificar los datos en Wikidata
Ocupación
Directora
Productora
Guionista
Cargos ocupados
Año de debut
1982
Año de retiro
presente
Obras notables
An Angel at My Table
The Piano Ver y modificar los datos en Wikidata
Premios artísticos
Premios Óscar
1993 El Piano
Festival de Cannes
Palma de Oro
1993 El Piano
Otros premios
Premio del Australian Film Institute a la mejor dirección
1993 El Piano
Distinciones
Dame Companion of the New Zealand Order of Merit
Premio WGA
León de Plata a la mejor dirección (1990)
Palma de Oro (1993)
Carrosse d'or (2013) Ver y modificar los datos en Wikidata
Índice
Biografía Editar
Campion recibió clases en la Australian Film Television and Radio School. En ella recibió el
conocimiento que le ha permitido tener una carrera cinematográfica en la que ha dirigido 14
películas, ha producido tres y ha escrito ocho.
Su primer cortometraje, Peel (1982) ganó la Palma de Oro al mejor cortometraje en el Festival de
Cannes de 1986. A este corto, le siguieron otros como Passionless Moments (1983) y Girls Own
Story (1984). Sweetie (1989) fue su largometraje de debut y ganó varios premios internacionales.
Más reconocimientos llegaron con su película An Angel at My Table (1990), una autobiografía
dramatizada de la poetisa Janet Frame.
El reconocimiento internacional le llegó con su película El Piano (1993). Con esta película, ganó
la Palma de Oro en el Festival de Cannes de 1993, el premio al mejor director del Australian Film
Institute y el Óscar al mejor guion original en 1994.
Fue la segunda directora nominada al Óscar a la mejor dirección en la historia de la Academia y la

primera y única en haber ganado la Palma de Oro de Cannes.
El trabajo de Campion ha tratado desde entonces de motivar la opinión del público. En 1996
dirigió la cinta Retrato de una dama, basada en la novela de Henry James, y protagonizada por
Nicole Kidman, John Malkovich, Barbara Hershey y Martin Donovan. Holy Smoke (1999) volvió
a unir a Campión con Harvey Keitel, esta vez con el protagonismo femenino de Kate Winslet. In
the Cut (2003), thriller erótico basado en el bestseller de la escritora Susanna Moore, proporcionó
a Meg Ryan la oportunidad de desencasillarse de los papeles de cine familiar.
Campion fue la productora ejecutiva de documental Abduction: The Megumi Yokota Story (2006).
En 2009, estrenó Bright Star, una película que supone su regreso al romanticismo al más puro
estilo de El Piano. En ella cuenta la historia de amor de los poetas John Keats y Fanny Brawne.
Filmografía seleccionada Editar

Top of the Lake (TV series) (pre-producción)
2009 Bright Star
2008 Cinema16: World Short Films (vídeo corto)
2008 8 (segment "The Water Diary")
2007 Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film
commence (segmento "The Lady Bug")
2006 The Water Diary (corto)
2003 En carne viva
1999 Holy Smoke
1996 Retrato de una dama
1993 El Piano
1990 Un ángel en mi mesa
1990 An Angel at My Table (TV mini-series)
1989 Sweetie
1987 Two Friends (TV movie)
1986 Dancing Daze (TV series)
1984 Mishaps of Seduction and Conquest (vídeo corto)
1984 After Hours (corto)
1984 A Girl's Own Story (corto)
1983 Passionless Moments (corto)
1982 An Exercise in Discipline - Peel (corto)

Premios Editar
1984 - FCCA Awards (Premio del círculo de críticos de cine de Australia):
Mejor película experimental por Passionless Moments (compartido con Gerard Lee)
Mejor guion de corto por A Girl's Own Story
1986 - Palma de Oro al mejor cortometraje del Festival de Cine de Cannes por An Exercise in
Discipline - Peel
1989 - FCCA Awards (Premio del círculo de críticos de cine de Australia) al mejor guion original
por Sweetie (compartido con Gerard Lee)
1993 - Palma de Oro del Festival de Cine de Cannes por El Piano
1994 - FCCA Awards (Premio del círculo de críticos de cine de Australia)
Mejor director por El Piano
Mejor película por El Piano
Mejor guion original por El Piano
1994 - Óscar al mejor guion original por El Piano
Nominaciones Editar
1994: Óscar al mejor director por El Piano
2009: Palma de Oro del Festival de Cine de Cannes por Bright Star
Jane Campion en Internet Movie Database (en inglés)
Última edición hace 1 mes por Delotrooladoo

Wikipedia
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Wikipedia
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Jane Campion
Dame Elizabeth Jane Campion DNZM (born 30 April 1954) is a New Zealand screenwriter,
producer, and director.[1] Campion is the second of five women ever nominated for the Academy
Award for Best Director and is the first—and thus far, only—female filmmaker in history to
receive the Palme d'Or, which she received for directing the acclaimed film The Piano (1993), for
which she also won the Academy Award for Best Original Screenplay.[2]
Dame
Jane Campion
DNZM
Jane Campion Cannes 2014 2.jpg
Campion in 2014
Born
Elizabeth Jane Campion
30 April 1954 (age 64)
Waikanae, New Zealand
Residence
Sydney, New South Wales, Australia
Occupation
screenwriter producer director
Spouse(s)
Colin David Englert (m. 1992; div. 2001)
Children
2; including Alice Englert
Early life Edit
Campion was born in Wellington, New Zealand, the second daughter of Edith (née Beverley
Georgette Hannah), an actress, writer, and heiress, and Richard M. Campion, a theatre and opera
director.[3][4][5] Her maternal great-grandfather was Robert Hannah, the shoe manufacturer of
Antrim House. Her father was from a family of Exclusive Brethren.[6] With her older sister, Anna,
born a year and half before her, and brother, Michael, born seven years after, Campion grew up in
the world of New Zealand theatre.[4] Her parents founded the New Zealand Players theatre group.
[7] While initially rejecting the idea of a career in theatre or acting, she graduated with a Bachelor
of Arts in Anthropology from Victoria University of Wellington in 1975.[4]
In 1976 Campion attended Chelsea Art School in London and travelled throughout Europe. She
graduated with a Graduate Diploma in Visual Arts (Painting) from the Sydney College of the Arts
at the University of Sydney in 1981. Based on her education at art school, Campion cites surrealist
painter Frida Kahlo and sculptor Joseph Beuys as influences on her art.[4] Dissatisfied with the
limits of painting as a medium,[4] Campion turned to film and created her first short film, Tissues
in 1980. In 1981 she began studying at the Australian Film, Television and Radio School, where
she made several more short films, and graduated in 1984.[8]
Career Edit
Her first short film, Peel (1982), won the Short Film Palme d'Or at the 1986 Cannes Film Festival,
[9] and other awards followed for the shorts Passionless Moments (1983), A Girl's Own Story
(1984) and After Hours (1984). Having left the Australian Film and Television School she directed
an episode for ABC's light entertainment series Dancing Daze (1986), which led to her first TV
film, Two Friends (1986) produced by Jan Chapman.[citation needed]
Sweetie (1989) was her feature debut, and won international awards. Further recognition followed
with An Angel at My Table (1990), a biographical and psychological portrayal of the New Zealand
writer Janet Frame. International recognition followed with another Palme d'Or at the 1993
Cannes Film Festival for The Piano,[10] which won the best director award from the Australian
Film Institute and an Academy Award for Best Original Screenplay in 1994. At the 66th Academy
Awards, she was the second woman ever to be nominated for Best Director.[citation needed]
Campion's work since that time has tended to polarize opinion. The Portrait of a Lady (1996),
based on the Henry James novel, featured Nicole Kidman, John Malkovich, Barbara Hershey and
Martin Donovan. Holy Smoke! (1999) teamed Campion again with Harvey Keitel, this time with
Kate Winslet as the female lead. In the Cut (2003), an erotic thriller based on Susanna Moore's
bestseller, provided Meg Ryan an opportunity to depart from her more familiar onscreen persona.
Her 2009 film Bright Star, a biographical drama about poet John Keats (played by Ben Whishaw)
and his lover Fanny Brawne (Abbie Cornish), was shown at the Cannes Film Festival.[citation
needed]
Campion was an executive producer for the 2006 documentary Abduction: The Megumi Yokota
Story and was creator, writer and director of the serial Top of the Lake.[11] The mini-series
received near universal acclaim [12][13] with its lead actress Elisabeth Moss winning numerous
awards including a Golden Globe Award for Best Actress – Miniseries or Television Film and a
Critics' Choice Television Award for Best Actress in a Movie/Miniseries as well as a Primetime
Emmy Award for Outstanding Lead Actress in a Miniseries or a Movie nomination.[14] Campion
herself was nominated for a Primetime Emmy Award for Outstanding Directing for a Miniseries,
Movie or a Dramatic Special.[15]
She was the head of the jury for the Cinéfondation and Short Film sections at the 2013 Cannes
Film Festival.[16] and the head of the jury for the main competition section for the 2014 Cannes
Film Festival.[17] During his speech when collecting the Prix du Jury for his film Mommy,
Canadian filmmaker Xavier Dolan said of Campion's The Piano that "It made me want to write
roles for women: beautiful women with soul, will and strength, not victims or objects." Campion
responded by rising from her seat to give him a hug.[18][19]
In 2014 it was announced that Campion was nearing a deal to direct an adaptation of Rachel
Kushner's novel The Flamethrowers.[20][21]
In 2015 Campion confirmed that she would be co-directing and co-writing a second season of Top
of the Lake with the action moved to Sydney and Harbour City, Hong Kong with Elisabeth Moss
reprising her role as Robin Griffin.[22]
Personal life Edit

In 1992, she married Colin David Englert, an Australian who worked as a second unit director on
The Piano.[23] Their first child, a son named Jasper, was born in 1993 but lived for only 12 days.
[24] Their second child, a daughter named Alice Englert, was born in 1994; she is an actress. The
couple divorced in 2001.[25]
Reception Edit
From the beginning of her career, Campion's work has received high praise from critics all around.
In V.W. Wexman's Jane Campion: Interviews, critic David Thomson describes Campion "as one of
the best young directors in the world today."[26] Similarly, in Sue Gillett's "More Than Meets The
Eye: The Mediation of Affects in Jane Campion's 'Sweetie'," Campion's work is described as
"perhaps the fullest and truest way of being faithful to the reality of experience"; by utilizing the
"unsayable" and "unseeable," she manages to catalyze audience speculation.[27] Campion's films
tend to gravitate around themes of gender politics, such as seduction and female sexual power.
This has led some to label Campion's body of work as feminist, however, Rebecca Flint Marx
argues, "while not inaccurate, [the feminist label] fails to fully capture the dilemmas of her
characters and the depth of her work."[28]
Honours Edit
Campion was appointed a Dame Companion of the New Zealand Order of Merit in the 2016 New
Year Honours, for services to film.[29][30]
Filmography Edit
Year Title Credited as Notes
Director Writer Producer
1980 Tissues Yes Yes Short film
1981 Mishaps of Seduction and Conquest Yes Yes Short film
1982 Peel: An Exercise in Discipline Yes Yes Short film
1983 Passionless Moments Yes Yes Yes Short film
1984 A Girl's Own Story Yes Yes Short film
After Hours Yes Yes Short film
1986 Two Friends Yes Telefilm
1989 Sweetie Yes Yes Debut feature film
1990 An Angel at My Table Yes
1993 The Piano Yes Yes
1996 The Portrait of a Lady Yes
1999 Holy Smoke! Yes Yes
Soft Fruit Yes
2003 In the Cut Yes Yes
2006 The Water Diary Yes Yes Short film. Included as a segment in the 2008
anthology film 8
Abduction: The Megumi Yokota Story Yes Documentary
2007 The Lady Bug Yes Yes Short film. Segment from the anthology film To Each His
Own Cinema
2009 Bright Star Yes Yes
2012 I'm the One Yes Short film
2013 Top of the Lake Yes Yes Yes Miniseries
2016 Family Happiness Yes Short film
2017 They Yes
Top of the Lake: China Girl Yes Yes Yes Miniseries
See also Edit
Women's cinema
New Zealand film makers
Palme d'Or
Academy Award for Best Writing (Original Screenplay)
Bibliography Edit
Cheshire, Ellen: Jane Campion. London: Pocket Essentials, 2000.
Fox, Alistair: Jane Campion: Authorship and Personal Cinema. Bloomington–Indianapolis:
Indiana University Press, 2011. ISBN 978-0-253-22301-2.
Gillett, Sue: 'Views for Beyond the Mirror: The Films of Jane Campion.' St.Kilda: ATOM, 2004.
ISBN 1 876467 14 2 [31][32]
Hester, Elizabeth J.: Jane Campion: A Selective Annotated Bibliography of Dissertations and
Theses. ISBN 978-1484818381, ISBN 1484818385.
Jones, Gail: 'The Piano.' Australian Screen Classics, Currency Press, 2007.
Margolis, Harriet (ed): 'Jane Campion's The Piano.' Cambridge University Press, 2000.
McHugh, Kathleen: 'Jane Campion.'Urbana and Chicago: University of Illinois Press, 2007.
Radner, Hilary, Alistair Fox and Irène Bessière (eds): 'Jane Campion: Cinema, Nation,
Identity.'Detroit: Wayne State University Press,2009.
Verhoeven, Deb: Jane Campion. London: Routledge, 2009.
Wexman V.W.: Jane Campion: Interviews. Roundhouse Publishing. 1999.
References Edit
^ Fox, Alistair (2011). Jane Campion: Authorship and Personal Cinema. Indiana University Press.
p. 32. Retrieved 30 December 2015.
^ "'Piano's' Jane Campion Is First Female Director to Win; 'Concubine's' Chen Kaige Has First
Chinese-Film Victory: 'Piano', 'Concubine', Share the Palme D'Or", Los Angeles Times, 25 May
1993; retrieved 6 May 2012.
^ Fox. Jane Campion profile. p. 25.
^ a b c d e McHugh, Kathleen (2007). Contemporary Film Directors: Jane Campion. United States
of America: University of Illinois, Urbana. ISBN 978-0-252-03204-2.
^ Canby, Vincent (30 May 1993). "FILM VIEW; Jane Campion Stirs Romance With Mystery".
The New York Times.
^ Fox. Jane Campion profile. p. 26. Retrieved 30 December 2015.
^ Fox. Jane Campion profile. p. 41. Retrieved 30 December 2015.
^ Mark Stiles, "Jane Campion", Cinema Papers, December 1985, pp. 434-435, 471
^ "Awards 1986 : Competition - Festival de Cannes 2015 (International Film Festival)". Festival-
cannes.fr. Retrieved 2015-12-30.
^ "Festival de Cannes: The Piano". festival-cannes.com. Retrieved 22 August 2009.
^ Guthrie, Marisa (4 November 2011). "Jane Campion to Write, Direct Sundance Channel
Miniseries Starring Elisabeth Moss". The Hollywood Reporter. Retrieved 30 December 2015.
^ "Top of the Lake". Rotten Tomatoes. Retrieved 2015-12-30.
^ "Top Of The Lake - Season 1 Reviews". Metacritic. Retrieved 2015-12-30.
^ "Top of the Lake (2013– ) : Awards". IMDb.com. Retrieved 2015-12-30.
^ "Nominees/Winners | Television Academy". Emmys.com. 2015-11-13. Retrieved 2015-12-30.
^ "A Palme d'or for the Cinéfondation!". festival-cannes.fr. Retrieved 30 December 2015.
^ "Jane Campion to preside over Cannes Film Festival jury". BBC News. 7 January 2014.
Retrieved 7 January 2014.
^ "Bear hugs at Cannes as Mommy wins jury prize". The Sydney Morning Herald.
^ "Xavier Dolan and Jane Campion". 26 July 2014. Archived from the original on 26 July 2014.
^ Gibson, Megan (13 May 2014). "Jane Campion in talks to direct the big-screen adaptation of
"The Flamethrowers"". Time.
^ Khatchatourian, Maane (13 May 2014). "Jane Campion Near Deal to Direct Adaptation of 'The
Flamethrowers'". Variety.
^ Shechet, Ellie (23 June 2015). "Season 2 of Top of the Lake Will Take Place in Sydney and
Hong Kong". Jezebel.
^ "ENGLERT, COLIN DAVID Australia". Business Profiles. Retrieved 2015-12-30.
^ Franke, Lizzie (1999). "Jane Campbell Is Called the Best Female Director in the World. What's
Female Got to Do with It?". In Wexman, Virginia Wright. Jane Campion: Interview. University
Press of Mississippi. p. 207. ISBN 978-1578060832. Retrieved 31 January 2013.
^ Sampson, Des (24 January 2013). "Alice Englert stars in Twilight successor". The New Zealand
Herald. Retrieved 31 January 2013.
^ V. W. Wexman. Jane Campion: Interviews. Roundhouse Publishing. 1999. ISBN 1-57806-083-4.
^ "More than Meets the Eye: The Mediation of Affects in Jane Campion's Sweetie • Senses of
Cinema". Sensesofcinema.com. Retrieved 2015-12-30.
^ "Jane Campion - Biography - Movies & TV - NYTimes.com". Movies.nytimes.com. 1954-04-
30. Retrieved 2015-12-30.
^ “New Year Honours 2016” (15 Jan 2016) 2 New Zealand Gazette 1 at 3.
^ "Richie McCaw surpasses knighthood, appointed NZ's top honour". TVNZ. 30 December 2015.
Retrieved 30 December 2015.
^ "Views From Beyond the Mirror: The Films of Jane Campion by Sue Gillett • Senses of
Cinema". Sensesofcinema.com. Retrieved 2015-12-30.
^ "The films of Jane Campion : views from beyond the mirror / Sue Gillett. - Version details".
Trove.nla.gov.au. Retrieved 8 June 2016.
External links Edit
Wikimedia Commons has media related to Jane Campion.
Jane Campion on IMDb
Jane Campion at AllMovie
Jane Campion Bibliography, Berkeley.edu
Cantwell, Mary (19 September 1993). "Jane Campion's Lunatic Women". The New York Times.
Campion, Jane in The Encyclopedia of Women and Leadership in Twentieth-Century Australia
Last edited on 20 February 2018, at 00:11
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