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Taylor Hackford Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Spouse (3) | Trivia (17) | Personal Quotes (33)

Overview (3)

Date of Birth 31 December 1944Santa Barbara, California, USA
Birth NameTaylor Edwin Hackford
Height 6' 2" (1.88 m)

Mini Bio (1)

Taylor Hackford was born on December 31, 1944 in Santa Barbara, California, USA as Taylor Edwin Hackford. He is a producer and director, known for Devil's Advocate (1997), Ray (2004) and Parker (2013). He has been married to Helen Mirren since December 31, 1997. He was previously married to Lynne Littman and Georgie Lowres.

Spouse (3)

Helen Mirren (31 December 1997 - present)
Lynne Littman (7 May 1977 - ?) (divorced) (1 child)
Georgie Lowres (? - ?) (divorced) (1 child)

Trivia (17)

Graduated from USC School of Cinema-Television (1968)
Before marrying Helen Mirren in 1997, he had lived with her in Los Angeles since 1986.
Graduated from USC School of International Relations
Father of actor Rio Hackford (b. 1970), with Georgie Lowres, and Alexander Hackford (b. 1979), with Lynne Littman.
Stages exciting and energetic musical numbers.
Graduate of Santa Barbara High School.
He started as a documentary-maker for public TV in LA.
Member of the jury at the Venice Film Festival in 2000.
Member of the jury at the Venice Film Festival in 2001.
He, his ex-wife Lynne Littman and his wife Helen Mirren are all Oscar-winners.
He and his wife have houses in Los Angeles, the South of France, London and have an estate in New Orleans.
Son of Mary and Joseph Hackford.
Married Helen Mirren on New Year's Eve 1997, his 53rd birthday.
Was named new president of the Director's Guild in July 2009.
Met third wife Helen Mirren when he directed her in White Nights (1985).
Has directed three actors in Oscar-nominated performances: Louis Gossett Jr., Debra Winger, and Jamie Foxx. Gossett and Foxx won Oscars for their performances.
Served in the Peace Corps.

Personal Quotes (33)

An actor has to embody a role.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
It was the era of Tab Hunter and Rock Hudson; they all had a certain look.
The whole concept of the devil is a metaphor on one level.
It isn't glamorous until after the film is finished, and you are at the premiere and getting your picture on the cover of magazines.
And it's a question of how far we're willing to go in order to let the ego shine, in order to let that beacon penetrate not only the local scene but the world.
Because when you have millions of people with this kind of need for gratification, and the culture is saying that it's possible for everyone to satisfy all of their needs and desires all of the time, there are obviously going to be clashes - clashes of ego.
But, unfortunately, sometimes that affirmation creates a sense that you deserve special treatment and recognition in areas where you're not so talented.
It's very clearly stated in the film: You make your own choices, and what you're always fighting is ego.
My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.
If people are worried about the size of their trailers, I kind of say their priorities are off.
Look at Walter Huston in The Devil and Daniel Webster: It's an incredible performance.
Ray Charles, in his own way, it's like at the beginning, Ray Charles changed American music, not once but twice.
Show business is one of those things that people can use to get themselves out of the lower rung of society.
It's much easier to work with an unknown.
I make films about working class people.
I feel very comfortable shooting music, and I think you can see that.
But the process of making a film is not glamorous. Certainly not my films.
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
I try to get the best performance an actor can give.
I'm not in front of the camera, they are. I encourage them; I build up as much of their confidence and ego as possible. They've got to take control; I can't act it out.
Music has always been an important thing to me in my life and understand I've worked in the music business.
The SAS is the most elite of the special forces in the world. They are not people who go out and advertise; they keep it inside. They don't want anybody to know about them.
This devil loves mankind because men are going to always make the choice that will send him into ascendancy. He's been winning the game for a long time.
I really believe you can predict when someone has a great attitude, a real well of talent.
We all get paid very, very well, and we have responsibilities.
Well I don't think I've scored my life exclusively to Ray Charles.
The director's job should give you a sense of music without drawing attention to itself.
When I finish a film, I put it away and I never look at it again.
You'd be surprised how many movie stars still care about the work.
Russell Crowe is very difficult, but it's worth it. He's the real thing. I can tell you this. Russell Crowe was just as difficult before he was an international star as he was afterwards.
In terms of input, I think that when the director gets involved, the script usually changes a bit. It's written from a particular point of view, and the director's the one to visualize it, interpret what the story is up on the screen. I just think that those people who say well, the script is incidental, its all my stamp and so forth, are full of baloney.
You've got to respect the script's integrity. The changes you make should complement the project instead of fighting it... the bottom line of any film is the script.

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