Biography for
Curtis Hanson (I) More at IMDbPro »

Date of Birth

24 March 1945, Reno, Nevada, USA

Birth Name

Curtis Lee Hanson

Nickname

Curtisamma

Height

6' 1" (1.85 m)

Mini Biography

After small films like The Bedroom Window (1987) and Sweet Kill (1973), Curtis Hanson went on to direct major features including The Hand That Rocks the Cradle (1992), The River Wild (1994) and the Academy Award-winning L.A. Confidential (1997). Setting his sights on another city, Hanson was critically acclaimed for directing Eminem in Universal Pictures' 8 Mile (2002), which co-starred Kim Basinger, Mekhi Phifer and many Detroit-based actors.

IMDb Mini Biography By: Fairchild

Trade Mark

Characters in his films often reference or are seen watching movies from the Golden Age of cinema.

Trivia

The first chairman of the UCLA Film and Television Archive [1999-]

Ranked #90 in Premiere's 2003 annual Power 100 List.

His father was a Los Angeles public school teacher. Hanson said he is approached all the time by former students of his father, Mr. Hanson. They always have kind things to say about his dad.

Member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Directors Branch) [2001-]

Has a son (b. 28 November 2004) with companion Rebecca Yeldham.

Was briefly the editor for "Cinema" magazine.

A former photographer and freelance writer.

Personal Quotes

(after receiving Best Screenplay Oscar from Walter Matthau and 'Jack Lemmon') "Being given this Award by two actors I will always associate with Billy Wilder makes it all the sweeter."

"All directors are egomaniacs."

"For me, all good stories are about awareness. Self-awareness and lack of it, of how you get there and how you might fail to get there. Even Don Siegel's Invasion of the Body Snatchers (1956) is about that to a degree. People discover who they are and what they're all about by meeting their doppelgängers. I have deliberately tried to mix it up in my movies, because I enjoy visiting different worlds. However, thematically, I find that things keep coming up. Self-examination to begin with. You know, who am I, how did I get here and how do I become a better version of myself. Self-destructiveness, because that is the beginning or negation of self-examination".

"Sure I believe people can change, and change for the better. I mean if you don't believe that then what are you left with? It's literally the same old, the same old. People can and do change, often for the better. Things change. If I didn't believe in that I wouldn't see the point. In any of it."

"I like the movie to be about the movie and to allow people to think about the movie the way I always thought about movies I watched and admired. I'm old enough that I grew up before there was so much talk by directors and about directors. It was left more to the viewer. The thought of my voice running along while people are watching the movie silently, that doesn't appeal to me. When they're watching the movie I want them to watch the movie, not be distracted listening to me or other people."

"Unlike the studio days, where [directors were] under contract, there's no vested interest in filmmakers today, so it's one picture at a time. Nobody cares about the longevity of a director's career today. What they care about is making a successful movie. Consequently, if somebody does something that's successful, they then throw a lot of money and opportunity at them to try and duplicate it. You get into a situation where people are in a sense trying to duplicate what they did well, but usually to diminishing returns."

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