Elia Kazan, known for his creative stage direction, was born "Elia Kazanjoglous" in Istanbul in 1909 to Greek parents. He directed such Broadway plays as "A Streetcar Named Desire" and "Cat on a Hot Tin Roof". He directed the film version of A Streetcar Named Desire (1951) and also films written for the screen. He was a proponent of the "method approach" to acting, developed by Konstantin Stanislavski. Kazan received two Academy Awards for Best Director -- for the films Gentleman's Agreement (1947) and On the Waterfront (1954). Kazan also wrote the scripts for films about Greek immigrants to the United States, such as America, America (1963). These films were based on his novels. Kazan's autobiography, published in 1988, is "Elie Kazan: A Life".IMDb Mini Biography By: Matt Dicker
|Frances Rudge||(26 June 1982 - 28 September 2003) (his death)|
|Barbara Loden||(5 June 1967 - 5 September 1980) (her death) 1 child|
|Molly Day Thatcher||(5 December 1932 - 14 December 1963) (her death) 4 children|
His selection for an Honorary Oscar angered many in the filmmaking community on account of his being among the first to cooperate with the House UnAmerican Activities Committee in 1952, which led to the blacklisting that ruined many careers in Hollywood because of their political beliefs, and that Kazan had publicly stated that he had no regrets for that action. In response, there were loud protests against his selection for the award and some attendees of the awards ceremony - such as Nick Nolte , Ed Harris - stayed in their seats and refused to applaud when he received the award. However, others both stood and applauded Kazan, such as Warren Beatty, Meryl Streep, Helen Hunt, Karl Malden, Kurt Russell, and Kathy Baker. Robert De Niro and Martin Scorsese presented the honorary Oscar to Kazan.
Was the 1958 recipient of the Connor Award given by the brothers of the Phi Alpha Tau fraternity based at Emerson College in Boston, Massachusetts. He was also an honorary brother of that fraternity.
Kennedy Center Honoree, 1983
Father of Nicholas Kazan.
Father-in-law of Robin Swicord.
Four children with Molly Kazan: Judy, Chris, Nick, and Katharine. Two children with Barbara Kazan: Leo and Marco.
Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945- 1985". Pages 503-510. New York: The H.W. Wilson Company, 1988.
In 1956, Kazan received his third Tony Award nomination for Best Director. This nomination was for his directing the play "Cat on a Hot Tin Roof".
In 1958, Kazan received his fourth Tony Award nomination for Best Director. He was also nominated that same year in the category of Best Play along with co-producer Arnold Saint Subber. Both nominations were for the play "The Dark at the Top of the Stairs".
In 1958, Kazan won his third Tony Award for Best Director -- for the play '''J.B.'''.
In 1960, Kazan he was nominated for his seventh Tony award. This was his last nomination, and it was for the play "Sweet Bird of Youth".
Directed 21 different actors in Oscar-nominated performances: James Dunn, Celeste Holm, Gregory Peck, Dorothy McGuire, Anne Revere, Jeanne Crain, Ethel Barrymore, Ethel Waters, Karl Malden, Vivien Leigh, Kim Hunter, Marlon Brando, Anthony Quinn, Eva Marie Saint, Lee J. Cobb, Rod Steiger, Jo Van Fleet, James Dean, Carroll Baker, Mildred Dunnock and Natalie Wood. Dunn, Holm, Malden, Leigh, Hunter, Quinn, Brando, Saint and Van Fleet all won Oscars for their performances in Kazan films.
Screenwriter Budd Schulberg, who won an Oscar for On the Waterfront (1954), told "Fox News" (1987) in October 2003 that he had seen Kazan in September, just before his death at age 94. He claimed that Kazan was still complaining that Darryl F. Zanuck of 20th Century-Fox had passed on making "Waterfront".
According to Kazan, his first name was pronounced "l-EE-ah".
Attended acting class of Michael Chekhov in Hollywood.
Kazan won three Tony Awards for Best Director: for Arthur Miller's "All My Sons" in 1947; for for Miller's "Death of a Salesman" in 1949; and for Archibald Macleish's "J.B." in 1959. He was also nominated for Tony Awards four other times: as Best Director, for Tennessee Williams's play "Cat on a Hot Tin Roof" in 1956; as Best Director and co-producer of the Best Play nominee, William Inge's "The Dark at the Top of the Stairs" in 1958; and as Best Director (Dramatic) for Tennessee Williams's "Sweet Bird of Youth" in 1960.
Despite having had two cinematic successes with Tennessee Williams works A Streetcar Named Desire (1951) and Baby Doll (1956), Kazan did not direct the movie version of Cat on a Hot Tin Roof (1958), although he won a Tony Award nomination as Best Director for staging Williams's Pulitizer Prize-winning play on Broadway. Richard Brooks directed the film. During the play's production, Kazan had had trouble with Williams, and Kazan eventually demanded that Williams rewrite the second act of the play to bring Big Daddy back on stage. Williams complied, but he had Big Daddy tell what Kazan felt was the equivalent of a dirty joke, possibly out of pique at Kazan.
Known to direct Method Actors, and was the only director to have worked with three of the earliest and most famous ones: James Dean, Marlon Brando, and Montgomery Clift. In addition to those three, he directed Robert De Niro in The Last Tycoon (1976).
Grandfather of Zoe Kazan.
Biography in: "The Scribner Encyclopedia of American Lives". Volume 7, 2003-2005, pages 291-294. Farmington Hills, MI: Thomson Gale, 2007.
Used to play handball with Harry Morgan.
[on James Dean] Dean's body was very graphic; it was almost writhing in pain sometimes. He was very twisted, as if he were cringing all the time. Dean was a cripple anyway, inside -- he was not like [Marlon Brando]. People compared them, but there was no similarity. He was a far, far sicker kid and Brando's not sick, he's just troubled.
[on Natalie Wood] The quality I remember about her was a kind of sweetness. When her persona fitted the role you couldn't do better. She was it.
[on Marlon Brando] He was deeply rebellious against the bourgeois spirit, the over-ordering of life.
[on James Dean] He was sad and sulky. You kept expecting him to cry.
[on John Ford] Orson Welles was once asked which American directors most appealed to him. "The old masters," he replied. "By which I mean John Ford, John Ford and John Ford." Well, I studied "Young Mr. Lincoln," for example. As I say, John Ford had a big influence on me.
[on Kirk Douglas] He fits into being an advertising man and a driving, ruthless person better than Brando could have. You would always suspect Brando. Kirk's awfully bright. He's as bright a person as I've met in the acting profession.
[on James Cagney] I learned something from Jimmy Cagney -- he taught me quite a lot about acting. Jimmy taught me some things about being honest and not overdoing it. He even affected my work with Brando a little bit. I mean, "Don't show it, just do it."
[on Faye Dunaway] Faye carries a cloud of drama round with her. There is something in her at hazard.
[on working with Marlon Brando] Every word seemed not something memorized but the spontaneous expression of an inner experience - which is the level of work all actors strive to reach.
[on Franchot Tone]: He died before he should have and without fulfilling his promise or his hopes.
[of Charles Bickford] Men like that will eat a director alive, if he allows it.
Lee Strasberg was God almighty, he was always right, only he could tell if an actor had had it - the real thing - or not. To win Lee's favor and the reassurance it would convey was everyone's goal.
So it goes in America: great plans in youth, realism at the end.
[at the Group Theater, 1932] I think Franchot Tone takes pleasure in upsetting the chalice of high art here. You can't help admiring him. He's better educated, just plain smarter, than most of the others and has greater curiosity about life and boldness in dealing with his desires. I like him. Perhaps some of the self-righteous members think of Tone as a sinner because he wakes the sinner in them... Meanwhile, he continues as the chink in their idealism. He does what he wants and isn't a bit docile. He believe in the Group idea but is not sure it's for him; he asks questions. Depite all, the directors admire him. He could burn the place down and still be the white-haired boy. He's the only really top-grade actor here (in my opinion) and that's the problem. I mean that's their problem, the directors: how to hold people of his talent and temperament while they get rid of three or four duds they've got here who believe! Oh, how those mediocrities believe! Oh, how they listen to Lee Strasberg and nod and smile at his quips. Me too.
Fredric March was as warmhearted and genuine a man as ever lived... Poor, blacklisted Freddie was no more a Communist than my cat.
[on the labored introspection demanded of students in Actors Studio workshops] There have been days when I felt like I would swap them all for a gang of wandering players who could dance and sing, and who were, above all else, entertainers.
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