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Gale Anne Hurd Poster

Biography

Jump to: Overview (2) | Mini Bio (1) | Spouse (3) | Trivia (10) | Personal Quotes (6)

Overview (2)

Date of Birth 25 October 1955Los Angeles, California, USA
Height 5' 4" (1.63 m)

Mini Bio (1)

Gale Anne Hurd was born on October 25, 1955 in Los Angeles, California. After graduating from Stanford University, she joined New World Pictures as executive assistant to Roger Corman, the company president. She worked her way up through various administrative positions and eventually became involved in production. She formed her own production company, Pacific Western Productions, in 1982 and went on to produce a number of box-office hits including The Terminator (1984), Aliens (1986) and The Abyss (1989). All were directed by James Cameron, whom she later married and divorced. She also later married and divorced Brian De Palma. She is currently the recording secretary for the Producers Guild of America.

- IMDb Mini Biography By: Andre Hansson <andreh@hawkan.pp.se>

Spouse (3)

Jonathan Hensleigh (19 June 1995 - present)
Brian De Palma (20 July 1991 - 1993) (divorced) (1 child)
James Cameron (1985 - 1989) (divorced)

Trivia (10)

Has a child with Brian De Palma: Lolita, born September 19, 1991.
Owns a yacht named Double Feature.
Is close friends with Martha Coolidge and goes to her ranch sometimes to ride the horses she keeps there.
One of her hobbies is scuba diving and she set up two live-aboard dive boat businesses, the Truk Aggressor and the Palau Aggressor, both based in Micronesia.
Received her Bachelor's degree in Economics and Communications from Stanford University.
Is an only child.
Was member of the dramatic jury at the Sundance Film Festival in 1988.
Ex-sister-in-law of Mike Cameron and John David Cameron.
Very good friends with actress Sybil Danning, who worked with her in the science fiction film Battle Beyond the Stars (1980).
Received a star on the Hollywood Walk of Fame at 6621 Hollywood Boulevard in Hollywood, California on October 3, 2012.

Personal Quotes (6)

I'm just attracted to the action element of science fiction. It's great to sit in the editing room with the director and sound engineers and to create the feeling where your heart is racing and you're sitting at the edge of your seat and you find yourself holding your breath.
A lot of my films have dealt with the dark side of technology and stress that you have to examine the ramifications of progress.
(from a 1988 interview) Filmmaking is a business and at the bottom line people who don't make fiscally responsible decisions end up going into another line of work. You've seen several independent companies go bust recently. There's every reason in the world to put your money behind a sure bet and if you check the business sequels do it's really one of the surest bets around.
(on the benefits of shooting on real locations) When you're on a sound stage -- which I have to tell you everyone prefers -- it's easier. But you don't have the same tension, the same energy level. You can tell a film that has been shot at a brisk pace with lots of energy. It comes through in the dynamics of what you see on the screen. Somehow, it's easier to create when you're out there in real places on real streets, no matter what the hardships are while you're shooting. There's much more camaraderie when you're out there in the elements.
A lot of producers now are people who stay in their office and never go to the set. I don't know how you can be the advocate of the movie if you're not there in it every day.
[on the appeal of The Walking Dead (2010)] It's not about the zombies, really. People far wiser than we are... talk about a primal fear that we have as human beings - being dead but not dead, with no control, shuffling around with no awareness. And then you become a cannibal and eat your family.

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