Danny Huston is an American actor and director who has worked with Academy award-nominated actors from the very start of his career. No surprise for a man who was born into a legendary Hollywood family whose most noted members included his half-sister, his father, his grandfather, his nephew, and of course, himself.
Born in Rome, Huston's parents were Zoe Sallis and John Huston. Sallis was an established author in her own right. John Huston was, by that point, famous for his many high caliber films, and notorious for his personal life, which included five marriages, two children, another adopted child, and one of many affairs with women which resulted in Danny's conception.
Like his half-sister, Anjelica Huston, Danny Huston chose to follow his father into the world of film. His birthright served as a blessing, so that his first film appearance as an actor was in The 'Human' Factor, a revenge film directed by and starring men who already had Oscar nominations under their belts. Following that small appearance, Huston turned to directing for the next few years. It wasn't until the late 1980s that Huston directed his first made-for-television film, Mister Corbett's Ghost. Based on a novella by Leon Garfied, the film starred such screen legends as Paul Scofield and Burgess Meredith. It is also notable for being the final acting project of Huston's father John, who spent his final years assisting his children in their own budding film careers. Shortly before his death, John helped produce his son's first feature length film, Mr. North. The film was directed by Huston, and included his half-sister Anjelica in the cast, as well as Virginia Madsen, whom Huston would marry for a few years.
Huston followed this up with the sexual drama Becoming Colette, starring Klaus Maria Brandauer, and the horror film The Maddening, starring Burt Reynolds. Neither film made a huge impact, and it was around this time, twenty years after his last acting role, that Huston returned to appearing in front of the camera. Starting modestly as a barman in the highly acclaimed Leaving Las Vegas, Huston followed up with a supporting role in Anna Karenina, alongside such would-be thespians as Sean Bean, Sophie Marceau, and Alfred Molina. The film was unfortunately a flop, as were Huston's next few film roles. In 2000, however, the tide finally turned, and Huston was able to break out as an established character actor.
Re-uniting with his Anna Karenina director, Bernard Rose, Huston starred in the small-budget film Ivansxtc, which was an adaptation of a book by Leo Tolstoy. While not a financial triumph, the film received very positive reactions from critics. The same fate awaited the film Hotel, which included Huston in a diverse cast which included Lucy Liu, Rhys Ifans, Salma Hayek, and John Malkovich. It was also around this time that Huston met and married his second wife, Katie Jane Evans, though this marriage would end in great tragedy several years later.
For now, though, Huston's career as an actor was just getting started. It was 21 Grams which secured Huston his first bona fide financial and critical success. Starring such names as Sean Penn and Benicio Del Toro, the film follows a non-linear storyline dealing with the lives of several people who are affected by an automobile accident. Huston followed up this success by appearing in John Sayle's Silver City, the controversial feature film Birth, and Martin Scorsese's wildly successful film about Howard Hughes known as The Aviator. Nominated for many awards, the film was also a success financially. But nothing Huston had done up to this point would equal to what he did next.
John Hillcoat's Australian western The Proposition is a very dark film set mostly in a small community in the Australian Outback during the 19th century. A criminal is dispatched by the local law enforcement to hunt down his older brother, Arthur Burns, and kill him. As played by Huston, Burns is a psychopath who cares nothing for the various rapes and murders that he has committed. He does, however, find some chasm of his heart to enjoy music, poetry, and the glorious beauty of the Australian sunsets. This layered performance as the film's villain arguably ranks as Huston's greatest performance to date. That same year, Huston played in the highly acclaimed film The Constant Gardener, which tackled corruption, love, and humanitarian efforts by the West in Africa.
Huston moved from Oscar-winning film to Oscar-winning film the following year with the films Marie Antoinette and Children of Men. In the former, Huston portrays the Holy Roman Emperor, Joseph II, as a cautious and thoughtful monarch who warns Marie Antoinette of her excessive lifestyle. He proves to be prophetic when the French mobs storm the Bastille and launch a revolution. In the latter film, set in a dystopian world of global human infertility, Huston portrays Nigel, a government official who uses his position to preserve famous artwork. Both films were highly successful, and further cemented Huston as a noted actor.
Huston proceeded to play Orson Welles in the thriller Fade to Black, and also acted in the financially successful war film The Kingdom and the poorly received The Number 23. From this point onward, Huston would appear in many films, portraying characters of various importance. Among the more noted examples would be the superhero film X-Men Origins: Wolverine, where Huston played the villainous role of William Stryker, the man who imprisons Wolverine and is responsible for his experimentation with adamantium. Huston also portrayed the Greek god Poseidon in Clash of the Titans, as well as its sequel two years later. Whether the crime film Edge of Darkness, the historical epic Robin Hood, the biographical Hitchcock, or the comedy Two Jacks (which was another adaptation of Leo Tolstoy's work, again directed by Bernard Rose and also starred Huston's nephew Jack Huston ), Huston has constantly showed his range of accents, characters, and genres.
More recently, Huston has continued to appear in films, including the upcoming Tim Burton -directed biopic Big Eyes and "Frankenstein", which will once again reunite him with Bernard Rose. Huston has also moved into the world of television with such series as "Magic City" (which earned him a Golden Globe nomination), "American Horror Story", and "Masters of Sex". As busy and talented as he always has been through nearly four decades of work in the film industry, Danny Huston continues to work as one of Hollywood's veteran character actors.
Sofia Coppola was born on May 14, 1971 in New York City, New York, USA as Sofia Carmina Coppola. She is a director, known for Somewhere (2010), Lost in Translation (2003) and Marie Antoinette (2006). She has been married to Thomas Mars since August 27, 2011. They have two children. She was previously married to Spike Jonze.
Large and hearty Monty Woolley was born to privilege on August 17, 1888, the son of a hotel proprietor who owned the Marie Antoinette Hotel on Broadway. A part of Manhattan's elite social circle at a young age, he studied at both Yale (Master's degree) and Harvard and returned to Yale as an English instructor and coach of graduate dramatics. Among his students were Thornton Wilder and Stephen Vincent Benet.
Directly involved in the theater arts via his close association with intimate Yale friend and confidante Cole Porter, Monty directed several Broadway musicals and reviews, many in collaboration with Porter, including "Fifty Million Frenchmen" (1929) (an early success for Porter), "The New Yorkers" and "Jubilee" (1935). In 1936, at age 47, the witty, erudite gent had a career renaissance and gave up his Ivy League professorship once and for all in order to pursue the stage professionally. He took his first Broadway bow in the hit musical "On Your Toes" alongside Ray Bolger. That very same year he made his unbilled film debut with Ladies in Love. Hollywood soon took notice and he began receiving supporting credit as assorted judges and doctors for such MGM fare as Live, Love and Learn, Everybody Sing, the Margaret Sullavan tearjerker Three Comrades, Lord Jeff, the Jeanette MacDonald/Nelson Eddy musical The Girl of the Golden West and Young Dr. Kildare.
Typically playing cunning character leads and support roles, he was affectionately nicknamed "The Beard" by friend Cole Porter for his distinguished, impeccably-trimmed white whiskers. It was Monty that introduced Porter into the famed New York theater circle. Known for his sartorial elegance, ribald sense of humor and snob appeal, he and Porter were highly prominent carousers in the New York gay social underground.
Monty came into his own in 40s films, earning a best actor Oscar nomination for his role in the WWII drama The Pied Piper, a supporting actor nod in another war classic, Since You Went Away, and portrayed himself in the absurdly fictionalized (and sanitized) "biography" of Cole Porter entitled Night and Day starring a woefully miscast but admittedly flattering Cary Grant in the lead. A flashy delight in other movie roles, Monty received top billing in Irish Eyes Are Smiling with June Haver and Dick Haymes, playing a twinkle-eyed con man; appeared opposite Brit comedienne Grace Field in the English-humored Molly and Me and Holy Matrimony; again with Cary Grant along with Loretta Young and David Niven as a professor in the perennial Christmas classic The Bishop's Wife; plots against his own retirement in the mild comedy As Young as You Feel opposite another scene-stealing favorite, Thelma Ritter; and ended his film career with the role of Omar Khayyam in the glossy MGM operetta Kismet.
Above all, however, Monty will be forever and indelibly cherished as the irascible (and definitive) radio personality Sheridan Whiteside in the stage and film versions of Kaufman and Hart's screwball classic The Man Who Came to Dinner. Playing the razor-tongued, wheelchair-bound celebrity who wreaks havoc for everyone within knife-throwing distance, this would be the hallmark of his never-too-late-to-try career. He played another uppity and bombastic celebrity, this time a washed-up classical actor, in the more sentimental Life Begins at Eight-Thirty, another role dripping with crusty sarcasm.
Monty appeared sporadically on radio and TV before and after his last filming in 1955. He died of kidney/heart problems in 1963 at the age of 74.
Milena was born in 1946. As a teenager she became interested in art and design and studied design and costume in Genoa before coming to London in the mid 1960s. Visiting the set of '2001:a Space Odyssey' she was introduced to its director Stanley Kubrick, who gave her her first film job as a costume designer with 'A Clockwork Orange' in 1971. Four years later she co-designed the beautiful costumes for Kubrick's 'Barry Lyndon' which scooped her the first of her three Academy Awards - the others being for 'Chariots of Fire' and Sofia Copplola's 'Marie Antoinette'. She has also designed extensively for the stage - notably for 'Tosca' at the New York Met and 'Die Fledermaus' and 'As You Like It' for the Vienna State Opera.
Roger Vadim was born Roger Vladimir Igorevich Plemyannikov, on January 26, 1928, in Paris, France. Although his father gave him the first name Vladimir, the French law then required a French first name. His father, Igor Nikolaevich Plemyannikov, was a Russian-Ukrainian aristocrat who was born in Kiev, and emigrated with the White Russians after the Communist revolution of 1917. His mother, Marie-Antoinette Ardilouse, was a French actress. Young Roger Vadim spent his childhood in Turkey and Egypt, where his father served as a French diplomat. Roger Vadim was brought up in a multi-lingual home with an intellectually stimulating environment, and he enjoyed a highly cultural atmosphere of his parents circle. However, after the divorce of his parents, Vadim had to live on his own, and soon, he simply abandoned his cumbrous last name. Upon his return to Paris, Vadim caught an acting bug and made his stage debut at the age of 16. From 1944 to 1947, he studied at Institut d'études politiques de Paris at University of Paris but dropped out at the age of 19 to pursue a career in acting and writing. In 1947, he wrote his first novel and presented it to André Gide for a review. However, Gide was not excited about Vadim's first novel and encouraged him to pursue a career in film. Upon André Gide's introduction Roger Vadim became an apprentice of film director Marc Allégret, as an assistant director and co-writer. At the same time he was also a part-time journalist with the Paris Match magazine.
In 1950, Vadim lived in the Paris apartment of Danièle Delorme and Daniel Gélin and was babysitting for their 3-year-old son, who once demanded Vadim to make him a paper airplane. Vadim took a March 8, 1950, issue of the Elle magazine to rip out a page, but doing so, he saw a photo of Brigitte Bardot, then a 14-year-old fashion model. Vadim became fascinated with Bardot's image, and gave her photo to director 'Marc Allegret', who was about to film Vadim's script. Although Bardot did not get a role, Vadim started a relationship with the young girl, while her parents were away. Soon, her enraged bourgeois parents tried to cut him off, and nearly sent Bardot to a school in England, but she and Vadim prevailed. His friends procured Bardot her film debut, so Vadim's relationship with her flourished. At that time, Bardot's father, Louis, was in rage and pulled out a gun on Vadim, causing everyone more shock and trauma. In December of 1952, shortly after Bardot's 18th birthday, she and Vadim were married. Four years later, Vadim directed her in the groundbreaking ...And God Created Woman, which catapulted Bardot to international fame. Vadim, however, was left in the shadows. Bardot had fallen in love with co-star Jean-Louis Trintignant and divorced Vadim before the film was released.
In the 1960s, Vadim became famous in America for his high-profile marriage to actress Jane Fonda, whom he directed in Circle of Love, The Game Is Over, Spirits of the Dead (also starring Jane's brother, Peter Fonda) and most famously in the science fiction spoof Barbarella, which Vadim also wrote. After his separation from Jane in 1970, Vadim directed Angie Dickinson in the sex farce Pretty Maids All in a Row, his first film to be shot in the United States. Vadim's later films did not arouse the same degree of interest. The American remake of And God Created Woman, was a box-office dud, and Rebecca De Mornay was nominated for a 1989 Razzie Award as Worst Actress.
In his later years, Roger Vadim turned to writing memoirs. In his autobiography "From One Star to the Next" Vadim described his relationships with the women he loved. He had four children: Vanessa Vadim with Jane Fonda, Nathalie Vadim with Annette Stroyberg, Vania Plemiannikov with Catherine Schneider, and Christian Vadim with Catherine Deneuve. Roger Vadim died of cancer on February 11, 2000, in Paris, France, and was laid to rest in St. Tropez cemetery, Saint Tropez, France.
An accomplished actress, singer, and songwriter, Valeria Andrews first made a name for herself with a featured acting role in the film Sister Act 2: Back in the Habit, starring Whoopi Goldberg. Valeria also co-wrote the song "Pay Attention" for the film's soundtrack. Sister Act 2: Back in the Habit was an international sensation. In addition to her musical composition for that film, Valeria has recorded two other songs featured on soundtracks to blockbuster motion pictures: "Rhythm of the Night" for Moulin Rouge! and "Ooh La La" for Legally Blonde. Her breakthrough dance single "Girl I Told Ya" became synonymous with the hit television series Gossip Girl. The wonderfully provocative video for "Girl I Told Ya," which cheekily paid homage to Marie Antoinette, was shot by acclaimed director Marc Webb on location in Hungary.
Valeria's most well-known movie role to date is her portrayal of the amorous Wendy in Just Married, appearing alongside Ashton Kutcher. Her other acting credits include a recurring role in the PBS series American Family. She co-hosted an entire season of the "Idolesque" Next Big Star, a talent competition show featuring Ed McMahon. More recently, Valeria guest-starred on the ABC sitcoms Freddie and George Lopez.
Valeria's back story is the stuff of Hollywood legend. She was born and raised in Sydney, Australia. Her father was Australian and her mother is from Uruguay. Her parents married within two weeks of meeting, and due to the language barrier, divorced soon after. Valeria began singing at the age of three, by way of street performance, busking during the days and competing in talent contests at night. She eventually landed a role in Falstaff at the world famous Sydney Opera House, and subsequently took on the title role in Annie.
Two nights after the production of Annie came to a close, eleven-year-old Valeria and her father headed for America. They rented a single apartment near Hollywood and Vine, and for the next five years they hit the iconic Venice boardwalk every weekend. Armed only with a boom-box and an empty coffee can for contributions from the passerby, she sang for her dinner.
Persistence and patience finally landed her a leading role at The Santa Monica Coast Playhouse in Alan & Marilyn Bergman's musical revue, How Do You Keep the Music Playing? In a prodigious feat, young Valeria performed to packed bases at the USO. This era culminated with Valeria signing with Motown Records as a member of a girl group at the age of 14.
Her teen years were marred with struggle as she ran away from home and her father was deported. Valeria became a ward of the court, and rented rooms in homes until she was 18. Gaining work when she could, she co-wrote and recorded songs for New Line Cinema's Poison Ivy II. She even traveled to Kyoto, Japan, singing six nights a week at four shows a night, in order to raise the money to produce a demo package back home in Los Angeles. Her plan was to market the final demo to various record companies in the hopes of a contract. The resulting six minute EPK made the rounds of the major labels and following several months of negotiation, Interscope Records mogul Jimmy Iovine and Warner Chappell Publishing selected her work and Valeria's recording career was off and running.
Valeria's first album, Freshly Squeezed, was released in 2009. Freshly Squeezed is available for download on AmazonMP3, at iTunes, and other major digital online retailers. The energetic pop record features the work of famed producers 'Dave Aude', Space Cowboy, and Madd Scientist. None other than Lady Gaga herself is included as a superstar collaborator.
Michel Bouquet is an actor born in the 14th arrondissement of Paris on the 6 November 1925. His father, Georges Bouquet, was a World War One veteran and a wine-maker. His mother Marie was a milliner. He had three older brothers: Georges, Bernard and Serge. Michel's father was always a shadowy figure in his life: having been deeply affected by the war, he used to talk very little and developed a very distant and estranged relationship with his sons. When he was 7 years old, Michel was sent to the "École Privée Catholique Fénelon", a Catholic boarding school located inside a 17th century hunting lodge in Vaujours. He would keep very unpleasant memories of this period his entire life, describing it as "seven years of darkness and loneliness". Being used to receive corporal punishment or other cruel and unusual forms of penalty for absurd reasons -like keeping his arms crossed in a supposedly insolent way- and to be bullied by older boys, Michel chose to withdraw into himself and dream of exciting, picaresque adventures far away from the school. This approach to life would help him developing his trademark interiorized acting style. Repelled by studying, he actually used to enjoy being put in detention, so that he didn't have to mingle with the other boys: the adult Bouquet would later call his younger self "a sweet kid with an anarchic touch". In 1939, Michel came home for the summer with a mediocre school study certificate. He would however never return to the boarding school, since France and England declared war to Germany on the 3rd September. Georges Senior was immediately sent to the front and made a prisoner in Pomerania shortly after. Bernard went to war as well while Georges Jr. had already been sent to a religious school in Carthage. On the 14th June 1940 the German troops entered Paris and Marie soon decided to relocate to Lyon with her two remaining sons. They moved with Michel's paternal aunt, Marguerite. Marie didn't want to be a weight for her sister-in-law, so she spurred her sons to find some work to do. Michel became an errand boy in a bakery: having been toughened by his stay at the boarding school, he now felt ready to help his mother facing the adversities of life and raising the family. When the armistice between France and Germany was signed, Marie and her sons returned to Paris. Michel tried several new jobs in this period, including warehouseman, dental laboratory technician and delivery man in a bank. He was soon, however, to find his real vocation in life. Marie was a great theatre lover and had the habit to bring Michel to see operas, comic operas or great classic plays. He immediately realized that he wanted to be an actor when he saw the legendary Comédie-Française luminary Maurice Escande playing Louis XV in a stage production of "Madame Quinze". So, in May 1943, he decided to look Escande's address on the phone book and, on a Sunday morning, he went to visit him at his place while Marie was attending church. Young Bouquet introduced himself to the actor by telling him that he wanted to work on the stage. Escande asked him if he had memorized a piece to recite. Michel tried the nose monologue from "Cyrano", but the theatre veteran asked him if he hadn't learnt any other thing that suited his physical appearance better. So he started to recite a few verses from Alfred de Musset's "La Nuit de Décembre" instead. After hearing a couple lines only, Escande realized that the young man standing before him possessed enormous gifts and decided to immediately bring him to one of his classes at the Edouard-VII Theatre. There, Michel was allowed to finish the "Nuit de Décembre" monologue in a room full of people. Many students were ready to leave the class with a look of indifference, but Escande reproached them, telling them that they should have better listened to Michel and learnt a lesson from him. Although moved to tears, Michel managed to finish his piece. The great Maurice Escande had named him an actor. At the end of the lesson, Escande brought Michel home and convinced Marie that he had to pursue a stage career.
Bouquet began to learn scenes from many important plays in order to be admitted to the CNSAD (the Paris Conservatoire). When the day of the exam at the Théâtre de l'Odéon finally came, he already knew that only 7 students out of 300 would have been accepted. For his test, he had studied the monologue from Alfred de Vigny's "Chatterton" and one of Smerdiakov's dialogues from Jacques Copeau's "The Brothers Karamazov". The same day, someone else was going to audition in front of the same jury: it was an elegant young man wearing camel, who possessed, in Bouquet's eyes, a certain charm à la Gary Cooper. It was the soon to become legendary Gérard Philipe, who had already made a couple of appearances in acclaimed stage productions and completed his first screen role in Les petites du quai aux fleurs. He was going to play a scene from De Musset's "Fantasio". Bouquet immediately noticed that Philipe projected a great sense of self-confidence, something he himself had always lacked, since he had many perplexities about his physical appearance (he was skeletal at the time) and modest cultural background. At the exam, Philipe and Bouquet managed to scrape through as sixth and seventh respectively. Michel can't even remember who were the five students that were admitted before them, since their careers never went anywhere. He became the pupil of the accomplished stage actress Béatrix Dussane, who had heard some great things about him from Escande and used all of her powers to have him getting admitted.
Bouquet's first stage roles were Damis in Molière's "Tartuffe" and Robespierre in Romain Rolland's "Danton". It was an interesting and indicative starting point to his career, considering that Molière is the author he will always be most associated with and that he would play "The Incorruptible" on several future occasions. After having played roles in "Première Étape" and "Le Voyage de Thésée", he made his first important professional encounter: writer and playwright Albert Camus had witnessed many of his auditions at the "Théâtre de l'Odéon" and he had been so impressed by his skills to offer him the role of Scipio in his upcoming production of "Caligula", which starred Philipe in the title role. Bouquet said that he could do 30 shows only, as he had already signed on to appear in a production of "La Celestine" under Jean Meyer's direction. Camus accepted his conditions since he wanted him to play the role so much. "Caligula" was the only Philipe-Bouquet collaboration, but Michel would go on to see Gérard on stage many times and always kept huge admiration for him along with very fond memories of their relationship. Bouquet's next stage credits were three Jean Anouilh plays directed by André Barsacq (who had personally recommended him to the author): the moderately successful, Shakespeare-inspired "Romeo and Jeannette", "Le Rendez-Vous de Senlis" and "L'Invitation au château". In the first one, Bouquet provided support to stage legends Jean Vilar and María Casares and the "Combat" critic wrote that he towered on the entire cast. Although he was initially irritated by a negative comment made by Michel about the pacing of the play, Anouilh went on to work with the actor on many other occasions. After having made his screen debut as an assassin in the obscure Criminal Brigade, Bouquet was given the role of a tubercular patient in the acclaimed Monsieur Vincent, which was scripted by the author. And a couple of years later, he found his first memorable screen role in another Anouilh-penned movie: Maurice, the twisted (but not evil at heart) brother of the title character in the suggestive and atmospheric Pattes blanches, another remarkable entry by the talented, but often neglected Jean Grémillon. As his character is first seen walking the docks at night, one can already feel a great leading man "allure" à la Jean-Louis Barrault around the emaciated young actor. Interviewed in 2013, Bouquet still remembers this role as one of his favourites. The same year he appeared in Henri-Georges Clouzot's Manon, which was diminished by Cécile Aubry's performance as the title heroine.
For the rest of the 40's and entire 50's, Bouquet mainly kept collaborating on the stage with Anouilh, Camus and his former "Romeo and Jeannette" co-star Jean Vilar, who directed him in several productions, notably Shakespeare's "Henry IV" (as Prince Hal) and "Richard II" (as the Duke of Aumerie), Molière's "Dom Juan" (as Pierrot) and Georg Büchner's "Danton's Death" (as another prominent figure of the French Revolution, Saint-Just). Bouquet really liked Vilar for his talent to pick up his actors. He actually thought that an actor's director should be a person with a great eye for spotting talent and the skill to cast the right person in the right role, but that his input should end there. He didn't enjoy to have his directors telling him to play a part or trying to over-impose their view on the character upon his own. That never happened with Vilar. Anouilh wrote another great role for Bouquet in 1956: the title character in "Pauvre Bitos ou le Dîner de têtes". Bitos is a poor man's Robespierre, a little politician in Post-war France who wants to obtain power even if he doesn't possess the means to do it. The author had created the role specifically for the actor because he had expressed the interest to play "the Incorruptible" once more. In 1951, Bouquet was also seen as Dany Robin's opportunistic brother (again called Maurice) in Anouilh's second (and final) directed feature, Two Pennies Worth of Violets, a (mostly) cynical, anti-bourgeois drama. His other film roles from this period include the dim-witted King Louis X in the Dumas adaptation Tower of Nesle and a Russian revolutionary in the Romy Schneider vehicle Adorable Sinner. He also borrowed his incredible voice to Alain Resnais's hugely acclaimed Holocaust documentary Night and Fog. On the Parisian stage, he tried his hand at directing: first it was a production of "Chatterton" (where he starred with his wife of the time, Ariane Borg), then a revival of George Bernard Shaw's "Heartbreak house" (where Borg was co-director). The shows weren't lauded and he never tried to follow this path again. In TV, he was finally allowed to play Robespierre again in an episode of Stellio Lorenzi's historical series, La caméra explore le temps. The program was focused on the trial of Marie Antoinette and Bouquet's screen time was consequently limited, but there's still enough ground to make a case about the actor being the definitive incarnation of the complex French politician. Bouquet had always been fascinated with the character, imagining him as constantly living in a state of great anguish and anxiety since he probably thought not to possess the cunning of a Mirabeau or the orator skills of a Danton and knew that everyone in those times was expendable. Sympathizing with what "the Incorruptible" must have been feeling in his short, turbulent life, Bouquet created a well-rounded and appropriately indecipherable figure, finding the perfect balance between the cover of impassibility and the neurotic nature of the character. In addition to this, he played the ill-fated King Charles I and Napoleon's jailer, Sir Hudson Lowe, in his two other appearances in Lorenzi's program.
Bouquet's stage work kept offering him a lot of professional satisfactions in the 60's: he expanded his repertoire to 'Eugene Ionesco''s Theatre of the Absurd (his association with the author will also be career-defining) and to several other authors. He was now living an important phase in the history of French theatre, as it was during those years that the stars of the Parisian stage were beginning to discover the great English-language playwrights. In 1965, productions of Harold Pinter's "The Lover" and "The Collection" were staged simultaneously and featured the same, exceptional trio of stars, as Bouquet was teamed up with the brilliant Jean Rochefort and the sublime Delphine Seyrig. Still, it was rare for Michel to feel completely fulfilled, neither in his professional or personal life. His marriage with Ariane had been a mistake (as she had proved, according to his recollections, to be a gold-digging harpy) and he had never managed to re-establish any emotional connection with his father since he had returned from the front. A great perfectionist, he also used to have an unreasonable lot of quarrels with his own performances: he felt that his rather ordinary appearance and modest height didn't give him enough 'gravitas' to be a great dramatic actor, was equally skeptical about the quality of his comedic turns and believed that his talents were probably better suited to a genre in the middle, "the dramatic comedy". He often helped himself to get past these dark moments with big quantities of alcohol. One day, after a performance of "The Collection", a single meeting would make his existence change for the better: stage actress Juliette Carré approached him to pay a lot of sincere and heartfelt compliments to his acting in the play. Shortly after, Michel put an end to his marriage with Ariane and, even if it would take years to get an official divorce, he immediately started a family with Juliette and the two sons she had from a previous relationship, Frédéric and Sylvie. Juliette proved to be the perfect mate for Michel in life- as she could understand his introverted nature and accept that he was a solo player- and ideal sparring partner on the stage. He stated himself that he never felt so much at ease at playing opposite anyone as he did with her. In 1965, Bouquet played both on stage and TV a third important member of the French Revolution: Fouquier-Tinville in L'accusateur public. But his golden period as a film actor was about to start. His juicy role as a perverse abbey in This Special Friendship had already raised his interest in cinema. Now, two of the most representative directors of the French New Wave were to cross their paths with his. His performance as the chief villain in Le Tigre se parfume à la dynamite marked his first collaboration with Claude Chabrol. Unfortunately the film belongs to the long list of bad titles the director did for rather obscure reasons. Bouquet and Chabrol's next journey together was equally unexciting as the thespian's comedic skills were wasted in the supposedly ironic spy story Who's Got the Black Box?, a sub-par product not much dissimilar from the silliest episodes of The Avengers and The Man from U.N.C.L.E.. Luckily, the two men would soon team up again for a better cause. In the mean time, Bouquet kept himself busy by appearing in a couple movies made by the way more consistent François Truffaut. In 1968 he played the role of Coral in The Bride Wore Black opposite the great Jeanne Moreau in one of her signature roles. The unforgettable masterpiece that would inspire Quentin Tarantino's "Kill Bill" movies sees Moreau's Julie Kohler eliminating with extreme prejudice all the men responsible for the death of her husband. As the second target, Bouquet is the male actor who shines the most. Truffaut enjoyed mocking the actor's melancholic/tormented characterization of Coral, thinking that he should have been more casual and less serious. So he decided to play a mean prank on him when he called him back one year later to support Jean-Paul Belmondo and a mono-expressive Catherine Deneuve in the fine Mississippi Mermaid. Bouquet has a couple of scenes in the film as the implacable sleuth Comolli. On the morning of the shooting, he found out that Truffaut had completely changed all his dialogue, something that took him completely off guard. This didn't prevent him from making the most of his little screen time anyway. The same year, he would also find one of his most iconic roles in one of Chabrol's best movies, The Unfaithful Wife. It was the first time he was paired with the director's glacial wife and muse, Stéphane Audran. Like in the case of every other Chabrol-Bouquet-Audran collaboration, Michel provided the acting, while Stéphane just added her very beautiful (but equally motionless) face to the proceedings. Known for his explosive presence on the stage, Bouquet favoured, as a film actor, a performing style all about subtleties and psychological introspection: he once said that "stage acting is like the work of an ascensionist; screen acting is like the work of a speleologist". Belonging to that rare breed of actors à la Jean-Louis Trintignant, able to express a world of emotions by simply raising an eyebrow, Bouquet gave a superlative performance as cuckolded husband Charles Desvallees in Chabrol's classic, making his transaction from boring bourgeois type to passionate murderer well-timed, impeccably constructed and absolutely believable and managing at the same time to inject enough humour into his characterization to make the role somehow sympathetic. Chabrol had written the role specifically for him and Bouquet got to admire his working method enormously, later calling him a great actor's director and crediting him for having offered him the possibility to give one of his best performances. Audran's ice maiden act proved somewhat functional to the nature of her character (the bored and adulterous Hélène) and she didn't ruin the movie this time around. The same can't unfortunately be said about the trio's next collaboration, the uneven The Breach. As ex-dancer Hélène Régnier, Stéphane gave one of her very worst performances, walking through the movie without showing any trace of emotion not even when witnessing her little son being thrown around the room by her mentally deranged husband or waiting for the doctors to tell her about his condition. Michel (as Hélène's father-in law Ludovic, a despicable man ready to do everything to prevent her from getting custody of the child), Jean-Pierre Cassel (in the thankless, psychologically absurd role of private eye Paul Thomas) and frequent Chabrol collaborators and great actors Jean Carmet and Michel Duchaussoy formed the rescue team that should have made up for the huge void at the centre of the movie, but the flawed screenplay was conspiring against the success of 'La Rupture' as much as Audran's performance and the end result was rather disappointing.
Bouquet's film career had now taken full flight and, between 1970 and 71, he found several roles that truly showcased his talents. He played a ruthless inspector avenging the death of his partner in The Cop and a mobster lawyer in the Jean-Paul Belmondo-Alain Delon collaboration Borsalino (although his role was largely left in the editing room when the movie was originally released, something that made him very distrustful of commercial cinema). One year later, he played a slimy sycophant in Harry Kümel's authorial horror Malpertuis and found an even better role in another remarkable revenge movie, Reckonings Against the Grain. The movie is centered around Serge Reggiani's character, a criminal who, after his release from prison, plans to get revenge on his former associates for having betrayed him. The spectacular supporting cast includes Bouquet, Jeanne Moreau, Simone Signoret and Charles Vanel. Michel got to play the lion's role as a one-eyed villain, constantly wearing black, involved in a mental game of chess with Reggiani for the entire movie. Similarities with 'La Mariée était en noir' are strong and made even more evident by the presence of Moreau and Bouquet. Michel rounded off the year by giving outstanding performances in two Molière plays for TV, Tartuffe (where he was perfectly matched scene by scene by Delphine Seyrig) and Le malade imaginaire, and playing another of his best film roles, Charles Masson in the vintage Chabrol Just Before Nightfall. The movie is arguably the director's deepest and most complex reflection about the twisted, dark urges hidden in the meanders of human psyche, as repressed bourgeois Charles kills his lover for apparently no reason. Bouquet was simply mesmerizing in the part and owned every celluloid frame of the movie, making the viewer feel the character's torment on every moment and perfectly follow his inner path (from his sense of guilt to his desire to be punished): all of this in the subtlest, least showy way as possible. As his wife Hélène, Audran did near to nothing in the film: in the scene where Bouquet confesses his crime to her, Chabrol just filmed her reaction from behind (therefore releasing her from any acting duty) and, when he has his thrilling final monologue about his wish to atone, she just listens to him, completely frozen, and restricts herself to put a hand on her mouth once he announces his intention to give himself up. "Juste avant la nuit" was released in the UK only in 1973 and BAFTA hit an all-time low by ignoring Bouquet's performance, but bestowing a Best Actress Award to Audran for her minimal work in the movie added to her supporting turn in The Discreet Charm of the Bourgeoisie (where she was easily the least talented main player).
Galvanized by the quality of his recent body of film work, Bouquet took a 5 years break from the stage (the longest he ever did) to do more movies. Unfortunately, most of the roles he found in this period proved totally unworthy of his skill: Kisses Till Monday (one of Michel Audiard's several dismal attempts at directing) was particularly unremarkable. Nadine Trintignant's Défense de savoir put together such wonderful performers as Bouquet, Jean-Louis Trintignant, Bernadette Lafont, Juliet Berto and Charles Denner and couldn't make an interesting use of any of them. It was clear to Michel that things couldn't go on like this and that's the reason he headed back to theatre so soon. His other film roles that stand out in the 70's are a detestable policeman in Two Men in Town with Delon and Jean Gabin, a ruthless newspaper director and unsentimental father in The Toy, a sculptor pretending to go blind in Vincent mit l'âne dans un pré (et s'en vint dans l'autre) and particularly a drug lord in Alain Corneau's bizarre, but ultimately involving sci-fi feature, France Inc.. Despite having always publicized his lack of athletic skills, he gave a great lesson in physical acting in the latter. He also started to direct his talents towards the small screen and Gabriel Axel offered him the possibility of giving two particularly memorable performances. The first was as painter Rembrandt van Rijn in La ronde de nuit. The second was in the Balzac adaptation Le curé de Tours as the backstabbing Abbey Troubet, a vile man who ruins the life of Jean Carmet's passive title character with the help of a deliciously serpentine Suzanne Flon. He also appeared in Les nuits révolutionnaires (a mini-series set during the French Revolution) and played Ebenezer Scrooge in a 1984 version of "A Christmas Carol", winning a 7 d'or (a French Emmy) for his performance. His stage work from the 80's include playing Harpagon in "the Miser"- which invited the comment 'Whoever hasn't seen Bouquet in The Miser hasn't seen The Miser'- and appearing in a Chabrol-directed production of Strindberg's "The Dance of Death", which was later filmed. A stage production of "Macbeth" opposite his wife was very unsuccessful and he bode farewell to Shakespeare for good. Bouquet's most important film achievement from this decade is undoubtedly playing the immortal role of Inspector Javert in Robert Hossein's Les Misérables (released both as a 4 part mini-series and feature film). Although this version (like nearly every other) couldn't completely do justice to the spirit of Hugo's novel, the portrayals of the main characters are arguably definitive, from Lino Ventura's interpretation of Jean Valjean to Jean Carmet's César-winning performance as Thénardier and of course Bouquet's ascension to King of Javerts. Michel was fiercer and more menacing than Charles Vanel in the 1934 version, possessed the "physique du rôle" that the larger than life Charles Laughton lacked in the 1935 film, was infinitely subtler than the likes of Hans Hinrich and Robert Newton were in their respective outings, had more scope to express himself than the well-cast Anthony Perkins and Geoffrey Rush had in their mediocre vehicles and any comparison between his work and Russell Crowe's acting/singing performance in the 2012 musical would almost be sadistic. Many people in France strictly associate Bouquet with this part. His second most notable film role from the 80's is a creepy notary in Chabrol's poorly paced and constructed Poulet au vinaigre, which was Jean Poiret's first outing as Inspector Lavardin. Apart from acting, Bouquet was very busy teaching the craft at the CNSAD during those years. Despite his modest studies, he had gradually become an immensely cultured man within the decades, having traveled a lot and grown a great interest towards literature, music and the figurative arts. These interests were also the reason that lead him to play real-life artists on several occasions.
Bouquet was seldom seen on the silver screen in the 90's, but, when he was, he most certainly lingered in memory. In 1991 he appeared in the much lauded Toto the Hero as the oldest incarnation of the title character. The movie starts with little Thomas dealing with all the adversities of life by dreaming of an alter ego living all kinds of exciting adventures (something reminiscent of what Michel himself had gone through during his childhood) to eventually see him turning into an unhappy, disenchanted man ready to do the most extreme and unimaginable thing to get even with the rival of a lifetime. Bouquet also borrowed his voice to actor Jo De Backer, who played his younger adult self. His performance helped him cementing his status as a crucial figure of European cinema and won him the EFA (European Film Award) for Best Actor. The same year he also played painter Laubin Baugin in Corneau's best movie, Tous les matins du monde, while in 1993 he narrated Chabrol's well-made documentary L'oeil de Vichy (a compilation of official newsreels originally broad casted in Nazi-occupied France). Bouquet's theatre highlights from this period include playing for the first time King Bérenger I in Ionesco's "Exit the King" (his portrayal of the character remains one of his most celebrated triumphs) and appearing alongside the great Philippe Noiret in Bertrand Blier's "Les Côtelettes". His performance in this play won him his first Molière (France's prestigious stage award founded in 1987).
Even greater things were waiting for Bouquet in the 2000s: he accepted very few roles, but they were the best any actor could dream of. Having seen a performance of "Les Côtelettes" on the Parisian stage, Italian novelist and occasional director Roberto Andò chose him to play the role of writer Tomasi di Lampedusa in his very interesting feature The Prince's Manuscript. Having now reached the apex of his acting technique and maturity, Bouquet gave the first of a series of absolutely essential performances. Although he somehow regretted that he couldn't cast an Italian actor in the role, Andò stated that he couldn't possibly imagine the Lampedusa role played by anyone else. In 2001, Bouquet was given the complex, multi-dimensional role of estranged father Maurice in Anne Fontaine's noteworthy How I Killed My Father. Michel had a great understanding of the central relationship between his own character and Charles Berling's bitter son as it mirrored in some ways the one he had with his own father, to whom he had started to feel a bit closer long after his death. Inspired by Fontaine's direction (he credits her for having taught him a more relaxed approach to characters), the actor gave life to a rather sinister, but eventually very poignant figure. At age 76 he was nominated for his first César and won it. In 2003, Blier turned his stage success into a major feature with Les côtelettes and recast Noiret and Bouquet in their original roles, a man who has trouble defecating and a mysterious character who must help him doing it. Although the movie is pretentious and often off-colour, the central performances of the two acting giants are all to be savored. Michel's next film appearance was as the title role in The Afternoon of Mr. Andesmas, an adaptation of the Marguerite Duras novel by the same name. He was already familiar with the text, but he had always found it to be a bit unclear, albeit impressive. He had, however, far less difficulties in penetrating the deeper meanings of the story once he read the script by the movie's director, Michelle Porte, who had started her career as a second assistant director to Duras herself in Baxter, Vera Baxter. The film follows Monsieur Andesmas, who has just bought a house for his daughter, as he waits for the arrival of a mysterious businessman, Michel Arc, who never shows up. This shadowy character can be interpreted as a representation of many things: Bouquet saw him as an emissary of death as he imagined Monsieur Andesmas' afternoon to be his last one. The actor had all the vital characteristics of the quintessential Duras protagonist, being multi-layered, introvert and provided with the impeccable diction and thousand vocal inflections that are indispensable to give power to the great author's affecting, literary lines of dialogue. Aided by an excellent Miou-Miou as Michel Arc's wife, he gave one of his most touching performances and one that appears to follow a recent pattern: all his latest movies seem to deal with the theme of the end of life, either in an explicit or a veiled way. He carried on this tradition when he next appeared in Le promeneur du champ de Mars, playing President Mitterrand when death's approaching him. An unusually good biopic, the film showed a more private dimension and different image of Mitterrand, so that Bouquet didn't really have to live up to people's common perception of the President: consequently, he managed to give a very complex and involving portrayal of a man opposed to the sheer exercise in mimicry and acting virtuosity that one usually expects from this kind of picture. Again he was heart-breaking, again he received a César nomination and again he won. After this new triumph, Bouquet grew more and more selective of film roles, basically declining every script that was sent to him. Like in the case of Mesdames Fontaine and Porte, it was again a duo of female directors, Swiss actresses Stéphanie Chuat and Véronique Reymond, to win his attention. Having eventually managed to find Bouquet's phone number (he doesn't have an agent), the two girls offered him the leading male role in their debut feature film, the little gem The Little Bedroom. Bouquet adored the script and was pleasantly surprised that such young ladies could have written a story that was such a beautiful reflection on old age. He consequently played the role of Edmond, a sad, lonely man who gets treated with neglect by his son and progressively develops a warm relationship with his carer (Florence Loiret Caille). He again put body and soul in a project meant to give dignity to the last days on earth of a common man. During the course of the decade, Bouquet also kept to assiduously work on the stage, notably in revivals of "Exit the King", "The Imaginary Invalid" and the "Miser", all directed by Jacques Werler. He received splendid support by wife Juliette in the first two, which were filmed. His incredible performance as Bérenger in the Ionesco play will forever help people who never had the honor of seeing him on the stage to understand what kind of chameleon he was as a theatrical actor. He won his second Molière for his work in this production.
Still going strong, Bouquet was last seen on the silver screen as Pierre-Auguste Renoir in Renoir, an account of the relationship between the great painter and his son Jean, the future genius of cinema. Michel thought that Gilles Bourdos's script possessed the necessary grace to speak about some rather obscure themes. He had always considered painting the most sublime of arts and, while studying the Renoir character, he found himself relating to his "nature-immersed" side above all. Although not as Bouquet-centered as one would have wished it to be, the film still offered the great thespian the possibility to shine and won him a third César nomination for Best Actor. In addition to this, director Élie Chouraqui recently announced his intention to adapt for the screen Fabrice Humbert's novel 'L'Origine de la Violence' with Bouquet in the role of the protagonist's grandfather. It's certainly something to look forward.
Despite having announced his retirement from the stage world in 2011, Bouquet couldn't keep his word, as his bond to the theatre in general and 'Exit the King' in particular proved to be just too strong: in 2013 he did a special performance of the play during the prestigious Ramatuelle festival and, in early 2014, brought the production back to the Parisian stage for a limited season.
Now a veritable national treasure of France, Michel Bouquet can consider himself proud and satisfied of his career like very few can. Probably no other actor of his generation could find equally memorable film roles in the new millennium. Having appeared in at least one play a year in the 70 years period between 1944 and 2014 (with very few breaks in between), he has put together one of the most impressive stage resumes ever. And not many can say to be as respected as he is by the public, the critics and their peers. Those who never had the possibility to see the master thespian on the stage will probably be left with a bitter regret, but, considering that he still doesn't appear ready to say goodbye to the planches for good, they may still have a chance.
A self-taught pianist from the age of 7. He has lived in LA, where he studied art at Santa Monica College and formed the much-adored Devics with Sara Lov, Italy (in the depths of rural Emilia Romagna) and Berlin.
He gained recognition and critical acclaim for his studio albums and live performances.
Dustin's score to Sofia Coppola's 2006 film Marie Antoinette also earned him a tentative step into soundtrack work, which has since bloomed into a reputable and highly creative path of film composition. Having subsequently scored William Olsen's An American Affair (2010) and Drake Doremus' Sundance-winning Like Crazy (2011), Dustin's more recent film projects are numerous and varied: Now Is Good (Ol Parker, 2012), a British-American production starring Dakota Fanning, Olivia Williamson, Paddy Consadine and Jeremy Irvine; The Other Dream Team (Marius Markevicius, 2012) - an astonishing documentary on Lithuania's 1992 Olympic basketball team and their tacet resistance to Soviet rule; Breathe In (2013), Drake Doremus' latest feature starring Felicity Jones and Guy Pearce; and most recently, Dustin and SOTL's Adam Wiltzie scored the music for London Royal Ballet choreographer Wayne McGregor's newest full-length contemporary dance production, Atomos.
Lumiere - Dustin's third solo full-length - follows two Bella Union albums released in 2004 and 2006 respectively (Piano Solos vol. 1 and Piano Solos vol. 2). These two records were originally opportunity for Dustin to express a creative streak unexplored by Devics songwriting: gently and privately pieced together piano suites written and recorded on a beautifully-restored 1920's Sabel piano in his Italian farmhouse. The compositions, however, gradually grew into fully-formed solo pieces as Dustin's ambitions and designs developed. The path, of course, would eventually lead him to Lumiere's majestic, swooning ensemble arrangements and a focus-shift away from the piano as his work's primary timbre without losing any of the affection for the instrument that bore his first two records. A sublime solo live album - entitled Vorleben - was released by FatCat / 130701 in June, a hushed and reverent study of purity and stillness.
2011 also saw the release of A Winged Victory For The Sullen (Erased Tapes), the self-titled debut LP from a new musical project: a collaboration with Adam Wiltzie that builds on their production work together (Wiltzie played in important role in the sound design and engineering work on Lumiere) and respective musical histories to deliver truly jaw-dropping results. Widely celebrated across the critical board, A Winged Victory For The Sullen are quickly becoming a vital live act and a further accomplishment (of no small scale) in Dustin's personal list.
Michael Bacon is an accomplished composer for film and television, with numerous awards to his credit. He is represented for film and television by First Artists Management. His recent film score projects include: The Buddha for PBS by David Grubin. Teddy: In His Own Words for HBO (Emmy Winner for HBO), Gloria Steinem: In Her Own Words, Boy Interrupted (Sundance selection) for HBO, The Trials of J. Robert Oppenheimer for PBS, the theme for Bill Moyer's Journal, and African American Lives (1 and 2). Broadcasts this year included This Emotional Life, Faces of America, Rescuing Russia. Other credits include: Carl Colby: The Rise and Fall of a Spy by Carl Colby, Oprah's Roots by Kuhnhardt Productions, The Jewish Americans and Marie Antoinette, by David Grubin, Berga: Soldiers of Another War, by Charles Guggenheim, the features Loverboy and Red Betsy (with Sheldon Mirowitz), and Downtown Express soon to be released. Others include King Gimp (the Academy Award Winner in the Short Documentary category) RFK and Secret Life of the Brain, by David Grubin, (Emmy winner) the critically acclaimed five hour documentary on PBS. Bacon was nominated for an Emmy for his score for the David Grubin's PBS documentary Young Dr. Freud. Ernest Shackleton's Voyage of Endurance an Emmy winner recently re-aired on PBS. The Hampton's a four hour show directed by Barbara Kopple was broadcast in 2003 on ABC. The four-hour Emmy Award winning documentary Truman was shown on PBS. Others include TR, Reagan, America 1900, The Wright Stuff, Carnegie and MacArthur. Peter Jennings' series The Century, 26 hours for ABC was broadcast in 1999. Abraham and Mary Lincoln was broadcast in 2000 as well as numerous other shows on all major networks. The feature film Losing Chase premiered at Sundance and won 2 Golden Globe Awards. Bacon won an Emmy for his original score for The Kennedy's, an Ace Award nomination for his original score for The Man Who Loved Sharks, as well as the BMI Television Music Award and The Chicago International Film Festival Gold Plaque Award for music in LBJ. Shows he has scored have won three Academy Awards (The Johnstown Flood, A Time For Justice, and King Gimp) and numerous Emmy Awards. Jerry Lee Lewis, Carlene Carter, Peter Yarrow and Claude Francois are just a few of the artists that have recorded songs written by Bacon. He and his brother, Kevin, perform music live as "The Bacon Brothers." They have appeared on The Tonight Show, Rosie O'Donnell, The Early Show, The View, Vibe, Prime Time Country, Conan O'Brian, Donny and Marie, The Howard Stern Show, Bravo on Broadway and The Today Show. Their live DVD was released in the fall of 2004 and their 6th CD was released in 2009. Bacon has a degree in music from Lehman College where he studied composition and orchestration with John Corigliano.
He is now a distinguished Lecturer teaching film scoring at Lehman College.
Hector Berlioz was born on December 11, 1803, into the family of Dr. Louis Berlioz and Marie-Antoinette-Josephine. Hector was the first of six children, three of whom died. He took music lessons at home from a visiting teacher and played flute and guitar. By age 16 he wrote a song for voice and guitar that was later reused for his "Symphonie Fantastique."
In 1821 Berlioz went to Paris to study medicine. His impressions of the Paris Opera performance of "Iphigenie en Tauride" by Christoph Willibald Gluck turned him on music forever. He spent more days at the Paris Conservatory than at the medical school. In 1823 he started writing articles on music for "Le Corsaire". He abandoned medicine for music and successfully performed his "Messe Solennelle" in 1825. After being "cursed" by his mother for abandoning medicine, his allowance from his father was reduced, and was forced to take such jobs as a choir singer to support himself. In 1828 he heard the 3rd and 5th Symphonies by Ludwig van Beethoven and with that impression he read "Faust" by Johann Wolfgang Goethe. With such inspiration he started composing "La Damnation de Faust."
Berlios fell in love with Irish actress Harriet Smithson and became so inspired that he finished the "Symphonie Fantastique." He premiered the work and met Franz Liszt at the premiere. They became good friends and Liszt transcribed the "Symphonie Fantastique" for piano. In 1830, after being rejected by Harriett Smithson, Berlioz became engaged to pianist Camille Moke. He went to Rome as the Prix de Rome Laureate and met Felix Mendelssohn-Bartholdy and the Russian Mikhail Glinka. All three became friends for many years. At that time Berlioz received a letter from his fiancée that she had decided to marry M. Camille Pleyel, a wealthy piano maker in Paris. He decided to return to Paris and kill his fiancée, Mr. Playel and himself, but the long trip cooled him down. He stopped in Nice and composed "Le Roi Lear," inspired by William Shakespeare's play "King Lear".
Back in Paris he became friends with Victor Hugo, Alexandre Dumas père, Niccolò Paganini, Frédéric Chopin and George Sand. He met writer Ernest Legouve and they became lifelong friends. In 1833 he finally married Harriet Smithson, with Liszt himself as one of his witnesses. Their son was born in 1834. Later he had a mistress, singer Marie Recio, whom he married after the death of Hariet Smithson in 1852.
Berlioz was an influential music critic. He wrote about Giacomo Meyerbeer, Mikhail Glinka, Paganini, Liszt and other musicians. From 1834-38 he completed the opera "Benvenuto Cellini". In 1938 his "Harold en Italie" was performed at the Paris Conservatoire. His friend Paganini was so impressed by that performance that he gave Berlioz 20,000 francs.
In the 1840s Berlioz toured in Europe and strengthened his friendship with Mendelssohn-Bartholdy', Richard Wagner, Giacomo Meyerbeer and Robert Schumann. After extensive concertizing in Belgium and Germany, Berlioz returned to Paris. There his friend Mikhail Glinka, who lived in Paris for over a year, came up with the idea of concerts in Russia. Berlioz's joke "If the Emperor of Russia wants me, then I am up for sale" was taken seriously. Having Mikhail Glinka as a convert, Berlioz was invited to Russia twice, and each tour brought him financial gain beyond his expectation. His deep debts in Paris were all covered many times over after his first concert tour of Russia in 1847. Back in Paris he was having difficulties in funding performances of his massive works and lived on his witty critical publications. His second tour of Russia in 1867 was so much more attractive that Berlioz turned down an offer of $100,000 from American Steinway to perform in New York. In St. Petersburg Berlioz took special pleasure in performing with the first-rate orchestra of the St. Petersburg Conservatory.
His second Russian concert tour was a successful finale to his career and life. Berlioz never performed again. He died on March 8, 1869, and was laid to rest at the Cimetiere de Montmartre with his two wives.
Costume designer and jewelry artist Barbara Gregusova was born to fashion designer Elena Gregusova and photographer and graphic designer Martin Gregus in Bratislava, Slovakia - an artistic family that extends back to her grandfather, a sculptor and jeweler, and her grandmother, a textile artist.
Moving to Vancouver, Barbara enrolled in Capilano University's Costuming for Stage and Screen and Theatre Institute programs, garnering top marks for her graduation project, an eighteenth century period costume, titled "Marie Antoinette - Lost in Vancouver". The following year Barbara earned her Fashion Merchandising Diploma at the Blanche Macdonald Centre. Barbara worked as lead costume designer on various independent productions including Agam Darshi's and Sophie Ann Rooney's "Bollywood Beckons" for which Barbara earned her first Leo Awards nomination for best costume design in short drama.
Barbara's interest in period costume design kept her roots in theatre; Barbara designed over twenty plays including the dark underworld fairytale "The Skriker", Moliere's modern adaptation of "Tartuffe: Born Again", "Bye Bye Baby" and Jay Brazeau's "Old Love" for North Vancouver's Presentation House Theatre, Shakespeare's 1960's adaptation of "As You Like It", "Brighton Beach Memoirs" for Gateway Theatre, Stuart Aikins' western "Sly Fox" and "The Crucible" for Exit 22 as well as Studio 58. Barbara's decade long collaboration with Exit 22 gained her a nomination for the 8th annual Ovation Awards for outstanding costume design in "Cinderella - The musical".
Barbara reunited with Sophie Ann Rooney to design costumes for her theatre production of "Beggars In The House of Plenty" staring Kyle Labine, worked with Tyler Labine's wife Carrie's Ruscheinsky on Ben Ratner's theatre production "Dying City" and her most recent collaboration with Labine's family was with Cameron and Tyler Labine on the feature film "Mountain Men".
Two years in a raw Barbara was nominated for Leo Awards; in 2013 for best costume design in feature length drama "Lucille's Ball" and most recently for best costume design in a motion picture "Evangeline" directed by Karen Lam. Her recent film credits include Gil Bellow's "Three Days in Havana", "June In January" with Marilu Henner, "Ring By Spring" staring Stefanie Powers and Rachel Boston, "For Better Or For Worse" staring Lisa Whelchel and Kim Fields, "Paper Angels" with Josie Bissett and Matthew Settle, Christie Will's "Baby Boot Camp" and cyber-punk web-series "Residenz".
As a member of the Slovak Association of Textile Artists, Barbara exhibits her work around Europe. In Summer 2008, Barbara introduced her all-new Hauteware jewelry collection made from recycled hard drives, laser toners, ink-jet cartridges and other electronic waste at the Enviro Couture exhibition in North Vancouver's CityScape Community Art Space, and later FMA Vancouver and Vancouver Fashion Week S/S 2009. To accompany her one-of-a-kind jewelry pieces Barbara created haute couture metallic collection "Solar Epoque" which was showed on the stage during XXI Olympic Winter Games at Olympic Victory Ceremony.
Popular dark-haired "Big Band" singer Connie Haines may have been petite in size (less than 5' tall) but she possessed a sturdy set of pipes to compensate and was adored by her large fan base during the swinging war years. Performing alongside an equally young Frank Sinatra in both the Harry James and Tommy Dorsey bands way back when, she was known for her cool, doll-like vocals, quivery vibrato, and zesty, rhythmic stylings -- 25 of her more than 200 recordings, including "Let's Get Away From It All" and "Friendship", sold more than 50,000 copies. Other classic singles from Connie ranged from the torchy stylings of "Stormy Weather" and "My Man" to the cooing innocence of "Snooty Little Cutie" and "Shoo Fly Pie and Apple Pan Dowdy" to the hep and swinging "Let's Choo Choo Choo to Idaho".
She was born Yvonne Marie Antoinette JaMais on January 20, 1921 in Savannah, Georgia, but changed her name to the peppier-sounding Connie Haines to take up less space on the theater marquee at the time she joined Harry James' band. She grew up in Jacksonville, Florida (from age 5) and started to perform at the encouragement of her mother, who was a music and dance teacher. Winning a dance contest, she went on to perform for various Rotary and Kiwanis clubs and, by age 9, was known on radio as "Baby Yvonne Marie, the Little Princess of the Air" while being backed by her own 30-piece orchestra. Around that time, she also fought a near-fatal bout with rheumatic fever.
Winning more talent contests along the way she evolved into a teen sensation and performed on Fred Allen's radio show. At age 18, she hooked up with Harry James before joining Tommy Dorsey's outfit in 1940. During that period, she and Sinatra duoed famously on such songs as "Oh, Look at Me Now" and "You Might Have Belonged to Another". By 1942, Connie had landed a regular singing gig with the Abbott and Costello radio show. She was such a hit that her 13-week contract was extended to 4 years. She found herself in demand on all the popular radio shows of the day -- Kay Kyser, Hoagy Carmichael and Skitch Henderson, to name but a few.
It was wartime and Connie, along with many of the other popular vocalists of her day, treated film audiences to specialty numbers in a number of fun, frivolous musicals that were primarily designed as escapist fare or patriotic morale-boosters. In both Moon Over Las Vegas and Twilight on the Prairie, she sang songs alongside prolific singer/songwriter (and later popular adult "Mousketeer") Jimmie Dodd. In the latter, a musical western, she was even given a co-starring role. In A Wave, a WAC and a Marine, she sang "Time Will Tell" and "Gee, I Love My G.I. Joe" and in the Van Johnson/Esther Williams starrer Duchess of Idaho, in which she again had an acting role, she contributed a fine version of "Of All Things".
Connie's last film appearance was in the romantic musical short Birth of a Band in which she warbled the classic standards "I Can't Give You Anything But Love" and "I've Got the World on a String". A highly religious woman, she teamed with singer Beryl Davis and Hollywood icons Jane Russell and Rhonda Fleming during the 1950s in a gospel quartet. They scored a hit with the 1954 song "Do Lord".
Connie continued performing for decades in nightclubs, cabarets and revivals despite a number of life-threatening illnesses/injuries which included a bout with cancer (for which she had a double mastectomy in 1984) and a 2002 car accident that left her with two broken vertebrae in her neck. She finally retired in 2006 at age 85. During her career, she performed for Presidents Dwight D. Eisenhower, John F. Kennedy, Lyndon Johnson, Ronald Reagan and George Bush.
The "Nightingale from Savannah" was married and divorced twice. Her first was to WWII flying ace Robert De Haven in 1945. That marriage produced a son (Robert Jr.) and a daughter (Kimberly). Her subsequent marriage to popular bandleader Del Courtney (1910-2006) lasted from 1966 to 1972. Connie died in Clearwater, Florida, at age 87 of myasthenia gravis, an autoimmune neruomuscular disease. She was survived by her children and the one woman who influenced her the most -- her mother and manager, Mildred, who was 109 at the time of Connie's death on September 22, 2008.
Stuart's first roles were as a child actor in original practice Shakespeare productions. He played Paulina in Winter's Tale and the Duchess of York in Richard II. While still at school he directed Richard Curtis, amongst others, and acted in a play written by Andrew Rissik, "Suffered Under Pontius Pilot".
Careers in the British Army, where he was an officer in the 2nd Gurkha Rifles, and as an overseas aid worker followed, leaving little time for acting. The experiences were powerful, however. As an aid worker he witnessed at first hand the aftermath of the Rwanda tragedy and subsequently worked in Liberia, where he was held hostage on two occasions trying to establish relief missions in the north of the country, Sierra Leone, Lebanon during the 1996 war and, based in Sarajevo, became responsible for Oxfam's operations throughout the former Yugoslavia.
His acting career started some 10 years ago following a summer course at RADA, which proved inspirational. He completed a diploma in acting at Birkbeck College in 2005. Stuart been working with increasing intensity every since. Recent credits include Duke Vincentio in Measure for Measure (Rose Bankside) and Jaques Rene Hebert in Trial of Marie Antoinette (Courtyard Theatre). He recently finished as understudy to the lead in the long-running West End hit, "Woman in Black". Roles in films in post production include the villainous Dennis in "The Catch".
Stuart has just completed a flagship commercial for the German market, launching Vodafone's new home internet service.
Ellen Kinnally was the Fashion Editor of Details Magazine in the early 80s. She was a go go girl and a fashion/performance artist at Studio 54, the Mudd club, Area, Danceteria, CBGBs LimeLight and many others. She was the first to wear a black bra and leggings on the downtown club scene and made history the night she went out as (channelled) Marie Antoinette to the clubs. Pictured in Patrick McMullan's So80s book with Boy George, Michael J. Fox and Kate Harrington. As a dancer she had roles in Liquid Sky and as a prostitute with a Long Island accent in Alien Space Avengers. Mentioned in Boy George's book Man Boy.
|Charlotte De Cock
Charlotte was born and raised in Antwerp. She started painting intensively in 2007, originally self-portraits but now she's expanding her repertoire with many themes among which, for example, a series of 'Marie - Antoinettes' and 'Musketeerswomen'. She's inspired by film, music and literature, which you can find in her titles. They always refer to a song or film, and of course the whole Marie-Antoinette series is inspired by the film 'Marie-Antoinette' by Sofia Coppola. Martin Schmitt from Gallery DiMeo (Paris, France) referred to her work as 'Rock - Baroque'.
Charlotte's work was and is to be seen at many places in the city, for example in the clothing shop 'Veste' in Antwerp , Pascale Maselis and Frank Van Laer's at Leopoldstraat. Recently also in the restaurant, De Godevaart ... where you can have an amazing dinner looking at the happy and colorful Marie-Antoinette's. As well as under a modern one in Basserie Lids on the nice square Veemarkt.
Her 2009 Rock-Barok exhibition at Frank Van Laer's was a big success, it was a splendid combination of Frank Van Laer's beautiful showroom and Charlotte's romantic paintings.
She participated to a project of gallery ARTRA which was about personalizing your own coffin, Charlotte made one for Willemijn Van Dommelen. The coffin was to be seen in newspapers and on ATV.
Recently she's also worked on a series of Antwerp artists, she has already made portraits of among which, Luc Tuymans, Fred Bervoets and Rachel Agnew.
Charlotte is a young, energetic lady with a broad fascination; psychology, music, history, film and lots of other things intrigue her.
Rocio Garza is a commensurate professional who does not necessarily consider the project as a stepping stone but cherishes the experiences the project will have on her life and career. Rocio was born in Mazatlan, Sinaloa but raised in the bordertown of Laredo, TX. She considers herself a native Texan and relishes the opportunity to work in Texas' creative environment of beautiful landscapes and trailblazing film making minds. She attended the University of Incarnate Word and received a Bachelor of Arts in Sociology, however she knew that this was not her life's calling but made Corpus Christi her home and worked in broadcasting.
Besides having a striking look that is fresh and exotic, rooms burn with excitement when she enters them; but when first meeting Rocio, one will notice the calm, gentle strength she exudes. This leaves the person with a high pulse rate soaking in a warm pool of smiles, most importantly, she knows her range well and it is extracted on film. The Rocio effect comes out in her roles and when placed correctly, the film can transcend and transform into something special, something memorable. She is a composite of many females whether it be "the girl next door" meets "the condemned Joan of Arc" meets "the reigning Queen Marie-Antoinette," yet with all these personas she projects, all those that have worked with her can attest to her work ethic and determination. This comes out in many of the roles she has played including: Between Kings and Queens, Taco! Taco! Taco!, Villa of Pride, The Big Bends, El Gran Machin and her stunning performance in El Coyote. Rocio has worked on several independent films and considers herself an avid fan! She has worked with HBO, projects in Spanish, few pilot series and will continue to seek projects that open the window to the soul. Rocio speaks from the heart and her work is a testament to that.
Anika was born in Berlin (Germany). At the age of 7 she was on stage for the first time playing the part of the smallest Indian in Peter Pan and from then on she knew she wanted to act for a living. In addition to school she played different roles in theatre, (e.g. as Snowhite in Snowhite) and was also trained in dancing and singing. She studied at the Folkwang University in Essen and after that won over the audience through different roles: the press celebrated her for her role as Hamburg's beautiful Buhlschaft in Jedermann, as Eliza Doolittle in My Fair Lady and also in playing the part of Zeitel in Fiddler on the roof, next to Gustav Peter Wöhler. The TV viewers got to know the versatile and spirited actress in a row of TV roles like Einsatz in Hamburg, Alles was zählt, Heiter bis tödlich / Morden im Norden, Notruf Hafenkante and in the movie Ein weites Herz. From April 2013 until Mai 2014 Anika shot for the famous German ARD-telenovela Rote Rosen (1,4 million viewers). She inspires her fans playing Rieke, a globetrotter and sommeliere, stepsister of Merle (Anja Franke) and here she can also show her humorous side. Anika loves to combine the different arts, being multi-talented, she did musicals like Marie Antoinette, Dracula and so on. She works as a singer and dubber, recently she lent her voice to René for the German dubbed version of the Danish series The Legacy. Also in advertisement she feels at home, being on TV with the new commercial for the Deutsche Bahn. Anika loves new challenges, speaks fluent English, some Spanish and Italian, lives in Hamburg and Berlin and feels at home in the big world.
Will has a doctorate in International Relations from the American Graduate School in Paris, and teaches at Franklin University, Columbus, Ohio. -His interests have ranged over many fields, among them the study of international law and business, linguistics, cultural anthropology, and European history.
He spent almost nine years researching the life of Leonard Autie, creator of those towering poufs at Versailles. He is polishing up the screenplay for this incredible personage in French history, and is anxious to send out queries for the project pitched as "The Devil Wears Prada comes to Versailles.
Will Bashor's latest book, Marie Antoinette's Head: The Royal Hairdresser, the Queen, and the Revolution(Lyons Press) was one of the New York Post's "Must-Read" books of 2013.