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- Animation Department
- Director
- Writer
Ichirô Itano was born on 11 March 1959 in Kanagawa, Japan. He is a director and writer, known for Angel Cop (1989), Blassreiter (2008) and Cowboy Bebop: The Movie (2001).- Animation Department
- Art Department
- Writer
Graduated from Yokohama High School in 1968. After a few years working as animator at Mushi Production Animation, the company went bankrupt in 1972 and he joined Madhouse Studio. In the 70s he was promoted to animation director and finally debuted as film director in 1984's "SF New Century Lensman", jointly with the more experienced Kazuyuki Hirokawa (Kawajiri also did the character design along with Kazuo Tomizawa). His first film in solitaire (and doing also the animation direction) was "Wicked City" (1987), which confirms his mastery in filmmaking. That same year he began to work for the Original Video Animation market debuting with "The Phoenix". From 1987 he also wrote his own scripts.- Director
- Actor
- Producer
Takashi Miike was born in the small town of Yao on the outskirts of Osaka, Japan. His main interest growing up was motorbikes, and for a while he harbored ambitions to race professionally. At the age of 18 he went to study at the film school in Yokohama founded by renowned director Shôhei Imamura, primarily because there were no entrance exams. By his own account Miike was an undisciplined student and attended few classes, but when a local TV company came scouting for unpaid production assistants, the school nominated the one pupil who never showed up: Miike. He spent almost a decade working in television, in many different roles, before becoming an assistant director in film to, amongst others, his old mentor Imamura. The "V-Cinema" (Direct to Video) boom of the early 1990s was to be Miike's break into directing his own films, as newly formed companies hired eager young filmmakers willing to work cheap and crank out low-budget action movies. Miike's first theatrically distributed film was Shinjuku Triad Society (1995) (Shinjuku Triad Society), and from then on he alternated V-Cinema films with higher-budgeted pictures. His international breakthrough came with Audition (1999) (Audition), and since then he has an ever expanding cult following in the west. A prolific director, Miike has directed (at the time of this writing) 60+ films in his 13 years as director, his films being known for their explicit and taboo representations of violence and sex, as seen in such works as Visitor Q (2001) (Visitor Q), Ichi the Killer (2001) (Ichi The Killer) and the Dead or Alive Trilogy: Dead or Alive (1999), Dead or Alive 2: Birds (2000) and Dead or Alive: Final (2002).- Actor
- Writer
- Director
Takeshi Kitano originally studied to become an engineer, but was thrown out of school for rebellious behavior. He learned comedy, singing and dancing from famed comedian Senzaburô Fukami. Working as a lift boy on a nightclub with such features as comic sketches and striptease dancing, Kitano saw his chance when a comedian suddenly fell ill, and he went on stage in the man's place. With a friend he formed the comic duo "The Two Beat" (his artist's name, "Beat Takeshi", comes from this period), which became very popular on Japanese television.
Kitano soon embarked on an acting career, and when the director of Violent Cop (1989) (aka "Violent Cop") fell ill, he took over that function as well. Immediately after that film was finished he set out to make a second gangster movie, Boiling Point (1990). Just after finishing Getting Any? (1994), Kitano was involved in a serious motorcycle accident that almost killed him. It changed his way of life, and he became an active painter. This change can be seen in his later films, which are characterized by his giving more importance to the aesthetics of the film, such as in Fireworks (1997) and Kikujiro (1999).- Producer
- Writer
- Director
One of the most influential personalities in the history of cinema, Steven Spielberg is Hollywood's best known director and one of the wealthiest filmmakers in the world. He has an extraordinary number of commercially successful and critically acclaimed credits to his name, either as a director, producer or writer since launching the summer blockbuster with Jaws (1975), and he has done more to define popular film-making since the mid-1970s than anyone else.
Steven Allan Spielberg was born in 1946 in Cincinnati, Ohio, to Leah Frances (Posner), a concert pianist and restaurateur, and Arnold Spielberg, an electrical engineer who worked in computer development. His parents were both born to Russian Jewish immigrant families. Steven spent his younger years in Haddon Township, New Jersey, Phoenix, Arizona, and later Saratoga, California. He went to California State University Long Beach, but dropped out to pursue his entertainment career. Among his early directing efforts were Battle Squad (1961), which combined World War II footage with footage of an airplane on the ground that he makes you believe is moving. He also directed Escape to Nowhere (1961), which featured children as World War Two soldiers, including his sister Anne Spielberg, and The Last Gun (1959), a western. All of these were short films. The next couple of years, Spielberg directed a couple of movies that would portend his future career in movies. In 1964, he directed Firelight (1964), a movie about aliens invading a small town. In 1967, he directed Slipstream (1967), which was unfinished. However, in 1968, he directed Amblin' (1968), which featured the desert prominently, and not the first of his movies in which the desert would feature. Amblin' also became the name of his production company, which turned out such classics as E.T. the Extra-Terrestrial (1982). Spielberg had a unique and classic early directing project, Duel (1971), with Dennis Weaver. In the early 1970s, Spielberg was working on TV, directing among others such series as Rod Serling's Night Gallery (1969), Marcus Welby, M.D. (1969) and Murder by the Book (1971). All of his work in television and short films, as well as his directing projects, were just a hint of the wellspring of talent that would dazzle audiences all over the world.
Spielberg's first major directorial effort was The Sugarland Express (1974), with Goldie Hawn, a film that marked him as a rising star. It was his next effort, however, that made him an international superstar among directors: Jaws (1975). This classic shark attack tale started the tradition of the summer blockbuster or, at least, he was credited with starting the tradition. His next film was the classic Close Encounters of the Third Kind (1977), a unique and original UFO story that remains a classic. In 1978, Spielberg produced his first film, the forgettable I Wanna Hold Your Hand (1978), and followed that effort with Used Cars (1980), a critically acclaimed, but mostly forgotten, Kurt Russell/Jack Warden comedy about devious used-car dealers. Spielberg hit gold yet one more time with Raiders of the Lost Ark (1981), with Harrison Ford taking the part of Indiana Jones. Spielberg produced and directed two films in 1982. The first was Poltergeist (1982), but the highest-grossing movie of all time up to that point was the alien story E.T. the Extra-Terrestrial (1982). Spielberg also helped pioneer the practice of product placement. The concept, while not uncommon, was still relatively low-key when Spielberg raised the practice to almost an art form with his famous (or infamous) placement of Reese's Pieces in "E.T." Spielberg was also one of the pioneers of the big-grossing special-effects movies, like "E.T." and "Close Encounters", where a very strong emphasis on special effects was placed for the first time on such a huge scale. In 1984, Spielberg followed up "Raiders" with Indiana Jones and the Temple of Doom (1984), which was a commercial success but did not receive the critical acclaim of its predecessor. As a producer, Spielberg took on many projects in the 1980s, such as The Goonies (1985), and was the brains behind the little monsters in Gremlins (1984). He also produced the cartoon An American Tail (1986), a quaint little animated classic. His biggest effort as producer in 1985, however, was the blockbuster Back to the Future (1985), which made Michael J. Fox an instant superstar. As director, Spielberg took on the book The Color Purple (1985), with Whoopi Goldberg and Oprah Winfrey, with great success. In the latter half of the 1980s, he also directed Empire of the Sun (1987), a mixed success for the occasionally erratic Spielberg. Success would not escape him for long, though.
The late 1980s found Spielberg's projects at the center of pop-culture yet again. In 1988, he produced the landmark animation/live-action film Who Framed Roger Rabbit (1988). The next year proved to be another big one for Spielberg, as he produced and directed Always (1989) as well as Indiana Jones and the Last Crusade (1989), and Back to the Future Part II (1989). All three of the films were box-office and critical successes. Also, in 1989, he produced the little known comedy-drama Dad (1989), with Jack Lemmon and Ted Danson, which got mostly mixed results. Spielberg has also had an affinity for animation and has been a strong voice in animation in the 1990s. Aside from producing the landmark "Who Framed Roger Rabbit", he produced the animated series Tiny Toon Adventures (1990), Animaniacs (1993), Pinky and the Brain (1995), Freakazoid! (1995), Pinky, Elmyra & the Brain (1998), Family Dog (1993) and Toonsylvania (1998). Spielberg also produced other cartoons such as The Land Before Time (1988), We're Back! A Dinosaur's Story (1993), Casper (1995) (the live action version) as well as the live-action version of The Flintstones (1994), where he was credited as "Steven Spielrock". Spielberg also produced many Roger Rabbit short cartoons, and many Pinky and the Brain, Animaniacs and Tiny Toons specials. Spielberg was very active in the early 1990s, as he directed Hook (1991) and produced such films as the cute fantasy Joe Versus the Volcano (1990) and An American Tail: Fievel Goes West (1991). He also produced the unusual comedy thriller Arachnophobia (1990), Back to the Future Part III (1990) and Gremlins 2: The New Batch (1990). While these movies were big successes in their own right, they did not quite bring in the kind of box office or critical acclaim as previous efforts. In 1993, Spielberg directed Jurassic Park (1993), which for a short time held the record as the highest grossing movie of all time, but did not have the universal appeal of his previous efforts. Big box-office spectacles were not his only concern, though. He produced and directed Schindler's List (1993), a stirring film about the Holocaust. He won best director at the Oscars, and also got Best Picture. In the mid-90s, he helped found the production company DreamWorks, which was responsible for many box-office successes.
As a producer, he was very active in the late 90s, responsible for such films as The Mask of Zorro (1998), Men in Black (1997) and Deep Impact (1998). However, it was on the directing front that Spielberg was in top form. He directed and produced the epic Amistad (1997), a spectacular film that was shorted at the Oscars and in release due to the fact that its release date was moved around so much in late 1997. The next year, however, produced what many believe was one of the best films of his career: Saving Private Ryan (1998), a film about World War Two that is spectacular in almost every respect. It was stiffed at the Oscars, losing best picture to Shakespeare in Love (1998).
Spielberg produced a series of films, including Evolution (2001), The Haunting (1999) and Shrek (2001). he also produced two sequels to Jurassic Park (1993), which were financially but not particularly critical successes. In 2001, he produced a mini-series about World War Two that definitely *was* a financial and critical success: Band of Brothers (2001), a tale of an infantry company from its parachuting into France during the invasion to the Battle of the Bulge. Also in that year, Spielberg was back in the director's chair for A.I. Artificial Intelligence (2001), a movie with a message and a huge budget. It did reasonably at the box office and garnered varied reviews from critics.
Spielberg has been extremely active in films there are many other things he has done as well. He produced the short-lived TV series SeaQuest 2032 (1993), an anthology series entitled Amazing Stories (1985), created the video-game series "Medal of Honor" set during World War Two, and was a starting producer of ER (1994). Spielberg, if you haven't noticed, has a great interest in World War Two. He and Tom Hanks collaborated on Shooting War: World War II Combat Cameramen (2000), a documentary about World War II combat photographers, and he produced a documentary about the Holocaust called Eyes of the Holocaust (2000). With all of this to Spielberg's credit, it's no wonder that he's looked at as one of the greatest ever figures in entertainment.- Producer
- Writer
- Actor
Highly inventive U.S. film director/producer/writer/actor Sam Raimi first came to the attention of film fans with the savage, yet darkly humorous, low-budget horror film, The Evil Dead (1981). From his childhood, Raimi was a fan of the cinema and, before he was ten-years-old, he was out making movies with an 8mm camera. He was a devoted fan of The Three Stooges, so much of Raimi's film work in his teens, with good friends Bruce Campbell and Rob Tapert, was slapstick comedy based around what they had observed from "Stooges" movies.
Among the three of them, they wrote, directed, produced and edited a short horror movie titled Within the Woods (1978), which was then shown to prospective investors to raise the money necessary to film The Evil Dead (1981). It met with lukewarm interest in the U.S. with local distributors, so Raimi took the film to Europe, where it was much more warmly received. After it started gaining positive reviews and, more importantly, ticket sales upon its release in Europe, U.S. distributors showed renewed interest, and "Evil Dead" was eventually released stateside to strong box office returns. His next directorial effort was Crimewave (1985), a quirky, cartoon-like effort that failed to catch fire with audiences. However, he bounced back with Evil Dead II (1987), a racier and more humorous remake/sequel to the original "Dead" that did even better at the box office. Raimi was then given his biggest budget to date to shoot Darkman (1990), a comic book-style fantasy about a scarred avenger. The film did moderate business, but Raimi's strong visual style was evident throughout the film via inventive and startling camera work that caught the attention of numerous critics.
The third chapter in the Evil Dead story beckoned, and Raimi once again directed buddy Campbell as the gritty hero "Ash", in the Gothic horror Army of Darkness (1992). Raimi surprised fans when he took a turn away from the fantasy genre and directed Gene Hackman and Sharon Stone in the sexy western, The Quick and the Dead (1995); four years later, he took the directorial reins on A Simple Plan (1998), a crime thriller about stolen money, starring Bill Paxton and Bridget Fonda. In early 1999, he directed the baseball film, For Love of the Game (1999), and, in 2000, returned to the fantasy genre with a top-flight cast in The Gift (2000). In 2002, Raimi was given a real opportunity to demonstrate his dynamic visual style with the big-budget film adaptation of the Stan Lee comic book superhero, Spider-Man (2002), and fans were not disappointed. The movie was strong in both script and effects, and was a runaway success at the box office. Of course, Raimi returned for the sequel, Spider-Man 2 (2004), which surpassed the original in box-office takings.- Producer
- Writer
- Actor
Quentin Jerome Tarantino was born in Knoxville, Tennessee. His father, Tony Tarantino, is an Italian-American actor and musician from New York, and his mother, Connie (McHugh), is a nurse from Tennessee. Quentin moved with his mother to Torrance, California, when he was four years old.
In January of 1992, first-time writer-director Tarantino's Reservoir Dogs (1992) appeared at the Sundance Film Festival. The film garnered critical acclaim and the director became a legend immediately. Two years later, he followed up Dogs success with Pulp Fiction (1994) which premiered at the Cannes film festival, winning the coveted Palme D'Or Award. At the 1995 Academy Awards, it was nominated for the best picture, best director and best original screenplay. Tarantino and writing partner Roger Avary came away with the award only for best original screenplay. In 1995, Tarantino directed one fourth of the anthology Four Rooms (1995) with friends and fellow auteurs Alexandre Rockwell, Robert Rodriguez and Allison Anders. The film opened December 25 in the United States to very weak reviews. Tarantino's next film was From Dusk Till Dawn (1996), a vampire/crime story which he wrote and co-starred with George Clooney. The film did fairly well theatrically.
Since then, Tarantino has helmed several critically and financially successful films, including Jackie Brown (1997), Kill Bill: Vol. 1 (2003), Kill Bill: Vol. 2 (2004), Inglourious Basterds (2009), Django Unchained (2012) and The Hateful Eight (2015).- Writer
- Director
- Actor
Lucio Fulci, born in Rome in 1927, remains as controversial in death as he was in life. A gifted craftsman with a sharp tongue and a wicked sense of dark humor, Fulci achieved some measure of notoriety for his gore epics of the late 1970s and early 1980s, but respect was long in coming.
Abandoning his early career as a med student, Fulci entered the film industry as a screenwriter and assistant director, working alongside such directors as Steno and Riccardo Freda. Granted his debut feature in 1959, with a seldom seen comedy called I ladri (1959) (The Thieves), Fulci quickly established himself as a prolific craftsman adept at musicals, comedies and westerns.
In 1968, Fulci made his first mystery thriller, One on Top of the Other (1969), and its success was sufficient to garner the backing for his pet project The Conspiracy of Torture (1969). Based on a true story, the film details the trial of a young woman accused of murdering her sexually abusive father amid fear and superstition in 16th Century Italy. A scathing commentary on church and state, the film was the first to give voice to its director's passionate hatred of the Catholic Church. Predictably, the film was misunderstood, and Fulci's career was thrown into jeopardy. Deciding it would be best to leave his political feelings on the back burner, Fulci pressed on with a series of slickly commercial ventures.
In 1971 and 1972, Fulci re-established himself in the thriller arena, directing two excellent giallos: the haunting A Lizard in a Woman's Skin (1971) and the disturbing Don't Torture a Duckling (1972). The former, with its vivid hallucinations involving murderous hippies and vivisected canines, and the latter, with its psychotic religious zealots and brutal child killings, were -- to say the least -- controversial. In particular, Don't Torture a Duckling (1972), despite a huge box-office success, painted too graphic a portrait of perverted Catholicism, and Fulci's career was derailed... some would say, permanently. Blacklisted (albeit briefly) and despised in his homeland, Fulci at least found work in television and with the adventure genre with two financially successful Jack London 'White Fang' adventure movies in 1973 and 1974 which were Zanna Bianca, and Il ritorno di Zanna Bianca. Also during the mid and late 1970s, Fulci also directed two 'Spaghetti Westerns'; The Four of the Apocalypse... (1975) and Silver Saddle (1978), (Silver Saddle) and another 'giallo'; The Psychic (1977), as well as a few sex-comedies which include the political spoof The Eroticist (1972) (aka: The Eroticist), and the vampire spoof Dracula in the Provinces (1975) (aka: Young Dracula), and the violent Mafia crime-drama Contraband (1980).
In 1979, Fulci's film making career hit another high point with him breaking into the international market with Zombie (1979), an in-name-only sequel to George A. Romero's Dawn of the Dead (1978), which had been released in Italy as 'Zombi'. With its flamboyant imagery, graphic gore and moody atmospherics, the film established Fulci as a gore director par excellence. It was a role he accepted, but with some reservations.
Over the next three years, Fulci plied his trade with finesse and flair, rivaling even the popularity of his "opponent" Dario Argento, with such sanguine classics as City of the Living Dead (1980) and The Beyond (1981). Frequently derided as sheer sensationalism, these films, as well as the reviled The New York Ripper (1982) are actually intelligently crafted, with sound commentaries on everything from American life to religion. High on vivid imagery and pure cinematic style, Fulci's films from this period of the early 1980s represent some of his most popular work in America and abroad, even if they do pale in comparison to his 1972 masterpiece and personal favorite Don't Torture a Duckling (1972) (an impossible act to follow, as it happens).
In the mid-1980s, at the peak of his most prolific period, Fulci became beset with personal problems and worsening health. Much of his work from the mid-1980s onward is disappointing, to say the least, but flashes of his brilliance can be seen in works like Murder-Rock: Dancing Death (1984) and The Devil's Honey (1986). A Cat in the Brain (1990), one of Fulci's last works, remains one of his most original. Though strapped by budgetary restraints and marred by mediocre photography, the film is wickedly subversive and comical. With Fulci playing the lead role (as more or less himself, no less -- a harried horror director who fears that his obsession with sex and violence is a sign of mental disease), Fulci also proves to be an endearing and competent actor (he also has cameos in many of his films, frequently as a detective or doctor figure).
By the 1990s, Fulci went on a hiatus with film making for further health and personal reasons as the Italian cinema market went into a further decline. While in pre-production for the Dario Argento-produced The Wax Mask (1997), Lucio Fulci passed away at his home on March 13, 1996 at the age of 68. A serious diabetic most of his adult life, he inexplicably forgot to take his insulin before retiring to bed; some consider his death a suicide, others consider it an accident, but his many fans all consider it to be a tragedy. Whether one considers him to be a hack or a genius, there's no denying that he was unique.- Writer
- Director
- Producer
Dario Argento was born on September 7, 1940, in Rome, Italy, the first-born son of famed Italian producer Salvatore Argento and Brazilian fashion model Elda Luxardo. Argento recalls getting his ideas for filmmaking from his close-knit family from Italian folk tales told by his parents and other family members, including an aunt who told him frighting bedtime stories. Argento based most of his thriller movies on childhood trauma, yet his own--according to him--was a normal one. Along with tales spun by his aunt, Argento was impressed by stories from The Grimm Brothers, Hans Christian Andersen and Edgar Allan Poe. Argento started his career writing for various film journal magazines while still in his teens attending a Catholic high school. After graduation, instead of going to college, Argento took a job as a columnist for the Rome daily newspaper "Paese Sera". Inspired by the movies, he later found work as a screenwriter and wrote several screenplays for a number of films, but the most important were his western collaborations, which included Cemetery Without Crosses (1969) and the Sergio Leone masterpiece Once Upon a Time in the West (1968). After its release Argento wrote and directed his first movie, The Bird with the Crystal Plumage (1970), which starred Tony Musante and and British actress Suzy Kendall. It's a loose adoption on Fredric Brown's novel "The Screaming Mimi", which was made for his father's film company. Argento wanted to direct the movie himself because he did not want any other director messing up the production and his screenplay.
After "The Bird With the Crystal Plumage" became an international hit, Argento followed up with two more thrillers, The Cat o' Nine Tails (1971), starring 'Karl Madlen' (qv" and 'James Fransiscus', and Four Flies on Grey Velvet (1971) ("Four Flies On Black Velvet"), both backed by his father Salvatore. Argento then directed the TV drama Testimone oculare (1973) and the historical TV drama The Five Days (1973). He then went back to directing so-called "giallo" thrillers, starting with Deep Red (1975), a violent mystery-thriller starring David Hemmings that inspired a number of international directors in the thriller-horror genre. His next work was Suspiria (1977), a surreal horror film about a witch's coven that was inspired by the Gothic fairy tales of the Grimm Brothers and Hans Christian Anderson, which he also wrote in collaboration with his girlfriend, screenwriter/actress Daria Nicolodi, who acted in "Profondo Rosso" ("Deep Red") and most of Argento's films from then to the late 1980s. Argento advanced the unfinished trilogy with Inferno (1980), before returning to the "giallo" genre with the gory Tenebrae (1982), and then with the haunting Phenomena (1985).
The lukewarm reviews for his films, however, caused Argento to slip away from directing to producing and co-writing two Lamberto Bava horror flicks, Demons (1985) and Demons 2 (1986). Argento returned to directing with the "giallo" thriller Opera (1987), which according to him was "a very unpleasant experience", and no wonder: a rash of technical problems delayed production, the lead actress Vanessa Redgrave dropped out before filming was to begin, Argento's father Salvatore died during filming and his long-term girlfriend Daria broke off their relationship. After the commercial box-office failure of "Opera", Argento temporarily settled in the US, where he collaborated with director George A. Romero on the two-part horror-thriller Two Evil Eyes (1990) (he had previously collaborated with Romero on the horror action thriller Dawn of the Dead (1978)). While still living in America, Argento appeared in small roles in several films and directed another violent mystery thriller, Trauma (1993), which starred his youngest daughter Asia Argento from his long-term relationship with Nicolodi.
Argento returned to Italy in 1995, where he made a comeback in the horror genre with The Stendhal Syndrome (1996) and then with another version of "The Phantom of the Opera", The Phantom of the Opera (1998), both of which starred Asia. Most recently, Argento directed a number of "giallo" mystery thrillers such as Sleepless (2001), The Card Player (2003) and Do You Like Hitchcock? (2005), as well as two gory, supernatural-themed episodes of the USA TV cable anthology series Masters of Horror (2005).
Having always wanted to make a third chapter to his "Three Mothers" horror films, Argento finally completed the trilogy in 2007 with the release of Mother of Tears (2007), which starred Asia Argento as a young woman trying to identify and stop the last surviving evil witch from taking over the world. In addition to his Gothic and violent style of storytelling, "La terza madre" has many references to two of his previous films, "Suspiria" (1997) and "Inferno" (1980), which is a must for fans of the trilogy.
His movies may be regarded by some critics and opponents as cheap and overly violent, but second or third viewings show him to be a talented writer/director with a penchant for original ideas and creative directing.- Director
- Cinematographer
- Camera and Electrical Department
Joe D'Amato was born Aristide Massaccesi on December 15, 1936, in Rome, Italy. At age 14 he began working for his father, a chief electrician and later the founder of the company A.C.M. By going to school in the daytime, Massaccesi worked afternoons part-time as a stagehand and stage cameraman around various film sets. After attending grade school, from 1953-57, Massaccesi worked for his father. Mole Richardson, another motion picture company, was looking for someone to work as an assistant cameraman and Massaccesi jumped at the opportunity. Starting in 1969 he worked as director of photography as well as assistant director for a number of films until 1974. His first directing work was in 1972's low-budget Stay Away from Trinity... When He Comes to Eldorado (1972), co-directed by Diego Spataro, under the pseudonym Dick Spitfire, but it was a commercial failure. Later that same year Massaccesi directed a western (under the name of Oskar Faradine). He then used his assistant's name, Romano Gastaldi, for his next film, Fra' Tazio da Velletri (1973), as well as a few others.
Massaccesi was reluctant to use his real name early in his directing career, since he was still known mainly as a director of photography and didn't want his directing jobs to jeopardize his cinematography career. He used his real name for screenplay and cinematography roles, but worked under many aliases (such as Michael Wotruba) to disguise the authorship of some films in order not to mix up the different genres of comedy, western, drama, thrillers and others. He used so many phony names that he may well have more pseudonyms credited to him than any other director in the world.
Massaccesi entered the horror genre with Death Smiles on a Murderer (1973) under his real name, which inspired him to make other gothic horror films. Under a new pseudonym, Joe D'Amato, he directed soft-core, erotic films starring Laura Gemser, such as Emanuelle and Francoise (1975), Emanuelle and the Last Cannibals (1977), Emanuelle in America (1977), Erotic Nights of the Living Dead (1980) and others. He also directed such action films as Tough to Kill (1979).
Massaccesi, now referring to himself as Joe D'Amato, entered the "gore" genere films with Beyond the Darkness (1979), which remains his most successful horror film, shot in four weeks on a low budget entirely at a villa near Bressanone and which had an excellent music soundtrack by the rock group Goblin. His next horror film, but less successful than the previous one, was Antropophagus (1980), directed as "Peter Newton". The film starred Tisa Farrow, sister of Mia Farrow and the star of Zombie (1979), another gore genre flick.
During the 1980s and 1990s D'Amato directed over 100 hardcore porn sex films for the Italian video market, although under his many pseudonyms he continued to direct and produce other films. One of them was StageFright (1987) directed by Michele Soavi on which, under his real name, Massaccesi served as producer. He then directed two "Ator the Invincible" films. He directed the violent, hardcore Caligula: The Untold Story (1982), using the name "David Hills", a commercial exploitation (some might say "rip-off") of the successful film by Tinto Brass.
D'Amato's other films during the 1980s were Paradiso Blu (1980) and violent adventure films such as Deep Blood (1989), which were filmed in Florida, and Ghosthouse (1988). Some of D'Amato's greatest successes abroad were L'alcova (1985) and Pomeriggio caldo (1989), as well as the horror-thriller Hitcher in the Dark (1989) (aka "Hitcher in the Dark").
His long film career came to an abrupt end when, in January 1999, he suffered an unexpected and fatal heart attack at his home in Rome. He was 62. Joe D'Amato had made his mark on Italian cinema as a talented director, scriptwriter, producer and cinematographer with scores of films and more than a dozen aliases to his credit.- Writer
- Director
- Actor
Born in Rome. His father gave him a passion for cinema, taking him to Cinecittà as a child. At the age of ten, the British brother-in-law, director of documentaries for the London BBC, gave him a camera in super 8. He began to shoot many films, involving his friends. He does everything by himself, writes, directs and edits. After completing his classical studies, he worked as an editing assistant and later as an assistant director. At 20 years he made his first feature film in Super 8: "Paure e Realtà". And at 25, "Pasaggi" won the Ischia film festival in 1979. In 1981, the 35 mm debut with the film: "Difendimi dalla Notte" that wins: the San Sebastian Film Festival, the Nice Film Festival and the festival of Annency. It is selected in competition at the Berlin Film Festival. But in Italy without political recommendations, nor previous in the family, does not find work, then "emigrate" turning the world, directing many films for the foreign market. All in English, with American and European actors. So he meets his friend, Bruno Mattei. Together they make all genres: horror, western, science fiction, adventure, thriller, war and detective. Later he divides himself from Bruno Mattei, but continues to travel the world, making other horror movies, science fiction and zombies. In 1984 an American production called him to direct the rock star Alice Cooper, as protagonist of the film: "Monster Dog". In 1985 he directed the cult "After Death" in the Philippines. In 1989 he directed in America, the film phenomenon that has lasted for almost thirty years, "Goblin", later called Troll2 from the American distribution, creating a misunderstanding that became the success of the film, because Troll2 was never the sequel of the first Troll, but a comic horror story for families, without blood, called Goblin. In 1993 he returned to Italy, returning to his first love, the cinema of civil commitment. He created the award-winning "Teste Rasate", sold in many countries around the world. In 1995 he made his most successful work "Palermo Milano Solo Andata" with 20th Century Fox Italy. The film is in competition in Venice, and sold in 83 countries. He has made more than 40 films. He discovered many young actors who are stars today. He supervises young directors in their films and never stops, because cinema is his life. Claudio Fragasso is a versatile director, one of the few in Italy, to try his hand at all genres, always experimenting with new things.- Editor
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Born in 1931, Bruno Mattei grew up in Rome, Italy, where his father owned a small film editing studio. At age 20 Bruno started working odd jobs at his father's company as his assistant, then went on to other small spots. He wanted to follow in his father's footsteps as a film editor, and soon found himself working as an editor for a number of directors, including Roberto Bianchi Montero and Nick Nostro. Mattei claimed to have edited over 100 films in the 1960s and early 1970s. After working with famed Spanish director Jess Franco, Mattei made his debut as a director with the drama Armida, il dramma di una sposa (1970) under the alias "Jordon B. Matthews". He eventually had more pseudonyms than any working director in the world. He returned to editing before making another comeback in 1976 with two low-budget Nazi exploitation films, Women's Camp 119 (1977) (aka "Women's Camp 119") and Casa privata per le SS (1977) (aka "SS Girls"). Mattei followed these taboo-breaking films with excursions into porno films and mondo "shockumentaries", all directed under his many pseudonyms, concentrating on "shock value" with films such as Mondo erotico (1973), "Libiodomania" and "Libidomania 2". Always on the lookout for new exploitation avenues, Mattei followed with "nunsploitation", with the softcore sex film The True Story of the Nun of Monza (1980) and the violent sex thriller The Other Hell (1981). Both films involved a partnership with writer/director Claudio Fragasso, who helped him write and direct the back-to-back productions. Using yet another alias, "Vincent Dawn", Mattei directed Hell of the Living Dead (1980) (aka "Night of the Zombies"), a low-budged zombie picture inspired by other zombie cannibal movies such as Dawn of the Dead (1978) and Lucio Fulci's Zombie (1979). "Virus" was filmed in Spain and used jungle footage from New Guinea and a patch soundtrack from Goblins "Dawn of the Dead" soundtrack, which was a minor hit in Italy and abroad. After directing two women's prison films starring Laura Gemser, Mattei moved to directing sword-and-sorcery flicks, starting with The Seven Magnificent Gladiators (1983). Both Mattei and Fragasso collaborated on the sci-fi/horror flick Rats: Night of Terror (1984), inspired by the futuristic movies of the early 1980s. Mattei considers this his best work, despite his still having to work with a very low budget. He worked relentlessly through the 1980s, directing a pair of "spaghetti westerns", some action flicks and about half of Zombie 3 (1988) after Lucio Fulci was taken off the production, though Mattei was not credited with it. In the early 1990s Mattei directed a series of erotic thrillers and a made-for-TV movie, Cruel Jaws (1995), which was inspired by Steven Spielberg's Jaws (1975). Mattei continued making films, with more than 50 to his credit by the 200s. In early 2007 his health began to decline rapidly after he was diagnosed with a brain tumor. Despite his doctor's warnings, he went through with a surgical operation to have the tumor removed in May of that year. After the surgery he fell into a coma from complications, and died a few days later on May 21, 2007 at age 75. Though some people consider his films to be cheap, insipid and technically inept due in large part to their low budgets and poor production values, Bruno Mattei remains an influential cult film director around the world for his radical film making and willingness to direct pretty much anything with a taboo-breaking topic.- Actor
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Shin'ya Tsukamoto was born on 1 January 1960 in Shibuya, Tokyo, Japan. He is an actor and director, known for Tetsuo: The Iron Man (1989), A Snake of June (2002) and Tokyo Fist (1995).- Actor
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Bruce Lee remains the greatest icon of martial arts cinema and a key figure of modern popular media. Had it not been for Bruce Lee and his movies in the early 1970s, it's arguable whether or not the martial arts film genre would have ever penetrated and influenced mainstream North American and European cinema and audiences the way it has over the past four decades. The influence of East Asian martial arts cinema can be seen today in so many other film genres including comedies, action, drama, science fiction, horror and animation... and they all have their roots in the phenomenon that was Bruce Lee.
Lee was born Lee Jun Fan November 27, 1940 in San Francisco, the son of Lee Hoi Chuen, a singer with the Cantonese Opera. Approximately one year later, the family returned to Kowloon in Hong Kong and at the age of five, a young Bruce begins appearing in children's roles in minor films including The Birth of Mankind (1946) and Fu gui fu yun (1948). At the age of 12, Bruce commenced attending La Salle College. Bruce was later beaten up by a street gang, which inspired him to take up martial arts training under the tutelage of Sifu Yip Man who schooled Bruce in wing chun kung fu for a period of approximately five years. This was the only formalized martial arts training ever undertaken by Lee. The talented and athletic Bruce also took up cha-cha dancing and, at age 18, won a major dance championship in Hong Kong.
However, his temper and quick fists got him in trouble with the Hong Kong police on numerous occasions. His parents suggested that he head off to the United States. Lee landed in San Francisco's Chinatown in 1959 and worked in a close relative's restaurant. He eventually made his way to Seattle, Washington, where he enrolled at university to study philosophy and found the time to practice his beloved kung fu techniques. In 1963, Lee met Linda Lee Cadwell (aka Linda Emery) (later his wife) and also opened his first kung fu school at 4750 University Way. During the early half of the 1960s, Lee became associated with many key martial arts figures in the United States, including kenpo karate expert Ed Parker and tae kwon do master Jhoon Rhee. He made guest appearances at notable martial arts events including the Long Beach Nationals. Through one of these tournaments Bruce met Hollywood hair-stylist Jay Sebring who introduced him to television producer William Dozier. Based on the runaway success of Batman (1966), Dozier was keen to bring the cartoon character the Green Hornet to television and was on the lookout for an East Asian actor to play the Green Hornet's sidekick, Kato. Around this time Bruce also opened a second kung fu school in Oakland, California and relocated to Oakland to be closer to Hollywood.
Bruce's screen test was successful, and The Green Hornet (1966) starring Van Williams aired in 1966-1967 with mixed success. His fight scenes were sometimes obscured by unrevealing camera angles, but his dedication was such that he insisted his character behave like a perfect bodyguard, keeping his eyes on whoever might be a threat to his employer except when the script made this impossible. The show was canceled after only one season (twenty-six episodes), but by this time Lee was receiving more fan mail than the series' nominal star. He then opened a third branch of his kung fu school in Los Angeles and began providing personalized martial arts training to celebrities including film stars Steve McQueen and James Coburn as well as screenwriter Stirling Silliphant. In addition he refined his prior knowledge of wing chun and incorporated aspects of other fighting styles such as traditional boxing and Okinawan karate. He also developed his own unique style Jeet Kune Do (Way of the Intercepting Fist). Another film opportunity then came his way as he landed the small role of a stand over man named Winslow Wong who intimidates private eye James Garner in Marlowe (1969). Wong pays a visit to Garner and proceeds to demolish the investigator's office with his fists and feet, finishing off with a spectacular high kick that shatters the light fixture. With this further exposure of his talents, Bruce then scored several guest appearances as a martial arts instructor to blind private eye James Franciscus on the television series Longstreet (1971).
With his minor success in Hollywood and money in his pocket, Bruce returned for a visit to Hong Kong and was approached by film producer Raymond Man-Wai Chow who had recently started Golden Harvest productions. Chow was keen to utilize Lee's strong popularity amongst young Chinese fans, and offered him the lead role in The Big Boss (1971). In it, Lee plays a distant cousin coming to join relatives working at an ice house, where murder, corruption, and drug-running lead to his character's adventures and display of Kung-Fu expertise. The film was directed by Wei Lo, shot in Thailand on a very low budget and in terrible living conditions for cast and crew. However, when it opened in Hong Kong the film was an enormous hit. Chow knew he had struck box office gold with Lee and quickly assembled another script entitled Fist of Fury (1972). The second film (with a slightly bigger budget) was again directed by Wei Lo and was set in Shanghai in the year 1900, with Lee returning to his school to find that his beloved master has been poisoned by the local Japanese karate school. Once again he uncovers the evildoers and sets about seeking revenge on those responsible for murdering his teacher and intimidating his school. The film features several superb fight sequences and, at the film's conclusion, Lee refuses to surrender to the Japanese police and seemingly leaps to his death in a hail of police bullets.
Once more, Hong Kong streets were jammed with thousands of fervent Chinese movie fans who could not get enough of the fearless Bruce Lee, and his second film went on to break the box office records set by the first! Lee then set up his own production company, Concord Productions, and set about guiding his film career personally by writing, directing and acting in his next film, The Way of the Dragon (1972). A bigger budget meant better locations and opponents, with the new film set in Rome, Italy and additionally starring hapkido expert In-shik Hwang, karate legend Robert Wall and seven-time U.S. karate champion Chuck Norris. Bruce plays a seemingly simple country boy sent to assist at a cousin's restaurant in Rome and finds his cousins are being bullied by local thugs for protection.
By now, Lee's remarkable success in East Asia had come to the attention of Hollywood film executives and a script was hastily written pitching him as a secret agent penetrating an island fortress. Warner Bros. financed the film and also insisted on B-movie tough guy John Saxon starring alongside Lee to give the film wider appeal. The film culminates with another show-stopping fight sequence between Lee and the key villain, Han, in a maze of mirrors. Shooting was completed in and around Hong Kong in early 1973 and in the subsequent weeks Bruce was involved in completing overdubs and looping for the final cut. Various reports from friends and co-workers cite that he was not feeling well during this period and on July 20, 1973 he lay down at the apartment of actress Betty Ting Pei after taking a headache medicine called Equagesic and was later unable to be revived. A doctor was called and Lee was taken to hospital by ambulance and pronounced dead that evening. The official finding was death due to a cerebral edema, caused by a reaction to the headache tablet Equagesic.
Fans worldwide were shattered that their virile idol had passed at such a young age, and nearly thirty thousand fans filed past his coffin in Hong Kong. A second, much smaller ceremony was held in Seattle, Washington and Bruce was laid to rest at Lake View Cemetary in Seattle with pall bearers including Steve McQueen, James Coburn and Dan Inosanto. Enter the Dragon (1973) was later released in the mainland United States, and was a huge hit with audiences there, which then prompted National General films to actively distribute his three prior movies to U.S. theatres... each was a box office smash.
Fans throughout the world were still hungry for more Bruce Lee films and thus remaining footage (completed before his death) of Lee fighting several opponents including Dan Inosanto, Hugh O'Brian and Kareem Abdul-Jabbar was crafted into another film titled Game of Death (1978). The film used a lookalike and shadowy camera work to be substituted for the real Lee in numerous scenes. The film is a poor addition to the line-up and is only saved by the final twenty minutes and the footage of the real Bruce Lee battling his way up the tower. Amazingly, this same shoddy process was used to create Game of Death II (1980), with a lookalike and more stunt doubles interwoven with a few brief minutes of footage of the real Bruce Lee.
Tragically, his son Brandon Lee, an actor and martial artist like his father, was killed in a freak accident on the set of The Crow (1994). Bruce Lee was not only an amazing athlete and martial artist but he possessed genuine superstar charisma and through a handful of films he left behind an indelible impression on the tapestry of modern cinema.