The Lighthouse (1970s Edition) & Red
Circa 1979
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Based on the Play by John Logan
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Based on the Play by John Logan
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One of the greatest actors of all time, Robert De Niro was born on August 17, 1943 in Manhattan, New York City, to artists Virginia (Admiral) and Robert De Niro Sr. His paternal grandfather was of Italian descent, and his other ancestry is Irish, English, Dutch, German, and French. He was trained at the Stella Adler Conservatory and the American Workshop. De Niro first gained fame for his role in Bang the Drum Slowly (1973), but he gained his reputation as a volatile actor in Mean Streets (1973), which was his first film with director Martin Scorsese. He received an Academy Award for Best Supporting Actor for his role in The Godfather Part II (1974) and received Academy Award nominations for best actor in Taxi Driver (1976), The Deer Hunter (1978) and Cape Fear (1991). He received the Academy Award for Best Actor for his role as Jake LaMotta in Raging Bull (1980).
De Niro has earned four Golden Globe Award nominations for Best Actor - Motion Picture Musical or Comedy, for his work in New York, New York (1977), opposite Liza Minnelli, Midnight Run (1988), Analyze This (1999) and Meet the Parents (2000). Other notable performances include Brazil (1985), The Untouchables (1987), Backdraft (1991), Frankenstein (1994), Heat (1995), Casino (1995) and Jackie Brown (1997). At the same time, he also directed and starred in such films as A Bronx Tale (1993) and The Good Shepherd (2006). De Niro has also received the AFI Lifetime Achievement Award in 2003 and the Golden Globe Cecil B. DeMille Award in 2010.
As of 2022, De Niro is 79-years-old. He has never retired from acting, and continues to work regularly in mostly film.Mark Rothko- Actor
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Thomas Stanley Holland was born in Kingston-upon-Thames, Surrey, to Nicola Elizabeth (Frost), a photographer, and Dominic Holland (Dominic Anthony Holland), who is a comedian and author. His paternal grandparents were from the Isle of Man and Ireland, respectively. He lives with his parents and three younger brothers - Paddy and twins Sam and Harry. Tom attended Donhead Prep School. Then, after a successful eleven plus exam, he became a pupil at Wimbledon College. Having successfully completed his GCSEs, in September 2012 Tom started a two-year course in the BRIT School for Performing Arts & Technology notable for its numerous famous alumni.
Holland began dancing at a hip hop class at Nifty Feet Dance School in Wimbledon, London. His potential was spotted by choreographer Lynne Page (who was an Associate to Peter Darling, choreographer of Billy Elliot and Billy Elliot the Musical) when he performed with his dance school as part of the Richmond Dance Festival 2006. After eight auditions and subsequent two years of training, on 28 June 2008 Tom made his West End debut in Billy Elliot the Musical as Michael, Billy's best friend. He gave his first performance in the title role of Billy on 8 September 2008 getting rave reviews praising his versatile acting and dancing skills.
In September 2008 Tom (together with co-star Tanner Pflueger) appeared on the news programme on channel FIVE and gave his first TV interview. In 2009 Tom was featured on ITV1 show "The Feel Good Factor". At the launch show on 31 January he and two other Billy Elliots, Tanner Pflueger and Layton Williams, performed a specially choreographered version of Angry Dance from Billy Elliot the Musical, after which Tom was interviewed by host Myleene Klass. Then he became involved into training five ordinary British schoolboys learning to get fit and preparing their dance routine (fronted by Tom) for the final "The Feel Good Factor" show on 28 March 2009. On 11 March 2010, Tom, along with fellow Billy Elliots Dean-Charles Chapman and Fox Jackson-Keen appeared on The Alan Titchmarsh Show on ITV1.
On 8 March 2010, to mark the fifth anniversary of Billy Elliot the Musical, four current Billy Elliots, including Tom Holland, were invited to 10 Downing Street to meet the Prime Minister Gordon Brown. It was Tom Holland who was chosen to be a lead at the special fifth anniversary show on 31 March 2010. Elton John, Billy Elliot the Musical composer, who was at the audience, called Tom's performance "astonishing" and said that he was "blown away" by it. Holland had been appearing on a regular basis as Billy in Billy Elliot the Musical rotating with three other performers till 29 May 2010 when he finished his run in the musical.
In two months after leaving Billy Elliot the Musical, Holland successfully auditioned for a starring role in the film The Impossible (directed by Juan Antonio Bayona) alongside Naomi Watts and Ewan McGregor. The Impossible was based on a true story that took place during the 2004 Indian Ocean earthquake. The film premiered at the Toronto International Film Festival on September 9, 2012, and was released in Europe in October 2012, and in North America in December 2012.
Tom has received universal praise for his performance, in particular: "What a debut, too, from Tom Holland as the eldest of their three lads" (The Telegraph); "Tom Holland, making one of the finest feature debuts in years" (HeyUGuys); "the excellent Tom Holland" (The Guardian); "The child performers are uncanny and there is an especially terrific performance from Tom Holland as the resourceful, levelheaded Lucas terrified but tenacious in the face of an unspeakable ordeal" (Screen Daily); "Young Holland in particular is astonishingly good as the terrified but courageous Lucas." (The Hollywood Reporter); "However, the real acting standout in The Impossible is the performance of Tom Holland as the eldest son Lucas. His portrayal is genuine, and at no moment does it feel melodramatic and forced. The majority of his scenes are separate from the lead actors and for the most part it feels like The Impossible is Holland's film" (Entertainment Maven); "Mr. Holland, meanwhile, matures before our eyes, navigating the passage from adolescent self-absorption to profound and terrible responsibility. He is a terrific young actor" (New York Times).
Tom has given a number of interviews about his role in The Impossible. In particular, he talked on video to Vanity Fair Senior West Coast editor Krista Smith and with IAMROGUE's Managing Editor Jami Philbrick. He has also given interviews to The Hollywood Reporter, to the MovieWeb, to Today Show on NBC and to other outlets. Tom's director and co-stars have also talked about him. Juan Antonio Bayona: "He had this extraordinary ability to get into the emotion and portray it in a very, very easy way. The best I'd ever seen in a kid." Ewan McGregor: "It was wonderful watching Tom who had never worked in front of a camera before, to see him really get it and grow as a film actor as he went along. He's really talented and polite to everyone. It's very easy for children to lose perspective but he's absolutely on the right road and a brilliant actor." Naomi Watts: "He has an incredible emotional instrument and an unbelievable sense of himself... Tom Holland and I had a couple of moments where we came together and I could just tell how wonderful he was and what a beautiful instrument he had. It was just easy to work with him, that was one of the greatest highlights for me: discovering a friendship with Tom off-screen and this beautiful relationship between mother and son on-screen. The intimacy that develops through the course of the film between Lucas and Maria, I just loved that relationship. I mean, Tom is a beyond gifted actor. He's just a raw, open talent that is just so easy to work with. And Tom, he's inspiring, he kind of lifts everyone's game around him because he can do nothing but tell the truth. He was great."
In his turn, Tom Holland has returned favours to Naomi Watts when he was asked to present Desert Palm Achievement Award to her at Palm Springs International Film Festival. According to HitFix: "One recurring theme of the night was how the introductions were often better than actual winner's speeches... The best intro, however, had to go to 16-year-old Tom Holland who intro'd his "Impossible" co-star Watts. Holland admitted of all of Watts' great performances his dad had only let him see "King Kong" and while they spent six weeks shooting in a water tank he didn't know it was "difficult" because he actually "loved it"... Most important, this was Holland's first film role and he sweetly noted, "From the moment I met you, you took my hand and you never let go." Cue the "awwww" from the audience." The presentation is available on video.
In 2011, Holland was cast in British version of the animation film Arrietty, produced by Japan's cult Studio Ghibli. He has provided voice over for the principal character Sho. In 2012 Tom Holland played the starring role of Isaac in the film "How I lived Now", (directed by Kevin Macdonald) alongside Saoirse Ronan. The film was released in 2013.
On 17 October 2012, Holland became a recipient of Hollywood Spotlight Award for his role in The Impossible. "We are very excited that we will be able to recognize acting talents that are on the road to discovery and stardom," said Carlos de Abreu, founder and executive director of the Hollywood Film Awards in a statement. On 6 December 2012 it was announced that Holland became a winner of the National Board of Review award in the "Breakthrough Actor" category. In the end of December 2012, Holland was voted a winner for the year's Best Youth Performance in Nevada Critics Awards.
In December 2012, Holland received a number of nominations for his role in The Impossible: for the 18th annual Critics' Choice Movie Awards, in the "Best Young Acror/Acress" category; for Chicago Film Critics Association Awards 2012 in the "Most Promising Performer" category; for the 27th Goya Awards in the "Best New Actor" category; for the Washington D.C. Area Film Critics Association Awards 2012 in the "Best Youth Performance" category; for the London Film Critics Circle Awards 2012 in the "Young British Performer of the Year" category.
Kristopher Tapley, Editor-at-Large of HitFix, reported on 27 August 2012 that Summit Entertainment, the company responsible for distribution of The Impossible in USA, would be campaigning Holland rather than McGregor as the lead, and strongly argued that Tom Holland deserved to be nominated for an Academy Award in the Best Actor category. The fact of long-listing for an Academy Award was confirmed in the article in the Hollywood Reporter: "And though McGregor stars as his father in the film, Holland has been submitted as the lead actor for awards consideration. Regardless if he receives any nominations, his performance as the strong-willed and determined eldest son is garnering critical acclaim."
As one of the most promising young actors, Holland was featured in Screen International's "UK Stars of Tomorrow - 2012" and in Variety's "Youth Impact Report 2012". Holland has been signed up by William Morris Endeavor (WME) global talent agency and is represented by Curtis Brown literary and talent agency.
In 2015, Tom was cast as Peter Parker/Spider-Man in Sony and Marvel's films. He has played the role in Captain America: Civil War (2016), Spider-Man: Homecoming (2017), and Avengers: Infinity War (2018).Ken- Director
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Jonathan first found fame for his revolutionary work on Radiohead's 'Street Spirit' and Jamiroquai's multi-MTV award winning 'Virtual Insanity' video.
In 1999 he directed the ground-breaking Guinness 'Surfer', which picked up 2 D&AD Black Pencils and the top spot at most of the other awards festivals that year. The film still heads many lists as one of the best commercials of all time. He has made iconic commercials for Stella Artois, Levis, Nike, Sony, Volkswagen, Channel 4, Wrangler, Apple and many others. His film for Alexander McQueen won a Grand Prix at the Ciclope Festival in Berlin.
In 2000 Jonathan directed Sexy Beast which was nominated for Best British Film by BAFTA. This was followed 4 years later with Birth, staring Nicole Kidman and Lauren Bacall. His 2014 film, Under The Skin stars Scarlett Johansson and is an adaptation of Michel Faber's 2000 novel of the same name. Under The Skin received 2 BAFTA nominations and won critical acclaim as a 'landmark in filmmaking'.
Later on, Jonathan directed work for the BBC in the form of 2019's 'The Fall', a short film influenced by Goya's 'The Sleep of Reason Produces Monsters' and a hunting photograph of Donald Trump's two sons posing with a dead leopard; and 2020's Strasbourg 1518, a collaboration in isolation created during Covid, inspired by a unique plague striking inhabitants of the city who danced until their ultimate demise.Director Choice #1- Producer
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George Vincent Gilligan Jr. (born February 10, 1967) is an American writer, producer, and director. He is known for his television work, specifically as creator, head writer, executive producer, and director of Breaking Bad and its spin-off Better Call Saul. He was a writer and producer for The X-Files and was the co-creator of its spin-off The Lone Gunmen.
Both Breaking Bad and Better Call Saul have received widespread critical acclaim, with Gilligan winning two Primetime Emmy Awards, six Writers Guild of America Awards, two Critics' Choice Television Awards and Producers Guild of America Awards, one Directors Guild of America Award and a BAFTA. Outside of television, he co-wrote the screenplay for the 2008 film Hancock.
Gilligan was born in Richmond, Virginia, the son of Gail, a grade school teacher, and George Vincent Gilligan Sr., an insurance claims adjuster. His parents divorced in 1974 and he and his younger brother, Patrick, were raised in Farmville and Chesterfield County, and attended the laboratory school run by Longwood College. Growing up, Gilligan became best friends with future film editor and film title designer Angus Wall. His interest in film began when Wall's mother, Jackie, who also taught alongside Gilligan's mother, would lend her Super 8 film cameras to him. He used the camera to make science fiction films with Patrick. One of his first films was entitled Space Wreck, starring his brother in the lead role. One year later, he won first prize for his age group in a film competition at the University of Virginia.
Jackie would take Wall and Gilligan to Richmond and drop them off at Cloverleaf Mall to see films, and encourage both of them to pursue a career in the arts. "I wouldn't be where I am today if it wasn't for Jackie. She was a wonderful lady and a real inspiration," he recalls. Gilligan was recognized for his talents and creativity at an early age. George Sr. described him as a "kind of a studious-type young man, and he liked to read, and he had a vivid imagination". He introduced Gilligan to film noir classics, as well as John Wayne and Clint Eastwood Westerns on late-night television. Gilligan won a scholarship to attend the prestigious Interlochen Center for the Arts. After eighth grade, he moved back to Chesterfield to attend high school.
After graduating from Lloyd C. Bird High School in 1985, Gilligan went on to attend NYU's Tisch School of the Arts on a scholarship, receiving a Bachelor of Fine Arts degree in film production. While at NYU, he wrote the screenplay for Home Fries; Gilligan received the Virginia Governor's Screenwriting Award in 1989 for the screenplay, which was later turned into a film. One of the judges of the competition was Mark Johnson, a film producer. He was impressed by Gilligan, saying he "was the most imaginative writer I'd ever read".Director Choice #2- Director
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John Crowley was born on 19 August 1969 in Cork, Ireland. He is a director and producer, known for Brooklyn (2015), Boy A (2007) and Intermission (2003). He is married to Fiona Weir. They have one child.Director Choice #3- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.Thomas Wake- Actor
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Mark Hamill is best known for his portrayal of Luke Skywalker in the original Star Wars trilogy - Star Wars: Episode IV - A New Hope (1977), Star Wars: Episode V - The Empire Strikes Back (1980), and Star Wars: Episode VI - Return of the Jedi (1983) - a role he reprised in Star Wars: Episode VII - The Force Awakens (2015), Star Wars: Episode VIII - The Last Jedi (2017) and Star Wars: Episode IX - The Rise of Skywalker (2019). He also starred and co-starred in the films Corvette Summer (1978), The Big Red One (1980), and Kingsman: The Secret Service (2014). Hamill's extensive voice acting work includes a long-standing role as the Joker, commencing with Batman: The Animated Series (1992).
Hamill was born in Oakland, California, to Virginia Suzanne (Johnson) and William Thomas Hamill, a captain in the United States Navy. He majored in drama at Los Angeles City College and made his acting debut on The Bill Cosby Show (1969). He then played a recurring role (Kent Murray) on the soap opera General Hospital (1963) and co-starred on the comedy series The Texas Wheelers (1974).
Released on May 25, 1977, Star Wars: Episode IV - A New Hope (1977) was an enormous unexpected success and made a huge impact on the film industry. Hamill also appeared in The Star Wars Holiday Special (1978) and later starred in the successful sequels Star Wars: Episode V - The Empire Strikes Back (1980), and Star Wars: Episode VI - Return of the Jedi (1983). For both of the sequels, Hamill was honored with the Saturn Award for Best Actor given by the Academy of Science Fiction, Fantasy and Horror Films. He reprised the role of Luke Skywalker for the radio dramatizations of both "Star Wars" (1981) and "The Empire Strikes Back" (1983), and then in a starring role in Star Wars: Episode VIII - The Last Jedi (2017). For the radio dramatization of "Return of the Jedi" (1996), the role was played by a different actor.
He voiced the new Chucky in Child's Play (2019), taking over from Brad Dourif.Ephraim Winslow- Actress
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One of Broadway and Hollywood's perennial and cleverer talents who tends to shine a smart, cynical light on her surroundings, Stockard Channing was born Susan Williams Antonia Stockard on February 13, 1944 in New York City to a Protestant father and a Catholic mother of Irish descent. Her parents were Mary Alice (née English) and well-to-do shipping executive Lester Napier Stockard; the latter died when his daughter was 16 and left her a sizable estate.
Channing attended the eminent Chapin School in NYC, then later attended the Madeira School, a girls' boarding school in Virginia. She majored in both literature and history at Radcliffe College, from which she graduated summa cum laude in 1965. In 1964 she married Walter Channing Jr., a businessman whose surname she kept for part of her own stage moniker after their divorce four years later.
Interested in acting, she made her stage debut in a production of "The Investigation" at the experimental Theatre Company of Boston in 1966. She went on to play a number of offbeat roles with the company. She eventually migrated to New York where she took her first Broadway bow as a chorus member and understudy in the musical version of 'Two Gentlemen of Verona' in 1971. Two years later she would take over the prime role of Julia in the L.A. national company. Other theater roles during this time included 'Adaptation/Next' (1970) 'Arsenic and Old Lace' (1970), 'Play Strindberg' (1971), and 'No Hard Feelings' (1973).
Somewhat plaintive yet magnetic and unique-looking, the dark-haired actress began first appearing in pictures with small parts in the dark comedy The Hospital (1971) and the edgy Barbra Streisand fantasy-drama Up the Sandbox (1972). Taking on the top female lead as an heiress and potential victim of shysters Jack Nicholson and Warren Beatty in Mike Nichols' comedy The Fortune (1975), the film, despite its male star power and her Golden Globe nomination, would not become the star-making hit for Channing as initially predicted.
While her next two films, (The Big Bus (1976) and Sweet Revenge (1976)), didn't get her to first base with the public either, Channing hit a major home run with the TV-movie The Girl Most Likely to... (1973), a clever black comedy written by Joan Rivers wherein she played a former ugly duckling-turned-beauty (à la plastic surgery) who decides to attract and knock off the men who cruelly cast her aside earlier. Channing found her niche with this smart, sardonic character and it would take her quite far in Hollywood.
At age 33(!), Stockard was handed the feisty role of high-school "tough girl" Betty Rizzo in the box-office film version of the hit musical Grease (1978), starring Olivia Newton-John and John Travolta. While long in the tooth for such a role (as were most of the others in the lead cast), she compelled the audience to suspend disbelief in her sly performance, which earned her a People's Choice Award (Favorite Motion Picture Supporting Actress). This blockbuster clinched her place as a top-ranking star contender.
Handed two sitcom vehicles of her own within a year on CBS, Stockard Channing in Just Friends (1979) had her playing a newly-separated wife starting life anew in another city (L.A.) while The Stockard Channing Show (1980) starred her as a divorced lady again trying to find herself in L.A. Neither caught on and lasted but a few months. Stalled at a critical juncture in her career, she decided to return to her first love -- the theater. With 'Vanities', 'Absurd Person Singular', and 'As You Like It' (as Rosalind) already on her resume, she earned fine notices on Broadway with the musical 'They're Playing Our Song', succeeding Lucie Arnaz in 1980, then garnered rave reviews as the mother of a developmentally disabled child in the New Haven production of Peter Nichols' 'A Day in the Death of Joe Egg' in 1982. The actress repeated her role on Broadway a few years later (the title now shortened to "Joe Egg") and copped the 1985 Tony Award for Best Actress in a Play. Subsequent Tony nominations came her way for her offbeat work in 'The House of Blue Leaves' (1986); 'Six Degrees of Separation' (for which she also won an Off-Broadway Obie), 'Four Baboons Adoring the Sun' (1992); and for her Eleanor of Aquitaine in 'The Lion in Winter' in 1999.
Award-worthy projects again came her way on TV. Nominated for an Emmy for the CBS miniseries Echoes in the Darkness (1987), she also won a CableACE Award for her work in Tidy Endings (1988). In film, she received Oscar and Golden Globe nominations when her stage triumph, Six Degrees of Separation (1993), was turned into a film. This was followed by a rare vulnerable role as an abused, small-town housewife in the popular drag queen dramedy To Wong Foo, Thanks for Everything! Julie Newmar (1995), a co-star role alongside Jennifer Tilly as two divorce-bound women who meet in Reno in Edie & Pen (1996), a prime role in the remake of Moll Flanders (1996) and as an eccentric aunt in the comedy/fantasy Practical Magic (1998). She also provided the voice of Barbara Gordon in several episodes of Batman Beyond (1999).
Channing has remained a highly productive, award-winning presence into the millennium on film, TV and the occasional stage. Beginning with a London Film Critics Circle Award for Best Actress in the film The Business of Strangers (2001), her other movies have included co-star or featured roles in Life or Something Like It (2002), Behind the Red Door (2003), The Divorce (2003), Must Love Dogs (2005), Sparkle (2007), Multiple Sarcasms (2010), and Pulling Strings (2013).
As part of the acclaimed cast of The West Wing (1999) as "First Lady" Abigail Bartlet, audiences were so drawn to her shrewd, classy character that producers wisely started featuring her regularly into the third season, winning both Emmy and SAG awards and a slew of nominations for this long-running role. Other awards came for social dramas. She received a second Emmy for her supporting turn as mother Judy Sheppard in The Matthew Shepard Story (2002), a docudrama about the gay-bashing murder of young Matthew Shepard, a Daytime Emmy for her role in the TV movie Jack (2004) in which she plays a wife who finds out her husband is gay, and a SAG nomination as a mother who discovers her teenage daughter is lesbian in The Truth About Jane (2000).
Stockard thought she finally found sitcom success with the series Out of Practice (2005) and was even Emmy-nominated for her role as a sharp-tongued but caring doctor. As luck would have it, however, a core audience was not to be found and the show lasted but a mere season. She fared better in a recurring part as Julianna Margulies' mother on the popular dramatic series The Good Wife (2009).
Returning to the stage, Stockard played "Lady Bracknell" in a 2010 Dublin production of 'The Importance of Being Earnest', and the following year was nominated for a Tony and Drama Desk for 'Other Desert Cities'. In 2018, she appeared in the play 'Apologia', co-starring Hugh Dancy in London.
Divorced four times, including to actor Paul Schmidt and writer/producer David Debin, she has no children. She has been in a three-decade-long relationship with cinematographer/gaffer Dan Gillham.Mermaid