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Christopher Hampton Poster

Biography

Jump to: Overview (2)  | Mini Bio (1)  | Spouse (1)  | Trivia (8)  | Personal Quotes (6)

Overview (2)

Born in Faial, Açores, Portugal
Birth NameChristopher James Hampton

Mini Bio (1)

Christopher Hampton was born on January 26, 1946 in Faial, Açores, Portugal as Christopher James Hampton. He is a writer, known for Dangerous Liaisons (1988), Atonement (2007) and The Quiet American (2002). He has been married to Laura de Holesch since 1971. They have two children.

Spouse (1)

Laura de Holesch (1971 - present) ( 2 children)

Trivia (8)

He was awarded the C.B.E. (Commander of the Order of the British Empire) in the 1999 Queen's Birthday Honors List for his services to literature.
An Associate Member of RADA.
In 1995, won two Tony Awards for "Sunset Boulevard:" as Best Book (Musical) with Don Black, and as Best Original Musical Score, sharing lyrics credit with Black and music by Andrew Lloyd Webber. He previously has received two Tony nominations as author of Best Play nominees: in 1971 for "The Philanthropist" and in 1987 for "Les Liaisons Dangereuses."
Member of the 'Official Competition' jury at the 43rd Cannes International Film Festival in 1990.
Ranked #43 in the 2008 Telegraph's list "the 100 most powerful people in British culture".
His play, "The Philanthropist", was awarded the 1975 Joseph Jefferson Award for Best Play Production with Swoosie Kurtz, Brian Murray, Peter Wexler (scenic designer), at the Goodman Theatre in Chicago, Illinois.
He was awarded the 1974 Los Angeles Drama Critics Circle Award for Distinguished Playwriting for "Savages" at the Mark Taper Forum Theatre in Los Angeles, California.
Announced in 2000 that his adaption of Edith Wharton's novel The Custom of the Country would star Uma Thurman.

Personal Quotes (6)

At my school I would say that it was more of a sort of romantic thing than an actual sexual thing, but people did have crushes on other boys. It was sort of staring at people in chapel. Interestingly enough, the people at school who did become gay were not the people who were involved in that kind of thing. What went on most of the time was people fell for boys who looked like girls and were a bit younger" - on adolescent homosexuality in his school
[on Imagining Argentina (2003)'s reception] The first screening was the press screening. The producer and I went in and checked out the print - absolutely fine - went out to dinner and I then had a call saying 'I'm sorry to tell you it's been booed'. I said, 'How awful'. 'Don't worry, it often happens at Venice, nothing to worry about'. And then the next night was the proper opening where there was a six-minute standing ovation so I thought, 'Oh, that's all right'.
[on Dangerous Liaisons (1988)] It's interesting that it chimed with the high point of Thatcherism. That was fortuitous because I first thought about it. When you see it now the resonance is slightly different. It seems now to be to do with everyone else's sex life. When I was re-looking at it in rehearsal I thought, 'This is rather odd, it seems no longer to be about institutionalized selfishness. The thing about "Liaisons" is that by identifying certain things that were going on at the time and pushing them to their logical extreme in a kind of mathematical way, Laclos just laid everything bare. It has been said it is the best sex education a boy could have. It is very wise about what buttons people push and how one's vanity is all tied up with a question of sex.
I never imagined early on that it would last. David Hare and I used to sit around gloomily at the Royal Court and tell each other we had ten years and we had got to make the best of them. - on expectations for his writing career
There is a sort of theory that you should adapt bad books because they always make more successful films. Don't do masterpieces, because they'll be disappointing. I don't think that. If you take a really good book, then the potential is for a really good film. But you've got to get it right.
[on Mary Reilly (1996)] I wrote it because I really liked it and ever since I was a child I've had a weakness for reading Edgar Allan Poe stories; I have a weakness for that kind of Gothic, and I've always liked it. I read the novel and apart from the fact it didn't really have an ending, which caused us a great deal of difficulty down the line, it seemed to me a very ingenious idea to come up; the Jekyll and Hyde story through the eyes of this housemaid who was enamoured of Dr Jekyll. Stephen (Frears) and I have different views of this because I very much like the film and he doesn't, and there was a deal of suffering along the way, largely caused by the fact that I think the film was too expensive and too elaborate. To spend $42m on two people in a house could be deemed extravagant. Even if we'd entered by a different door we could have done something more modest and perhaps more powerful although, as I say, I like the film. I like Julia Roberts and I think she does a jolly good Irish accent.

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