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Joseph Kosinski Poster

Biography

Jump to: Overview (2)  | Mini Bio (1)  | Personal Quotes (21)

Overview (2)

Born in Marshalltown, Iowa, USA
Height 6' 4" (1.93 m)

Mini Bio (1)

Joseph Kosinski is a director whose uncompromising visual style has quickly made a mark in the filmmaking zeitgeist. His feature film debut, "Tron Legacy" for Walt Disney Studios, grossed over $400 million worldwide and was nominated for several awards, including an Academy Award for Sound Editing and a Grammy for the score by Daft Punk.

For his sophomore feature, Kosinski created the science-fiction thriller "Oblivion" for Universal Pictures, starring Tom Cruise and Morgan Freeman. With a score by M83, it grossed $288 million worldwide.

Kosinski's third feature was the critically acclaimed action-drama "Only The Brave" for Black Label Media and Columbia Pictures. The film stars Josh Brolin, Miles Teller, Jennifer Connelly and Jeff Bridges.

He won three AICP Awards for his commercials Gears of War "Mad World", Assassin's Creed "Unity" and Destiny "Become Legend", all of which are now featured in the Department of Film at the Museum of Modern Art. His recent ads have included "The Dig" for Sony and "Web of Fries" for Taco Bell.

Joseph received his undergraduate degree in Mechanical Engineering at Stanford University before graduating from Columbia University with a graduate degree in Architecture.

- IMDb Mini Biography By: Anonymous

Personal Quotes (21)

You never watch movies the same as you do when you're a kid, ever again.
When you make a movie, you can only make the movie that you would want to see.
I think the excitement of movies is discovering stuff you weren't expecting, and I hope to preserve that.
I'm a huge electronic-music fan.
That's the tricky thing these days: being able to surprise people.
Go out and make something that reflects your interests, your taste, and your ideas. No one will pay you to make something until you have a few things you can show that you've directed. I got my start by making short films on my own.
I realized that I loved using computers to create something, but being an architect just wasn't going to keep me interested. The idea of a life spent obsessing over bathroom details for an Upper East Side penthouse was pretty depressing.
As a director, if you know what you want, then it's not scary.
Listen, whatever makes the movie better. That's the attitude you have to have.
Of course there are always exceptions, but opinions are not to be feared.
Once I got out of architecture school I decided not to be an architect, I just started my own little design studio.
Well I grew up in the Midwest, and I think the first film that blew my mind was 'Raiders of the Lost Ark.'
I went to school for engineering, I studied jazz. So I always had this kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
For me, I feel like, between 'Tron' and 'Oblivion,' I've gotten to fulfill my 'Star Wars' fantasies, in a way.
I always say, 'If you're planning on seeing our movie, don't look at any more of the materials.'
I don't think every movie should be made in 3-D, and it should depend on whether it's one of these films that's more immersive or needs to be taken to another world. I'm interested in other formats.
Disney's clearly in the business of doing giant tent pole movies based on properties that they own. And that's what they should be doing because they're great at doing that.
An established property can be a blessing and a challenge. On one hand you have all those fans of the original that you can pick up with and continue on with but then you have a lot of people out there who haven't seen the first and might feel like this isn't a movie for them because of that.
But I grew up in a place where no one knew anyone in the entertainment business, I never knew it was an actual career. The closest I ever got to movies was going to watch them, and I thought that's the way it would be, so I never considered working in this business.
It's a fine line to find that balance: to show people enough to give them the promise of something unique, and something they want to see, but at the same time make sure that when they show up for the movie, they're surprised by what they eventually get.
Movies don't sit in the theaters for an entire summer like they did in 1982. Now you've got a two- or three-week shelf life so you need to have that awareness right off the bat. And in order to make a lot of people know about your movie, you need to be out there banging the drum and showing your stuff.

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