Carlotta Mercedes McCambridge (March 16, 1916 – March 2, 2004) was an Academy Award-winning and Golden Globe-winning American actress. Orson Welles called her “the world’s greatest living radio actress.”
McCambridge was born in Joliet, Illinois, the daughter of parents Marie and John Patrick McCambridge. She graduated from Mundelin College in Chicago. She began her career as a radio actor during the 1940′s while also performing on Broadway.
Her Hollywood break came when she was cast opposite Broderick Crawford in All the King’s Men (1949). McCambridge won the 1949 Academy Award for Best Supporting Actress for her role, while the film won Best Picture for that year. McCambridge also won the Golden Globe Award for Best Supporting Actress and New Star of the Year – Actress for her performance.
In 1954, the actress co-starred with Joan Crawford and Sterling Hayden in the offbeat western drama, Johnny Guitar, now regarded as a cult classic. McCambridge and Hayden publicly declared their dislike of Crawford, with McCambridge labeling the film’s star “a mean, tipsy, powerful, rotten-egg lady.”
McCambridge played the supporting role of ‘Luz’ in the George Stevens epic, Giant (1956), which starred Elizabeth Taylor, and James Dean in his last role. In 1959, McCambridge appeared opposite Katherine Hepburn, Montgomery Clift and Elizabeth Taylor in Joseph L. Mankiewicz’ film adaptation of Tennessee Williams’ Suddenly Last Summer.
Of more interest to casual readers of this site, McCambridge provided the dubbed voice of the demonically possessed child Regan in The Exorcist, acted by Linda Blair. McCambridge was promised a screen credit for the film’s initial release, but she discovered at the premiere that her name was absent. Her dispute with director William Friedkin and Warner Bros. over her exclusion ended when, with the help of the Screen Actors Guild, she was properly credited for her vocal work in the film.
In the 1970′s, she toured in a road company production of Cat on a Hot Tin Roof as Big Mama, opposite John Carradine as Big Daddy. She appeared as a guest artist in college productions such as El Centro College’s 1979 The Mousetrap, in which she received top billing despite her character being murdered less than 15 minutes into the play.
In the mid-1970′s, McCambridge briefly took a position as director of Livingrin, a Pennsylvania rehabilitation center for alcoholics. She was at the same time putting the finishing touches on her soon-to-be released autobiography, The Quality of Mercy: An Autobiography (Times Books, 1981).
McCambridge died on March 2, 2004 in La Jolla, California, of natural causes.
Still fresh off The Machinist, it became necessary for Bale to bulk up to match Batman’s muscular physique. He was given a deadline of six months to do this. Bale recalled it as far from a simple accomplishment: “…when it actually came to building muscle, I was useless. I couldn’t do one push up the first day. All of the muscles were gone, so I had a real tough time rebuilding all of that.” With the help of a personal trainer, Bale succeeded in meeting the deadline, gaining a total of 100 lb (45 kg) in six months. He went from about 130 lbs to 230 lbs. He then discovered that he had actually gained more weight than the director desired, and dropped his weight to 190 lbs by the time filming began.
Bale had initial concerns about playing Batman, as he felt more ridiculous than intimidating in the Batsuit, he dealt with this by depicting Batman as a savage beast. To attain a deeper understanding of the character, Bale read various Batman comic books. He explained his interpretation of the young boy: “Batman is his hidden, demonic rage-filled side. The creature Batman creates is an absolutely sincere creature and one that he has to control but does so in a very haphazard way. He’s capable of enacting violence — and to kill — so he’s constantly having to rein himself in.” For Bale, the most gruelling part about playing Batman was the suit. “You stick it on, you get hot, you sweat and you get a headache in the mask,” he said. “But I’m not going to bitch about it because I get to play Batman.” When promoting the film in interviews and public events, Bale retained an American accent to avoid confusion.
Batman Begins was released in the U.S. on 15 June 2005 and was a U.S. and international triumph for Warner Bros., costing approximately US$135 million to produce and taking in over US$370 million in returns worldwide. Bale earned the Best Hero award at the 2006 MTV Movie Awards for his performance.
Bale reprised his role as Batman in Nolan’s Batman Begins sequel The Dark Knight. He trained in the Kevsi Fighting Method, and performed many of his own stunts. The Dark Knight was released in the U.S. on 18 July 2008 and stormed through the box office, with a record-breaking $158.4 million in the U.S. in its first weekend. It broke the $300 million barrier in 10 days, the $400 million mark in 18 days and the $500 million mark in 43 days, three new U.S. box office records set by the film. The film went on to gross over $1 billion at the box office worldwide, making it the fourth-highest grossing movie worldwide of all time, before adjusting for inflation.
Bale reprised his Batman role in The Dark Knight Rises released on 20 July 2012, making Bale the actor who has played Batman the most times in feature film. Bale has given the same opinion as Nolan that, if the latter was forced to bring Robin into the films, he would never again play Batman; even though one of his favorite Batman stories, Batman: Dark Victory, focuses on Robin’s origin.
In 2006, Bale took on four projects: Rescue Dawn, by German film maker Werner Herzog, had him playing U.S. Fighter pilot Dieter Dengler, who has to fight for his life after being shot down while on a mission during the Vietnam War. Bale left a strong impression on Herzog, with the director complimenting his acting abilities: “I find him one of the greatest talents of his generation. We made up our own minds long before he did Batman.“
In The Prestige, an adaptation of the Christopher Priest novel about a rivalry between two Victorian stage magicians, Bale was reunited with Batman Begins‘ Michael Caine and director Christopher Nolan. The cast of The Prestige also included Hugh Jackman, Scarlett Johansson, and David Bowie. I’m Not There, a film in which Bale again worked alongside Todd Haynes and Heath Ledger (who would go on to play The Joker in The Dark Knight), is an artistic reflection of the life of Bob Dylan. He starred opposite Russell Crowe in a commercially and critically successful Western film, 3:10 to Yuma. Bale played John Connor in Terminator Salvation and FBI agent Melvin Purvis in Michael Mann’s Public Enemies.
In 2010, Bale portrayed Dicky Eklund in the biopic The Fighter. He received critical acclaim for his role and won several awards, including the Academy Award for Best Supporting Actor, the Golden Globe for Best Supporting Actor and the Screen Actor’s Guild Award for Outstanding Performance by a Male Actor in a Supporting Role.
Eileen Dietz (born January 11, 1945, Bayside, New York) is an American actress who is best known for her appearances in many horror films such as the face of the demon in The Exorcist and for her portrayal of characters on the soap operas Guiding Light and General Hospital.
As a child, Dietz appeared in commercials with her twin sister Marianne, and beginning at the age of 12 she started studying acting at the Neighborhood Playhouse. She made her television debut in 1963 in a small guest role on The Doctors. Shortly thereafter she landed a recurring role on the soap opera Love of Life. She made her film debut starring in the 1966 movie Teenage Gang Debs as Ellie. The following year she portrayed Penny Wohl in the critically acclaimed independent film Holzman’s Diary. The film never got much in the way of theatrical distribution despite having Dietz’s nude scene featured in Life Magazine’s photo spread and in the book of the film. She didn’t recall if she auditioned for the role of Penny but she added, “it was a fun shoot.”
Dietz spent much of the late 1960′s and early 1970′s appearing in theatre productions. In 1972, she portrayed an androgynous runaway in the premiere of Joyce Carol Oates’ Ontological Proof of My Existence. Her portrayal in the play led to an invitation to do a screen test for William Friedkin film The Exorcist. She was cast in two memorable roles in the film: The Demon (better known as The Face of Death), for this role, Dietz actually only appeared on film for 8–10 seconds; and the ‘Possessed Regan’ (the Linda Blair character). In The Exorcist Pazuzu appears as a demon who possesses Regan McNeil; Pazuzu a fictional character and the main antagonist in The Exorcist novels and film series created by William Peter Blatty. Blatty derived the character from Assyrian and Babylonian mythology, where Pazuzu was considered the king of the demons and of the wind, and the son of the god Hanbi.
In 1980, Dietz joined the cast of General Hospital as Sarah Abbott, a role she played for several years. She also appeared as a guest star on Trapper John, M.D. (1982) and in the horror film Freeway Maniac (1989). More recent film credits include Naked in the Cold Sun (1997), Hurricane Festival (1997), Bad Guys (2000), Exorcism (2003), The Mojo Cafe (2004), Neighborhood Watch (2005), Constantine (2005), Karla (2006), Creepshow III (2006), Dog Lover’s Symphony (2006), and Tracing Cowboys (2008).
2009 was a very busy year for Dietz. She had several films coming out, including Stingy Jack, H2: Halloween 2, See How They Run, The Queen of Screams (2009), Butterfly, Second Coming of Mary,Legend of the Mountain Witch, and Monsterpiece Theatre Volume 1.
John Boorman (born 18 January 1933) is a British filmmaker who is a long time resident of Ireland and is best known for his feature films such as Point Blank, Deliverance, Zardoz, Excalibur, The Emerald Forest, Hope and Glory, The General and The Tailor of Panama.
Boorman first began by working as a dry cleaner and journalist in the late 1950s. He ran the newsrooms at Southern Television in Southampton and Dover before moving into TV documentary filmmaking, eventually becoming the head of the BBC’s Bristol-based Documentary Unit in 1962.
His feature debut was Catch Us If You Can (1965), about competing pop group Dave Clark Five, a rip-off of Richard Lester’s ‘A Hard Days Night’. Boorman was drawn to Hollywood for the opportunity to make larger-scale cinema and in Point Blank (1967), a gritty, powerful and brutal film, he brought a stranger’s vision to the decaying fortress of Alcatraz and the proto-hippy world of San Francisco. Lee Marvin gave the then-unknown director his full support, telling MGM he deferred all his approvals on the project to Boorman.
After Point Blank, Boorman re-teamed with Lee Marvin and Toshiro Mifune for Hell in the Pacific (1968), which tells a fable story of two representative soldiers stranded together on an island. Returning to the UK, he made Leo the Last (US/UK, 1970). The film won him a Best Director award at Cannes.
Boorman achieved much greater resonance with Deliverance (1972), the odyssey of city people played by Jon Voight, Burt Reynolds, Ronny Cox and Ned Beatty as they trespass into the Appalachian backwoods and discover their inner savagery. This film became Boorman’s first true box office success, earning him several award nominations. He followed with the cult film Zardoz (1973), starring Sean Connery, a post-apocalyptic sci-fi piece, set in the 24th century.
Boorman was selected as director for Exorcist II: The Heretic (1977), but the resultant film was widely ridiculed and regarded by many as a failure. The film is set four years after The Exorcist, and centers on a now 16-year-old Regan McNeil who is still recovering from her previous demonic possession.
Exorcist writer/producer William Peter Blatty and director William Friedkin both had no desire to involve themselves in an Exorcist sequel. According to the film’s co-producer Richard Lederer, Exorcist II was conceived as a relatively low-budget affair: “What we essentially wanted to do with the sequel was to redo the first movie… Have the central figure, an investigative priest, interview everyone involved with the exorcism, then fade out to unused footage, unused angles from the first movie. A low-budget rehash – about $3 million – of The Exorcist, a rather cynical approach to movie-making, I’ll admit. But that was the start.”
Playwright William Goodhart was commissioned to write the screenplay, titled The Heretic, and based it around the theories of Pierre Teilhard de Chardin (the Jesuit paleontologist/archaeologist who inspired the character of Father Merrin when Blatty wrote The Exorcist). Boorman was unhappy with Goodhart’s script, and asked Goodhart to do a rewrite, incorporating ideas from Rospo Pallenberg. Goodhart refused, and so the script was rewritten by Pallenberg and Boorman. Goodhart’s script was being constantly rewritten as the film was shooting, with the filmmakers uncertain as to how the story should end. Actress Linda Blair recalls “It was a really good script at first. Then after everybody signed on they rewrote it five times and it ended up nothing like the same movie.”
British filmmaker Boorman signed on to direct, stating that “the idea of making a metaphysical thriller greatly appealed to my psyche.” Years before, Boorman had been considered by Warner Bros. as a possible director for the first Exorcist movie, but he turned the opportunity down as he found the story “rather repulsive.” Boorman, however, was intrigued with the idea of directing a sequel, explaining that “every film has to struggle to find a connection with its audience. Here I saw the chance to make an extremely ambitious film without having to spend the time developing this connection. I could make assumptions and then take the audience on a very adventurous cinematic journey.” He should have left it alone…
Boorman returned with Excalibur (1981), a retelling of the Arthurian legend. For the film he employed all of his children as actors and crew and several of Boorman’s later films have been ‘family business’ productions.
The Emerald Forest (1985) saw Boorman cast his actor son Charley Boorman as an eco-warrior, in a rainforest eco-adventure. Hope and Glory (1987, UK) is his most autobiographical movie to date, a retelling of his childhood in London during The Blitz. The film proved a Box Office hit in the US, receiving numerous Oscar, BAFTA and Golden Globe nominations. However his 1990 US produced comedy about a dysfunctional family, Where the Heart Is, was a major flop.
Boorman won the Best Director Award at the 1998 Cannes Film Festival for The General, his black-and-white biopic of Martin Cahill. The film is about the somewhat glamorous, yet mysterious, criminal in Dublin who was killed, apparently by the IRA. Released in 2006, The Tiger’s Tail was a thriller set against the tableau of early 21st century capitalism in Ireland.
In 2004, Boorman was made a Fellow of BAFTA.
Nastassja Kinski (born 24 January 1961) is an actress who has appeared in more than 60 films, in both her native Europe and the United States. Kinksi’s starring roles include her Golden Globe Award-winning portrayal of the title character in Tess and multi-award winner Paris, Texas, one of a number of films made with German director Wim Wenders. She has also starred in a remake of erotic horror classic Cat People.
Born in Berlin as Nastassja Aglaia Nakszynski, Kinski is the daughter of the German actor Klaus Kinski from his marriage to actress Ruth Brigitte Tocki. Her parents divorced in 1968. Kinski rarely saw her father after the age of 10, and she and her mother struggled financially. They eventually lived in a commune in Munich.
Her career began in Germany as a model, during which the German New Wave actress Lisa Kreuzer helped get her the role of the dumb Mignon in Wim Wenders film The Wrong Move. In 1976, while still a teenager, she had her first two major roles: firstly in the Wolfgang Petersen directed feature-length episode Reifezeuanis of German TV crime series Tatort; then in British Hammer Film Productions horror film To the Devil… a Daughter (1976). Directed by Peter Sykes and produced by Terra-Filmkunst, it is based on the novel of the same name by Dennis Wheatley, and stars Richard Widmark, Christopher Lee, Honor Blackman and Denholm Elliott.
She has stated that, as a child, she felt exploited by the industry, telling a journalist from W Magazine, “If I had had somebody to protect me or if I had felt more secure about myself, I would not have accepted certain things. Nudity things. And inside it was just tearing me apart.”
In 1978 Kinski starred in Italian romance Stay As You Are (Cosi come sei), which New Line Cinema released in the United States in December 1979, helping Kinski to get more recognition there. Time magazine wrote that she was “simply ravishing, genuinely sexy and high-spirited without being painfully aggressive about it.” Director Roman Polanski urged Kinski to study acting with Lee Strasberg in the United States and cast her in his film, Tess (1979).
In 1982 she starred in romantic musical One from the Heart and erotic horror movie Cat People (1982), a remake of the 1942 film of the same name which starred Simone Simon. Directed by Paul Schrader, it starred Kinski and Malcolm McDowall.
The Dudley Moore comedy Unfaithfully Yours and an adaptation of John Irving’s The Hotel New Hampshire followed in 1984. Then, Paris, Texas, her most acclaimed film to date, won the top award at the Cannes. The film focuses on an amnesiac (Harry Dean Stanton) who, after mysteriously wandering out of the desert, attempts to revive his life with his brother (Dean Stockwell) and seven-year-old son, and to track down his former wife (Kinski). At the 1984 Cannes Film Festival, the film unanimously won the Palme d’Or.
During this period Kinski split her time between Europe and the United States, making big-budget bomb Moon in the Gutter (1983), Harem (1985), Torrents of Spring (1989), Exposed (1983), Maria’s Lovers (1984) and Revolution (1985).
In One from the Heart, director Francis Ford Coppola brought Kinski to the U.S. to act as a “Felliniesque circus performer to represent the twinkling evanescence of Eros”, apparently… The film failed at the box office and was a major loss for Coppola’s new studio, Zoetrope Studios.
Other appearances include Terminal Velocity, One Night Stand, Somebody is Waiting Your Friends & Neighbors, John Landis’ Susan’s Plan, The Lost Son, and Inland Empire for David Lynch.
Rutger Oelsen Hauer (born 23 January 1944) is a Dutch actor, writer, and environmentalist. His career began in 1969 with the title role in the popular Dutch television series Floris. His film credits include Flesh+Blood, Blind Fury, Blade Runner, The Hitcher, Escape from Sobibor (for which he won a Golden Globe Award for Best Supporting Actor), Nighthawks, Sin City, Ladyhawke, Batman Begins, Hobo with a Shotgun, and The Rite. Hauer also founded an AIDS awareness organization, the Rutger Hauer Starfish Association.
Hauer was born in Breukelen in the Netherlands, the son of drama teachers Arend and Teunke. At the age of 15, Hauer ran off to sea and spent a year scrubbing decks aboard a freighter. Returning home, he worked as an electrician and a joiner for three years while attending acting classes at night school.
Hauer joined an experimental troupe, with which he remained for five years before Paul Verhoeven cast him in the lead role of the successful 1969 television series Floris, a Dutch medieval action drama. The role made him famous in his native country, and Hauer reprised his role for the 1975 German remake Floris von Rosemund. Hauer’s career changed course when Verhoeven cast him in Turkish Delight (1973). The movie found box-office favour abroad as well as at home, and within two years, Hauer was invited to make his English-language debut in the British film The Wilby Conspiracy (1975), Hauer’s supporting role, however, was barely noticed in Hollywood, and he returned to Dutch films for several years.
Hauer made his American debut in the Sylvester Stallone thriller Nighthawks (1981) as a psychopathic and cold-blooded terrorist named Wulfgar. The following year, he appeared in arguably his most famous and acclaimed role as the eccentric and violent but sympathetic anti-hero Roy Batty in Ridley Scott’s 1982 science fiction thriller Blade Runner, in which role he improvised the famous tears in the rain soliloquy. Hauer went on to play the adventurer courting Theresa Russell in the Nicolas Roeg film Eureka (1983), the investigative reporter opposite John Hurt in Sam Peckinpah’s final film, The Osterman Weekend (1983), the hardened mercenary Martin in Flesh & Blood (1985), and the knight paired with Michelle Pfeiffer in Ladyhawke (1985).
He continued to make an impression on audiences in The Hitcher (1986), in which he played a mysterious hitchhiker intent on murdering a lone motorist and anyone else in his way. At the height of Hauer’s fame, he was set to be cast as Robocop though the role went to Peter Weller. That same year, Hauer starred as Nick Randall in Wanted: Dead or Alive as the descendant of the character played by Steve McQueen in the television series of the same name. Phillip Noyce directed Hauer in the martial arts action adventure Blind Fury (1989). Hauer returned to science fiction with The Blood of Heroes (1990), in which he played a former champion in a post-apocalyptic world.
By the 1990s, Hauer was well known for his humorous Guinness commercials as well as his screen roles, which had increasingly involved low-budget films such as Split Second, Omega Doom, and New World Disorder. In the late 1980′s and well into 2000, Hauer acted in several British and American television productions, including Inside the Third Reich, Escape from Sobibor (for which he received a Golden Globe for Best Supporting Actor), Fatherland, Merlin, The 10th Kingdom, Smallville, Alias, and Stephen King’s update of Salem’s Lot. In 1999, Hauer was awarded the Dutch “Best Actor of the Century Rembrandt Award”.
Hauer played an assassin in Confessions of a Dangerous Mind (2003), a villainous cardinal with influential power in Sin City (2005) and a devious corporate executive running Wayne Enterprises in Batman Begins (2005). In 2009, his role in avant-garde filmmaker Cyrus Frisch’s Dazzle, received positive reviews. The film was praised in Dutch press as “the most relevant Dutch film of the year”. The same year, Hauer starred in the title role of Barbarossa, an Italian film directed by Renzo Martinelli. In April 2010, he was cast in the live action adaptation of the short and fictitious Grindhouse trailer Hobo with a Shotgun (2011); The Rite (2011), which is loosely based on Matt Baglio’s book The Rite: The Making of a Modern Exorcist, which itself is based on real events as witnessed and recounted by by then, exorcist-in-training, American Father Gary Thomas. Hauer also played vampire hunter Van Helsing in legendary horror director Dario Argento’s Dracula 3D.
In April 2007, he published his autobiography All Those Moments: Stories of Heroes, Villains, Replicants, and Blade Runners (co-written with Patrick Quinlan), where he discusses many of his movie roles. Proceeds of the book go to Hauer’s Starfish Association.
Nathalie Kay “Tippi” Hedren (born January 19, 1930) is an American actress and former fashion model. She is widely known for her roles in the Alfred Hitchcock films The Birds and Marnie (in which she played the title role), and her efforts in animal rescue at Shambala Preserve, an 80-acre (320,000 m2) wildlife habitat which she founded in 1983.
For over 40 years, Hedren’s year of birth was reported to be 1935, although in 2004, she acknowledged that she was actually born in 1930. Hedren was born in New Ulm, Minnesota, the daughter of Bernard Carl and Dorothea Henrietta Hedren. Her father ran a small general store in the small town of Lafayette, Minnesota, and gave her the nickname “Tippi”.
Hedren had a successful modeling career from 1950 to 1961, appearing on covers of national magazines, such as Life magazine. She was discovered by Alfred Hitchcock, who was watching The Today Show when he saw Hedren in a commercial for a diet drink. Hitchcock was looking for his latest blonde lead in the wake of Grace Kelly’s retirement.
Hitchcock put Hedren through a then-costly $25,000 screen test, doing scenes from his previous films, such as Rebecca, Notorious and To Catch a Thief. He signed her to a multi-year exclusive personal contract, something he had done in the 1950′s with Vera Miles. Hitchcock’s plan to mould Hedren’s public image went so far as to carefully control her style of dressing and grooming. Hitchcock insisted for publicity purposes that her name should be printed only in single quotes, ‘Tippi’. The press mostly ignored this directive from the director, who felt that the single quotes added distinction and mystery to Hedren’s name. In interviews, Hitchcock compared his newcomer not only to her predecessor Grace Kelly but also to what he referred to as such “ladylike”, intelligent, and stylish stars of more glamorous eras as Irene Dunne and Jean Arthur.
Hitchcock directed Hedren in her debut film, The Birds. For the final attack scene in a second-floor bedroom, filmed on a closed set at Universal-International Studios, Hedren had been assured by Hitchcock that mechanical birds would be used. Instead, Hedren endured five solid days of prop men, protected by thick leather gloves, flinging dozens of live gulls, ravens and crows at her (their beaks clamped shut with elastic bands). Cary Grant visited the set and told Hedren, “I think you’re the bravest lady I’ve ever met.” In a state of exhaustion, when one of the birds gouged her cheek and narrowly missed her eye, Hedren sat down on the set and began crying. A physician ordered a week’s rest, which Hedren said at the time was riddled with “nightmares filled with flapping wings”. In 1964, Hedren received a Golden Globe Award for ‘Most Promising Newcomer – Female’.
That same year, she co-starred with Sean Connery in a second Hitchcock film, Marnie (1964), a romantic drama and psychological thriller from the novel by Winston Graham. She recalls it as her favourite of the two for the challenge of playing an emotionally battered young woman who travels from city to city assuming various guises in order to rob her employers. On release, the film was greeted by mixed reviews and indifferent box-office returns. Although Hitchcock continued to have Hedren in mind for several other films after Marnie, the actress declined any further work with him. Other directors who wanted to hire her had to go through Hitchcock, who would inform them she was unavailable. When Hedren tried to get out of her contract, she recalls Hitchcock telling her he’d ruin her career. “And he did: kept me under contract, kept paying me every week for almost two years to do nothing.”
On April 13, 2011, at the Cinema Arts Centre in Huntington, NY, Hedren stated in an interview with Turner Classic Movies’ Ben Mankiewitz that because she refused Hitchcock’s sexual advances, Hitchcock effectively stunted her career. These events are the basis for the BBC/HBO film The Girl, featuring Sienna Miller as Hedren and toby Jones as Hitchcock, and which premiered on HBO Saturday, October 20, 2012. It was shown in the UK on Boxing Day 2012 on BBC2.
Whannell was born in Melbourne, Australia, and believes that he inherited his love of storytelling from his mother and his fondness of filmmaking from his father (Whannell’s father was a cameraman in the television industry). A writer since childhood, Whannell worked as a reporter and film critic for several Australian television shows, including ABC’s Recovery, a Saturday morning youth-oriented program. Whannell has described the show in a 2011 blog post:
The result was that instead of following the usual MTV ideal of what teenagers want in a TV show—“Hey kids, coming up next we’ve got some seriously WICKED windsurfing moves!!”—Recovery managed to tap into the so-called “alternative” movement that was in full swing at the time by giving teenagers what they actually want: genuine, unpolished anarchy.
Whannell had originally auditioned for the host role, but was later employed as a reporter; Whannell’s first interview was with Jackie Chan and he has stated that “Recovery is the best job I’ve ever had …”
In 2003, Whannell appeared in a minor role in The Matrix Reloaded. While in film school, Whannell met James Wan, who would eventually go on to direct the horror film Saw (co-written by Wan and Whannell) in 2004. After making a short film to showcase the intensity of the script, the feature film was made and became a low-budget sleeper hit in late 2004. Whannell played Adam Stanheight in the film, one of the main characters. The popularity of Saw led to a sequel, Saw II, which was directed and co-written by another young horror filmmaker, Darren Lynn Bousman, and on which Whannell co-wrote and revised Bousman’s original script, titled The Desperate. Whannell also served as an executive producer.
Around the same time, Whannell returned to collaborate with Wan and they wrote a film called Dead Silence, which Wan directed. It was slated for a 2006 release, but small problems with the title pushed the release date back to March 2007. In 2006, the duo composed the story for Saw III, with Whannell writing the screenplay for the third time. It was again directed by Bousman and was released on 27 October 2006. Whannell has a featured cameo, reprising his role as Adam. Saw III was a huge financial success and raked in $33,610,391 on its opening weekend, making around $129,927,001 worldwide (after 38 days in cinemas) and is currently the most successful Saw film to date.
Whannell’s writing partner, Wan, was chosen to direct the film Death Sentence, the first feature film with their participation that they did not write themselves. Whannell has a small role as Spink in Death Sentence.
In 2008, Whannell took off his “writing hat” to perform alongside Nathan Phillips in Dying Breed, a low-budget Australian horror film about a team of zoologists exploring the Tasmanian wilderness to locate a creature thought extinct, the thylacine, aka Tasmanian tiger. Instead, they wander into the domain of cannibals who retain their infamous ancestor Alexander Pearce’s taste for human flesh, and become prey.
Before and during the production of Saw, Whannell sought medical treatment. “I was going through a bit of a tough time healthwise and suffering anxiety,” says Whannell. “The anxiety manifested itself in physical ways. I was suffering headaches everyday for nearly a year. It was serious stuff and really started affecting my life.” Spending time in a hospital inspired him to endow the lead antagonist of the Saw series, Jigsaw/John Kramer, with cancer. “It was weird to be 25 and sitting in a neurological ward and I’m surrounded by people who actually had brain tumors. It was very scary and it was my first proper look at mortality. I really wanted to get my health back and it really hammered home how important good health is. If you’ve got that, you’ve got everything.”
Whannell wrote the script for and acted in the 2011 paranormal thriller film, Insidious, which was directed by Wan and produced by Oren Peli of the Paranormal Activity franchise. A sequel, Insidious, Chapter 2 is due out in late 2013.
In relation to the Saw franchise, Whannell stated, also in 2011: It’s hard to say definitively, because we don’t own the copyright for it. The producers could make 10 more if they wanted to. But, if we’re to take them at face value, they told us that they were definitely done with it. They’re pretty exhausted. They’ve been making one a year every year for the past seven years, so I think they need some time off.
Gemma Arterton (born 12 January 1986) is an English actress. She played the eponymous protagonist in the BBC adaptation of Thomas Hardy’s Tess of the D’Urbervilles, and starred in the feature films St Trinian’s, the James Bond film Quantum of Solace, Clash of the Titans, Prince of Persia: The Sands of Time and Tamara Drewe. She was nominated for a BAFTA, in the Rising Star category.
Her best, and most controversial role was in the film The Disappearance of Alice Creed (2009) about the kidnapping of a young woman by two ex-convicts. The film was written and directed by J Blakeson and stars Arterton as the captured Alice Creed, with Martin Compston and Eddie Marsan as Danny and Vic, the kidnappers
Arterton will next appear as Gretel in the feature film Hansel and Gretel: Witch Hunters, a modern spin on the children’s tale “Hansel and Gretel”. The character will be an older version of the classic character who works alongside her brother Hansel (Jeremy Renner) as they track down witches for money.
Darren Lynn Bousman (born January 11, 1979) is an American film director and screenwriter. Bousman was born in Overland Park, Kansas, the son of Nancy and Lynn Bousman. He attended high school at Shawnee Mission North High School in Overland Park, and studied film at in Winter Park, Florida.
During 2004, he was pitching an idea for a movie called The Desperate to various American studios, who complained that the screenplay was too violent, and the plot was too close to Saw. David A. Armstrong who worked on Saw asked Bousman if he could show the script to Saw producer Gregg Hoffman, who read the script and called Bousman interested in producing “The Desperate”, but after showing the script to his partners Mark Burg and Oren Koules, the two decided it would be the perfect opportunity to turn “The Desperate” into Saw II. Two months later, Bousman was flown to Toronto to direct Saw II.
During the production of Saw II, Bousman directed the music video for Mudvayne’s single “Forget to Remember”, which appeared as the lead song on the Saw II soundtrack album. Saw II was a huge hit and Bousman was signed on to direct Saw III, which was released on October 27, 2006.
After Saw III, Bousman announced that he would never direct another Saw film so that he would be free to prepare for his project Repo! the Genetic Opera, the stage version of which he had directed in 2002. Despite this, on February 19, 2007, Leigh Whannell announced that Bousman had signed on to direct Saw IV, as before shooting could begin on Repo!, there was a gap of time during which the songs were being pre-recorded, and he would be able to direct Saw IV during that period. He also directed an episode of the horror anthology show Fear Itself, entitled “New Year’s Day”, in 2008.
Bousman taught Film director newcomers in the Horror Film Boot Camp, May 7, to May 9, 2010 in Albuquerque, New Mexico. Bousman directed Mother’s Day (2010) starring Rebecca De Mornay, Shawn Ashmore and Jaime King; a remake of the old 1980 Troma slasher.
In 2011, Bousman directed the awful film 11-11-11, about an author who, after the death of his wife and child, travels to Barcelona to see his estranged brother and dying father, where he learns that his life is plagued by events that occur on 11/11/11.
In 2012, Bousman reunited with Repo! writer Terrance Zdunich along with several cast members to direct The Devil’s Carnival, an interesting short film that is planned to be the first installment of a longer series. In 2012, he also directed The Barrens, a horror film about a man who takes his family on a camping trip and becomes convinced they are being stalked by the legendary monster of the New Jersey Pine Barrens: the Jersey Devil. Notable only for starring Stephen Moyer of True Blood fame.
He is currently directing the psychological thriller Ninety which follows the wrongfully accused Vernie James, who having escaped prison is thirsty for revenge. The only thing that can balance the scales for this psychopath: a rampant, cross country killing spree, all while ebbing chased by Detective Bill Denton, the cop that put Vernie James away. Bousman is better than his last few movies, he needs something fresh to show what he’s capable of; various websites have him attached to direct remakes of David Cronenberg’s The Brood and Scanners.
Meadows grew up in the Westlands Road area of Uttoxeter, Staffordshire. His father was a long distance lorry driver and his mother worked in a fish and chip shop. He attended Picknalls First School, Oldfields Hall Middle School and Thomas Alleyne’s High School. At weekends, he sold fruit and veg on a market stall in Uttoxeter market. His love of cinema was fostered by regular trips to the Elite Cinema.
Meadows left school shortly before reaching his GCSEs, and soon turned to petty crime. He moved to Nottingham when he was 20; while living there, he made roughly 30 short films with the friends he met there. He could not show these films to anyone because there were no film festivals in his area. His friends started one in the local cinema which became popular within the city.
Meadows enrolled on a Performing Arts course at Burton College, where he first met friend and future collaborator Paddy Considine. Amongst other things, they formed the band She Talks To Angels (inspired by a Black Crowes song of the same name), with Meadows as vocalist and Considine as drummer.
The vast majority of Meadows’ films have been set in the Midlands area. They recall the kitchen sink realism of filmmakers such as Ken Loach and Mike Leigh. Much of the content of his films is semi-autobiographical and based on his experiences in Uttoxeter: Twenty Four Seven was inspired by his youth, both at a boxing club, and also playing in a local football club. A Room for Romeo Brass was also inspired by his youth after his best friend, neighbour and future writing partner — had a bad accident and was bound to his bed for two years, Meadows instead hung around with some of the town’s more undesirable characters. Dead Man’s Shoes is based on the more unpleasant side of his youth in Uttoxeter. It was inspired by a close friend who had been bullied, developed a drug problem and then committed suicide. He said “I couldn’t believe that, going back ten years later, he had been totally forgotten in the town — it was as if he had never existed. I was filled with anger against the people who had bullied and pushed the drugs on him, and with despair at what drugs had done to that small community”.
His second feature-length film, Twenty Four Seven, won several awards at film festivals, including the Douglas Hickox award at the British Independent Film Awards and Best Screenplay at the Thessaloniki Film Festival. Dead Man’s Shoes, his sixth film, and third starring Paddy Considine, was nominated for a BAFTA for Best British Film. His seventh film This is England, won the British Independent Film Awards 2006 for best British independent film, and also won a BAFTA for Best British Film. Five of Meadows’ films were shown at the 2007 Flourish Festival, held annually in Uttoxeter, to mark the release of This is England (a film set in 1983).
The film has since had a series of sequels adapted into television serials, the first being This is England 86 (set in 1986 aired on Channel 4 in September 2010). A second series, This is England 88 (set in 1988) was aired in December 2011. A third and final series, This Is England ’90 (set in 1990), was originally due to be broadcast in December 2012, but in July 2012, Shane Meadows announced that the production had been put on hold in order for him to complete his documentary about Stone Roses, and the actors were still waiting for confirmation as to when filming would start.
His shortest film, The Stairwell, was shot on a mobile phone and is just 40 seconds long. It consists solely of a man and woman, played by Meadows regulars Andrew Shim and Vicky McClure, violently bumping into each other on a stairwell.
He is widely regarded as a big fan of Notts County F.C., with several references included in his films by way of imagery and background shots… always interesting, he’s the face, and future of British Independent Film.
Samuel Leroy Jackson (born December 21, 1948) is an American film and television actor and film producer. Jackson was born in Washington, D.C., and grew up in Chattanooga, Tennessee, with his mother, Elizabeth Jackson, and his maternal grandparents and extended family. Initially intent on pursuing a degree in marine biology, he attended Morehouse College in Atlanta, Georgia. After joining a local acting group to earn extra points in a class, Jackson found an interest in acting and switched his major. Before graduating in 1972, he co-founded the “Just Us Theatre”.
Jackson began acting in multiple plays, appeared in several television films, and made his feature film debut in the blaxploitation independent film Together for Days (1972). After these initial roles, Jackson proceeded to move from Atlanta to New York City in 1976 and spent the next decade appearing in stage plays. Throughout his early film career, mainly in minimal roles in films and various television films, Jackson was mentored by Morgan Freeman. After a 1981 performance in the play A Soldier’s Play, Jackson was introduced to director Spike Lee who would later include him in small roles for the films School Daze (1988) and Do the Right Thing (1989). He also played a minor role in the 1990 Martin Scorsese film Goodfellas as real-life Mafia associate Stacks Edwards.
After gaining critical acclaim for his role in Jungle Fever (1991), he appeared in films such as Patriot Games (1992), True Romance and Jurassic Park (both 1993). In 1994, he was cast as Jules Winnfield in Pulp Fiction, and his performance received several award nominations and critical acclaim.
Directed in a highly stylized manner by Quentin Tarantino, who co-wrote its screenplay with Roger Avery; the film is known for its rich, eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and host of cinematic allusions and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d’Or at the 1994 Cannes Film Festival. A major critical and commercial success, it revitalized the career of its leading man, John Travolta, who with Samuel L. Jackson and Uma Thurman, received Academy Award nominations.
Pulp Fiction connects the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters’ senses of humor and perspectives on life. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema (although it is not an independent film itself). Considered a cultural watershed, Pulp Fiction’s influence has been felt in several other media.
Jackson has since appeared in over 100 films including Die Hard with a Vengeance, The 51st State, Jackie Brown, Unbreakable, The Incredibles, Black Snake Moan, Shaft, Deep Blue Sea, Snakes on a Plane, 1408, as well as the Star Wars prequel trilogy and small roles in Tarantinos’ Kill Bill Vol. 2 and Inglourious Basterds.
More recently, he played Nick Fury in the Marvel films Iron Man, Iron Man 2, Thor, Captain America: The First Avenger, and The Avengers, the first five of a nine-film commitment as the character for the Marvel Cinematic Universe franchise. Jackson’s many roles have made him one of the highest-grossing actors at the box office. Jackson has won multiple awards throughout his career and has been portrayed in various forms of media including films, television series, and songs. He is next up in another Tarantino movie, Django Unchained, and in the ever-delayed remake of Robocop.
Julius “Jules” Dassin (December 18, 1911 – March 31, 2008) was an American film director, with Jewish-Russian origins. He was a subject of the Hollywood Blacklist in the McCarthy era, and subsequently moved to France, where he revived his career.
One of eight children of Berthe Vogel and Samuel Dassin, a barber in Middletown, Connecticut, Dassin grew up in Harlem and went to Morris High School in the Bronx. He joined the Communist Party USA in the 1930′s and left it after the Hitler-Stalin Pact in 1939. He started as a Yiddish actor with the ARTEF (Yiddish Proletarian Theater) company in New York.
Dassin quickly became better known for his noir films Brute Force, The Naked City, and Thieve’s Highway in the 1940′s, which helped him to become “one of the leading American filmmakers of the postwar era.”
In 1937 he married Beatrice Launer, with whom he had three children. In May 1955 he met Melina Mercouri at the Cannes Film Festival; at bout the same time, he discovered the literary works of Nikos Kazantzakis; these two elements created a bond with Greece. He divorced Launer in 1962 and married Mercouri in 1966. The couple had to leave Greece after the colonels’ coup in 1967. In 1970, they were accused of having financed an attempt to overthrow the dictatorship, but the charges were quickly dropped. Dassin and Mercouri lived in New York City during the 1970′s; then, when the general’s dictatorship in Greece fell in 1974, they returned to Greece and lived out their lives there. While Mercouri became involved with politics and won a parliamentary seat, Dassin stayed with movie-making in Europe but found time in the U.S. to make another movie, the racial drama Up Tight!, which would be his last American film.
After he was blacklisted from Hollywood, Dassin found work in France where he was asked to direct Rififi. Despite his distaste for parts of the original novel, Dassin agreed to direct the film. He shot Rififi while working with a low budget, without a star cast, and with the production staff working for low wages. It was to become his most influential film; Rififi (Du rififi chez les hommes) is a 1955 French film adaptation of Auguste le Breton’s novel of the same name. The film stars Jean Servais as the aging gangster Tony le Stéphanois, Carl Möhner as Jo le Suédois, Robert Manuel as Mario Farrati, and Jules Dassin as César le Milanais. The plot revolves around a burglary at a jewelry shop in the Rue de Rivoli, Tony, Jo, Mario, and César band together to commit the almost impossible theft. The centerpiece of the film is an intricate half hour heist scene depicting the crime in detail, shot in near silence, without dialogue or music. The fictional burglary has been mimicked by criminals in actual crimes around the world.
Upon the initial release of the film, it received positive reactions from audiences and critics in France, the United States, and the United Kingdom. The film earned Dassin the award for Best Director at the 1955 Cannes Film Festival; it was nominated by the National Board of Review for Best Foreign Film. Rififi was re-released theatrically in 2000 and is still highly acclaimed by modern film critics as one of the greatest works in French film noir. It inspired later heist films, such as Ocean’s Eleven and Mission: Impossible; another piece it inspired was Dassin’s own heist film Topkapi, filmed in France and Istanbul, Turkey with Melina Mercouri and Oscar winner Peter Ustinov.
Dassin died aged 96, in 2008 from complications from a case of flu; he is survived by his two daughters and his grandchildren.