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2659
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dbpedia
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0
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http://peacecorpsonline.org/messages/messages/467/2024506.html
|
en
|
Peace Corps Online: Special Report: Screenwriter, Director, and Bolivia RPCV Taylor Hackford
|
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Peace Corps Online | Special Report: Screenwriter, Director, and Bolivia RPCV Taylor Hackford
| null |
By Admin1 (admin) (pool-141-157-21-111.balt.east.verizon.net - 141.157.21.111) on Sunday, November 07, 2004 - 10:08 am: Edit Post
|
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2659
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http://www.filmreference.com/film/84/Taylor-Hackford.html
|
en
|
Taylor Hackford Biography (1944?-)
|
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Theatre, Film, and Television Biographies
Joan Greenwood to James Handy
Taylor Hackford Biography (1944?-)
Full name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress;maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director; divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage)Rio D.; (second marriage) Alexander Littman. Addresses: Agent: WilliamMorris Agency, 151 El Camino Dr., Beverly Hills, CA 90212.
Nationality
American
Gender
Male
Occupation
Producer, director
Birth Details
December 31, 1944?
Santa Barbara, California, United States
Famous Works
CREDITS
Film Work
Director
Teenage Father (short film), New Visions, 1978
The Idolmaker, United Artists, 1980
An Officer and a Gentleman, Paramount, 1982
Against All Odds, Columbia, 1984
White Nights, Columbia, 1985
Chuck Berry: Hail! Hail! Rock 'n Roll, 1987
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988
Blood In ... Blood Out (also known as Blood In, Blood Out ... Bound by Honor and Bound By Honor), Buena Vista, 1993
Dolores Claiborne, Columbia, 1995
The Devil's Advocate, Warner Bros., 1997
Proof of Life, Warner Bros., 2000
Producer
Teenage Father (short film), New Visions, 1978
(With Bill Gilmore) Against All Odds, Columbia, 1984
(With Gilmore) White Nights, Columbia, 1985
(With Bill Borden) La Bamba, Columbia, 1987
(With Laura Ziskin and Ian Sander) Everybody's All American (alsoknown as When I Fall in Love), Warner Bros., 1988
(With Jerry Gershwin) Blood In ... Blood Out (also known as Blood In, Blood Out ... Bound by Honor and Bound By Honor), Buena Vista, 1993
(With Chuck Mulvehill) Dolores Claiborne, Columbia, 1995
(And editor) When We Were Kings (documentary), Gramercy, 1996
Greenwich Mean Time (also known as G:mt), Icon Film Distribution, 1999
Proof of Life, Warner Bros., 2000
Executive Producer
(With Stuart Benjamin) Rooftops, New Visions, 1989
(With Benjamin) The Long Walk Home, Miramax, 1990
(With Benjamin) Sweet Talker (also known as Confidence), New Visions, 1991
(With Benjamin) Defenseless, New Visions/Seven Arts, 1991
(With Benjamin) Mortal Thoughts, Columbia, 1991
Queens Logic, 1991
The Devil's Advocate, Warner Bros., 1997
Television Producer
Specials
Bonnie Raitt and Paul Butterfield, PBS, 1974
Rick Nelson: It's All Right Now, The Nashville Network, 1990
Also producer of Sonny Rollins.
WRITINGS
Films
Teenage Father (short film), New Visions, 1978
Song, "Show Me Your Tattoo," The Devil's Advocate, Warner Bros., 1997
Further Reference
OTHER SOURCES
Periodicals
People Weekly, November 3, 1997, p. 153; January 19, 1998, p. 102
|
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2659
|
dbpedia
|
3
| 6
|
https://variety.com/2023/film/global/taylor-hackford-the-devils-advocate-ray-1235756629/
|
en
|
Lumiere Festival Honoree Taylor Hackford: A Career of Classy, Old-School Hollywood Entertainment
|
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"Guy Lodge"
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2023-10-15T11:16:51+00:00
|
Taylor Hackford, who is being honored at France's Lumiere festival, has consistently proven the essential value of the distinguished craftsman.
|
en
|
Variety
|
https://variety.com/2023/film/global/taylor-hackford-the-devils-advocate-ray-1235756629/
|
The list of Oscar-winning directors for short films who have gone on to major careers in the feature-length realm is shorter than you might imagine. Andrea Arnold, Martin McDonagh and Claude Berri achieved arthouse success; David Frankel made multiplex hits like “The Devil Wears Prada” and “Marley & Me.” But perhaps only Taylor Hackford, a winner in 1979 for an affecting little mockumentary titled “Teenage Father,” became a full-scale Hollywood brand — a name associated with a certain temperature of sleek studio gloss and versatile genre smarts.
In an industry increasingly given over to auteur reverence, Hackford has instead consistently proven the essential value of the distinguished craftsman — the kind that keeps the industry running, even if the status doesn’t earn you as many glittering prizes or prestigious festival berths. Consider the Festival Lumière’s tribute to Hackford a welcome exception. The four films selected by the festival to represent the director’s oeuvre — “White Nights” (1985), “Blood In Blood Out” (1993), “The Devil’s Advocate” (1997) and “Ray” (2004) — aptly point to the range and scope of a consistently mainstream career that has always veered between populism and prestige, occasionally binding the two.
Critics, for example, didn’t thrill to “White Nights,” a far-fetched blend of Cold War thriller and dance movie that starred Mikhail Baryshnikov as a Russian-American ballet star fighting his Soviet repatriation with the assistance of Gregory Hines’ American expat tap dancer.
The script is ludicrous, but Hackford knew its selling points: as a vehicle for the stars’ spectacular footwork, Twyla Tharp’s elaborate choreography and a hit soundtrack of smooth mid-‘80s pop (landing Lionel Richie an Oscar), the film — lensed with a creamy luxe finish by David Watkin — delivers in spades. Today it stands as, if no masterwork, an exemplary time capsule of its era. It also introduced Hackford to his future wife Helen Mirren, here cast as a thickly accented love interest.
If “White Nights” maintains some illusion of seriousness, “The Devil’s Advocate” (certainly the Hackford film that this critic has watched most often) gleefully flirts with outright trash. Starring Keanu Reeves as a callow defense attorney who finds himself working for Satan himself — a cloven-hooved Al Pacino at his most leeringly ripe — it’s hot nonsense, compulsive and exquisitely lacquered, that only glancingly touches emotional truth via Charlize Theron’s sharp mettle-proving performance as the lawyer’s luckless wife. One might call it a guilty pleasure, but where’s the guilt?
“The Devil’s Advocate” certainly wasn’t aiming for any high-minded accolades; “Blood In Blood Out,” a muscular three-hour exploration of brotherly bonds in L.A.’s Chicano community, arguably was. Its initial box-office fizzle was a disappointment, indicative of American audiences’ resistance to Latino stories, yet the film has endured as a touchstone for many Mexican-American viewers.
A quarter-century after his short film win, Hackford finally caught the Academy’s attention again with “Ray,” a handsomely gilded Ray Charles biopic that earned him his only Best Director nomination, and a win for Jamie Foxx’s all-in performance as the soul legend.
Grossing $125 million worldwide, “Ray” was Hackford’s last hit. His three films since — the blowsy Mirren vehicle “Love Ranch,” the relatively anonymous Jason Statham auctioneer “Parker” and the mellow Robert De Niro indie “The Comedian” — will never be listed as prime Hackford, though perhaps the upcoming “Sniff,” a twilight-years detective story starring Morgan Freeman alongside Mirren and Pacino, will fare better.
Either way, Hackford’s legacy as a classy, old-school Hollywood entertainment merchant is firmly cemented. Somewhat surprisingly, the Lumière fest’s selection doesn’t include his biggest and perhaps most enduring box office smash “An Officer and a Gentleman,” a robust, full-hearted blend of swoony romance and making-of-a-man military drama that launched a million daydreams of a crisply uniformed Richard Gere sweeping you up and away from your daily drudgery. It’s still stirring, 41 years on.
Nor does it include some of the most interesting outliers in his career, among them 1987’s terrific, Chuck Berry-centered concert documentary “Hail! Hail! Rock ‘n’ Roll,” still a model of the form at its most straightforwardly effective, or “Dolores Claiborne,” his most daring and perhaps best fiction feature. A Stephen King adaptation that induces shivers, though not in the usual way associated with the author, this perverse psychodrama of failed mother-daughter relations and suburban sociopathy rests on two icily precise performances by Kathy Bates and Jennifer Jason Leigh, and unnerved audiences to better-than-expected box office in the spring of 1995. Prickly but florid, confessional but elusive, it’s far from what one might typically label “a Taylor Hackford film” — a term that resists definition the longer you look at his restlessly crowd-pleasing career.
|
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2659
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2
| 87
|
https://chicago.suntimes.com/2017/4/11/18350881/chicago-film-fest-gala-to-honor-helen-mirren-taylor-hackford
|
en
|
Chicago film fest gala to honor Helen Mirren, Taylor Hackford
|
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2017-04-11T00:00:00
|
It's shaping up to be a starry May in Chicago. Less than two weeks after Kevin Spacey<a
|
en
|
/apple-touch-icon.png
|
Chicago Sun-Times
|
https://chicago.suntimes.com/2017/4/11/18350881/chicago-film-fest-gala-to-honor-helen-mirren-taylor-hackford
|
It’s shaping up to be a starry May in Chicago. Less than two weeks after Kevin Spacey is honored by the Gene Siskel Film Center, Helen Mirren and her husband, director Taylor Hackford, will be in town to accept awards from the people behind the Chicago International Film Festival.
Festival presenter Cinema/Chicago announced Tuesday the duo will appear at its spring gala May 24, where each will receive the Gold Hugo Award for career achievement.
Journalist Bill Kurtis will host the event and lead an onstage discussion with the couple at the Loews Hotel Chicago, 455 N. Park Dr. A cocktail reception, dinner and silent auction also are on the agenda.
Mirren, who won an Academy Award for playing Queen Elizabeth II in Stephen Frears’ “The Queen” (2006), will next be seen in “The Fate of the Furious,” opening Friday.
Hackford’s credits include “An Officer and a Gentleman,” “The Devil’s Advocate” and “Ray.” His early feature “The Idolmaker” screened at the Chicago International Film Festival in 1980. The festival also presented the world premiere in 1985 of “White Nights” — the project on which Hackford and Mirren met.
|
||
2659
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2
| 68
|
https://ew.com/books/kerry-washington-thicker-than-water-jamie-foxx-ray-excerpt/
|
en
|
Kerry Washington reveals the best advice Jamie Foxx gave her on 'Ray'
|
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2023-09-25T10:00:00-04:00
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Kerry Washington looks back on her time starring in 'Ray' with Jamie Foxx as part of her new memoir 'Thicker Than Water.'
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en
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/favicon.ico
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EW.com
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https://ew.com/books/kerry-washington-thicker-than-water-jamie-foxx-ray-excerpt/
|
Kerry Washington is giving Jamie Foxx his flowers.
In her new memoir Thicker Than Water (out Sept 26.), Washington shares that she gleaned important lessons from her Ray co-star about how to be at the top of the call sheet, and you can hear an exclusive excerpt from the audiobook version above.
The beloved artist and activist brings fans into her private world as she explores her career trajectory and intimate details of her upbringing. Washington is charting the course of her life after a shocking piece of news allows her to reevaluate who she is and what brought her to that point. Between the impact specific roles have had on her life and how personal traumas have shaped her, this book allows fans of Washington's work to get to know her like never before.
Which includes the lessons she learned while working on Ray. Directed by Taylor Hackford and released in 2004, the film rocketed Foxx to superstardom, with the pianist and comedian winning the Best Actor Oscar for his portrayal of iconic musician Ray Charles. Foxx not only left a mark with audiences and Academy voters, but with his costar as well. "Years later, on the set of Scandal, whenever anybody complimented me on my leadership skills as a number one on the call sheet, I was always sure to credit Jamie for setting the best possible example," writes Washington, who notes that from their first day of filming, Foxx had her back.
Playing Della Bea Robinson, one of Charles' wives, was Washington's first time doing accent work, and after putting in a lot of time to perfect her southern accent, she was worried about how it sounded while filming her first scene with Foxx — one where Ray teaches Della Bea to listen for the sound of a hummingbird. "Jamie said to me, 'I can tell how much work you've put into the accent,'" she recalls in the book. "But I can see you thinking about it. Now you need to let it go.'" Watching the scene back now, Washington sees how her self-consciousness reads as her character's first date jitters, but she remembers the source of that insecurity.
Washington also recalls how during a scene they shot months later, Foxx stepped in while she was repeating herself in every take. A piece of advice he gave her to keep searching helped Washington break out of the cycle during the emotional scene where Della Bea finds Ray's heroin paraphernalia. This support from her costar reminded Washington that acting is human and about constant discovery, which the actress has taken with her as she leads projects like Scandal and Unprisoned.
Thicker Than Water is a powerful telling of Washington's childhood and early days of her career through her present, where a shocking truth about the actress' family brings her whole life into perspective. It is a deeply moving exploration of the events that have led Washington to the person she had become through stories about traumatic past events, many of her most beloved roles, and how her own family came to be.
Thicker Than Water will be released September 26. Listen to an exclusive audio excerpt of the memoir above.
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https://en.wikipedia.org/wiki/Category:Films_directed_by_Taylor_Hackford
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Category:Films directed by Taylor Hackford
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Bolivia: Movies: Hollywood: Hollywood Reporter: Taylor Hackford elected president of Directors Guild of America
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Peace Corps Online | February 8, 2005: Index: PCOL Exclusive: RPCV Taylor Hackford (Bolivia)
| null |
2009.07.25: July 25, 2009: Headlines: Figures: COS - Bolivia: Movies: Hollywood: Hollywood Reporter: Taylor Hackford elected president of Directors Guild of America Peace Corps Online: Directory: Bolivia: Special Report: Screenwriter, Director, and Bolivia RPCV Taylor Hackford: February 8, 2005: Index: PCOL Exclusive: RPCV Taylor Hackford (Bolivia) : 2009.07.25: July 25, 2009: Headlines: Figures: COS - Bolivia: Movies: Hollywood: Hollywood Reporter: Taylor Hackford elected president of Directors Guild of America
By Admin1 (admin) (98.188.147.225) on Monday, August 10, 2009 - 5:53 pm: Edit Post
Taylor Hackford elected president of Directors Guild of America
"The Guild will be in extremely capable hands with Taylor, who has already served the Guild in different capacities for years," said Apted from on set in Australia. "I'm thrilled to see him take his place as the next DGA president and I know he'll do a fantastic job steering the DGA through the many complex issues that will come its way." Hackford joined the DGA in 1974 and became a member of the national board in 2002. He was then elected third vp in 2005. He currently co-chairs the DGA Task Force on Social Responsibility. In 2007, the guild honored Hackford with the Robert B. Aldrich Achievement Award for extraordinary service to the DGA and its membership. As a director, Hackford has helmed features such as "An Officer and a Gentleman," "White Nights," "The Devil's Advocate" and Ray. He was nominated for a DGA Award and an Academy Award for best director for "An Officer and a Gentleman" in 1983 and for "Ray" in 2005. He won the Oscar for his live-action short "Teenage Father" in 1979. Movie Producer Taylor Hackford ("Ray," "An Officer and a Gentleman") served as a Peace Corps Volunteer in Bolivia in the 1960's.
Taylor Hackford elected president of Directors Guild of America
Taylor Hackford elected DGA president Several new directors also chosen for Guild board
By Jay A. Fernande
zJuly 25, 2009, 09:44 PM ET Taylor Hackford will succeed Michael Apted as president of the Directors Guild of America.
Hackford was chosen Saturday during the guild's biennial national convention at Directors Guild headquarters in Hollywood. Steven Soderbergh was re-elected national VP and Gilbert Cates was re-elected secretary-treasurer.
The 135 delegates on hand also elected members of a new national board of directors. The DGA includes more than 14,000 members.
After a year and a half of labor unrest, which included a four-month writers strike and a protracted stand-off for the actors union, Hackford faces the challenge of navigating the next round of contract negotiations looming in 2011.
With new-media considerations dominating the previous round's contentious debates, the de facto collective bargaining that will materialize in early 2011 should prove once again to be a battle over the digital future and how the creative community should be compensated as content migrates to the Web.
Hackford also took aim at Internet piracy in a statement after his victory.
"We have to be aware of the challenges we're facing in protecting our work on the Internet," said Hackford. "What's euphemistically called 'Internet Piracy,' I choose to call by its true name, 'Internet Theft.' It threatens the future of our economic lives: our employment, residuals and pension and health plans. Solutions won't come easy, but they must be found, if we are going to survive as professional filmmakers."
The WGA contract expires May 1, 2011, and the SAG, AFTRA and DGA deals expire two months later, on June 30. All of the agreements included a sunset clause signaling that new-media concerns could and would be re-addressed in the next round of bargaining.
Though the writers will technically be in front, the directors guild has a tradition of beginning negotiations early and cutting deals with the AMPTP that effectively set a template for the other unions. When the more hardline WGA went on strike in late 2007-early 2008, the DGA ultimately stepped in and cut a deal in January that included new-media jurisdiction, though not to the extent that the writers -- or, eventually, the actors -- had wanted.
"The Guild will be in extremely capable hands with Taylor, who has already served the Guild in different capacities for years," said Apted from on set in Australia. "I'm thrilled to see him take his place as the next DGA president and I know he'll do a fantastic job steering the DGA through the many complex issues that will come its way."
Apted served three consecutive two-year terms after he was elected to succeed Martha Coolidge in 2003.
Also elected were first vp Paris Barclay; second vp William M. Brady; third vp Betty Thomas; fourth vp Gary Donatelli; fifth vp Thomas Schlamme; sixth vp Vincent Misiano; and assistant secretary-treasurer Scott Berger.
Hackford joined the DGA in 1974 and became a member of the national board in 2002. He was then elected third vp in 2005. He currently co-chairs the DGA Task Force on Social Responsibility. In 2007, the guild honored Hackford with the Robert B. Aldrich Achievement Award for extraordinary service to the DGA and its membership.
As a director, Hackford has helmed features such as "An Officer and a Gentleman," "White Nights," "The Devil's Advocate" and Ray. He was nominated for a DGA Award and an Academy Award for best director for "An Officer and a Gentleman" in 1983 and for "Ray" in 2005. He won the Oscar for his live-action short "Teenage Father" in 1979.
Elected board members include: Herb Adelman, Apted, Stephen Glanzrock, Lesli Linka Glatter, Victoria Hochberg, Kim Kurumada, Michael Mann, Donald Petrie, Scott L. Rindenow, Ed Sherin and Jesus Trevino.
Associate board members include Duncan Henderson, Dennis W. Mazzocco, Barbara Roche, Liz Ryan and Mary Rae Thewlis.
Alternate board members include Laura Belsey, LeVar Burton, Stephen Gyllenhaal, Rod Holcomb, Todd Holland, Jeremy Kagan, Randal Kleiser, Garry Marshall, Max A. Schindler, Millicent Shelton, Eames Yates and Michael Zinberg.
Second Alternate Board Members include Lee Blaine, Alan Curtiss, Julie Gelfand, Joan Griffin, Kathleen McGill and Elena Santaballa.
Links to Related Topics (Tags):
Headlines: July, 2009; RPCV Taylor Hackford (Bolivia); Figures; Peace Corps Bolivia; Directory of Bolivia RPCVs; Messages and Announcements for Bolivia RPCVs; Movies; Hollywood
When this story was posted in August 2009, this was on the front page of PCOL:
Peace Corps Online The Independent News Forum serving Returned Peace Corps Volunteers
Join Us Mr. President!
"We will double the size of the Peace Corps by its 50th anniversary in 2011. And we'll reach out to other nations to engage their young people in similar programs, so that we work side by side to take on the common challenges that confront all humanity," said Barack Obama during his campaign. Returned Volunteers rally and and march to the White House to support a bold new Peace Corps for a new age. Latest: Senator Dodd introduces Peace Corps Improvement and Expansion Act of 2009 . Meet Aaron Williams - Our Next Director
Senator Dodd's Senate Subcommittee held confirmation hearings for Aaron Williams to become the 18th Peace Corps Director. "It's exciting to have a nominee who served in the Peace Corps and also has experience in international development and management," said Dodd as he put Williams on the fast track to be confirmed by the full Senate before the August recess. Read our exclusive coverage of the hearings and our biography of Peace Corps Director Aaron Williams. July 11, 2009: House says Yes, Senate No
Senate Funding for Peace Corps Falls Short of Goal 10 Jul
House supports $450M Peace Corps Budget 17 Jun
Senator Kit Bond says PC is Smart Power 29 Jun
Parents Keep Dream Alive for Fallen Zambia PCV 3 Jul
PCVs Safe in Honduras after Coup 28 Jun
Jahanshah Javid recalls Peace Corps Volunteers in Iran 22 Jun
Peace Corps to return to Sierra Leone in 2010 18 Jun
Ryan Van Duzer rode bike from Honduras to Boulder 17 Jun
Monica Mills Named a Top Grassroots Lobbyist 12 Jun
Tiffany Nelson teaches - and learns in China 12 Jun
Dr. Roger Brooks spent 35 years with Concord Schools 9 Jun
Dr. Catherine Taylor Foster administered Polio vaccine in Nepal 8 Jun
Bill Lorah Runs Pre-Collegiate Program in Colorado 7 Jun
Brian Carroll writes: An African village adapts 7 Jun
Rebekah Martin finds love is not enough 6 Jun
Peter Bartholomew helps preserve Korean traditional culture 5 Jun
Obama speaks to Islamic World at Cairo University 4 Jun
Matt Hepp combines humanitarian and climbing objectives 4 Jun
Juana Bordas named 2009 Unique Woman of Colorado 2 Jun
Phil Hardberger left his mark on San Antonio 31 May
Philip Nix retires as headmaster of Day School 31 May
New: More Stories from June and July 2009 May 30, 2009: Peace Corps' Roadmap
Peace Corps' Roadmap for the Future 26 May
Who are the Candidates for Peace Corps Director? 24 May
Have French Atomic Tests put PCVs at Risk? 1 May
Obama asks Congress for 10% increase in PC Budget 7 May
Guy Consolmagno debunks "Angels & Demons" 22 May
Obama praises Dodd at credit card signing 22 May
John Garamendi front runner in California primary 22 May
Al Kamen writes: New management structure at PC HQ? 22 May
Damian Wampler's play Twin Towers opens in NYC 21 May
Michael Volpe learns that DC is networking capital 21 May
Dr. Mike Metke returns to Costa Rica 10 May
Jesse Fleisher Lives well on less 14 May
Al Kamen writes: PCVs peak at 11,000 under Obama Budget 11 May
James W. Kostenblatt is making a difference in Mozambique 10 May
Karen and Warren Master host Kyrgyzstan teen 9 May
Alberto Ibargüen writes: The Future of Newspapers 9 May
PC Monitor 2009 H1N1 Flu Virus in Mexico 1 May
Paul Theroux writes: Obama and the Peace Corps 1 May
Johnnie Carson to head State Department African Affairs 29 Apr
Michael O'Hanlon writes: Grading Obama's First 100 Days 29 Apr
Amy Potthast writes: The Peace Corps Lottery 23 Apr
Read more stories from April and May 2009.
Director Ron Tschetter: The PCOL Interview
Peace Corps Director Ron Tschetter sat down for an in-depth interview to discuss the evacuation from Bolivia, political appointees at Peace Corps headquarters, the five year rule, the Peace Corps Foundation, the internet and the Peace Corps, how the transition is going, and what the prospects are for doubling the size of the Peace Corps by 2011. Read the interview and you are sure to learn something new about the Peace Corps. PCOL previously did an interview with Director Gaddi Vasquez.
Read the stories and leave your comments.
Some postings on Peace Corps Online are provided to the individual members of this group without permission of the copyright owner for the non-profit purposes of criticism, comment, education, scholarship, and research under the "Fair Use" provisions of U.S. Government copyright laws and they may not be distributed further without permission of the copyright owner. Peace Corps Online does not vouch for the accuracy of the content of the postings, which is the sole responsibility of the copyright holder.
Story Source: Hollywood Reporter
This story has been posted in the following forums: : Headlines; Figures; COS - Bolivia; Movies; Hollywood
PCOL44468
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https://www.capecodtimes.com/story/news/2004/10/30/ray-light/50928883007/
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|
Ray of light
|
[
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"CARRIE RICKEY,The Philadelphia Inquirer, Cape Cod Times"
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2004-10-30T00:00:00
|
Jamie Foxx views life in new way after playing legendary blind singer NEW YORK — Knocking around Los Angeles comedy clubs early in his stand-up career, Jamie Foxx convulsed audiences with an imperson…
|
en
|
Cape Cod Times
|
https://www.capecodtimes.com/story/news/2004/10/30/ray-light/50928883007/
|
Jamie Foxx views life in new way after playing legendary blind singer NEW YORK — Knocking around Los Angeles comedy clubs early in his stand-up career, Jamie Foxx convulsed audiences with an impersonation of a head-bobbing, shoulder-rocking Ray Charles rasping "The Brady Bunch Theme."
But slipping into Charles' skin for "Ray," a biopic of the musical revolutionary who married gospel with rock, and RB with country, required other means.
Mimicry, Foxx explains, is an inventory of physical and vocal tics. "But to play Ray, I had to find the place where he was still and quiet," he says, holding forth in a hotel suite and popping MMs as if they were vitamins.
He got into the "Ray zone" by wearing prosthetics on his eyes that rendered him as sightless as his subject, and forced him to depend more on his hearing. "Ray saw with his ears," Foxx observes of the singer, who died in June.
In musical terms, Foxx found Charles between the notes. In "Ray," he internalizes him to the point of incarnating him. And he plays it not as a man who triumphed over disability, but as one who emphasized his ability. This isn't an actor playing Ray: Ladies and gentlemen, this is Ray Charles.
Foxx's electrifying turn as the blind artist who did not recognize the boundaries between musical genres - just as he did not recognize those between black and white in segregated America - looks like the one to beat at February's Academy Awards.
ColorblindActors always tell you how playing a special part has changed them as an artist. But Foxx, 36, tells you the specifics. Playing Charles transformed him not only as an actor, but as a man. "I listen differently now," he says.
Now Showing What: "Ray"
Starring: Jamie Foxx
Directed by: Taylor Hackford
Written by: James L. White
Running time: 152 minutes
Rating: PG-13 (for depiction of drug addiction, sexualit some thematic elements)
Where: Regal Cinemas in Harwich and Hyannis (Cape Cod Mall)
To hear Foxx tell it, he's been altered by experiencing how the blind are also colorblind. "When you can't see, you don't care who takes you to the bathroom, walks you to the car, sits next to you on the bus."
"Before we made the movie, Ray's music, for me, was like oxygen," says the actor, who lip-synchs in the movie to Charles' vocals. "I took it for granted." Only when Foxx understood the obstacles Charles endured as a black man in the Jim Crow South, and as a blind man exploited by some sighted hustlers, did the music resonate. "What Ray taught me is that when you rid yourself of excuses, there's nothing you can't do."
Foxx's seamless transformation into Charles is the latest stage in his metamorphosis from small-screen comic to big-screen drama king. Could be that he gets a second Oscar nod this year, a supporting bid for the role of Max, the honorable cabbie who picks up the wrong fare in "Collateral."
A Hollywood axiom is that funny means mone serious means awards. Foxx's film path defies half of that conventional wisdom.
In the decade since he left television's "In Living Color," neither his self-titled 1996 WB sitcom nor his appearances in film raunchfests such as "Booty Call" (1997) have earned him the money or the acclaim of his performances as the full-of-himself quarterback Willie Beamen in "Any Given Sunday" (1999), as cornerman "Bundini" Brown in "Ali" (2001) or as Max the hack in "Collateral."
In those features, Foxx not only stood his ground opposite the formidable Al Pacino, Will Smith and Tom Cruise, he elevated their games. Still, the guy with the rep as the secret sauce for Hollywood's prime cuts had never before "Ray" carried a movie on his own.
"You live and die by the person who plays the role in a biopic," says film director Taylor Hackford, who gestated the "Ray" screenplay for 15 years before financing came through.
TestedWhen Hackford approached Foxx, the filmmaker had no idea he was tapping an accomplished pianist. Not only had Foxx, born Eric Bishop in Terrell, Texas, played for his church choir growing up, but in 1986 he won a classical-piano scholarship to U.S. International University in San Diego. (Bishop rechristened himself Jamie Foxx the following year, when he heard that comedy-club bookers were looking for women. On open-mike night, the gender-neutral name helped.)
Before Hackford closed the deal, he sought Charles' blessing. When the music icon and the iconoclastic actor met at Charles' L.A. studio, Charles invited Foxx to the adjoining piano, taking his measure by jamming the blues. Then the music man stunned the actor by taking a U-turn into a complex Thelonious Monk composition, testing Foxx.
Though the actor couldn't exactly keep up, he managed to "stay on the mechanical bull" of Charles' challenge. And after a few tries Foxx finally nailed the Monk riff. "Got it, Jamie?" Charles teased. "It's right under your fingertips."
"Once Ray anointed Jamie," says Hackford, in a separate interview, "I saw him grow from his regular height to 10 feet."
To take on the role, the supremely disciplined Foxx shrank from his normal weight of 190 to 156 so he would look even more like the wiry musician.
Make no mistake, Foxx is no method actor who lived Ray all da night. "(Actress) CCH Pounder taught me character is like a coat," Foxx says. "Put it on when you're working, hang it up when you're done." This comes easy to the man who lives as both Eric Bishop and Jamie Foxx.
"My first acting job was telling the insurance guy that Granny wasn't home," Foxx remembers with a grin. When Foxx's parents split up, his maternal grandparents, Estelle and Mark Talley, adopted their grandson. Granny Talley was 57 Eric was seven months. She's now 95.
"There was a generation gap," he says. "She didn't understand me, but she raised me with an iron fist." Granny Talley lit both his ambition and his self-sufficiency, dissuading young Eric from eating at the neighbors': They might think the Talleys didn't have money enough to buy their own.
For Eric, it was a structured life of Boy Scouts, football on Friday, church on Sunday. "But with me, the racial thing was a big thing. To be a strong black man in Texas, you were risking your life," he remembers.
If he ever harbored anger for the kids who hurled epithets, success has helped to dissipate it. When he recently went back to Terrell to visit Granny Talle shoot a segment for the CBS newsmagazine "60 Minutes," he says, "some of the kids who called me the N-word apologized for it."
Though in Los Angeles Foxx is known as the ringmaster of bacchanals where Puff Tom and Will come to play (one reveler tattled to Newsweek that in Foxx's den, "anything goes, and I mean anything"), the single father is also a hands-on parent.
Because of his schedule, 9-year-old Corinne lives primarily with her mother. But Foxx is there for homework and home-school meetings. He even coaches Corinne's track team. Her event is the high-jump. Given her father's soaring ambitions, what else would it be?
(Published: October 30, 2004)
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https://peacecorpsworldwide.org/the-volunteer-who-became-a-nationally-known-film-director-and-producer-taylor-hackford-bolivia/
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en
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The Volunteer who became a nationally known film director and producer — Taylor Hackford (Bolivia) – Peace Corps Worldwide
|
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2023-04-01T09:15:39-07:00
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https://peacecorpsworldwide.org/the-volunteer-who-became-a-nationally-known-film-director-and-producer-taylor-hackford-bolivia/
|
Jeremiah Norris (Colombia 1963-65)
•
After graduating from the University of Southern California, Taylor Hackford served as a Peace Corps Volunteer in Bolivia from 1968 to 1969.
While in Bolivia, he started using a Super 8 movie camera in his spare time — a camera purchased for him by a fellow Volunteer. After his volunteer days, Taylor decided that he did not want to pursue a career in law as he had earlier considered, and instead found a mailroom job at KCET, a public TV station in Los Angeles, where, in 1970, he became an associate producer on the Leon Russell special “Homeword.” Then, In 1973, again at KCET, he produced a one-hour special “Bukowski” about the poet Charles Bukowski.
Although he had never gone to film school, Taylor went on to be director of 15 major films, producer of 13 others, and the executive producer of 7 more. He was director of The Idolmaker in which Ray Sharkey was awarded a Golden Globe for Best Actor for his portrayal of Vinne. Taylor said of this film: “I make films about working-class people; show business is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has to make it happen through puppets”.
In 1982, a film that went on to win the Directors Guild of America Award for Outstanding Directing was An Officer and a Gentleman. In the film, Taylor kept Lou Gossett in a separate living quarters from other actors so he could intiminate them more during his scenes as a drill instructor. In a famous scene, Richard Gere originally balked at shooting its ending, which involves his character arriving at his lover’s factory wearing his Navy Dress Whites and carrying her off the factory floor. Gere thought the ending would not work because it was too sentimental. Taylor was initially inclined to agree with Gere until during rehearsal when extras playing the workers began to cheer and cry. But when Gere saw the scene later with music underneath at the right tempo, he said it sent chills up the back of his neck, and he was now convinced that Taylor made the right decision.
In 2004, Taylor, commenting on his film Ray, the story of the life and career of the legendary rhythm and blues musician Ray Charles, that “his proudest moments were in those ‘chitlin’ clubs. (Later in life Ray played in concert halls, where people would go in tuxedos and quietly listen to a genius perform.) In those clubs, he tried to get people up and dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet.” In 2004, for this film, Taylor was nominated for the Academy Award as Best Director and the Academy Award for Best Picture. Jamie Foxx, who played Ray, won the Academy Award for Best Actor in a Leading Role .
In a 2005 interview, Taylor confirmed that he never watched his own films. He said: “when I finish a film, I put it away and never go back to it again. Occasionally, I do now because of DVDs and the commentary tracks. I usually put it aside and go onto the next one.. He also directed music videos, including ‘Say You, Say Me’ by Lionel Richie. In 1987, Taylor developed and produced La Bamba, the most successful Latin-themed feature film in history.
In 2009, Taylor was elected president of the Directors Guild of America (DGA). He was reelected to a second term as president in 2011 at the DGAs National Biennial Convention in Los Angeles.
In that time of his life since his days as a Volunteer in Bolivia where he began his highly acclaimed professional film career with his Super 8 camera, Taylor Hackford has used the enduring quality of film to entertain and inform millions of people around the world, meriting him a Profile in Citizenship.
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https://deadline.com/2024/03/taylor-hackford-louis-gossett-remembered-1235871721/
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en
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‘Roots’ Co-Star LeVar Burton & ‘An Officer And A Gentleman’ Director Taylor Hackford Pay Tribute To Louis Gossett Jr. As Hollywood Remembers Late Actor
|
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2024-03-29T16:16:55+00:00
|
On the passing yesterday of actor Louis Gossett Jr., An Officer and A Gentleman director Taylor Hackford and Roots co-star LeVar Burton remembered their late colleague and friend. "One of the best to ever do it!," Burton posted on X/Twitter.
|
en
|
Deadline
|
https://deadline.com/2024/03/taylor-hackford-louis-gossett-remembered-1235871721/
|
On the passing yesterday of actor Louis Gossett Jr., An Officer and A Gentleman director Taylor Hackford and Roots co-star LeVar Burton remembered their late colleague and friend.
“One of the best to ever do it!,” Burton posted on X/Twitter. “Thank you, Lou… for everything!”
In a statement to Deadline, Hackford said:
“The role of Master Sargent Foley in An Officer and A Gentlemen was written as a white man. When I visited the Navy Officers Flight Training Center in Pensacola, FLA, I discovered that many of the Drill Instructors there were men of color. I found it interesting that Black & Brown enlisted men had ‘make-or-break’ control over whether white college graduates would become officers and fighter pilots.
“At that moment I changed the casting profile for Sergeant Foley and started meeting actors of color. Lou Gossett came to see me – I knew and admired his stage work. He told me that he’d served in the US Army as a Ranger, so in addition to being an accomplished actor, he knew military life – I hired him on the spot.
“Lou Gossett’s Sergeant Foley may have been the first Black character in American cinema to have absolute authority over white characters. The Academy recognized his consummate performance by voting him an Oscar for Best Supporting Actor. He definitely deserved it.” -Taylor Hackford
Also paying tribute to Gossett today was his longtime friend, the singer Dionne Warwick, who said in a statement, “Another dear one has made his transition. Lou was set to play the role of my grandfather in the proposed feature film of my life. I will miss my friend and send heartfelt condolences to his family.”
Gossett’s The Color Purple co-star Colman Domingo posted on X/Twitter a portrait photo he took of Gossett, writing, “Was able to capture my ‘dad’ the legendary Louis Gossett Jr. He was open and generous. Kind beyond measure. Regal. We owe so much to him.”
The Color Purple‘s Fantasia Barrino and David Alan Grier also penned remembrances to the late Oscar winner.
On Instagram, Barrino wrote next to a photo of Gossett, “what an Awesome Man you were and the stories you told us, I’ll never ever forget.”
She included images and videos of Gossett on the set of the 2023 film, adding in her caption, “You left behind so many tokens for us and paved the way for Black Actors and Actresses. You will be missed, but Man did you Live a Blessed Life,” concluding, “#WeLoveYouForever.”
“Rest in peace Lou Gossett Jr. one of my fave acting heroes,” Grier wrote. “Hung out with him years ago at the Toronto film festival…I bailed at 2 AM as he bid me good evening and strolled down the street with a girl on each arm. I saw him at breakfast the next morning lookin fresh as a daisy he winked at me n said “You couldn’t hang, could you?” My man!!!!!!”
Deadline will update this post periodically with additional tributes.
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https://www.dailymail.co.uk/tvshowbiz/article-10862035/Helen-Mirren-76-holds-hands-husband-Taylor-Hackford-77-uses-walking-stick.html
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Helen Mirren, 76, holds hands with husband Taylor Hackford, 77
|
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[
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2022-05-27T20:10:12+01:00
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Helen Mirren and her husband Taylor Hackford appeared as united as ever as they made a joint appearance during the Cannes Film Festival on Friday.
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Mail Online
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https://www.dailymail.co.uk/tvshowbiz/article-10862035/Helen-Mirren-76-holds-hands-husband-Taylor-Hackford-77-uses-walking-stick.html
|
Helen Mirren and her husband Taylor Hackford appeared as united as ever as they made a joint appearance during the Cannes Film Festival on Friday.
The actress, 76, was seen holding hands with her director beau, 77, as he used a walking stick while strolling around Hotel Martinez in the south of France.
They were spotted leaving the luxury five star hotel ahead of the Mother and Son premiere during the annual festival that evening.
Helen teamed her shimmering, full length gown with a simple pair of pointed black court shoes, while she added a further touch of bling with diamond drop earrings.
She highlighted her features with a glam palette of make-up including a rosy lip and dramatic, winged eye-liner.
The star certainly brought the wow factor in the hair stakes, styling her long, silver locks in an elegant half up, half down style which she flicked in front of the cameras.
Taylor looked dapper in a navy tuxedo and matching waistcoat, which he teamed with a crisp white shirt and smart shoes
Helen later brought a touch of Hollywood glamour to the red carpet as she made a spectacular appearance with Andie MacDowell at the screening.
Helen and Andie, 64, were simply radiant as they giggled, hugged and even had a dance together at the glitzy screening at the Palais des Festivals.
The ladies also took the opportunity to showcase their fabulous attire during the evening, with The Queen star dazzling in a stunning, silver embellished gown.
Four Weddings and a Funeral favourite Andie was simply elegant in a plunging, striped brown dress.
Andie slipped into a flowing striped dress which allowed her to show off her toned arms.
The beauty, who previously said she loves being a 'silver fox' after ditching her hair dying routine during lockdown, styled her natural grey locks into bouncy curls.
The actresses, who starred together in 2021 On the Edge and have graced many a red carpet together over the years, looked in great spirits as they enjoyed a catch-up.
And while they're known for their acting skills, they took the opportunity to showcase their dance moves too as they threw a few shapes in front of the cameras at the Mother and Son screening.
Mother And Son is set in the 1980s and follows an African woman Rose's move from the Ivory Coast to Paris with her two young sons, Ernest and Jean.
The movie spans over 20 years, from the family's arrival in the French capital to the present day, and chronicles the family's highs and lows inclduing Rose's struggles to balance being both a mother and a woman.
It stars Annabelle Lengronne as Rose, while the film is made by French writer-filmmaker Leonor Serraille, one of five female directors competing for the Palme d’Or award.
Helen's dazzling appearance comes after it was recently announced the actress had been cast alongside Harrison Ford in the upcoming Yellowstone prequel series '1932' for streaming service Paramount+.
The bold casting move proved Paramount+ is going big with the hugely popular franchise, particularly with Harrison, 79, who commanded a whopping $65,000,000 salary for his role in Indiana Jones and the Kingdom of the Crystal Skull in 2008.
Meanwhile Dame Helen doesn't come cheap either after reportedly receiving $2,000,000 for just five days work on action flick The Fate Of The Furious.
1932, which is the show's working title, will be an origin story that will introduce a new generation of the Dutton family.
Paramount+ said in a statement that the drama will 'explore the early 20th century when pandemics, historic drought, the end of Prohibition and the Great Depression all plague the mountain West and the Duttons who call it home.'
There have been no further details on the characters that the movie stars will be playing.
|
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2659
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dbpedia
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https://www.geni.com/people/Taylor-Hackford/6000000009129214467
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Taylor Hackford
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2020-01-05T18:35:35-08:00
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Genealogy for Taylor Hackford family tree on Geni, with over 260 million profiles of ancestors and living relatives.
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geni_family_tree
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https://www.geni.com/people/Taylor-Hackford/6000000009129214467
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http://en.wikipedia.org/wiki/Taylor_Hackford
Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.
Personal life:
Hackford has been married to Academy Award-winning actress Helen Mirren since 1997. Hackford met Mirren when he was directing her in White Nights although their first meeting did not go well. He kept her waiting to audition for White Nights, and she was icy. "It was a strange way to meet Helen, because she is a lovely person," says Hackford, "but she didn’t hold back her fury." Hackford and Mirren wed in 1997 after 12 years together. As a young woman Mirren had vowed never to marry.
Hackford has two grown children from his two previous marriages.
Filmography:
Director and producer -
* Bukowski—1973
* Against All Odds—1984
* White Nights—1985
* Everybody's All-American—1988
* Dolores Claiborne—1995
* Devil's Advocate—1997 (executive producer)
* Proof of Life—2000
* Ray—2004
* Love Ranch—2010
Director -
* Teenage Father—1978
* The Idolmaker —1980
* An Officer and a Gentleman—1982
* Chuck Berry Hail! Hail! Rock 'n' Roll—1987
* Blood In Blood Out—1993
* Smooth Criminal: The Michael Jackson Story—2007
Producer -
* La Bamba—1987
* The Long Walk Home—1990 (executive producer)
* When We Were Kings—1996
* G:MT - Greenwich Mean Time—1999
Actor -
* Bukowski: Born into This—Himself (2003)
Awards:
Hackford received an Academy Award for Live Action Short Film for Teenage Father in 1979. He received two Oscar nominations in 2004 for the Ray Charles biopic Ray. He was awarded the 2005 Film Society Award for Lifetime Achievement in Directing.
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2659
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dbpedia
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https://tv.apple.com/bh/person/umc.cpc.4e7krr5v9php13v2w70f6wyo7
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Taylor Hackford Films and Shows â Apple TV (BH)
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Learn about Taylor Hackford on Apple TV. Browse shows and movies that include Taylor Hackford, such as Parker, Ray and more.
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https://tv.apple.com/bh/person/taylor-hackford/umc.cpc.4e7krr5v9php13v2w70f6wyo7
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Taylor Edwin Hackford is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father. Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman and Ray, the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
|
||||
2659
|
dbpedia
|
1
| 89
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https://www.architecturaldigest.com/story/helen-mirren-taylor-hackford-re-list-historic-la-home
|
en
|
Helen Mirren and Taylor Hackford Re-List Their Historic L.A. Home for $17 Million
|
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2023-01-11T17:42:42.750000-05:00
|
The historic property has a legacy of very notable Hollywood owners starting in 1911
|
en
|
https://www.architecturaldigest.com/verso/static/architectural-digest/assets/favicon.ico
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Architectural Digest
|
https://www.architecturaldigest.com/story/helen-mirren-taylor-hackford-re-list-historic-la-home
|
Hollywood power couple Dame Helen Mirren and movie director Taylor Hackford have once again listed their historic Los Angeles home for sale. The Oscar-winning couple first listed their property in the summer of 2021 for $18.5 million while at the same time putting it up for rent at $45,000 a month. According to public record, a deal on the eight-bedroom, eleven-bathroom estate went into contract, but eventually fell through in September of that year.
Built in 1911 for multi-hyphenate entertainer Dustin Farnum, known best for starring in silent films like Cecile B. Mille’s Squaw Man, the property has a rare heritage, boasting a history of just four owners, all of whom were Hollywood luminaries (including Hackford, who purchased the property in the 1980s).
"It's very unusual to have a house that's over 100 years old and it's only had four owners over that time," Hackford told the Wall Street Journal shortly after the first listing. According to the current listing with realtor Stephen Apelian, writer and producer Mark Hellinger, whose short story inspired the classic 1939 Hollywood gangster film The Roaring Twenties starring Humphrey Bogart and James Cagney, was the second owner. Hackford eventually purchased the property a few years after the death of previous owner Gail Patrick. Patrick was one of the first and most successful female television producers of her time, whose work includes executive producer of the popular CBS crime series Perry Mason, which ran from 1956-1967.
Perched on a hill that abuts protected Runyon Canyon Park, the uber private 6.5-acre-property comprises a two-story main residence and a three-bedroom guest cottage that shares the gorgeous landscaped space with a pool, a five-car garage, enormous terrace, and numerous mature trees. On the inside, many old-world details have been maintained (even though it is uncertain if they are original) like the terracotta-tiled floors in the chef’s kitchen and some bathrooms, and the exposed-brick fireplace in the kitchen’s dining area. The charming house’s floor plan is configured in such a way that spectacular views of lush vegetation and the city skyline can be seen from almost every room.
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Hackford has had an illustrious career in Hollywood, winning an Oscar in 1979 for Best Live Action Short Film, Teenage Father, and directing many notable movies like 2004’s Ray and 1982’s An Officer and a Gentleman. London-born Mirren, who has achieved the triple-crown of acting in both the United States and England, was appointed as a dame in 2003 by the late Queen Elizabeth II. Hackford and Mirren have been a couple since 1986, marrying a decade later.
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2659
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dbpedia
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2
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https://deadline.com/2015/07/taylor-hackford-robert-de-niro-the-comedian-insult-comic-1201471617/
|
en
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Taylor Hackford Stands Up To Direct Robert De Niro In His Passion Project ‘The Comedian’
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2015-07-07T18:52:58+00:00
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Taylor Hackford will direct Robert De Niro in his passion project 'The Comedian,' the Art Linson-scripted drama De Niro has been sweet on for years.
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en
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Deadline
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https://deadline.com/2015/07/taylor-hackford-robert-de-niro-the-comedian-insult-comic-1201471617/
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EXCLUSIVE: It will be Taylor Hackford who directs Robert De Niro in his passion project The Comedian, the Art Linson-scripted drama that the Oscar-winning actor has been sweet on for years. Mike Newell recently signed on when the film got its financing together, but he exited due to scheduling. The plan is to still shoot in mid-January in New York. Linson and John Linson will produce the film along with Cinelou’s Mark Canton and Courtney Solomon. Cinelou, which funded the Jennifer Aniston-starrer Cake, is financing the picture. Casting is underway.
De Niro will play a toxic insult comic on the order of a Don Rickles (with whom De Niro starred in Casino). It will be De Niro’s second time working the crowd for laughs, after he played the iconic stalker/aspiring comedian Rupert Pupkin in The King Of Comedy. The project has been one both De Niro and Linson have been trying to pull together for years, and the stand-up material was written by Jeffrey Ross, a staple of Friars and celebrity roasts on Comedy Central who usually outshines the rest of the dais. Linson wrote the Hollywood-centric pic What Just Happened?, which starred De Niro as a harried producer.
Hackford most recently helmed the Jason Statham-starrer Parker and before that Love Ranch and Ray, which won Jamie Foxx the Oscar for playing Ray Charles. De Niro has the Nancy Meyers-directed The Intern opposite Anne Hathaway, and stars with Edgar Ramirez in the Jonathan Jacubowicz-directed Hands Of Stone, which The Weinstein Company acquired at Cannes for release next year. He recently wrapped the Scott Mann-directed heist film Bus 657, and the David O Russell-directed Joy with Jennifer Lawrence and Bradley Cooper, and will star opposite Zac Efron in the Dan Mazer-directed comedy Dirty Grandpa.
Cinelou, started by Canton and Solomon, has wrapped Henry Joseph Church, the Bruce Beresford-directed film from a Susan McMartin script that stars Eddie Murphy. This is the film that had the working title Cook, and Cinelou Films and EMA Films Production made it in association with Shenghua Entertainment in association with Voltage Pictures.
Watch on Deadline
Hackford is repped by CAA.
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2659
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dbpedia
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1
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https://www.dga.org/Craft/DGAQ/All-Articles/1504-Fall-2015/DGA-Interview-Taylor-Hackford
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en
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DGA Interview - Taylor Hackford
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Taylor Hackford’s great enthusiasm for music, dance, and life comes through in such far-ranging films as An Officer and a Gentleman, Hail! Hail! Rock ’n’ Roll, and Ray. And while practicing his craft, he has energetically served the Guild for 30 years--including two terms as president.
|
en
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https://www.dga.org/Craft/DGAQ/All-Articles/1504-Fall-2015/DGA-Interview-Taylor-Hackford
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Fall 2015
The Director’s Chair
Taylor Hackford’s great enthusiasm for music, dance, and life comes through in such far-ranging films as An Officer and a Gentleman, Hail! Hail! Rock ’n’ Roll, and Ray. And while practicing his craft, he has energetically served the Guild for 30 years--including two terms as president.
BY TERRENCE RAFFERTY
Photographed by Jill Greenberg
On a wall in Taylor Hackford’s New York home— improbably, a penthouse apartment in the ever- funky East Village—hangs an old photograph of two men, in natty suits, on the deck of an ocean liner. The short, smiley, bald one is the songwriter Lorenz Hart; the tall, imperious-looking gent shaking his hand is the great choreographer George Balanchine. Hackford is a man who loves music and dance about as much as he loves film, which is to say, a lot, and he can talk about all these subjects until the cows come home.
Today, though, we’re here to speak about the art and craft he has practiced for most of his adult life, which is that of the movie director—a job that, the evidence suggests, he’s very skilled at. His first short film, Teenage Father, won an Academy Award in 1979; his second feature, An Officer and a Gentleman (1982), was one of the biggest box-office hits of the ’80s and was nominated for a DGA Award; his 2004 biopic of Ray Charles, Ray, was also nominated for a DGA Award, as well as six Oscars, including best picture and best director, with Jamie Foxx winning for best actor. Hackford’s work has ranged from documentaries (Hail! Hail! Rock ’n’ Roll, 1987) to true stories (Blood In, Blood Out, 1993) to thrillers (The Devil’s Advocate, 1997).
As a director, Hackford is both passionate and scrupulous, qualities that came in handy, too, in the two terms he served as president of the Directors Guild of America, from 2009 to 2013. He received the Robert B. Aldrich Award in 2007 for his many years of service to the Guild. But right now he is preparing to shoot a new movie, The Comedian, with Robert De Niro. He looks as fit and focused as Balanchine, and as happy as Hart. Taylor Hackford is in his element. He’s about to embark on a voyage.
The Right Note: Hackford directs two of his music-related films: his first feature, The Idolmaker (top), and Hail! Hail! Rock ’N’ Roll (middle); (bottom) working with Helen Mirren on White Nights. (Photos: (top) Courtesy Taylor Hackford; (middle) Universal Pictures; (bottom) Courtesy Taylor Hackford)
TERRENCE RAFFERTY: You’re spending August in New York? That’s brave.
TAYLOR HACKFORD: Well, I love New York, and, any- way, you go where you work; that’s the No. 1 priority. I’d tried for a year to get a film going about the widow Clicquot—of the famous Champagne family, in the 1800s—that I was going to shoot in France with a French crew, but the money wasn’t coming together so I looked around for something else. And it happened that Bob De Niro and [producer-writer] Art Linson were looking for a director for a project they’d been working on for years that was very near and dear to them, and I was able to jump right in. It’s about a stand-up comedian who refuses to give up, and it’s a dark character, as comedians tend to be. This guy is really difficult, really smart, maybe a misanthrope, and Bob really wants to do this role; he’s been working on it for like 15 years.
Q: Sort of like you with Ray?
A: When you’re passionate about something and you feel driven to make it, there’s a seriousness that can’t be denied.
Q: What stage of preproduction are you in now?
A: I’m supervising a page-one rewrite, and I hope to cast by Oct. 1. We’ll start shooting in New York in January. You know, when you’re making a movie you’re always in a race against both the clock and the cash register, and I’ve learned over time that you don’t need 18 takes if you’re working with good people—you get into a groove and you know what you need and you move on. Directing is about making decisions, in every aspect it’s about making decisions. But with casting you really want to make sure you’ve got the right people, and you know you can’t wait forever.
Q: What crew do you hire first?
A: For me, the production designer is usually the first person on the film, not the cinematographer, because you’re conceiving the whole look. It’s all about finding a team that will understand and share your vision. As a director, you’re not a painter at an easel alone with your paint and brushes and canvas; you’re not a novelist alone at your typewriter. Making movies is collaboration, and you’re as good as the people you choose to take this journey with you. Inspiring them and cajoling them, doing whatever you can to have them deliver your vision, that’s the process.
Q: Tell me a little bit about how you started out in film. You didn’t go to film school, did you?
A: No, I didn’t. I majored in international relations at USC, and then I went into the Peace Corps. I was sent to Bolivia, where I got involved in starting a newspaper. When I got back, I went to law school for two weeks— it wasn’t for me—and after that I got a job in the mail- room of the public television station in Los Angeles, KCET. Every night I’d go around to the repertory cinemas and see whatever I could, every Fellini film, every Godard, every Truffaut, Bergman, all the stuff you have to see. And whenever I had a moment, I’d experiment a little with my Super 8 camera. One day someone at the station asked me if I could shoot film, and I said sure—though I’d never shot 16 mm film in my life. I didn’t screw up too badly, so they put me on camera doing political reporting, cultural affairs, and music shows. As long as I didn’t sleep or eat, I could do everything.
Q: So that was your film school?
A: Yes, and unlike in film school you don’t get an entire semester or an entire year to do a project. I had actual airdates, and the most important thing was learning to deliver on a deadline. I’d shoot the film one day, edit the next, and it would be on the air that night. When I had six or seven hours to write a nine-minute piece, that was fine, but sometimes the edit wouldn’t be finished, and I’d have 25 minutes. Your mind focuses. When you’re making movies, the pressure is always to get your day on the set or on the location, and there are always all these factors that can prevent you from doing things the way you’ve planned. You’ve got to react to the circumstances, and that’s directing. My experience at KCET helped me understand that.
Not So Gentle: Staging a fight between Louis Gossett Jr. and Richard Gere in An Officer and a Gentleman. (Photo: Courtesy Taylor Hackford)
Q: So you know what to do when the unexpected happens, like the weather not cooperating.
A: When we were shooting An Officer and a Gentleman, it was the wettest year on record on the Olympic Peninsula in Washington. I think it rained every day except two. But I discovered that you get a more interesting saturation without sunlight, the deep saturation in the colors comes out. And I learned that if you lift the lens off the ground so you don’t see the puddles, the audience can’t tell it’s raining; rain has to be backlit for you to see it. There was one important scene late in the picture in which Richard Gere confronts Lou Gossett Jr., and we wound up having to shoot in a completely different location than I’d planned. So at the last minute I staged it, blocked it, and shot it, and it works. Every single time you go out, there are things that will hit you, that call on you to adjust to the moment. And that’s the joy of directing. When you’re a young director and you’ve worked your way out of a hole, it really adds to your confidence, too.
Q: You won an Academy Award for the short film Teenage Father, and that landed you your first feature, The Idolmaker (1980). What was it like making your first film?
A:Anyone directing their first feature, they’re terrified; you feel like everybody on the set knows more than you do. On The Idolmaker, I’d storyboarded the entire picture, every frame, and that’s both a good thing and a bad thing, because there’s a temptation to think of it as holy scripture. I had good people, a veteran AD named Cliff Coleman who’d started with John Ford and had worked on Sam Peckinpah’s movies, and I had a lot of respect for him. He’d look at my story- board and say, ’Jesus Christ, you don’t want to do it like that, you should do this and this.’ And my cinematographer, Adam Holender, who was also very experienced and very good, would look at the storyboards and just sigh and say, ’You could do it this way, but it’s very pedestrian.’ So I did it their way at first, and when I looked at the dailies after the second day of shooting, I thought, ’That’s not very good.’ And I realized that I wasn’t going to get those scenes back—they’re going to be in the picture. So I called everyone together on the third day and said, ’From this point on I’ll listen to what you have to say and value what you have to say, but I’m going to make the decisions about what we do. And they all said, ’Oh, OK.’
Q: Do you wish you hadn’t done those storyboards?
A: On a first film, they do help build confidence. Today I only storyboard action scenes and special effects scenes. I know the way I want to shoot a picture. I walk on the set and I feel like I’m never going to be at a loss, that I’m going to come up with a way to do it. I’ve thought it through, but the spontaneity is part of the process, too, it’s like you’re dancing. Some directors like preproduction, some like post, but my favorite time is when I’m shooting, because you have all these talented people and you’ve got to orchestrate them. You’re dancing, the director’s dancing. It’s terrifying, it’s difficult, it’s agonizing, but it’s fun.
Q: Was it tough shooting The Idolmaker in New York?
A: I didn’t, except for a week at the end of the shoot.
Q: Wait a minute. I definitely saw Arthur Avenue in the Bronx. ...
A: It was. We shot there, and at the Fulton Fish Market, and at the Brooklyn Bridge. But I was told at the beginning, you can’t shoot this in New York, it’s got to be shot in L.A. And I remembered that Scorsese had shot the majority of Mean Streets in L.A., and that’s a New York picture if there ever was one. [I thought] if Marty can do it, I guess I can, too.
Q: It must have felt a little strange to you, though, considering your background in documentary and public television.
A: In some way I feel like the biggest thing I got from working in documentary is paying attention to how people really react. That has a lot to do with the acting style I try to get in my films. I think I go for a very realistic style, aside from something like Devil’s Advocate, where it’s important for Al Pacino to come out big in the end. Having worked in documentary, my thinking is if you can get real people to reveal their inner feelings on camera, you can sure as hell get actors to do it. The essence of movie acting is this: You’re not on stage, you can’t be a completely different character. You have to take from whoever you are, because the camera is a magnifying glass—I’m not the first one to say this—and you can’t really separate who you are from the character you’re playing. You can imbue your natural character with other elements that fit the role you’re playing, but ultimately you’re going to have to take the elements you naturally have and use them. That’s what I try to encourage when I direct actors.
Star Power: Hackford has often worked with top talent: (top) with Dennis Quaid in Everybody’s All-American; (middle) with Meg Ryan and Russell Crowe in Proof of Life. (bottom) Hackford received the Guild's Aldrich Award in 2007. (Photos: (top, middle) Warner Bros.; (bottom) DGA Archives)
Q: How do you prepare your actors?
A: I think it’s important to take the actors to a set so they see it and start to think about it in advance. What I’m not going to do is bring them to a location they’ve never seen and say, ’Stand there, do this, do this’—they’re going to rebel. I don’t do heavy rehearsals, but I want to give the actors a chance to get their feet wet and feel comfortable. If you’re going to rehearse and rehearse, talk with all the actors about everybody’s psychological motivation, [so] when they come into a scene there’s no discovery going on. It’s not the way life is. For me, that process is the magic of film. But every director works differently.
Q: You’ve done some pretty steamy sex scenes, in An Officer and a Gentleman, Against All Odds (1984), Everybody’s All-American (1988), and Love Ranch (2010). Do you do anything different when you shoot those scenes?
A: My attitude about shooting sex is very much like my attitude about shooting violence—it should be real. Bodies have to be part of it, but for me it’s all in the eyes; you’re never going to see a love scene from me in which you can’t see the eyes. When I look at a sex scene, it’s a dramatic scene like any other. Of course, it’s terribly difficult for the actors, and you have to let them feel that you respect their discomfort. But aside from that, they’ve just got to do it, like any other scene: You’ve got to make it as real as you can, and it’s got to lead us somewhere in the story.
Q: Speaking of violence, your most recent movie, Parker (2013), is as close to a straight action picture as you’ve ever made.
A: I love action movies, though I never really thought about making one before this. The thing about Parker is he’s a great literary character by a great writer, Donald Westlake. I’ve done plenty of action and fight scenes in my other pictures: the karate fight in An Officer and a Gentleman, the fight with Jeff Bridges and the assassins in Against All Odds, the sequence in which John Good- man is beaten to death in Everybody’s All-American. I always want my fight sequences to be real, to be brutal. Violence isn’t fun—it hurts, and I want you to feel it.
Q: We’ve been talking about your desire for realism, but you’ve also made films in less realistic modes, like The Devil’s Advocate and Dolores Claiborne (1995). How do you approach those?
A: Although the acting is realistic, Dolores Claiborne is certainly more stylized. In fact, my production designer, Bruno Rubeo, and I looked at a lot of Magritte’s surrealist paintings, and even incorporated some of his imagery in the film, like when Jennifer Jason Leigh looks in the bathroom mirror and what she sees is the back of her head. I was trying to create a unique look in that film, where the narrative alternates between the present and the past. I had different looks for each, and they had to reflect the psychological nature of Dolores. In the present tense, we shot on Kodak, which naturally has a strong, contrasty, bluish feel to it—it’s a little cold compared to Fuji. There was a film I loved that Sven Nykvist had shot for Ingmar Bergman, The Passion of Anna, in which almost all the color had been stripped out, and I told my cinematographer, Gabriel Beristain, that I wanted that look in Dolores Claiborne. So we used Kodak for all the contemporary sequences, then desaturated it like crazy, and flashed it. But for the flashback scenes, when Dolores is 25 and hopeful, we used Fuji, which has a pastel look—it creates a kind of natural feeling of bliss. I did that all throughout the film.
Q: What about that fantastic sequence at the end of Devil’s Advocate in which the frieze seems to come to life? How was that done?
A: Bruno had had this idea about an animated bas- relief, and I hired a very smart guy named Richard Greenberg as a visual consultant to help me figure out how to do it. He took me to the Pageant of the Masters in Laguna Beach, where every year they re-create old master paintings with real people on stage, and he also showed me a book by a photographer who took pictures of ballet dancers underwater—he had some film footage, too. So Richard and I would get dancers and shoot them underwater, then freeze their three-dimensional form in this bas-relief, and then we’d animate them digitally when they’re supposed to be coming to life. It’s a great effect, I think.
Q: It is. And you did a good job shooting dancers on dry land, too, in White Nights (1985).
A: I love dance. In White Nights, I knew I wanted to do something with Mikhail Baryshnikov and Gregory Hines, but initially I didn’t know what the story was going to be. I’m a narrative film- maker, so I wanted a musical in which every dance carried either the character or the narrative through. Once I got that, I knew it would be interesting to contrast these styles, which are completely different. In tap dancing, you develop your body to move only from the knees down; ballet dancers move every single muscle, every bone in their bodies. I had Twyla Tharp for the choreography. I’ve got to say, choreographers are the toughest of the tough. Directors can be difficult, but they’re nothing compared to choreographers. Twyla was able to work with these two disparate styles and put them together. In that one number where Greg and Misha dance together, it’s terrific, neither one of them is dancing to his capabilities, but they’re conforming their styles in order to dance together. It’s a true pas de deux. And by the way, they’re also advancing the plot.
Ensemble: (top) With Kathy Bates in Dolores Clairborne; (bottom) with Jeff Bridges and Rachel Ward in Against All Odds. (Photos: (top) Warner Bros.; (bottom) Everett Collection)
Q: You spend a lot of screen time in that movie on warming up and rehearsals, which I always think are interesting processes.
A: Absolutely. In Hail! Hail! Rock ’n’ Roll, the documentary I made about Chuck Berry, the best sequences are the rehearsals, with Keith Richards leading the band that’s going to back Chuck at a concert in St. Louis. In the rehearsals, though, there’s a moment when Chuck tries to humiliate Keith, and no one could have foreseen anything like that. That’s the great thing about documentary, when you can capture something real and you were there to see it. That’s gold.
Q: One thing I really appreciate about the way you shoot music is that you’re always clear about who’s playing at any given time. In the Chuck Berry con- cert, you’ve sometimes got four guitarists playing on stage—Chuck, Keith, Robert Cray, Eric Clapton— and you cut it so that we can tell who’s playing what.
A: In documentaries as in any film project, I want to tell a story, and part of the story here is understanding what the performer is saying, whether it’s a vocal or a guitar solo. When two or three or four guitarists are playing together, something’s happening there, dialogue is being exchanged. Why would you cut any differently, when you’re trying to understand what’s being said?
Q: And you seem to apply that principle to shooting dance, too, where you mostly show the whole body so we can see what the dancers are doing in relation to one another. How did you get those amazingly fast scenes in which Hines and Baryshnikov seem to be just flying around the rehearsal studio? Was that Steadicam?
A:No Steadicam, all dolly moves. On that picture, I had one of the great dolly operators of all time, a guy named Freddie Cooper. My cinematographer, David Watkin, was one of the greats, but he really didn’t care about anything except the lighting. Once he’d lit, he’d go off and read a book. But he had this fantastic operator. When we shot the ballet that opens the picture, Le jeune homme et la mort, I storyboarded it with this one very complicated shot that I thought I’d probably break in threes, but Freddie wanted to try doing it in one. He did it almost perfectly, and then said to me, ’If you give me another shot, I’ll be able to get it.’ I thought, ’My God, I have as brilliant a camera operator as Baryshnikov is a dancer.’ And of course, when you realize that you’ve got that tool, you start to push, you design your shots differently. My visual vocabulary has just expanded; I’m going to try things I would have thought were impossible to do. We didn’t even have to do that many takes, because Freddie and the dolly operator could rush around and just stop on a dime. We were doing 360s, and how do you do that in a dance studio, where there are mirrors all around? The designer, Philip Harrison, made every mirror cantilevered so every one could be turned a little bit, and then Freddie would angle each one. Baryshnikov and Hines would go all around the studio three times, and although you’d see them reflected in the mirrors, you’d never see the camera.
Q: Have you always had a special interest in music and dance?
A: Always. I grew up in Santa Barbara, a beautiful bedroom community, though we were on the wrong side of the tracks, and what you don’t have there is a large ethnic population. So I was one of those kids staying up late at night trying to tune in to L.A. radio stations to listen to black music. The first time I heard Ray Charles, I knew he was a cut above. He was my guy. That’s why I spent 13 years trying to raise the money to make a biography of him.
Q: Did your thinking about the film change a lot over all that time?
A: In the original treatment, it was a story- based narrative, in chronological order. Once I finally had the money and I had to figure out how to visualize the story, it immediately became clear to me that it was impractical to tell the story that way, in part because when you’re doing the biography of a brilliant artist, by far the best and most interesting part of the story is the attaining. Once they’re there, it’s less interesting; it’s that process of creating something out of nothing that’s indelible. I’d used a parallel structure in Dolores Claiborne, using flashbacks all the way through, so that was in my lexicon. In Ray, I had to use some tricks. We show him in Seattle in, I think, 1949, but all we had from that time was 8 mm footage, which even after we digitized it and blew it up wasn’t great quality. So what I had to do was step on the scenes right before and after the flashback, deteriorate my own material, so when the audience goes into the flashback it isn’t shocking and when you come out of it the transition isn’t that jarring. I used a bleach bypass process for the present-day story—you take color out, it’s got a much more contrasty look, with darker darks. The look of the flashbacks, though, is really vivid, be- cause Ray could see them, and that’s how he remembered it. It’s the vision of a child, and it’s a blind man remembering when he could see, so it’s got to be idealized.
Q: There is some good dancing in Ray, too.
A: Those dance sequences are some of the moments I’m proudest of in my movies. A lot of the credit has to go to my [dance] consultant on that, Vernel Bagneris. He said to me, ’You know, this was pre-American Bandstand, there was no homogeneous dance style in America then. Every city had its own style, Cleveland or New York or Boston or Atlanta, even though they were all listening to the same music.’ So that’s the way we did it, with every dance scene in a different style. That’s something I thought was really important. And Vernel did some terrific stuff in the scene where Ray comes up with ’What’d I Say,’ with the audience responding out on the dance floor, just burning it up. To see the moment of creation, a moment like that, is unbelievably exciting.
Building Character: (top) Hackford on the mean streets of New York with Al Pacino and Keanu Reeves in The Devil‘s Advocate; (middle) in his office as DGA president; (bottom) Hackford directing Jamie Foxx in the title role in Ray. (Photos: (top) Warner Bros.; (middle) DGA Archives; (bottom) Nicola Goode/Universal Pictures)
Q: Let’s talk about the Guild, which I know has been very important to you.
A: I love this organization, I really believe in the Directors Guild. I joined before The Idolmaker, and it was great to know that I had rights. You’ve got 10 weeks to do your first cut; that’s a miracle. And the Guild is really the only place where filmmakers can get together, share ideas, and truly have a dialogue about the process, all we do in common. None of us are the same, but we all have the same kinds of problems to solve. We’ve got directors of movies, TV, commercials, music videos, reality shows—plus unit production managers, stage managers, and assistant directors. ADs are a big part of the process; you’re totally dependent on them. Your 1st AD is your lieutenant on the set, and when you’ve got a good one, you’re in great shape. The directors are the largest group in the Guild, and they could throw their weight around in negotiations. But we always make room for the ADs, SMs, and UPMs, because we know we need them to get our vision on the screen. I’ve been in this Guild for 40 years, and I can tell you that directors are still deferential to their team.
Q: What do you see as the value of Guild service and why would you encourage other active members to serve?
A: At the beginning of your career, you are happy to get a job. And in reality, when you do get those jobs, you profit from the protections that the DGA, over the course of time, has given directors. So you’re happy to be a member, and you think this is great. But after you’ve been able to make two or three movies, you start to realize, ’Wait a minute. There are people that came before that actually made that possible for me.’ And, you know, everybody wants to say, ’I’m too busy. I’ve got this, I’ve got that.’ But when you actually go and spend time with your peers at the Guild, the people who really, in the present tense, are making sure that directors and their teams are protected, it can be a really enjoyable experience. You’re working for other people in your profession, and a stewardship for people who come after you, and nobody else is going to do that. So instead of it being a chore, it is actually a joy.
Q: You’ve said that the most important accomplishment of your presidency was securing the health plan in the 2010 negotiations. Why is that so significant to the Guild?
A: When I was president, we got to a point where we realized that the cost of health care was quickly accelerating to the point where we were going to be in trouble. So in 2010, the focus of the negotiations was health care. We were able to take that moment and increase the value of our package and have the option of making that happen in the health plan and get an extra bump from employer contributions. By doing that, we ensured another five years of our plan surviving and being in great health. And this has to do with [National Executive Director] Jay Roth and his brilliance. I think these are some of the big responsibilities that a lot of people don’t understand but as leadership you do. When you go through a negotiation and you realize what we’ve actually done is ensure our health plan for the future, these are moments that are really gratifying.
Q: What were some of the other issues you had to deal with in your time as president?
A: The biggest thing is piracy, which destroys our ability to monetize what we do. If you can’t monetize what you do, the people who put up the money in the first place aren’t going to do it anymore. During my presidency, we went to Washington and spoke for a couple of bills, nothing sweeping, just trying to shut down some pirate sites offshore. Google and its allies came out and killed us there; they flexed their muscles and destroyed that legislation. The power today is in the hands of those Internet giants, who in reality are making money stealing intellectual property. For an artist, if you can’t feed your family, you can’t create; you have to become a plumber or something. I realize I’m talking about a failure here, but you can’t be defeated if you’re a director. I think in the future we’ll find ways to protect the work we do. We’ve got to recapture the audience as a paying audience—not gouging them, but having them pay so we can make a living for ourselves and our families. Everything we do costs money. Ray was an independent film, but it still cost $30 million. One guy financed it. That’s a huge risk, and if he knew there wasn’t a chance he’d make his money back would he have done it? That’s where we’re at today.
Q: You’re in the midst of preproduction now. How do you prepare yourself, physically and mentally, for making a movie?
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American Cinematographer: Ray
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Ray, a far-ranging drama shot by Pawel Edelman, PSC, traces the tumultuous life and career of Ray Charles.
| null |
The life of Ray Charles was celebrated, dramatic and filled with great music. It would therefore seem to be a natural for big-screen biographical treatment. Yet director Taylor Hackford spent almost 15 years trying to secure financing for Ray, which stars Jamie Foxx as the singer who blended jazz, rhythm & blues, gospel, rock and country to worldwide acclaim. When Hackford was finally able to get the production off the ground, the budget only stretched to about $40 million not a huge amount for a story covering three or four decades and encompassing settings across the country and around the world. “When he was 17 years old, Ray Charles got on a bus in northern Florida and went as far away as he could, to Seattle, Washington,” says Hackford, who consulted with Charles on the project until the musician’s death, in June 2004. “He started moving and never stopped. He went from Seattle to Houston to New York City to Los Angeles; those were his homes. He toured almost every chitlin circuit city in American, and then, following his breakout hit in 1959, ‘What’d I Say,’ he started to tour Europe, and then Asia. To do a credible story of his life was going to be a logistical nightmare, because we couldn’t afford to shoot in but one town. But all of us who worked on Ray were inspired by the music.”
That included Polish director of photography Pawel Edelman, PSC, who is best known Stateside for his Academy and ASC Award-nominated work on The Pianist (see AC June ’03), and whose cinematography on several films by compatriot director Andrzej Wajda first caught Hackford’s eye. “I just love soul music, and Ray Charles was one of my favorites,” says Edelman. “So I was extremely happy to be involved with this project.” Adds Hackford, “We all grew up appreciating Ray Charles. That’s easy to do in the United States, but in Poland, Pawel had to sneak the records when he was very young.”
Edelman was so eager to shoot the film that he committed to it months before the production got a green light. “I met Pawel in New York in 2002, talked to him about my vision for the film, and gave him the script,” recalls Hackford. “Unfortunately, budgetary restraints kept me from making it when I wanted, so I kept phoning him and e-mailing him and letting him know I wasn’t going to give up on it. We didn’t start production for almost a year after our first meeting.”
Ray finally started shooting in and around New Orleans in spring 2003. “About 80 percent of the movie was shot in Louisiana, with the rest in Los Angeles,” says Edelman, who had never visited the Bayou State before filming Ray. Although New Orleans offered the production numerous clubs, theaters and other practical locations, “there was no way we could possibly do justice to this story just in New Orleans,” says Hackford. “So we decided to use period stock footage of various cities [featured in the story]: Chicago, New York, Seattle, Atlanta, Paris, London and Madrid.” The footage, which comprises 8mm, 16mm reversal stock and 35mm, is employed in establishing shots for the major locations in Ray, and offers a remarkable full-color window into the past of the chosen cities. But the varying formats and quality of the footage dictated several technical choices. The first was to shoot in the standard 1.85:1 aspect ratio, says Edelman. “Then we asked for permission to finish with a digital intermediate [DI] so we could match the older footage with our material better.”
That choice, in turn, helped address Hackford and Edelman’s carefully planned visual scheme for the movie. As the director explains, Ray’s script contains “three levels of reality.” The primary level tells the linear story of Charles’ life and career from the moment he boards the bus in Florida in 1948 until 1965, when he kicked his heroin habit; this encompasses Charles’ growing success and fame and his marriage and extramarital relationships. Interspersed with this story are flashbacks to the musician’s childhood, which was spent in poor but loving African-American enclaves in Georgia and Florida, but which was marred by the twin traumas of his younger brother’s death by drowning and his own loss of vision several months later. Instead of presenting flashbacks in black-and-white, sepia or some other muted style, Edelman says, “we decided to use very saturated color in scenes set before Ray lost his sight. His memories of those years are depicted as full of color and light, sunny and beautiful; it was our goal to make those sequences really vibrant. We were trying to do something that was logical, but also different from what other filmmakers had done [to represent flashbacks].”
To offset those visuals, the filmmakers decided to create a desaturated, more contrasty palette for the rest of the film. Hackford notes that the muted visual tone reflects Charles’ sightless reality, and the increased contrast helps the audience “feel the sweat, feel the senses” of the nocturnal world of clubs, road tours and late-night recording sessions. Before the filmmakers’ request for a DI was approved, Edelman tested different levels of bleach-bypass processing at FotoKem in Burbank. “I wanted to be prepared for the worst-case scenario,” he says. The tests also helped in Edelman’s collaboration with production designer Stephen Altman and costume designer Sharen Davis, who had to tailor their work to the special lab process.
Once the DI was approved, the filmmakers decided to process the film primarily Kodak Vision2 500T 5218 normally and achieve the different color schemes mainly through the DI, which Edelman carried out with colorist Jill Bogdanowicz at Cinesite (now part of LaserPacific). “In a DI world, it’s best if I can have a full negative that has not gone through any special processing,” notes Bogdanowicz, who has since moved on to Technique. “If a cinematographer wants a bleach-bypass look, all he or she needs to do is tell us, rather than go to the lab and lock it into the picture. You can actually create a much more consistent bleach-bypass look with a DI, because the photochemical process can vary.” In the DI suite, Bogdanowicz also intensified the saturation levels in the flashback scenes. “Pawel and Taylor really wanted to bring out the red of the earth to make it a symbol of Ray Charles’ childhood,” she says.
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2012-12-14T23:01:11-06:00
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Taylor Hackford movie reviews & film summaries | Roger Ebert
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https://www.rogerebert.com/cast-and-crew/taylor-hackford
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Yoram Allon, Del Cullen and Hannah Patterson (eds.)
Contemporary North American Film Directors, A Wallflower Critical Guide
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David Thomson
The New Biographical Dictionary of Film
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Ray (film)
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https://en.wikipedia.org/wiki/Ray_(film)
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2004 biographical film about Ray Charles
RayDirected byTaylor HackfordScreenplay byJames L. WhiteStory by
Taylor Hackford
James L. White
Produced byStarringCinematographyPaweł EdelmanEdited byPaul HirschMusic byCraig Armstrong
Production
companies
Bristol Bay Productions
Anvil Films
Baldwin Entertainment Group
Distributed byUniversal Pictures
Release date
Running time
152 minutesCountryUnited StatesLanguageEnglishBudget$40 million[1]Box office$124 million[1]
Ray is a 2004 American biographical musical drama film focusing on 30 years in the life of soul musician Ray Charles.[a] The independently produced film was co-produced and directed by Taylor Hackford; it was written by James L. White from a story by Hackford and White. It stars Jamie Foxx in the title role, along with Kerry Washington, Clifton Powell, Harry Lennix, Terrence Howard, Larenz Tate, Richard Schiff, and Regina King in supporting roles. Along with Hackford, the film was also produced by Stuart Benjamin, Howard Baldwin, and Karen Baldwin.
It was released on October 29, 2004, by Universal Pictures. It received generally positive reviews from critics, with particular praise for Foxx's performance.
Ray received many accolades and nominations and was nominated in six categories at the 77th Academy Awards, including for Best Picture. It won two Academy Awards: Best Actor for Foxx and Best Sound Mixing. Foxx also won Best Actor at the Golden Globe, BAFTA, Screen Actors Guild, and Critics' Choice becoming the second actor to win all five major lead actor awards for the same performance, and the only one to win the Golden Globe in the Musical or Comedy category, rather than in Drama.
Charles had planned to attend a screening of the completed film but died of liver disease in June 2004, four months prior to the premiere.[3]
Plot
[edit]
Ray Charles Robinson is raised in poverty in Florida by his mother, Aretha. Learning to play piano at an early age, Ray is haunted by the accidental death of his younger brother George, who drowns in their mother's washbasin. Ray loses his vision by age seven and becomes completely blind. Aretha teaches him to be independent, eventually sending him to a school for the deaf and blind.
In 1946, Ray joins a white country band and wears sunglasses to hide his damaged eyes. Two years later, he travels to Seattle and joins a nightclub band, though the club's owner demands sexual favors and controls his money and career. After discovering he is being exploited, Ray signs his own record deal and leaves the band. Touring on the Chitlin' Circuit as "Ray Charles", he is introduced to heroin.
Ray is discovered by Ahmet Ertegun of Atlantic Records and records his first hit with Ertegun's Yamilksa song "Mess Around". In Houston, Ray falls in love with Della Bea, a preacher's daughter. Though she and others are unhappy about Ray mixing gospel with his music, he marries Della and continues to gain fame with "I Got a Woman" and "Hallelujah I Love Her So".
A pregnant Della finds Ray’s drug kit and confronts him. They reconcile after the birth of their first child, but Ray begins an affair with singer Mary Anne Fisher. In 1956, as Ray's popularity grows, he hires a trio to become "The Raelettes" and immediately falls for lead singer Margie Hendrix. They begin their own affair, and a jealous Mary Anne leaves.
Margie asks Ray to let her try heroin, but he orders her to stay away from it. His producers recognize his now-complete addiction as he presents symptoms while recording "Night Time Is the Right Time" on a new electric piano, but despite their concern they recognize his genius and his recording career continues.
A few years later, when Ray's band finishes a set early and the club’s owner demands they play the remaining time, Ray performs "What'd I Say" on the spot. His popularity rises through the 1950s and he moves his family to Los Angeles but continues to use heroin, straining his relationships with Della and Margie. In 1960, he signs a better contract with ABC Records, negotiating to own his master tapes.
Ray continues to develop his music, recording such hits as "Georgia on My Mind". Margie reveals she is pregnant, and cuts off their affair when Ray demands she end the pregnancy. He writes "Hit the Road Jack" with a solo by Margie, who uses her newfound recognition to embark on a solo career, while Ray struggles with his addiction.
In 1961, Ray encounters civil rights protestors outside his concert in Augusta, Georgia. Deciding not to play at the segregated venue, he cancels the concert and is banned from playing in Georgia. After he allows black and white audience members to dance together onstage during a concert in Indianapolis, his hotel room is raided by police. His arrest for heroin possession is made public, to Della’s dismay, but his record label has the charges dismissed.
In St. Louis, Ray performs the country-influenced "I Can't Stop Loving You" and is impressed by announcer Joe Adams, who joins his tour. Ray moves his family to Beverly Hills, and learns that Margie has died of an overdose. Joe alienates Ray’s band and his longtime friend and manager Jeff Brown, whom Ray fires, for stealing.
In 1965, Ray returns from a concert in Montreal and is again arrested for heroin possession. Dismissing his excuses, Della pleads with him to overcome his habit, and he is sentenced to drug rehabilitation. Suffering vivid nightmares during withdrawal, Ray learns to play chess with Dr. Hacker and Hacker explains to him that his lawyer's arguments with the judge agreed to probation in Boston under the condition that he completes his drug rehab problem and agrees to take periodic drug tests, Ray has a vision of George and their mother, who, while praising the fact he became a success, chastises him for letting his addictions cripple him, with George telling Ray that his death was not his fault.
By 1979, Ray has permanently quit heroin and receives an official apology from the state of Georgia, which names "Georgia On My Mind" the official state song. Ray goes on to have a long and successful career as a world-famous entertainer until his death in 2004.
Cast
[edit]
Production
[edit]
The film's production was entirely financed by Philip Anschutz, through his Bristol Bay Productions company.[4][5] Taylor Hackford said that it took 15 years to make the film;[2] or more specifically, as he later clarified in the liner notes of the soundtrack album, this is how long it took him to secure the financing.[6] It was made on a budget of $40 million.
Charles was given a Braille copy of the film's original script; he objected only to a scene showing him taking up piano grudgingly, and a scene implying that Charles had shown mistress and lead "Raelette" Margie Hendricks how to shoot heroin.[3]
Hackford originally had the idea of using a stunt double to make it look like Foxx was playing the piano but was shocked to find out that he went to college on a classical piano scholarship.[7] Foxx does not sing as Charles with exception to cover versions Charles performs in his earlier years.[2] Kanye West and Ludacris have since made songs with Foxx singing as Charles in their songs "Gold Digger" and "Georgia", respectively. Instead of studying Ray Charles in person, Foxx watched old video footage of him to authentically recreate the vibe of Ray Charles when he was a lot younger. Foxx also shot the majority of the film blind as he used prosthetics to cover his eyes.[8]
Hackford stated that while Anschutz agreed to finance the film, he demanded that it be PG-13, which caused Hackford to walk away from the film twice.[9] Because Charles and Ahmet Ertegun asked him to make the movie, he agreed to do the film as a PG-13 rating. The film was rated PG-13 for "depiction of drug addiction, sexuality and some thematic elements".
Hackford stated that no studio was interested in backing the movie.[2] After it was shot independently, Universal Pictures stepped in to distribute it.[9] Part of the reason Universal Pictures released it was because one of its executives used to hitchhike to Ray Charles concerts.
The film's score was composed by Craig Armstrong. Ray debuted at the 2004 Toronto International Film Festival.[10]
Soundtrack
[edit]
Main article: Ray (soundtrack)
Reception
[edit]
Box office
[edit]
Ray was released in theaters on October 29, 2004. The film went on to become a box-office hit, earning $75 million in the U.S. with an additional $50 million internationally, bringing its worldwide gross to $125 million.[1]
Critical response
[edit]
On Rotten Tomatoes, the film holds an approval rating of 80% based on 206 reviews, with an average rating of 7.30/10. The site's critical consensus reads, "An engrossing and energetic portrait of a great musician's achievements and foibles, Ray is anchored by Jamie Foxx's stunning performance as Ray Charles."[11] On Metacritic the film has a weighted average score of 73 out of 100, based on 40 critics, indicating "generally favorable reviews".[12] Audiences surveyed by CinemaScore gave the film a rare "A+" grade.[13]
Roger Ebert of the Chicago Sun-Times wrote: "The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special." Ebert gave it a full 4 out of 4 stars.[14] Richard Corliss of Time praised the cast, saying "If there were an Oscar for ensemble acting, Ray would win in a stroll."[15] Peter Travers of Rolling Stone wrote: "Jamie Foxx gets so far inside the man and his music that he and Ray Charles seem to breathe as one."[16]
According to music critic Robert Christgau, "Foxx does the impossible—radiates something approaching the charisma of the artist he's portraying... that's the only time an actor has ever brought a pop icon fully to life on-screen."[17]
Awards
[edit]
Related projects
[edit]
In the wake of his performance as Charles in the film, Foxx featured on hip-hop songs that sampled Charles' songs:
Georgia by Ludacris also featuring Field Mob, which samples Georgia on My Mind.
Gold Digger by Kanye West, which samples I Got a Woman.
Differences from noted events
[edit]
The film's credits state that Ray is based on true events, but includes some characters, names, locations, and events which have been changed and others which have been "fictionalized for dramatization purposes." Examples of the fictionalized scenes include:
The film's portrayal of Charles' brother George's death in 1935 shows him drowning in a metal tub after Ray does not attempt to rescue him because he assumes he is just playing; Ray's mother then discovers George drowning when calling the boys in for dinner. Though George did drown in a metal tub, Ray did try to pull him out, but was unable to do so due to George's large body weight;[18] Ray then ran inside to tell his mother what happened.[18]
Throughout the film, it is suggested that Ray's depression and heroin addiction were fueled by nervous breakdowns he had over the deaths of both George and his mother, as well as his blindness. In reality, the death of his mother did give him a nervous breakdown and was thought to be a leading cause of his depression,[19] but the death of George and his blindness did not lead to nervous breakdowns.[19]
It is true that Charles kicked his heroin addiction after undergoing treatment in a psychiatric hospital during 1965, as stated towards the end of the film, but it is not mentioned that he would often use gin and marijuana as substitutes for heroin throughout much of the remaining years of his life.[19][20]
In the scene in which "What'd I Say" is being played, Charles is depicted as playing a Fender Rhodes electric piano, but in reality, he used a Wurlitzer electric piano on the original recording and began using it on tour in 1956, because he did not trust the tuning and quality of the pianos provided to him at every venue.[21]
In the film, when his backing singer and mistress Margie Hendricks informs Ray she is pregnant with his child, Ray suggests she should have an abortion, out of loyalty to Della; Margie decides to keep the baby and soon leaves Ray to pursue a separate singing career after he refuses to abandon his family, move in with her and welcome the baby into his life. In reality, Hendricks did conceive a child with Charles and abandoned him after he refused to leave Della, but Charles never asked her to have an abortion, and welcomed any child he conceived, whether from Della or any mistress, into his personal life.[20]
In the film Margie leaves the Raelettes in 1961, but in reality she was fired from the group by Ray in 1964 after a heated argument.[22]
In the scene in which Charles is about to enter a segregated music hall in Augusta, Georgia, in 1961, a group of civil rights activists protesting just outside the hall successfully persuade him not to perform; Charles then declares that he will no longer perform in segregated public facilities and in response, the Georgia state legislature passes a resolution banning Charles from ever performing again in the state. In reality, a group of civil rights activists did successfully persuade Charles to reject this invitation, but the advice came in the form of a telegram rather than a street protest;[20] Charles also did make up for the gig later, and was never banned from performing in Georgia and still accepted invitations to perform at segregated public facilities.[20]
In the film, Margie Hendricks dies in 1964, and it was stated the death was caused by drug overdose. However, in reality she died on July 14, 1973, but no official cause of death was determined because an autopsy was not performed.[23]
During the final scene in the film, when Charles' version of "Georgia on My Mind" becomes Georgia's state song, Charles is congratulated by his wife Della, and a resolution is also passed to lift the lifetime ban he had received in 1961 after he declared he would no longer perform at segregated public facilities. In reality, by the time "Georgia on My Mind" became Georgia's state song in 1979, Charles and Della had already divorced, so she was not present when Charles performed at the Georgia State Legislature;[20] and since he had never been banned from performing in Georgia in the first place, no such resolution was ever passed.[20]
Notes
[edit]
References
[edit]
|
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https://www.passes.com/wiki/taylor-hackford
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Taylor Hackford (@taylor
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Taylor Hackford birthday Dec 31st, 1944. Taylor Hackford bday Dec 31st, 1944. Taylor Hackford profession . Taylor Hackford age. Taylor Hackford astrology sign. Taylor Hackford star sign. Who is Taylor Hackford (taylor-hackford). Why is Taylor Hackford (taylor-hackford) famous.
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0
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https://variety.com/2023/film/global/taylor-hackford-the-devils-advocate-ray-1235756629/
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Lumiere Festival Honoree Taylor Hackford: A Career of Classy, Old-School Hollywood Entertainment
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2023-10-15T11:16:51+00:00
|
Taylor Hackford, who is being honored at France's Lumiere festival, has consistently proven the essential value of the distinguished craftsman.
|
en
|
Variety
|
https://variety.com/2023/film/global/taylor-hackford-the-devils-advocate-ray-1235756629/
|
The list of Oscar-winning directors for short films who have gone on to major careers in the feature-length realm is shorter than you might imagine. Andrea Arnold, Martin McDonagh and Claude Berri achieved arthouse success; David Frankel made multiplex hits like “The Devil Wears Prada” and “Marley & Me.” But perhaps only Taylor Hackford, a winner in 1979 for an affecting little mockumentary titled “Teenage Father,” became a full-scale Hollywood brand — a name associated with a certain temperature of sleek studio gloss and versatile genre smarts.
In an industry increasingly given over to auteur reverence, Hackford has instead consistently proven the essential value of the distinguished craftsman — the kind that keeps the industry running, even if the status doesn’t earn you as many glittering prizes or prestigious festival berths. Consider the Festival Lumière’s tribute to Hackford a welcome exception. The four films selected by the festival to represent the director’s oeuvre — “White Nights” (1985), “Blood In Blood Out” (1993), “The Devil’s Advocate” (1997) and “Ray” (2004) — aptly point to the range and scope of a consistently mainstream career that has always veered between populism and prestige, occasionally binding the two.
Critics, for example, didn’t thrill to “White Nights,” a far-fetched blend of Cold War thriller and dance movie that starred Mikhail Baryshnikov as a Russian-American ballet star fighting his Soviet repatriation with the assistance of Gregory Hines’ American expat tap dancer.
The script is ludicrous, but Hackford knew its selling points: as a vehicle for the stars’ spectacular footwork, Twyla Tharp’s elaborate choreography and a hit soundtrack of smooth mid-‘80s pop (landing Lionel Richie an Oscar), the film — lensed with a creamy luxe finish by David Watkin — delivers in spades. Today it stands as, if no masterwork, an exemplary time capsule of its era. It also introduced Hackford to his future wife Helen Mirren, here cast as a thickly accented love interest.
If “White Nights” maintains some illusion of seriousness, “The Devil’s Advocate” (certainly the Hackford film that this critic has watched most often) gleefully flirts with outright trash. Starring Keanu Reeves as a callow defense attorney who finds himself working for Satan himself — a cloven-hooved Al Pacino at his most leeringly ripe — it’s hot nonsense, compulsive and exquisitely lacquered, that only glancingly touches emotional truth via Charlize Theron’s sharp mettle-proving performance as the lawyer’s luckless wife. One might call it a guilty pleasure, but where’s the guilt?
“The Devil’s Advocate” certainly wasn’t aiming for any high-minded accolades; “Blood In Blood Out,” a muscular three-hour exploration of brotherly bonds in L.A.’s Chicano community, arguably was. Its initial box-office fizzle was a disappointment, indicative of American audiences’ resistance to Latino stories, yet the film has endured as a touchstone for many Mexican-American viewers.
A quarter-century after his short film win, Hackford finally caught the Academy’s attention again with “Ray,” a handsomely gilded Ray Charles biopic that earned him his only Best Director nomination, and a win for Jamie Foxx’s all-in performance as the soul legend.
Grossing $125 million worldwide, “Ray” was Hackford’s last hit. His three films since — the blowsy Mirren vehicle “Love Ranch,” the relatively anonymous Jason Statham auctioneer “Parker” and the mellow Robert De Niro indie “The Comedian” — will never be listed as prime Hackford, though perhaps the upcoming “Sniff,” a twilight-years detective story starring Morgan Freeman alongside Mirren and Pacino, will fare better.
Either way, Hackford’s legacy as a classy, old-school Hollywood entertainment merchant is firmly cemented. Somewhat surprisingly, the Lumière fest’s selection doesn’t include his biggest and perhaps most enduring box office smash “An Officer and a Gentleman,” a robust, full-hearted blend of swoony romance and making-of-a-man military drama that launched a million daydreams of a crisply uniformed Richard Gere sweeping you up and away from your daily drudgery. It’s still stirring, 41 years on.
Nor does it include some of the most interesting outliers in his career, among them 1987’s terrific, Chuck Berry-centered concert documentary “Hail! Hail! Rock ‘n’ Roll,” still a model of the form at its most straightforwardly effective, or “Dolores Claiborne,” his most daring and perhaps best fiction feature. A Stephen King adaptation that induces shivers, though not in the usual way associated with the author, this perverse psychodrama of failed mother-daughter relations and suburban sociopathy rests on two icily precise performances by Kathy Bates and Jennifer Jason Leigh, and unnerved audiences to better-than-expected box office in the spring of 1995. Prickly but florid, confessional but elusive, it’s far from what one might typically label “a Taylor Hackford film” — a term that resists definition the longer you look at his restlessly crowd-pleasing career.
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https://www.geffenplayhouse.org/people/taylor-hackford/
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Taylor Hackford
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https://teknonews.storage.googleapis.com/251857-taylor-hackford-is-helen-mirrens-only-hu-html-40521.html
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en
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Taylor Hackford Is Helen Mirren's Only Husband Everything to Know about Him
|
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Acclaimed director Taylor Hackford is Hellen Mirren's life partner and loving husband. The couple has been together for 34 years and has been married for 23 years. Hellen Mirren, 75, is an Academy Award-winning British actress who built a solid career thanks to her extraordinary acting talent. Although she said that she did not want
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https://teknonews.storage.googleapis.com/./251857-taylor-hackford-is-helen-mirrens-only-hu-html-40521.html
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Acclaimed director Taylor Hackford is Hellen Mirren's life partner and loving husband. The couple has been together for 34 years and has been married for 23 years.
Hellen Mirren, 75, is an Academy Award-winning British actress who built a solid career thanks to her extraordinary acting talent. Although she said that she did not want to marry, she has been happily married for 23 years.
Her husband is the renowned and award-winning American film director Taylor Hackford, 74, whom she met in 1985 when he directed her in "White Nights." Both were recognized as the ideal partner of the other and since then they have been together.
Helen Mirren and Taylor Hackford arriving at the 10th Annual Critics' Choice Awards in Los Angeles, California in January 2005. | Image: Getty Images.
During the 34 years that they have shared their lives, they have loved, supported, and encouraged each other to continue their careers. Often that has meant living in different houses, cities, and countries, missing each other a lot.
However, both of them have grown stronger in their lives and marriage. She admires her husband and he respects what an extraordinary actress she is in her professional career. They are a beautiful couple that always looks happy when one is next to each other.
PERSONAL LIFE
Director Hackford was born in Santa Barbara, California in 1944 to a middle-class family. His parents divorced when he was 13 and he grew up with his siblings. He studied at the University of Southern California in 1968.
He was married twice before Mirren, first to Georgie Lowres from 1967 to 1972, with whom he had his first child Rio Hackford in 1970. He then married actress Lynn Littman from 1977 to 1982, who is the mother of his second son Alexander Hackford born 1979.
CAREER AND ACHIEVEMENTS
Hackford is usually remembered for movies like "An Officer and a Gentleman," "Ray," and "Love Ranch." However, although "Ray" obtained two Oscar nominations, it was another film that gave him the Academy Award.
In 1978, the director received an Oscar for Best Live Action Short Film with "Teenage Father" but it was not the only award he received in his career. As a tribute to both Hackford and Miller, in 2017 each one of them was awarded the Gold Hugo for Career Achievement.
DIRECTING HIS OWN WIFE
Something not very easy to do for Hackford has been directing his wife in a movie again. Since they met filming âWhite Nights,â it took him 20 years to work with her again.
It was in the movie "Love Ranch" with Joe Pesci, that Hackford would return to direct Mirren, where they play Charlie and Grace Bontempo. After this film, the actress has not been attracted to any of the roles that her husband has offered her.
REASONS BEHIND THE WEDDING
Hackford is Mirren's first husband, who after 11 years of living together said that since they were both the love of each other's lives, it was best for them to get married. Furthermore, with his usual sense of humor, he also commented that there were other reasons for getting married.
Miren spoke of legal reasons, alluding to inheritance and estate issues that are facilitated by marriage. But she did not fail to mention that her family, children, and friends were also waiting for them to get married since they became a couple.
SECRET OF SUCCESS
Mirren has answered the question about the secret to her successful marriage with her personal style. She has said that contrary to what everyone says, the secret in her relationship has been to be away from each other, missing each other a lot.
Read also
Helen Mirren, 77, Shows Hourglass Figure While Holding Hands on Date With Rarely-Seen Husband
Fans in Awe of Helen Mirren, 78, Flaunting Her Fluffy Hair as She Catwalks in Silver Dress during Paris Fashion Week
âIâm at a Loss for Wordsâ: Helen Mirren Stunned Fans Posing for Spouse in Swimsuit in her 60s
Joking aside, she explained that both she and her husband have understood how important it is to continue developing their careers with the encouragement, support, and help of the other. It's something that both of them have done for all these years together.
UNITED FAMILY
Hackford and Mirren met when they were both 34 years old, and they have no children together. She has always commented on how well she gets along with Rio and Alexander, the children of her husband, they all are a family.
The decision not to have children of their own was not something they planned. She said that she was always so focused on her career that when she thought about children she told herself that later when she had time for them and it just didn't happen.
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https://en.wikipedia.org/wiki/Ray_(film)
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|
Ray (film)
|
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2004-09-17T12:48:54+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Ray_(film)
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2004 biographical film about Ray Charles
RayDirected byTaylor HackfordScreenplay byJames L. WhiteStory by
Taylor Hackford
James L. White
Produced byStarringCinematographyPaweł EdelmanEdited byPaul HirschMusic byCraig Armstrong
Production
companies
Bristol Bay Productions
Anvil Films
Baldwin Entertainment Group
Distributed byUniversal Pictures
Release date
Running time
152 minutesCountryUnited StatesLanguageEnglishBudget$40 million[1]Box office$124 million[1]
Ray is a 2004 American biographical musical drama film focusing on 30 years in the life of soul musician Ray Charles.[a] The independently produced film was co-produced and directed by Taylor Hackford; it was written by James L. White from a story by Hackford and White. It stars Jamie Foxx in the title role, along with Kerry Washington, Clifton Powell, Harry Lennix, Terrence Howard, Larenz Tate, Richard Schiff, and Regina King in supporting roles. Along with Hackford, the film was also produced by Stuart Benjamin, Howard Baldwin, and Karen Baldwin.
It was released on October 29, 2004, by Universal Pictures. It received generally positive reviews from critics, with particular praise for Foxx's performance.
Ray received many accolades and nominations and was nominated in six categories at the 77th Academy Awards, including for Best Picture. It won two Academy Awards: Best Actor for Foxx and Best Sound Mixing. Foxx also won Best Actor at the Golden Globe, BAFTA, Screen Actors Guild, and Critics' Choice becoming the second actor to win all five major lead actor awards for the same performance, and the only one to win the Golden Globe in the Musical or Comedy category, rather than in Drama.
Charles had planned to attend a screening of the completed film but died of liver disease in June 2004, four months prior to the premiere.[3]
Plot
[edit]
Ray Charles Robinson is raised in poverty in Florida by his mother, Aretha. Learning to play piano at an early age, Ray is haunted by the accidental death of his younger brother George, who drowns in their mother's washbasin. Ray loses his vision by age seven and becomes completely blind. Aretha teaches him to be independent, eventually sending him to a school for the deaf and blind.
In 1946, Ray joins a white country band and wears sunglasses to hide his damaged eyes. Two years later, he travels to Seattle and joins a nightclub band, though the club's owner demands sexual favors and controls his money and career. After discovering he is being exploited, Ray signs his own record deal and leaves the band. Touring on the Chitlin' Circuit as "Ray Charles", he is introduced to heroin.
Ray is discovered by Ahmet Ertegun of Atlantic Records and records his first hit with Ertegun's Yamilksa song "Mess Around". In Houston, Ray falls in love with Della Bea, a preacher's daughter. Though she and others are unhappy about Ray mixing gospel with his music, he marries Della and continues to gain fame with "I Got a Woman" and "Hallelujah I Love Her So".
A pregnant Della finds Ray’s drug kit and confronts him. They reconcile after the birth of their first child, but Ray begins an affair with singer Mary Anne Fisher. In 1956, as Ray's popularity grows, he hires a trio to become "The Raelettes" and immediately falls for lead singer Margie Hendrix. They begin their own affair, and a jealous Mary Anne leaves.
Margie asks Ray to let her try heroin, but he orders her to stay away from it. His producers recognize his now-complete addiction as he presents symptoms while recording "Night Time Is the Right Time" on a new electric piano, but despite their concern they recognize his genius and his recording career continues.
A few years later, when Ray's band finishes a set early and the club’s owner demands they play the remaining time, Ray performs "What'd I Say" on the spot. His popularity rises through the 1950s and he moves his family to Los Angeles but continues to use heroin, straining his relationships with Della and Margie. In 1960, he signs a better contract with ABC Records, negotiating to own his master tapes.
Ray continues to develop his music, recording such hits as "Georgia on My Mind". Margie reveals she is pregnant, and cuts off their affair when Ray demands she end the pregnancy. He writes "Hit the Road Jack" with a solo by Margie, who uses her newfound recognition to embark on a solo career, while Ray struggles with his addiction.
In 1961, Ray encounters civil rights protestors outside his concert in Augusta, Georgia. Deciding not to play at the segregated venue, he cancels the concert and is banned from playing in Georgia. After he allows black and white audience members to dance together onstage during a concert in Indianapolis, his hotel room is raided by police. His arrest for heroin possession is made public, to Della’s dismay, but his record label has the charges dismissed.
In St. Louis, Ray performs the country-influenced "I Can't Stop Loving You" and is impressed by announcer Joe Adams, who joins his tour. Ray moves his family to Beverly Hills, and learns that Margie has died of an overdose. Joe alienates Ray’s band and his longtime friend and manager Jeff Brown, whom Ray fires, for stealing.
In 1965, Ray returns from a concert in Montreal and is again arrested for heroin possession. Dismissing his excuses, Della pleads with him to overcome his habit, and he is sentenced to drug rehabilitation. Suffering vivid nightmares during withdrawal, Ray learns to play chess with Dr. Hacker and Hacker explains to him that his lawyer's arguments with the judge agreed to probation in Boston under the condition that he completes his drug rehab problem and agrees to take periodic drug tests, Ray has a vision of George and their mother, who, while praising the fact he became a success, chastises him for letting his addictions cripple him, with George telling Ray that his death was not his fault.
By 1979, Ray has permanently quit heroin and receives an official apology from the state of Georgia, which names "Georgia On My Mind" the official state song. Ray goes on to have a long and successful career as a world-famous entertainer until his death in 2004.
Cast
[edit]
Production
[edit]
The film's production was entirely financed by Philip Anschutz, through his Bristol Bay Productions company.[4][5] Taylor Hackford said that it took 15 years to make the film;[2] or more specifically, as he later clarified in the liner notes of the soundtrack album, this is how long it took him to secure the financing.[6] It was made on a budget of $40 million.
Charles was given a Braille copy of the film's original script; he objected only to a scene showing him taking up piano grudgingly, and a scene implying that Charles had shown mistress and lead "Raelette" Margie Hendricks how to shoot heroin.[3]
Hackford originally had the idea of using a stunt double to make it look like Foxx was playing the piano but was shocked to find out that he went to college on a classical piano scholarship.[7] Foxx does not sing as Charles with exception to cover versions Charles performs in his earlier years.[2] Kanye West and Ludacris have since made songs with Foxx singing as Charles in their songs "Gold Digger" and "Georgia", respectively. Instead of studying Ray Charles in person, Foxx watched old video footage of him to authentically recreate the vibe of Ray Charles when he was a lot younger. Foxx also shot the majority of the film blind as he used prosthetics to cover his eyes.[8]
Hackford stated that while Anschutz agreed to finance the film, he demanded that it be PG-13, which caused Hackford to walk away from the film twice.[9] Because Charles and Ahmet Ertegun asked him to make the movie, he agreed to do the film as a PG-13 rating. The film was rated PG-13 for "depiction of drug addiction, sexuality and some thematic elements".
Hackford stated that no studio was interested in backing the movie.[2] After it was shot independently, Universal Pictures stepped in to distribute it.[9] Part of the reason Universal Pictures released it was because one of its executives used to hitchhike to Ray Charles concerts.
The film's score was composed by Craig Armstrong. Ray debuted at the 2004 Toronto International Film Festival.[10]
Soundtrack
[edit]
Main article: Ray (soundtrack)
Reception
[edit]
Box office
[edit]
Ray was released in theaters on October 29, 2004. The film went on to become a box-office hit, earning $75 million in the U.S. with an additional $50 million internationally, bringing its worldwide gross to $125 million.[1]
Critical response
[edit]
On Rotten Tomatoes, the film holds an approval rating of 80% based on 206 reviews, with an average rating of 7.30/10. The site's critical consensus reads, "An engrossing and energetic portrait of a great musician's achievements and foibles, Ray is anchored by Jamie Foxx's stunning performance as Ray Charles."[11] On Metacritic the film has a weighted average score of 73 out of 100, based on 40 critics, indicating "generally favorable reviews".[12] Audiences surveyed by CinemaScore gave the film a rare "A+" grade.[13]
Roger Ebert of the Chicago Sun-Times wrote: "The movie would be worth seeing simply for the sound of the music and the sight of Jamie Foxx performing it. That it looks deeper and gives us a sense of the man himself is what makes it special." Ebert gave it a full 4 out of 4 stars.[14] Richard Corliss of Time praised the cast, saying "If there were an Oscar for ensemble acting, Ray would win in a stroll."[15] Peter Travers of Rolling Stone wrote: "Jamie Foxx gets so far inside the man and his music that he and Ray Charles seem to breathe as one."[16]
According to music critic Robert Christgau, "Foxx does the impossible—radiates something approaching the charisma of the artist he's portraying... that's the only time an actor has ever brought a pop icon fully to life on-screen."[17]
Awards
[edit]
Related projects
[edit]
In the wake of his performance as Charles in the film, Foxx featured on hip-hop songs that sampled Charles' songs:
Georgia by Ludacris also featuring Field Mob, which samples Georgia on My Mind.
Gold Digger by Kanye West, which samples I Got a Woman.
Differences from noted events
[edit]
The film's credits state that Ray is based on true events, but includes some characters, names, locations, and events which have been changed and others which have been "fictionalized for dramatization purposes." Examples of the fictionalized scenes include:
The film's portrayal of Charles' brother George's death in 1935 shows him drowning in a metal tub after Ray does not attempt to rescue him because he assumes he is just playing; Ray's mother then discovers George drowning when calling the boys in for dinner. Though George did drown in a metal tub, Ray did try to pull him out, but was unable to do so due to George's large body weight;[18] Ray then ran inside to tell his mother what happened.[18]
Throughout the film, it is suggested that Ray's depression and heroin addiction were fueled by nervous breakdowns he had over the deaths of both George and his mother, as well as his blindness. In reality, the death of his mother did give him a nervous breakdown and was thought to be a leading cause of his depression,[19] but the death of George and his blindness did not lead to nervous breakdowns.[19]
It is true that Charles kicked his heroin addiction after undergoing treatment in a psychiatric hospital during 1965, as stated towards the end of the film, but it is not mentioned that he would often use gin and marijuana as substitutes for heroin throughout much of the remaining years of his life.[19][20]
In the scene in which "What'd I Say" is being played, Charles is depicted as playing a Fender Rhodes electric piano, but in reality, he used a Wurlitzer electric piano on the original recording and began using it on tour in 1956, because he did not trust the tuning and quality of the pianos provided to him at every venue.[21]
In the film, when his backing singer and mistress Margie Hendricks informs Ray she is pregnant with his child, Ray suggests she should have an abortion, out of loyalty to Della; Margie decides to keep the baby and soon leaves Ray to pursue a separate singing career after he refuses to abandon his family, move in with her and welcome the baby into his life. In reality, Hendricks did conceive a child with Charles and abandoned him after he refused to leave Della, but Charles never asked her to have an abortion, and welcomed any child he conceived, whether from Della or any mistress, into his personal life.[20]
In the film Margie leaves the Raelettes in 1961, but in reality she was fired from the group by Ray in 1964 after a heated argument.[22]
In the scene in which Charles is about to enter a segregated music hall in Augusta, Georgia, in 1961, a group of civil rights activists protesting just outside the hall successfully persuade him not to perform; Charles then declares that he will no longer perform in segregated public facilities and in response, the Georgia state legislature passes a resolution banning Charles from ever performing again in the state. In reality, a group of civil rights activists did successfully persuade Charles to reject this invitation, but the advice came in the form of a telegram rather than a street protest;[20] Charles also did make up for the gig later, and was never banned from performing in Georgia and still accepted invitations to perform at segregated public facilities.[20]
In the film, Margie Hendricks dies in 1964, and it was stated the death was caused by drug overdose. However, in reality she died on July 14, 1973, but no official cause of death was determined because an autopsy was not performed.[23]
During the final scene in the film, when Charles' version of "Georgia on My Mind" becomes Georgia's state song, Charles is congratulated by his wife Della, and a resolution is also passed to lift the lifetime ban he had received in 1961 after he declared he would no longer perform at segregated public facilities. In reality, by the time "Georgia on My Mind" became Georgia's state song in 1979, Charles and Della had already divorced, so she was not present when Charles performed at the Georgia State Legislature;[20] and since he had never been banned from performing in Georgia in the first place, no such resolution was ever passed.[20]
Notes
[edit]
References
[edit]
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https://www.berklee.edu/berklee-today/fall-2004/alumni-profile
|
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|
Curt Sobel '78: A Tribute to an American Icon
|
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|
Curt Sobel can't hide his enthusiasm as the October 29 release of the feature film Ray nears. Sobel served as the music supervisor and editor on the Taylor Hackford film (starring Jamie Foxx,) that chronicles the life of The Genius of Soul, the late Ray Charles. While this was film number 51 in Sobel's distinguished music editing career and his first as music supervisor, it occupies a special place in his heart apart from the others.
"It was a once-in-a-lifetime treat to have met and worked with Ray Charles, who was such a remarkable man," says Sobel. "We were fortunate to have had the opportunity to record the material that we needed him to sing and play for the film before he passed away. By the time we were shooting and mixing, he was getting sick. It is sad that he won't get to experience the finished product."
The film portrays Charles during his childhood in Albany, Georgia, depicting the onset of his blindness at age seven and the numerous challenges he overcame on the road to become one of the most beloved icons and innovators in American popular music. Sobel reveals that the film project took years to materialize and inspired those who worked on it.
"Producer Stuart Benjamin has been trying to get this film made for years," says Sobel. "And Taylor Hackford talked to me years ago about directing a film on the life of Ray Charles." Finally, in May 2002, Sobel started the work of preparing music budget projections and working with Hackford on which versions of Ray's songs detailed in the script should be shot and how to shoot them.
Sobel was involved in all musical decisions and supervised each musical element in the film from preproduction to postproduction. He supervised sessions for the prerecorded music with Charles to make sure the production had what it needed for shooting, made sure that all scenes with musicians playing and singing looked authentic, worked with the film's composer Craig Armstrong from the spotting sessions to the final dubbing sessions, and much more. Sobel even appeared on camera conducting the orchestra in the scene where Foxx as Ray Charles performs "Georgia On My Mind."
One highlight for Sobel was shooting meetings between Charles and Foxx and the prerecord sessions. "Ray and Jamie met for the first time in the fall of 2002," says Sobel. "We wanted Ray to feel that he would be well represented by Jamie, who is a classically-trained pianist and a great choice to play Ray. I videotaped their meetings so that Jamie could later study Ray's mannerisms and movements. The prerecord sessions with Ray and the musicians were also shot and I leaned over Ray's shoulder to get his hands on the keys so Jamie would have a visual and audio guide to practice with. Ray recorded new versions of his older songs 'Baby, Let Me Hold Your Hand' and 'Straighten Up and Fly Right.' We also needed piano/vocal versions of 'You Don't Know Me,' 'I Got a Woman,' and 'Hit the Road Jack' because these songs were not available to us in this form."
Sobel is a veteran music editor who grew up in Detroit and came to Hollywood in the fall 1978 after earning his Berklee diploma in composition and arranging. In Boston, Sobel had worked with Don Wilkins in the Film Scoring Department and had scored some short film projects before leaving Boston for Los Angeles. A chance meeting with music editor Dan Carlin, Jr. in Hollywood and then Dan Carlin, Sr. who operated the premier music-editing company Segue Music, led to Sobel's first break.
"I hit it off with Dan Carlin Sr.," Sobel recalls, "but when he saw that my résumé was filled with writing credits, he was reticent to hire and train me because he thought I would use the editing experience as a stepping stone to becoming a film composer. I told him that music editing seemed like an exciting field that would have me working alongside great composers and musicians. I convinced him and myself that this was the road I wanted to take."
After three weeks of training, Sobel found himself in a darkened screening room spotting music for the film Wise Blood with composer Alex North and director John Huston. Ultimately, North and Sobel became good friends and worked on other films. Composers North and John Addison later sponsored Sobel to become a member of the Academy of Motion Pictures Arts and Sciences, and his music-editing career gained momentum.
Next, Sobel started working on a TV series and movie-of-the-week projects with composer Fred Karlin. In 1981, Sobel earned one of his first screen credits as music editor on a feature film called Cutter's Way with composer Jack Nitzsche. "After Cutter's Way, Jack and I worked on six or seven other films, including Officer and a Gentleman, Cannery Row, and Personal Best," says Sobel. "Through Jack, I met other producers and directors, including Taylor Hackford, with whom I have worked now for a 23-year period." Sobel has collaborated on all but two films that Hackford has directed, including Officer and a Gentleman, which won two Oscars in 1982. Sobel is hopeful that Ray, Hackford's latest, will finally net an Oscar for the director.
"Ray was years in the planning," says Sobel. "It was truly a labor of love for so many people. Taylor's execution of Ray's story is nothing short of brilliant. I've felt blessed to be involved in this project. Getting to do something like this film makes all of the hardwork worthwhile. I'm really excited about people seeing it."
|
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https://abc7chicago.com/helen-mirren-chicago-film-festival-award/2040678/
|
en
|
Chicago Film Festival honors Helen Mirren, husband Taylor Hackford
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2017-05-26T21:34:29+00:00
|
The Chicago Film Festival just honored actress Helen Mirren and her husband, director Taylor Hackford.
|
en
|
https://cdn.abcotvs.net/abcotv/assets/news/wls/images/logos/favicon.ico
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ABC7 Chicago
|
https://abc7chicago.com/helen-mirren-chicago-film-festival-award/2040678/
|
CHICAGO (WLS) -- The Chicago Film Festival just honored actress Helen Mirren and her husband, director Taylor Hackford.
For years the Chicago International Film Festival has attempted to get the Academy Award winners in town together so they could be honored with the festival's Golden Hugo and finally it happened.
The Hollywood power couple has been married for over 20 years.
"When this happened for me I realized this is the girl for me and I realized how lucky I am. The reality is when it's right, you're lucky to find it," Hackford said.
"We like to sort of launch off into unexpected areas and we found each other in that sense," Mirren said.
"Just before a take I go into my own world, I concentrate and I get into that, I'm not someone who's like that in the trailer or on the set in general," Mirren said.
Much of Mirren's career has been playing queens, Hackford said she has a gift.
"I watched her every day and she'd put these videotapes in, a couple of hours every afternoon, and all of these tapes were of the queen as a little girl," Hackford said.
Not too long ago, Hackford directed a musical called "Louis and Keely" in Chicago. Perhaps his wife will also trod the boards in town one day.
"I know that Chicago is in fact the premiere theater town in America so that's incredibly important in my world," Mirren said.
|
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https://www.imfdb.org/wiki/Category:Taylor_Hackford
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Guns in Movies, TV and Video Games
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If you have been locked out of your account you can request a password reset here.
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2659
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dbpedia
|
1
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https://www.upi.com/topic/Taylor_Hackford/
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Taylor Hackford News
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Taylor Hackford News from United Press International.
|
en
|
/favico.png
|
UPI
|
https://www.upi.com/topic/Taylor_Hackford/
|
Taylor Edwin Hackford (born December 31, 1944) is an American film director, and the current president of the Directors Guild of America.
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.
Richard Gere balked at shooting the ending of Hackford's movie An Officer and a Gentleman where his character arrives at his lover's factory wearing his Navy dress whites and carries her off from the factory floor. Gere thought the ending wouldn't work because it was too sentimental. Hackford was initially inclined to agree with Gere until during a rehearsal the extras playing the workers began to cheer and cry. When Gere saw the scene later with the music underneath it at the right tempo, he said it sent chills up the back of his neck. Gere is now convinced Hackford made the right decision. Hackford kept Lou Gossett Jr. in separate living quarters from the other actors during An Officer and a Gentleman so he could intimidate them more during his scenes as a drill instructor.
|
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https://www.helen-mirren.net/2024/02/11/helen-mirren-and-taylor-hackford-attend-76th-annual-directors-guild-awards/
|
en
|
Helen Mirren and Taylor Hackford attend 76th Annual Directors Guild Awards
|
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2024-02-11T00:00:00
|
The Helen Mirren Archives is your number one online resource to celebrate the life and legacy of Dame Helen Mirren
|
en
|
https://www.helen-mirren.net/favicon.ico
|
https://www.helen-mirren.net/2024/02/11/helen-mirren-and-taylor-hackford-attend-76th-annual-directors-guild-awards/
|
Welcome to The Helen Mirren Archives, your premiere web resource on the British actress. Best known for her performances with the Royal Shakespeare Company, "Prime Suspect" and her Oscar-winning role in "The Queen", Helen Mirren is one of the world's most eminent actors today. This unofficial fansite provides you with all latest news, photos and videos on her past and present projects. Enjoy your stay.
Celebrating
10 years
on the web
|
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2659
|
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|
2
| 24
|
https://www.huffpost.com/entry/academy-award-winners-helen-mirren-and-directorhusband_b_592cab8ce4b07d848fdc05da
|
en
|
Academy Award Winners, Helen Mirren and Director/Husband, Taylor Hackford
|
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2017-05-30T15:58:40+00:00
|
Academy Award Winners, Helen Mirren and Director/Husband, Taylor Hackford
|
en
|
/favicon.ico
|
HuffPost
|
https://www.huffpost.com/entry/academy-award-winners-helen-mirren-and-directorhusband_b_592cab8ce4b07d848fdc05da
|
Energies were high as Academy Award winner (The Queen), Dame Helen Mirren and Academy Award winning director (Ray), Taylor Hackford, who is also her husband, graced the red carpet of Cinema Chicago’s Spring Gala. Mirren received the prestigious Gold Hugo Award for her Career Achievement in Acting and Hackford received the same for his Career Achievement in Directing. In a rare moment of “communal red carpeting”, Mirren and Hackford walked the carpet together, his arm tightly around her waist, and her holding his hand firmly there, never more than an inch from each other’s side. The two have been married for 20 years and have been together for almost 35.
With the elegance and sophistication that we have come to know from Mirren, in the video below, she discusses how she chooses roles and why she decided to get married after so many years. In the same video, in a light hearted and off-the-cuff response from Hackford, we learn if directing means being a best friend or being a bastard.
Proceeds from the event benefit the year-round programs of Cinema/Chicago, including the Chicago International Film Festival, Chicago International Television Festival, CineYouth Festival, International Screenings, and Education Program. Cinema/Chicago’s Education Program provides free film screenings to more than 7,000 Chicago Public Schools annually as well as curriculum support and study guides for educators.
Cinema/Chicago, the parent organization of the Chicago International Film Festival, is a year-round non-profit arts and education organization dedicated to fostering better communication between people of diverse cultures through the art of film and the moving image.
|
||||
2659
|
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|
1
| 26
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https://facts.net/celebrity/8-extraordinary-facts-about-taylor-hackford/
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en
|
8 Extraordinary Facts About Taylor Hackford
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] |
[] |
[] |
[
""
] | null |
[
"Marney Willard"
] |
2023-10-18T18:01:11+08:00
|
From his notable directorial career to his Oscar-winning marriage, discover 8 extraordinary facts about Taylor Hackford.
|
en
|
https://facts.net/wp-content/uploads/2019/09/fac-icon.ico
|
Facts.net
|
https://facts.net/celebrity/8-extraordinary-facts-about-taylor-hackford/
|
Taylor Hackford is an accomplished film director.
Taylor Hackford has made a name for himself in the film industry with his exceptional directing skills. With a career spanning several decades, Hackford has helmed numerous critically acclaimed movies and has become renowned for his ability to bring stories to life on the big screen.
He directed the iconic film “Ray” in 2004.
Ray” is a biographical film about the legendary musician Ray Charles. Hackford’s brilliant direction captured the essence of Charles’ life and earned him widespread praise from audiences and critics alike. The film received several accolades, including two Academy Awards, and further solidified Hackford’s reputation as a master filmmaker.
Taylor Hackford is married to iconic actress Helen Mirren.
The power couple of Hollywood, Hackford and Mirren have been together for over 20 years. Their partnership is a testament to their love and shared passion for the arts. Both Hackford and Mirren have achieved great success in their respective careers and continue to support and inspire each other.
He has directed several notable Hollywood stars.
Throughout his career, Hackford has had the privilege of working with some of the biggest names in Hollywood. From Denzel Washington in “The Devil’s Advocate” to Jamie Foxx in “Ray,” Hackford’s ability to bring out the best in his actors has resulted in extraordinary performances that have captivated audiences worldwide.
Taylor Hackford is a dedicated advocate for the arts.
Not only is Hackford a talented director, but he is also deeply committed to supporting and promoting the arts. He has served as the president of the Directors Guild of America and has been actively involved in various initiatives aimed at advancing the creative industries.
He directed the critically acclaimed film “An Officer and a Gentleman” in 1982.
“An Officer and a Gentleman” is a romantic drama that garnered significant praise for its compelling story and outstanding performances. Hackford’s masterful direction brought the characters to life and resonated with audiences, making it a timeless classic in the world of cinema.
Taylor Hackford has received numerous accolades for his contributions to film.
Over the years, Hackford has been recognized for his exceptional work behind the camera. He has received several prestigious awards, including the Academy Award for Best Live Action Short Film and the DGA Award for Outstanding Directorial Achievement in Feature Film.
He has a deep passion for storytelling.
At the core of Hackford’s success as a director is his genuine love for storytelling. He approaches each project with a deep understanding of the power of narrative and strives to create impactful films that resonate with audiences on an emotional level.
Conclusion
In conclusion, Taylor Hackford is truly an extraordinary figure in the world of entertainment. His impressive career as a director, producer, and screenwriter has spanned several decades, and his contributions to the film industry are undeniable. From his early successes with “An Officer and a Gentleman” to his recent acclaimed works like “Ray,” Hackford has consistently demonstrated his creativity and talent. His ability to bring compelling stories to life on the big screen has earned him numerous awards and accolades, solidifying his status as a Hollywood heavyweight. With his passion for storytelling and dedication to his craft, Taylor Hackford continues to leave a lasting impact on the industry, and his legacy will undoubtedly be remembered for years to come.
FAQs
1. What is Taylor Hackford best known for?
Taylor Hackford is best known for directing the critically acclaimed film “Ray” (2004), a biographical drama about the life and career of musician Ray Charles. The film received widespread acclaim and earned Hackford several awards, including the Academy Award for Best Director.
2. Has Taylor Hackford directed any other notable films?
Apart from “Ray,” Taylor Hackford has directed other notable films such as “An Officer and a Gentleman” (1982), starring Richard Gere, which was a box office success and earned Hackford an Academy Award nomination for Best Director. He has also directed films like “The Devil’s Advocate” (1997) and “Proof of Life” (2000), showcasing his versatility as a director.
3. What awards has Taylor Hackford won?
Taylor Hackford has won several prestigious awards throughout his career. In addition to the Academy Award for Best Director for “Ray,” he has also received a Golden Globe Award, a Directors Guild of America Award, and a BAFTA Award, among others. His talent and contributions to the film industry have been widely recognized and honored.
4. Is Taylor Hackford involved in any other aspects of filmmaking?
Yes, Taylor Hackford is not only a director but also a producer and screenwriter. He has produced films like “La Bamba” (1987) and “Against All Odds” (1984), showcasing his ability to bring diverse and compelling stories to the screen. Hackford’s involvement in various aspects of filmmaking highlights his passion and dedication to the craft.
5. What is Taylor Hackford’s filmmaking style?
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|
https://www.theatlantic.com/culture/archive/2014/02/oscar-live-action-short-film-has-surprising-list-past-winners/358470/
|
en
|
Peter Capaldi, Steven Wright, and Other Surprising Oscar Winners for Short Film
|
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] |
[] |
[] |
[
"short film",
"Short Film Oscar",
"Action Short Film",
"Academy Award",
"Live Action Short",
"Short Film winners",
"Film Oscar winners",
"absurdist short film",
"famous Short Film",
"typical short film"
] | null |
[
"Ben Cosman"
] |
2014-02-24T22:33:00+00:00
|
The Academy Award for Live Action Short Film tends to be one of those categories during the ceremony that most viewers treat as a break, but every so often, the category features a reason to pay attention.
|
en
|
https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico
|
The Atlantic
|
https://www.theatlantic.com/culture/archive/2014/02/oscar-live-action-short-film-has-surprising-list-past-winners/358470/
|
The Academy Award for Live Action Short Film (and its animated and documentary counterparts) tend to be one of those categories during the ceremony that everyone treats as a break –for the bathroom, to grab more snacks, to catch up on the live-tweeting, etc. The majority of those watching at home (and a fair share of those in the audience, too) haven't even seen any of the nominees, and probably won't get a chance to see them in the future, either. Only Oscar die-hards bother to hunt down viewings for the nominated short films.
But every so often, the category features someone of note – either at the time, or a nominee who will go on to make a name for him or herself later on. Jury's out on this year's nominees, but here are seven notable Short Film Oscar winners in the category's history that show even the minor categories can have the big names.
Peter Capaldi, Franz Kafka's It's a Wonderful Life (1994)
The man playing the latest reincarnation of The Doctor is, yes, an Academy Award winner. Capaldi won the Oscar for directing the absurdist short film depicting Franz Kafka as he writes The Metamorphosis. Capaldi isn't as well known in the U.S. as he is in Britain, but he is surely among the most famous Short Film winners.
Christine Lahti, Lieberman in Love (1995)
The 1990s were a good time for Short Film winners. Perhaps most famous for her Emmy-winning role as Dr. Kathryn Austin on Chicago Hope, Lahti won her Short Film Oscar for directing a short film based on W.P. Kinsella's short story, which she also acted in. It was her first Oscar win, but not her first nomination – Lahti had a chance at an acting statue for her role in 1984's Swing Shift.
David Frankel, Dear Diary (1996)
Another '90s winner, David Frankel – who would later go on to direct mainstream comedies like The Devil Wears Prada, Marley & Me, and Hope Springs – won for Dear Diary. Fun fact: Originally the pilot episode of a television show that never aired, Dear Diary cost over $1 million to make, a good deal more than the typical short film. It was Frankel's only Oscar nomination, but he won an Emmy for directing the pilot episode of Entourage.
Andrea Arnold, Wasp (2004)
Arnold won the Jury Prize for Fish Tank at the Cannes Film Festival in 2009, helping to launch Michael Fassbender lust initiative in the process, but before that, she took home the Oscar for her short film Wasp.
Martin McDonagh, Six Shooter (2005)
The Irish playwright behind the Oscar-nominated script for In Bruges, McDonagh won an Academy Award for his short film, which follows a newly widowed Brendan Gleeson shortly after his wife has died.
Steven Wright, The Appointments of Dennis Jennings (1988)
Steven Wright is best known as a stand-up comedian (playing himself on TV series like The Larry Sanders Show and Louie), but he won an Oscar for co-writing and starring in The Appointments of Dennis Jennings, which also featured Rowan Atkinson. Watch the film below – it's a bummer, but it's hilarious.
Taylor Hackford, Teenage Father (1978)
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2659
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0
| 85
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http://www.markreviewsmovies.com/reviews/R/ray.htm
|
en
|
Review of RAY
|
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Become a fan on Facebook Follow on Twitter
Review by Mark Dujsik
Propelled by the life, times, and music of the late, great Ray Charles and a virtuoso performance by Jamie Foxx, Taylor Hackford's Ray emerges as an honest and loving tribute to one of the few, true legends of modern music. The film chronicles Charles' early career and childhood, painting a portrait of a man who overcame going blind at the tender age of seven to become the most diverse musician of his (and, arguably, any) generation but, for a long time, was unable to conquer his own personal demons. Despite of and perhaps driven on by this, Charles managed to take his passion for music to an unprecedented level. Following the perpetually bespectacled Charles from smoky jazz clubs to highly efficient (and equally smoky) recording sessions to sold-out auditoriums, the film documents his musical growth and output of the period, giving a fascinating perspective on the creation of the music (both from the artistic and business end of matters) beyond mere highlights on the soundtrack. Hackford and company wisely and instinctively trust this story and simply allow their work to serve it, and the result is a film that does its subject due justice.
Charles (Foxx) grew up in rural Florida as Ray Charles Robinson, the son of Aretha Robinson (Sharon Warren), a for-hire washer. After finishing school in Florida , the still-young Charles makes his own way to Seattle in 1951, where he quickly makes a name for himself as a virtuoso pianist in local bands and for his solo act, impersonating the likes of Nat "King" Cole. After discovering that his current manager is keeping money from him, he moves on to a new manager, who sends him on the road as the pianist for a different ensemble. He finds even more recognition in his place here and feels even more separated from the rest of the world, which leads him to experiment with heroin and an addiction that would last over a decade. After an intense falling out with that act, Charles moves to New York and is approached by Ahmet Ertegun (Curtis Armstrong), founder of Atlantic Records, who offers him a record deal. With the support of the company and of his eventual wife Della Bea (Kerry Washington), Charles goes on to record hit after hit, but the death of his younger brother shortly before he went blind continues to haunt him and sends his personal life slowly but surely on a downward spiral.
Screenwriter James L. White's script doesn't gloss over the less attractive areas of Charles', although he certainly doesn't condemn them (after all, Charles lent his personal approval to the screenplay). In addition to his heroin addiction, the film portrays his womanizing, including a pair of extramarital affairs with backup singers (dubbed The Raelettes, leading one of them to jokingly ask if they have to "let Ray") that he partook in while on the road. The affairs surprisingly put less of a strain on his marriage than they do on the music. Mary Ann Fisher (Aunjanue Ellis), the first we encounter, desperately wants a solo, which he grants her. Eventually, when Ray's affections turn to Margie Hendricks (Regina King), the leader of the new vanguard of Raelettes, Mary Ann leaves. The ensuing relationship is complicated by Charles' addiction, and it leads her down a similar road, despite his threats to keep her away from drugs. His wife is not doormat of any sort, though, and she insists that he keeps what happens on the road out of their home. When the life of the road threatens to potentially end his life, career, and marriage, she finally confronts him, telling him that if he doesn't give up his current lifestyle, he will lose the thing he loves the most: his music.
It's not surprising that this is the turning point in his life, considering how much attention the film pays to his music. The soundtrack features classic and new recordings from Charles himself, but Hackford goes beyond a mere highlight reel by fully integrating the music within the story. We see the inspiration for a few songs, including "Marianne" being performed for his mistress and a fight between Charles and Margie leading to an impromptu performance of "Hit the Road Jack" in a hotel room. The scene that perhaps best illustrates the creation of music is one in which Charles and his band finish a concert early and are forced to perform longer or face a heavy fine, and the improvised set that ensues leads to Charles' cross-over hit "What'd I Say." Similarly, the music heightens certain scenes, including one of many confrontations between Charles and Bea before which he plucks away at "You Don't Know Me." The film also touches upon the controversy that arose when Charles took gospel music and infused it with lyrics of sexuality and his decision not to play for a segregated auditorium in Georgia, which led him to be banned from the state for life.
Hackford directs these musically inspired scenes in a way that captures the energy of the creative process, but he also handles scenes involving Charles' demons with an equal intensity. He and cinematographer Pawel Edelman give the flashback scenes an aesthetically pleasing, overly saturated look, and one scene, depicting the young Charles learning to "see" the world for the first time after losing his sight to Glaucoma, has a great emotional resonance. There's also a harrowing scene with Charles in a detoxification center, which leads to one of many show-stopping moments for Foxx. The comedian-turned-actor has had solid performances before, but his performance here is unlike anything he's done. Foxx moves far beyond caricature, which, considering the signature physicality of his subject, his performance might easily have fallen into. He embodies Charles, not only looking uncannily like him but also displaying the internal workings of the man. A Julliard-trained classical pianist, Foxx lends authenticity to the scenes of performance as well. As Charles' wife, Kerry Washington is a worthy partner, giving a wholly sympathetic performance as a strong and understanding woman who is far from naïve about her husband's philandering.
This leads one to wonder why Charles stayed so isolated in confronting his feelings of helplessness, considering the support structure of family, professional associates, and countless fans surrounding him. Perhaps he felt he could only depend on himself. Perhaps he did not think anyone else could understand the world the way he did. Or perhaps it was pure stubbornness. Whatever the reason, Ray stands as an absorbing and stirring examination of the complex life of a musician who rightfully earned the moniker "the Genius."
Copyright © 2004 by Mark Dujsik. All rights reserved.
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3
| 48
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https://www.broadwayworld.com/people/Taylor-Hackford/
|
en
|
Taylor Hackford: Credits, Bio, News & More
|
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Searching to find out more about Taylor Hackford? We have a full Biography, Photos, Theatre Credits, TV and Movies, Videos and more! Check out Taylor Hackford's bio now including film and tv, as well as on stage.
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https://www.broadwayworld.com/people/Taylor-Hackford/
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Taylor Hackford News
RACHMANINOFF AND THE TSAR by Hershey Felder To Play Balboa Theatre in August
Hershey Felder will star as Sergei V. Rachmaninoff in the world premiere of RACHMANINOFF AND THE TSAR, a new musical play at Balboa Theatre, San Diego. Learn how to purchase tickets.
TheatreWorks Reveals Lineup For 2024-25 Season of World and Regional Premieres, Commissions, and More
TheatreWorks Silicon Valley has announced its 54th season—a lineup of works to be presented October 2024 through July 2025. Learn more about the full lineup here!
GEORGE GERSHWIN ALONE Comes to South Coast Repertory This Month
South Coast Repertory presents pianist/actor/playwright/producer Hershey Felder for a limited engagement of Hershey Felder as George Gershwin Alone, Jan. 18-28 on the Julianne Argyros Stage.
Ensemble Theatre Company of Santa Barbara to Present THE PIANIST OF WILLESDEN LANE Directed by Hershey Felder
Ensemble Theatre Company of Santa Barbara will present THE PIANIST OF WILLESDEN LANE
Harry Lennix and Tamara Tunie Join the Cast of Steppenwolf's PURPOSE
Harry Lennix (The Blacklist, The DC Universe) and Tamara Tunie (Law & Order: SVU, I Wanna Dance with Somebody) will join the cast of its world premiere of Steppenwolf Theatre Company's Purpose.
Tickets On Sale Today For HERSHEY FELDER AS GEORGE GERSHWIN ALONE at TheatreWorks Silicon Valley
Tickets for TheatreWorks Silicon Valley’s highly-anticipated, limited engagement of the hit solo show Hershey Felder as George Gershwin Alone will go on sale to the public 1pm PST, Friday, December 15, 2023.
HERSHEY FELDER AS GEORGE GERSHWIN ALONE is Coming to TheatreWorks in February
Hershey Felder brings the tour de force musical masterpiece 'Hershey Felder as George Gershwin Alone' to TheatreWorks in Feb. 2024.
Hershey Felder Raises Funds for TheatreWorks
Internationally-acclaimed actor, pianist, and filmmaker Hershey Felder packed the house and raised the roof while also raising more than $140,000 for TheatreWorks Silicon Valley.
Meet the Cast of I NEED THAT, Beginning Previews on Broadway Tonight!
Danny DeVito returns to Roundabout Theatre Company in I Need That, starring alongside his daughter, Lucy DeVito, and Ray Anthony Thomas. The production begins previews tonight, October 13. Meet the cast of I Need That here!
Hershey Felder Will Perform a One-Night-Only Benefit For TheatreWorks
Hershey Felder has responded to TheatreWorks fundraising needs with an extraordinary offer: Felder will fly in for the day on October 11 and take the stage for one evening only with his Great American Songbook Sing-Along: A One-Night-Only Benefit for TheatreWorks. Learn more about the upcoming event here!
The Guadalupe Cultural Arts Center Announces THE 44th CINEFESTIVAL SAN ANTONIO
San Antonio's original Latinx film festival returns on Tuesday, July 11 through Sunday, July 16, 2023, at the historic Guadalupe Theater with a greater than-ever Texas filmmaker presence. Featuring 114 films, including 38 films from San Antonio and 40 films from the Lone Star State, the 44th CineFestival San Antonio continues to support local and regional filmmakers, while offering a well-rounded program to local audiences that also includes national and international films that highlight artistic excellence and diversity.
Aida Rodriguez To Take The Stage At City Winery Boston, April 12
Multi-talent actress, comedian, and writer Aida Rodriguez will be bringing her unique brand of insightful and observational comedy to the City Winery Boston Wednesday, April 12, 2023.
Designers Behind BLACK PANTHER and More Join THE WIZ; Full Design Team Announced!
The design team has been announced for the all-new production of the groundbreaking, Tony Award-winning musical The Wiz. The Wiz will launch a national tour in Fall of 2023 in Baltimore, MD before returning to Broadway for a limited engagement in the 2023/24 season. Learn more about the team and the production here!
Jason Graae and David Turner Will Lead MAX AND WILLY'S LAST LAUGH Reading at Mosaic Theater's Catalyst New Play Festival
Co-authored by Conor Duffy and Jake Broder, Max & Willy’s Last Laugh is based on the true story of entertainers Max Ehrlich and Willy Rosen, who for 18 months performed the funniest cabaret in Europe to ensure their safety at the Westerbork Transit Camp during World War II.
Hershey Felder in CHOPIN IN PARIS is Coming to Laguna Playhouse in January
LAGUNA PLAYHOUSE has announced that pianist and actor Hershey Felder will present his musical masterpiece as he portrays Monsieur Chopin in CHOPIN IN PARIS.
HERSHEY FELDER AS GEORGE GERSHWIN ALONE is Coming to Mountain View Center for the Performing Arts in March
Virtuoso pianist/actor/playwright/ producer Hershey Felder will return to the Bay Area for a strictly limited engagement of his acclaimed work, Hershey Felder as George Gershwin Alone, part of a limited farewell tour of a character performed live more than 3000 times throughout the world.
HERSHEY FELDER AS GEORGE GERSHWIN ALONE to Have Dallas Premiere at the Music Hall at Fair Park
Hershey Felder As George Gershwin Alone will make its Dallas Premiere on Sunday, January 26, 2023 at the Music Hall at Fair Park.
Cinema Audio Society To Honor Alejandro González Iñárritu With Filmmaker Award At 59th Annual CAS Awards
Alejandro González Iñárritu will receive the Cinema Audio Society's Filmmaker of the Year honor at the 59th CAS Awards on Saturday, March 4, at the InterContinental Los Angeles Downtown hotel.
Meet the Cast of DEATH OF A SALESMAN, Beginning Previews Tonight!
Previews begin, September 17, for the 17-week engagement of Death of a Salesman. Meet the cast bringing this iconic play to life!
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https://tv.apple.com/us/person/taylor-hackford/umc.cpc.4e7krr5v9php13v2w70f6wyo7
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en
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Taylor Hackford Movies and Shows
|
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Learn about Taylor Hackford on Apple TV. Browse shows and movies that feature Taylor Hackford including Blood In, Blood Out, Parker, and more.
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en
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/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png
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Apple TV
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https://tv.apple.com/us/person/taylor-hackford/umc.cpc.4e7krr5v9php13v2w70f6wyo7
|
Taylor Edwin Hackford is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father. Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman and Ray, the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
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https://playbill.com/article/revised-louis-keely-musical-directed-by-taylor-hackford-begins-la-run-march-15-com-158998
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en
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Revised Louis & Keely Musical, Directed by Taylor Hackford, Begins L.A. Run March 15
|
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2009-03-15T02:00:00-04:00
|
Hollywood director Taylor Hackford directs the expanded and revised award-winning Los Angeles musical, Louis & Keely Live at the Sahara , for a March 15-April 26 run at the intimate Audrey Skirball Kenis Theater at the Geffen Playhouse in L.A.
|
en
|
Playbill
|
https://playbill.com/article/revised-louis-keely-musical-directed-by-taylor-hackford-begins-la-run-march-15-com-158998
|
The musical play, co-written and starring Jake Broder and Vanessa Smith, won the 2008 Ovation Award for Best Musical, and is nominated for five LA Weekly Theater Awards (including Musical of the Year) and four Los Angeles Drama Critics Circle Awards (including Best Production and Best Actor). Two new performers have been added to the cast, which now totals four, plus a band.
Louis & Keely Live at the Sahara "follows the life and love of Vegas' infamous onstage couple Louis Prima and Keely Smith." It opens at the Geffen March 19.
*
The original production of Louis & Keely, which was produced by the Sacred Fools Theatre Company and directed by Jeremy Aldridge, opened in June 2008. After an extended summer run at Sacred Fools, the production found a new home at Hollywood's Matrix Theater in October 2008 and ran for 15 sold-out weeks.
"I saw Louis & Keely during its initial run at Sacred Fools, and was immediately struck by the music, the story, and most of all, by its stars and creators — Jake Broder and Vanessa Smith," said director Hackford, in a statement. "This was a wonderfully entertaining piece of theatre that came together through will and sheer talent, and I wanted to help Jake and Vanessa expand and develop this show so it could reach its ultimate potential." Hackford is most well-known for his film work, including "An Officer and a Gentleman," "Against All Odds," "The Devil's Advocate," "La Bamba," "Proof of Life" and most recently "Ray," which was nominated for six Academy Awards including Best Picture. Louis & Keely Live at the Sahara marks Hackford's stage directorial debut.
He has joined forces with Broder and Smith "to guide the revision process." He estimates about 40 percent of the script is different from the original production. This includes the addition of six new songs: "I Wish You Love," "Hey Boy, Hey Girl," "What is this Thing Called Love," "Night Train," "Ai, Ai, Ai" and "I Can't Believe that You're in Love with Me," as well as new characters — including Frank Sinatra.
Creators Broder and Smith revisit their roles as Louis and Keely respectively, and new cast members Nick Cagle and Erin Matthews play various other characters in the couple's story.
In addition to the four actors, Louis & Keely Live at the Sahara features a seven-piece live swing band, playing Prima's Vegas band The Witnesses.
Louis & Keely Live at the Sahara is set to run at the Geffen Playhouse's Audrey Skirball Kenis Theater through April 26, "with the possibility for extension pending audience demand."
The intimate Audrey Skirball Theater will be configured with four rows of premium stage-front seating ($65) in addition to the standard orchestra seating ($55).
Ticket prices for preview performances — March 15 at 2:30 PM & 7:30 PM, March 17 at 8 PM and March 18 at 8 PM — will be $55 for premium seats and $45 for standard seats.
Tickets are on sale now at the Geffen Playhouse box office, online at GeffenPlayhouse.com, via credit card phone order at (310) 208-5454, at all Ticketmaster outlets, or by calling Ticketmaster at (213) 480-3232.
*
The Geffen Playhouse in the Westwood section of L.A. opened in 1995. The company is helmed by producing director and president of the board Gilbert (Gil) Cates, artistic director Randall Arney, managing director Susan Barton and chairman of the board Frank Mancuso.
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https://bukowskiforum.com/threads/taylor-hackford-documentary-bukowski-reads-bukowski.3156/
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Taylor Hackford Documentary - Bukowski reads Bukowski
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[
"M Michael Leigh",
"mjp Founding member",
"Foxy",
"Lttr Prssd",
"buk babe",
"chronic old",
"in the way",
"H huncke"
] |
2008-09-22T10:47:27-07:00
|
Why has this not been re-released? The full version that is (which I've never seen). Would love to see the whole thing, remastered, etc. Is it a rights...
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en
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/data/assets/logo/10834.jpg
|
Charles Bukowski - American author
|
https://bukowskiforum.com/threads/taylor-hackford-documentary-bukowski-reads-bukowski.3156/
|
Why has this not been re-released? The full version that is (which I've never seen). Would love to see the whole thing, remastered, etc. Is it a rights problem? I know Hackford talks about the film in Born Into This but don't recall him saying anything about a re-release or lack-thereof.
I saw the half hour version once (doesn't include the reading in SF) and the scenes shown in Born Into This, but would really like to see the full version that was aired on PBS. It's got to be the ultimate documentation of Buk as his star was rising.
Taylor hackford film
there are so many well-informed bukowski fans out there that i am sure someone knows the answer to this. i am trying to remember the name of the film that taylor hackford did on bukowski. does anyone know this film? i used to have a taped copy of it, but lost it.
i would like to see it again, it was great.
well, thank-you very much chronic. it was a great film. i especially liked all the live reading segs and the run in with a woman in the liquor store who 'had hangovers at different times.'
also there was a very funny part where he was driving and saying how he loved LA and then flew into a rage at some bad driving in front.
i wonder if it is still available out there somewhere.
Full version of Hackford film "Bukowski"
I too would very much like to find a copy of this film. People mention the" full" 60 min version vs the "edited" 30 min shown on PBS.
However, in some of the Buk bios the film is reported to have been 90 mins long.
Does anyone know the correct details re the length and content of the original version? Is it available anywhere?
Thanks
Grek
KCET say the original was lost, although their site has a couple of clips. I've seen the odd copy on ebay, but can't imagine the quality is great. Maybe there'll be an official release one day, but until then... we must be patient.
Bukowski Reads Bukowski
I was lucky enough to tape the 30 min version off PBS in the 90's....really good copy. Would love to see the full version. I have other documentaries on him but this one is the best in my opinion. I also have 13 cd's of his readings, live and at home....most of the books, and several videos. 2 of the audio recordings were filmed and are now out on dvd legitimately.
I've seen a version that was like 45 mins. Bukowski is so raw and real in it. In Neeli's autobiography about Bukowski he writes about of Bukowski was so honest with Hackford. Honest about his success and failure. No fear. Totally exposing his soul. I think Bukowski really changes Hackford as an artist.
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https://www.amazon.com/prime-video/actor/Taylor-Hackford/amzn1.dv.gti.27438293-6120-4c17-808e-ce3655b67662/
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Taylor Hackford: Movies, TV, and Bio
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Browse Taylor Hackford movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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In addition to helming the iconic feature hits An Officer and a Gentleman (1982), Against All Odds (1984), Ray (2004), and the cult thriller The Devil's Advocate (1997), Taylor Hackford has directed the films Dolores Claiborne (1995), Everybody's All-American (1988), and Proof of Life (2000). Taylor developed and produced La Bamba (1987), the most successful Latin-themed feature film in history. Mr. Hackford has been an active member of the Directors Guild of America for over 40 years, including twice as elected President of the DGA, beginning in 2009.
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Ray - Full Cast & Crew
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Learn more about the full cast of Ray with news, photos, videos and more at TV Guide
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TVGuide.com
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https://www.tvguide.com/movies/ray/cast/2030014282/
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73 Metascore
2004
2 hr 32 mins
Drama, Music
PG13
Watchlist
Where to Watch
Add this Best Picture nominee about the life of singer Ray Charles (1930-2004) to the list of great screen bios. Best Actor Jamie Foxx is fantastic, bringing lots of heart and tons of soul to his portrayal of the music legend.
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Taylor Hackford Net Worth
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2014-07-16T16:55:05+00:00
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Taylor Hackford Net Worth: Taylor Hackford is an American film director who has a net worth of $100 million. He is perhaps as well-known for being the
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Celebrity Net Worth
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https://www.celebritynetworth.com/richest-businessmen/producers/taylor-hackford-net-worth/
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What is Taylor Hackford's Net Worth?
Taylor Hackford is an American film director who has a net worth of $100 million. Taylor Hackford is perhaps as well-known for being the husband of actress Helen Mirren as he is for his directing credits. Our net worth listed here is a combined net worth with Helen. Taylor directed and produced the movies "Ray", "Proof of Life" and "The Devil's Advocate".
Early Life
Taylor Hackford was born December 31, 1941 in Santa Barbara, California. Taylor's initial passions lay with international relations, which he studied while pursuing a degree in pre-law at the University of Southern California. After graduating in 1968, he headed to Bolivia as part of the Peace Corps, where he began experimenting with a Super-8 camera in his spare time, documenting the world around him. He abandoned law in favor of a film degree from USC's School of Cinema then took a job in the mail-room at the Los Angeles public television station KCET-TV. The position served as a training ground for the aspiring director.
Career
He quickly moved up to the station's cultural programming department where he was among the first in the country to present uninterrupted broadcasts of musical performances from the likes of Bonnie Raitt, Cat Stevens and Leon Russell. From there he worked as an investigative reporter and earned two Emmys and an Associated Press Award. He graduated to film documentaries in 1973 and was soon winning Oscars and racking up hits. His film An Officer and a Gentleman (1982) came close to having a different ending when actor Richard Gere protested to the ending, feeling it was too sentimental. Hackford stuck with the sentimental ending and proved his theory right when even Gere said that (when paired with the music soundtrack) it gave him chills. In a 2005 interview, Hackford confirmed that he never watched his own films.
On July 25, 2009, Hackford was elected President of the Directors Guild of America and re-elected to a second, two-year term on June 25, 2011. His other notable films include 2004's Ray which also won him an Academy Award.
Personal Life
Hackford has been married three times. He met Helen Mirren when she came in to audition for the movie "White Nights". Hackford reportedly kept her waiting for over an hour which caused her to be extremely icy to him. Hackford and Mirren wed in 1997 after 12 years together, despite the fact that as a young woman Mirren had vowed never to marry.
Real Estate
Hackford and Mirren have homes in Los Angeles, Provence (France), New York City, New Orleans and Lake Tahoe (Nevada).
In 1986 Taylor bought a 6.6-acre property in the Hollywood Hills. The home was built in 1908 for a silent film actor named Dustin Farnum. In 2014 Taylor and Helen listed this home for rent for the low-low fee of $40,000 per month. In July 2021 they listed this home for sale for $18.5 million or for rent for $45,000 per month.
Their primary home is a property in Lake Tahoe, on the Nevada side.
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Hackford, Taylor 1944(?)–
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"in Santa Barbara",
"CA; son of Joseph and Mary (a waitress; maiden name",
"Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director)",
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Hackford, Taylor 1944(?)–PERSONALFull name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress; maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director), May 7, 1977 (divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage) Rio D; (second marriage) Alexander Littm Source for information on Hackford, Taylor 1944(?)–: Contemporary Theatre, Film and Television dictionary.
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/sites/default/files/favicon.ico
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https://www.encyclopedia.com/education/news-wires-white-papers-and-books/hackford-taylor-1944
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PERSONAL
Full name, Taylor Edwin Hackford; born December 31, 1944 (some sources cite December 3 or 1945), in Santa Barbara, CA; son of Joseph and Mary (a waitress; maiden name, Taylor) Hackford; married Georgie Lowres (divorced); married Lynne Littman (a producer and director), May 7, 1977 (divorced); married Helen Mirren (an actress, producer, and director), December 31, 1997; children: (first marriage) Rio D; (second marriage) Alexander Littman. Education: University of Southern California, B.A., 1968.
Addresses:
Agent—Scott Greenberg, Creative Artists Agency, 2000 Avenue of the Stars, Los Angeles, CA 90067.
Career:
Director and producer. KCET-TV (PBS affiliate), Los Angeles, began as mailroom clerk, became director, producer, investigative reporter, and writer, 1970-77; Hackford-Littman Films, Los Angeles, director, producer, and writer, 1977-79; New Visions, Inc., founder, mid-1970s; New Visions Pictures, partner and chair, 1988-91; Venice International Film Festival, jury member, 2000 and 2001; U.S. Peace Corps, volunteer in Bolivia, 1968-69.
Member:
Directors Guild of America (vice president), Writers Guild of America, West.
Awards, Honors:
Silver Reel Award, San Francisco International Film Festival, 1972; local Emmy awards, investigative reporting category, 1974 and 1977; Academy Award, best live-action short film, 1979, for Teenage Father; ShoWest Award, director of the year, National Association of Theatre Owners, 1983; Directors Guild of America Award nomination, outstanding directorial achievement in motion pictures, 1983, for An Officer and a Gentleman; Tokyo International Film Festival Award, best director, 1993, for Bound by Honor; Film Society Award for Lifetime Achievement in Directing, San Francisco International Film Festival, 2005; Academy Award nomination, Golden Satellite Award nomination, International Press Academy, and Critics Choice Award nomination, Broadcast Film Critics Association, all best director, Directors Guild of America Award nomination, outstanding directorial achievement in motion pictures, Academy Award nomination (with others), best motion picture of the year, and David di Donatello Award nomination, best foreign film, all 2005, and Grammy Award (with others), best compilation soundtrack album for motion picture, television, or other visual media, National Academy of Recording Arts and Sciences, 2006, all for Ray; Best of Show Award, Music DVD awards, Home Media magazine, 2007, for Hail! Hail! Rock 'n' Roll; Robert B. Aldrich Achievement Award (with Paris Barclay), Directors Guild of America, 2007.
CREDITS
Film Director:
Teenage Father (short film), New Visions, 1978.
The Idolmaker (also known as Rock machine), United Artists, 1980.
An Officer and a Gentleman, Paramount, 1982.
Against All Odds, Columbia, 1984.
White Nights (also known as Biale noce, Die Nacht der Entscheidung, Hvide naetter, Il sole a mezzanote, Noches del sol, O sol da meia-noite, O sol da meia noite, Sol de medianoche, Valkeat yoet, Vita naetter, and White Nights—Nacht der Entscheidung), Columbia, 1985.
Hail! Hail! Rock 'n' Roll (music documentary; also known as Chuck Berry Hail! Hail! Rock 'n' Roll and Chuck Berry: Hail! Hail! Rock 'n' Roll), Universal, 1987.
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988.
Bound by Honor (also known as Blood In … Blood Out and Blood In, Blood Out … Bound by Honor), Buena Vista, 1993.
Dolores Claiborne (also known as Dolores, Eclipse Total, Eclipse total, Eclipse total (Dolores Claiborne), Stephen Kings Dolores, and Stephen Kings Dolores Claiborne), Columbia, 1995.
The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
Proof of Life, Warner Bros., 2000.
Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Film Executive Producer:
Rooftops (also known as Combat Dance), New Visions, 1989.
The Long Walk Home, Miramax, 1990.
Defenseless, New Visions/Seven Arts Pictures, 1991.
Mortal Thoughts, Columbia, 1991.
Queens Logic, Seven Arts Pictures, 1991.
Sweet Talker (also known as Confidence), New Visions, 1991.
The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
Film Producer:
Bukowski (documentary; also known as Bukowski: A Film by Taylor Hackford and Richard Davies), 1973.
Teenage Father (short film), New Visions, 1978.
Against All Odds, Columbia, 1984.
White Nights (also known as Biale noce, Die Nacht der Entscheidung, Hvide naetter, Il sole a mezzanote, Noches del sol, O sol da meia-noite, O sol da meia noite, Sol de medianoche, Valkeat yoet, Vita naetter, and White Nights—Nacht der Entscheidung), Columbia, 1985.
La Bamba (also known as Let's Go), Columbia, 1987.
Everybody's All American (also known as When I Fall in Love), Warner Bros., 1988.
Bound by Honor (also known as Blood In … Blood Out and Blood In, Blood Out … Bound by Honor), Buena Vista, 1993.
Dolores Claiborne (also known as Dolores, Eclipse Total, Eclipse total, Eclipse total (Dolores Claiborne), Stephen Kings Dolores, and Stephen Kings Dolores Claiborne), Columbia, 1995.
When We Were Kings (documentary), Gramercy Pictures, 1996.
G:MT Greenwich Mean Time (also known as G:mt), Icon Film Distribution, 1999.
Proof of Life, Warner Bros., 2000.
Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Film Work; Other:
Film editor, When We Were Kings (documentary), Gramercy Pictures, 1996.
Film Appearances:
The director, To Grandma with Love (short film), Total Sol Films, 2003.
Himself, Bukowski: Born into This (documentary), Magnolia Pictures, 2004.
Vince Vaughn's "Wild West Comedy Show: 30 Days & 30 Nights—Hollywood to the Heartland" (documentary; also known as Wild West Comedy Show: 30 Days & 30 Nights—Hollywood to the Heartland), 2006, Picturehouse Entertainment, 2008.
Television Producer; Specials:
Bonnie Raitt and Paul Butterfield, PBS, 1974.
Rick Nelson: It's All Right Now, The Nashville Network, 1990.
Executive producer, Genius: A Night for Ray Charles, CBS, 2004.
Also worked on programs about various other musicians, including John Prine, Sonny Rollins, Leon Russell, and Cat Stevens.
Television Work; Pilots:
Executive producer and director, E-Ring (also known as Pentagon, D.O.S.—Division des operations speciales, and E-Ring—Aporrites apostoles), NBC, 2005.
Television Work; Other:
Director, Economic Love-In, KCET-TV (PBS affiliate), 1973.
Television Appearances; Specials:
Himself, The Score, Trio, 2003.
Himself, Bleep! Censoring Hollywood, American Movie Classics, 2005.
Himself, Budd Boetticher: A Man Can Do That, TCM, 2005.
Television Appearances; Awards Presentations:
(In archive footage) The 77th Annual Academy Awards, ABC, 2005.
36th NAACP Image Awards, Fox, 2005.
The 59th Primetime Emmy Awards, Fox, 2007.
The 64th Annual Golden Globe Awards, NBC, 2007.
Television Appearances; Episodic:
Himself, First Works (also known as Firstworks), 1989.
Himself, "The Making of ‘Proof of Life,’" HBO First Look, HBO, 2000.
Himself, "Richard Gere," Biography (also known as A&E Biography: Richard Gere), Arts and Entertainment, 2004.
Himself, Sunday Morning Shootout, American Movie Classics, 2004.
RECORDINGS
Videos:
Director, "Say You, Say Me," The Lionel Richie Collection, Universal Music & Video Distribution, 2003.
Himself, Pas de Deux: Making "White Nights" (short), Columbia/TriStar Home Video, 2004.
Himself, Budd Boetticher: An American Original, Paramount Home Video, 2005.
Himself, An Officer and a Gentleman: 25 Years Later (short), Paramount Home Entertainment, 2007.
Music Video Director:
Phil Collins, "Against All Odds," 1984.
Lionel Richie, "Say You, Say Me," 1985.
WRITINGS
Screenplays:
Bukowski (documentary; also known as Bukowski: A Film by Taylor Hackford and Richard Davies), 1973.
Teenage Father (short film), New Visions, 1978.
Song "Show Me Your Tattoo," The Devil's Advocate (also known as Devil's Advocate and Im Auftrag des Teufels), Warner Bros., 1997.
(Story) Ray (also known as Unchain My Heart: The Ray Charles Story), Universal, 2004.
Author of other screenplays, including Cry Dance.
OTHER SOURCES
Periodicals:
Entertainment Weekly, February 4, 2005, p. 92.
Movieline, November, 2000, pp. 70-74.
People Weekly, November 3, 1997, p. 153; January 19, 1998, p. 102.
Variety, February 14, 2005, p. S34.
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Taylor Hackford News from United Press International.
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/favico.png
|
UPI
|
https://www.upi.com/topic/Taylor_Hackford/
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Taylor Edwin Hackford (born December 31, 1944) is an American film director, and the current president of the Directors Guild of America.
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.
Richard Gere balked at shooting the ending of Hackford's movie An Officer and a Gentleman where his character arrives at his lover's factory wearing his Navy dress whites and carries her off from the factory floor. Gere thought the ending wouldn't work because it was too sentimental. Hackford was initially inclined to agree with Gere until during a rehearsal the extras playing the workers began to cheer and cry. When Gere saw the scene later with the music underneath it at the right tempo, he said it sent chills up the back of his neck. Gere is now convinced Hackford made the right decision. Hackford kept Lou Gossett Jr. in separate living quarters from the other actors during An Officer and a Gentleman so he could intimidate them more during his scenes as a drill instructor.
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https://www.wideopencountry.com/helen-mirren-husband/
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How Helen Mirren Found Love With Husband Taylor Hackford
|
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2024-01-06T14:30:14+00:00
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Who is Helen Mirren's husband? Meet the Hollywood legend's husband of over 25 years, film director Taylor Hackford.
|
en
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Wide Open Country
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https://www.wideopencountry.com/helen-mirren-husband/
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Paramount Network's hit Western "Yellowstone" is ending later this year after the conclusion of Season 5, but we can still look forward to more Dutton family drama and picturesque mountain scenes as Season 2 of its prequel series "1923" is officially in the works. Helen Mirren, Harrison Ford, and more "1923" cast members will return for the conclusion of the origin story of the Dutton family ranch and how it became Kevin Costner's empire we've seen over the course of "Yellowstone."
The prequel series has been applauded for its stacked cast and strong performances, with Ford playing the patriarch of the Yellowstone ranch, Jacob Dutton, and Mirren playing his wife and the family matriarch, Cara Dutton. The role of the Irish immigrant earned Mirren a Golden Globe nomination, once of the few awards nods in the entire "Yellowstone" universe outside of Kevin Costner's 2023 Best Actor win.
While Mirren isn't actually wedded to a rancher who owns a ton of sought-after land in Montana, she has been married to director Taylor Hackford for nearly a quarter of a century. Though the actress wrote in her autobiography, "In the Frame: My Life in Words and Pictures," that when she met Hackford, "It was certainly not love at first sight."
Regardless, the pair seems to have been happily married for the last 27 years. Here's what we know about their love story:
How Did Helen Mirren Meet Her Husband?
Before meeting and marrying Hackford, Mirren was already acting royalty. The "Hitchcock" star focused most of her early life on her career and never seemed to prioritize getting married or having a family. When she was in her thirties, Mirren told reporters she never wanted to be divorced.
"I simply could not see the point of being married if there was the remotest possibility of being divorced," Mirren wrote in her autobiography.
Mirren first met her future husband when she auditioned for "White Nights," a film Hackford directed. Supposedly, Hackford kept the award-winning actress waiting for her audition and Mirren let him know how she felt about that.
"It was a strange way to meet Helen, because she is a lovely person," Hackford told AARP magazine in 2006. "But she didn't hold back her fury."
Once they got past that minor hiccup, the pair connected during filming. However, Mirren never expected to get involved with a coworker.
"I did very consciously choose my work over my relationships right up to the time that I met Taylor," Mirren said. "I was 38 when I met Taylor, pretty late in life."
And Mirren credits her life experience with helping her identify love when it was right in front of her. In an interview on TODAY in 2016, she said, "The great thing about finding a partnership later on [in life] is that you recognize it as such."
But, Hackford was married when they met in 1985, so they remained friends during filming. He divorced his wife later that year, and when Mirren learned about this, she says she knew a romance was inevitable. She wrote, "My fate was sealed."
Inside Helen Mirren and Taylor Hackford's Family Life
The pair went public with their romance in 1986, though they realized early on they both had to integrate their very separate and different lives. Mirren is British and had to move across the pond to make a home in Los Angeles with Hackford and his children.
Plus, they both loved their work. Before Mirren entered his life, Hackford was an award-winning director, writer and producer, best known for his work on "An Officer and a Gentlemen" (1982) and "Against All Odds" (1984). Neither he nor Mirren was willing to give up their passions after they got together, so they often spent weeks or months at a time apart.
While Mirren says she never considered herself very romantic, she admitted to missing Hackford terribly when they were apart. Additionally, she said that meeting and dating later on in life gave them permission to offer each other more freedom, allowing them to live their passions.
Also, Hackford had been married twice before and had two children from those marriages, Río and Alex.
In her autobiography, Mirren wrote about meeting Río and adjusting to living with children: "It was a whole new world for me, utterly alien and fraught with difficulty." She says the first years with Hackford were challenging at first, and she feared it would only be a short-lived relationship.
Mirren finally decided to come clean about the hard time she was experiencing and shared her perceived failures with Hackford over lunch. Mirren writes she was surprised that instead of criticizing her, he comforted her and said, "Don't worry. Look, we are only this far along in our life together, we have all that way to go. Some will be hard and some will be easy, but we will make it."
That's when she says she fell in love completely.
Taylor Hackford and Helen Mirren's Wedding
More than a decade after the couple first started dating, they finally decided to tie the knot in 1997. Despite never wanting to get married, Mirren said they finally took the plunge for legal reasons.
"We got married in the end because we realized that we were going to be together forever," Mirren said to AARP. "We got married, ultimately, for legal reasons more than anything else. Estate planning and other complicated things like that. And our families, we sensed, wanted us to be married."
In six weeks, they planned a private, small wedding in Scotland in a medieval castle on New Year's Eve. This way, they could celebrate Taylor's birthday, their wedding and the New Year all in one event.
Initially, they invited only 16 of their closest friends and family. But when the couple arrived at the castle, they found a crowd was already building up outside. They suspected the florist had revealed their secret wedding venue. So, they pivoted and invited all the people in the crowd to attend their big day.
"I always said I have nothing against marriage; it just wasn't to my taste, like turnips," she said. "It took me a very long time to come around to acquiring the taste. I just had to meet the right turnip."
Over 35 Years of Love
Nearly 25 years since they officially said "I do" and more than 35 since they first started dating, the pair say they're more in love than ever.
Mirren said that while they missed each other through much of their relationship because they were always traveling, it might have been the secret to making their partnership work. "My theory has always been that this is why we're still together: because we've spent so much time apart, we're always pleased to see each other."
After years of living on different work schedules and in different places, the COVID-19 pandemic forced them to permanently unpack their suitcases and lockdown together. Mirren said this was the first time that either of them had gone without working for six months.
"So many people were suffering through that terrible, terrible time," Mirren told People in 2022. "But what was valuable for me was that I got to spend time with my husband and sit across the table from him every night for six months — which I've never done before — and not worry about or even think about work."
Mirren did say that love is work. "And it's very important to allow the person you love to be who they are — even if [sometimes] you don't like it very much."
But luckily, this much intimacy and alone time during the pandemic didn't cause either of them to call it quits on their decades-long relationship. Mirren says she still finds joy in their journey together.
"You're constantly discovering, learning about the person you love, who suddenly, completely surprises you," she said to People. "You find depths of courage or patience or generosity or that you just didn't know were there."
Watch Mirren and Ford defend their Yellowstone ranch in "1923" on Paramount+.
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https://barczablog.com/2017/05/26/the-comedian-jews-good-and-bad/
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The Comedian: Jews, good and bad
|
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2017-05-26T00:00:00
|
Sometimes the stars align, and guarantee that things will fail. Stars do that? Hm, Shakespeare did say something, that the fault, dear reader, is not in our stars. I don’t think he was talking about casting, no not that sort of star. He meant more like Mercury retrograde or whatever astrology does to ensure you…
|
en
|
https://s1.wp.com/i/favicon.ico
|
barczablog
|
https://barczablog.com/2017/05/26/the-comedian-jews-good-and-bad/
|
Sometimes the stars align, and guarantee that things will fail.
Stars do that? Hm, Shakespeare did say something, that the fault, dear reader, is not in our stars. I don’t think he was talking about casting, no not that sort of star. He meant more like Mercury retrograde or whatever astrology does to ensure you get bad reviews.
And why do some films do so well if not some planetary push? But truly I feel lucky, that the stars –meaning celestial influence– are making miracles.
The timing of the film I saw tonight is serendipitous, thank you stars (both the kind from the sky or from Hollywood).
I saw a commencement address by Helen Mirren shared on Facebook today. She refers to “Taylor” a couple of times, and I wondered who she meant. It’s her husband of course, Taylor Hackford, who’s directed some wonderful films (An Officer and a Gentleman, White Nights, and Ray for example).
I’m seeing the opening of Bad Jews tomorrow, a comedy about family dynamics and you guessed it, the family is Jewish
After a glass of wine I noticed a video sitting beside the TV that my wife purchased namely The Comedian
And lo and behold I noticed that the director was none other than Taylor Hackford
And as I started to watch it, I discover that the comedian–played by Robert de Niro– is supposed to be Jewish.
Surprise surprise! A film about comedy featuring Jewish family dynamics. Not only does tonight’s film feel like a perfect prelude to the play tomorrow, it also happens to be the most enjoyable film I’ve seen in ages.
But why haven’t I heard about The Comedian? What happened? When I look at the internet I see that it opened in December of 2016 to bad reviews, and so it vanished without a trace. And yet on the small screen in my house this was a film that I need to watch again: because we missed lots of jokes due to our uncontrollable laughter. When I think of the funniest films I have ever seen, they also hit me that way. For example The Producers or Superbad required multiple viewings because the laughter was so loud as to cover some lines that couldn’t be heard the first time. Even on the second or third viewing there were big laughs.
The Comedian is several things, and they’re all good.
It’s a film with a jazz score by Terence Blanchard. If you hate the film you can still listen to it.
It’s a film with moody cinematography that transports you instantly to its locations. I don’t know how they did it, seguing from one place to another with an exterior shot to evoke the sensations and feelings of distinct parts of New York, or of places in Florida that I can’t claim to know.
It’s a film with a very good cast.
Robert de Niro plays a Jewish comedian, Danny de Vito plays his brother, Harvey Keitel plays a mobster, Leslie Mann plays the mobster’s daughter. Can you say “playing against type”? De Niro and de Vito play Jews, while Keitel –who is Jewish by birth at least—plays an Italian.
If I were to attempt to describe the type Leslie Mann usually plays it would be as a sweet-voiced appeaser, someone who is always apologizing in that whiny voice. But she meets de Niro’s comedian while doing community service, as both of them are in anger management.
And there are other wonderful cameos, such as Cloris Leachman, Billy Crystal, Charles Grodin, and Patti Lupone just to name the first ones that come to mind.
Everybody in this film is nuts, which is another way of saying, the story and the situations are totally relatable, lovable, enjoyable. If you’re not laughing you need to check for a pulse.
But when I watch the trailer I see immediately how it could have shot itself in the foot. The joke you get right off the bat in the trailer between Jackie (De Niro) and his brother Jimmy (De Vito) sounds offensive out of context. See for yourself, when Jimmy says his child is getting married and Jackie says “I thought she was a dyke” and Jimmy corrects him, “you say ‘lesbian!'” No wonder no one came to see a film sounding so bigoted and ugly.
Yes it is abrasive. But the trailer gives you none of the good –the brilliant humour– just an immediate impression of negativity. Yes there is anger in this film but there is also brilliant wit and catharsis.
It’s a thrill to discover a movie that seems to be flying under the radar, that deserves another chance. I hope the word gets out on this one, because it’s not just okay, it’s one of the funniest films I’ve seen in a very long time.
It’s a natural preparation for the play I’m seeing tomorrow.
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https://contactout.com/taylor-hackford-email-12399
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Taylor Hackford Email & Phone Number
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To contact Taylor Hackford send an email to taylor.hackford@gmail.com.
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/favicon.ico
|
https://contactout.com/taylor-hackford-email-12399
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📖 Summary
Taylor Hackford is an esteemed filmmaker and former president of the Directors Guild of America. With a career spanning over five decades, Hackford has made a significant impact on the film industry through his memorable directorial work and instrumental role in shaping the guild's direction. Known for his distinct storytelling style and ability to extract remarkable performances from actors, Hackford has left an indelible mark on cinema.
Hackford's journey in the world of filmmaking began in the late 1960s, when he directed his first feature-length film, "The Outlaw Brothers." This martial arts film showcased his early talent and set the stage for an illustrious career to come. However, it was his 1982 film "An Officer and a Gentleman" that propelled Hackford into the limelight. Starring Richard Gere and Debra Winger, the film received critical acclaim and commercial success, garnering multiple Academy Award nominations and winning the Best Supporting Actor Oscar.
In the years that followed, Hackford continued to captivate audiences with his diverse filmography. From the intense drama of "Against All Odds" to the musical biopic "Ray," about the life of legendary musician Ray Charles, Hackford demonstrated his versatility as a director. His ability to navigate different genres and bring out the best in his actors became his trademark, earning him a reputation as a director with an unwavering commitment to storytelling and character development.
In addition to his directorial work, Hackford took on the mantle of leadership as the president of the Directors Guild of America from 2009 to 2013. During his tenure, he championed the rights of directors and worked tirelessly to promote their artistic vision. Hackford played a pivotal role in expanding opportunities for underrepresented groups within the industry, recognizing the importance of diversity and inclusion in filmmaking. Under his guidance, the guild also focused on advocating for better working conditions and fair compensation for its members.
Throughout his career, Hackford's dedication to his craft and his unwavering commitment to storytelling have been evident. He has consistently collaborated with top-notch talent, both in front of and behind the camera, resulting in a body of work that resonates with audiences on a deep emotional level. Hackford's ability to create compelling narratives that explore the complexities of the human condition has earned him accolades and awards from his peers.
In sum, Taylor Hackford is a celebrated filmmaker and former president of the Directors Guild of America. With a career spanning over five decades, his impact on the film industry is undeniable. Known for his diverse filmography and ability to extract outstanding performances from actors, Hackford's storytelling prowess has captivated audiences worldwide. As a champion for the rights and artistic vision of directors, his leadership in the guild has left a lasting legacy. Through his work and dedication to the craft, Hackford continues to inspire and shape the future of filmmaking.
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| null |
In addition, he has directed or produced documentaries such as Bukowski, Chuck Berry Hail! Hail! Rock ‘n’ Roll, and the Oscar®-winning When We Were Kings, as well as music videos for artists such as Lionel Richie and Phil Collins.
Hackford received an Academy® Award for Live Action Short Subject for Teenage Father in 1979 and two Oscar® nominations for Best Director and Best Picture for Ray, as well as a DGA nomination for directing. He also garnered a DGA nomination for his work on An Officer and a Gentleman, a Best Director Award for Blood In, Blood Out at the Tokyo International Film Festival, and a Lifetime Achievement Award in Directing from the San Francisco International Film Festival.
Taylor Hackford currently serves as the President of the Directors Guild of America. His service to the Guild began in 1996 as a member of the Western Directors Council. He then served on the DGA’s National Board from 2001 to 2005 when he was elected Third Vice President. In 2009, Hackford was elected President of the Directors Guild. For his service to the Guild, he was honored with the DGA’s 2007 Robert B. Aldrich Award.
|
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https://www.publicradiotulsa.org/2004-10-21/playing-a-genius-jamie-foxx-takes-on-ray-charles
|
en
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Playing a 'Genius': Jamie Foxx Takes on Ray Charles
|
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[] |
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[
""
] | null |
[
"Michele Norris"
] |
2004-10-21T00:00:00
|
When Ray Charles died in June of this year, Hollywood was already at work on his film biography. NPR's Michele Norris talks with actor and comedian Jamie Foxx, who portrays the musical legend in Ray.
|
en
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/apple-touch-icon.png
|
Public Radio Tulsa
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https://www.publicradiotulsa.org/2004-10-21/playing-a-genius-jamie-foxx-takes-on-ray-charles
|
When film director Taylor Hackford decided to bring the Ray Charles story to the big screen, he knew the project had great potential -- and great risk. A film biography would only work if he could find just the right actor to portray the musical legend.
At first, Jamie Foxx may not have seemed like a natural choice for the leading role. He made his name as a comedian, and in film, usually played tough guy roles. But in an interview with NPR's Michele Norris, Foxx reveals that there's more to his resume. A trained classical pianist and gifted singer, Foxx convinced the filmmakers that he could embody Charles on screen in the way he moved, spoke and sang.
Copyright 2022 NPR. To see more, visit https://www.npr.org.
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https://cinemorgue.fandom.com/wiki/Category:Films_directed_by_Taylor_Hackford
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en
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Films directed by Taylor Hackford
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[
""
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[
"Contributors to Cinemorgue Wiki"
] | null |
en
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https://static.wikia.nocookie.net/cinemorgue/images/4/4a/Site-favicon.ico/revision/latest?cb=20210527220142
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Cinemorgue Wiki
|
https://cinemorgue.fandom.com/wiki/Category:Films_directed_by_Taylor_Hackford
|
Don't have an account?
Register Sign In
|
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2659
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https://www.allmovie.com/artist/taylor-hackford-an3733
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en
|
Music Search, Recommendations, Videos and Reviews
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[] |
[] |
[
""
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[] | null |
AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
|
en
|
AllMusic
|
https://www.allmusic.com/updated
| ||||||
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https://people.com/movies/who-is-taylor-hackford-helen-mirren-husband/
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en
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Who Is Helen Mirren's Husband? All About Taylor Hackford
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2022-12-15T16:09:00-05:00
|
Helen Mirren has been married to award-winning director Taylor Hackford since 1997. Here is everything to know about the actress' husband.
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en
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/favicon.ico
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Peoplemag
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https://people.com/movies/who-is-taylor-hackford-helen-mirren-husband/
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Helen Mirren and her husband, Taylor Hackford, are both Oscar winners.
The actress starred in her first movie, The Age of Consent, when she was 22. She became a household name in TV during her time on Prime Suspect, which earned her an Emmy for outstanding actress in a mini-series or movie. Other major roles in her career include The Madness of King George, which earned her an Oscar nomination; Gosford Park, which earned her a second Oscar nomination; and The Queen for which she won an Oscar.
Hackford also has an impressive résumé, earning his first Academy Award in 1979 for the film Teenage Father. He and Mirren dated for a decade before getting married in Scotland in 1997 and they've been together ever since.
So, who is Helen Mirren's husband? Here's everything to know about Taylor Hackford.
He went to USC
Hackford grew up in Santa Barbara, California, and attended the University of Southern California but did not study film, despite becoming a successful director. Instead, he studied international relations and went to the Peace Corps. He also went to law school for two weeks and eventually got a job in the mail room at a public television station in Los Angeles.
"Every night I'd go around to the repertory cinemas and see whatever I could, every Fellini film, every Godard, every Truffaut, Bergman, all the stuff you have to see," he told the Director's Guild of America in 2015. "And whenever I had a moment, I'd experiment a little with my Super 8 camera. One day someone at the station asked me if I could shoot film, and I said sure — though I'd never shot 16 mm film in my life. I didn't screw up too badly, so they put me on camera doing political reporting, cultural affairs and music shows. As long as I didn't sleep or eat, I could do everything."
He is an award-winning director
Hackford has directed and produced many films. In 1979, he won the Academy Award for Best Live-Action Film for Teenage Father. His second film, An Officer and a Gentleman (1982), which starred Richard Gere and Debra Winger, garnered five Academy Award nominations. His other films include Against All Odds (1984), Blood In, Blood Out (1993), Dolores Claiborne (1995) and Ray (2004). Hackford was nominated for Best Achievement in Directing and Best Motion Picture of the Year for Ray.
He was also the president of the Director's Guild of America for two terms.
He's shot multiple music videos
Hackford has directed award-winning movies, but that's not all. He's also directed multiple music videos for Lionel Richie and Phil Collins. "In documentaries as in any film project, I want to tell a story, and part of the story here is understanding what the performer is saying, whether it's a vocal or a guitar solo," he told the Director's Guild of America. When two or three or four guitarists are playing together, something's happening there, dialogue is being exchanged. Why would you cut any differently, when you're trying to understand what's being said?"
The Oscar winner said he's loved music from an early age and recalled the moment he discovered Ray Charles' songs. "The first time I heard Ray Charles, I knew he was a cut above. He was my guy. That's why I spent 13 years trying to raise the money to make a biography of him."
He has two sons from previous marriages
The director welcomed his first son, Rio Hackford, with his first wife Georgie Lowres. After splitting from Loewres in 1972, he went on to wed Lynne Litman, with whom he shares son Alexander Hackford.
Hackford's elder son Rio starred in a variety of TV shows and movies including Pretty Woman, The Mandalorian, Treme, American Crime Story, Fred Claus, Swingers, True Detective and Pam & Tommy. He died in April 2022 at age 51 from uveal melanoma, a rare and aggressive form of cancer.
In an exclusive statement to PEOPLE, Hackford and Mirren said they were "both inspired by the life of our son and stepson, Rio Hackford, and heartbroken by his loss. His life showed us how to live in generosity and community." They added, "He shared his life's journey with so many who now mourn him, and at the same time, celebrate their fortune in knowing him."
He dated Mirren for a decade before getting married
Mirren and Hackford were together for 11 years before they got married in 1997 in Scotland. "I did very consciously choose my work over my relationships right up to the time that I met Taylor. I was 38 when I met Taylor, pretty late in life," Mirren told AARP in 2016.
"We got married in the end because we realized that we were going to be together forever," she explained. "We got married, ultimately, for legal reasons more than anything else. Estate planning and other complicated things like that. And our families, we sensed, wanted us to be married. I always said I have nothing against marriage; it just wasn't to my taste, like turnips. It took me a very long time to come round to acquiring the taste. I just had to meet the right turnip."
In February 2024, Hackford told PEOPLE that there was "instant passion" when he met Mirren.
“She’s a very sexy girl and she still is. But the reality is, over a period of time, you start to — you mature," he said. “She’s just a fantastic person to live with, to have a family with. We don’t have children [together], but I had children and she has nieces and nephews and we are all a very close-knit group and that’s lovely.”
He's very supportive of Mirren's acting career
Hackford has joined his wife of over 20 years on dozens of red carpets. He accompanied her to the 1999 Emmys, where Mirren won outstanding lead actress in a limited series for her role in The Passion of Ayn Rand. He was also present at the 2007 Academy Awards when she won Best Actress for her role in The Queen.
In 2010, the pair hit the red carpet for Mirren's action comedy Red. Hackford also visited Mirren's wax figure at Madame Tussauds in London that same year. When Mirren got her star on the Hollywood Walk of Fame in 2013, he posed for photos with her as well.
In January 2024, Hackford accompanied Mirren to the 81st annual Golden Globes, where she was nominated for best female actor in a TV series for her work in Taylor Sheridan's 1923.
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https://www.foxnews.com/entertainment/jamie-foxx-5-things-you-might-not-know-about-academy-award-winning-star
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en
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Jamie Foxx: 5 things you might not know about Academy Award-winning star
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2023-04-13T20:00:31-04:00
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Jamie Foxx began his career as a stand-up comedian before turning to acting and winning an Oscar. He's also earned Grammy awards and studied music in college.
|
en
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//static.foxnews.com/static/orion/styles/img/fox-news/favicons/favicon.ico
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Fox News
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https://www.foxnews.com/entertainment/jamie-foxx-5-things-you-might-not-know-about-academy-award-winning-star
|
As a comedian, musician, actor, filmmaker and father, Jamie Foxx is beyond a triple threat.
The 55-year-old actor earned top industry accolades and won an Oscar for his portrayal of Ray Charles in the 2004 film "Ray," but Foxx has been performing nearly his entire life.
His daughter, Corinne Foxx, revealed Wednesday that Foxx suffered a "medical complication" the day before, and "quick action and great care" helped guide him toward recovery. His family has not disclosed Foxx's medical issue.
"Nothing further is being provided from the family at this time," Foxx's representatives told Fox News Digital Thursday.
JAMIE FOXX SUFFERS ‘MEDICAL COMPLICATION,’ DAUGHTER CORRINE SAYS: ‘HE IS ALREADY ON HIS WAY TO RECOVERY’
Production crews in Atlanta reportedly shut down filming his latest project, "Back in Action," Wednesday, but resumed on Thursday "using a stand-in for Foxx on set," a source told People. A scene scheduled for Sunday has also reportedly been canceled due to "changes in production."
With more than 30 years of entertainment industry experience under his belt, here's a look at five things you might not know about Jamie Foxx.
What's in a name?
He was a natural comedian and loved telling jokes from a young age.
Foxx was dared to perform at an open mic night, and he immediately fell in love with stand-up comedy.
"It was the most incredible feeling," he told Texas Monthly. "It was, ‘OK, I think I know what I want to be right now.’"
He noticed that women were usually called to the stage first, so he changed his name to something more ambiguous and gender-neutral.
WILL JAMIE FOXX'S COMEDY ‘ALL-STAR WEEKEND’ SUCCUMB TO CANCEL CULTURE?' EXPERTS WEIGH IN
Born Eric Marlon Bishop, he became known as Jamie Foxx.
He picked the moniker as a tribute to comedian Redd Foxx, a pioneer in the civil rights movement who found television success portraying Fred G. Sanford on "Sanford and Son."
On the "Redd Foxx: We've Come to Join You" podcast, Jamie discussed his name change as an ode to one of the greats.
"It was a tip of the hat to him that I chose that name, and the name stuck, and I have to be thankful to him for blazing the trail as a comedian and allowing me to sort of ride on his coattails," he said.
Music matters
Jamie grew up in a religious household. He was adopted by his grandmother, Estelle Talley, when he was a baby after his biological parents rejected him.
JERRY SEINFELD RETURNS FOR ‘COMEDIANS IN CARS’ WITH NEW GUESTS JAMIE FOXX, SETH ROGEN AND MORE
Talley began taking Foxx to piano lessons when he was 5, and by the time he was 13, he was the musical director at a local Baptist church. He told Texas Monthly that he earned $75 each Sunday, saying, "Church is big time!"
He continued to pursue piano throughout high school, which landed him a scholarship at the U.S. International University in San Diego, where he studied classical music and composition.
The keys also helped him with side hustles, and he sang in a "terrible" R&B band called Leather and Lace while in school.
With his career exploding with roles on "In Living Color" followed by his own sitcom, "The Jamie Foxx Show," and then working in movies alongside Robin Williams in "Toys" and with Will Smith in "Ali," Foxx got into the studio to show off his vocal range for his first album, "Peep This."
One decade later, he was featured on the 2003 Kanye West and Twista song, "Slow Jamz," which reached No.1 on the Billboard 100, and then again with West on "Gold Digger." The hit included a Ray Charles-inspired hook of "I Got a Woman," somewhat foreshadowing his future work with the acclaimed pianist.
JAMIE FOXX SAYS DIRECTOR ONCE CALLED HIM ‘HORRIBLE,’ KICKED HIM ‘THE F--K’ OUT
His second album, "Unpredictable," was released in December 2005 and received Grammy nods, but it was his third album in 2008, "Intuition," that turned the music world upside down.
"Blame It," featuring T-Pain, earned Foxx his first Grammy. He's been nominated a total of 10 times.
When "Ray" director Taylor Hackford approached Jamie about playing the role of the legendary musician Ray Charles in 2004, Hackford didn't know about Jamie's instrumental background and was blown away by Foxx's talent.
"Taylor didn’t know that I play piano, so he said, ‘I gotta figure out a way to shoot your face and then shoot somebody else’s hands playing.’ And I said, ‘No, no, I actually play. I’ve been playing since I was 5.’ That opened up a whole different thing," Foxx told the Jazz Times.
"Since I can play, we could stay in the same frame and shoot through the playing of the music and the singing at the same time, which was a huge plus."
Family first
Foxx's world was turned upside down when his younger sister, DeOndra Dixon, died in October 2020. She was 36.
He wrote on social media at the time that his heart "is shattered into a million pieces." Foxx added DeOndra "transitioned" and said "she will always be alive… anyone who knew my sis… knew that she was a bright light."
Foxx continued, "I can’t tell you how many times we have had parties at the house where she has got on the dance floor and stolen the show... even gave her boyfriend @chrisbrownofficial a run for his money... well I know she is in heaven now dancing with her wings on...tho my pain is unbelievable I smile when I think of all of the great memories that she left me... my family... and her friends."
Jamie's sister danced in the "Blame It" video and also on the Grammys. He was proud of her accomplishments, especially becoming the ambassador to the Global Down Syndrome Foundation.
Shortly after her death, the foundation created the DeOndra Dixon Fund in her honor. Foxx told Extra two months after DeOndra died that their family was "getting along" as best they could.
"It was so much pain, man. My mother, my father and my sister, they all live with me. It was so much pain," he said.
The nonprofit sent a message of support to Jamie Thursday.
Dixon began participating in the Special Olympics in the sixth grade. She competed for nearly a decade and moved from her native Texas to California, where she lived with Foxx after graduating from high school in 2002.
"I feel I was born to dance. I want to be a professional dancer," Dixon’s foundation bio said. "My brother has given me a chance to do some special things. I danced in his video ‘Blame It.’ I’ve danced on stage at some of his concerts all over the country. And guess what? I’ve danced at the Grammys!"
"Collateral" carry-over
Jamie received an Academy Award for "Ray" the same year that he was nominated for best supporting actor in "Collateral."
He starred as a Los Angeles cab driver turned hostage by a hitman on a killing spree (Tom Cruise) in the neo-noir action flick directed by Michael Mann.
The star-studded cast included Jada Pinkett Smith and Mark Ruffalo, and the film grossed more than $220 million at the box office. Months after its release, Cruise went public about his relationship with Katie Holmes.
Holmes and Cruise were married six years and have one daughter, Suri Cruise. They divorced in 2012.
KATIE HOLMES, JAMIE FOXX'S ALLEGED SECRET ROMANCE EXPLAINED
Foxx and the "Dawson's Creek" star reportedly began dating in 2013 but kept their romance out of the spotlight for years.
They made their red carpet debut at the Met Gala in 2019, six years into their relationship.
Weeks later, they were both single again.
Foxx and fame
Jamie helped Cameron Diaz come out of retirement with their latest film, "Back in Action."
CLICK HERE TO SIGN UP FOR THE ENTERTAINMENT NEWSLETTER
The movie, which has been filming in London and Atlanta since September, marks Diaz's return to the silver screen after her last starring role in 2014 alongside Jamie in "Annie."
He tweeted an audio conversation with Cameron and retired quarterback Tom Brady in June.
"Cameron I hope you aren’t mad I recorded this, but no turning back now. Had to call in the GOAT to bring back another GOAT," Foxx captioned his Twitter post. "Cameron Diaz and I are BACK IN ACTION - our new movie with Netflix. Production starting later this year!!"
Diaz and Foxx also starred together in the 1999 football flick "Any Given Sunday."
Foxx has a total of 11 projects in the works, according to IMDb.
CLICK HERE TO GET THE FOX NEWS APP
The long-awaited Mike Tyson biopic has been in the works for nearly a decade and was initially revealed as a feature film before taking on a TV movie structure. Tyson will serve as an executive producer with Foxx, in addition to Antoine Fuqua and Martin Scorsese.
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https://www.tvguide.com/celebrities/taylor-hackford/bio/3030197985/
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Taylor Hackford Biography
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Read all about Taylor Hackford with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide.
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https://www.tvguide.com/celebrities/taylor-hackford/bio/3030197985/
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Fast Facts
After graduating from college, spent two years in Bolivia as part of the Peace Corps
While filming his time in Bolivia, fell in love with the medium and gave up his desire to study law
Earned two local Emmys in the 1970s for his work as an investigative reporter for KCET in Los Angeles
Made his big-screen directorial debut in 1980 with the rock biopic The Idolmaker
Scored his biggest hit as a director with the 1982 romance An Officer and a Gentleman
Met his wife, actor Helen Mirren, on the set of his 1985 drama White Nights
Has become known for his documentary profiles and biopics, including the acclaimed Chuck Berry: Hail! Hail! Rock 'n' Roll (1987) and the Oscar-winning Ray (2004)
Succeed Michael Apted as president of the Directors Guild of America in 2009
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https://www.dga.org/Craft/VisualHistory/Interviewers/Hackford
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In addition, he has directed or produced documentaries such as Bukowski, Chuck Berry Hail! Hail! Rock ‘n’ Roll, and the Oscar®-winning When We Were Kings, as well as music videos for artists such as Lionel Richie and Phil Collins.
Hackford received an Academy® Award for Live Action Short Subject for Teenage Father in 1979 and two Oscar® nominations for Best Director and Best Picture for Ray, as well as a DGA nomination for directing. He also garnered a DGA nomination for his work on An Officer and a Gentleman, a Best Director Award for Blood In, Blood Out at the Tokyo International Film Festival, and a Lifetime Achievement Award in Directing from the San Francisco International Film Festival.
Taylor Hackford currently serves as the President of the Directors Guild of America. His service to the Guild began in 1996 as a member of the Western Directors Council. He then served on the DGA’s National Board from 2001 to 2005 when he was elected Third Vice President. In 2009, Hackford was elected President of the Directors Guild. For his service to the Guild, he was honored with the DGA’s 2007 Robert B. Aldrich Award.
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https://boo.world/database/profile/18659/taylor-hackford-personality-type
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en
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Taylor Hackford's Personality Unveiled: MBTI, Enneagram and More
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What 16 personality type is Taylor Hackford from Film Directors? Find out Taylor Hackford's 16 type, Enneagram, and Zodiac sign in the Soulverse, the comprehensive personality database.
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Boo
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https://boo.world/database/profile/18659/taylor-hackford-personality-type
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Taylor Hackford Personality Type
Taylor Hackford is an ENTP, Capricorn, and Enneagram Type 2w3.
What is Taylor Hackford's personality type?
|
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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Taylor Hackford
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https://en.wikipedia.org/wiki/Taylor_Hackford
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American film director
Taylor Edwin Hackford (born December 31, 1944) is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father (1979). Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman (1982) and Ray (2004), the latter of which saw him nominated for the Academy Award for Best Director and the Academy Award for Best Picture.
Early life
[edit]
Hackford was born in Santa Barbara, California, the son of Mary (née Taylor), a waitress, and Joseph Hackford.[1] He graduated from the University of Southern California in 1968,[2] where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. The camera was purchased for him by fellow Peace Corps volunteer, Steve Ball. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.[3] At KCET he was the associate producer on the Leon Russell special "Homewood" in 1970.[4] In 1973 at KCET he produced the one-hour special Bukowski (about the poet Charles Bukowski), directed by Richard Davies.[5]
Career
[edit]
Hackford's feature directorial debut was The Idolmaker starred Ray Sharkey, who was awarded a Golden Globe for Best Actor for his portrayal of "Vinnie" in the film. The Music Supervisor was Richard Flanzer.[6] Hackford said of The Idolmaker, "I make films about working-class people; showbusiness is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has to make it happen through puppets."
During the filming of An Officer and a Gentleman, Hackford kept Lou Gossett Jr. in separate living quarters from the other actors so he could intimidate them more during his scenes as a drill instructor.[7] Richard Gere originally balked at shooting the ending, which involves his character arriving at his lover's factory wearing his Navy dress whites and carrying her off from the factory floor. Gere thought the ending would not work because it was too sentimental, and Hackford was initially inclined to agree with Gere, until during a rehearsal when the extras playing the workers began to cheer and cry. But when Gere saw the scene later with the music underneath it at the right tempo, he said it sent chills up the back of his neck, and is now convinced Hackford made the right decision.[8]
In 1983, Taylor Hackford partnered with Keith Barish, film producer, to co-develop a film version of At Play in the Fields of the Lord, for which both Hackford and Barish received a lawsuit in 1986, claiming they had an option to exercise the rights from MGM/UA Entertainment Co., a film distributor.[9]
Hackford said of his film Ray: "My proudest moments in Ray were in those 'chitlin' clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and quietly listen to a genius perform. But in these clubs, he had to get people up dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet."[6]
In a 2005 interview, Hackford confirmed that he never watched his own films: "When I finish a film, I put it away and I never look at it again. Occasionally I do now because of the DVDs and the commentary tracks. I usually put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L.A. I worked in concerts. I have done a lot of music. I feel very comfortable shooting music, and I think you can see that."[10] Hackford has also directed music videos, including "Against All Odds (Take a Look at Me Now)" by Phil Collins and "Say You, Say Me" by Lionel Richie.
On July 25, 2009, Hackford was elected president of the Directors Guild of America.[11] He was re-elected to a second, two-year term as president on June 25, 2011, at the DGA's National Biennial Convention in Los Angeles.[12]
Hackford is attached to direct the neo-noir action thriller film Sniff, starring Morgan Freeman, Al Pacino, Helen Mirren and Danny DeVito.[13]
Personal life
[edit]
Hackford has been married three times. He married his first wife, Georgie Lowres, in 1967; they have one child, Rio Hackford (1970–2022). The couple divorced in 1972. In 1977, Hackford married Lynne Littman, with whom he has one child, Alexander Hackford, born in 1979; their marriage lasted until 1987. Hackford has been married to Academy Award-winning actress Helen Mirren since 1997.
Hackford met Mirren when he was directing her in White Nights, although their first meeting did not go well: he kept her waiting to audition for White Nights, and she was icy. "It was a strange way to meet Helen, because she is a lovely person," says Hackford, "but she didn't hold back her fury."[14] Hackford and Mirren wed in 1997, although as a young woman Mirren had vowed never to marry.[14] The couple live along the Nevada side of Lake Tahoe.[15]
In 2009, Hackford signed a petition in support of director Roman Polanski, calling for his release after his arrest in Switzerland in relation to his 1977 charge for statutory rape,[16] after Steve Cooley, the Los Angeles District Attorney, tried to prosecute Polanski.[17]
Filmography
[edit]
Year Film Director Producer Writer Notes 1973 Bukowski No Yes Yes Documentary 1978 Teenage Father Yes Yes Yes Short film
Academy Award for Best Live Action Short Film 1980 The Idolmaker Yes No uncredited 1982 An Officer and a Gentleman Yes No No Nominated- Directors Guild of America Award for Outstanding Directing 1984 Against All Odds Yes Yes No 1985 White Nights Yes Yes No 1987 Hail! Hail! Rock 'n' Roll Yes No No Documentary 1988 Everybody's All-American Yes Yes No 1993 Blood In, Blood Out Yes Yes No (originally: Bound by Honor) 1995 Dolores Claiborne Yes Yes No 1997 The Devil's Advocate Yes Executive No 2000 Proof of Life Yes Yes No 2004 Ray Yes Yes Story Nominated- Academy Award for Best Picture
Nominated- Academy Award for Best Director
Nominated- Directors Guild of America Award for Outstanding Directing 2010 Love Ranch Yes Yes No 2013 Parker Yes Yes No 2016 The Comedian Yes Yes No TBA Sniff Yes Yes No
References
[edit]
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Taylor Hackford: Movies, TV, and Bio
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Browse Taylor Hackford movies and TV shows available on Prime Video and begin streaming right away to your favorite device.
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https://www.amazon.co.uk/prime-video/actor/Taylor-Hackford/amzn1.dv.gti.27438293-6120-4c17-808e-ce3655b67662/
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Taylor Hackford Movies: Latest and Upcoming Films of Taylor Hackford
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Taylor Hackford Movies: Check out the list of latest Taylor Hackford movies and upcoming Taylor Hackford movies along with movie trailers, videos, songs, photos, movie review and more only on Times of India
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https://timesofindia.indiatimes.com/topic/Taylor-Hackford/movies
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Taylor Hackford
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Taylor Edwin Hackford is an American film director, and the current president of the Directors Guild of America. Hackford was born in Santa Barbara, California, the son of Mary, a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a...
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en
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https://static.wikia.nocookie.net/filmguide/images/4/4a/Site-favicon.ico/revision/latest?cb=20230313154015
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Moviepedia
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https://movies.fandom.com/wiki/Taylor_Hackford
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Taylor Edwin Hackford is an American film director, and the current president of the Directors Guild of America.
Early Life[]
Hackford was born in Santa Barbara, California, the son of Mary, a waitress, and Joseph Hackford. He graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time. He decided that he did not want to pursue a career in law, and instead got a mailroom position at KCET-TV.
Career[]
Richard Gere balked at shooting the ending of Hackford's movie An Officer and a Gentleman where his character arrives at his lover's factory wearing his Navy dress whites and carries her off from the factory floor. Gere thought the ending wouldn't work because it was too sentimental. Hackford was initially inclined to agree with Gere until during a rehearsal the extras playing the workers began to cheer and cry. When Gere saw the scene later with the music underneath it at the right tempo, he said it sent chills up the back of his neck. Gere is now convinced Hackford made the right decision. Hackford kept Lou Gossett Jr. in separate living quarters from the other actors during An Officer and a Gentleman so he could intimidate them more during his scenes as a drill instructor.
About his film, The Idolmaker, Hackford stated: "I make films about working-class people; showbusiness is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has [that] to make it happen through puppets." The Idolmaker starred Ray Sharkey. A Golden Globe for Best Actor was awarded to Sharkey for his portrayal of "Vinnie" in the film. The Music Supervisor was Richard Flanzer. Hackford stated about his movie Ray: "My proudest moments in Ray were in those 'chitlin' clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and quietly listen to a genius perform. But in these clubs, he had to get people up dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet."
In a 2005 interview, he confirmed that he never watched his own films, "When I finish a film, I put it away and I never look at it again. Occasionally I do now because of the DVDs and the commentary tracks. I usually put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L.A. I worked in concerts. I have done a lot of music. I feel very comfortable shooting music, and I think you can see that."
Hackford has directed music videos, including "Against All Odds (Take a Look at Me Now)" by Phil Collins and "Say You, Say Me" by Lionel Richie.
On July 25, 2009, Hackford was elected President of the Directors Guild of America. He was re-elected to a second, two-year term as President on June 25, 2011, at the DGA's National Biennial Convention in Los Angeles.
Trivia[]
Graduated from USC School of Cinema-Television (1968)
Before marrying Helen Mirren in 1997, he had lived with her in Los Angeles since 1986.
Graduated from USC School of International Relations
Married Helen Mirren on New Year's Eve 1997, his 53rd birthday.
Was named new president of the Director's Guild in July 2009.
Met third wife Helen Mirren when he directed her in White Nights (1985).
[]
IMDB
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https://www.architecturaldigest.com/story/helen-mirren-taylor-hackford-re-list-historic-la-home
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Helen Mirren and Taylor Hackford Re-List Their Historic L.A. Home for $17 Million
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The historic property has a legacy of very notable Hollywood owners starting in 1911
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Architectural Digest
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https://www.architecturaldigest.com/story/helen-mirren-taylor-hackford-re-list-historic-la-home
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Hollywood power couple Dame Helen Mirren and movie director Taylor Hackford have once again listed their historic Los Angeles home for sale. The Oscar-winning couple first listed their property in the summer of 2021 for $18.5 million while at the same time putting it up for rent at $45,000 a month. According to public record, a deal on the eight-bedroom, eleven-bathroom estate went into contract, but eventually fell through in September of that year.
Built in 1911 for multi-hyphenate entertainer Dustin Farnum, known best for starring in silent films like Cecile B. Mille’s Squaw Man, the property has a rare heritage, boasting a history of just four owners, all of whom were Hollywood luminaries (including Hackford, who purchased the property in the 1980s).
"It's very unusual to have a house that's over 100 years old and it's only had four owners over that time," Hackford told the Wall Street Journal shortly after the first listing. According to the current listing with realtor Stephen Apelian, writer and producer Mark Hellinger, whose short story inspired the classic 1939 Hollywood gangster film The Roaring Twenties starring Humphrey Bogart and James Cagney, was the second owner. Hackford eventually purchased the property a few years after the death of previous owner Gail Patrick. Patrick was one of the first and most successful female television producers of her time, whose work includes executive producer of the popular CBS crime series Perry Mason, which ran from 1956-1967.
Perched on a hill that abuts protected Runyon Canyon Park, the uber private 6.5-acre-property comprises a two-story main residence and a three-bedroom guest cottage that shares the gorgeous landscaped space with a pool, a five-car garage, enormous terrace, and numerous mature trees. On the inside, many old-world details have been maintained (even though it is uncertain if they are original) like the terracotta-tiled floors in the chef’s kitchen and some bathrooms, and the exposed-brick fireplace in the kitchen’s dining area. The charming house’s floor plan is configured in such a way that spectacular views of lush vegetation and the city skyline can be seen from almost every room.
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Hackford has had an illustrious career in Hollywood, winning an Oscar in 1979 for Best Live Action Short Film, Teenage Father, and directing many notable movies like 2004’s Ray and 1982’s An Officer and a Gentleman. London-born Mirren, who has achieved the triple-crown of acting in both the United States and England, was appointed as a dame in 2003 by the late Queen Elizabeth II. Hackford and Mirren have been a couple since 1986, marrying a decade later.
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https://pakistaninewspaperlist.com/news/who-is-taylor-hackford-all-about-helen-mirrens-husband/
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en
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Who is Taylor Hackford? All About Helen Mirren’s Husband – Pakistan Daily News Updates
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Taylor Hackford is a Multi-talented Filmmaker.
Hackford was born on December 31, 1944, in Santa Barbara, California.
He is known for his roles as a director, producer, and screenwriter.
Taylor Hackford, born on December 31, 1944, in Santa Barbara, California, is a multi-talented filmmaker known for his work as a director, producer, and screenwriter. His journey in the film industry began in the 1970s when he honed his craft by directing documentaries and television films before transitioning to feature films.
Hackford’s breakthrough came with the critically acclaimed biographical drama “An Officer and a Gentleman” in 1982, which earned him widespread recognition and accolades. The film’s success catapulted him into the ranks of Hollywood’s elite directors, paving the way for a prolific career marked by a diverse array of projects spanning various genres.
Throughout his career, Taylor Hackford has demonstrated a keen eye for storytelling, tackling complex themes with nuance and authenticity. From the gritty realism of “Blood In, Blood Out” to the electrifying energy of “Ray,” his films resonate with audiences worldwide, earning praise for their emotional depth and cinematic craftsmanship.
In addition to his directorial prowess, Hackford has also made significant contributions as a producer, bringing compelling stories to the screen that captivate and inspire. His collaborations with talented actors and filmmakers have resulted in some of cinema’s most memorable moments, solidifying his reputation as a visionary storyteller.
Beyond his achievements in film, Taylor Hackford is also known for his role as the husband of Helen Mirren, the Oscar-winning actress known for her mesmerizing performances on stage and screen. The couple’s love story began in the early 1980s when they met on the set of “White Nights,” a romantic drama directed by Hackford.
Their relationship blossomed over the years, culminating in a fairy tale wedding in 1997. Since then, Hackford and Mirren have remained inseparable, sharing a deep bond grounded in mutual respect, admiration, and a shared passion for their craft.
Despite their busy schedules and the demands of Hollywood life, Taylor Hackford and Helen Mirren prioritize their relationship, cherishing moments of togetherness amidst their respective careers. Their partnership serves as a testament to the enduring power of love and companionship in an industry known for its transient nature.
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https://peacecorpsworldwide.org/the-volunteer-who-became-a-nationally-known-film-director-and-producer-taylor-hackford-bolivia/
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en
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The Volunteer who became a nationally known film director and producer — Taylor Hackford (Bolivia) – Peace Corps Worldwide
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2023-04-01T09:15:39-07:00
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en
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https://peacecorpsworldwide.org/the-volunteer-who-became-a-nationally-known-film-director-and-producer-taylor-hackford-bolivia/
|
Jeremiah Norris (Colombia 1963-65)
•
After graduating from the University of Southern California, Taylor Hackford served as a Peace Corps Volunteer in Bolivia from 1968 to 1969.
While in Bolivia, he started using a Super 8 movie camera in his spare time — a camera purchased for him by a fellow Volunteer. After his volunteer days, Taylor decided that he did not want to pursue a career in law as he had earlier considered, and instead found a mailroom job at KCET, a public TV station in Los Angeles, where, in 1970, he became an associate producer on the Leon Russell special “Homeword.” Then, In 1973, again at KCET, he produced a one-hour special “Bukowski” about the poet Charles Bukowski.
Although he had never gone to film school, Taylor went on to be director of 15 major films, producer of 13 others, and the executive producer of 7 more. He was director of The Idolmaker in which Ray Sharkey was awarded a Golden Globe for Best Actor for his portrayal of Vinne. Taylor said of this film: “I make films about working-class people; show business is one of those things through which people can get themselves out of the lower rung of society. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a fairly strong ego has to make it happen through puppets”.
In 1982, a film that went on to win the Directors Guild of America Award for Outstanding Directing was An Officer and a Gentleman. In the film, Taylor kept Lou Gossett in a separate living quarters from other actors so he could intiminate them more during his scenes as a drill instructor. In a famous scene, Richard Gere originally balked at shooting its ending, which involves his character arriving at his lover’s factory wearing his Navy Dress Whites and carrying her off the factory floor. Gere thought the ending would not work because it was too sentimental. Taylor was initially inclined to agree with Gere until during rehearsal when extras playing the workers began to cheer and cry. But when Gere saw the scene later with music underneath at the right tempo, he said it sent chills up the back of his neck, and he was now convinced that Taylor made the right decision.
In 2004, Taylor, commenting on his film Ray, the story of the life and career of the legendary rhythm and blues musician Ray Charles, that “his proudest moments were in those ‘chitlin’ clubs. (Later in life Ray played in concert halls, where people would go in tuxedos and quietly listen to a genius perform.) In those clubs, he tried to get people up and dancing. What I tried to create was a little of that energy and exuberance. The great thing about music is when you can get people on their feet.” In 2004, for this film, Taylor was nominated for the Academy Award as Best Director and the Academy Award for Best Picture. Jamie Foxx, who played Ray, won the Academy Award for Best Actor in a Leading Role .
In a 2005 interview, Taylor confirmed that he never watched his own films. He said: “when I finish a film, I put it away and never go back to it again. Occasionally, I do now because of DVDs and the commentary tracks. I usually put it aside and go onto the next one.. He also directed music videos, including ‘Say You, Say Me’ by Lionel Richie. In 1987, Taylor developed and produced La Bamba, the most successful Latin-themed feature film in history.
In 2009, Taylor was elected president of the Directors Guild of America (DGA). He was reelected to a second term as president in 2011 at the DGAs National Biennial Convention in Los Angeles.
In that time of his life since his days as a Volunteer in Bolivia where he began his highly acclaimed professional film career with his Super 8 camera, Taylor Hackford has used the enduring quality of film to entertain and inform millions of people around the world, meriting him a Profile in Citizenship.
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https://www.combustiblecelluloid.com/interviews/hackford.shtml
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en
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Combustible Celluloid interview
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Interview with Taylor Hackford
Working Classy
By Jeffrey M. Anderson
Russell Crowe (left) with director Taylor
Hackford on the set of Proof of Life.
American director Taylor Hackford today appears at the San Francisco International Film Festival to collect his lifetime achievement award in directing and to screen his feature directorial debut, The Idolmaker (1980). Mr. Hackford, 59, was recently nominated for an Oscar for his acclaimed film Ray, and has also directed An Officer and a Gentleman (1982), Dolores Claiborne (1995), The Devil's Advocate (1997) and Proof of Life (2000). I spoke to him via phone about his life's work.
Combustible Celluloid: How did you come to choose "The Idolmaker" to show at the festival?
Taylor Hackford: It was an interesting piece because, as opposed to a genius musician [like Ray Charles], it's also about another era. It's somebody who didn't have classic good looks and didn't make it in show business. It was the era of Tab Hunter and Rock Hudson; they all had a certain look. It was the idea that Tony (Ray Sharkey) had to find face men and imbue them with a certain talent. Then later, the Al Pacinos and Robert De Niros came along and, they didn't necessarily have the glamour. That is speaking to a particular time.
CC: That time has also come around again to today, with "American Idol" and whatnot.
TH: Less so in the U.S., but in England -- England has a fantastic tradition of music. The Beatles, the Rolling Stones, etc. That rediscovered rock and roll and England has completely lost itself with boy bands. It's just so boring. The compelling story to me is the story of the idolmaker, the guy who doesn't have a lot of self worth. He has a fairly strong ego but has to make that happen through puppets.
CC: My favorite scene is the one in which Tony is standing backstage watching his first creation (Paul Land) perform; he's going through all the same motions behind the curtain.
TH: Bob Marcucci, whom the movie was based on, consulted with me on the script. He still could go through all these little movements that he had taught Frankie Avalon and Fabian. I got the idea of putting him backstage and showing the puppet master really going through it. He wanted in the worst way to be out in front.
CC: In any case, The Idolmaker makes a very interesting comparison to Ray. One is about the guy who gets left behind by the talent, and the other is about the talent who leaves everyone behind.
TH: The thing that's interesting about The Idolmaker. It was my first film, and it was my opportunity. Ray Sharkey was a wonderful talent, and you feel that. Ray is a very different kettle of fish. He's a true genius. But the drive is similar. Ray Charles refused to listen to those people who said "you're a cripple." With his drive and his refusal to accept that, he was striving to prove that he was as good or better than anyone else. I make films about working class people. Show business is one of those things that people can use to get themselves out of the lower rung of society. An Officer and a Gentleman was about getting out through the military. I'm always interested in those vehicles through which people can move. The entertainment business is always a possibility.
CC: I noticed that you're very gifted at shooting music sequences. A great scene in Ray is the on-stage creation of "What'd I Say." Most directors either do too much or too little.
TH: If you zoom in and zoom out, it takes you out of the music. The director's job should give you a sense of music without drawing attention to itself. You're there because something happens live. It's different than on a record. There's something that's being created at the moment. You come up with a visual style that allows you to get in. What I try to do is get inside.
CC: Can you talk a little about your working methods?
TH: When I finish a film, I put it away and I never look at it again. Occasionally I do now because of the DVDs and the commentary tracks. I usually put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L.A. I worked in concerts. I have done a lot of music. I feel very comfortable shooting music, and I think you can see that. The style of The Idolmaker is very heavily influenced by Bob Fosse. There's a lot of style and a lot of movement and camera placement that came from Fosse. Ray was a different kind of piece. My proudest moments in Ray were in those "chitlin" clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and quietly listen to a genius perform. But in these clubs, he had to get people up dancing. He was a dance band. What I tried to create was a little of that energy, a little of that exuberance. The great thing about music is when you can get people on their feet.
CC: Some might portray you as a man's man director, but you've directed several top-notch female performances over the years: Debra Winger, Jessica Lange, Kathy Bates...
TH: I defy you to find a better woman's performance than Kathy bates in Dolores Claiborne -- the kind of pain she was in that she wasn't even aware of. People look at that film and they don't get it. Then they finally clock it that she's this walking wound. She's very smart and very aware of what causes that neurosis. There are a lot of things in that film that I'm very proud of. I tried to quote Magritte the painter, then also getting into the hearts and minds of these three tough women. They've been through the world of men, and have suffered, and are survivors. This is not tooting my own horn; this is singing the praises of the people I work with.
CC: There was one woman in Ray. She was a backup singer, the tallest one. I don't think she had much dialogue, but I couldn't take my eyes off of her.
TH: Aunjanue Ellis. I just completed a pilot with her, and my smile muscles were exhausted. She plays a Marine working in the Pentagon. My editor worked for a week on one scene and he had no idea that she was the same woman he had edited in Ray. But I look at the supporting actress category and none of my women got nominated. My sense is that Ray is an interesting film because Jamie did this performance, but his relationship with these women is a stunning ensemble of emotion.
CC: You're known for working with all different races, creeds and colors in films like Ray and Blood in Blood Out. Obviously that's a benefit, but does it ever cause you any trouble in the movie business?
TH: It's a double-edged sword. You're trying to make films in a commercial medium that are very specific. I try to make films that will convince the most difficult subject. What I was trying to do in An Officer and a Gentleman was convince Marines with Louis Gossett's performance. They're a very tough organization. In this particular instance I was tying to get the Marines to look at him and go, "that's a Marine."
Blood in Blood Out is a movie about the Latino experience. I'm always interested in the working class people. I am one. They're subjugated, they're paid very little and they can make it in show biz. Whether it's James Cagney as an Irishman in Yankee Doodle Dandy or it's La Bamba [which Hackford produced]. Gangster movies are as old as Little Caesar (1930). What I was doing was updating it. But when you do that, when you do something that's ethnic, you risk the white audience, the general audience looking at you and saying, "what are you doing?" And then you get the Latinos saying, "how dare you? Why don't you make films about Latino doctors and lawyers?" On the surface, you can say that Taylor Hackford shouldn't do this because he's white. But when Latinos come up to me and say, "thank you," it means a lot. The Los Angeles riots happened while we were editing it and it almost never came out. It never really got its chance. But today you cannot find Blood In Blood Out in any video store in a Latin neighborhood. It's always checked out.
When black people look at Ray and say, "Yeah... he got it. He got black culture," that's the best compliment I can get.
C: You're the nineteenth director to win this award at the San Francisco International Film Festival. Of the directors that have won before you, whom do you most admire?
TH: Kurosawa. I know my films aren't like his, but he was able to tell a story, with incredible style. He could do the whole thing. He could make you laugh and cry; he could do the violence and the subtlety all at once. And at the end of his career, to do something like Ran, these huge costume dramas. He's in my top five of all time. The other thing that's particularly sweet about this: The first longish film I did was a portrait of Charles Bukoswki and I entered it in the San Francisco Film Festival and it won the "Silver Reel." So the first recognition I got was from the SF film festival.
April 21, 2005
Buy Taylor Hackford movies on DVD
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https://www.loc.gov/item/jots.200026529/
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en
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THE IDOLMAKER
|
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motion picture | Feature film (over 60 minutes). Inc: Dan Higgins, woodwinds. (Soundtrack Personnel). Motion Picture (Form).
|
en
|
The Library of Congress
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https://www.loc.gov/item/jots.200026529/
|
More about Copyright and other Restrictions
For guidance about compiling full citations consult Citing Primary Sources.
Citations are generated automatically from bibliographic data as a convenience, and may not be complete or accurate.
Chicago citation style:
Taylor Hackford, Jeff Barry, and Joe Renzetti. THE IDOLMAKER. USA, 1980.
APA citation style:
Taylor Hackford, Jeff Barry & Joe Renzetti. (1980) THE IDOLMAKER. USA.
MLA citation style:
Taylor Hackford, Jeff Barry, and Joe Renzetti. THE IDOLMAKER. USA, 1980.
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https://bulletproofscreenwriting.tv/taylor-hackford/
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BPS 178: Navigating the Hollywood Machine with Oscar® Winner Taylor Hackford
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2022-03-02T09:30:51+00:00
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Sitting down with one of the big names in this business this week was a really cool opportunity. I am honored to have on the show today, Academy Award-winni ...
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en
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Bulletproof Screenwriting
|
https://bulletproofscreenwriting.tv/taylor-hackford/
|
Alex Ferrari 0:04
I would like to welcome to the show Taylor Hackford, how you doing Taylor?
Taylor Hackford 0:07
I'm doing great.
Alex Ferrari 0:09
Thank you so much for coming on the show. It is a, it is a humbling honor to speak to you. So I'm a huge fan.
Taylor Hackford 0:18
I wanted to say that, you know, it's interesting with your last name, I love it. Well, you know, you got the fast car, but I there was a guy who ran, he ran actually, two different big companies. He ran Columbia Pictures in Italy. And he ran Warner Brothers in Italy. I mean, he was by far the best European distributor of American films I know of. And his name was Paolo, karate. And you know, you drive with him in raw, you know, in Rome, and he'd be driving around, you'd be gripping things. And he looked at you and, and, and raises eyebrows and say, they don't call me FERRARI for nothing.
Alex Ferrari 0:59
Well, if I ever give you a ride, Sir, my Prius does not corner Well, at high speeds.
Taylor Hackford 1:05
Well he's a great guy anyway. Side mentioning his name,
Alex Ferrari 1:12
I appreciate that. So, first, before we get going, how did you get started in the in the business?
Taylor Hackford 1:20
You know, I'm not one of those filmmakers who grew up, you know, with chronic asthma, or, you know, I was in a terrible accident. So I, I lived through movies when I was growing up, you know, I was pretty active in various things, I played sports, I was involved in politics, student politics, all those kinds of things. And, you know, I went to the movies, I liked the movies, I read a lot of books, but I had not really kind of outlined as a child or as a adolescent, or even as a teenager, that this was what I wanted to do. You know, I, as I said, I was a political animal. And I grew up in the 60s, when I say grew up, I reached a majority in the 60s. So when I was in college, you know, is 1967 1968 it was major things that were happening in the world, I think 1968 is still the most momentous year minmatar, free with all the things that happen. And I in 1968, I was in the Peace Corps, I lived in South America in Bolivia. And at that point, I had been, I thought I was going to maybe go to law school, I'd been accepted to law school, I started hanging with some film students, in my senior year in college, and, you know, I'd go to they would series film that, you know, and they go and they, and I spend time looking at their, at the films that they would see, and seeing through their eyes, the study and the process of looking at style. And I got hooked. And I got myself before I went to the Peace Corps, I got myself a super eight camera. And I took it to Bolivia with and I started shooting, you know, just whatever I wanted, you know, making little films that were part and parcel of the experience that I was going through, which was intense, you know, Americans when they grew up, you know, we are so fortunate we so lucky. You know, you live in a culture where most people are healthy, you know, you have media, you have all the conveniences of modern life. When you go to a third world country, you realize that you realize how lucky Americans are. And then you have to confront a different life. You know, we I was living in a, you know, in a barrio outside of La Paz, you know, with mostly imar Indians. And it was it was intense and very interesting. And the process of seeing that, and when the camera, I started shooting, and I was interested, what I'd become interested in when I hung with my film students was the political power of film, the impact what film could do in terms of communicating ideas, and to create change. So without being too pretentious, they know. But at the time, in the 60s, if you were political, you were pretty political. And one of the reasons I was in the Peace Corps was that I didn't want to go to Vietnam, I didn't want to fight in Vietnam, I freely admitted, but I did want to serve my country. So you know, that was an alternative and the alternative i thought was far preferable. And when I was there, it just, you know, you're bombarded with all of this cultural diversity. And, and, and, you know, plus, like, I'm speaking Spanish. I'm learning Spanish and learning and to speak. So it's it's it was a really really positive, very strong experience for me. And what I came to the realization was that I liked shooting film, I liked being able to express myself visually, that it wasn't, you know, I, when I came back from the Peace Corps I was there, got involved in, we created a volunteer newspaper only for volunteers, but still I was. So doing journalism. And what I found was that expression, being able to express myself, both in print and, and on on screen, I mean, these are little screens separate. Remember what I do did. It just captured me. So when I came back from the Peace Corps, I had been accepted law school. And I went, you know, it's kind of like, you have that momentum going, this is what you're supposed to do. And I spent two weeks there in the class, and kind of went, you know, this could be perfectly fine to do in life, you know, I'm sure, but it's not what I want to do. And it was weird, because I didn't have any money. I put any money I had down on tuition. I got up, walked out with, you know, for fitting all of that. And when I was in college, I had been student body president of USC. And I said involved in student government, student politics, and general politics in general, leaning toward the left, I might say. And I had been interviewed at a public television station in Los Angeles called KC et when I was a student politician. And the producer, there had been nice and so on, I just quit law school, drove up to Los Angeles. went over to Casey t asked to see this guy. Just call it a cold call, you know. And basically, he would did remember me and I and he was quite well, he didn't go to film school, did you? I said, No. I majored in international relations and economics. And he goes, Well, I can tell you what, we got room in the mailroom. And it's a good place to go, and you can work your way out and I said, I'll take it. And that was it. So and I was married at the time. You know, my wife had been with me, my then wife was with me in the Peace Corps. I mean, basically, I took a really low paying job, I had to learn how to mimeograph print, and deliver mail. It's a far cry from expressing myself visually. But on the weekends, I still short film. And I and I started going to film you know, I attended a lot of screenings with my friends in the film and film school and I was the scene. But I really started taking it seriously, I would go because there was a lot of, at the time in Los Angeles, there were a lot of repertory film houses and then showed classics. And I basically did what my friends that had been film schools did my though their film students had seen all those films, and I decided I had to do it. So I would go to probably, and this is no baloney. I would probably see 12 1314 movies a week, and I was working full time, ya know, at night, I would go, you know, I would go to see a double feature. You know, you see all of Birdman, you see all the Fellini, you see all of Andre vida, you know, you see all these years, you know, at that time, I was looking at European films, but at the same time, you know, john Ford, Howard Hawks, you know, that, you know, john used in the, the, the great American directors who had style, I was also and so, you know, I was soaking that up, plus, I was out shooting my own kind of super eight and eight millimeter movies. And basically working in the mailroom, and then, you know, I got to know the great thing about being in the mailroom, and I think you hear about it in Hollywood, you get to go to every department, you got to go you get to meet everybody, you're handing them, they're male, that's an important thing. And you shoot the shit, you know, if you're a good bullshitter you, you talk to them about what they're thinking and they either like you or they don't. But there is a process that if they do like you, and they feel that you got something on the ball, they might be you know, it might be conducive to them giving you a break when the time comes. And so there was a there was a show in case at a couple of reporters from the LA Times, and at that time, there was a lot of student ferment going on. When I graduated from college, I got into the Peace Corps I'd come back but it all that political stuff was roiling, and up at UCSB in Santa Barbara, the bunch radicle students burned down a bank of america crazy and literally burnt it down. And on my own, I got up and it was on the weekend. And I said to hell with it, I got in the car, took my super aq. And I went up to Santa Barbara. And I got up at like four in the morning so I could get there. I read that it had been burned down at midnight. We literally got one up there. And I'm now at this place, and it's still smoldering. And the students are standing around kind of like, hey, look what we did. You know, they're there. They they have the police had been there and done things. Some people have been arrested, and there's others. But clearly, it was a big kind of mob. This painting, which I thought was an amazing kind of statement that was that's, you know, the fact that it's the Bank of America and the students decided to take that as a symbol. And I shot some footage, and I interviewed some people.
Taylor Hackford 10:57
And I came back down to kct. And on Monday morning, I went and I said I went up and did this. And these guys put me on the air. They basically put me on the air and I showed my footage. And they asked me as though I were a reporter. You know what I'd seen who I'd interviewed, etc. And I expressed myself because I'd always you know, as I said I was a student politician, I could talk and they liked it. And all of a sudden, they said, Can you shoot? Well, then, one day, the cinematographer who worked for the studio, you know, got sick or didn't come in and something they say Can you shoot 16 and I lied and said I could, you know, because, you know, super eights very different, you'd have a cartridge to put in. And I was shooting a millimeter, you did have to thread it through the camera. But I've never shot 60. But I went out and I kind of taught myself and I didn't screw up too bad. And I started shooting. And then I started reporting and you know, in a way kct was my film school. That's amazing. It was great. Because, you know, when you're in film school, you got a semester to do a project, I had to do things every single day, I had air dates, and I started to become a political reporter on air. I also at the same time, you know, is the great thing about this was understaffed the station. So as long as you didn't care about sleep, you could do a lot of stuff. And I would do reports during the day. And I would do cultural shows because I was a student of rock and roll. I started doing, you know, uninterrupted music on TV. And, and then at the same time, I started doing longer documentaries. And I ended up by making a film about Charles Bukowski who was, you know, a great, great la poet. And I got very close to him, and he loved me make this portrait and lo and behold, and so, you know, I would I would edit the film at night. I would do my news work during the day do my cultural shows, you know,
Alex Ferrari 12:58
and sleep and sleep. How long?
Taylor Hackford 13:01
Who needs sleep?
Alex Ferrari 13:02
At that age? You don't need much sleep
Taylor Hackford 13:04
now. No, no, it was it was an opportunity. Shannon, the because the film took him to me about, you know, nine months to make because I shot it. And then I edited it. And I edited the San Francisco Film Festival and it one good progress document. And it and you know, those are the kinds of things that you do you don't know you didn't set out? Although, you know, I grabbed the opportunity. I thought because it was important. here's here's a cultural affairs department that and I public television station in Los Angeles. They have no idea who Charles because. And I said, Well guess what? JOHN Janae and john Paul Sartre call it America's greatest poet. So, you know, they think he's important. I think he's important. Why don't we deal with it since this is called called, quote, cultural affairs. And it's that's poetry. But you know, but koski was not what they had this idea of a poet. And of course, you know, because he was brawling and trumpkin. And, you know, all he could do is talk about fighting with women and so on. So in the film got, you know, when the film was finished, they were kind of shocked, but they put it on. And people complained, and I love this, this, I take this as a great, great compliment. It was because there was the word fuck. And there was a lot of there was a lot of things with Rakowski that you know, you can't alter you know, so I put it on it was an hour documentary. And somebody complained to the FCC and said I that this this this film had violated FCC was amoral, and it violated FCC rules. And it was investigated by the FCC. And if in fact, they agreed the student is the station could lose his license, right? She's so you know, we're all waiting around and with a great deal of worry for the meantime You know, I'd won the San Francisco Film Festival. And then the word came back and it said, we reject this challenge. We find this film a work of art.
Alex Ferrari 15:13
Oh my god, that must have been amazing feeling with
Taylor Hackford 15:17
it was a really cool thing to have happened. And then and then you know, use one from there.
Alex Ferrari 15:23
So, so it took from from what I saw you from filmography you that came out around 73. And then you got another film called idol maker and seven years later took you to get to that point. But then you made another little film called officer in the gentlemen. Now how, because for people and I was I was young, I was a young man when that came out. But even I my age, heard of Officer and a Gentleman and even when I got older, it was just something with the in the sight guys remember that? It was everywhere. Everybody was talking about everyone's spoofing it and talking about it. What was it like being in the middle of that kind of cultural hurricane?
Taylor Hackford 16:04
It's, uh, you know, it's a big surprise. You know, my, my first feature was the automaker, if I told you, I did a lot of rock and roll, right? It was, you know, when you get your first opportunity, you would pay them for the opportunity. Oh, yeah. I mean, I had done other documentaries, and I'd done a lot of music shows and so on, I finally quit Casey T. And because because people would say you make documentaries, you can't work with real actors. Wait a minute, you know, when you can get real people to reveal themselves and their type, all the barriers of that takes a certain challenge when you work with actors who want to give themselves I mean, you know, well, I had to go out and I made a, I made a short, dramatic film that won an Academy Award for Best Dramatic short, that was my ticket. Because now I can say to them, hey, these are actors. I won the Academy Award. Yes, it's a half hour film. But uh, you know, I guess I can work with that.
Alex Ferrari 16:56
Not too shabby, not too shabby.
Taylor Hackford 16:58
And, and so to do the filmmaker, was was was a great gift. And it was an interesting process. Because I really identical, I wrote a couple of drafts of the script. I didn't get credit, because directors don't get credit. But regardless, I know I got that film made. And I directed it. And I got, you know, very nice reviews. But it came at a time it was made for a company called the United Artists. And then United Artists, when they made my film in my film was, you know, a $3 million film was small. They were also making the most expensive movie ever made. Heaven's Gate. Yes, Heaven's Gate. And I always remember for my film, we had a promotional screening at Radio City musical in New York, with 5000 teenagers, it was, you know, a huge space, they flip the movie, they loved it at the same time afterwards, and the producers are jumping around going, oh, wow, this is gonna be great. We got to hit. And I was looking around the corner, I looked at the human artists, people, they had these clowns on their faces. I mean, they looked miserable. And, and I went over it because I knew the Pr Pr says, what's what's going on? Because I mean, I expected them to be looking at my film. And hopefully, like the producers thinking well, and they had this look in their face. And they said, Well, we just screened heaven's gate in New York last night for the critics. And it was a disaster. The filmmaker and the actors were on a plane from New York to go to the Toronto Film Festival. And the head of the United Artists, the president united goddess was on the film unplaned with him, telling them that they pulled the film. And these people were like, this is how this is Hollywood, they were looking at Doomsday. And, and, you know, they invested so much money. And of course, you had an artist went out of business, again, bought by MGM, and so on. But my little film was just collateral damage. It never really know. I mean, I'm proud of film, but it was out there. But enough people saw it that you know, I was able to get a second film. That's what it's all about, you know, you get enough for the first film, you got to do well enough and make it a show that you know what you're doing to get your second film and that was often the gentleman. And that then became a big deal. And I made it Paramount a month and it was when Michael Eisner Jeffrey Katzenberg and Barry Diller were there. And, you know, that was a tough place. That was a really tough place. And, you know, I, I wasn't like the writer, I didn't have anything to do with developing it, although I work with him in very intensely. And, you know, they said to me, you know, you got to make this movie, our production guy said, it's gonna cost cost this much to take this long. We don't like the film, we don't want to do it. This is it, you're talking right. But if, but if you make the film for, you know, much less and, and a shorter schedule, we'll make an Of course, you know, you know, yes. Well, okay. I got to make the movie. And of course they were they were literally walking me on the plank. And you know, so the first two weeks I was day behind on both weeks and they were gonna fire me, of course and and it was also the spring after Mount St. Helens eruption. Yeah, I remember that day it rained every single day, every single day of that shoot, it rained.
Alex Ferrari 20:23
It looked it looks, it looks like
Taylor Hackford 20:26
it actually gave the picture great saturated look, right. Yeah. But But regardless, it was, it was a tough thing. They're gonna fire me and you know, Richard Gere Devo. And your Lou Gossett just basically said, Sorry, if he goes, we go. And that's, you know, I never forget things like that. Because in an instance, where, you know, the you got a bunch of executives who really don't know shit, but are but are mean son of a bitches. And they're difficult. And, and in the word came, you know, you finished this week, or you're out? Well, I finished and I went on, and I made the film. And then, you know, and I'd had a big fight with the producer, the producer on the film just didn't believe in the film. He was constantly calling Hollywood and undermining the film and talking about you know, it's you don't know, a lot of people don't know, when you make films. how tough it can be. You have a vision, you're trying to carry that vision out, and people are subverting that vision. But the crew wasn't and we made the film. And then I came back and they made seven, they made six other films at that time, they were trying to beat a preschool strike. And I just kept working. And nobody had any. And I finally made my cut. And we had our first screening. And audience loved audience really loved it. And the word studio and it turned out, that was the only movie out of the seven films they made, they made no money. But it made so much money that it made everybody a hero. And you know, nobody remembers, you know, the fact that they, you know, they were tougher, by the way, you know, was I tough? Yeah. And, and did I make a film that actually delivered something? I was pleased to be good. I was. But when you ask us is a long answer. Your question, I prepared for that kind of response. Meaning, you know, the film made over $100 million. It was a it was a little 82 and 82. Yeah. And, and it was, it was a kind of social phenomenon. And people love the film. And you know that obviously after that, it helps your career considerably. You know, when you go to Hollywood and something makes a lot of money. People stand up and take notice, and then things get easier. When you're making a film. It never gets easier. It's always a tough, it's always a battle. But I can't say that opsins gentlemen didn't pave the way for my career. Now and that end scene, that famous end scene with Richard and Deborah,
Alex Ferrari 23:13
I hear that that almost didn't happen that way. I think Richard didn't want to do it or something. And by the way, was Richard Richard Gere at that point. Yeah. Did he is that before or after American Gigolo?
Taylor Hackford 23:25
It was after? Okay. You know, Richard had he but you know, my sense with Richard. I love Richard. He really delivered for me big time. He's a great guy. He's a terrific actor. But up to that point, you know, Richard had been asked he Richard has this incredible look, right? He has this incredible look. And there's a kind of brittle veneer. You know, I mean, you see him in America glow. And he's, he's walking around looking fantastic. You know, in, in looking for Mr. goodbar. You know, he has this fantastic character will replace a guy with a knife. He looks at it has an attitude that doesn't allow you him. And with an officer and gentlemen. You know, I had a script in Vegas script by a guy named Douglas de Stewart. But it's about a guy who is had a really weird appearance and has a lot of armor. And in order to make this film work, I thought, I got to break through the armor and I got to get in there and make the audience feel for this guy. And so I told Richard, you know, this is a thing you meeting somebody that I work with? And I said, Listen, I, I think that you're fantastic. And I know how talented you are. But I think up till now there's been this veneer over. And I'm gonna break through that veneer and get inside. And his response was Have at it, you know? And, you know, so in order to, to really do that, you know, I put him through some really interesting things. He knew he was complicit in that scene in the bunker out there when he breaks and says, I got it. nowhere else to go. Yeah, that's a big moment. And I had physically just beat him down. You know, with all that all his money, his face and mud and that means sticking in the mud. He had to stick at it, you know, that's who was my surrogate? That's the drill. But, you know, there were things without about that film that I thought were really interesting. You get a really good script. Lou Gossett role has always been written. White, you know, Doug's days towards di and he'd been a naval officer was a little Bender, Bruce, that Bantam rooster Southern cracker. If I couldn't find the right act was well written. So I said, visited Pensacola where the real basic training is. and ethnic, you know, like, the eyes are black and Latino. And, and, and I said To hell with it, and I got new glasses put him in a position, Doug, Doug, you know, didn't want it. But I thought, you know, look, I said when the Academy Award was interesting, first time a black man having total control over a bunch of white cadets, you know, in this instance, and he was tough. And, and I knew that to be the case, because I've been down there. When basically he was a working man, he was an enlisted man. He was a guy that that had been in battle had been battle tested, and he's training people. And he was basically saying, you know what, at the end of this, I have to salute damned if I'm gonna pass somebody through here that doesn't deserve you know, it's gonna have that built into battle and maybe kill him. I'm not gonna, you know, so look, I'm on it is all possible. And he was, and it's a great role. It's a great character, and you understand what he's doing. He's really committed military guy, marine. And, you know, when they pay him at the end for that salute, they earned it. And I think the audience got it. But anyway, going to what he was saying at the at the very end, there's a sequence that was scripted, Doug's done a story, because there's this it's a love story, in addition to this bonding experience of men and women wanting to become officers in the Navy Air Corps. There's a story about, you know, working class girls, and then open your bytown this is very real, this happens. I visited Pensacola and in Mobile, Alabama, there was the paper factories, and they call them mobiel depths. And, you know, when we went to we shot it in Washington State and had to create that, but we call the Puget Debs up there at the Puget Sound.
But, you know, basically these is working class girls and the paper factories. A big catch for them was to catch an officer and Debra Winger and Lisa Blount play these two girls, by the grace of brisky played the mother, Deborah, they worked in this paper factory they'd had, you know, I make I'm working class. My mother was a waitress, I make films about working class people. That's what I do. And I like, and I wanted to make them real. And so anyway, it you know, Deborah's is a tough character in this. She's a real young, working class woman, you know, and, you know, there's, the film is about young people, and it's about sex. And it's about all of those things that young people were forming themselves. But, you know, they had he, she and Richard had their ups. Like, they're, they're finished, right. And Deborah makes a kind of heroic Deborah's character, Paula makes a kind of heroic gesture. And, and kind of gives up her wanton ways as it were, she, she, she is ready to give up retreat and still keep her integrity and assets dug in with the sequence where at the end, he graduates he has ever had a rocky road getting there, he pays for that salute from any you know, he's going to go ahead and do really well. But he goes to the factory and he walks in and he picks her up and carries her out. And it's a kind of fairy tale. Although, I would submit it's a working class story, and it's a working class, you know, nobody's wearing glass slippers.
Alex Ferrari 29:30
Not at all. I mean, the factory she's picking her up at
Taylor Hackford 29:33
is a real but you know, I didn't know it was gonna work but I you know, when you when you make a commitment, you know, when you make a film, you're involved with comrades, male and female and you're working your ass off in the film is a collaborative effort. If it works, it doesn't just work because the director has a vision. It works because everybody shares that vision and expands on it and improves. So Douglas de Stewart was the writer I had a good relationship with and I I committed to make his film. That sequence was always in the script. You know, I have a feeling studio went to hell with this. And the producers certainly want to make it. But you know, Doug believed in it. And he begged me and I said, Yeah, I'm gonna have to beg me. I quit. You created the script, I committed to make that script and I'll shoot it. Well, the studio didn't want to shoot it. The producer definitely didn't want to shoot it. Richard Gere thought it was the shoot it. But I said, Hey, word to Doug Stewart. So what they did, you know, this, this is a pretty complicated scene, you know, these girls are there, the paper bag, they're coming in, they're working, whole factories going. I mean, basically, they gave me I think, three hours to shoot that sequence. They effectively are saying, We don't need it, we don't want it. And second of all, it's not going to be in the movie. So it's a waste we're getting out of here. And I didn't as I told you, I had a real problem with the producers. So you know, I just said, fuck you, I'm going to shoot it. And, and, and I and I set everybody up was like Chinese flag jobs. I mean, the factory was working. And I didn't have control of it. I just had to get things ready. And I had Richard back here to walk in through the machines with his white uniform. And I Deborah and, and, and Lisa Brown with their machines. And I got one little brief rehearsal. And what we did is the women who were running the machines, the working class women, the women that actually were worked in this paper bag factory their entire lives, stepped back from the machines behind the camera. And they're standing there because they're not gonna be very long. Shoot, it's so fast. And Richard walks up, I got one little rehearsal, he walks up Deborah's working. And she doesn't know he's there. And he taps her, and she turns throughout, and there's the rehearsal, and then I had to rush them back to shooting. But when I was doing that, I heard this noise behind me that I turned around. And these women were clapping, and crying. And laughing, they were clapping and laughing, and crying at the same time. And these are hard, tough. Women who are factory workers who had tough lives. And they looked at this, see, and they were that one sheet, they were dead. And at that moment, I knew this he was going to work. I knew it. I didn't know what up to then I never noticed through the whole movie, but I'm shooting it. And now I have to I just boom, boo, boo, boo, boo, boo, boo, boo, boo, my shooting it, getting it like, and I got out in time. And we made that we got that we got the sequence, you realize that? That's the sequences very, very famous. And it really works. And I had three hours to shoot. It was just a killer. But the interesting thing is, I knew right there, because if those women, those women, no, no, no, that's bullshit. That's Hollywood. Oh, give me a fucking break. Right? No, no. That was their lives. They identified they got it. And that's the way audiences responded in general.
Alex Ferrari 33:22
Yeah. And I like I told you, I remember it being spoofed on television shows. And I mean, it was just one of those moments. The simple they did a whole episode. Yeah. Simpsons episode like that. It was remarkable. But now I know this the behind the scenes stories that and generally a lot of times when you see these, these iconic moments in film, most of the time you hear like, yeah, had an hour. Oh, that was a throwaway. Oh, that was it's never like I had four weeks to prep for that shot. And never happens. During the 80s you had a run of really Zeit Geist style films like white knights. I remember very good and against all odds, as well. These are films that at least in my household, maybe it maybe it was just my parents love these movies. I knew about them, but I do remember seeing them, but specifically with white knights. I remember in the 80s I mean, Baryshnikov was, and still is, I mean, he's, he is who he is. He is he is the Michael Jordan. He is the goat as they say the greatest of all time of what he does, how did you approach directing a non actor of his magnitude in his world? I mean, that must have been intimidating as a director, but then not only directing, arguably the greatest dancer of his generation, but then trying to pull up performance out of it, which was a fantastic one at that.
Taylor Hackford 34:42
Yeah. You know, the thing is interesting is that Nisha is a truly a great artist. I mean, he is a truly great artist. And at the time, the world's greatest ballet dancer. I mean, I had the world's greatest tap dancer, Gregory Hines. And and but great He had done films he done things. But you know, the problem with this film, it was a dance film. I wanted to be a dancer. It's a it's a weird film because it's a dramatic dansville it isn't all singing all dancing fan. It's, it's a specific story about, you know, people behind the Iron Curtain. And they are doesn't exist anymore, but it did them. And so with meesha, you know, you just need you need to meet the department, you meet the Cal Bruce to come. And you're impressed because he holds himself incredibly well. He is very smart. He is a fabulous artist dancer. But he's got a lot going on. And and you know, you can see that look in his eyes. You know, all movie stars, they've got a movie star is a movie star, because look they have in their eyes, if they can communicate without words, and tell you whatever. That's the one key that I think is an all great actors, you know that I don't mean great actors on the stage, great actors on the stage. Who's their voice? It's all about projection. And, and in saying your Shakespearean thing, you know, you on the stage, you can't see people's eyes, right? No, but but the camera, the eyes, or the or the or the, the opening to the soul, and you know, camera and close up and that that is people don't understand how important the eyes are, and and how important it is for at least for an activity still, still and let that power and that energy come out of their eyes. So number one beach is playing somebody who's playing himself. I mean, he's playing a defector who ends up by going back home. And you know, the truth of why Knights was that defecting is a crime in communist Russia. It was a crime. You know, and punishable by some pretty bad stuff. So to find himself back inside Russia, by accident because of plane crash is a moment that is very real to me. You know, something that can be terrifying to him. He still has never gone back to Russia. He's never got once he got out. There's everybody. Roman Polanski went back to Poland. People have gone. Rushkoff will never go back to Russia, at least. I don't think he will. He certainly hasn't gone yet. And that's because he loves Russia. He loves it with a passion without the Russians when they can't speak Russian, you know, basically, like they are. They are, they're being robbed of their soul. They know eat Russian food, they know. I mean, it's it's there's a sadness to meet you. That's amazing, however. And he carries himself. He is a star. He carries himself on stage when he's dancing like a star. And I thought that he carried himself in front of the camera as a star. So, you know, he committed I committed and Greg Hines who was one of the great people that ever lived and Greg Hines is a fantastic artists but it's amazing human being and a very good actor. You know, they made this commitment. Three of us made the commitment together and all the people around. You know, Mike, my wife was in the film. Isabella Rossellini was of the film. Jerzy Skolimowski was
Alex Ferrari 38:27
a decent cast decent cast.
Taylor Hackford 38:28
Yeah, it was a great it was a great group. But most importantly, it was Twyla Tharp was the choreographer. And she's, you know, believe me, there's, there's a woman that's got, she's, she forget about a reputation, she is tough as nails, and she's really tough to deal with. However, she's great. And and so we had a, we had a very terrific unit, and we shot in Europe, and we shot in, you know, interesting places. And I'm very proud of the film, you know, when the film came out, you know, people going, Oh, well, this is bullshit. And, you know, I said, you know, what, every Eastern European, every Russian, Czech poll, all those people that have been behind the Iron Curtain, see white knights, they get it, they immediately understand it. And they understand what was going on. And because, you know, we wanted to imbue on the Eastern Bloc, our own ideas, oh, everything's cool, and everything's melting and so forth. Only the people that have lived there and had lived under that system, as artists understood how difficult it was. So, you know, I have a lot of respect for Russia and for Russians. But I also know that a lot of the stuff in white knights, I think, struck a real chord, at least to the people who knew that experience.
Alex Ferrari 39:54
Now you I mean, you've been able to pull some of the most amazing performances out of actors over the years. Oh, Your career? How do you or what advice do you have for directors on directing actors? Because a lot of times, young directors specifically, they all think about the pretty shots and moving the camera, they'd never think about talking to the actor getting the book, because that's what people are looking at. They're not looking at the camera shots, they're looking at the performances, what advice do you have for pulling out those performance?
Taylor Hackford 40:19
Well, that's, you know, that's interesting, because I set out I mean, I'm, as I told you, I'm a real student of film, I love film I've studied, I've seen so many films, and I love you know, I was president, the Directors Guild of directors, but my style, and you know, everybody has a different style. And I'm not taking anything away from great directors who really know what they're doing. But I didn't want to call attention to myself, the, you know, the Howard Hawks versions of directing, you know, to me, and there are a lot of great directors, I don't want to just singling them out. The idea that you don't know that the camera is you, you go through the camera into the drama, and the nuances of the story you're telling is on your actress faces, I was going for it because I guess when I started making documentaries, I didn't want arch style. In terms of acting style, I wanted to naturalistic acting style. And those subtleties that are expressed, which we experience every day in our lives, are the things that I think an audience can see and go, Whoa, I'm buying this, I'm buying it I this person is, is is in trouble, or this person has inner feelings, or this person is frustrated. And I'm writing along now with him in this story, to see what happens to them. So, you know, I didn't really ever want to hang from my feet by the ceiling, when the camera in my hand, swing around. So the audience is going, Wow, look at that camera. I have a lot of camera movement in my films, but I try to cover it. So that you're not aware, but you're aware of are the actors and the story. And you asked that question, basically, I tell the actors what I'm going for. But it's a collaboration. It's a real collaboration. I'm not. You said what do you say to them? What do you talk? You know, you don't say, Oh, this is I'm I never give a library am?
Alex Ferrari 42:30
Of course not.
Taylor Hackford 42:31
Well, there are people who do you know, people, they're great directors who give libraries? I don't, I don't because that's, you know, I'm not going to say to them, oh, say it this way. That's their choice. I'm, I'm working through the the my instrument is them. And so I want them to feel the character I work with each actor individually. I I'm, I will do a read through of the material. I go out and I find all the locations or if it's on a set, I still do that there. And I bring the actors to the location. It just once in advance and we don't you know, I I'll make them read through the scene there. But it's not because I'm you know, Sidney Lumet was very famous for rehearsing, rehearsing, rehearsing, chalked out things in the ground, and they rehearse to me, and by the way, great director, and I, there's not a better film than Dog Day Afternoon. I but but the point is, and, and. and john, you know, his partner in that was brilliant, brilliant performances. So it's just every director does it differently. But to me, I don't want to over rehearse a scene. I want the actors to know their lines, and I sit with them, and I work out their backstory, you know, when you meet them. On camera, you meant them at the beginning of the story. They've had this whole life, the characters has lived the life up to them. I worked that out with the actors. So when they walk in, they know who they are. But when the actors are meeting two actors in the scene for the first time, I want there to be some sort of, you know, if you rehearse it over and over again, oh, you know, I know Ferrari. And we work this thing out. And you know, so you come into it. And it's kind of like, well, there's no there's no spontaneity because we know it all. But if dopers together like that, they know the script, of course, but they don't know what's going to happen. And I believe the camera captures that
Alex Ferrari 44:35
magic.
Taylor Hackford 44:37
It is it is and that doesn't mean that there's not a you know, huge amount of technique. And there's not a lot of prep, but I work individually with the actors. So when they get together, there's something that because, you know, nobody, I
Alex Ferrari 44:50
won't say you don't work with them as a group.
Taylor Hackford 44:52
No, I don't. I mean, like I said, I do a read through the whole cast, and I take You know, people that are in a scene out to the location because, again, what you got to watch is that, you know, when you spring things on actors, and they walk into a strange place they've never seen before. It's kind of like daunting. And sometimes if you say, hey, I want you to walk over by the window, and I want you to stand over here. And then I want you to say these lines, and they go, well hold it. Who the fuck are you? No, no, I know, we got no time. But this is not doing a television series. Right. Right. And, and in that instance, by taking them there, and having them kind of feel the rule. And sometimes they even say, you know, just just improvise, just do something here, I see something they do, and I use in my corporate, so they feel like they've contributed to the scene. And by the way, it soon falls apart. So they asked me, they'd help. But the fact is, they've been there. And the reason you do that, is that the day you show up, there's an army that moves and the lighting is there, they run in, you do a walkthrough, and then they go to makeup. And when they come back, they got to be ready. If they are seeing it for the first time. And they kind of go, I'm just completely for mercy. I'm completely mixed up. I don't, I'm confused. I don't know, that's no way to start to sing. So by having them go to that location, that's something that I always try to do, if I can, doesn't have to be very long. But it's enough that when they come back again, they're ready. And they're not going well. I'm completely unsettled. I don't feel right. That's where you lose time when you shoot. Because now you got to stay with them until they get comfortable.
Alex Ferrari 46:39
Right. And I always I always find it that it's kind of like, my job as a director is always to try to catch the lightning. And, and if you rehearse, rehearse, rehearse, rehearse, like you just said, it gets stale. Whereas you just got to take them just to the edge, and then let them play. And that's when those amazing things happen, that you just can't plan for.
Taylor Hackford 46:58
That's, that's kind of my philosophy. And, and if the actors know that you trust them, I guess the other thing, and then what you do, because, you know, I passively, you know, I started I sometimes made a lot did a lot of checks. I don't anymore, I really trust the actors, if the actors are good, you know, you get it, and you got to, you know, so that. And also you don't have the same schedule as you used to. So you try to get it as quickly as possible, however, adjustments once you start, if you're if you're deft at being able to jump in for the, the the accuracy or not, so that everybody else again, I don't want all the actors in the scene to hear the notes that I'm giving Helen Mirren you know, he's going to respond in a way that I can jump over, and I can deal with Al Pacino. And I can go over and deal with Dennis Quaid. Or I can go over and deal with Jessica Lange. You you deal with different people individually, and then they come back in the scene and they may change it. But again, that's a valuable thing. They're changing their delivery. And the response of the other actors in the scene aren't Whoa, that's not the way they did last time, which then gives a kind of right. reeling in an energy that I think is good. It's good for the drama.
Alex Ferrari 48:16
Yeah, no question. Now you made a milk film called Dolores Claiborne, which I absolutely adored when I saw it. years ago. And I've watched it many times since those flashback scenes, that was the first time in your work that I noticed that technique, because you were saying like you try to hide the camera. But I noticed that technique and it wasn't a camera move, but it was so it was very cinematic. What you did, how did you approach the flashback scenes? It was that in the script like that in the book like that, how does that work? Well,
Taylor Hackford 48:48
I'm gonna give Yeah, I want to give the credit to again, you know, you know, work alone. And my screenwriter. On that film is the first time we worked together his name Tony Gilroy. He's become a resident, okay,
Alex Ferrari 49:01
he's done. Okay. Yeah, he's
Taylor Hackford 49:01
done okay for himself. But that was, you know, that was our first film. We made three films after that. Tony did a brilliant job of adaptation. It was a Stephen King novel. And Stephen King is, you know, I mean, you know, it's my, my best selling author in the United States. You know, I came on that picture. And it was a wonderful script. Wonderful script. And it was it was it was two stories tall, 20 years apart. And they weren't, they weren't like you did a flashback. At the beginning of the end. All the way through the movie. There was your cutting back and forth from different time periods. Fine, I loved it. I worked with him on two drafts, we're getting ready to go. And then I also picked up the book. I mean, anybody who's gonna do an adaptation? I read the book and Stephen King it was in Doris was a fantastic Stephen King, such a great writer. Amazingly, kids characters so fantastic, but this was not this was This was a dotnet core story. But it was not a special effects movie. It was not a fantasy. were no monsters. No monsters coming up. It was the monster was in these people, right? So I read that book and I went, Whoa. Now I really have an appreciation for what Tony do because in the book, it's very straight procedural, a woman is caught maybe killing her employee plate and her employer. And she goes into the police station and they are going to arrest her and they don't know. And she says I didn't kill her. I didn't want to kill her. I didn't kill her. Well, it certainly looked like it. And she said I didn't. But I did murder my husband 20 years ago. And at that moment, it's kind of like watch. And then you flashback to 20 years before, or 25 years before when she's a young woman. She's married. And she has a 12 year old daughter. And that's the story. The characters that the actors who were in my movie was starring Kathy Bates as the mother of two different ages. But Jennifer Jason Leigh playing the adult, Selena, the daughter, that adult Selena was not in the book, never in the book. So you understand what Tony did. This, the subject of Dolores Claiborne is the worst crime that I think there ever was the worst crime, which is an incest. You know, when a parent incest the child, their own chart, there ain't no worse priming. That's what this film is about. So what Tony did, which is brilliant, is that when a girl is interested in she's 12 years old, it doesn't him for her. He grows up, he becomes a woman, she becomes a mother, she becomes a grandmother. She's carrying that inside. She's caring that she's been scarred for life. But he was brilliant enough to say I'm going to bring this character back, Selena as an adult as a educated woman who believes that her mother killed her father. And she is blocked out why she's blocked in her mind because of the severity of the crime. He blocked out what and and because her mother is accused of a new murder. You know, 25 years later, she has to come back when she hates her mother. And they're they're fighting each other. And the whole mystery of the peace and this again, Stephen Stephen King, is the realization that that Selena have, because the mother realizes she never ever understood what went on ad. And so it's a great, it's a great story generated by Stephen King, and then a great screenplay by Tony Gilroy. That took what's the Stephen King was saying and expanded it. So, you know, I get this script. And what I've got to do is tell two separate stories with the same character 25 years apart, and I and I found a young, really wonderful young actress named Ellen Muth, who plays the young Selena David Strathairn, great, great actor who has to play the father Joe Oh, his daughter. And he's such a sweet guy. It's such a great father. But he understood what he had to play. And the great Christopher Plummer, you know, who is recovering who has come back on that movie, he really, he showed everybody and afterwards, he says to one great film after another after another, but you're working with those kinds of great actors. I then had my own idea about how to mix these. And you were you were saying, you know, sometimes the first flashback I wanted the audience to know I needed to make it clear,
Alex Ferrari 53:58
establish the language,
Taylor Hackford 54:00
you know, that establish the language and also give the audience a little zetz you know, a jolt and so you're, you know, you've got Selena coming to this terrible house in blue rock, seeing her mother and Kathy, this old old woman and you can feel it. And then I have a motion control shot which is for the audience. It's where you lock the camera in a particular way that can't move. And I Dolly across Cathy's back you see the place Selena sitting at the table and you and you bring it across and as you bring it across? You go from the past to the present to the past. And Selena goes from a you know, Jennifer Jason Leigh disappears. And this 13 year 12 year old girl runs into the room. And you know right there and the colors change. So what I what I did because I want that was the first one that no one could miss. You know from that moment on a wonderful the audience I kept wanting to have them you No think that they were in one place. And then they Oh, shit. I'm in a dip. Oh, no, they're there. And I think it works. But But what I did was that I, I and you, you do it psychologically my cinematographer is a wonderful artist named Gabrielle Bernstein is a Mexican. And he came from Mexico and he was working in the states and I'd worked with him on blood and blood out, which was another one of my movies. Anyway, Gabby and I worked it out. And what we what we did is say, listen, just look at the film stock. Let's look at folks like Kodak, which is the Eastman Kodak was the stock that everybody used at the time. It's sharp. It's got really strong blacks. It is in itself a kind of cold look. I mean, you can you can warm it up. But you know, it's it's sharp, it's and so it has a coldness to it anyway. And in Maine where we shot we shot this in Nova Scotia was supposed to be Maine. It's cold, it's bitter. It's winter. And so what we decided to do I both Gabby and I'd see the film that spin Nyquist had shot for in my bourbon called the passion of Anna. And the pack of Anna is almost black and white. It's colored, but it's almost back. It's so bleated out. You just felt that coast of Sweden just made you cold to the bone. That's what we did we d saturated codec, and turned up the blues, it was blue Mexico code. So the presence of Dolores Claiborne is shot on Kodak has been D saturated. And there's it every time we went to a flashback, we switched film stock to Fuji. And in anybody who shot Fuji, Fuji is pastel, right? It's kind of soft, and it has a more grain. And it's just a pastel look. And I kind of you know, thought it fit for the old doors whose life has been one hardship after another. And she's in such pain, that that cold look fit. But to go to 25 years before when she's a young woman, and she has hopes and dreams, she still hopes that things are gonna work out, you know, you want the film to have a different look. So pretty soon when you made these transitions, and I got better and better at finessing them, you know, you could just feel it, you felt you went from cold to warm, you went, you know, it's uh, you know, near the end, there's a wonderful like sequence where Kathy and Jennifer are having a conversation at the kitchen table. And they really don't mean Jennifer doesn't like her and is kind of sick. And just, she just is really upset. And Cathy demands that she sit down and listen to it because she's going to tell her the truth. And she has a bottle of whiskey. And she pours drink for saline for Jennifer. And she, I go into a close up, but she pushes it across the table. And it sits there and the hand comes out. And then a man's hand comes in and picks it up and you follow it up to his face and David's stress. So amazing. You've just gone in one shot. And this has no special effects or anything else. This is just the director kind of working on shots. But you've literally gone from an intense relationship between a mother and daughter to a man picking up the drink. And it's the father who insisted his daughter and the mother is confronting. So in that moment, you you know, I kind of did it subtly until at the end. The audience is like used to it, the audience does that they don't even there's no rise. They just go Okay, got it. Now I'm here now I'm there. I'm back and forth, and I'm in it. And that kind of storytelling is really fun to do.
Alex Ferrari 58:52
No, it was it was it was again, one of the first times I've ever seen that that technique, or at least for the first time was brought to my attention was absolutely wonderful. Now I have to ask you, the devil's advocate had been what a wonderful film. What was it like directing a force of nature? That is out the Chino as the devil note, lads.
Taylor Hackford 59:15
It's brilliant. When you haven't you know alpa Chino, and I can't. I've worked with some great actors. I've worked with narrow I work with Chino I worked with, you know, Joe pece. I work with great male actors, and I worked with some great female actors. I mean, I think my wife is the greatest actress there is.
Alex Ferrari 59:36
I mean, I'm not gonna argue with you at all.
Taylor Hackford 59:40
But, you know, in that instance, where you have al and again, it was not a foregone conclusion, you know, yeah, Tony Gilroy was with me. He wrote the screenplay. He wrote a, we took a screenplay that existed and completely changed. My concept of this was I wanted a Dramatic satire on the millennium, I wanted to know I wanted to make a statement about again, it was in the original source material, but not like we did it. I wanted to do something that really confronted the ego, the whole process of, of where we were at a certain point in our life, and lawyers, who, as we say, in their head, become the new priesthood. You know, everybody, everybody deserves a good lawyer as long as you can pay for it. And you know, the ones that that don't kind of pay for it are probably going to lose, because the better ones are going to come in and the people with a lot of money hired. So it was a lot of statement that was going to go on here and I convinced Tony I had to convince Tony do it. He goes, it's a devil movie. I'm not doing it. And I haven't convinced them alpa Chino goes, Yeah, it's the devil who cares? I said, out, you're just a complete Shakespeare night. You know, you you think those are great roles. Come on, that this is the devil. Come on. It's the greatest role you can have. And and, and we call the character john Milton, by the way, who wrote Paradise Lost? Of course, of course. But But you know, we had to write some new scene throughout. Because the fact is, it was Canada's movie. And, and, and although the devil is cool, you know, Allison Ellis got a big appetite. And he wanted it. But you know what? I went back, Tony rewrote some scenes, and Al did the role, but you have him in the film. And you just have, you know, just it's such a pleasure. You know, every single time he tackles something, you don't know what's going to come out? Yeah, he's got the words. Yes, he knows the words. Yes, he's going to deliver them, but how he's going to deliver it and also his abilities, probably the greatest at the end of that film. There is the final scene that you know that Canada who kind of comes in, he comes to Milton's apartment. And there's Connie Nielsen, it's just the three of them in the scene. And in the devil is basically you know, he's heard from his mother, you know, who's Judy, IBM is fantastic in the movie, that she is a young girl had been seduced by john Milton, and that that and he's, you know, he's, he's actually john Milton, son. It's like all this craziness is going to happen. So we shot the whole movie in New York, but we shot that big sequence back here in LA. And we went down to to Vernon, City of industry, where the big warehouse it was, it was incredibly high. We Bruna Rubio, who is my production designer, and five films, great, great collaborator of mine, built this fantastic interior set, and we shot it. But I went in the weekend before because I wanted to again, remember I told you what the act is to feel the space. And I and I took Connie and Kiana and Alan and I said listen, forget the text. All right. I want you to feel this space. I want you to use it. I want you to forget the text. I want you to improvise something, whatever you care, whatever you want to do. And I think you know Kiana and Connie were like, improvise what it was like Chino went okay, and pre Chino starts parading read this. I mean he's doing he owns it. He's just creating is probably the most brilliant, the most brilliant improvisations I've ever seen. Unbelievable. And he didn't use the text. So at one point, he's all excited and he started singing. It happened in Monterey. A long time ago, it happened in Monterey. You know, Mexico, stars and Steel Guitars, like singing this Frank Sinatra song. It's where the hell did that come from? No one knows. I put it in the seat. You know, I put, you know, put, you know the devil at a certain point where he's feeling his oats. He starts singing with Frank Sinatra's voice, but of course the devil could could be but that was all LPG. No. And I you know, I mean, the rest of it was Tony Gilmore. And I and I and he did a brilliant job of text in that piece. But you throw something like that in an alpha Chino can bring it off.
Alex Ferrari 1:04:28
And that many actors Could I mean, it is something very special. Yeah, I just remember that. You know, like he's an absentee landlord and all those wonderful lines but the way he did that's amazing dialogue but also that you really like out like you love john melt like you really are. You can he's seducing the audience. I mean, in his place, also
Taylor Hackford 1:04:51
seducing he's really seducing Kevin, right here. I love it. You know, and when, you know there's a sequence and let me tell you, you know, Tough sequence, I and there's a sequence where he's walking through Chinatown. With with Kevin, and they're playing through Chinatown. And, you know, he goes to this Chinese vendor, he says, where's the chicken that you can predict the future? You know? And, and he's tells Kevin about this. And Kevin is this, like, Who is this guy? He's the, he's the. And I had all the way through, it was my idea to basically have him speak all these different languages. Every time you see Alex speaking in a different language speaking in Chinese, he's speaking in Spanish in the subway, he's speaking this and that, and so forth. But anyway, he's in. He's in Chinatown. And he speaks to the vendor in Chinese. And I remember that's it. And, and it was, let me tell you try, we stole that sequence. We had to go in and shoot it without any control, because you can't control chinato. It was wild. I mean, talk about there's a there was a guy named Burt Harris, who was my ad is very famous. He used to shoot a lot with labette in New York. And he, he said, You know, there's no way to do it, just go steal it. But anyway, there at the end of that sequence, you know, he's taken Kevin as part of a seduction, where he's, you know, he's king of the world. He's had this huge international corporate law firm, all those things. And at the end, he goes across the street. He's like, Where's your limousine? He says, Kevin, it's New York. Take the subway, take the train, learn it, at any step that token and he's going down into the subway. So you're going this guy who run who the Master of the Universe still takes the subway in New York, you got to love him.
Alex Ferrari 1:06:44
You got to let it's it's amazing. Now, one of one of the films in your in your career that you that really I know, meant a lot to you. And obviously meant a lot to a lot of people was Ray. And and you bring in Ray Charles story to the big screen. I know that took you a while to get going. How did you? Yeah, yeah, I know. That was like a real big passion project for years. And then finally, Jamie showed up and he was right. I mean, he there's no doubt about it. How, how was it bringing that to life? How did you how did that performance? Because obviously he won the Oscar with that performance. And it is uncanny. I mean, you watch, it is uncanny. Not only his performance, but he could like his voice can sing, like way sounds like right. How did you how did that work?
Taylor Hackford 1:07:33
Well, two things. You know, I, it took me 15 years to get that for me. It's kind of fortuitous, because I wouldn't have had Jamie Foxx if I don't, you know, at the very beginning. And, you know, partnering with an actor, I talked a lot here about partnering with actors. I think that a great partnership was Jamie and myself. You know, I cast him. I didn't know him. And he was an irreverent comedian. booty call. So I found out when I talked to him that he'd gone to university on a piano scholarship. And I said, Oh, we'll funk and jazz, no, no, classical. When you hear the Jamie Foxx, the Reverend comedian, you know, played classical music and went to university on the basis of the fact that he played it brilliantly. You now realize, who's this guy is, and you realize he's got depth. He's got incredible soul. And he's really smart. And I just cast him on the spot. I just cast him. And that that dedication, that sense that Jamie and I were together, you know, went all the way through the film, because my sense was for him. And Jamie lives in the, you know, he lives in the back of it. And he's, you know, he's very much a black man in the black community. And I said, Listen, we're dealing with firing, Ray Charles is the greatest, you know, Ray, Charles, is it and everyone knows him. And if we fuck up, you're going to spend the rest of your life apologizing, and going around to your uncle and cousins like me, you just couldn't do it, you know? And I'm gonna look at every black friend, I have to say, How dare you, you know. And so it was kind of bonding there. But you know, the other part of it is, you know, if you if you didn't notice, I'm not black. I
Alex Ferrari 1:09:28
didn't notice that.
Taylor Hackford 1:09:29
But you know, what you do in that instance, because I'm making most of the cast is black. And I'm telling you a story about a black man. Now, Ray Charles, never had a problem. Ray Charles and again, I knew him for 15 years, one of the most brilliant people I've ever known, but he trusted me. And he wanted me to make the film and he never took the rights away. You know, many times I had to go back and apologize. Nobody would make it. He never did. Right. So can you and you kept asking for the rights but
Alex Ferrari 1:09:53
it just a couple more years. Just a couple more years. Yeah,
Taylor Hackford 1:09:56
exactly. But but in reality I Listen, you know, I've got one the screenwriter was, you know, I wrote this the story. And then the screenwriter came in, he was black. And he had, you know, it was from the south. And he had voice and he knew so you know, you you, you've got to listen. Because what you didn't experience what you don't know. And with Jamie, and all the other actors, and I mean, you know, Regina King is going through a huge thing. Yes, but he's my pastor is Margie Hendricks is she's as good and Ray as she's been anything else. I mean, she is so great. She a body, that woman. And you know, she and Jamie just created and Kerry Washington, a huge star. You know, they're in this movie. And they're both playing incredible roles, like the one of the great pains I had with Ray, and ingenue Ellis, who played Marianne. And Sharon Ward, who played Ray's mother was brilliant. And she's never, she was not a professional actress when I met him. But, you know, I had four women that I think all deserve to be nominated for Best Supporting Actress. They weren't the center of the movie, but they were big roles. And they all kicked ass. When you when your director and these actors have given you so much, and they're really they were on board was incredible collaboration. I love them all. I couldn't, what I should have said is say, carry. You're brilliant. You know, as D, you know, you know be you know, Ray's wife. But I'm going to go with Regina, or Regina, you're fantastic. And I'm going to go with Sharon Ward, or ingenue, you're terrific. But I'm going with Kerry Washington. I didn't. And you know what, not one of them got nominated. And they should have been, they really should have been. All of them should have been nominated, although that's kind of much one film. But what happened is they split the vote. And that's sometimes you got to be pragmatic, but I still couldn't say to him, you're out and this person's in
Alex Ferrari 1:12:09
there, we're all just too good.
Taylor Hackford 1:12:11
They weren't they were, let me tell you. I know, of course, I'm prejudiced because I've directed the movie. But you know, the thing of collaborating with people who know what they're talking about, who were raised black, they're raised in a community that and Jimmy White, who had written the dialogue knew what he was doing. They knew that fit. I mean, it was country as his country. And so it's great, Charles country, you know, but the fact is, we all collaborated beautifully together. And they gave me everything I asked the poor, it was a fantastic experience. And I still Jamie nerds still very, very close. And
Alex Ferrari 1:12:51
I have to ask you, there was a movie that you did not direct, but you were the editor and producer on which is arguably still one of my favorite documentaries of all time when we were kings. They know that we have a story because it took them like you shot with the juice. You didn't shoot it, but the director shot it. And then like, what, 20 years later or something like that you made the movie or something along those lines.
Taylor Hackford 1:13:14
Yeah, maybe basically they went they were shooting a concert film in Africa. That's a sore point for me because I was stupid. Partly, you know, they came to me with a film they couldn't. They didn't work that they couldn't ever do anything with. And and asked me to come in and I you know, I was president, the Directors Guild. I'm a bit so I didn't want to take the directors credit. But the fact is, I made that film. I did. I mean, I came in. I did all the interviews with maler. Plimpton, my leak is biographer Spike Lee called spike up because he'd gone to Africa and never interviewed one African. He never talked, you know, here's this story. But it's, it's about Li going to Africa and capturing that spirit. So I did all the interviews, I had final cut of the film. I went back and bought the they didn't they weren't there for the flight, that whole last act, I confected and made that like, like, they were there, because I bought the footage from the fight. And, and, but in any event, I'm very proud of it. And the reason I made the film is it Ollie To me, it was the greatest movie star of my generation. You know, what a great person an incredible, incredible presence. And I wanted my son's it because at the end of his life when he got Parkinson's and he was all shaking, you know it and that you know, the producer and did lean on what let's get let's go shooting now. It'll be a good tear at the end. I said, No fucking way. I'm not going to I don't want the world to see that. I want the world to see this man who was the champ who was in charge, you know, in complete control of everything. And I want them to go out realizing what I realized was there was nobody you Nobody alive like Muhammad Ali. And that's I was celebrating him, actually. So my two sons could could see that.
Alex Ferrari 1:15:07
Yeah, and I just remember watching it. And you see, you set that story up so beautifully as you know, as foreman as this absolute monolith. And, and honestly, physically, Ali was not the same as his form of form, it was a monster. But I
Taylor Hackford 1:15:24
understand that the way the film was came to me, you know, there was a, you know, what happened to fight fires, of course, the first in the first press conference, Ollie kind of predicts it all. And, and there was no film that was just like, what are we gonna, we'll look at the software. So what I had to do was build up, as you were just saying, George formance invincibility. And you know, when you get those old, that old footage where you see him, literally, knock Joe Frazier off his feet, take Ken Norton and destroy him, you know, everybody in his path, he was destroyed. And now, you know, I get mailer and Plimpton to talk about the fact that Ollie in that press conference where he's talking about this or that he's terrified, he's terrified. He thinks he's gonna lose, but he has no option. He has to come back from the drug, the draft dodging thing and so forth. And, you know, so I kind of structured that whole movie, to be able to get to the conclusion that it was so obvious. But the other part The other reason I wanted to do the film, is that I made the film for women. You know, I happen to love boxing, and I love the sweet sport, the sweet science, but most women go, Oh, it's terrible. It's just such a terrible thing. And it's brutal. And yes, it is brutal, but it's brutal. And they're stupid, as I say. The people who really understand boxing, understand that it's hard. You know, it's skill. Its brains, and it's hard. And the great, great, great fighters have it. They're not just lugs they have it probably was so smart. You know, Muhammad Ali couldn't be George. Come on. He's in his, you know, 30s George form is 24. He's invincible. Ali won that fight here. That fight Bye, bye. Absolutely out, maneuvering, mentally George Foreman, and all of that stuff that went on. And so you kind of see it. Plus, I had, you know, Norman Mailer who incredible voice George Plimpton incredible voice, Spike Lee, who, you know, can talk about, you know, in rightfully, as, and also, you know, he can talk about black people in America. He's focused his career, but he also understood it, nobody has any history, people have forgotten who he was. So you could have him put that in context. And then I had a friend who had been part of Peter Brooks international theatre company named Molly Baba JoJo, he was from Mali. And he actually was the voice of Africa in that film. And he could talk about as an African, what they thought of Bali, how they look, because Foreman's darker form is much darker, he should be the guy they, instead they say, No, no, it has nothing to do with the color of his skin. He embodied what Africa was about, we loved and we, you know, and anyway, in that film, you, you see that evolution. And you also realize how great a champion he was. Because when women see the film, if I succeeded, they come out, they go, Oh, he won that. By being smarter. He psychologically psyched him out completely. They get it. And then and that's, that's what I was setting out to do.
Alex Ferrari 1:18:55
What drives you to continue to make movies, I mean, you've made some some of the greatest movies in in Hollywood history, arguably speaking. What makes you making wanting to keep making stories, but making movies?
Taylor Hackford 1:19:08
You know, that's the I told you when I was in the Peace Corps, and I started with my super a camera, and I eat, it excites you, you'll get the opportunity to tell I'm a storyteller. As I said, I'm more interested in using the nuances of an actor's face and telling the process on camera than I am in, in creating some big cameras, that everybody goes, wow. Because when we're honest, what you say, those big camera moves take you out of the movie. What they're saying is, oh, wow, this filmmaker really is showing me something. And until I'm back here, looking at it, instead of in there with the actors doing the story, right? That isn't again, that's not sad to put anybody down. I love directors with great time. I am a fan of it, I just don't choose to tell my stories that way. And I think that the, the excitement of having a story, like I said, I just developed six projects, I want to make all of them. And in the last few years, it's tough. I mean, I would never be able to make rain today. I want a Blackberry. It's just, I can't do it. So I was lucky to be able to have that experience. You know, I knew Ray Charles and I felt I did injustice. And he told me I did. But you know, today's world is different. But I still have a passion to tell, you know, stories that excite me, and, and the fact that I can, until I know, hopefully, it's hard getting money harder now than it ever was. If I get the opportunity, you can bet I'm going to jump out there and be the first one out of the blocks at the starting gate. And that you know, and and be able to be there when I come around with the finish line. Because it's it's a, it's a, it's a great gift, it's a great opportunity. And, you know, if you have to hunger to tell the story, and you work with collaborators, that the other thing is the realization that you need, you're not a novelist, alone at your typewriter or theater. So you need really talented people, you've got to seduce a whole group of people, whether they're actors or crew members to come along with you. And then you've got to give, you've got to listen to them, because they're all contributing, so that when you finish it, you've been through war together. But you also realize God, we we put something together, we put something together together, all of this collaboration, and then it's better than anybody could have done alone. And that process if that's what you like doing that, you know, again, I like all the processes of filmmaking. I love the editing room, I love, you know, pre production getting set. But it's when you're shooting, that's what you're dancing. That's the case you got to come up, there's always going to be things that come out of Nope. It's all these things that are never expected and can destroy you. And how bad things on your feet and solve them and and shoot your way out of a corner. It's what it's exhilarating. It really is.
Alex Ferrari 1:22:27
And I'm gonna ask you a few questions asked all of my guests. What advice would you give a filmmaker trying to break into the business today?
Taylor Hackford 1:22:34
Grab a camera and tell a story. I mean, you know, it's easier today than it ever was. But you know, I, I got my break, to be able to make dramatic film. Because I I shot a dramatic short. And they won an Academy Award. And that was taken for me. But without it, you know, people would still said, Yeah, you did documentaries. But can you work with actors? Can you tell a story proven, and you don't need to do half hour, you can do 15 minutes, you know, it's hard to tell a short story and make it make sense. But you can do it. And now that you've got an iPhone, you can you know, you can you can shoot whatever you want. I didn't have that option. You know, I had to make things look, you know, cool and get a cinematography. I mean, sooner or later, you want to have people and I would just also the idea of even though you're using an iPhone, get it, get somebody to shoot it. Because you need to talk to the actress. You know, you want a great editor, you know people can do in a Steven Soderbergh is a friend of mine, and he's a great director. But you know, he shoots, he edits, he does it all himself everything. And, you know, that's great, I could never do that. And I, I want I feed off of the energy of all those collaborators, because they got great ideas you got, you just have to know. You can't take their word for everything. You know, yes, they're talented, but it's you making the film. So you say I want to know what you think I want to get these ideas. And then you finally have to say, those are all interesting things. But I'm doing it this way. My Way, as you can't sit in the movie theater at the end, as people are walking out telling, well, that wasn't my idea. No, it's got your name on it. So, you know, what I would say is make or choose a group of people keep a team small planes. You think of that, and make a small short film that you can show as your calling card.
Alex Ferrari 1:24:37
Now, what is the lesson that took you the longest to learn whether in the film industry or in life?
Taylor Hackford 1:24:44
It's interesting. I'm going to tell you a story of this brilliant, brilliant man, but I do Ray Charles and I was recording was using him to record some early lol Folsom elements. He played piano for local some of the road boltholes was a great blues map. Every every day, I have the blues, some. And Ray was going to, you know, I asked him what about an arranger that puts us there and says how I rank those things. I'll do it for you. So I was in raised studio and Ray had always been really cool, really cool. You know, Taylor, you got the eyes, you got the passion, I'm supporting you. But he was doing he was sitting in the chair that he knew a lot about, which is music. And he was going to be putting together these, these the band, I had a wonderful blues, young blues guy from Louisiana, came named Chris Thomas came. And he's really good. But he was going to say you play the guitar, but the bandulus but before we did that, I had a sequence in the film where I wanted ready to be playing and kind of contemplative groups. And, you know, he's, he's hurting, he has never been on the road before. He's a blind man. He's out with a bunch of musicians. There's, he's, they've finished the gig, guys are at the bar, and they've got some girls, and they're going to go out and re wants to go with him. We're sitting there alone with him and says, Hey, fellas, where you going? And they, and they hear this guy say, We don't need no cripple with us. Let's get out of here, you know. And, you know, he's, he's left. And this is all leading up to his his pain and his sadness. And when he started taking heroin, so it was these things, you need these scenes to build up to show how, how completely bereft is of any kind of joy in his life. So after those people leave, he starts playing this little melody, little kind of contemplative blues of the piano. And it becomes the intro to the next night when they're performing. Everyday I have the blues loaf or something. So I had a very specific, it's my creation of the scene where I wanted a piano intro, that then becomes the next night. And then afterwards, he goes and shoots heroin. Because he's so you know, low. So I asked me, like, describe how I want it. He's there. We were alone in the studio, because the engineer myself and Ray, and I described what he wanted, he sits down and starts playing. And it's real showing, it's just not at all what I want. And he finishes his How's that? And I said, well, to tell you the truth, man. It wasn't what I wanted. It's way too showy. It's way too busy. And it just didn't work. And Ray Charles, we've been so nice to meet, you know, now turns and says, Listen, mother fucker. I'm doing this as a favor to you. You know, I played that son of a bitch Exactly. Like you described it. Now you better get your shit together. I'm getting them a walking out of here right now. And the man who had been so cool to me, was in testing. Right? And what he said was right, I thought about it. And now I said, you know, because you can hear I, I know how to talk. And, you know, directors can talk and talk and talk. Well, the lesson that I learned, I stopped. You know, I mean, my heart was beating. I look, I look behind the glass at the booth. The engineer kind of slid down in his chair below, you can see, you know, they're all alone. You're all alone. Cobra when the rattlesnake came out of Ray Charles, let me tell you, he was frightened. And so I thought I had to think really quickly. And now I came back and I described what I wanted. In 25% of the words that I originally used. And race it. Okay, great turnaround, played it perfectly played exactly what I wanted. And he finished he said, how's that? And I said, was perfectly was just right. He said, okay, just say what you mean.
Alex Ferrari 1:29:21
So when you say 25% less, do you mean that you would just No, no 75% less? 75%? Right. 25%
Taylor Hackford 1:29:29
of the words i'd originally used in other ways the lesson learned for filmmakers. Don't talk so much that you're there your community know and rate. You know, sometimes people use their hands. They're trying to explain all these goes into what you're saying. Right. couldn't see any of them. He heard what I said. And he played it the way I described it. And I know Ray Charles, he played it the way I described it, I fucked up. I used to Too many words, mixed up things. And now he forced me to take 75% of the bullshit out. And I thought 25% of the words, and he knew exactly what it was, and he delivered what I asked. And so I think the best advice is what Rachel said. Just say what you mean. And don't dress it up with all that bullshit.
Alex Ferrari 1:30:24
And last question, three of your favorite films of all time.
Taylor Hackford 1:30:28
Oh, God. You know, that's really hard because I told you how much I love them. Sure. Treasure Sierra Madre moderate is perfect. It's a perfect. I think that the Wild Bunch pretty amazing film. Yeah, that really means a comb about age and about America. And, you know, the rest of you know. I mean, I'll just give you you know, I can't, you know, I can't give you you know, by giving you a third that I've got, I believe those two, and then I didn't realize that, you know, karasawa should be in there. Sure. No, Fellini's should be in there. Andre Vita, who is one of my favorite directors is check director. You know, there are too many young guys, any, any move is a great director. You seen films that stop your breath. And you realize that there are there are filmmakers out there who can truly tell the story and make you feel something that nothing else like it's film that will change your your perspective on life. So I don't have to give you a third,
Alex Ferrari 1:31:45
fair enough.
Taylor Hackford 1:31:46
It would be one of those filmmakers.
Alex Ferrari 1:31:49
Taylor, thank you so much for your time and your stories and your advice. It has been an absolute pleasure talking to you. So thank you so much and keep doing what you do. We need more films from you, sir.
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My Review of Def Leppard and Journey Concert at Fenway Park in Massachusetts
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2024-08-07T10:44:51+00:00
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It was a long eight-month wait for this show, but the big night finally came on August 5. It was great, but not as great as I had hoped.
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https://wjbq.com/review-journey-def-leppard-steve-miller-band-fenway/
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Journey is my favorite band of all time, and last Christmas, my girlfriend Michele surprised me with tickets to see them (along with Def Leppard) at Fenway Park. My favorite band at my favorite ballpark? What more could you ask for?
It was a long eight-month wait, but the big night finally came on August 5. It was great, but not as great as I had hoped. Here's my review of Def Leppard, Journey, and the Steve Miller Band live at Fenway Park.
Steve Miller Band
The Steve Miller Band was the opening act to kick off at 5:30 as many people were still filling in for the show. The band was a last-minute replacement for Heart, when Ann Wilson announced they would be postponing their show after her diagnosis of breast cancer.
Steve Miller is 80 years old, and still has it. Their show was short compared to Journey and Def Leppard's set, but the crowd started to get into it when they got to their biggest hits like "Jungle Love" and "Jet Airliner". It was a nice little appetizer before the main course. Here's the 10-song set list:
"Space Intro"
"Serenade"
"Swingtown"
"Fly Like an Eagle"
"Abracadabra"
"Take the Money and Run"
"Jungle Love"
"Rock’n Me"
"Jet Airliner"
"The Joker"
Journey
Journey was not the headliner as I expected, but it didn't matter. Neil Schonn is still amazing on guitar, and he has been with the band ever since he formed it in 1973. As much as I love Steve Perry and his amazing vocal range, current lead singer Arnel Pineda has nearly the same range, and is an amazing performer on stage.
The band essentially stuck to what was on their huge-selling Greatest Hits album, but when you go to a Journey concert, those are the songs you want to hear live. Here's the set list:
"Only the Young"
"Be Good to Yourself"
"Stone in Love"
"Ask the Lonely"
"Escape"
"Faithfully"
"Lovin’, Touchin’, Squeezin’"
"Open Arms"
"Line of Fire"
"Dead or Alive"
"Wheel in the Sky"
"Lights"
"Separate Ways (Worlds Apart)"
"Don’t Stop Believin’"
"Any Way You Want It"
Def Leppard
I was surprised that Def Leppard stole the show. It was by far the most visually stunning of the three bands. The screen behind the band had animations that went with every song, there were cameras everywhere switching to each of the band members (including drummer Rick Allen), and a camera was mounted on the neck of a guitar played by Phil Collen. At one point, everyone was standing and singing along, and the atmosphere at Fenway was electric.
Lead singer Joe Elliot gave a shout-out to the recently retired band Aerosmith, since they were in their hometown of Boston.
Here's the setlist:
"Rock Rock (Till You Drop)"
"Rocket"
"Foolin’"
"Armageddon It"
"Animal"
"Love Bites"
"Just Like ’73"
"Comin’ Under Fire"
"Too Late For Love"
"Die Hard the Hunter"
"Two Steps Behind"
"This Guitar"
"Bringin’ on the Heartbreak"
"Switch 625"
"Rock of Ages"
"Photograph"
"Hysteria"
"Pour Some Sugar on Me"
My biggest complaint about the show is the sound. I have never been to a concert as loud as this one. It was so loud and over-modulated that it was nearly impossible for me to recognize some of the songs or to understand what the band was saying to the crowd between songs. I had problems with all three bands, but Journey's set was the worst of them. It may just be my hearing going bad. I don't know, but it was rough.
Overall, it was still a great show in a great venue that I wouldn't have missed for the world.
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Explore the filmography of Taylor Hackford on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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https://www.rottentomatoes.com/celebrity/taylor_hackford
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An early career in television documentaries helped to shape the degree of verisimilitude that informed much of Taylor Hackford's efforts as a director and producer in Hollywood. After proving his skill with real-life subjects, he ventured into features, where he fared best with biopics - especially those based on the lives of rock 'n' roll pioneers like Ritchie Valens in "La Bamba" (1987) and Ray Charles in "Ray" (2004). "An Officer and a Gentleman" (1982) and "Against All Odds" (1984) also won many moviegoers' hearts, as did later projects like "White Nights" (1985) and "Everybody's All-American" (1988). Feature-length documentaries proved to be one of his most satisfying milieus, with "Chuck Berry: Hail! Hail! Rock 'n' Roll" (1987) and the Muhammad Ali fight story "When We Were Kings" (1996) earning him praise from critics and viewers alike. Films like these solidified Hackford's status as a director with an uncanny knack for capturing the drama inherent in everyday lives.
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http://thehollywoodinterview.blogspot.com/2008/03/taylor-hackford-hollywood-interview.html
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The Hollywood Interview: Taylor Hackford: The Hollywood Interview
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Director Taylor Hackford. TAYLOR HACKFORD: GIMME SOME PROOF By Alex Simon Editor’s Note: The following article originally...
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http://thehollywoodinterview.blogspot.com/2008/03/taylor-hackford-hollywood-interview.html
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Who Is Helen Mirren's Husband? All About Taylor Hackford
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"Sarah Title",
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2022-12-15T16:09:00-05:00
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Helen Mirren has been married to award-winning director Taylor Hackford since 1997. Here is everything to know about the actress' husband.
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en
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/favicon.ico
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Peoplemag
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https://people.com/movies/who-is-taylor-hackford-helen-mirren-husband/
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Helen Mirren and her husband, Taylor Hackford, are both Oscar winners.
The actress starred in her first movie, The Age of Consent, when she was 22. She became a household name in TV during her time on Prime Suspect, which earned her an Emmy for outstanding actress in a mini-series or movie. Other major roles in her career include The Madness of King George, which earned her an Oscar nomination; Gosford Park, which earned her a second Oscar nomination; and The Queen for which she won an Oscar.
Hackford also has an impressive résumé, earning his first Academy Award in 1979 for the film Teenage Father. He and Mirren dated for a decade before getting married in Scotland in 1997 and they've been together ever since.
So, who is Helen Mirren's husband? Here's everything to know about Taylor Hackford.
He went to USC
Hackford grew up in Santa Barbara, California, and attended the University of Southern California but did not study film, despite becoming a successful director. Instead, he studied international relations and went to the Peace Corps. He also went to law school for two weeks and eventually got a job in the mail room at a public television station in Los Angeles.
"Every night I'd go around to the repertory cinemas and see whatever I could, every Fellini film, every Godard, every Truffaut, Bergman, all the stuff you have to see," he told the Director's Guild of America in 2015. "And whenever I had a moment, I'd experiment a little with my Super 8 camera. One day someone at the station asked me if I could shoot film, and I said sure — though I'd never shot 16 mm film in my life. I didn't screw up too badly, so they put me on camera doing political reporting, cultural affairs and music shows. As long as I didn't sleep or eat, I could do everything."
He is an award-winning director
Hackford has directed and produced many films. In 1979, he won the Academy Award for Best Live-Action Film for Teenage Father. His second film, An Officer and a Gentleman (1982), which starred Richard Gere and Debra Winger, garnered five Academy Award nominations. His other films include Against All Odds (1984), Blood In, Blood Out (1993), Dolores Claiborne (1995) and Ray (2004). Hackford was nominated for Best Achievement in Directing and Best Motion Picture of the Year for Ray.
He was also the president of the Director's Guild of America for two terms.
He's shot multiple music videos
Hackford has directed award-winning movies, but that's not all. He's also directed multiple music videos for Lionel Richie and Phil Collins. "In documentaries as in any film project, I want to tell a story, and part of the story here is understanding what the performer is saying, whether it's a vocal or a guitar solo," he told the Director's Guild of America. When two or three or four guitarists are playing together, something's happening there, dialogue is being exchanged. Why would you cut any differently, when you're trying to understand what's being said?"
The Oscar winner said he's loved music from an early age and recalled the moment he discovered Ray Charles' songs. "The first time I heard Ray Charles, I knew he was a cut above. He was my guy. That's why I spent 13 years trying to raise the money to make a biography of him."
He has two sons from previous marriages
The director welcomed his first son, Rio Hackford, with his first wife Georgie Lowres. After splitting from Loewres in 1972, he went on to wed Lynne Litman, with whom he shares son Alexander Hackford.
Hackford's elder son Rio starred in a variety of TV shows and movies including Pretty Woman, The Mandalorian, Treme, American Crime Story, Fred Claus, Swingers, True Detective and Pam & Tommy. He died in April 2022 at age 51 from uveal melanoma, a rare and aggressive form of cancer.
In an exclusive statement to PEOPLE, Hackford and Mirren said they were "both inspired by the life of our son and stepson, Rio Hackford, and heartbroken by his loss. His life showed us how to live in generosity and community." They added, "He shared his life's journey with so many who now mourn him, and at the same time, celebrate their fortune in knowing him."
He dated Mirren for a decade before getting married
Mirren and Hackford were together for 11 years before they got married in 1997 in Scotland. "I did very consciously choose my work over my relationships right up to the time that I met Taylor. I was 38 when I met Taylor, pretty late in life," Mirren told AARP in 2016.
"We got married in the end because we realized that we were going to be together forever," she explained. "We got married, ultimately, for legal reasons more than anything else. Estate planning and other complicated things like that. And our families, we sensed, wanted us to be married. I always said I have nothing against marriage; it just wasn't to my taste, like turnips. It took me a very long time to come round to acquiring the taste. I just had to meet the right turnip."
In February 2024, Hackford told PEOPLE that there was "instant passion" when he met Mirren.
“She’s a very sexy girl and she still is. But the reality is, over a period of time, you start to — you mature," he said. “She’s just a fantastic person to live with, to have a family with. We don’t have children [together], but I had children and she has nieces and nephews and we are all a very close-knit group and that’s lovely.”
He's very supportive of Mirren's acting career
Hackford has joined his wife of over 20 years on dozens of red carpets. He accompanied her to the 1999 Emmys, where Mirren won outstanding lead actress in a limited series for her role in The Passion of Ayn Rand. He was also present at the 2007 Academy Awards when she won Best Actress for her role in The Queen.
In 2010, the pair hit the red carpet for Mirren's action comedy Red. Hackford also visited Mirren's wax figure at Madame Tussauds in London that same year. When Mirren got her star on the Hollywood Walk of Fame in 2013, he posed for photos with her as well.
In January 2024, Hackford accompanied Mirren to the 81st annual Golden Globes, where she was nominated for best female actor in a TV series for her work in Taylor Sheridan's 1923.
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Combustible Celluloid interview
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Interview with Taylor Hackford
Working Classy
By Jeffrey M. Anderson
Russell Crowe (left) with director Taylor
Hackford on the set of Proof of Life.
American director Taylor Hackford today appears at the San Francisco International Film Festival to collect his lifetime achievement award in directing and to screen his feature directorial debut, The Idolmaker (1980). Mr. Hackford, 59, was recently nominated for an Oscar for his acclaimed film Ray, and has also directed An Officer and a Gentleman (1982), Dolores Claiborne (1995), The Devil's Advocate (1997) and Proof of Life (2000). I spoke to him via phone about his life's work.
Combustible Celluloid: How did you come to choose "The Idolmaker" to show at the festival?
Taylor Hackford: It was an interesting piece because, as opposed to a genius musician [like Ray Charles], it's also about another era. It's somebody who didn't have classic good looks and didn't make it in show business. It was the era of Tab Hunter and Rock Hudson; they all had a certain look. It was the idea that Tony (Ray Sharkey) had to find face men and imbue them with a certain talent. Then later, the Al Pacinos and Robert De Niros came along and, they didn't necessarily have the glamour. That is speaking to a particular time.
CC: That time has also come around again to today, with "American Idol" and whatnot.
TH: Less so in the U.S., but in England -- England has a fantastic tradition of music. The Beatles, the Rolling Stones, etc. That rediscovered rock and roll and England has completely lost itself with boy bands. It's just so boring. The compelling story to me is the story of the idolmaker, the guy who doesn't have a lot of self worth. He has a fairly strong ego but has to make that happen through puppets.
CC: My favorite scene is the one in which Tony is standing backstage watching his first creation (Paul Land) perform; he's going through all the same motions behind the curtain.
TH: Bob Marcucci, whom the movie was based on, consulted with me on the script. He still could go through all these little movements that he had taught Frankie Avalon and Fabian. I got the idea of putting him backstage and showing the puppet master really going through it. He wanted in the worst way to be out in front.
CC: In any case, The Idolmaker makes a very interesting comparison to Ray. One is about the guy who gets left behind by the talent, and the other is about the talent who leaves everyone behind.
TH: The thing that's interesting about The Idolmaker. It was my first film, and it was my opportunity. Ray Sharkey was a wonderful talent, and you feel that. Ray is a very different kettle of fish. He's a true genius. But the drive is similar. Ray Charles refused to listen to those people who said "you're a cripple." With his drive and his refusal to accept that, he was striving to prove that he was as good or better than anyone else. I make films about working class people. Show business is one of those things that people can use to get themselves out of the lower rung of society. An Officer and a Gentleman was about getting out through the military. I'm always interested in those vehicles through which people can move. The entertainment business is always a possibility.
CC: I noticed that you're very gifted at shooting music sequences. A great scene in Ray is the on-stage creation of "What'd I Say." Most directors either do too much or too little.
TH: If you zoom in and zoom out, it takes you out of the music. The director's job should give you a sense of music without drawing attention to itself. You're there because something happens live. It's different than on a record. There's something that's being created at the moment. You come up with a visual style that allows you to get in. What I try to do is get inside.
CC: Can you talk a little about your working methods?
TH: When I finish a film, I put it away and I never look at it again. Occasionally I do now because of the DVDs and the commentary tracks. I usually put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L.A. I worked in concerts. I have done a lot of music. I feel very comfortable shooting music, and I think you can see that. The style of The Idolmaker is very heavily influenced by Bob Fosse. There's a lot of style and a lot of movement and camera placement that came from Fosse. Ray was a different kind of piece. My proudest moments in Ray were in those "chitlin" clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and quietly listen to a genius perform. But in these clubs, he had to get people up dancing. He was a dance band. What I tried to create was a little of that energy, a little of that exuberance. The great thing about music is when you can get people on their feet.
CC: Some might portray you as a man's man director, but you've directed several top-notch female performances over the years: Debra Winger, Jessica Lange, Kathy Bates...
TH: I defy you to find a better woman's performance than Kathy bates in Dolores Claiborne -- the kind of pain she was in that she wasn't even aware of. People look at that film and they don't get it. Then they finally clock it that she's this walking wound. She's very smart and very aware of what causes that neurosis. There are a lot of things in that film that I'm very proud of. I tried to quote Magritte the painter, then also getting into the hearts and minds of these three tough women. They've been through the world of men, and have suffered, and are survivors. This is not tooting my own horn; this is singing the praises of the people I work with.
CC: There was one woman in Ray. She was a backup singer, the tallest one. I don't think she had much dialogue, but I couldn't take my eyes off of her.
TH: Aunjanue Ellis. I just completed a pilot with her, and my smile muscles were exhausted. She plays a Marine working in the Pentagon. My editor worked for a week on one scene and he had no idea that she was the same woman he had edited in Ray. But I look at the supporting actress category and none of my women got nominated. My sense is that Ray is an interesting film because Jamie did this performance, but his relationship with these women is a stunning ensemble of emotion.
CC: You're known for working with all different races, creeds and colors in films like Ray and Blood in Blood Out. Obviously that's a benefit, but does it ever cause you any trouble in the movie business?
TH: It's a double-edged sword. You're trying to make films in a commercial medium that are very specific. I try to make films that will convince the most difficult subject. What I was trying to do in An Officer and a Gentleman was convince Marines with Louis Gossett's performance. They're a very tough organization. In this particular instance I was tying to get the Marines to look at him and go, "that's a Marine."
Blood in Blood Out is a movie about the Latino experience. I'm always interested in the working class people. I am one. They're subjugated, they're paid very little and they can make it in show biz. Whether it's James Cagney as an Irishman in Yankee Doodle Dandy or it's La Bamba [which Hackford produced]. Gangster movies are as old as Little Caesar (1930). What I was doing was updating it. But when you do that, when you do something that's ethnic, you risk the white audience, the general audience looking at you and saying, "what are you doing?" And then you get the Latinos saying, "how dare you? Why don't you make films about Latino doctors and lawyers?" On the surface, you can say that Taylor Hackford shouldn't do this because he's white. But when Latinos come up to me and say, "thank you," it means a lot. The Los Angeles riots happened while we were editing it and it almost never came out. It never really got its chance. But today you cannot find Blood In Blood Out in any video store in a Latin neighborhood. It's always checked out.
When black people look at Ray and say, "Yeah... he got it. He got black culture," that's the best compliment I can get.
C: You're the nineteenth director to win this award at the San Francisco International Film Festival. Of the directors that have won before you, whom do you most admire?
TH: Kurosawa. I know my films aren't like his, but he was able to tell a story, with incredible style. He could do the whole thing. He could make you laugh and cry; he could do the violence and the subtlety all at once. And at the end of his career, to do something like Ran, these huge costume dramas. He's in my top five of all time. The other thing that's particularly sweet about this: The first longish film I did was a portrait of Charles Bukoswki and I entered it in the San Francisco Film Festival and it won the "Silver Reel." So the first recognition I got was from the SF film festival.
April 21, 2005
Buy Taylor Hackford movies on DVD
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https://www.lacinetek.com/fr-en/film/ray-taylor-hackford-vod
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en
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Ray by Taylor Hackford on VoD
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2004-08-27T00:00:00
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Ray by Taylor Hackford a movie to download, on VoD and legal streaming - LaCinetek
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de
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/static/assets/favicon.ico
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LaCinetek
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https://www.lacinetek.com/fr-en/film/ray-taylor-hackford-vod
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The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s.
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https://www.usmagazine.com/celebrity-news/pictures/helen-mirren-and-taylor-hackfords-relationship-timeline/
|
en
|
Helen Mirren and Taylor Hackford’s Relationship Timeline
|
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2022-12-18T17:00:15+00:00
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Helen Mirren and husband Taylor Hackford started dating in 1986 after meeting on the set of 'White Nights' — see their relationship timeline
|
en
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/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
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Us Weekly
|
https://www.usmagazine.com/celebrity-news/pictures/helen-mirren-and-taylor-hackfords-relationship-timeline/
|
A romance with a rocky start. Helen Mirren and Taylor Hackford have been together for more than 30 years, but their first encounter didn’t go smoothly.
The Oscar winner and the Ray director met in 1985 while Hackford was working on the movie White Nights, but Mirren wasn’t impressed when her future husband kept her waiting for an audition. “It was a strange way to meet Helen, because she is a lovely person,” the California native told AARP The Magazine in September 2006. “But she didn’t hold back her fury.”
After they got to know each other, however, the Queen actress came around, in part because of how Hackford interacted with his sons. “I have to say that the thing I loved most about Taylor was his absolute, total commitment to his children,” the Emmy winner told the outlet. The Bukowski writer shares son Rio (born in 1970) with first wife Georgie Lowres and son Alexander (born in 1979) with second wife Lynne Littmann.
Mirren, for her part, has said that she never wanted her own biological children. “It was not my destiny,” she told British Vogue in February 2013. “I kept thinking it would be, waiting for it to happen, but I never did, and I didn’t care what people thought.”
The U.K. native also wasn’t totally sold on marriage in her younger years, but meeting Hackford changed her mind. “We got married in the end because we realized that we were going to be together forever,” Mirren told AARP The Magazine in November 2016. “We got married, ultimately, for legal reasons more than anything else. Estate planning and other complicated things like that. And our families, we sensed, wanted us to be married. I always said I have nothing against marriage; it just wasn’t to my taste, like turnips. It took me a very long time to come around to acquiring the taste. I just had to meet the right turnip.”
In December 2022, the Tony Award winner revealed that her relationship helped inspire her portrayal of Cara in the Yellowstone spinoff 1923, in which she’s married to a man named Jacob Dutton (Harrison Ford). “I may be the boss, but he’s the leader. It’s an equal partnership and I know from being with my husband,” she told Entertainment Tonight at the time. “But if you manage to stay together through love, you come to this very beautiful place where it is this equal partnership, and I think that’s where Cara and Jacob are.”
Keep scrolling for Mirren and Hackford’s complete relationship timeline:
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Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.
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https://www.moviemaker.com/things-ive-learned-as-a-moviemaker-taylor-hackford/
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Things I’ve Learned As A Moviemaker: Taylor Hackford
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2021-05-22T11:21:16-07:00
|
Moviemaker Taylor Hackford shares his insights on passion, desire, obsession and the wisdom of knowing when "no" doesn't necessarily mean rejection.
|
en
|
MovieMaker
|
https://www.moviemaker.com/things-ive-learned-as-a-moviemaker-taylor-hackford/
|
You have to be passionate.
When a script is ready, I commit to it. That’s one of the problems with me. I usually develop my own material, and it takes a while, so therefore I am not directing as much as other people. And it’s frustrating. You want to be working as much as possible, but I can only do the things I get passionate about.
Don’t believe in “no.”
Don’t believe it when they so “no.” Because you’re going to hear “no” 50 times more than you’ll hear “yes.” All you need is one yes. The Bill Goldman line that “nobody knows anything” is absolutely true. And I think Ray is the ultimate case of everyone saying no—and ultimately they never said yes.
Desire leads from passion to obsession.
The way I work is that if I have a desire and urge to do something that I believe in, and people say no, it becomes a passion. And if they continue to say no it becomes an obsession. And the way films get made is for a filmmaker to not accept that word no and continue to move forward.
Listen to the voice that gnaws at night.
When you’re young and impressionable, you are vulnerable. Because you’re trying to put something forward and you don’t even know if it’s the right thing. But what you do realize is that they certainly don’t know. And sometimes you come to realization that “you know what, that isn’t such a good idea.” But when something catches hold and you believe in it, and it continues to gnaw at you at night, then you’ve got to just keep pressing forward.
Make films for the audience.
|
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Taylor Hackford
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American film director, and president of the Directors Guild of America
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American film director, and president of the Directors Guild of America
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https://www.nickiswift.com/1246583/helen-mirren-husband-taylor-hackford/
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Who Is Helen Mirren's Husband, Taylor Hackford?
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2023-04-04T02:15:16+00:00
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Helen Mirren never thought she would get married, but she found love when she was nearly 40 years old. Here's what we know about her husband, Taylor Hackford.
|
en
|
Nicki Swift
|
https://www.nickiswift.com/1246583/helen-mirren-husband-taylor-hackford/
|
Helen Mirren never thought she'd get married, but she found the love of her life when she was nearly 40 years old. The movie star was auditioning for the 1985 film "White Nights" when she met her future husband, Academy Award-winning director Taylor Hackford. Things were fiery from the get-go, as Hackford showed up late for Mirren's audition for the film. "It was a strange way to meet Helen, because she is a lovely person, but she didn't hold back her fury," Hackford told AARP The Magazine in 2006. Despite their rocky start, the two fell in love and were married in a historic castle in Scotland in 1997. Mirren was 52 years old on her wedding day.
Mirren reflected on her later-in-life love during an interview on "Today." "The great thing about finding a partnership later on [in life] is that you recognize it as such," she said in 2016. "You recognize the partnership level of this relationship as much as the love and the lust and all the rest of it."
And it has been quite the partnership indeed. Both Mirren and Hackford had well-established careers in the film industry when they first met, and they went on to work together a few more times after "White Nights."
Taylor Hackford has directed some of the biggest films over the past 40 years. In 1979, he won an Academy Award for his short film "Teenage Father." His second film, 1982's "An Officer and a Gentleman," was another Oscar-nominated blockbuster. Hackford also directed the 1980s megahit "Against All Odds" and the Ray Charles biopic "Ray." He won two Grammy Awards for the "Ray" soundtrack. Hackford was also the president of the Director's Guild.
In 2016, Hackford told DGA Quarterly Magazine that he majored in international relations at the University of Southern California before joining the Peace Corps. His interest in film was sparked when he got a mailroom job at a PBS station in Los Angeles and began doing on-camera reporting. "I was there for several years, won a few awards for investigative journalism," he told The Hollywood Interview. "Then I did a short film called 'Teenage Father,' which was an educational film for high school kids. And it wound up getting the Oscar for Best Short Film." Hackford said he then scored an agent and began regularly working in Hollywood.
Before meeting Mirren, Hackford had two earlier marriages, each of which produced sons. In 1970, he welcomed his son Rio with his first wife, Georgie Lowres. He also shared a son, Alex, with his second wife, Lynne Littman. While Mirren herself never wanted children, she embraced her stepsons. "I have to say that the thing I loved most about Taylor was his absolute, total commitment to his children," she told AARP The Magazine in 2006. Hackford's eldest son, Rio, died in April 2022 at age 51 from a rare form of melanoma, per The Hollywood Reporter.
After wrapping "White Nights," Helen Mirren and Taylor Hackford put a long pause on working together. But in 2010, they teamed up for the movie "Love Ranch." In an interview with Collider, Hackford revealed that it was a very different experience working with his wife on their second film because he was no longer just getting to know her. "A couple of times I spoke to her in ways I shouldn't have," he admitted. "I would have never spoken to another actor that way." He added that he didn't intend to speak to his wife in such a way, and that it was just due to his "familiarity" with her. "You can't help it. ... You're closer to that person than anybody else," he explained. In 2021, it was also announced that Mirren would star in her husband's upcoming thriller, "Sniff." The film is still in production.
Mirren has said her husband doesn't typically critique her work — and vice versa. And that could be why the partnership continues to work both on and off-camera. "You know, I believe in unconditional praise from one's loved ones," she told People in 2022. "I don't want any criticism. And I give him unconditional praise likewise — more or less. We allow each other to do our own thing, and get on with it."
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Taylor Hackford Fan Casting
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[] |
[] |
[
""
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[] | null |
View casting suggestions for Taylor Hackford, and make your own suggestions for roles you think they should play in upcoming films!
|
myCast - Fan Casting Your Favorite Stories
|
https://www.mycast.io/talent/taylor-hackford
|
Join myCast
Do you love movies? Fan casting? myCast is the place for you!
Join thousands of other users in fan casting your favorite stories. Take 30 seconds to create a completely free profile, which will allow you to:
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Join myCast
Do you love movies? Fan casting? myCast is the place for you!
Join thousands of other users in fan casting your favorite stories. Take 30 seconds to create a completely free profile, which will allow you to:
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https://elcinema.com/en/person/2008959/
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Director Filmography، photos، Video
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Taylor Hackford - Director Filmography، photos، Video
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en
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elCinema.com
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https://elcinema.com/en/person/2008959/
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An American film director, producer and screenwriter, born in Santa Barbara, California, United States. He graduated from the University of Southern California in 1968, where he...Read more was a pre-law major focusing on international relations and economics. His works include Bound by Honor, Dolores Claiborne, and Ray.
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Director Filmography، photos، Video
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Taylor Hackford - Director Filmography، photos، Video
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elCinema.com
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https://elcinema.com/en/person/2008959/
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An American film director, producer and screenwriter, born in Santa Barbara, California, United States. He graduated from the University of Southern California in 1968, where he...Read more was a pre-law major focusing on international relations and economics. His works include Bound by Honor, Dolores Claiborne, and Ray.
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https://www.themoviedb.org/person/18596-taylor-hackford%3Flanguage%3Den-US
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Taylor Hackford
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Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
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The Movie Database
|
https://www.themoviedb.org/person/18596-taylor-hackford
|
Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
Taylor Edwin Hackford (born December 31, 1944 in Santa Barbara, CA) is an American film director and producer. He is best known for his work on films such as "An Officer and a Gentleman" (1982), "The Devil's Advocate" (1997) and "Proof of Life" (2000), and for directing Jamie Foxx to an Academy Award for Best Actor in "Ray" (2004). Hackford served as president of the Directors Guild of America from 2009 to 2013.
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https://www.afi.com/news/tag/taylor-hackford/
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American Film Institute
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Pairing Richard Gere and Debra Winger in a romantic drama from director Taylor Hackford, AN OFFICER AND A GENTLEMAN (1982) was lifted up to three of the American Film Institute’s iconic lists celebrating excellence in the art form – including among the greatest love stories and the most inspiring, as well as the most memorable movie music for “Up Where We Belong.”
Visit the AFI Catalog to learn more about AN OFFICER AND A GENTLEMAN.[vc_row css=
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You can adjust all of your cookie settings by navigating the tabs on the left hand side.
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https://www.nyfa.edu/guest/taylor-hackford/
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Guest Speaker Taylor Hackford
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2018-06-13T20:24:00+00:00
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Taylor Hackford has appeared as the Guest Speaker to share stories and experience with our students.
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NYFA
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https://www.nyfa.edu/guest/taylor-hackford/
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https://www.npr.org/2004/10/28/4130849/taylor-hackford-takes-on-a-legend-with-ray
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Taylor Hackford Takes On a Legend with 'Ray'
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NPR's Alex Chadwick talks to filmmaker Taylor Hackford about his new movie Ray, a biographical feature about the life and music of Ray Charles. Jamie Foxx's performance as the legendary musician, who died last June of liver disease, is already generating Oscar buzz.
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NPR
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https://www.npr.org/2004/10/28/4130849/taylor-hackford-takes-on-a-legend-with-ray
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Taylor Hackford Takes On a Legend with 'Ray'
NPR's Alex Chadwick talks to filmmaker Taylor Hackford about his new movie Ray, a biographical feature about the life and music of Ray Charles. Jamie Foxx's performance as the legendary musician, who died last June of liver disease, is already generating Oscar buzz.
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https://tv.apple.com/us/person/taylor-hackford/umc.cpc.4e7krr5v9php13v2w70f6wyo7
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Taylor Hackford Movies and Shows
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Learn about Taylor Hackford on Apple TV. Browse shows and movies that feature Taylor Hackford including Blood In, Blood Out, Parker, and more.
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Taylor Edwin Hackford is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father. Hackford went on to direct a number of highly regarded feature films, most notably An Officer and a Gentleman and Ray, the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture.
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https://www.tvguide.com/celebrities/prabhakar-panshikar/credits/3000832772/
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Prabhakar Panshikar
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See Prabhakar Panshikar full list of movies and tv shows from their career. Find where to watch Prabhakar Panshikar's latest movies and tv shows
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https://www.tvguide.com/celebrities/prabhakar-panshikar/credits/3000832772/
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https://prashantb.wordpress.com/2020/09/28/memories-of-dr-kashinath-ghanekar-first-super-star-of-marathi-theatre/
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Memories of Dr. Kashinath Ghanekar : first super star of Marathi theatre
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Theatre was his first love. Despite getting movie offers at height of stardom, he left cinema to return to stage. His mood swings and temper was difficult to tolerate. At one point, he was jobless. Not a single theatre producer or director wanted to work with him. He was the one who brought the glory…
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Stories that evoke nostalgia
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https://prashantb.wordpress.com/2020/09/28/memories-of-dr-kashinath-ghanekar-first-super-star-of-marathi-theatre/
|
Theatre was his first love. Despite getting movie offers at height of stardom, he left cinema to return to stage. His mood swings and temper was difficult to tolerate. At one point, he was jobless. Not a single theatre producer or director wanted to work with him. He was the one who brought the glory of theatre back to form. Yet he died lonely in his dark days. He was Dr Kashinath Ghanekar – the first and only superstar of Marathi theatre (rangbhoomi).
His biopic – Aani..Dr Kashinath Ghanekar (2018) ignited a new spark in my mind to write on the golden days of Marathi theatre and the rise and fall of the great legend: Kashinath Ghanekar. Yet something was missing in my write up on this great artist. I wanted to know who really he was – A flawed artist or a great theatre legend. Like every human, he had his own flaws. He was insecure, alcoholic and bit eccentric. Due to his restless spirits, it was difficult for theatre directors and writers to work with him. A dentist by profession, Dr Kashinath Ghanekar started his struggle as actor in theatre as a prompter. Dr Kashinath Ghanekar’s father never approved of his love for acting and theatre. Though Dr Kashinath Ghanekar was at his height of success in theatre world, he couldn’t win the admiration of his father till the last breath of his life.
In 50’s and 60’s, acting work wasn’t looked up as a noble profession by well-cultured families. It was the era of late 60’s when Bollywood movies had taken nation by storm. Marathi Rangbhoomi (theatre) was suffering a setback. There was not a single actor who could breathe a new life in the stage plays. At this juncture, Dr Kashinath Ghanekar’s play – ‘Raigada jevha jaag yete’ pulled theatre lovers back to stage plays. His role as Chattrapati Sambhaji sent patriotic goosebumps in minds of audience. Ticket counters were always houseful. People crowded literally to shake hands with him. There was euphoria, craze and adulation for him. Dr Kashinath Ghanekar was on top of the world. He had his own era. But his success was shortlived. His glorious days were over.
It is been said that a fanatic fan used to give threatening call to him. The fan couldn’t see his hero succumb to alcohol and fall midway during performance. Dr Kashinath Ghanekar literally went to depression when he discovered that his fan had committed suicide. He had lost one of his dearest fans.
His addiction to alcohol, his rivalry with contemporary actors like Dr Shriram Lagoo and his arrogant behavior with his co-actors were his major flaws that brought an abrupt end to his career as an actor. Marathi theatre was changing. But Kashinath was still stuck in glory of his old days. He couldn’t adapt himself to the changing dynamics of theatre. Even the theatre association wasn’t ready to cast him in his plays. It was only Kashinath’s friend Prabhakar Panshikar who stood by him.
He wanted to make a comeback. Sadly, he died broken-hearted due to cardiac arrest during his tour to Amravati. Had he survived, Dr Kashinath Ghanekar would have taken Marathi theatre to next level. No one recognized his worth except his second wife – Mrs Kanchan Ghanekar. Her book – Nath Ha Maaza is a memoir cum biography which gives a glimpse at the intimate moments and events occurred in life of late Dr. Kashinath Ghanekar. Even the biopic ‘Aani Dr Kashinath Ghanekar’ was based on ‘Nath Ha Maza’.
Even today the theatre audiences remember Dr Kashinath Ghanekar for his iconic role as ‘Lalya’ in the longest running play ‘Ashrunchi Jhale Phule’. It was role of ‘Lalya’ that made him a household name in world of theatre. His notable works include the successful plays – ‘Garambhica Bapu’, ‘Anandi Gopal’ and ‘Raigadala Jevha Jaag Yete’. I had seen some of his movies – ‘Paathlag’, ‘Ha Khel Savlyancha’ during my childhood days. It took me several decades to know about his legendary legacy in the biopic – Aani Dr Kashinath Ghanekar.
Even today’s Bollywood superstars like Akshay Kumar, Shahrukh Khan don’t enjoy that fan following like Dr Kashinath Ghanekar did. Today Dr Kashinath Ghanekar may be forgotten, but his legacy lives on through his plays and movies. This write up is reminiscence of old days of Marathi theatre and artists who dedicated themselves to the craft. Through this blog post, I wanted to pay homage to the legendary artist Dr Kashinath Ghanekar whom the theatre fraternity always misquoted.
To know more about Dr Kashinath Ghanekar’s legacy, I highly recommend the book – Nath Ha Maza penned by his wife Mrs Kanchan Ghanekar.
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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Marathi Theva: Toh Mee Navhech..
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Hello Friends, Sad News - Renowned Theatre Actor Prabhakar Panshikar is No More.... Born on March 14, 1931, Panshikar, in a career spanning...
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http://marathitheva.blogspot.com/2011/01/toh-mee-navhech.html
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https://www.cinestaan.com/people/prabhakar-panshikar-63304/full-filmography
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Prabhakar Panshikar movies and filmography
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Read Prabhakar Panshikar biography, movies worked in, roles and characters played in movies. Get birth date, real name and birth place - Cinestaan.com
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https://www.cinestaan.com/people/prabhakar-panshikar-63304/filmography
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Prabhakar Panshikar Filmography
Welcome to the complete filmography of Prabhakar Panshikar on Cinestaan.com. Here you will find the full list of movies on which Prabhakar Panshikar has worked, in reverse chronological order. You can also view the filmography by the role played by Prabhakar Panshikar and the status of the movie using the drop-down menu below.
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Best Marathi Actors Male
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IMDb
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Laxmikant Berde was a renowned Indian actor who made significant contributions to the Marathi and Hindi film industries. He was born in Mumbai, Maharashtra, India. Berde started his career in the entertainment industry in the late 1970s and quickly rose to prominence due to his impeccable comic timing and versatile acting skills.
Laxmikant Berde gained widespread recognition for his work in Marathi theater and cinema. He became a household name with his exceptional performances in plays like "Shantata! Court Chalu Aahe" and "Maanapman." His ability to effortlessly switch between comedic and serious roles showcased his acting prowess and endeared him to audiences.
Berde's foray into Hindi cinema marked another milestone in his career. He became a sought-after actor in Bollywood, especially for his memorable supporting roles in numerous hit films during the 1990s. Some of his notable Hindi films include "Maine Pyar Kiya," "Hum Aapke Hain Koun..!" and "Saajan."
Known for his distinctive style and unique expressions, Laxmikant Berde carved a niche for himself in the industry. His collaboration with fellow actor Ashok Saraf in Marathi cinema was particularly cherished by audiences, and the duo became one of the most beloved comic pairs in the regional film industry.
Tragically, Laxmikant Berde's promising career was cut short when he passed away at the age of 50 on December 16, 2004, due to a kidney ailment. Despite his untimely demise, his contributions to Indian cinema, especially in Marathi and Hindi films, continue to be celebrated, and he is remembered as one of the finest actors in the industry.
Prabhakar Panshikar, a celebrated Marathi stage actor, left an indelible mark on the world of theater. Born in Bombay (now Mumbai), India, he hailed from the Karhade Brahmin community. His lineage included Sanskrit scholars, with his grandfather translating the authoritative Ayurvedic manual, Nighantu Ratnakar, into Marathi.
From a young age, Prabhakar was captivated by acting and the world of theater. During his school days, he not only watched famous plays but also actively participated in Ganesha Festival performances in Girgaon, Mumbai. His love for drama led him away from his family during his early teens.
In 1955, at the age of 25, Prabhakar embarked on his professional journey in Marathi theater with the play Ranicha Baag. Under the guidance of veteran Marathi drama director M. G. Rangnekar, he honed his skills and acted in plays like Kulwadhu, Bhumikanya Sita, Vahini, and Khadashtak. However, it was Rangnekar who offered him the breakthrough role in the play To Mi Navhech (translated as "I Am Not Him"). Prabhakar portrayed the character of Lakhoba Lokhande, which became immortal in Marathi theater history. To Mi Navhech gained immense popularity and was even translated into other Indian languages, including Gujarati and Kannada.
Prabhakar Panshikar founded Natyasampada, a Marathi drama production organization. Through this platform, he nurtured local artists and launched them in cities like Pune, Mumbai, Kolhapur, and Nagpur. Over his illustrious career, Prabhakar performed in more than 8,000 stage shows spanning 53 years. His commitment to the stage was unwavering, and he became a beacon for aspiring actors and theater enthusiasts.
Prabhakar hailed from the Panshi village in Pernem Taluka, Goa. His family roots were deeply connected to this region. His passion for theater and dedication to the craft left an indelible mark on Marathi cultural heritage. Prabhakar Panshikar's portrayal of Lakhoba Lokhande and his unwavering commitment to the stage continue to inspire generations of artists and theater enthusiasts. His legacy lives on as a beacon of creativity and excellence in Marathi theater .
Dilip Prabhavalkar is an esteemed Indian actor known for his versatile performances across film, television, and theater. Born in Mumbai, India, Prabhavalkar's journey in the entertainment industry spans over several decades, marked by his exceptional talent and dedication to his craft.
Prabhavalkar gained widespread recognition for his portrayal of Mahatma Gandhi in the acclaimed film "Lage Raho Munna Bhai" (2006), directed by Rajkumar Hirani. His nuanced and captivating portrayal of the iconic figure earned him immense praise from audiences and critics alike, solidifying his reputation as a seasoned actor with remarkable range.
Prior to his breakthrough role as Gandhi, Prabhavalkar had already established himself as a versatile performer in Marathi cinema, theater, and television. He has appeared in numerous Marathi films, delivering memorable performances in movies such as "Chaukat Raja" (1991), "Katha Doan Ganpatraonchi" (1996), and "Deool" (2011), among others.
In addition to his success in films, Prabhavalkar has made significant contributions to Marathi theater, both as an actor and a playwright. He has been associated with prestigious theater groups and has been instrumental in bringing compelling stories to life on stage.
Prabhavalkar's talent extends to television as well, where he has been a part of several successful shows, showcasing his versatility and acting prowess.
Throughout his illustrious career, Dilip Prabhavalkar has garnered numerous accolades, including awards and nominations for his outstanding performances. His ability to portray diverse characters with depth and authenticity has earned him a special place in the hearts of audiences across India.
Beyond his artistic achievements, Prabhavalkar is also known for his humility and commitment to social causes. He remains an inspiration to aspiring actors and continues to leave an indelible mark on Indian cinema and theater with his remarkable talent and unwavering dedication to his craft.
Shreeram Lagoo, a luminary in the world of Indian theater and cinema, left an indelible mark through his multifaceted career. Born in Satara, Maharashtra, India, Lagoo's journey was one of artistic exploration, intellectual depth, and unwavering commitment. Shreeram Lagoo's early years were steeped in academic pursuits. He earned his medical degree (MBBS) from the prestigious B. J. Medical College in Pune. His passion for the arts, however, soon led him to the stage, where he would find his true calling. Lagoo's tryst with Marathi theater began in the 1950s. His performances were marked by an intense emotional range, impeccable timing, and a deep understanding of human psychology. Whether portraying iconic characters like Iago in Othello, Sartre in Kamala, or the enigmatic Ghashiram Kotwal, Lagoo's presence on stage was electrifying. His association with the Maharashtra Cultural Center (popularly known as Sahitya Sangh) in Pune further solidified his status as a theater legend. Lagoo's directorial ventures, including plays like Natsamrat, Gidhade, and Ghar Tighancha Hava, resonated with audiences across generations. Lagoo seamlessly transitioned from theater to cinema. His nuanced performances in films like Pinjra, Sinhasan, and Gharonda showcased his versatility. Whether playing a compassionate doctor, a conflicted patriarch, or a revolutionary, Lagoo's authenticity shone through. Beyond the spotlight, Shreeram Lagoo was a man of strong convictions. His Marxist leanings and commitment to social justice were evident in his public life. He fearlessly voiced his opinions on political and social issues, earning both admiration and controversy. Shreeram Lagoo's legacy extends far beyond the footlights. His impact on Indian culture, theater, and cinema remains immeasurable. His passing on December 17, 2019, left a void, but his body of work continues to inspire artists, intellectuals, and dreamers alike. In the annals of creativity, Shreeram Lagoo's name stands tall-a beacon for those who seek truth, beauty, and the transformative power of art .
Vishwanath Patekar (born on January 1, 1951 in Murud-Janjira, Maharashtra, India) is an actor, writer and filmmaker. He is known for his work on Ab Tak Chhappan (2004), Raajneeti (2010) and Parinda (1989). He made his acting debut in the early 70's and since then has been nominated for multiple awards. He won a National Film Award and a Filmfare award for his supporting role in Parinda (1989). He then won the Best Villain award for his role on Angaar (1992). He is a very controversial actor, know for his different acting style, dialogues and dialogue delivery. He is sometimes regarded as the Morgan Freeman of Bollywood. In 1995, he won the National Film Award as well as the Filmfare and the Screen awards for Best Actor for his role in Krantiveer (1994). He is also the only actor ever to win Filmfare Awards in the Best Actor, Best Supporting Actor and Best Villain categories. He was bestowed the highest privilege in acting in 2013 when he was awarded the Padma Shri award for his dedication in the field of Films and Arts.
Patekar is an alumnus of the Sir J.J. Institute of Applied Art, Mumbai and in September 2015, He established an organization, Naam Foundation with fellow Marathi actor Makarand Anaspure, which works to provide aid to farmers to overcome by drought conditions in Maharashtra, India. When he was awarded the Raj Kapoor award which carries a cash prize of Rs 10,00,000, he donated the entire amount towards drought relief activities in Maharashtra. Patekar was married to Neelkantee Patekar and they have a son Malhar Patekar but their marriage life did not go well and it resulted in a divorce.
Vikram Gokhle (occasionally credited as Vikram Gokhle) is a well known Indian film, television and stage actor, notable for his roles in Marathi theatre and Hindi films and television.
He is the son of another well known veteran Marathi theater and film actor Chandrakant Gokhle, who acted in 68 Marathi and 16 Hindi films besides 64 Marathi plays over a span of 75 years.
Gokhle is now directing his debut directorial film titled Aaghaat. Produced by Sprint Arts Creation and executive producer Rajesh Damble, the film is based on a story written by Dr Nitin Lavangare. The cast of the film includes actors Mukta Barve and Dr Amol Kolhe and is shot in Pune. The film is getting released on 24 December 2010.
Vikram Gokhle has a long family lineage active in Indian film industry. His great grandmother Durgabai Kamat was the first female artiste of the Indian screen, while his grandmother Kamlabai Gokhle (Kamlabai Kamat at that time) was the first female child artiste of Indian cinema.
Way back in 1913, Durgabai acted as Parvati and Kamlabai as Mohini in a film by name Mohini Bhasmasur, produced and directed by Dadasaheb Phalke, the father of Indian cinema. His father Chandrakant Gokhle was a veteran Marathi film and stage artist and has acted in over 70 Marathi and Hindi films.
Mrs. Vrushali Gokhle, wife of Vikram Gokhle is a lady behind success of living legend. Her support to family has always been strength for the excellence of Vikram Gokhle.
Prashant Damle is a highly esteemed and versatile actor in the Indian entertainment industry, particularly renowned for his work in Marathi theatre, television, and film. Born in Mumbai, India, Damle has carved a niche for himself with his exceptional talent, dedication, and versatility.
Damle's journey in acting began during his college days when he actively participated in various theatre activities. His passion for the stage led him to pursue a career in acting, and he made his professional debut in Marathi theatre. He quickly gained recognition for his remarkable performances, displaying a remarkable range and depth in portraying diverse characters.
Over the years, Prashant Damle has become a household name in Maharashtra, known for his impeccable comic timing, as well as his ability to portray intense and emotional roles with equal finesse. He has worked with some of the most renowned theatre personalities and directors, further honing his craft and earning widespread acclaim.
In addition to his theatrical success, Damle has also made significant contributions to Marathi cinema and television. He has starred in numerous films and television shows, leaving an indelible mark with his memorable performances. His ability to connect with audiences across mediums has solidified his status as one of the most beloved actors in the Marathi entertainment industry.
Throughout his illustrious career, Prashant Damle has received several awards and accolades for his outstanding contributions to theatre and cinema. His dedication to his craft and his passion for storytelling continue to inspire aspiring actors and entertain audiences alike.
Beyond his professional accomplishments, Damle is also known for his humility, generosity, and commitment to social causes. He actively participates in various charitable initiatives and endeavors to use his platform to make a positive impact on society.
With his talent, charisma, and enduring popularity, Prashant Damle remains a stalwart figure in Marathi entertainment, continuing to enthrall audiences with his performances and leaving an indelible legacy in the world of Indian theatre and cinema.
Sachin Pilgaonkar often known by his first name Sachin, is an Indian film and television actor, director, singer and producer. Starting as a child in the Marathi film, Ha Majha Marg Ekla (1962), he went on to work in around 65 films as a child artist, before switching to adult roles, and being part of films like Geet Gaata Chal (1975), Balika Badhu (1976), Ankhiyon Ke Jharokhon Se (1978) and Nadiya Ke Paar (1982) as a lead actor, which were all successful. He has worked in Hindi, Marathi and also in Bhojpuri cinema, and has acted, produced and directed successful comedy shows on Indian television, including Tu Tu Main Main (2000) and Kadvee Khatti Meethi. He also directed several hit Marathi Films starting with Mai Baap (1982), Navri Mile Navryala (1984), Ashi Hi Banwa Banwi (1988), Amchyasarkhe Aamich (1990) and Navra Mazha Navsacha (2004).
Sachin Pilgaonkar was born in Mumbai in a Konkani family from Pilgaon, Goa. His father Sharad Pilgaonkar managed a printing business in Mumbai. His father was a film producer. He is married to actress Supriya Pilgaonkar (née Sabnis), whom he first directed for his debut Marathi film, Navri Mile Navryala (1984) and subsequently became successful pair in Marathi cinema. The couple have a daughter, Shriya Pilgaonkar.
Mahesh Kothare is an Indian actor, film director and producer of Marathi and Hindi films. He has worked in Indian cinema from a young age and acted in well-known movies such as Raja Aur Runk, Chhota Bhai, Mere Laal, and Ghar Ghar ki Kahani. The well known Hindi song Tu kitni achhi hai tu kitni bholi hai o maa from the film Raja Aur Runk features Kothare as Master Mahesh.
Considered a revolutionary figure in the Marathi film industry, he began his directorial career with the groundbreaking Dhumdhadaka (1985) and has since delivered many box office hits over a period of 20 years. Kothare's films are known for their technical nuances and fantasy concepts and he is one of the few Indian film makers who have made successful films in the fantasy genre.
Kothare made the first Marathi film in true 3D, Zapatlela 2, a box office hit which was released on 7 June 2013 and was the sequel to his 1993 box office blockbuster Zapatlela. In the original horror comedy a doll named Tatya Vinchu comes to life, while the sequel adds animatronics and state of the art CGI.
Shreyas Talpade, born in Mumbai, Maharashtra, India, is a versatile Indian actor known for his work in Bollywood and Marathi cinema. He has showcased his acting prowess across various genres, earning recognition for his comic timing, versatility, and impactful performances.
Shreyas Talpade began his career in the entertainment industry with Marathi theater and television. His talent and dedication to the craft caught the eye of filmmakers, leading to his debut in Bollywood with the critically acclaimed film "Iqbal" (2005). In the film, directed by Nagesh Kukunoor, Shreyas played the role of a deaf and mute aspiring cricketer, earning him widespread praise and establishing him as a promising talent in the industry.
Following the success of "Iqbal," Shreyas Talpade gained popularity for his roles in comedies like "Dor" (2006) and "Golmaal: Fun Unlimited" (2006). The latter marked his entry into mainstream Bollywood comedies, where his impeccable comic timing and affable screen presence endeared him to audiences.
Shreyas continued to excel in the comedy genre with films like "Apna Sapna Money Money" (2006), "Welcome to Sajjanpur" (2008), and "Golmaal Returns" (2008). His ability to seamlessly transition between comedic and dramatic roles became evident in films such as "Dor," where he showcased his versatility as an actor.
In addition to his Bollywood journey, Shreyas Talpade has been actively involved in Marathi cinema, both as an actor and producer. He has worked in Marathi films like "Sarivar Sari" (2005) and "Baji" (2015), earning accolades for his contributions to regional cinema.
Apart from his acting career, Shreyas has tried his hand at filmmaking, directing and producing the Marathi film "Poshter Boyz" (2014). His involvement in different aspects of the entertainment industry reflects his passion for storytelling and filmmaking.
Shreyas Talpade continues to be a prominent figure in the Indian film industry, contributing to both Bollywood and Marathi cinema.
Riteish Deshmukh is an Indian actor, producer and architect who appears in Bollywood films. He is the son of Late. Vilasrao Deshmukh, the former Union Minister for Science, Technology and Earth Sciences, Government of India, and the former Chief Minister of Maharashtra. Riteish debuted with K. Vijaya Bhaskar's Tujhe Meri Kasam (2003) with his later to be wife Genelia D'Souza, but it was not until 2004 that he achieved success, when he appeared in the commercially successful comedy, Masti and the critically acclaimed Bardaasht. His work in Masti was nominated for several awards, including the Filmfare Award for Best Supporting Actor category. He later starred in successful films such as Heyy Babyy, Dhamaal, House Full. Double Dhamaal, Tere Naal Love Ho Gaya and Housefull 2, Humshakals and Ek Villian.
In January 2013, Riteish made his debut as an film producer with the Marathi success Balak Palak, directed by Ravi Jadhav. The following year he made his acting debut in Marathi cinema with the action film Lai Bhaari.
Raja Paranjpe was a distinguished figure in the realm of Indian cinema, renowned for his multifaceted talents as an actor, director, producer, and playwright. Born in Mumbai, Maharashtra, India, he left an indelible mark on the Marathi film industry and beyond.
Paranjpe's journey into the world of entertainment commenced with his fervent involvement in the theatre. He exhibited remarkable prowess as a playwright, crafting stories that resonated with audiences across Maharashtra. His theatrical ventures not only showcased his innate creative flair but also laid a solid foundation for his future endeavors in cinema.
In the early 1950s, Raja Paranjpe ventured into the burgeoning Marathi film industry, where he quickly made a name for himself as a versatile actor. His ability to seamlessly portray a diverse array of characters earned him widespread acclaim and established him as a stalwart of Marathi cinema. Paranjpe's performances were marked by authenticity, depth, and a profound understanding of human emotions, captivating audiences with every role he undertook.
Over the years, Paranjpe's contributions to Indian cinema extended beyond acting. He ventured into film direction and production, demonstrating his keen insight into the craft of filmmaking. His directorial ventures were characterized by their poignant storytelling, compelling narratives, and meticulous attention to detail, further cementing his status as a luminary in the industry.
Throughout his illustrious career, Raja Paranjpe collaborated with some of the most esteemed figures in Marathi cinema, leaving an indelible imprint on the cinematic landscape. His body of work encompassed a diverse range of genres, from intense dramas to lighthearted comedies, each showcasing his unparalleled talent and versatility.
Beyond his artistic pursuits, Paranjpe was also recognized for his unwavering commitment to social causes. He used his influence and platform to advocate for various issues, striving to effect positive change in society.
Raja Paranjpe's legacy endures as a testament to his immeasurable contributions to Indian cinema and culture. His timeless performances continue to inspire generations of actors and filmmakers, ensuring that his influence remains palpable in the fabric of Marathi cinema. Though he may have departed from this world, his memory lives on through the cinematic masterpieces he created and the profound impact he left on the hearts and minds of audiences worldwide.
Krishna Kondke was a famous Marathi actor and a film producer. He is popularly known as Dada Kondke. He was born on 8th august in the year 1932 in Naigaum, near Lalbaug,Mumbai(Village-Ingavali,Tal Bhor,Pune). He was one of the most renowned personalities in the Marathi film industry. He is an actor,director,lyricist,producer and a writer. His was married to Nalini Kondke,but later they got divorced. He was born in a middle class family owning a grocery shop and also owners of chawls in Morbaug area of mumbai.
Kondke was a tough kid who later took up a job in a local grocery retail chain called Apna Bazaar. Unfortunately, at an early Kondke lost his family due to some unfortunate events. And then Kondke started his entertainment career with a band and then worked as a stage actor. Kondke was involved in several cultural activities of Seva Dal which was a congress party volunteers organization. And then during that period he also met some Marathi stage personalities including Vasant Sabnis who was a famous Marathi writer. Later, Kondke started his own theatre company, and approached Sabnis to compose a drama script for him. Kondke acted in a drama named Vichha Majhi Puri Kara. This drama went on to play over 1500 shows all over Maharashtra and made Kondke a star. Then he debuted in the year 1969 in the Marathi movies through a role in Bhalji Pendharkar's movie Tambdi Maati which won the National Film Award for Best Feature Film in Marathi. He then turned producer with the film Songadya in the year 1971. Some of his famous films are Tambdi Maati,Songadya,Ram Ram Gangaram,Bot Lavin Tithe Gudgudalya,Hyoch Navra Pahije,Tere Mere Beech Mein,etc., and his last movie Le Chal Apne Sang which is directed in hindi and this film is produced by Sunita Kondke.
Dada Kondke was entered in the Guinness Book of World Records for the highest number of films(nine) that achieved silver jubilee(running for 25 consecutive weeks). And he was also credited for introducing the genre of sex comedy to Marathi cinema and India cinema. He wrote some songs as a lyricist. Some are "Manasa paras medhara bari" and "Chalara Vaghya". On September 30,1997,Kondke suffered a heart attack at his residence Rama Niwas in Dadar,Mumbai. And then he was rushed to Shushrusha Nursing Home, and there after sometime he was declared dead. And at that time, Kondke was working on the film Jaraa Dheer Dhara with Usha Chavan
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Prabhakar Panshikar movies and filmography
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Read Prabhakar Panshikar biography, movies worked in, roles and characters played in movies. Get birth date, real name and birth place - Cinestaan.com
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Cinestaan
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https://www.cinestaan.com/people/prabhakar-panshikar-63304/filmography
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Prabhakar Panshikar Filmography
Welcome to the complete filmography of Prabhakar Panshikar on Cinestaan.com. Here you will find the full list of movies on which Prabhakar Panshikar has worked, in reverse chronological order. You can also view the filmography by the role played by Prabhakar Panshikar and the status of the movie using the drop-down menu below.
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https://www.deccanherald.com/entertainment/marathi-stage-actor-prabhakar-panshikar-2386161
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Marathi stage actor Prabhakar Panshikar passes away
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"Prabhakar Panshikar"
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2011-01-13T22:48:42+05:30
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Eminent Marathi stage actor Prabhakar Panshikar died in a city hospital tonight following prolonged illness.He was 79.
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Deccan Herald
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https://www.deccanherald.com/entertainment/marathi-stage-actor-prabhakar-panshikar-2386161
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Panshikar, who left an indelible mark on Marathi stage in a career spanning over five decades, immortalised the role of 'Lakhoba Lokhande', a conman portrayed in the landmark play 'To mee navech' (It is not me) by legendary P K Atre that held the audience spellbound with record breaking over 2,000 performances.
The other 40 plays which he brought alive with his memorable performances included 'Yeth Oshala Mrutyu', 'Ashrunchi Zali Phule', 'Thank you Mr Glad', and 'Bhatala dili Osri'.
Panshikar also founded 'Natyasampada', a drama company that produced a number of quality plays.
He was honoured with many awards for his exceptional acting talent, including 'Maharashtra Bhushan'.Maharashtra Chief Minister Prithviraj Chavan had recently announced financial assistance for treatment of Panshikar after his admission to hospital.
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https://www.indiatvnews.com/entertainment/regional-cinema/veteran-marathi-actor-jayant-savarkar-passes-away-at-87-2023-07-24-882807
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Veteran Marathi actor Jayant Savarkar passes away at 87
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2023-07-24T00:00:00
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Jayant Savarkar, a popular name in Marathi cinema, passed away on Monday morning. He was hospitalised due to age-related issues.
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https://static.indiatvnews.com/favicon.ico
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https://www.indiatvnews.com/entertainment/regional-cinema/veteran-marathi-actor-jayant-savarkar-passes-away-at-87-2023-07-24-882807
|
Veteran Marathi actor Jayant Savarkar, also popular for his role in Singham and Rocky Handsome, passed away on Monday. He was 87. His son Kaustubh confirmed the news and said that his father was hospitalised 10-15 days ago due to age-related issues.
''He was admitted to a hospital due to low blood pressure about 10-15 days ago in Thane. Suddenly, his health deteriorated last night. He was put on a ventilator, and he passed away around 11 am due to age-related issues,'' Kaustubh told PTI.
His last rites will be held on Tuesday morning. He is survived by his wife, a son, and two daughters.
Jayant Savarkar's career at a glance
He started his career with Marathi theatre and was a backstage artist. He has also worked in several Hindi and Marathi television and films in his six decades-long career.
Some of his popular movies include Gadbad Gondhal, Bakaal, Vaastav, Singham, and Hari Om Vithala.
A couple of months back, he was awarded the Jeevan Gaurav Award by Ambarnath Marathi Film Festival.
From the Maharashtra government, he has also received the Natvarya Prabhakar Panshikar Lifetime Achievement Award.
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Prashant Damle
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Prashant Damle is a Marathi actor, comedian who has acted in numerous Marathi drama, movie and Soap opera over 35 years. He has been associated with Marathi theatre since 1983 and till date has performed in 27 different plays and a variety of hundreds of roles. Damle is widely recognized as the biggest ultimate superstar of Marathi theatre.
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Wikiwand
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https://www.wikiwand.com/en/Prashant_Damle
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Prashant Damle (born 5 April 1961) [1] is a Marathi actor, comedian who has acted in numerous Marathi drama, movie and Soap opera over 35 years. He has been associated with Marathi theatre since 1983 and till date has performed in 27 different plays and a variety of hundreds of roles. Damle is widely recognized as the biggest ultimate superstar of Marathi theatre.
Quick Facts Born, Nationality ...
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The pioneer of the Marathi theater. He laid the foundation by writing and performing the first Marathi play 'Seeta Swayamwar', on 5th Nov' 1843 as ordained by the king of Sangli.
The King, on seeing a few Kannada plays, felt like producing some in Marathi and shouldered the responsibility to Vishnudas Bhave, who ably saw it through. After losing the royal patronage, Bhave followed this profession of producing and presenting plays in Sangli, Pune and Mumbai till 1861.
The town of Sangli is therefore considered as the Mecca of the Marathi theater. The year 1843 birth-year; and 5th November is celebrated annually as the Marathi Theater Day.
The first generation actor of musical plays and an excellent singer, Moroba. Wagholikar was a minstrel (a religious singer) in his early career; who later joined a Tamasha group on being inspired by a Muslim tamasha artist named Dadu. Moroba had got a god-given gift of a very melodious and ringing voice and he was an excellent singer of the song-form called 'lavani'.
Around 1878 Moroba was under the patronage of a moneylender named Gulwe who gave Moroba 500 rupees as monthly salary. Gulwe also offered money to Annasaheb (Kirtoskar) for producing plays and allowed Moroba to join Annasaheb's drama company.
Moroba used to play Dushyanta in the musical play 'Shakuntal'. He used to sing 108 songs in it. In 'Soubhadra' he would be Arjun and looked handsome, stout and elegant in the role. Moroba had sparkling eyes and well-maintained physique.
He used to look after his own fitness and diet. He started the practice of burning 'Ood'-a fragnant incence before every show began. Moroba had invited Janglee Maharaj-a holy man, for the first show of his play 'Shakuntal'. Moroba requested Maharaj to sit in the first row, as his presence would ease out Moroba's tension.
Janglee Maharaj gave Moroba some 'Ood' and told him to burn it before the show began. Moroba burned it, mixing it with 'loban' and performed very well that evening. Since then all Marathi play performances began with this fragrant ritual.
Dinkar joined Kirloskar Natak Mandli in 1908, at the age of 7. His maternal uncle Krishnarao Kolhapure also worked in the Company since 1902. Dinkar started doing petty roles in the drama company. He used to sing well and played Bakul's role in 'Veer Tanay'.
After 1914 Dinkar went to NatyaVinod drama company and then in 1918 he joined his uncle's Balwant drama company. He used to play 'Uttar' in 'Veer Vidamban' very well. Balwant produced the play 'Bhavbandhan'on 18.10.1919.
The roles of Ghanashyam and Latika were played by Chintamanrao Kolhatkar and Master Dinanath respectively. The audiences enjoyed Dinkar's role of Kamanna greatly. The role fitted Dinkar so well that soon he was called by that pet name only.
Dinkar and Kamanna became synonymous. Dinkar continued playing the role for more than a decade and then left Balwant and worked in Hirabai Badodekar's drama group in 1933.
Dinkar earned similar fame and name in Marathi films also. He stepped onto stage once again in 1940. lnspite of not having received any formal school education, Dinkar's stage performances were always witty, humorous and full of presence of mind.
Many anecdotes of Dinkar's quick wittedness are well-known among people associated with the Marathi theatre.
Damuanna Joshi, the owner of Balmohan Sangit Mandli - a drama group of young boys once discovered Saudagar Gore alias Chhota Gandharva from the town of Koregaon. Saudagar was gifted with very soft and silken voice. Balmohan produced and presented 'Pranapratishtha' on 22nd July 1928 in Vljayanand theatre for the first time. Saudagars' heavenly voice made Damuanna Joshi to refer to him as 'Chhota Gandharva' in the play's advertisements. The title was confirmed by the immense fanfare from the audience. 'Pranapratishtha' was followed by 'Swargawar Swari' and 'Kardankal' and 'Samshay Kallol'. Chhota Gandharva playing the role of Revati simply became a legend. Damuanna took special efforts to give Chhota Gandharva training In classical singing. He appointed Bagalkotkar buva for the job. Around 1930-31 Chhota Gandharva's voice cracked for a while; but was restored after a rest of 7-8 months.
The Marathl theatre faced severe economic recession around 1932-33. Many drama companies were on the verge of crash. Fortunately, Balmohan found a new, very gOOd playwright in tile form of Acharya P. K. Atre. On 10th May 1933 Balmohan produced Atre's, 'Sashtang Namaskar' in which Chhota Gandharva played the lady part of Tripuri. Later, of course, Chhota Gandharva played male roles only.
Saudagar acted in several of Balmohan's plays viz., 'Gharabaher' , ' Bhramacha Bhopla', 'Udyacha Sansar', 'Lagnachi Bedi', 'Vande Mataram' and 'Mi Ubha Aahe'. He proved Instrumental in Balmohan's success, fame and wealth. Damuanna appointed him in his drama company to teach high-class classical music. After 1950-51, Chhota Gandharva played major roles in 5 important and famous plays entitled 'Soubhadra', 'Manapaman', 'Mruchhakatik', 'Samshay Kallol' and 'Vidyaharan' for a period of about 25 years and literally ruled the hearts of the Marathi theatre lovers. In 1981, on the Diamond Jubilee celebrations of the Marathi musical theatre, Chhota Gandharva played roles in 'Mruchhakatik' and 'Soubhadra'; and then he retired from the stage.
Balgandharva inherited his inclination towards music from father, and dramatics from lhe maternal family. In 1908, Balgandharva joined Kirloskar Natak Mandli. He acted in 'Soubhadra', Tatyasaheb Kohlhatkar's 'Veer Tanay', 'Mook Nayak', 'Mativikar' and 'Prem Shodhan'. Solely for the sake of Balgandharva's sweet, melodious voice Talyasaheb was tempted to write a musical play. Kirloskar Natak Mandli produced 'Manapaman' a musical play written by Kolhatkar with great pomp and show on 12/3/1911.
The musical compositions in this play broke away from the tradition and relying more on classical base of 'Khyal'; became greatly popular. In 1913, Balgandharva, Bodas and Tembe broke away from Kirloskar Natak Mandli and set up a new company - Gandharva Natak Mandli on 5/7/1913. Within two months only, on 3/2/1913 'Mook Nayak' was produced. On 10/12/1916 Khadlikar's musical play 'Swayamwar' was enacted on the stage.
The play earned great fame and popularity for Balgandharva. Ram Gadkari's 'Ekach Pyala' also proved to be a great 'hit'. Gandharva Natak Mandli was burdened by a huge heap of loan because of a disastrous failure of the play named 'Droupadi'.
By 1926, Balgandharva repaid the entire loan with great efforts. Around 1933, the talking film had made an entry and the fate of the Marathi theatre was in doldrums. Balgandharva closed down his drama company on 1/1/1935 and joined films. But could not put his heart into films.
Along with Goharbai, he reappeared on the stage and delighted audiences. filling the vacuum created by Bhaurao Kolhatkar's absence. Melodious singing, very good knowledge of rhythm made Balgandarva becomes a legend on the Marathi stage, which had no parallel.
Atre was a very versatile personality. He was a combination of emninent educationist, playwright, critic, journalist, well-known poet, satirist, prolific writer, screenplay writer, political leader and a very powerful orator.
The owner of Balmohan Natak Mandli, Damuanna Joshi made Atre write his first play 'Sashtang Namaskar', a fine humorous comedy, produced of 10-5-1933.
Till 1950 before Balmohan was closed down, it produced Atre's 9 plays. They were 'Sashtang Namaskar - 1933', 'Gharabaher - 1937','Bhramacha Bhopla - 1935', 'Udyacha Sansar - 1936', 'Lagnachi Bedi -1936', 'Vande Mataram - 1937', 'Mi Ubha Aahe - 1939','Jag Kay Mhanel? - 1946' and 'Panigrahan - 1946'.
In 1938, Atre wrote "Paracha Kawla' for 'Natya Kala Pravartak'. He wrote 'To Mi Navech' in 1962, which was based on the notorious Kazicourt case.
Atre started his own production company - Atre theatres and produced 'Moruchi Mavshi (1963)', 'Buva Tethe Baya (1964)', 'Mi Mantri Zalo (1966)', 'Dr Lagu (1967)', 'Preeti Sangam (1968)' and 'Brahmachari (1969)'. Atre simply ruled over the Marathi stage from 1933 to 1969.
One would not find another playwrite ruling over the stage for such a long time. Atre threw light on social evils, through his plays, criticized them and helped in social reforms. Atre's plays will be remembered forever.
Appa was a founder member of the great, old Maharashtra Nalak Mandli. He was a good actor. He would play Kank in 'Keechak Vadh' and Raghoba dada in 'Bhaubandki'. His roles of Prataprao in Kanchangadchi Mohana' and Arjun in 'Baykanche Band' were very remarkable.
The play 'Kamla', based on Mary Correll's novel 'Thelma' was produced by Maharashlta Nalak Mandli in 1911. It was a social play and hence, different from lhe mythological and historical plays of the times. In 1912, Appa set up Bharat Natak Mandli and produced 'Matsyagandha', 'Radha Madhav' and 'Jarasandh'. Appa wrote 'Shaha Shivaji' at the insitence of Keshavrao Bhosale and proved a hit.
Appa, in al, wrote 8 prose and 5 musical plays. He was a versatile director. He copied the western theatre by using grease paints for make up. He had created special costumes and headgears, which were a speciality in Chhatrapati Shivaji's times.
Another of high caliber singer in the troupe of Annasheb Kirtoskar was Balkoba Natekar. He was an asset in the cast of the musical 'Shakuntal'. Balkoba was a good singer as well as an actor. Very strong memory, amazing grasp of music as well as dramatics were the characteristics of Balkoba's contribution to the Marathi theater.
He was good at Indian classical music as well as playing musical instruments such as 'been, sarod and sitar'. He was an erudite in music. He used to play different roles in 'Shakuntal'. He used to sing the 'nandi' in Act I, play the disciple in Act II, Kanva in Act IV, Kanchuki in Act VI and Matali in act VII. In 'Soubhadra', he would play Narada and Krishna. Instead of accepting the risk of being a partner in the drama company. Balkoba worked on the salary of Rs 200/- p.m. and in 1890 on Rs 150/- p.m. as a result of deteroiration in his voice-quality.
In 1893, due to some hassles over the salary amount, Balkoba accepted retirement. He kept away from joining any other company. Instead, he continued his singing, music. performing as well as teaching.
Balkoba was one of the pioneering singers in the history of musical plays on the Marathi stage.
Annasaheb was born on 31/3/1843 at Gurfhossur in Karnataka. After having finished schooling he came to Pune and set up a drama Company, which soon had to be closed down. He worked as a teacher at Belgaum for sometime, worked in the police department for a while.
In 1880, he saw a Parsi dramatic opera and he was inspired to produce Kalidas's 'Abhidnyana Shakuntala' in Marathi on similar lines. He finished the translation of the first 4 acts in 1880, on the day of Dhanatrayodashi; 'Sangeet Shakuntal' was staged at Anandodbhav Theater in Pune.
The play had 183 songs. The moneylender Gulve from Panvel financed the play. Kirloskar's second production was 'Soubhadra' and it was an instant hit too. These two plays have really become immortal on the Marathi stage and are performed even today. Annasaheb's third, play 'Ram Rajya Viyog' was performed on 20/10/1884 for the first time.
Annasaheb Kirloskar and his play 'Sangeet Shakuntal have been milestones, as with them began the golden age of musical Marathi theater.
Annasaheb passed away on 2/11/1885
The epoch-making figure on the stage of Marathi musical plays, Bhaurao Kolhatkar, originally belonged to Badoda (Vadodara). His father was a minstrel (a Haridas -a holy singer). Bhaurao and his elder brother Apparao used to accompany their father in his temple singing. In 1882, when Bhaurao entered the profession of theatre in his 20's, he was a very good-looking young man and he had got a heavenly voice.
He was the rarest combination of beauty, sweet voice and youth, which was incarnated on the Marathi stage. That's why, when Bhaurao agreed to play the role of 'Shakuntala', 2 songs were specially composed for him.
Bhaurao could sing in a stout, gallant voice as well as soft, delicate and touching voice. The voice used to stir the audience and their emotions. Kirloskar had Bhaurao in his mind when he composed songs for 'Soubhadra'. Bhaurao had learnt all the pros and cons of 'Lavani singing' during his stay at Badoda(Vadodara).
His high-pitched voice could easily reach its highest point (tar-saptak) wijh ease. Although Bhaurao had not learnt Indian classical singing formally; he mastered all forms of singing in the company of Balkoba Natekar in Kirloskar Natak Mandli. Audiences adored Bhaurao by a favourite pet-name-'Bhavdya'.
Old-timers still remember Bhaurao in the roles of Manthara in 'Ramrajya Viyog', Charudatta in 'Mruchchakatik', Shoorsen in 'Veer Tanay' and koundinya in 'Sharda'.
The small Dinanath from the small town of Mangeshi in Goa had a very strong leaning towards music and singing. His heavenly sweet voice was God's gift. He used to sing and delight the listeners in temples, religious festivals and in short plays. He joined KirloSkar Natak Mandli at Mhapsa, in 1914.
The drama company had faced a major split recenlly as Balgandharva, Bodas and Tembe had abandoned it. Dinanath soon found a good groove in the company. The editor of the daily 'Sandesh', Kolhatkar in an advertisement of the play 'Sundopasundi' called him as 'Master Dinanath' and the appellation clicked Very well. In 1916, Dinanath excelled greatly in the role of Kinkini in Gadkari's play 'PunyaPrabhav'.
In 1917, Kirloskar's drama goup faced another split as Dinanath. Chintamanrao Kolhatkar and Krishnarao Kolhapure broke apart and set up Balwant Sangeet Mandli'. In addition to the old, popular plays, the Company produced newer plays, such as 'Janma Rahasya', 'Veer Vidamban', 'Hindi Manapman', 'Bhav Bandhan', 'Rajlaxmi', 'Ugra mangal', 'Choudave Ratna', 'Desh Kantak', 'Sanyasta Khadga', 'Gairsamaj', 'Brahmakumari' etc. It also put up Gadkari's two incomplete plays i.e. 'Raj Sanyas' and Vedyancha Bajar'.
Velour was a favorite emotion (rasa) of Dinanath. He used to play the role of Tejaswini n Veer Varnanrao's 'Ran Dundubhi' with tremendous zest. His Songs from the play 'Paravashta pash daive', 'Divya swatantrya ravi' and 'Jagi ha khas vedyancha pasara' became very popular. Batwant Natak Mandli got the rtghts to produce 'Manapaman' in 1927. Dinanath's performance of Dhairyadhar in 'Manapaman' crossed all previous boundaries of popularity and fame. He clearly broke all records of popularity set by Nanasaheb Joglekar and Keshavrao Bhosale. Dinanath revolutionised even the outward appearance of Dhairyadhar, as he used to wear four different costumes in four different acts and changed the tunes of some songs.
The attempt demanded a great effort on the part of an actor who previously did ladies' roles. Dinanath was on the apex of fame. In 1934, the organizers of the company played the gamble of closing down the company and entering the film-business. The gamble did not pay off as their film 'Krishna-Arjun Yudh' crashed miserably. Dinanath made an attempt to rasurrect the company once in 1938; but it didn't do very well in its comeback.
Dinanath was a very handsome man with a mop of thick, curly, black hair, straight nose, wide brow, and sparkling eyes and tall and slim built. This was enhanced by a heavenly sweat, ringing voice. He was emotional and fickle minded; had sharp intelligence and imagination. He was very good at playing the Sarangi and at astrology. It was his misfortune that he died a very miserable untimely and tragic death at the age of 41.
Ganpatrao is known as the king of the stage voice and diction, the best actor who enjoyed the title 'The Garrick of Maharashtra'. Poverty had made the child Ganpat sing for food. Once, he ran away and joined Kirloskar Natak Mandli.
His family brought him back. Later, he joined Krishnaji Bajaji Joshi's Shri Shahu Nagarwasi Mandli and stuck to it. Later, he became the owner of this company, which was favoured by a Pune English professor V.B.Kelkar.
Kelkar directed Agarkar's 'Vikar Vilasit' (Hamlet) for Ganpatrao. He also wrote 'Tratika' (Taming of the shrew). Ganpatrao produced 5 plays of Shakespeare on the Marathi stage. They were 'Zunzarrao' (Othello}, 'Tara' (Cymbeline), 'Kantipurche Don Gruhastha' (Two Gentlemen of Verona). 'Rana Bheemdev' based on Sheridan's 'Pizaro' became a great success. Ganpatrao's valiant speeches in the play used to send shivers in the audience.
He was also appreciated immensely in the roles of 'Manajirao'(Macbeth} and Tukaram in 'Shri Tukaram'. He also staged Shakespeare's 'Kapidhvaja' (King John} and 'Vishwamitra' (Simon of Athens). Ganpatrao Joshi and Balwantrao Jog was a pair most favourite stars fondly called 'Ganya and Balya' by the audience.
After Jog's death in 1910, Ganpatrao ran the show further for another 10 years and produced plays such as 'Vijaynagarcha Dalmalit Rajmukut', 'Panna Ratna', 'Mazi Baheen', 'Jativant Marahtha Veer' etc., but the former glory of the star was no more seen.
Ganpatrao's plays relied solely on his acting abilities and never on the other actors or settings or costumes. His performance of 'Hamlet' was admired even by Britishers. In 1922, this great actor died of .... and an era of the Marathi Theatre came to an end.
Deval was a school student in Belgaum where Annasaheb Kirloskar was a teacher. Later on, in the Marathl stage also they worked as a teacher and disciple.
They were associated with theatre in the roles of actor, playwright and drama teacher (Taleem master). Deval acted in 'Shakuntal' as Goutami and Othello in 'Othello'.
Deval's contribution is greater as a writer of plays such as 'Durga', 'Phalgunrao', 'samshay Kallol', 'Mruchhakatik', 'Shapsambhram', 'Vikramaorvashiya', 'Zunzanrao', and 'Sharda'. His social plays too enjoyed good fame.
It Is enough to say that Deval trained a disciple who is well-known as Ganpatrao Bodas.
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https://www.filmijobs.com/filmijobs/news-articles/prasad-oak-and-abhijit-deshpande-join-hands-for-the-late-prabhakar-panshikars-biopic
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Prasad Oak And Abhijit Deshpande Join Hands For The Late Prabhakar Panshikar's Biopic
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Filmmaker Abhijeet Deshpande's last release historical film 'Har Har Mahadev' starring Subodh Bhave and Sharad Kelkar did well at the box office. Now, the filmmaker is all set to team up with actor-director Prasad Oak for the biopic of late Prabhakar Panshikar.Prasad Oak took to his Instagram handle to share this news with his fans and followers. Sharing the films title poster, Oak wrote,
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https://www.filmijobs.com/filmijobs/news-articles/prasad-oak-and-abhijit-deshpande-join-hands-for-the-late-prabhakar-panshikars-biopic
|
Filmmaker Abhijeet Deshpande's last release historical film 'Har Har Mahadev' starring Subodh Bhave and Sharad Kelkar did well at the box office. Now, the filmmaker is all set to team up with actor-director Prasad Oak for the biopic of late Prabhakar Panshikar.
Prasad Oak took to his Instagram handle to share this news with his fans and followers. Sharing the films title poster, Oak wrote, "नवं वर्ष…नवं स्वप्न…सोबत जुनेच मित्र कलावंत…आणि…आशीर्वाद देणारे आहेत "पंत""
Prabhakar Panshikar, known as Pant, was known for his brilliant performances in Marathi plays. He hired veteran Marathi drama director M.G. Worked and acted under the guidance of Rangnekar. Panshikar spent 53 years on the stage and has more than 8000 performances to his credit.
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