GS

George Stevens
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Full Name and Common Aliases

George Cooper Stevens was commonly known as George Stevens.

Birth and Death Dates

Born on January 18, 1904, in Oakland, California, USA. Passed away on March 8, 1975, in Los Angeles, California, USA.

Nationality and Profession(s)

American film director, producer, screenwriter, and cinematographer.

Early Life and Background

George Stevens was born to George Stevens Sr., a photographer, and Morine Raftenberg, a former actress. He grew up surrounded by the world of photography, which would later influence his filmmaking career. Stevens developed an interest in cinema at a young age and began working behind-the-scenes on films as a teenager.

Major Accomplishments

Directed several classic American films, including Giant (1956), A Place in the Sun (1951), and Shane (1953).
Won six Academy Awards throughout his career, including Best Director for Giant.
Served as a combat photographer during World War II, capturing iconic images of soldiers and battles.

Notable Works or Actions

Stevens' early work in Hollywood included collaborating with notable directors such as Frank Capra. He began directing films in the 1930s, initially working on comedies before transitioning to more dramatic roles.

Some of his most notable works include:

A Place in the Sun, which tells the story of a young man's struggle for success and love.
Shane, an epic Western that explores themes of heroism and loyalty.
Giant, a sweeping drama about the changing relationships between different cultures in Texas.

Stevens' work often focused on exploring complex social issues, such as class inequality, racism, and the human condition. His films frequently featured powerful performances from actors like Elizabeth Taylor, Rock Hudson, and James Stewart.

Impact and Legacy

George Stevens had a significant impact on American cinema, leaving behind a legacy of iconic films that continue to captivate audiences today. His commitment to exploring complex themes and social issues paved the way for future generations of filmmakers.

Stevens' influence can be seen in many contemporary directors who have followed in his footsteps, including Martin Scorsese and Steven Spielberg. Despite passing away over 45 years ago, George Stevens' work remains widely studied and admired by film scholars and enthusiasts alike.

Why They Are Widely Quoted or Remembered

George Stevens is widely quoted and remembered for his thoughtful approach to storytelling and his dedication to exploring the human condition through cinema. His films continue to inspire new generations of filmmakers and audiences alike, making him a true legend in American film history.

Quotes by George Stevens

Nothing is more pleasant for me than to be on location in the country that I love, in any of our western landscapes, being out there with a camp outfit and a film company.
"
Nothing is more pleasant for me than to be on location in the country that I love, in any of our western landscapes, being out there with a camp outfit and a film company.
I had done some work when I was starting in with photography on westerns, and photographing them was the greatest pleasure I had. If I was ever qualified for anything, it would have had to do with making westerns. But as I started working on pictures with people like Katharine Hepburn, I got further away from the thing I really liked to do.
"
I had done some work when I was starting in with photography on westerns, and photographing them was the greatest pleasure I had. If I was ever qualified for anything, it would have had to do with making westerns. But as I started working on pictures with people like Katharine Hepburn, I got further away from the thing I really liked to do.
It's like trying to be a traffic cop and write a poem at the same time. You need an executive head to handle all the vast paraphernalia of moviemaking. You need another, more sensitive head to get the delicate human emotional values you are trying to put on film.
"
It's like trying to be a traffic cop and write a poem at the same time. You need an executive head to handle all the vast paraphernalia of moviemaking. You need another, more sensitive head to get the delicate human emotional values you are trying to put on film.
I personally like to see films that are the work of as singular a consciousness as possible.
"
I personally like to see films that are the work of as singular a consciousness as possible.
Only the picture matters. It's what goes on the screen that counts.
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Only the picture matters. It's what goes on the screen that counts.
I'm interested in all the new ideas, such as 3-D and widescreen, but I don't believe the technical method of presentation is the real important thing.
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I'm interested in all the new ideas, such as 3-D and widescreen, but I don't believe the technical method of presentation is the real important thing.
I was on a picture for four or five days, had an opportunity to be on a set, and the assistant cameraman kept showing me things. One day I climbed the fence, knowing they needed an assistant cameraman. A couple of days later, I was one. The first day or two, it was pretty disastrous, but I knew something about photography, and I caught on quick.
"
I was on a picture for four or five days, had an opportunity to be on a set, and the assistant cameraman kept showing me things. One day I climbed the fence, knowing they needed an assistant cameraman. A couple of days later, I was one. The first day or two, it was pretty disastrous, but I knew something about photography, and I caught on quick.
In most Westerns, you know, people are shooting off guns all the time until you don't even notice it anymore.
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In most Westerns, you know, people are shooting off guns all the time until you don't even notice it anymore.
I was fascinated by all of it. The sounds of the theater and the audience, their rapture when a play took over and moved them and held them quietly... When the audience was truly moved, it was absolutely quiet. They were in a communion because they were learning the truth about themselves.
"
I was fascinated by all of it. The sounds of the theater and the audience, their rapture when a play took over and moved them and held them quietly... When the audience was truly moved, it was absolutely quiet. They were in a communion because they were learning the truth about themselves.
Three takes. You're either going to get it, or you're not going to get it. There's no use persisting; it just had to work that way.
"
Three takes. You're either going to get it, or you're not going to get it. There's no use persisting; it just had to work that way.
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