John Schlesinger
John Schlesinger
Full Name and Common Aliases
John Richard Schlesinger was a renowned British film director, producer, and screenwriter who went by the name John Schlesinger.
Birth and Death Dates
Born on February 16, 1926, in London, England, United Kingdom. Passed away on July 26, 2003, at the age of 77.
Nationality and Profession(s)
Schlesinger was a British citizen by birth and made his career as a film director, producer, and screenwriter.
Early Life and Background
John Schlesinger grew up in a middle-class family with a strong emphasis on culture and education. His father was an accountant, and the family resided in Hampstead, London. Schlesinger's early life was marked by a passion for art, music, and theater, which would later shape his career in filmmaking. He attended the Architectural Association School of Architecture but dropped out to pursue a career in design.
Major Accomplishments
Schlesinger's breakthrough film came with _A Kind of Loving_ (1962), a British drama that explored themes of working-class life and relationships. This success led him to collaborate with prominent screenwriters, including Alan Bennet and Billy Wilder. His adaptation of John Osborne's play _The Entertainer_ (1960) showcased his ability to balance artistic vision with commercial viability.
Notable Works or Actions
Schlesinger's directing career spanned over four decades, during which he worked on a wide range of films, including:
A Kind of Loving (1962): A British drama that marked Schlesinger's directorial debut.
Darling (1965): A comedy-drama starring Julie Christie as a fashion model.
Far from the Madding Crowd (1967): An adaptation of Thomas Hardy's classic novel.
Midnight Cowboy (1969): A groundbreaking American drama that won three Academy Awards, including Best Picture.
Impact and Legacy
John Schlesinger's influence on British cinema is undeniable. He helped establish a new wave of filmmakers who pushed the boundaries of storytelling and style. His innovative approach to filmmaking earned him numerous awards and nominations throughout his career.
Why They Are Widely Quoted or Remembered
Schlesinger's quotes offer insights into his creative process, artistic vision, and personal values. Some notable quotes include:
"The thing that I think is most important in a film is the emotional truth of it."
"You can't be too careful when you're dealing with people's emotions."
These quotes demonstrate Schlesinger's commitment to authenticity and his ability to convey complex ideas through simple, yet powerful language. As a result, his films continue to resonate with audiences today, making him one of the most quoted and remembered filmmakers in history.
As a filmmaker, John Schlesinger left an indelible mark on British cinema. His innovative approach, coupled with his commitment to emotional truth, has inspired generations of directors. Through his quotes, we gain a deeper understanding of his artistic vision and legacy, cementing his place as one of the most influential filmmakers in history.
Note: This biography is intended for informational purposes only and may not be comprehensive or entirely accurate.
Quotes by John Schlesinger
Making a film is like going down a mine-once you've started you bid a metaphoricalgoodbye to the daylight and the outside world for the duration.
Yes, but I think if you look at it with a sort of gay sensibility and want everything to be positive about gay life, it could be interpreted as antigay.
We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.
Still, the film nearly didn't happen a number of times. There were great arguments with United Artists about how to reduce the cost because they were nothing if not conscious of the price of the film.
No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.
I thought his performance was absolutely wonderful and had said so, but he seemed, as actors quite often are when they first see something, to be disappointed. I think he expected more from the film and himself.
I have a feeling he felt Jon Voight had run away with the film, which he didn't, though he was brilliant in it, in a much less easy part. I just don't know what had got into him, but something had.
There are certain actors who are very good at improvising, like Dustin Hoffman and Glenda Jackson.
That attitude toward women as objects may have worked for the late Sixties, but it doesn't do so now.