RICHARD ATTENBOROUGH (Director/Producer) recently told an interviewer
from the Sunday London Times, "I'm not a genius, I'm not an auteur,
I'm a craftsman -- but not a bad one." It was a characteristically
modest self-assessment from the man who, before going on stage to accept
the Director's Guild Award for Gandhi, walked over to Steven Spielberg (a
nominee that year for E.T.), embraced him and said, "This isn't right
-- this should be yours." Spielberg for years afterward referred to
that moment as his "honorary Oscar."
After recalling that close encounter in his introduction to Andy Dougan's
book on Attenborough, The Actor's Director, Spielberg concludes his tribute
with a revelation which speaks volumes about his regard for Attenborough
as a filmmaker. Referring to him as both "an actor's director"
and "a director's director," Spielberg recalls: "I remember
at one stage when I was simultaneously involved in the shooting of Schindler's
List and the post-production of Jurassic Park, I asked Dickie if he would
take over the filming of Schindler's List for a few days. He was busy with
Shadowlands at the time, so he wasn't able to do it. But I asked him because,
of all my colleagues, he is the only person who I think really understood
what I was trying to do with Schindler's List."
Modesty notwithstanding, Spielberg is not alone in his high regard for Richard
Attenborough. As the numerous Oscars and Oscar nominations won by his films
attest, Attenborough is as respected by his colleagues as by the critics,
many of whom consider him the legitimate heir of that other British master
of the historical epic, David Lean.
As it happens, Attenborough began his acting career in Lean's first film
as a director, In Which We Serve (1942), playing a sailor suffering from
war nerves. A more memorable turn as Pinkie, the teenage killer in the
film version of Graham Greene's Brighton Rock (1947), and a role in the
original London production of The Mousetrap soon made him a well-known actor
with his own all-female fan club.
In 1959, tired of always being cast as "the moon-faced twit, the quivering
idiot on the lower deck," Attenborough teamed up with director Bryan
Forbes to produce a series of independent films which helped launch the
British New Wave: the labor-union drama The Angry Silence (1960), The L-Shaped
Room (1962), and Seance on a Wet Afternoon (1964), a black-and-white British
Fargo about a kidnapping gone wrong which earned Attenborough's co-star
Kim Stanley an Oscar nomination and a New York Critics' Award.
As an actor Attenborough has starred in numerous stage plays and over 60
films. His other memorable film roles include two films with Steve McQueen,
The Great Escape (1962) and The Sand Pebbles (1966); Flight of the Phoenix
(1965) for Robert Aldrich; The Chess Players (1977) for Satyajit Ray, and
a performance many consider his best, as the real-life murderer John Reginald
Christie in Richard Fleischer's 10 Rillington Place.
In 1962, Motilal Kothari, a civil servant working with the Indian High Commission
in London, telephoned Attenborough to ask if he would be interested in making
a film about Mahatma Gandhi. After Attenborough read Louise Fischer's biography
of the saintly political leader, making a film about Gandhi (whom he always
called "Gandhiji" as a mark of respect) became an obsession, one
that took him from acting to directing and lasted 18 years, before Gandhi
was finally made in 1982 -- a triumph which Motilal Kothari regrettably
did not live to see.
In the intervening years Attenborough had been learning his craft, beginning
with his directorial debut, the film version of Joan Littlewood's successful
antiwar musical Oh! What A Lovely War (1969), starring a cast of England's
finest actors, all of whom were working for scale. Attenborough today attributes
the cinematic innovations of that film to inexperience, but another of his
famous directorial traits, bulldog persistence, was already in evidence:
When he learned that 15,000 holes had to be drilled in Sussex Downs to
plant the seemingly endless panorama of crosses revealed in the aerial shot
that closes the film, the director stood his ground, and the memorable last
shot was filmed as he envisioned it.
Young Winston (1972), Attenborough's first biographical film, was actually
an assignment made for producer Carl Foreman. Despite feeling like "a
line director" on another man's film, Attenborough fought successfully
to cast an unknown named Simon Ward as Churchill, choosing not to act in
the film because he wanted to devote his full attention to helping his young
star become Winston Churchill on screen.
Attenborough says that after the experience with Foreman he was resolved
to be his own boss, but his next two pictures were made for Joe Levine,
a showman who gave him the freedom he needed to make two of his most underrated
films: A Bridge Too Far (1977) and Magic (1978), both from screenplays
by William Goldman.
Robert Redford's $2 million salary overshadowed Attenborough's achievement
on A Bridge Too Far, which describes in minute detail one of the most disastrous
military operations of World War II, but critic Bruce Williamson called
the result "the most humane and intelligent antiwar film since Stanley
Kubrick's Paths of Glory." Magic suffered similarly from inappropriate
comparisons with the 1945 Dead of Night, but it allowed Attenborough to
guide Anthony Hopkins to an extraordinary performance as a ventriloquist
whose personality is being taken over by his dummy.
After Levine reneged on promises to finance Gandhi, Attenborough gave up
acting to pursue his dream project. (What proved to be his last film role
for fifteen years was in another Graham Greene adaptation, Otto Preminger's
The Human Factor.) Once the elusive funding had been found for a project
Hollywood considered non-commercial, Attenborough was faced with the challenge
of finding an actor to play Gandhi. At his son Michael's suggestion, he
tested a then-unknown actor whose father was Indian, Ben Kingsley. Guided
by Attenborough, Kingsley proved more than adequate to "carrying"
the three-hour spectacle, which was made on location in India and included
the biggest crowd scene ever filmed. The film won eight Academy Awards,
including Best Film, Best Director, Best Screenplay and Best Actor for Kingsley.
Critics questioned Attenborough's choice of a follow-up film to Gandhi,
an adaptation of the hit musical A Chorus Line (1985), but the choice would
have seemed less bizarre if they had known that musicals are Attenborough's
favorite genre. (The astute filmmaker told a journalist in 1994 that the
only role which would lure him back to acting was Quasimodo in a musical
version of The Hunchback of Notre Dame.)
His next, Cry Freedom, again tackled the social issues dear to Attenborough's
heart by portraying the friendship between black anti-apartheid activist
Steve Biko (Denzel Washington in his first screen role) and journalist Donald
Woods (Kevin Kline). Woods approached Attenborough in 1985 about filming
his book about Biko, Asking for Trouble. The film that resulted was the
first of Attenborough's biographical studies to devote as much attention
to a biographer as to his subject: After Biko's death halfway through the
film, Cry Freedom tells how Woods and his family escaped from South Africa
as if they were fleeing an Iron Curtain dictatorship. Joining the long
list of young actors whose careers Attenborough has launched, Denzel Washington
received his first Oscar nomination for his performance in Cry Freedom.
Continuing Attenborough's fascination with the nuts and bolts of truth in
biography, Anthony Hopkins played Charlie Chaplin's collaborator on his
autobiography, My Story, in Chaplin (1992). The scenes with Hopkins talking
to his subject about My Story permitted Attenborough to put that sometimes
unreliable document in perspective while recounting 85 years of Chaplin's
life, beginning with his Dickensian childhood in London and ending with
his political exile in Switzerland.
Feeling that he was born to play Chaplin, Robert Downey, Jr., practically
forced Attenborough to give him the part, then spent an unpaid year with
a mime expert, learning how to stand, walk and clown like Chaplin, while
Attenborough was raising the money for the production. Again Attenborough
found himself fighting for his choice of leading man, and again his judgment
was vindicated: Downey's performance in Chaplin won him an Oscar nomination.
Attenborough joined forces with Anthony Hopkins a fifth time for Shadowlands
(1994), adapted for the screen by William Nicholson from his successful
play, which was in turn adapted from his television drama starring Joss
Ackland and Claire Bloom. A companion piece to In Love and War, Shadowlands
tells the story of the improbable romance between the English writer C.
S. Lewis (Hopkins), a confirmed bachelor in his late fifties, and Joy Gresham
(Deborah Winger), a brash, outspoken and much younger divorcee from New
York, which ended with her tragic death. A masterpiece of restraint, Shadowlands
is the kind of small film Attenborough had never made, and it proved to
be his biggest commercial success since Gandhi.
Attenborough recently returned to acting at the behest of Steven Spielberg
in Jurassic Park, playing a well-intentioned millionaire whose dinosaur
theme park turns into hell on earth, and then in John Hughes' remake of
Miracle on 34th Street, as a decidedly edgy Kris Kringle. He will next
be seen in the sequel to Jurassic Park, The Lost World.
Richard Attenborough comes by his passion for politics honestly: his mother
and father rescued and gave shelter to Basque children from Spain during
the Spanish Civil War and Jewish children from Germany during World War
II. Following in their tradition, Attenborough devotes an amazing amount
of time to extra-cinematic responsibilities. For years he was chairman
of Channel Four, BAFTA, Capital Radio, RADA (where he trained as an actor),
the European Script Fund and the British Screen Advisory Council. He is
a pro-Chancellor at Sussex University and a Goodwill Ambassador for UNICEF.
His favorite cause continues to be the British film industry. When in the
eighties he led a group of industry professionals who confronted Prime Minister
Margaret Thatcher over the ailing state of British cinema, Thatcher asked
wide-eyed why she had never been told about this. Attenborough's reply
has become part of his legend in the British Isles: "Darling,"
he said, "you never asked!" He has continued to carry the battle
to Thatcher's successor, John Major.
Having given over a million pounds of his film earnings to various charities,
Attenborough is also the only producer-director who regularly assigns part
of his profit participation in a film to his crew.
Richard Attenborough was knighted by Her Majesty the Queen in 1976 and ennobled
as Lord Attenborough of Richmond-on-Thames in 1993, giving him the chance,
which he relished, to sit on the bench of the opposition Labour Party in
the House of Lords.
DIMITRI VILLARD (Producer) is the son of Henry Villard and the
man responsible for bringing In Love and War to New Line Cinema, and to
Richard Attenborough. He conceived the storyline for the movie, developed
the original screenplay and has been crucially involved in the movie from
the outset.
Something of a one-man film industry, he has discovered talent, co-written
and produced movies, financed and run pay cable and television distribution
companies and co-founded a film sales organization. He is also an advisor
to the Beverly Hills-based entertainment and media investment banking firm,
Bannon & Co.
A Harvard graduate (he was an editor of the Harvard Lampoon while a student),
Villard also attended New York University Film School. He began producing
movies in the early Eighties with the science fiction drama Timewalker.
Since then his films have included Death of an Angel, Once Bitten (starring
Jim Carrey in his debut role), Flight of the Navigator, Purgatory and the
cult comedy Easy Wheels.
In Love and War is an intensely personal experience for Villard, based as
it is on his late father's memoir Hemingway in Love and War. Henry Villard
died in January of 1996 at the age of 95, having been fully involved in
the development of the project.
CHRIS KENNY (Supervising Producer) was the line producer on Empire
of the Sun for Steven Spielberg, and co-producer on Batman. For some years
thereafter he represented Batman producers Peter Guber and Jon Peters as
their production executive in London.
In Love and War is his first film with Richard Attenborough.
DIANA HAWKINS (Co-Producer) has been working with Richard Attenborough
in a variety of marketing and production capacities since Whistle Down the
Wind in 1961, when she became publicity director for his production company.
Since then their joint ventures include The League of Gentlemen, Guns at
Batasi, Seance on a Wet Afternoon, The L-Shaped Room, Gandhi, A Chorus Line,
Cry Freedom, Chaplin (for which she wrote the story) and Shadowlands. She
was publicity director on David Lean's A Passage to India.
Writing as Diana Carter she has published several books about filmmaking,
three novels and a best-selling children's space fantasy.
SARA RISHER (Executive Producer) began her career working with producer-director
Peter Yates and joined New Line Cinema in 1974 to manage all filmmaking
activities including development, physical production and post-production.
Prior to becoming Chairman of New Line Productions, Risher was president
of production, supervising development and production of over 50 films including
such such successful films as A Nightmare on Elm Street, Pump Up the Volume,
Hairspray, Menace II Society, Houseparty and Wide Sargasso Sea. She is
perhaps best known as the executive responsible for the acquisition of Teenage
Mutant Ninja Turtles.
CLANCY SIGAL (Screenwriter) has also written Maria/Callas, about
the tempestuous opera singer, for New Line Cinema. With Michael Elias,
he co-wrote The Man In The Maze, a science-fiction drama purchased by Icon
for Mel Gibson.
A native of Chicago, Sigal was a London-based BBC correspondent and journalist
with The Guardian and The Observer. Currently, he lives in Los Angeles
with his wife and son. He has published four novels and was awarded the
Houghton Mifflin Literary Fellowship. He is currently finishing a screenplay,
What Do Women Want?, based on the love affair between the French feminist,
Simone de Beauvoir, and the Chicago writer, Nelson Algren.
ALLAN SCOTT (Screenwriter) began writing for film in the early 1970s.
His credits include a series of scripts co-written with Chris Bryant including
The Man Who Had Power Over Women, Don't Look Now which was directed by Nicolas
Roeg, The Girl from Petrovka, Spiral Staircase, Joseph Andrews, The Cassandra
Crossing, The Awakening and Martin's Day. Scott's other credits include
D.A.R.Y.L., which he wrote with David Melrose and Jeffery Ellis, and Apprentice
to Murder, written with Wesley Moore. Scott's solo writing credits include
Castaway, The Witches and Cold Heaven, also directed by Nicolas Roeg.
ANNA HAMILTON PHELAN (Screenwriter) was an actress for 20 years
before writing her first screenplay, Mask. Peter Bogdanovich directed the
hit movie starring Cher as the mother of Rocky Dennis, a deformed boy whom
Phelan met while doing volunteer work in a pediatric ward. (Rusty Dennis
is still a friend.)
Universal subsequently hired Phelan to write a screenplay about Diane Fossey,
a scientist who had been murdered because of her fight to protect the mountain
gorillas of Rwanda from human predators. Going to Rwanda for research,
Phelan was the first foreigner to visit Fossey's camp after the murder.
Universal found itself in a race with Warner Bros. to make their Diane Fossey
film, and despite her obsessive involvement in the screenplay, which went
through fourteen versions, Phelan and Universal won out. The film of her
screenplay, Gorillas in the Mist, starring Sigourney Weaver, was a hit and
earned Phelan an Oscar nomination for Best Screenplay.
Phelan got to use her acting ability when she infiltrated a white supremacist
group in Idaho while writing her screenplay for Into the Homeland, an expose
of militant racist groups which aired on HBO in 1987.
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