Horror Stars
My favorite people in the horror film biz.
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Actor, raconteur, art collector and connoisseur of haute cuisine are just some of the attributes associated with Vincent Price. He was born Vincent Leonard Price, Jr. in St. Louis, Missouri, to Marguerite Cobb "Daisy" (Wilcox) and Vincent Leonard Price, who was President of the National Candy Company. His grandfather, also named Vincent, invented Dr. Price's Baking Powder, which was tartar-based. His family was prosperous, as he said, "not rich enough to evoke envy but successful enough to demand respect." His uniquely cultivated voice and persona were the result of a well-rounded education which began when his family dispatched him on a tour of Europe's cultural centres. His secondary education eventually culminated in a B.A. in English from Yale University and a degree in art history from London's Courtauld Institute.
Famously, his name has long been a byword for Gothic horror on screen. However, Vincent Price was, first and foremost, a man of the stage. It is where he began his career and where it ended. He faced the footlights for the first time at the Gate Theatre in London. At the age of 23, he played Prince Albert in the premiere of Arthur Schnitzler 's 'Victoria Regina' and made such an impression on producer Gilbert Miller that he launched the play on Broadway that same year (legendary actress Helen Hayes played the title role). In early 1938, he was invited to join Orson Welles 's Mercury Theatre on a five-play contract, beginning with 'The Shoemaker's Holiday'. He gave what was described as "a polished performance". Thus established, Vincent continued to make sporadic forays to the Great White Way, including as the Duke of Buckingham in Shakespeare's 'Richard III' (in which a reviewer for the New Yorker found him to be "satisfactorily detestable") and as Oscar Wilde in his award-winning one man show 'Diversions and Delights', which he took on a hugely successful world-wide tour in 1978. While based in California, Vincent was instrumental in the success of the La Jolla Playhouse in San Diego, starring in several of their bigger productions, including 'Billy Budd' and 'The Winslow Boy'. In 1952, Vincent joined the national touring company of 'Don Juan in Hell' in which he was cast as the devil. Acting under the direction of Charles Laughton and accompanied by noted thespians Charles Boyer, Cedric Hardwicke and Agnes Moorehead, he later recalled this as one of his "greatest theatrical excitements".
As well as acting on stage, Vincent regularly performed on radio network programs, including Lux Radio Theatre, CBS Playhouse and shows for the BBC. He narrated or hosted assorted programs ranging from history (If these Walls Could Speak) to cuisine (Cooking Price-Wise). He wrote several best-selling books on his favourite subjects: art collecting and cookery. In 1962, he was approached by Sears Roebuck to act as a buying consultant "selling quality pictures to department store customers". As if that were not enough, he lectured for 15 years on art, poetry and even the history of villainy. He recorded numerous readings of poems by Edgar Allan Poe (nobody ever gave a better recital of "The Raven"!), Shelley and Whitman. He also served on the Arts Council of UCLA, was a member of the Fine Arts Committee for the White House, a former chairman of the Indian Arts & Crafts Board and on the board of trustees of the Los Angeles County Museum of Art.
And besides all of that, Vincent Price remained a much sought-after motion picture actor. He made his first appearance on screen as a romantic lead in Service de Luxe (1938), a frothy Universal comedy which came and went without much fanfare. After that, he reprized his stage role as Master Hammon in an early television production of 'The Shoemaker's Holiday'. For one reason or another, Vincent was henceforth typecast as either historical figures (Sir Walter Raleigh, Duke of Clarence, Mormon leader Joseph Smith, King Charles II, Cardinal Richelieu, Omar Khayyam) or ineffectual charmers and gigolos. Under contract to 20th Century Fox (1940-46), Laura (1944) provided one of his better vehicles in the latter department, as did the lush Technicolor melodrama Leave Her to Heaven (1945) which had Vincent showcased in a notably powerful scene as a prosecuting attorney. His performance was singled out by the L.A. Times as meriting "attention as contending for Academy supporting honors".
His first fling with the horror genre was Dragonwyck (1946), a Gothic melodrama set in the Hudson Valley in the early 1800's. For the first time, Vincent played a part he actually coveted and fought hard to win. His character was in effect a precursor of those he would later make his own while working for Roger Corman and American-International. As demented, drug-addicted landowner Nicholas Van Ryn, he so effectively terrorized Gene Tierney's Miranda Wells that the influential columnist Louella Parsons wrote with rare praise: "The role of Van Ryn calls for a lot of acting and Vincent admits he's a ham and loves to act all over the place, but the fact that he has restrained himself and doesn't over-emote is a tribute to his ability". If Vincent was an occasional ham, he proved it with his Harry Lime pastiche Carwood in The Bribe (1949). Much better was his starring role in a minor western, The Baron of Arizona (1950), in which he was convincingly cast as a larcenous land office clerk attempting to create his own desert baronetcy.
With House of Wax (1953) , Vincent fine-tuned the character type he had established in Dragonwyck, adding both pathos and comic elements to the role of the maniacal sculptor Henry Jarrod. It was arduous work under heavy make-up which simulated hideous facial scarring and required three hours to apply and three hours to remove. He later commented that it "took his face months to heal because it was raw from peeling off wax each night". However, the picture proved a sound money maker for Warner Brothers and firmly established Vincent Price in a cult genre from which he was henceforth unable to escape. The majority of his subsequent films were decidedly low-budget affairs in which the star tended to be the sole mitigating factor: The Mad Magician (1954), The Fly (1958) (and its sequel), House on Haunted Hill (1959), the absurd The Tingler (1959) (easily the worst of the bunch) and The Bat (1959). With few exceptions, Vincent's acting range would rarely be stretched in the years to come.
Vincent's association with the genial Roger Corman began when he received a script for The Fall of the House of Usher, beginning a projected cycle of cost-effective films based on short stories by Edgar Allen Poe. As Roderick Usher, Vincent was Corman's "first and only choice". Though he was to receive a salary of $50,000 for the picture, it was his chance "to express the psychology of Poe's characters" and to "imbue the movie versions with the spirit of Poe" that clinched the deal for Vincent. He made another six films in this vein, all of them box office winners. Not Academy Award stuff, but nonetheless hugely enjoyable camp entertainment and popular with all but highbrow audiences. Who could forget Vincent at his scenery chewing best as the resurgent inquisitor, luring Barbara Steele into the crypt in The Pit and the Pendulum (1961)? Or as pompous wine aficionado Fortunato Luchresi in that deliriously funny wine tasting competition with Montresor Herringbone (Peter Lorre) in Tales of Terror (1962)? Best still, the climactic battle of the magicians pitting Vincent's Erasmus Craven against Boris Karloff's malevolent Dr. Scarabus in The Raven (1963) (arguably, the best offering in the Poe cycle). The Comedy of Terrors (1963) was played strictly for laughs, with the inimitable combo of Price and Lorre this time appearing as homicidal undertakers.
For the rest of the 60s, Vincent was content to remain in his niche, playing variations on the same theme in City in the Sea (1965) and Witchfinder General (1968) (as Matthew Hopkins). He also spoofed his screen personae as Dr. Goldfoot and as perennial villain Egghead in the Batman (1966) series. He rose once more to the occasion in the cult black comedy The Abominable Dr. Phibes (1971) (and its sequel Dr. Phibes Rises Again (1972)) commenting that he had to play Anton Phibes "very seriously so that it would come out funny". The tagline, a parody of the ad for Love Story (1970), announced "love means never having to say you're ugly".
During the 70s and 80s, Vincent restricted himself mainly to voice-overs and TV guest appearances. His final role of note was as the inventor in Edward Scissorhands (1990), a role written specifically for him. The embodiment of gleeful, suave screen villainy, Vincent Price died in Los Angeles in October 1993 at the age of 82. People magazine eulogized him as "the Gable of Gothic." Much earlier, an English critic named Gilbert Adair spoke for many fans when he said "Every man his Price - and mine is Vincent."- Actor
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Sir Christopher Frank Carandini Lee was perhaps the only actor of his generation to have starred in so many films and cult saga. Although most notable for personifying bloodsucking vampire, Dracula, on screen, he portrayed other varied characters on screen, most of which were villains, whether it be Francisco Scaramanga in the James Bond film, The Man with the Golden Gun (1974), or Count Dooku in Star Wars: Episode II - Attack of the Clones (2002), or as the title monster in the Hammer Horror film, The Mummy (1959).
Lee was born in 1922 in London, England, where he and his older sister Xandra were raised by their parents, Contessa Estelle Marie (Carandini di Sarzano) and Geoffrey Trollope Lee, a professional soldier, until their divorce in 1926. Later, while Lee was still a child, his mother married (and later divorced) Harcourt George St.-Croix (nicknamed Ingle), who was a banker. Lee's maternal great-grandfather was an Italian political refugee, while Lee's great-grandmother was English opera singer Marie (Burgess) Carandini.
After attending Wellington College from age 14 to 17, Lee worked as an office clerk in a couple of London shipping companies until 1941 when he enlisted in the Royal Air Force during World War II. Following his release from military service, Lee joined the Rank Organisation in 1947, training as an actor in their "Charm School" and playing a number of bit parts in such films as Corridor of Mirrors (1948). He made a brief appearance in Laurence Olivier's Hamlet (1948), in which his future partner-in-horror Peter Cushing also appeared. Both actors also appeared later in Moulin Rouge (1952) but did not meet until their horror films together.
Lee had numerous parts in film and television throughout the 1950s. He struggled initially in his new career because he was discriminated as being taller than the leading male actors of his time and being too foreign-looking. However, playing the monster in the Hammer film The Curse of Frankenstein (1957) proved to be a blessing in disguise, since the was successful, leading to him being signed on for future roles in Hammer Film Productions.
Lee's association with Hammer Film Productions brought him into contact with Peter Cushing, and they became good friends. Lee and Cushing often than not played contrasting roles in Hammer films, where Cushing was the protagonist and Lee the villain, whether it be Van Helsing and Dracula respectively in Horror of Dracula (1958), or John Banning and Kharis the Mummy respectively in The Mummy (1959).
Lee continued his role as "Dracula" in a number of Hammer sequels throughout the 1960s and into the early 1970s. During this time, he co-starred in The Hound of the Baskervilles (1959), and made numerous appearances as Fu Manchu, most notably in the first of the series The Face of Fu Manchu (1965), and also appeared in a number of films in Europe. With his own production company, Charlemagne Productions, Ltd., Lee made Nothing But the Night (1973) and To the Devil a Daughter (1976).
By the mid-1970s, Lee was tiring of his horror image and tried to widen his appeal by participating in several mainstream films, such as The Private Life of Sherlock Holmes (1970), The Three Musketeers (1973), The Four Musketeers: Milady's Revenge (1974), and the James Bond film The Man with the Golden Gun (1974).
The success of these films prompted him in the late 1970s to move to Hollywood, where he remained a busy actor but made mostly unremarkable film and television appearances, and eventually moved back to England. The beginning of the new millennium relaunched his career to some degree, during which he has played Count Dooku in Star Wars: Episode II - Attack of the Clones (2002) and as Saruman the White in the Lord of the Rings trilogy. Lee played Count Dooku again in Star Wars: Episode III - Revenge of the Sith (2005), and portrayed the father of Willy Wonka, played by Johnny Depp, in the Tim Burton film, Charlie and the Chocolate Factory (2005).
On 16 June 2001, he was created a Commander of the Order of the British Empire in recognition of his services to drama. He was created a Knight Bachelor on 13 June 2009 in the Queen's Birthday Honours List for his services to drama and charity. In addition he was made a Commander of the Order of St John on 16 January 1997.
Lee died at the Chelsea and Westminster Hospital on 7 June 2015 at 8:30 am after being admitted for respiratory problems and heart failure, shortly after celebrating his 93rd birthday there. His wife delayed the public announcement until 11 June, in order to break the news to their family.- Actress
- Producer
The most beautiful star of the greatest horror masterpiece of Italian film, Black Sunday (1960): Barbara Steele was born on December 29, 1937 in Birkenhead, Cheshire, England. Barbara is loved by her fans for her talent, intelligence, and a dark mysterious beauty that is unique; her face epitomizes either sweet innocence, or malign evil (she is wonderful to watch either way). At first, Barbara studied to become a painter. In 1957, she joined an acting repertory company. Her feature acting debut was in the British comedy Bachelor of Hearts (1958). At age 21, this strikingly lovely lady, with the hauntingly beautiful face, large eyes, sensuous lips and long dark hair got her breakout role by starring in Black Sunday (1960), the quintessential Italian film about witchcraft (it was the directorial debut for cinematographer Mario Bava; with his background, it was exquisitely photographed and atmospheric).
We got to see Barbara, but did not hear her; her voice was dubbed by another actress for international audiences. After its American success, AIP brought Barbara to America, to star in Roger Corman's The Pit and the Pendulum (1961); (though the film was shot entirely in English, again Barbara's own voice was not used). By now, Barbara was typecast by American audiences as a horror star. In 1962, she answered an open-casting call and won a role in Federico Fellini's 8½ (1963); she only had a small role, but it was memorable. Reportedly, Fellini wanted to use her more in the film, but she was contracted to leave Rome to start work on her next horror movie, The Horrible Dr. Hichcock (1962). Being a slow and meticulous director, Fellini's 8½ (1963) was not released until 1963. (Later, when Barbara was cast in lesser roles in lesser movies, she would tell the directors: "I've worked with some of the best directors in the world. I've worked with Fellini!")
More horror movies followed, such as The Ghost (1963), Castle of Blood (1964), An Angel for Satan (1966) and others; this success lead to her being typecast in the horror genre, where she more often than not appeared in Italian movies with a dubbed voice. The nadir was appearing in The Crimson Cult (1968), which was mainly eye candy, with scantily-clad women in a cult. Unfortunately, Barbara got sick of being typecast in horror movies. One of the screen's greatest horror stars, she said in an interview: "I never want to climb out of another freakin' coffin again!" This was sad news for her legion of horror fans; it was also a false-step for Barbara as far as a career move. Back in America, she met screenwriter James Poe; they got married, and remained together for many years.
James Poe wrote an excellent role for Barbara in They Shoot Horses, Don't They? (1969). The role ended up going to Susannah York, and Barbara wouldn't act in movies again for five years. Barbara returned to movies in Caged Heat (1974); she was miscast: a few years before, Barbara would have been one of the beautiful inmates, not the wheelchair-bound warden, but her performance won positive reviews. In 1977, she appeared in a film by Roger Corman, based on the true story of a mentally ill woman, I Never Promised You a Rose Garden (1977). Unfortunately, her scenes wound up on the cutting room floor. Barbara appeared in Pretty Baby (1978), but she was in the background the whole time, and her talents were mostly wasted. Barbara would appear in two more unmemorable movies. She and James Poe got divorced in 1978, he died two years later.
Barbara appeared in the independent film The Silent Scream (1979). Maybe because her ex-husband was now dead, or because her acting career was going nowhere, Barbara retired from acting for a decade. However, she had a great deal of success as a producer. She was an associate producer for the miniseries The Winds of War (1983), and produced War and Remembrance (1988), for which she got an Emmy Award. Her horror fans were delighted when Barbara showed up again, this time on television in Dark Shadows (1991), a revival of the beloved 1960s supernatural soap opera. And she has developed a relative fondness along with a sense of ironic humor about her horror queen status, which was evident in her appearance in Clive Barker's documentary A-Z of Horror (1997).- Actor
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David Cronenberg, also known as the King of Venereal Horror or the Baron of Blood, was born in Toronto, Ontario, Canada, in 1943. His father, Milton Cronenberg, was a journalist and editor, and his mother, Esther (Sumberg), was a piano player. After showing an inclination for literature at an early age (he wrote and published eerie short stories, thus following his father's path) and for music (playing classical guitar until he was 12), Cronenberg graduated from the University of Toronto with a degree in Literature after switching from the science department. He reached the cult status of horror-meister with the gore-filled, modern-vampire variations of Shivers (1975) and Rabid (1977), following an experimental apprenticeship in independent film-making and in Canadian television programs.
Cronenberg gained popularity with the head-exploding, telepathy-based Scanners (1981) after the release of the much underrated, controversial, and autobiographical The Brood (1979). Cronenberg become a sort of a mass media guru with Videodrome (1983), a shocking investigation of the hazards of reality-morphing television and a prophetic critique of contemporary aesthetics. The issues of tech-induced mutation of the human body and topics of the prominent dichotomy between body and mind were back again in The Dead Zone (1983) and The Fly (1986), both bright examples of a personal film-making identity, even if both films are based on mass-entertainment materials: the first being a rendition of a Stephen King best-seller, the latter a remake of a famous American horror movie.
With Dead Ringers (1988) and Naked Lunch (1991), the Canadian director, no more a mere genre movie-maker but a fully realized auteur, got the acclaim of international critics. Such profound statements on modern humanity and ever-changing society are prominent in the provocative Crash (1996) and in the virtual reality essay of eXistenZ (1999), both of which well fared at the Cannes and Berlin Film Festivals. In the last two film projects Spider (2002) and A History of Violence (2005), Cronenberg avoids expressing his teratologic and oneiric expressionism in favor of a more psychological exploration of human contradictions and idiosyncrasies.- Actor
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Bela Lugosi was born Béla Ferenc Dezsö Blaskó on October 20, 1882, Lugos, Hungary, Austria-Hungary (now Lugoj, Romania), to Paula de Vojnich and István Blaskó, a banker. He was the youngest of four children. During WWI, he volunteered and was commissioned as an infantry lieutenant, and was wounded three times.
A distinguished stage actor in his native Hungary, Austria-Hungary, he began his stage career in 1901 and started appearing in films during World War I, fleeing to Germany in 1919 as a result of his left-wing political activity (he organized an actors' union). In 1920 he emigrated to the US and made a living as a character actor, shooting to fame when he played Count Dracula in the legendary 1927 Broadway stage adaptation of Bram Stoker's novel. It ran for three years, and was subsequently, and memorably, filmed by Tod Browning in 1931, establishing Lugosi as one of the screen's greatest personifications of pure evil. Also in 1931, he became a U.S. citizen. Sadly, his reputation rapidly declined, mainly because he had been blacklisted by the main studios and had no choice but to accept any part (and script) handed to him, and ended up playing parodies of his greatest role, in low-grade poverty row films. Due to shady blacklisting among the top Hollywood studio executives, he refused to sell out or to compromise his integrity, and therefore ended his career working for the legendary Worst Director of All Time, Edward D. Wood Jr..
Lugosi was married to Ilona Szmik (1917 - 1920), Ilona von Montagh (? - ?), and Lillian Arch (1933 - 1951). He is the father of Bela Lugosi Jr. (1938). Lugosi helped organize the Screen Actors Guild in the mid-'30s, joining as member number 28.
Bela Lugosi died of a heart attack August 16, 1956. He was buried in a Dracula costume, including a cape, but not the ones used in the 1931 film, contrary to popular--but unfounded--rumors.- Actor
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Anthony Perkins was born April 4, 1932 in New York City, to Janet Esselstyn (Rane) and Osgood Perkins, an actor of both stage and film. His father died when he was five. Anthony's paternal great-grandfather was engraver Andrew Varick Stout Anthony. Perkins attended the Brooks School, the Browne & Nichols School, Columbia University and Rollins College. He made his screen debut in The Actress (1953), and was nominated for a Best Supporting Actor Oscar Friendly Persuasion (1956). Four years later, he appeared in what would be his most noted role, Norman Bates in Psycho (1960), memorializing him into film history forever.- Actor
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Peter Lorre was born László Löwenstein in Rózsahegy in the Slovak area of the Austro-Hungarian Empire, the son of Hungarian Jewish parents. He learned both Hungarian and German languages from birth, and was educated in elementary and secondary schools in the Austria-Hungary capitol Vienna, but did not complete. As a youth he ran away from home, first working as a bank clerk, and after stage training in Vienna, Austria, made his acting debut at age 17 in 1922 in Zurich, Switzerland. He traveled for several years acting on stage throughout his home region, Vienna, Berlin, and Zurich, including working with Bertolt Brecht, until Fritz Lang cast him in a starring role as the psychopathic child killer in the German film M (1931).
After several more films in Germany, including a couple roles for which he learned to speak French, Lorre left as the Nazis came to power, going first to Paris where he made one film, then London where Alfred Hitchcock cast him as a creepy villain in The Man Who Knew Too Much (1934), where he learned his lines phonetically, and finally arrived in Hollywood in 1935. In his first two roles there he starred as a mad scientist in Mad Love (1935) directed by recent fellow-expatriate Karl Freund, and the leading part of Raskolnikov in Crime and Punishment (1935), by another expatriate German director Josef von Sternberg, a successful movie made at Lorre's own suggestion. He returned to England for a role in another Hitchcock film, Secret Agent (1936), then back to the US for a few more films before checking into a rehab facility to cure himself of a morphine addiction.
After shaking his addiction, in order to get any kind of acting work, Lorre reluctantly accepted the starring part as the Japanese secret agent in Thank You, Mr. Moto (1937), wearing makeup to alter his already very round eyes for the part. He ended up committed to repeating the role for eight more "Mr. Moto" movies over the next two years.
Lorre played numerous memorable villain roles, spy characters, comedic roles, and even a romantic type, throughout the 1940s, beginning with his graduation from 30s B-pictures The Maltese Falcon (1941). Among his most famous films, Casablanca (1942), and a comedic role in the Broadway hit film Arsenic and Old Lace (1944).
After the war, between 1946 and '49 Lorre concentrated largely on radio and the stage, while continuing to appear in movies. In Autumn 1950 he traveled to West Gemany where he wrote, directed and starred in the critically acclaimed but generally unknown German-language film The Lost Man (1951), adapted from Lorre's own novel.
Lorre returned to the US in 1952, somewhat heavier in stature, where he used his abilities as a stage actor appearing in many live television productions throughout the 50s, including the first James Bond adaptation Casino Royale (1954), broadcast just a few months after Ian Fleming had published that first Bond novel. In that decade, Lorre had various roles, often to type but also as comedic caricatures of himself, in many episodes of TV series, and variety shows, though he continued to work in motion pictures, including the Academy Award winning Around the World in 80 Days (1956), and a stellar role as a clown in The Big Circus (1959).
In the late 50s and early 1960s he worked in several low-budget films, with producer-director Roger Corman, and producer-writer-director Irwin Allen, including the aforementioned The Big Circus and two adventurous Disney movies with Allen. He died from a stroke the year he made his last movie, playing a stooge in Jerry Lewis' The Patsy (1964).- Actor
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Along with fellow actors Lon Chaney, Bela Lugosi and Vincent Price, Boris Karloff is recognized as one of the true icons of horror cinema, and the actor most closely identified with the general public's image of the Frankenstein Monster from the classic 1818 Mary Shelley novel "Frankenstein; or, The Modern Prometheus". William Henry Pratt was born on November 23, 1887, in Camberwell, London, England, UK, the son of Edward John Pratt Jr., the Deputy Commissioner of Customs Salt and Opium, Northern Division, Indian Salt Revenue Service, and his third wife, Eliza Sarah Millard.
He was educated at London University in anticipation that he would pursue a diplomatic career; however, he emigrated to Canada in 1909, joined a touring company based out of Ontario and adopted the stage name of "Boris Karloff." He toured back and forth across the U.S. for over 10 years in a variety of low budget theater shows and eventually ended up in Hollywood, reportedly with very little money to his name. Needing cash to support himself, Karloff secured occasional acting work in the fledgling silent film industry in such films as The Deadlier Sex (1920), Omar the Tentmaker (1922), Dynamite Dan (1924) and Tarzan and the Golden Lion (1927), in addition to a handful of film serials (the majority of these, sadly, are all lost films). Karloff supplemented his meager film income by working as a truck driver in Los Angeles, which allowed him enough time off to continue to pursue acting roles.
His big break finally came when he was cast as the Frankenstein Monster in the Universal production of Frankenstein (1931), which was directed by James Whale, one of the studio's few remaining auteur directors. The aura of mystery surrounding Karloff was highlighted in the opening credits, as he was listed as simply "?". The film was a commercial and critical success for Universal, and Karloff was instantly established as a hot property in Hollywood. He quickly appeared in several other sinister roles, including Scarface (1932) (filmed before Frankenstein (1931)), as the black-humored The Old Dark House (1932), as the titular Chinese villain of Sax Rohmer's Dr. Fu Manchu novels in The Mask of Fu Manchu (1932), as the living mummy Im-ho-tep in The Mummy (1932) and as the misguided Prof. Morlant in The Ghoul (1933). He thoroughly enjoyed his role as a religious fanatic in John Ford's film The Lost Patrol (1934), although contemporary critics described it as a textbook example of overacting.
He donned the signature make-up, neck bolts and asphalt spreader's boots to play the Frankenstein Monster twice more, the first time in the sensational Bride of Frankenstein (1935) and the second time in the less thrilling Son of Frankenstein (1939). Karloff, on loan to Fox, appeared in one of the best of the Warner Oland Charlie Chan films, Charlie Chan at the Opera (1936), before beginning his own short-lived detective film series as Mr. Wong. He was a wrongly condemned doctor in Devil's Island (1938), the shaven-headed executioner Mord the Merciless in Tower of London (1939), another misguided scientist in The Ape (1940), a crazed scientist surrounded by monsters, vampires and werewolves in House of Frankenstein (1944), a murderous cab-man in The Body Snatcher (1945) and a Greek general fighting vampires in the Val Lewton thriller Isle of the Dead (1945).
While Karloff continued to appear in a plethora of films, many of them were not up to the standards of his previous efforts, including his appearances in two of the hokey Bud Abbott and Lou Costello monster films (he had appeared with both of them in an earlier, superior film, Bud Abbott Lou Costello Meet the Killer Boris Karloff (1949), of which theater owners often added his name to the marquee) at the low point of the Universal-International horror film cycle. During the 1950s he was a regular guest on many high-profile TV shows, including The Milton Berle Show (1948), Tales of Tomorrow (1951), The Veil (1958), The Donald O'Connor Show (1954), The Red Skelton Hour (1951) and The Dinah Shore Chevy Show (1956), just to name a few, and he appeared in a mixed bag of films, including Sabaka (1954) and Voodoo Island (1957). On Broadway, he appeared as the murderous Jonathan Brewster in the hit play "Arsenic and Old Lace" (his role, or rather the absence of him in it, was amusingly parodied in the play's 1944 film version) and 10 years later he enjoyed a long run in another hit play, "Peter Pan," perfectly cast as Captain Hook.
His career experienced something of a revival in the 1960s thanks to hosting the TV anthology series Thriller (1960) and independent film director Roger Corman, with Karloff contributing wonderful performances in The Raven (1963), The Terror (1963), the ultra-eerie Black Sabbath (1963) and the H.P. Lovecraft-inspired Die, Monster, Die! (1965). Karloff's last great film role before his death was as Byron Orlok, an aging and bitter horror film star on the brink of retirement who confronts a modern-day sniper in the Peter Bogdanovich-directed film Targets (1968). After this, he played Professor John Marsh in The Crimson Cult (1968), in which he co-starred with Sir Christopher Lee and Barbara Steele; it was the last film that he starred in that was released in his lifetime. Before these two films, he played the blind sculptor Franz Badulescu in Cauldron of Blood (1968) which was produced, directed and written by Edward Mann, who had also come to the art of film from the stage and the theater; it was released in the U.S. in 1971 after his death. His TV career was topped off by achieving Christmas immortality as both the voices of the titular character and the narrator of Chuck Jones' perennial animated favorite, How the Grinch Stole Christmas! (1966). Four low budget horror films that were made in Mexico and starred an ailing Karloff, whose scenes for all four of them were shot on a soundstage in Hollywood, were released theatrically in Mexico in 1968 and then were released directly to television in the U.S. after his death between 1971 and 1972; however, they do no justice to this great actor. In retrospect, he never took himself too seriously as an actor and had a tendency to downplay his acting accomplishments. Renowned as a refined, kind and warm-hearted gentleman with a sincere affection for both children and their welfare, Karloff passed away on February 2, 1969 from pneumonia. Respectful of his Indian roots and in true Hindu fashion, he was cremated at Guildford Crematorium, Godalming, Surrey, England, UK, where he is commemorated by a plaque in Plot 2 of the Garden of Remembrance.- Actor
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Mr. Bradley was born on September 7th 1954 in Liverpool, England. Since his school days Bradley has been close friends with Clive Barker. In the seventies Bradley and Clive Barker founded the progressive theatre group "Dog Company". While Barker worked on writing with his friend Peter Atkins (script-writer for several Hellraiser films), Bradley started acting. Bradley made it to the Movie Monster Hall Of Fame with his role as the cenobite, Pinhead, who he portrayed in eight of the Hellraiser movies.- Writer
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Wes Craven has become synonymous with genre bending and innovative horror, challenging audiences with his bold vision.
Wesley Earl Craven was born in Cleveland, Ohio, to Caroline (Miller) and Paul Eugene Craven. He had a midwestern suburban upbringing. His first feature film was The Last House on the Left (1972), which he wrote, directed, and edited. Craven reinvented the youth horror genre again in 1984 with the classic A Nightmare on Elm Street (1984), a film he wrote and directed. And though he did not direct any of its five sequels, he deconstructed the genre a decade later, writing and directing the audacious New Nightmare (1994), which was nominated as Best Feature at the 1995 Independent Spirit Awards, and introduced the concept of self-reflexive genre films to the world.
In 1996 Craven reached a new level of success with the release of Scream (1996). The film, which sparked the phenomenal trilogy, was the winner of MTV's 1996 Best Movie Award and grossed more than $100 million domestically, as did Scream 2 (1997). Between Scream 2 and Scream 3 (2000), Craven, offered the opportunity to direct a non-genre film for Miramax, helmed Music of the Heart (1999), a film that earned Meryl Streep an Academy Award nomination for Best Actress. That same year, in the midst of directing, Craven completed his first novel, "The Fountain Society," published by Simon & Shuster. Recent works include the 2005 psychological thriller Red Eye (2005), and a short rom-com segment for the ensemble product, Paris, I Love You (2006).
In later years, Craven also produced remakes of two of his earlier films for his genre fans, The Hills Have Eyes (2006) and The Last House on the Left (2009). Craven has always had an eye for discovering fresh talent, something that contributes to the success of his films. While casting A Nightmare on Elm Street, Craven discovered the then unknown Johnny Depp. Craven later cast Sharon Stone in her first starring role for his film Deadly Blessing. He even gave Bruce Willis his first featured role in an episode of TV's mid-80's edition of The Twilight Zone. In My Soul to Take (2010), Craven once again brought together a cast of up-and-coming young teens, including Max Thieriot, in whom he saw the spark of stardom. The film marked Craven's first collaboration with wife and producer Iya Labunka, who also produced with him the highly anticipated production of Scream 4.
Craven's Scream 4 (2011) reunited the director with Dimension Films and Kevin Williamson, as well as with stars Neve Campbell, Courteney Cox and David Arquette, to re-boot the beloved franchise. Craven again exhibited his knack for spotting important talent, with a cast of young actors bringing us a totally new breed of Woodsboro high schoolers, including Emma Robert and Hayden Pannetierre.- Director
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Only one film-maker can claim the title "Godfather of Gore." That peculiar but apt identification seems to be the exclusive property of Herschell Gordon Lewis. With an unusual background that included teaching English Literature to college students, producing and directing television commercials, and voicing radio and television commercials, Herschell literally - and single-handedly - established the "Splatter Film" category of motion pictures. He accomplished this by writing and directing (including the musical score) a mini-budget movie titled "Blood Feast," shot in Miami in 1963 and released theatrically the following year. As critics lambasted the primitive effects and inattention to script and sub-par acting, audiences flocked to theaters to see why friends who had reacted to the movie's fiery marketing campaign had said, "You gotta see this." Armed with boxoffice grosses, Herschell and his producer-partner David Friedman quickly decided to build onto their newly-discovered base. Herschell wrote and directed "Two Thousand Maniacs." The lead singer of the musical group hired to perform background music had a tenor voice. Herschell had written the title song, "The South Gonna Rise Ag'in." He wanted a baritone, and without hesitation he made the switch: the voice on the sound track is his. After their third splatter film, "Color Me Blood Red," David Friedman moved to California, engaging in a different type of motio0n picture. Herschell continued to grind out one success after another, with titles such as "The Gruesome Twosome," "The Wizard of Gore," and "The Gore-Gore Girls." When major film companies began to invade his splatter-turf, Herschell took a hiatus, shifting full time to his "other career," writing advertising and mailings for marketers worldwide. He became one of a handful of experts to be inducted into the Direct Marketing Association's Hall of Fame. (Author of 32 books on marketing including the classic "On the Art of Writing Copy," Herschell is often called on to lecture on copywriting, just as he is invited to sing the theme from "Two Thousand Maniacs" at horror film festivals.) Over the years, an unusual reality came into place: Herschell's old films continued to play not just on TV screens but in theatres, years after conventional movies would have disappeared altogether. The result has been renewal of his life as a film director. Thus it is that a new Herschell Gordon Lewis movie is hoving into view: "Herschell Gordon Lewis's BloodMania," produced by James Saito in Calgary, Alberta, Canada and planned for 2015 release. Both the producer and the director encapsulate their opinion of "Herschell Gordon Lewis's BloodMania" in a single word: Enthusiastic.- Actor
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In 1979 with his Detroit friends, Sam Raimi and Rob Tapert, Bruce Campbell raised $350,000 for a low-budget film, The Evil Dead (1981), in which he starred and co-executive produced. Completed piecemeal over four years, the film first gained notoriety in England where it became the best-selling video of 1983, beating out The Shining (1980). After its appearance at Cannes, where Stephen King dubbed it "the most ferociously original horror film of the year", New Line Cinema stepped forward to release "Evil Dead" in the U.S.
After co-producing Crimewave (1985), a cross-genre comedy written by Sam Raimi, Ethan and Joel Coen, Campbell moved to Los Angeles and quickly gained a foothold producing or starring in genre films such as the Maniac Cop (1988) series, Lunatics: A Love Story (1991), Moontrap (1988), and Mindwarp (1991), a post-apocalyptic "Jeremiah Johnson", during which he met his wife-to-be, filmmaker, Ida Gearon.
Campbell then rejoined his Detroit colleagues to star and co-produce the second and third films in the Evil Dead trilogy (Evil Dead II (1987) & Army of Darkness (1992)), completing 12 years of work on the cult favorite.
This rough-and-tumble background was a plus as Campbell made his foray into television, first starring in the highly touted Fox series The Adventures of Brisco County, Jr. (1993), then as a recurring guest-star on the hit show Lois & Clark: The New Adventures of Superman (1993).
With these under his belt, Campbell easily made the transition to director, helming numerous episodes and recurring as the King of Thieves in the #1 syndicated Hercules: The Legendary Journeys (1995), and its follow-up phenomenon, Xena: Warrior Princess (1995).
Bruce has since expanded his range on television, appearing in anything from Disney's update of The Love Bug (1997), to decidedly dramatic turns on the acclaimed series Homicide: Life on the Street (1993) and The X-Files (1993). At the invitation of ABC, Campbell ventured into the world of sitcoms with a recurring role on ABC's Emmy-nominated Ellen (1994), participating in one of the three touted "out" episodes.
But Campbell didn't abandon his film roots. During that time, he had featured roles in the blockbuster Congo (1995), John Carpenter's Escape from L.A. (1996), and the award-winning independent crime drama, Running Time (1997). He followed these up with roles in Paramount's romantic comedy, Serving Sara (2002), Jim Carrey's The Majestic (2001), and all three of Sam Raimi's blockbuster Spider-Man movies.
After a return to episodic television in the swashbuckling series, Jack of All Trades (2000), Campbell took the title role in MGM's cult sleeper Bubba Ho-Tep (2002). His directorial debut, Man with the Screaming Brain (2005) premiered on the Sci Fi Channel, and Dark Horse Comics published the comic adaptation.
Campbell then directed and starred as himself in My Name Is Bruce (2007), a spoof of his B-movie career, then re-teamed with Disney for their fun-filled hit, Sky High (2005).
Campbell has since made the leap into other forms of entertainment, and is enjoying his role as an author with back-to-back New York Times bestsellers: a memoir entitled "If Chins Could Kill: Confessions of a B Movie Actor", and his first novel, "Make Love the Bruce Campbell Way".
In the multi-media industry, Bruce has enjoyed voicing characters for Disney's animated TV series The Legend of Tarzan (2001) and the Warner Brothers feature The Ant Bully (2006). He also portrayed the character of "Mayor Shelbourne" in the animated hit film, Cloudy with a Chance of Meatballs (2009). Recently, Campbell voiced the role of "Rod Torque Redline" in Cars 2 (2011), the sequel to the smash Disney animated feature and for the immensely popular game, "Call of Duty".
In 2013, Bruce co-produced the hit remake of Evil Dead (2013), joined his filmmaking pal Sam Raimi on Oz the Great and Powerful (2013), and completed an impressive seven-year run on the spy show, Burn Notice (2007) (2007-2013), USA's #1 show on cable.
More than two decades after the release of Army of Darkness (1992), Bruce returned to his most iconic role for Ash vs Evil Dead (2015), a highly-anticipated series premiering on the Starz network on Halloween 2015.- Director
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Alfred Joseph Hitchcock was born in Leytonstone, Essex, England. He was the son of Emma Jane (Whelan; 1863 - 1942) and East End greengrocer William Hitchcock (1862 - 1914). His parents were both of half English and half Irish ancestry. He had two older siblings, William Hitchcock (born 1890) and Eileen Hitchcock (born 1892). Raised as a strict Catholic and attending Saint Ignatius College, a school run by Jesuits, Hitch had very much of a regular upbringing. His first job outside of the family business was in 1915 as an estimator for the Henley Telegraph and Cable Company. His interest in movies began at around this time, frequently visiting the cinema and reading US trade journals.
Hitchcock entering the film industry in 1919 as a title card designer. It was there that he met Alma Reville, though they never really spoke to each other. It was only after the director for Always Tell Your Wife (1923) fell ill and Hitchcock was named director to complete the film that he and Reville began to collaborate. Hitchcock had his first real crack at directing a film, start to finish, in 1923 when he was hired to direct the film Number 13 (1922), though the production wasn't completed due to the studio's closure (he later remade it as a sound film). Hitchcock didn't give up then. He directed The Pleasure Garden (1925), a British/German production, which was very popular. Hitchcock made his first trademark film in 1927, The Lodger: A Story of the London Fog (1927) . In the same year, on the 2nd of December, Hitchcock married Alma Reville. They had one child, Patricia Hitchcock who was born on July 7th, 1928. His success followed when he made a number of films in Britain such as The Lady Vanishes (1938) and Jamaica Inn (1939), some of which also gained him fame in the USA.
In 1940, the Hitchcock family moved to Hollywood, where the producer David O. Selznick had hired him to direct an adaptation of 'Daphne du Maurier''s Rebecca (1940). After Saboteur (1942), as his fame as a director grew, film companies began to refer to his films as 'Alfred Hitchcock's', for example Alfred Hitcock's Psycho (1960), Alfred Hitchcock's Family Plot (1976), Alfred Hitchcock's Frenzy (1972).
Hitchcock was a master of pure cinema who almost never failed to reconcile aesthetics with the demands of the box-office.
During the making of Frenzy (1972), Hitchcock's wife Alma suffered a paralyzing stroke which made her unable to walk very well. On March 7, 1979, Hitchcock was awarded the AFI Life Achievement Award, where he said: "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen and their names are Alma Reville." By this time, he was ill with angina and his kidneys had already started to fail. He had started to write a screenplay with Ernest Lehman called The Short Night but he fired Lehman and hired young writer David Freeman to rewrite the script. Due to Hitchcock's failing health the film was never made, but Freeman published the script after Hitchcock's death. In late 1979, Hitchcock was knighted, making him Sir Alfred Hitchcock. On the 29th April 1980, 9:17AM, he died peacefully in his sleep due to renal failure. His funeral was held in the Church of Good Shepherd in Beverly Hills. Father Thomas Sullivan led the service with over 600 people attended the service, among them were Mel Brooks (director of High Anxiety (1977), a comedy tribute to Hitchcock and his films), Louis Jourdan, Karl Malden, Tippi Hedren, Janet Leigh and François Truffaut.- Writer
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Dario Argento was born on September 7, 1940, in Rome, Italy, the first-born son of famed Italian producer Salvatore Argento and Brazilian fashion model Elda Luxardo. Argento recalls getting his ideas for filmmaking from his close-knit family from Italian folk tales told by his parents and other family members, including an aunt who told him frighting bedtime stories. Argento based most of his thriller movies on childhood trauma, yet his own--according to him--was a normal one. Along with tales spun by his aunt, Argento was impressed by stories from The Grimm Brothers, Hans Christian Andersen and Edgar Allan Poe. Argento started his career writing for various film journal magazines while still in his teens attending a Catholic high school. After graduation, instead of going to college, Argento took a job as a columnist for the Rome daily newspaper "Paese Sera". Inspired by the movies, he later found work as a screenwriter and wrote several screenplays for a number of films, but the most important were his western collaborations, which included Cemetery Without Crosses (1969) and the Sergio Leone masterpiece Once Upon a Time in the West (1968). After its release Argento wrote and directed his first movie, The Bird with the Crystal Plumage (1970), which starred Tony Musante and and British actress Suzy Kendall. It's a loose adoption on Fredric Brown's novel "The Screaming Mimi", which was made for his father's film company. Argento wanted to direct the movie himself because he did not want any other director messing up the production and his screenplay.
After "The Bird With the Crystal Plumage" became an international hit, Argento followed up with two more thrillers, The Cat o' Nine Tails (1971), starring 'Karl Madlen' (qv" and 'James Fransiscus', and Four Flies on Grey Velvet (1971) ("Four Flies On Black Velvet"), both backed by his father Salvatore. Argento then directed the TV drama Testimone oculare (1973) and the historical TV drama The Five Days (1973). He then went back to directing so-called "giallo" thrillers, starting with Deep Red (1975), a violent mystery-thriller starring David Hemmings that inspired a number of international directors in the thriller-horror genre. His next work was Suspiria (1977), a surreal horror film about a witch's coven that was inspired by the Gothic fairy tales of the Grimm Brothers and Hans Christian Anderson, which he also wrote in collaboration with his girlfriend, screenwriter/actress Daria Nicolodi, who acted in "Profondo Rosso" ("Deep Red") and most of Argento's films from then to the late 1980s. Argento advanced the unfinished trilogy with Inferno (1980), before returning to the "giallo" genre with the gory Tenebrae (1982), and then with the haunting Phenomena (1985).
The lukewarm reviews for his films, however, caused Argento to slip away from directing to producing and co-writing two Lamberto Bava horror flicks, Demons (1985) and Demons 2 (1986). Argento returned to directing with the "giallo" thriller Opera (1987), which according to him was "a very unpleasant experience", and no wonder: a rash of technical problems delayed production, the lead actress Vanessa Redgrave dropped out before filming was to begin, Argento's father Salvatore died during filming and his long-term girlfriend Daria broke off their relationship. After the commercial box-office failure of "Opera", Argento temporarily settled in the US, where he collaborated with director George A. Romero on the two-part horror-thriller Two Evil Eyes (1990) (he had previously collaborated with Romero on the horror action thriller Dawn of the Dead (1978)). While still living in America, Argento appeared in small roles in several films and directed another violent mystery thriller, Trauma (1993), which starred his youngest daughter Asia Argento from his long-term relationship with Nicolodi.
Argento returned to Italy in 1995, where he made a comeback in the horror genre with The Stendhal Syndrome (1996) and then with another version of "The Phantom of the Opera", The Phantom of the Opera (1998), both of which starred Asia. Most recently, Argento directed a number of "giallo" mystery thrillers such as Sleepless (2001), The Card Player (2003) and Do You Like Hitchcock? (2005), as well as two gory, supernatural-themed episodes of the USA TV cable anthology series Masters of Horror (2005).
Having always wanted to make a third chapter to his "Three Mothers" horror films, Argento finally completed the trilogy in 2007 with the release of Mother of Tears (2007), which starred Asia Argento as a young woman trying to identify and stop the last surviving evil witch from taking over the world. In addition to his Gothic and violent style of storytelling, "La terza madre" has many references to two of his previous films, "Suspiria" (1997) and "Inferno" (1980), which is a must for fans of the trilogy.
His movies may be regarded by some critics and opponents as cheap and overly violent, but second or third viewings show him to be a talented writer/director with a penchant for original ideas and creative directing.- Writer
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Stephen Edwin King was born on September 21, 1947, at the Maine General Hospital in Portland. His parents were Nellie Ruth (Pillsbury), who worked as a caregiver at a mental institute, and Donald Edwin King, a merchant seaman. His father was born under the surname "Pollock," but used the last name "King," under which Stephen was born. He has an older brother, David. The Kings were a typical family until one night, when Donald said he was stepping out for cigarettes and was never heard from again. Ruth took over raising the family with help from relatives. They traveled throughout many states over several years, finally moving back to Durham, Maine, in 1958.
Stephen began his actual writing career in January of 1959, when David and Stephen decided to publish their own local newspaper named "Dave's Rag". David bought a mimeograph machine, and they put together a paper they sold for five cents an issue. Stephen attended Lisbon High School, in Lisbon, in 1962. Collaborating with his best friend Chris Chesley in 1963, they published a collection of 18 short stories called "People, Places, and Things--Volume I". King's stories included "Hotel at the End of the Road", "I've Got to Get Away!", "The Dimension Warp", "The Thing at the Bottom of the Well", "The Stranger", "I'm Falling", "The Cursed Expedition", and "The Other Side of the Fog." A year later, King's amateur press, Triad and Gaslight Books, published a two-part book titled "The Star Invaders".
King made his first actual published appearance in 1965 in the magazine Comics Review with his story "I Was a Teenage Grave Robber." The story ran about 6,000 words in length. In 1966 he graduated from high school and took a scholarship to attend the University of Maine. Looking back on his high school days, King recalled that "my high school career was totally undistinguished. I was not at the top of my class, nor at the bottom." Later that summer King began working on a novel called "Getting It On", about some kids who take over a classroom and try unsuccessfully to ward off the National Guard. During his first year at college, King completed his first full-length novel, "The Long Walk." He submitted the novel to Bennett Cerf/Random House only to have it rejected. King took the rejection badly and filed the book away.
He made his first small sale--$35--with the story "The Glass Floor". In June 1970 King graduated from the University of Maine with a Bachelor of Science degree in English and a certificate to teach high school. King's next idea came from the poem by Robert Browning, "Childe Roland to the Dark Tower Came." He found bright colored green paper in the library and began work on "The Dark Tower" saga, but his chronic shortage of money meant that he was unable to further pursue the novel, and it, too, was filed away. King took a job at a filling station pumping gas for the princely sum of $1.25 an hour. Soon he began to earn money for his writings by submitting his short stories to men's magazines such as Cavalier.
On January 2, 1971, he married Tabitha King (born Tabitha Jane Spruce). In the fall of 1971 King took a teaching job at Hampden Academy, earning $6,400 a year. The Kings then moved to Hermon, a town west of Bangor. Stephen then began work on a short story about a teenage girl named Carietta White. After completing a few pages, he decided it was not a worthy story and crumpled the pages up and tossed them into the trash. Fortunately, Tabitha took the pages out and read them. She encouraged her husband to continue the story, which he did. In January 1973 he submitted "Carrie" to Doubleday. In March Doubleday bought the book. On May 12 the publisher sold the paperback rights for the novel to New American Library for $400,000. His contract called for his getting half of that sum, and he quit his teaching job to pursue writing full time. The rest, as they say, is history.
Since then King has had numerous short stories and novels published and movies made from his work. He has been called the "Master of Horror". His books have been translated into 33 different languages, published in over 35 different countries. There are over 300 million copies of his novels in publication. He continues to live in Bangor, Maine, with his wife, and writes out of his home.
In June 1999 King was severely injured in an accident, he was walking alongside a highway and was hit by a van, that left him in critical condition with injuries to his lung, broken ribs, a broken leg and a severely fractured hip. After three weeks of operations, he was released from the Central Maine Medical Center in Lewiston.- Writer
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Born in Liverpool, England, UK, Clive Barker is an English writer, director, and visual artist, best known for his works in the genres of horror and dark fantasy. His mother Joan Ruby (née Revill) was a painter and school welfare officer and his father Leonard Barker was a personnel director for an industrial relations firm. He studied English and philosophy at the University of Liverpool. His first artistic endeavors took place while at school, where he was a part of students' theatre. In the early days of his artistic career, he supported himself by working as a male prostitute. In 1978 he co-founded a theatre group called The Dog Company, among whose members was Doug Bradley who later went on to star in Barker's Hellraiser movie series. In 1985 he published his debut novel, The Damnation Game, and the same year he wrote his first feature movie scripts: Underworld (1985) and Rawhead Rex (1986). The end effect of these two movies disappointed Barker so much that he decided to adapt his prose into a movie he would direct himself, leading to the creation of Hellraiser (1987). The movie achieved cult status and turned into a multimedia franchise, although Barker lost control over it at one point, only to regain it in 2020. In addition to his work in literature and movies, he is also a visual artist, often illustrating his own books and was involved in a number of television, comic book, and visual arts projects.- Actor
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Max Schreck was born in Berlin. He worked in an apprenticeship until his father's death before enrolling into a school for acting. He toured the country with his peers and was a member of several theaters until he became a part of Max Reinhardt's group of innovative German actors. He played mostly out of the norm characters, the elderly and the grotesque, because of his talent and passion for make-up and costume fabrication. Although film was a challenge in which he excitedly and hopefully participated, he had small roles in films that are scarcely available, and his real career was in German theatre. He played hundreds of roles in his lifetime. He was married to Fanny Normann, a fellow performer whom he met a short time after his actor's education and shared many times with on stage. They had no children. He died on the morning of February 20th, 1936 from a heart attack.- Director
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F.W. Murnau was a German film director. He was greatly influenced by Schopenhauer, Nietzsche, Shakespeare and Ibsen plays he had seen at the age of 12, and became a friend of director Max Reinhardt. During World War I he served as a company commander at the eastern front and was in the German air force, surviving several crashes without any severe injuries.
One of Murnau's acclaimed works is the 1922 film Nosferatu, an adaptation of Bram Stoker's Dracula. Although not a commercial success due to copyright issues with Stoker's novel, the film is considered a masterpiece of Expressionist film.
He later emigrated to Hollywood in 1926, where he joined the Fox Studio and made three films: Sunrise (1927), 4 Devils (1928) and City Girl (1930). The first of these three is widely regarded as one of the greatest films ever made.
In 1931 Murnau travelled to Bora Bora to make the film Tabu (1931) with documentary film pioneer Robert J. Flaherty, who left after artistic disputes with Murnau, who had to finish the movie on his own. A week prior to the opening of the film Tabu, Murnau died in a Santa Barbara hospital from injuries he had received in an automobile accident that occurred along the Pacific Coast Highway near Rincon Beach, southeast of Santa Barbara. Only 11 people attended his funeral. Among them were Robert J. Flaherty, Emil Jannings, Greta Garbo and Fritz Lang, who delivered the eulogy.
Of the 21 films Murnau directed, eight are considered to be completely lost.
In July 2015 Murnau's grave was broken into, the remains disturbed and the skull removed by persons unknown. Wax residue was reportedly found at the site, leading some to speculate that candles had been lit, perhaps with an occult or ceremonial significance. As this disturbance was not an isolated incident, the cemetery managers are considering sealing the grave.- Director
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Belonging to a well-situated family, Charles Browning fell in love at the age of 16 with a dancer of a circus. Following her began his itinerary of being clown, jockey and director of a variety theater which ended when he met D.W. Griffith and became an actor. He made his debut in Intolerance (1916). Working later on as a director, he had his first success with The Unholy Three (1925) (after about 25 unimportant pictures) which had his typical style of a mixture of fantasy, mystery and horror. His biggest hit was the classic Dracula (1931), in which he also appears as the voice of the harbor master.- Gaunt character actor Brad Dourif was born Bradford Claude Dourif on March 18, 1950 in Huntington, West Virginia. He is the son of Joan Mavis Felton (Bradford) and Jean Henri Dourif, a French-born art collector who owned and operated a dye factory. His father died when Dourif was three years old, after which his mother married Bill Campbell, a champion golfer, who helped raise Brad, his brother, and his four sisters. From 1963 to 1965, Dourif attended Aiken Preparatory School in Aiken, South Carolina, where he pursued his interests in art and acting. Although he briefly considered becoming a professional artist, he finally settled on acting as a profession, inspired by his mother's participation as an actress in community theater.
Beginning in school productions, he progressed to community theater, joining up with the Huntington Community Players, while attending Marshall University of Huntington. At age 19, he quit his hometown college and headed to New York City, where he worked with the Circle Repertory Company. During the early 1970s, Dourif appeared in a number of plays, off-Broadway and at Woodstock, New York, including Milos Forman who cast him in One Flew Over the Cuckoo's Nest (1975). Although this film is frequently cited as his film debut, in fact, Dourif made his first big-screen appearance with a bit part in W.W. and the Dixie Dancekings (1975). Nevertheless, his portrayal of the vulnerable Billy Bibbit in Forman's film was undoubtedly his big break, earning him a Golden Globe Award for Best Acting Debut, a British Academy Film Award for Best Supporting Actor, and an Oscar nomination for Best Supporting Actor.
Skeptical of his instant stardom, Dourif returned to New York, where he continued in theater and taught acting and directing classes at Columbia University until 1988 when he moved to Hollywood. Despite his attempts to avoid typecasting, his intensity destined him to play eccentric or deranged characters, starting in Eyes of Laura Mars (1978), John Huston's Wise Blood (1979) (arguably his best performance to date), and Milos Forman's Ragtime (1981). Dourif then teamed up with director David Lynch for Dune (1984) and Blue Velvet (1986). His high-strung style also served him well in a number of horror films, notably as the voice of the evil doll Chucky in Child's Play (1988) and its sequels.
Dourif broke from the horror genre with roles in Fatal Beauty (1987), Mississippi Burning (1988), Hidden Agenda (1990) and London Kills Me (1991). Recent film work includes the role of Grima Wormtongue in Peter Jackson's Lord of the Rings trilogy. Since his television debut in the PBS film The Mound Builders (1976), Dourif has made sporadic appearances on a number of television series, such as The X-Files (1993), Babylon 5 (1993), Star Trek: Voyager (1995), Millennium (1996) and Ponderosa (2001). He also appeared in the music video "Stranger in Town" (1984) by the rock band TOTO. - Producer
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Highly inventive U.S. film director/producer/writer/actor Sam Raimi first came to the attention of film fans with the savage, yet darkly humorous, low-budget horror film, The Evil Dead (1981). From his childhood, Raimi was a fan of the cinema and, before he was ten-years-old, he was out making movies with an 8mm camera. He was a devoted fan of The Three Stooges, so much of Raimi's film work in his teens, with good friends Bruce Campbell and Rob Tapert, was slapstick comedy based around what they had observed from "Stooges" movies.
Among the three of them, they wrote, directed, produced and edited a short horror movie titled Within the Woods (1978), which was then shown to prospective investors to raise the money necessary to film The Evil Dead (1981). It met with lukewarm interest in the U.S. with local distributors, so Raimi took the film to Europe, where it was much more warmly received. After it started gaining positive reviews and, more importantly, ticket sales upon its release in Europe, U.S. distributors showed renewed interest, and "Evil Dead" was eventually released stateside to strong box office returns. His next directorial effort was Crimewave (1985), a quirky, cartoon-like effort that failed to catch fire with audiences. However, he bounced back with Evil Dead II (1987), a racier and more humorous remake/sequel to the original "Dead" that did even better at the box office. Raimi was then given his biggest budget to date to shoot Darkman (1990), a comic book-style fantasy about a scarred avenger. The film did moderate business, but Raimi's strong visual style was evident throughout the film via inventive and startling camera work that caught the attention of numerous critics.
The third chapter in the Evil Dead story beckoned, and Raimi once again directed buddy Campbell as the gritty hero "Ash", in the Gothic horror Army of Darkness (1992). Raimi surprised fans when he took a turn away from the fantasy genre and directed Gene Hackman and Sharon Stone in the sexy western, The Quick and the Dead (1995); four years later, he took the directorial reins on A Simple Plan (1998), a crime thriller about stolen money, starring Bill Paxton and Bridget Fonda. In early 1999, he directed the baseball film, For Love of the Game (1999), and, in 2000, returned to the fantasy genre with a top-flight cast in The Gift (2000). In 2002, Raimi was given a real opportunity to demonstrate his dynamic visual style with the big-budget film adaptation of the Stan Lee comic book superhero, Spider-Man (2002), and fans were not disappointed. The movie was strong in both script and effects, and was a runaway success at the box office. Of course, Raimi returned for the sequel, Spider-Man 2 (2004), which surpassed the original in box-office takings.- Actress
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An actress who always attracts audiences' attention, Jennifer Tilly is by turns funny, sexy, compassionate, compelling and often all at once. She has been playing unforgettable characters ever since she started her career as an actress.
Jennifer Tilly was born Jennifer Ellen Chan in Harbor City, Los Angeles, to Harry Chan, a used car salesman, who was of Chinese origin, and Patricia (née Tilly), a schoolteacher and stage actress. Her sister is actress Meg Tilly. They were raised on rural Texada Island, British Columbia, by her mother and stepfather, John Ward.
Jennifer successfully cultivated another fan base with the revitalization of the "Child's Play" horror comedy franchise. For Ronny Yu's Bride of Chucky (1998), the filmmakers turned to Jennifer to create the character who would spark the series in a new direction. She met the challenge and established a new horror icon in Tiffany. In Rogue Pictures' Seed of Chucky (2004), written and directed by series creator Don Mancini, Jennifer again took the popular series to the next level; starring as Tiffany and as herself, the deadly doll's favorite actress, who soon becomes an unwitting hostess in more ways than one.
Jennifer's pitch-perfect voiceover work as Tiffany is not the only instance of her being able to incarnate a character from the vocal chords out. Families know her distinctive cadences from the Disney hits Home on the Range (2004), directed by Will Finn and John Sanford; The Haunted Mansion (2003) (in which Jennifer acted from the neck up only), directed by Rob Minkoff; and the Pixar blockbuster Monsters, Inc. (2001) (voicing Mike's love interest Celia), directed by Pete Docter, David Silverman and Lee Unkrich. She began her acting career as a teenager, putting herself through the theater program at Stephens College in Missouri by winning writing competitions. She then headed to Los Angeles, California. While she continued to act on the stage (earning a Dramalogue Award for her performance in "Vanities"), movies and television immediately came calling for the actress with the unique voice and visage.
In 2001, she starred in the Broadway revival of "The Women" with Cynthia Nixon and Kristen Johnson, which was later taped for, and broadcast on, PBS. In 2008, she appeared with Miranda Richardson in the critically acclaimed production of Wallace Shawn's play "Grasses of a Thousand Colors" at the Royal Court Theatre in London. Other plays include "Tartuffe" (LAAT) "Boy's Life" (LAAT) "Baby with the Bathwater" (LAPT) and others too numerous to mention. In 2005, Jennifer met her boyfriend, professional poker player Phil Laak (also known as the Unabomber). That summer at the World Series of Poker, she bested a field of 601 to take down the Ladies Event and win a coveted gold bracelet. She followed this up by winning the WPT Ladies Invitational, making her one of a small but elite group holding both a WSOP bracelet, and a WPT title. In summer 2010, she also won the Bellagio Cup 5k tournament.- Writer
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In much the same way that director George A. Romero creative output has been primarily centered around the highly successful "Dead" series of zombie films, then fellow fantasy director Don Coscarelli has for over two decades seen his universe swirling around the lesser successful, but equally cult, and much loved "Phantasm" series of horror movies.
Coscarelli was born in Tripoli in North Africa, but raised around Southern California, and was interested in the cinema from a young age and together with his friends they made several low budget movies that aired on community TV stations to very positive feedback.
After a low key start with his first feature film embracing the trials of a young teenager caught in a world of alcoholic abuse Jim, the World's Greatest (1975), Coscarelli followed this up with a lighter comedic tale about another youngster and his view of the world as an impressionable 12 year old in Kenny & Company (1976). However, the imaginative Coscarelli then really hit the (horror) big time with the 1979 release of the highly inventive fright thriller Phantasm (1979). Once again, a young boy is at the center of a spine-chilling story about a creepy funeral home, a sinister Tall Man (wonderful acting by Coscarelli's long time buddy Angus Scrimm), disappearing corpses, malignant dwarfs and a gateway into a hellish, other world dimension. Shot on a very modest budget, Phantasm (1979) was hotly received by horror fans worldwide, and the film has since spawned three sequels...each fairly decent in their own right! First up was the gorier Phantasm II (1988), followed by Phantasm III: Lord of the Dead (1994), and the third sequel to date, Phantasm IV: Oblivion (1998). A fifth and final sequel titled "Phantasm's End" has been apparently discussed, but nothing further has yet eventuated on this project. As the Angus Scrimm is approaching his 80th birthday, Phantasm fans hope that the "Tall Man" will be there for the proposed final chapter of this thrilling saga of the Undead!
Apart from the "Phantasm" series, Coscarelli also wrote and directed the well received sword and sorcery film The Beastmaster (1982) starring athletic Marc Singer and the eye-catching Tanya Roberts being pursued by villainous high priest Rip Torn. And recently in 2002, Coscarelli cast horror & fantasy film screen hero Bruce Campbell in the highly off-beat Bubba Ho-Tep (2002) that depicts Elvis and John F. Kennedy hiding out in a Texas rest home where the residents are being attacked by a 3,000 year old cowboy boot wearing mummy trying to bring itself back to life! A strange script it may sound, but indie and horror film fans loved the unusual premise and quirky humor, and the film was a hot hit at several film festivals and has spawned a further cult following for Coscarelli and Campbell.
Coscarelli, similar to gifted fantasy directors such as Wes Craven, Sam Raimi and George A. Romero has carved himself a true cult niche in modern horror film history, and his loyal fans eagerly await his next project.- Producer
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James Wan (born 26 February 1977) is an Australian film producer, screenwriter and film director of Malaysian Chinese descent. He is widely known for directing the horror film Saw (2004) and creating Billy the puppet. Wan has also directed Dead Silence (2007), Death Sentence (2007), Insidious (2010), The Conjuring (2013) and Furious 7 (2015).
Before his success in the mainstream film industry, he made his first feature-length film, Stygian, with Shannon Young, which won "Best Guerrilla Film" at the Melbourne Underground Film Festival (MUFF) in 2000.
Prior to 2003, Wan and Leigh Whannell had begun writing a script based for a horror film, citing inspiration from their dreams and fears. Upon completing the script, Leigh and James had wanted to select an excerpt from their script, later to be known as Saw (2004), and film it to pitch their film to studios. With the help of Charlie Clouser, who had composed the score for the film, and a few stand-in actors, Leigh and James shot the film with relatively no budget. Leigh had decided to star in the film as well.
After the release of the full-length Saw (2004), the film was met with overwhelming success in the box office both domestically and internationally. The film ended up grossing 55 million dollars in America, and 48 million dollars in other countries, totaling over $103 million worldwide. This was over 100 million dollars profit, over 80 times the production budget. This green-lit the sequel Saw II (2005), and later the rest of the Saw franchise based on the yearly success of the previous installment. Since its inception, Saw (2004) has become the highest grossing horror franchise of all time worldwide in unadjusted dollars. In the United States only, Saw (2004) is the second highest grossing horror franchise, behind only the Friday the 13th (1980) films by a margin of $10 million.- Actor
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Jeffrey Combs was born on September 9th, 1954 in Oxnard, California. He grew up in Lompoc, California with a plethora of siblings both older and younger. He attended the Pacific Conservatory of the Performing Arts in Santa Maria, and the Professional Actor's Training Program at the University of Washington in Seattle. He spent about four years in regional theater performing at the Old Globe Theatre in San Diego, the Arizona Theatre Company in Tucson, the California Shakespearean Festival, the Mark Taper Forum in Los Angeles and the South Coast Repertory in Costa Mesa among others. In 1980 he moved to Los Angeles, where he lives with his family. As a horror film leading actor, Combs is probably best known for portraying Herbert West in the cult horror film Re-Animator (1985). Re-Animator was based on H.P. Lovecraft's famous novel brought together by Stuart Gordon and Brian Yuzna, the producer and financier of the film. Combs stayed in the realm of cult films with both Gordon and Yuzna to return when making From Beyond (1986), and Bride of Re-Animator (1990) also from Lovecraft novels. He has also been in some supporting roles in _Pit and the Pendulum, The (1990) (V)_, the strange FBI Agent with Michael J. Fox in The Frighteners (1996), I Still Know What You Did Last Summer (1998) and the remake of the William Castle thriller, House on Haunted Hill (1999).