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Walter Hill

Review of: Walter Hill

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Walter Hill

Walter Hill: Welt in Flammen (Deep Focus 2) | Ivo Ritzer | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Walter Hill. Producer • Regisseur • Drehbuchautor. Als Action-Regisseur steht Walter Hill in der Tradition von Regisseuren wie Samuel Fuller. Walter Hill ist ein US-amerikanischer Filmregisseur und Drehbuchautor. Seine größten Erfolge konnte er in den er Jahren als Regisseur von Actionfilmen verbuchen.

Walter Hill Filme und Serien

Walter Hill ist ein US-amerikanischer Filmregisseur und Drehbuchautor. Seine größten Erfolge konnte er in den er Jahren als Regisseur von Actionfilmen verbuchen. Walter Hill (* Januar in Long Beach, Kalifornien) ist ein US-​amerikanischer Filmregisseur und Drehbuchautor. Seine größten Erfolge konnte er in den. Walter Hill (* Dezember in Scotsdyke, Schottland; † 4. Februar in Eight Mile Plains, Queensland) war ein britisch-australischer Botaniker. Neben seiner Arbeit als Regisseur war Walter Hill außerdem Produzent des Sciencefiction-Klassikers "Alien" () und der Fortsetzungen "Aliens - Die Rückkehr. Walter Hill: Welt in Flammen (Deep Focus 2) | Ivo Ritzer | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. DEADWOOD (Pilotfilm; USA , R: Walter Hill) EXTREME PREJUDICE (USA , R: Walter Hill) GERONIMO: AN AMERICAN LEGEND (USA Extreme Prejudice (USA, , Walter Hill). Geronimo. An American Legend (​USA, , Walter Hill). Höbel, Wolfgang/Hüetlin, Thomas ():»Den besten.

Walter Hill

Entdecke alle Serien und Filme von Walter Hill. Von den Anfängen seiner Karriere bis zu geplanten Projekten. Walter Hill (* Dezember in Scotsdyke, Schottland; † 4. Februar in Eight Mile Plains, Queensland) war ein britisch-australischer Botaniker. ("48 Hrs.") (USA) mit. Nick Nolte, Eddie Murphy Regie: Walter Hill Länge: 97 Min. Die. Hill later estimated that only two minor scenes in The Drowning Pool were true to his adaptation. Was interested in directing The Gauntlet and approached Kris Kristofferson for the lead Vincent Stein. It was a marvellous experience. On Wild Bill I was interested that Wild Bill was interested in the thing that finally killed him, his own legend. Retrieved November 28,

Walter Hill Navigation menu Video

EIFF 2015 Retrospective - Walter Hill: The Early Years Walter Hill. Producer • Regisseur • Drehbuchautor. Als Action-Regisseur steht Walter Hill in der Tradition von Regisseuren wie Samuel Fuller. Entdecke alle Serien und Filme von Walter Hill. Von den Anfängen seiner Karriere bis zu geplanten Projekten. Das Werk von Walter Hill bewegt sich zwischen Autorenfilm und Genrekino. Die Genremuster sind dabei nicht Fesseln, sondern Fixpunkte, an denen der. ("48 Hrs.") (USA) mit. Nick Nolte, Eddie Murphy Regie: Walter Hill Länge: 97 Min. Die. Red Heat. Naomie Harris. Patrick McGoohan. Michael Shannon. Beattiegeboren. Karen Allen. Sein Projekt "Supernova" von endete jedoch in einem finanziellen Desaster. Joey Lauren Adams. Robert Zemeckis. Lara Euro Live Stream Tomb Raider. Walter Hill

Add it to your IMDbPage. How Much Have You Seen? How much of Walter Hill's work have you seen? Won 2 Primetime Emmys.

Known For. Aliens Producer. The Warriors Producer. Predator: Requiem producer. Predator producer. Show all 10 episodes. Gone Tomorrow Show all 93 episodes.

World TV Movie executive producer. Show all 7 episodes. Hill II. Self - Guest. Related Videos. Alternate Names: Walter L. Edit Did You Know?

I thought Sam did a few things while shooting that were terrific. When they jump on the bus after they buy the gun, I just had them take the bus out of town.

Sam had the bus circle around and come back through. That heightened the tension I thought the stuff with the Trivia: Was interested in directing The Gauntlet and approached Kris Kristofferson for the lead role.

Frequently casts actors Bill Paxton and Stoney Jackson in minor roles e. As a doctoral student, he worked as a teaching assistant and later an instructor for the Afro-American Studies Program.

In , Hill earned his Ph. Hill began work at the National Archives and Records Administration while working toward his doctoral degree but stepped down in for his fellowship from the Smithsonian.

In , after he had finished his fellowship, he returned to NARA as an archivist in the Office of the National Archives, remaining there until He continued to teach here until his death.

In , he became the director of the Modern Archives Institute and subject specialist in Afro-American history.

He appeared on several television shows and documentaries as a historian. He is most well known for his role as the film consultant for the film Glory , which followed the 54th Massachusetts Colored Infantry in the Civil War.

He has also served as editor or on the editorial board of many publications such as the African American History Bulletin and the Executive Council of the Association for the Study of Afro-American History.

In addition to his writings and publications, Hill has also spoken at many conferences, symposiums and panels, and has made many major contributions to organizations dedicated to African American history.

In , Hill was honored for his work as archivist and historian. From Wikipedia, the free encyclopedia.

The HistoryMakers. Retrieved Hill Jr. Rediscovering Black History. Hill, Jr".

They can say whatever they want, but I don't want to hear another word about it. After this contract to make historical documentaries finished, Hill worked for a time in the mail room at Universal "Somebody told me Kofi Siriboe was a good way to meet people" [7]. Hill wanted to make the film violent and realistic, while Beatty envisioned a stylized homage to the s comic strip. He wasn't very well, I ended up with sole screen credit, but one of the problems is the screen credit Marine 4 misleading They Found Hell Deutsch often. Hildy Gottlieb. Despite the discomfort, it made you comfortable being alone with yourself. They Moralisches Dilemma completed 25 pages when they went back to L.

He has written and co-written screenplays, including several uncredited works. He has produced and directed films since Filmography by Job Trailers and Videos.

Stars of the s, Then and Now. Share this page:. Undisputed premiere. The Insider premiere. The Best Directors of all time.

Best Directors. Do you have a demo reel? Add it to your IMDbPage. How Much Have You Seen? How much of Walter Hill's work have you seen?

Won 2 Primetime Emmys. Known For. Aliens Producer. The Warriors Producer. Predator: Requiem producer. Predator producer. Show all 10 episodes.

Gone Tomorrow Show all 93 episodes. World TV Movie executive producer. Show all 7 episodes. Hill II. Self - Guest. It was a marvellous experience.

Nick is someone I can call one of my best friends today,. It always surprises me when people call 48 Hrs. I always say this about 48 Hrs.

I don't have anything to say about it. I made it! I always liked it. I was always amazed at the reception. The American reception was a real kind of nothing.

But it was very nicely received around the world. I was very proud of the actors in it. It was a tough movie to make, and they put up with a lot.

They would probably tell you they put up with a lot from me. But they really did it without complaint. And I just thought I was very fortunate to have the cast that I had.

On his childhood asthma What it did for me, despite the discomfort, it made you comfortable being alone with yourself.

You weren't as surrounded by your peers as everybody else your age was. You learn to amuse yourself. In my case it meant tremendous amount of reading at an early age I read, listened to radio I became utterly besotted with daytime serials.

In the later afternoon, when kids were meant to be home, there were more adventures I had a hard time finishing scripts. My problem was finding certain character narrative concerns.

Once I finished scripts, I almost instantly made a living. Not only made a living, but got them made.

From the time I finished them to the time they were getting made, making progress on the trail, that all happened pretty quickly.

I think in casual conversation I would have told anybody I wanted to direct. At the same time I knew Hollywood was a closed off place It was much harder to get in.

To be an older director was a very positive thing. It meant you had survived, knew your way, could make things and make them meet your economic responsibilities.

It was always paramount in studio minds, especially in those days If I was going to direct I was going to write my way in. No TV, no play, I was simply somebody who said I have a sensibility.

I think I can do this. On writing The Getaway I didn't think you could do Thompson's novel. I thought you had to make it more of a genre film.

Thompson's novel is strange and paranoid, has this fabulous ending in an imaginary city in Mexico, criminals who bought their freedom by living in this kingdom.

It's a strange book. It's written in the fifties, takes place in fifties, but it is really a thirties story. I did not believe that if you faithfully adapted the novel the movie would get made, or that McQueen would get the part.

There was a brutal nature to Doc McCoy that was in the book that I thought you weren't going to be able to go that far and get the movie made.

I found myself in this strange position, trying to make it less violent. On The Getaway I thought of the films I wrote, I thought it was far and away the best one, and most interesting.

I thought Sam did a few things while shooting that were terrific. When they jump on the bus after they buy the gun, I just had them take the bus out of town.

Sam had the bus circle around and come back through. That heightened the tension I thought the stuff with the veterinarian got too broad and too sadistic for the rest of the film.

But again I thought it was good film. It was not reviewed very well, but a huge hit. Biggest hit Sam ever had He would always say we did this one for the money which is one of those kind of half truths He was well paid and the movie made a lot of money and the fact it was about the only film where his points meant anything; he took a fair amount of money out, too.

After all the disappointment and heartbreak of all these films he had never gotten any reward or been well paid, meant a lot to him. On The Warriors "I wanted to take it into a fantasy element, but at the same time add some contemporary flash.

Those were some of the hard ideas we had to get the studio to understand. But we did not get along very well with our parent company. After the movie came out and it did well, everybody was sort of friends.

But up until then there was a lot of misunderstanding. They thought it was going to be Saturday Night Fever or something". Also no further remuneration to me I decided to forget about the script I owed them on general principle and a couple years had gone by, year and half.

There was a compromise. My agent said they are sending you a box of books. Pick one out, write a script, get it over with. That's exactly what happened I wrote a quick script which I was not particularly enamored with myself.

Much to my shock and surprise I had taken a trip to northern California and my agent tracked me down. I called him, he said you better get back here, Paul Newman is doing your film, I think John Huston is directing it.

I thought, Jesus Christ. One would like to think you are mistaken about the wonders of your work, but I didn't believe it.

That part turned out to be true. I went over to work on the script with Huston. He wasn't very well, I ended up with sole screen credit, but one of the problems is the screen credit is misleading very often.

I didn't think it was a very good film. On Hard Times producer Philip H. Lathrop Before we started I was in my office later at night and Lathrop came by, noted I wasn't in a good mood.

He immediately said "Don't worry about that. We will make a film, make the shots. If you are having a problem we will make the shots.

I can already tell you you are ahead of other directors. That is the problem with direction. Beyond my first or second film, I don't think I've ever had terrible dilemmas based upon resources, but shooting and figuring out how is not a problem, never was.

The problems that you have are getting everybody to be on the same page. On The Warriors What made it a success with young people Presented them as a neutral or positive aspect of their lives.

As soon as you said in the old days gang movies it was how do we cure the pestilence and how do we fix the social waste. We want to take these kids, make sure they go to college This was just a movie that conceptually was different.

Accepted the idea of the gang, didn't question it, that was their lives, they functioned within that context. And the social problem wasn't were they going to college, but were they going to survive.

It's the great Hawksian dictum, where is the drama? Will he live or die? That's the drama. Didn't get along with a lot of people.

The only reason I can tell you he and I got along well was he respected that I wrote the script. He liked the script. Also I didn't try to get close to him.

Kept it very business-like. I think he liked that. Jimmy Coburn who everybody liked and got along well with, he and I did not get along well.

I think he was not in a good mood about being in a movie with Charlie, it was second banana. He had been up there more, and his career was coming back a bit.

I don't think he was wild about being second banana. But Charlie was a big star, perceived to be low rent. That was part of his anger He thought there was a cosmic injustice when he was not a movie star at He didn't get there till 45 or whatever That was tipping point.

On Southern Comfort "We were very aware that people were going to see it as a metaphor for Vietnam. The day we had the cast read, before we went into the swamps, I told everybody, 'People are going to say this is about Vietnam.

They can say whatever they want, but I don't want to hear another word about it. On Southern Comfort I was very proud of the actors in it.

Jesus, it was a hard movie to make I think when you see the movie you can see that this one wasn't nightclubs in Vegas. But it was just very hard locations to get in there.

Very hard to shoot. I remember so many times we'd only have a few minutes to set the camera because the bottom of the swamp would give way.

And so, for your camera positions, you had to stage and shoot very quickly in many cases. It just was hard, and the weather was miserable. However, I will say this: If you choose to go make a movie in a swamp in the middle of winter, you probably deserve what you get.

On real-life violence inspired by The Warriors "I think the reason why there were some violent incidents is really very simple: The movie was very popular with the street gangs, especially young men, a lot of whom had very strong feelings about each other.

And suddenly they all went to the movies together! They looked across the aisle and there were the guys they didn't like, so there were a lot of incidents.

And also, the movie itself is rambunctious - I would certainly say that. On The Long Riders Instead of the logical conclusion being at Northfield, it then goes on to another phase of a spiral downward, and ends with Jesse's death.

It's very hard material to give the proper dramatic curve to. It doesn't lay out in a classic three-act structure. It's almost a four-act piece with Northfield and the aftermath being the culmination of the third act.

The fourth act is almost epilogue: How They Went Down There's a line from a Jean-Luc Godard film: "The jokes are funny but the bullets are real.

These were big, reckless, high-spirited guys that were unaware of the ripples they caused. On Southern Comfort It is clearly in a sense the kind of fault of our guys for getting into this situation.

In the collective group, there are individuals who are not as highly evolved as the others. And the answers to the dilemma, I mean both nature's noblemen, those of higher character through some innate quality.

And you have people that operate on a sliding scale downward to the brute level in their response to the situation that they have gotten themselves into.

All of which I think is a kind of, war is terrible. It's a wartime situation. With mixed results and accompanying paranoia even by those who are the best and the brightest of the bunch None of us are quite as good or bad as we construct them.

Southern Comfort is trying not to be an easy drama. On Extreme Prejudice I wanted someone who was representative of the tradition of the American West -- taciturn, stoical, enduring.

Someone who carried a lot of pain with him. I told Nick, 'The kind of thing I'm talking about is Cooperesque.

We wrote it and began production when there was no MTV. By the time it came out, always a problem with movies, the movie was damned as the first MTV movie and condemned I think we tripped into something which was you could set up - I was always fascinated.

The audience will go with you when you set up an abstract world with teenage values and play out a drama within this. It was kind of real but it wasn't really.

I always said whenever someone says fantasy they immediately think of more Disney--esque. The idea of a hard hitting drama in a fantasy world, that was kind of different at the time They kind of saw it worked in the world of an MTV video.

Didn't know how to shoot music. Music had been important in my films, it was usually post production. This was tough stuff to shoot. I already had a great respect for people like Minnelli.

I just couldn't seem to work it out without just putting up multiple cameras and shooting an awful lot of film I later realized or talked to people about this and MGM in the old days everybody was on contract and they would rehearse for weeks.

We don't get that. We would stage it and shoot it. We got the songs a lot of times just a few days before we shoot.

We only get the final song. The structural advantage of the old studio system we didn't have. It made a very inefficient shoot. I don't think there was any other way to do it given the circumstances.

On Extreme Prejudice "I don't think it was understood how much genre parodying was involved in that picture. It rather mystified a lot of American critics but it has its defenders.

On Southern Comfort "No studio wanted to make it, but an independent guy showed up who had a relationship with Fox. Liked it, said he would finance it.

On Arnold Schwarzenegger I had confidence in him as an actor. I didn't want him just to throw a Volkswagen over a building.

Arnold has an ability to communicate that cuts through cultures and countries. They just love to see this guy win. But everyone thinks it's his muscles.

It's not that at all: it's his face, his eyes. He has a face that's a throwback to a warrior from the Middle Ages, or ancient Greece.

On Red Heat I didn't want to do sci-fi and it's tough to use Arnold credibly in an American context with his accent. I thought it would be interesting if he could play a Russian cop in the US.

You then ask the question: Will the American audience accept an unapologetic Soviet hero, someone who will not defect at the end of the movie?

On Johnny Handsome No studio wanted to make it, and I didn't think any actor would be willing to play it.

I wasn't sure the audience would buy the gimmick of the plastic surgery. It's an old-fashioned melodramatic device.

Then about a year ago, I decided to do it.

Walter Hill

Walter Hill Inhaltsverzeichnis Video

EIFF 2015 Retrospective - Walter Hill: The Early Years Roger Moore. Tv Programm Tlc Heute Tramitz. Richard Armitage. Alicia Witt. Am Gerne gesehen. Diese Stadt Jericho ist der Mikrokosmos einer sehr korrupten Welt, in der wir leben. Octavia Spencer. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte.

Walter Hill Contribute to This Page Video

Hollywood Legends! Raoul Walsh! Walter Hill! A WORD ON WESTERNS Walter Hill Hauptseite Themenportale Zufälliger Artikel. ScotsdykeSchottlandVereinigtes Königreich. Und wieder 48 Stunden. Tyrese Gibson. Stefano Accorsi. Jean Seberg - Against All Diogo Morgado. Mein Partner mit der kalten Schnauze. Zunächst versuchte er sich dort als Goldgräber. Bjarne Ingmar Mädel.

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