قصة حياة جولييت بينوش Juliette Binoche..وهي ممثلة أفلام فرنسية،ومؤدية أصوات ومؤلفة وفنانة،وشاعرةوكاتِبة،وراقصة.

بالصور..يوم كُرّمت عام 2013م..الممثلة #جولييت_ بينوش ..(بالفرنسية: Juliette  Binoche).. #أيقونة_ السينما الفرنسية_ بالمغرب_ ذات الجذور المغربية... -  مشاركة : Fareed Zaffour - مجلة فن التصويرجولييت بينوشبالصور..يوم كُرّمت عام 2013م..الممثلة #جولييت_ بينوش ..(بالفرنسية: Juliette  Binoche).. #أيقونة_ السينما الفرنسية_ بالمغرب_ ذات الجذور المغربية... -  مشاركة : Fareed Zaffour - مجلة فن التصويربالصور..يوم كُرّمت عام 2013م..الممثلة #جولييت_ بينوش ..(بالفرنسية: Juliette  Binoche).. #أيقونة_ السينما الفرنسية_ بالمغرب_ ذات الجذور المغربية... -  مشاركة : Fareed Zaffour - مجلة فن التصوير

جولييت بينوش

من ويكيبيديا
جولييت بينوش
(بالفرنسيةJuliette Binoche)‏  تعديل قيمة خاصية (P1559) في ويكي بيانات
Ghost In The Shell World Premiere Red Carpet-Juliette Binoche (37374311552).jpg

معلومات شخصية
اسم الولادة (بالفرنسيةJuliette Binoche)‏[1]  تعديل قيمة خاصية (P1477) في ويكي بيانات
الميلاد 9 مارس 1964 (العمر 58 سنة)
باريس
الإقامة باريس
الجنسية فرنسا
العشير أوليفر مارتينيز (1994–1998)
بينواه ماجيميل (1999–2003)
أوسكار دوبونت (1986–1991)  تعديل قيمة خاصية (P451) في ويكي بيانات
الأولاد 2
الأب جان ماري بينوش
الأم مونيك ستالينس
الحياة العملية
المدرسة الأم المعهد الوطني العالي للفنون الدرامية  [لغات أخرى]
معهد باريس للموسيقى  تعديل قيمة خاصية (P69) في ويكي بيانات
المهنة ممثلة أفلام،  ومؤدية أصوات[2][3][4]،  ومؤلفة[5][6]،  وفنانة[7][8]،  وشاعرة[9]،  وكاتِبة،  وراقصة  تعديل قيمة خاصية (P106) في ويكي بيانات
اللغة الأم الفرنسية  تعديل قيمة خاصية (P103) في ويكي بيانات
اللغات الفرنسية[10]  تعديل قيمة خاصية (P1412) في ويكي بيانات
مجال العمل شعر  تعديل قيمة خاصية (P101) في ويكي بيانات
الجوائز
جائزة أكاديمية الأفلام الأوروبية عن فئة الانجازات في السينما العالمية  [لغات أخرى] (2019)[11]
جائزة مهرجان كان السينمائي لأفضل ممثلة (عن عمل:نسخة موثقة (فيلم) 2010) (2010)
جائزة المسرح العالمي (2001)
جائزة الفيلم الأوروبي – جائزة اختيار جمهور جيمسون – لأفضل ممثلة  [لغات أخرى] (عن عمل:شوكولا) (2001)[12]
جائزة الدب الفضي لأفضل ممثلة  [لغات أخرى]‏  (1997)
جائزة بافتا لأفضل ممثلة في دور ثانوي  (عن عمل:المريض الإنجليزي) (1997)
جائزة الفيلم الأوروبي لأفضل ممثلة (عن عمل:المريض الإنجليزي) (1997)[13]

Oscar-free-version.svg

جائزة الأوسكار لأفضل ممثلة مساعدة  (عن عمل:المريض الإنجليزي) (1996)
جائزة سيزار لأفضل ممثلة  (عن عمل:ثلاثية الألوان: أزرق) (1994)
كأس فولبي لأفضل ممثلة  [لغات أخرى] (1993)
جائزة الفيلم الأوروبي لأفضل ممثلة (عن عمل:Les Amants du Pont-Neuf) (1992)[14]
جائزة رومي شنايدر  [لغات أخرى] (1986)  تعديل قيمة خاصية (P166) في ويكي بيانات

التوقيع
Binochejuliette.svg
المواقع
الموقع الموقع الرسمي  تعديل قيمة خاصية (P856) في ويكي بيانات
IMDB صفحتها على IMDB  تعديل قيمة خاصية (P345) في ويكي بيانات
السينما.كوم صفحتها على السينما.كوم  تعديل قيمة خاصية (P3136) في ويكي بيانات

جولييت بينوش (بالفرنسيةJuliette Binoche)‏، ولدت في 9 مارس 1964 في باريس، هي ممثلة فرنسية حصلت علي جائزة الأوسكار عن دورها الثانوي بفيلم المريض الإنكليزي، كما رشحت للأوسكار عن دورها الرئيسي بفيلم شوكولا والذي شاركها في بطولته أيقونة السينما جوني ديب.[15][16][17]

بدايتها 

ولدت جوليين بينوش في باريس في 9 مارس 1964 لوالد يعمل في إخراج الأفلام ووالدة ممثلة، وفي سن الخامسة عشرة، أرسلها والدها إلى مدرسة ثانوية متخصصة لدراسة الفنون ثم التحقت بالكونسرفتوار الوطني للفنون الدرامية في باريس.

في سن الثامنة عشرة، حصلت على دور بسيط في فيلم (Liberty Belle) وعملت بعدها على تطوير مسيرتها فشغلت وظيفة موديل لأحد الرسامين وبائعة في أحد المتاجر التنويعية.

مشوارها الفني 

في سنها الرابع والعشرين حصلت جولييت على فرصتها الأولى للمشاركة في فيلم كبير عندما حصلت على دور في فيلم “خفة الوجود التي لا تطاق” عام 1988، الذي أخرجه فيليب كوفمان وقد أظهرت بينوش أداء رائعا في هذا الفيلم كانت نتيجته حصولها على المديح من النقاد إلى جانب العروضات للعب الأدوار الرئيسية في مجموعة من الأفلام الأخرى بما في ذلك الجزء الأول من ثلاثية المخرج كريستوف كييسلوفسكي الشهيرة «ثلاثية الألوان: أزرق» عام 1993، الذي نالت عن دورها فيه جائزة سيزر لأفضل ممثلة.

وشهد العام 1996 حدثا مميزا بالنسبة إلى جولييت بينوش، فقد فازت بجائزة الأوسكار لأفضل ممثلة ثانوية عن دورها كممرضة كندية تدعى هانا تعتني بإنسان غريب أثناء الحرب العالمية الثانية في فيلم المريض الإنكليزي، وفي العام 2000 ترشحت بينوش لنيل جائزة الأوسكار لأفضل ممثلة رئيسية عن دورها في فيلم شوكولا المقتبس عن رواية الكاتبة جوان هاريس، ومن إخراج لاسي هالستروم، لكن الجائزة كانت من نصيب جوليا روبرتس. وتعتبر جولييت بينوش الممثلة الأغلى ثمنا في تاريخ فرنسا.

يعتبر فيلم شوكولا وفيلم المريض الإنكليزي والجزء الأول من ثلاثة ألوان أفضل وأشهر ثلاثة أفلام في مسيرتها الفنية.

الترشيحات للجوائز 

  • الترشيحات لجائزة الأوسكار:
    • أفضل ممثلة مساعدة عام 1997 عن فيلم The English Patient وفازت بها
    • أفضل ممثلة رئيسية عام 2001 عن فيلم Chocolat
  • الترشيحات لجائزة الجولدن جلوب:
    • أفضل ممثلة درامية عام 1994 عن فيلم Trois couleurs: Bleu
    • أفضل ممثلة مساعدة عام 1997 عن فيلم The English Patient
    • أفضل ممثلة كوميدية أو موسيقية عام 2001 عن فيلم Chocolat

حياتها الشخصية 

أنجبت جوليين بينوش ابنا من الغطاس المحترف أندريه هال أسمته رافاييل وابنة من الممثل الفرنسي بنوا ماجيمل أسمتها هانا.

أعمالها 

سنة أعمال الدور/الوظيفة
2019 الحقيقة لومير
2019 من تظن أنني هي
2018 حياة في الفضاء د. ديبس
2018 رؤية
2017 شبح في الهيكل د. أوليت
2017 مثل الأم، مثل الابنة مادو
2016 76 دقيقة و15 ثانية مع عباس كيارستمي فيلم وثائقي/تسجيلي بنفسها
2016 خليج راكد أودي فان بيتيجام
2015 الـ 33
2015 الانتظار آنا
2015 لا أحد يريد الليلة
2014 جودزيلا والدة فورد
2014 غيوم سليس ماريا ماريا إندرز
2013 كلمات وصور دينا ديلسانتو
2013 ليلة سعيدة لآلف مرة ريبيكا
2012 المدينة العالمية ديدي فانشر
2012 كاميل كلوديل 1915 كاميل كلوديل
2011 إبن لا أحد لورين بريدج
2011 هن آن
2010 نسخة موثقة
2007 انفصال
2007 دان في الحياة الحقيقية ماري
2006 باريس أنا احبك
2006 كسر ودخول أميرة
2005 مخبأ آن لوران
2005 موسم النحل ميريام
2004 مسقط رأسي آنا مالان
2002 اضطراب الرحلات الجوية روز
2000 أرملة سان بيير بولين
2000 شوكولا فيان روشر
1998 أليس ومارتن
1996 المريض الإنجليزي هنا
1992 تلف آنا بارتون
1991 المحبون على الجسر ميشيل
1988 خفة الكائن التي لا تحتمل تيريزا
1986 الليل في أوله آنا
1985 راندفو [1]

روابط خارجية

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س وج.. تعرف على القواسم المشتركة بين أيقونتى السينما ...

أيقونة السينما الفرنسية جولييت بينوش: جذوري مغربية
الثلاثاء 2013/12/03
جولييت بينوش مكرمة في أرض أجدادها
مراكش – بصمت النجمة الفرنسية جولييت بينوش تاريخ السينما العالمية، ومنحتها بعضا من أجمل إبداعاتها، وذلك على مدى ثلاثين سنة (1983-2013) من العطاء الثري والتألق الفني الجميل.
وكشفت بينوش، خلال حفل تكريمها من المهرجان الدولي للفيلم بمراكش في دورته 13، أن أباها الذي كان نحاتا، ولد وترعرع في تزنيت وأكادير ودرس بمراكش وتعلم اللغة العربية قبل أن يتكلم اللغة الفرنسية، وأن جدها، الذي كان ممثلا هاويا، دفن في المغرب أيضا.
وأضافت بينوش، التي تلقت دروسها الأولى في التمثيل على يدي والدتها الفنانة ومدرسة الآداب، أنها استقبلت في ورزازات بالحفاوة المعهودة لدى المغاربة حين توجهت إلى هناك في السنة المنقضية، لتصوير فيلمها الأخير (ألف مرة ليلة سعيدة) 2013.
سفر داخلي
وتوجهت الفنانة الفرنسية بالامتنان لسينمائيين عديدين وأناس آخرين، ومن ضمنهم شقيقتها ماريون، الذين ساعدوها في الظل وعلموها “السفر الداخلي” حيث الطمأنينة والأمان ومحبة الآخرين.
وأعرب المخرج الفرنسي برونو ديمون عن إعجابه الشديد بجولييت بينوش التي شخصت دور “كامي كلوديل” في فيلمه الأخير (2013) الذي يحمل العنوان ذاته، معتبرا أن “وجهها هو الأجمل، لأنه الأكثر إنسانية وتعبيرا عن الأحاسيس جميعها”.
وأضاف المخرج الفرنسي، خلال حفل التكريم الذي تخلله عرض لقطات من أفلام شاركت فيها جولييت بينوش، أن هذه الأخيرة: “تشتغل السينما بلطف ومرونة ومرح، وتمتلك لغزا هو الألق الذي يتجلى في مختلف تصرفاتها وطريقة تشخيصها لأدوارها ومجمل حياتها”. وتم بمناسبة حفل تكريم جولييت بينوش، عرض فيلم (ألف مرة ليلة سعيدة) لمخرجه الدانماركي إريك بوبي، والذي شخصت فيه الممثلة الفرنسية المكرمة دور مصورة حرب تعود إلى بيت أهلها بعد إصابتها بجروح بليغة في تفجير انتحاري.
جوائز عالمية
يذكر بأن جولييت بينوش حازت جائزة التمثيل في مهرجان البندقية، وجائزة سيزار أحسن ممثلة، وجائزة الدب الفضي بمهرجان برلين، وكذلك أوسكار أحسن دور ثانوي عن تجسيدها لدور الممرضة “آنا” في فيلم (المريض الإنكليزي) لأنطوني مينكيلا لتصبح ثاني ممثلة فرنسية تحصل عليه بعد سيمون سينيوري.
شكل فيلم (ليبرتي بيل) لباسكال كاني عام 1983 شهادة ميلاد الممثلة جولييت بينوش، قبل أن تؤدي عام 1984 أدوارا ثانوية في أفلام فرنسية أخرى مع أندري تيشيني (الموعد) وآنيك أنوي (الفتيات) وروني فيكتور (الحياة الأفضل) وجان لوك غودار (أحييك يا مريم) وبوب ديكو (وداعا فريد).
ثم دخلت بينوش السينما العالمية فشدت الأنظار إليها، خاصة بعد أدائها دورا رئيسا إلى جانب الممثل دانيال داي لويس في فيلم (خفة الكائن التي لا تحتمل) التي اقتبسها فيليب كوفمان عن رواية ذائعة الصيت للروائي ميلان كانديرا، لتتوالى نجاحات الفنانة الفرنسية على مستوى العالم.
وتسابق كبار المخرجين العالميين، من أمثال فيليب كوفمان وهسياو هسيان وجان لوك غودار وعباس كياروستامي وبرونو ديمون، لمنح أدوار البطولة المطلقة وغيرها لهذه الممثلة الفرنسية الرقيقة التي تجسدها بحب وعمق وبطريقتها الخاصة.

المنتصر في حربه ضد الجنون..الفنان فان كوخ..- مجلة الحياة التشكيلية..- ترجمة و إعداد: رنده القاسم .

الفنان فان كوخ… المنتصر في حربه ضد الجنون مجلة الحياة التشكيلية.- رنده القاسم




+13رنده القاسم

فان كوخ… المنتصر في حربه ضد الجنون
مجلة الحياة التشكيلية
ترجمة و إعداد رنده القاسم
مع التطور التكنولوجي نالت لوحاته اهتماما جديداً واسعاً بأشكال جديدة، ما يزال أكثرها تأثيراً معرض لوحاته ثلاثي الأبعاد الذي تنقل بين بلدان عدة ومدن كثيرة من أقصى الشرق إلى أقصى الغرب، واضعاً زواره في قلب الصور المتحركة واسعة النطاق للوحاته الشهيرة التي يتم عرضها على الجدران والسقوف والأرضيات، في معرض كبير أو ساحة مستودع. بحيث أمكن لعشرات الالاف من عشاق فنه التقاط صور تذكارية أمام لوحاته العملاقة، وكأنهم جزء من هذه اللوحات.
تطلب العرض الثلاثي الأبعاد 98جهاز عرض، و46452 متراً مربعاً من الإسقاطات، و118800 إطار فيديو. وتبلغ مساحة سطوح العرض 76154 متراً مربعاً، أي حوالي ملعب ونصف لكرة القدم. حددت أماكن الوقوف ضمن دوائر متباعدة اجتماعيًا موضحة باللون الأبيض. وفي بعض العروض احتوت كل دائرة على كرسيين أو ثلاثة، أو مقعد، وبقي بعضها فارغاً بحيث يمكن للزوار الوقوف أو الجلوس على الأرض أو الاستلقاء. يستمر العرض الواحد حوالي 35 دقيقة ويتم تكراره. ويمكن للزائر البقاء لعدة عروض. كما يمكنه الانتقال إلى دائرة جديدة في الأمام أو الخلف، أو إلى الجانب الآخر من الغرفة للحصول على زوايا رؤية مختلفة. اختيرت للعرض مجموعة من أشهر أعمال فان جوخ يمكن التعرف عليها مجتمعة، او في التفاصيل. من هذه اللوحات: ليلة النجوم (ليلة مرصعة بالنجوم)، عباّد الشمس، زهرة السوسن، الخشخاش، غرفة النوم، إزهار شجرة اللوز، شجرة التوت، مقهى الليل، وأكلوا البطاطا.
“إن ما يدفع الجماهير لمحبة فنسنت فان كوخ هو شعور بالدَّين الجماعي لهذا الفنان الذي عاش حياته فقيرا ووحيدا ومعذبا ولم يشهد كيف أصبح -هو نفسه – أحد رموز الفن المعاصر، وأصبحت لوحاته أيقونات عالمية”، كلمات وردت بقلم المفكرة الفرنسية المعاصرة ناتالي إينيك في كتابها (سوسيولوجيا الفن) وأضافت إن غزارة الدراسات التي تناولت فان كوخ وفنه تعزز الفكرة الشائعة بين المعجبين بأن نهايته المأساوية كانت نتيجة عدم الفهم الذي تعرضت له أعماله.
ومما أكد اهتمام الناس بشخص فان كوخ، هو ذاك الطابور الطويل من البشر الذي انتظروا ساعات طويلة ليتمكنوا من الدخول إلى معرض أقيم في العاصمة البريطانية لندن وضمت رسائل للفنان الهولندي الشهير.
في الثاني من أيار (مايو) عام 1889، كتب فنسنت فان كوخ رسالة لأخيه (ثيو) من مشفى في (أرليس) الفرنسية ليكشف عن نية لا تحتمل. إذ قرر، ولأسباب عدة، بأن أكثر ما يناسبه هو الانضمام للجيش. وأعرب فنسنت عن قلقه من رفض محاولته بسبب ما أسماه (الحادث) وبالتأكيد هذا ما كان.
أما الحادث فهو ما وقع خلال فترة أعياد الميلاد في السنة السابقة، إذ عانى من أزمته الشهيرة وبلغ الأمر ذروته مع قطعه لأذنه. وبعد ذلك أصابته سلسلة من الانهيارات العقلية وكان من بين أعراضها الهلوسة السمعية والخوف من أن جيرانه يحاولون تسميمه، وأمضى معظم السنة مع مراقبة طبية.
ولكن الغموض والمفارقة في قضية فان كوخ، وهي الأشهر في تاريخ الفن، تكمنان في أنه خلال الأشهر التي أدت لهذه الكارثة بل وحتى بعد وقوعها باستثناء فترة المعاناة الحادة، استمر بالعمل ورسم روائع فنية تعتبر الأشهر عالميا مثل (كرسي فنسنت) و (كرسي غوغان) وكلاهما في تشرين الثاني (نوفمبر) 1888.
إذن ما هي مشكلة فان كوخ؟ وهل ساعدته أم أعاقته؟ بكلمة أخرى هل كانت مشاكله العقلية مكملة لموهبته أم أنها واحدة من المشاكل الكثيرة التي عانى منها؟ ولكنها بالتأكيد كانت السبب في رفض الفيلق الخارجي الفرنسي رغبته بالانضمام له، وكان فان كوخ قلقا من أن تعتبر رغبته هذه تصرفا مجنونا أو محاولة للتضحية بالذات، وأشار بحزن إلى إرادته العيش في بيئة تجبره على إتباع القواعد كما في المشفى أو الجيش فعندها فقط سيشعر بالهدوء.
وبعد أقل من أسبوع من كتابته لرسالته، أي في 8 أيار، سمح له وفقا لرغبته بالدخول إلى مشفى الأمراض العقلية وبقي هناك لأكثر من سنة وغادر ليعيش شمال باريس تحت إشراف الطبيب، وهناك أطلق بنفسه رصاصة على صدره في 27 تموز (يوليو) 1890 ومات بعد يومين وهو في السابعة والثلاثين من عمره.
التراجيديا الحادة التي غلفت حياته خلقت صورتين متناقضتين عن فان كوخ. فالعامة تراه فنانا بدائيا مجنونا، يعمل وفقا لنوبات من الإلهام ويشرب المسكرات حتى الثمالة ويتصرف بغرابة. ومن جهة أخرى يفضل مؤرخو الفن التأكيد على فان كوخ آخر: مفكر وقوي الملاحظة أعماله نتيجة لتخطيط حذر هذا عدا أن رسائله تكشف النقاب عن إنسان ذكي وفصيح.
والواقع أن الصورتين تحملان شيئا من الحقيقة. لأن فان كوخ قام بأفعال غريبة ولكن غير مؤذية وفقا لشهادات جيرانه في أرليس، وكان سكيرا وهو نفسه تحدث عن ذلك واعترف بأنه وصل لدرجة الأصفر الفاقع بخلط قهوة مع كحول. ولكنه كان يعمل بسرعة مدهشة وتباهى بأنه خلال ساعة فقط رسم السيدة جينوكس زوجة صاحب مقهى وذلك بداية تشرين الثاني عام 1888.
غير أنه طالما اشتكى من الشعور بأن دماغه أثناء الرسم يبذل جهدا كبيرا في الحسابات الجافة لأجل الموازنة بين الألوان، كحال ممثل يؤدي دورا صعبا على خشبة المسرح، حيث عليك التفكير بآلاف الأشياء في وقت واحد خلال نصف ساعة ولكن الشيء الوحيد الذي كان يعزيه ويلهيه الخمر أو الكثير من التبغ ” وكل ذلك قد يبدو تصرفات بوهيمية، ولكن، وفقا لرسائله واسكيتشاته، كان فان كوخ يفكر مسبقا بكثير من الوضوح. فالسيدة جينوكس عملت لأشهر في الفندق الذي أقام به وبلا شك قدمت له الكثير من المشروب، ما يعني أنه امتلك الكثير من الوقت للتفكير بكيفية رسمها قبل القيام بذلك فعليا وسط نوبة من الطاقة.
والأكثر من ذلك أن فان كوخ كان قارئا ويفكر بعمق وكان شرها في قراءة الروايات والجرائد وبشكل عام يميل مؤرخو الفن إلى اعتبار مشاكل فان كوخ العقلية غير ذات صلة وركزوا على أعماله وكلماته، فمن الصعوبة بمكان تشخيص حالة رجل مات قبل أكثر من مائة عام. ولكن هذا لم يحول دون محاولات كثيرة نتج عنها افتراضات متفاوتة مثل: تسمم بالرصاص، الهلوسة، داء مينيير (اضطراب في الأذن الداخلية)، ضربة شمس حادة، شيزوفرنيا، الزهري، الصرع، عدم توازن في الهرمونات أو اضطراب في الشخصية. ولكن هل من طريقة لضحد هذه الافتراضات الطبية؟ ربما، ولكن لا يمكن أن ننكر وجود مشكلة راسخة ومستمرة أتعبت فان كوخ كما قال هو نفسه.
وبالمقاييس التقليدية، كانت حياته غريبة الأطوار، ولد في قرية هولندية عام 1853 من أسرة فقيرة يعيلها والده الكاهن، وكان فنسنت أكبر إخوته الستة، ومنذ طفولته بدا ميالاً إلى العزلة محباً للطبيعة، متمسكاً بالقيم الروحية.
قرر أبوه أن يعمل ابنه الأكبر فنسنت في تجارة الفن غير أنه ترك هذه المهنة واتبع خط أبيه، ولكنه لم يكمل محاولته بتعلم اللاهوت وعوضا عن ذلك أضحى واعظا في مناجم الفحم البلجيكية ولم يكن يملك المؤهلات في المدرسة التبشيرية ورغم ذلك تابع الوعظ إلى أن تم طرده. واستمر بالعمل التطوعي إلى أن قرر أخيرا أن يغدو رساما. والمذهل أنه خلال السنوات العشر الأولى رغم بدايته غير المستقرة والمفتقدة للتدريب أبدع أعمالا تعتبر من الأهم في الفن الغربي.
وإلى حد ما لملم الفن شتاته ويمكن القول بأن الجهود اليومية للفت انتباهه للواقع، على سبيل المثال رسمه للكرسي، كانت عملية علاجية حتى وإن كان الأمر ينتهي به إلى زجاجة الخمر. واستمر فان كوخ ببذل الجهود باستثناء الأوقات التي كانت حالته العقلية في الحضيض. وهنا نتحدث عن جانب آخر في مشكلته وهي أنها كانت متقطعة فبعد أيام من الأزمات الحادة يعود لإنجاز روائعه. وهذا الأمر قد يفترض إصابته بالاكتئاب المهووس أو ما يسمى هذه الأيام بالاضطراب ثنائي القطب. إذ كان يمر بفترات اكتئاب يتلوها فترات من الطاقة والابتهاج.
ولكن يبقى الشيء الأكيد بان المشاعر التي كان يرى فيها الأشياء العادية ويصورها تعبر عن حالة من اليأس مع محاولات لربط نفسه بالواقع.
ويمكن القول إن فان كوخ لم يكن فنانا مجنونا بل كان رساما عظيما جدا خاض حربا داخلية ضد الجنون، لقد كانت حياة فان كوخ الدراماتيكية القصيرة، وأعماله الفنية المتميزة التي أثرت في تطور المدارس الفنية التي تلت وفاته كفيلة بجعل هذا الفنان شخصية تاريخية عالمية، وصورة نمطية ومثالية للفنان المتمرد، فقد أنتجت أفلام سينمائية عن حياته، وتوزعت لوحاته في أكبر المتاحف العالمية، ولاسيما متحف فان كوخ في أمستردام، ويحتفل العالم كل عام بذكرى ولادته ووفاته، ووصلت أسعار لوحاته اليوم إلى مبالغ خيالية.
وفي عام 2021 قامت مجموعة ليغو الدانماركية بتحويل لوحة (ليلة مرصعة بالنجوم) إلى لعبة (ليغو) ثلاثية الأبعاد، بحيث يمكن إعادة بناء لوحة المبدع فان كوخ اعتماد على التقنية ثلاثية الأبعاد وقال مصمم اللعبة، ترومان تشينغ، والذي يعتبر نفسه أحد عشاق المبدع الهولندي الراحل: “كثيرا ما حلمت بإعادة بناء أحد أعمال فان كوخ منذ طفولتي بوصفي أحد عشاقه، وقد حان الوقت لتحقيق حلمي الصغير”.. وأوضح ترومان أن الفكرة حصلت على إعجاب وموافقة نحو عشرة آلاف شخص طرحت عليهم الفكرة في استفتاء أجرته الشركة. واللعبة مكونة من نحو 1،552 قطعة وعليك تجميعها وإعادة النسيج الإبداعي لها مرة أخرى.
الغريب أنه خلال حياته رسم فنسنت فان كوخ أكثر من 1500 لوحة فنية لم يبع منها سوى لوحة واحدة، وعرف فشلا ذريعا في الترويج لأعماله وعاش الفقر، أما سبب شهرته بعد رحيله، فهو معرض أقيم عام 1901 في باريس وضم سبعين من لوحاته، ولم يكن فان جوخ الذي مات قبل ذلك المعرض بإحدى عشر عاما ليعلم أن أعماله سوف تحوز على إعجاب عالمي كبير، وليكون هذا المعرض بداية شهرة واسعة له ولأعماله التي أصبحت تباع بمبالغ ضخمة، مثل لوحة عباد الشمس، التي حققت مبلغ أربعين مليون دولار في مزاد عام 1987.
وربما نجد نفسنا نكرر ما قلنا في البداية، وهو أن حبنا للفنان لفنسنت فان كوخ قد يكون نتيجة تعاطف جماعي أو ربما إحساس موروث بالذنب تجاه إنسان عاش مقهورا، ولم يشهد قلبه الحزين تحوله هو نفسه إلى أيقونة إنسانية وفنية عالمية.
للمزيد من صور أعمال الفنان فان كوخ:
https://www.facebook.com/photo/?fbid…98400687016233

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Eyad Albelal، وممدوح قشلان

سعد القاسم

Easy Tips For Writing An Urgent Essay

Urgent essays for high school students are written around a topic or subject that has just come up in your life. Urgent topics generally have many twists and turns inside them, so you don’t understand where the report is led. Many times your mother or father won’t even read your essay because they haven’t been able to figure out what your متابعة قراءة Easy Tips For Writing An Urgent Essay

قصة حياة الفنان السوري الرائد: إسماعيل حسني ..شريك نهضة الفن التشكيلي في حلب.


Saad Alkassem

تتحدث الحلقة الجديدة من (متحف الوطن الافتراضي) عن الفنان إسماعيل حسني ابن جيل الرواد الأول وشريك نهضة الفن التشكيلي في حلب. وكانت تمت الإشارة غير مرة إلى أن مؤرخي الفن التشكيلي السوري قد أطلقوا على مجمل التجارب التي بدأت تُعرض للجمهور مع مطالع القرن العشرين تسمية (الفن التشكيلي السوري الحديث)، واعتمد أكثرهم وجهة نظر الناقد الراحل طارق الشريف الذي تحدث عن جيلي الريادة والحداثة. وسبق أن أشرت هنا أني مع كل التقدير الذي احمله لطارق الشريف وانجازه، أفضل إضافة وصف جيل الرواد الثاني، إلى جيل الحداثة، حيث أن هناك ضرورة للحديث عن جيل ثانٍ من الرواد، من أجل دقة التوصيف من جهة، ومن أجل تأكيد أهمية الدور الكبير الذي أداه فنانو الجيل الأول، وما تركوا من إرث فني يستحق التقدير، من جهة ثانية. وهذا الوصف الإضافي يحدد دور الجيل الثاني من جهة، وينصف الجيل الأول من جهة أخرى، فلا يجعل الثاني انفصالاً عنه، وانما استمراراً له. ففي موجة الابتهاج بالحداثة يغيب احياناً الحديث المنصف عن جيل الرواد، الذي يأخذ بعين الاعتبار الظروف الصعبة التي احاطت بهم، وشجاعتهم في مواجهتها، وكذلك أيضاً العمق الفكري والثقافي الذي تستند اليه (مغامرتهم التشكيلية) وهو ما يمكن التعرف عليه عن كثب من الدراسة العميقة للسير الحياتية والابداعية لتوفيق طارق ومنيب النقشبندي وغالب سالم وعبد الوهاب ابو السعود وسعيد تحسين ورشاد مصطفى وميشيل كرشة وخالد معاذ ورشاد قصيباتي ووهبي الحريري وإسماعيل حسني وسواهم.
تقسيم الفن التشكيلي السوري إلى أجيال دعت إليه ضرورة البحث المنهجي. ومع ذلك فإن الفصل التام بين اجيال الرواد الأول والثاني (الحداثة) والثالث (المعاصرون) غير ممكن، حتى لو اعتمدنا المقياس الزمني. ويبدو نصير شورى 1920. نقطة تواصل بين جيلي الرواد، أو بين جيل الرواد وجيل الحداثة. وهو أحد فنانين رائدين ولدا في ذلك العام، ومثلا الحالة ذاتها، أما الثاني فهو إسماعيل حسني الذي كان له دور كبير في نهضة الفن التشكيلي في حلب. وكان مدرساً لعدد من كبار فنانيها ونقادها أمثال: إحسان عنتابي، وأسعد المدرس، ووحيد مغاربة وعبد الرحمن مؤقت، وصلاح الدين محمد، وعلي السرميني، وسعود غنايمي، ومحمود مكي، وعبد القادر منافيخي، وعبد القادر بساطه، و وليد كموش، وعبد الرحمن مهنا…
كان الحال في مدينة حلب مختلفاً قليلاً عما كان عليه في دمشق، فقد شهدت حلب منذ نهاية القرن السابع عشر وخلال القرن التاسع عشر قدوم عددً من الفنانين المستشرقين، الذين قاموا بتصوير معالمها التاريخية، ومشاهد الحياة اليومية في أسواقها وأزقتها، فكان هؤلاء الفنانون نافذة أطل منها الحلبيون على فن التصوير الغربي، وتتلمذ على أيديهم بعض المصورين الحلبيين أمثال نديم بخاش ومنيب النقشبندي. وحين تأسـس المكتب السلطاني (ثانوية المأمون) بحلب فـي مطلع القرن العشرين، عُيّن منيب النقشبندي أول مدرس للفنون فيها، وكان من تلاميذه غالب سالم ووهبي الحريري (تحدثنا عنهما في حلقتين سابقتين) وإسماعيل حسني وقد تابعوا دراستهم الفنية في أكاديمية الفنون الجميلة بروما، وساهموا في تأسيس الحركة الفنية المعاصرة في حلب.
ولد إسماعيل حسني في رأس العين التابعة لمدينة دير الزور لأسرة ريفية (وتذكر بعض المصادر أنه ولد في مدينة الميادين)، وبحكم عمل أبيه كموظف في الدولة انتقل مع أسرته إلى مدينة حلب، ولما يتم بضعة أشهر من عمره، وقدم له هذا الانتقال من بلدة ريفية صغيرة إلى حاضرة كبيرة مثل حلب، فرصة تحديد مسار حياته، حيث بدأت موهبته في الرسم بالتفتح وهو في المدرسة الابتدائية، ووقف الحظ إلى جانبه مرة ثانية حين كان أستاذه في المرحلة الثانوية الفنان الرائد منيب النقشبندي فتعلم منه أصول الفن التشكيلي، إلى جانب اهتمامات إبداعية متنوعة أزهرت في الأعوام التالية في القصة، والنقد، والبحث التاريخي الفني، والمسرح. فنشر عام 1938 مجموعة قصصية من ضمنها قصة (عابر سبيل) التي تحولت عام 1950 إلى فيلم سينمائي غنائي بالاسم ذاته، وكان ثاني فيلم سوري ناطق بعد فيلم (نور وظلام) الذي أنتجه نزيه الشهبندر عام 1947، وقام بإخراج فيلم (عابر سبيل) أحمد عرفان إثر تأسيس أول شركة إنتاج سينمائي في مدينة حلب باسم (عرفان وجالق). وهو فيلم غنائي قام ببطولته نجيب السراج وهيام صلاح وسلوى الخوري.
في عام 1940 عُيّن موظفاً في مقام البوكمال فاتجه للكتابة وتأليف النصوص المسرحية إلى جانب التصوير، ثم انتقل لتدريس الرسم في دير الزور فأسس فيها عام 1943 نادياً فنياً ثقافياً ثم نادي (ابن خلدون) وأول فرقة مسرحية في المدينة أطلق عليها اسم (المسرح الطليعي) قدم معها عدة مسرحيات منها مسرحية (أبو عبد الله الصغير) أو (سقوط غرناطة)، وكان يكتب المسرحيات ويمثل فيها ويخرجها كما ترجم عدة مسرحيات أجنبية.
في عام1952 أوفدته بلدية حلب إلى روما لدراسة الفن حيث التقى هناك بفتحي محمد وأدهم إسماعيل ووحيد إستنبولي. وعمل في العام التالي كمذيع في القسم العربي للإذاعة الإيطالية، ثم تخرج عام 1956 من قسم الزخرفة. ونال في الوقت ذاته إجازة في الإخراج المسرحي من أكاديمية المسرح الحر في روما. وإثر عودته من روما قام بتدريس الفنون في مدارس دير الزور وحلب وفي كلية العمارة بحلب. ونشر نصوصاً عن الفن التشكيلي في مجلة الجندي، ومجلة المكشوف، وإذاعة حلب. وصمم الديكور لعدة مسرحيات. كما شارك في المعرض السنوي منذ عام 1957، إضافة إلى معارض فردية في حمص والجزائر وإيطاليا وأسبانيا، وأخر معرض شارك فيه كان معرض (تحية إلى الفنان لؤي كيالي) بحلب عام 1980 قبيل وفاته في العام ذاته.
في صيف عام 1961 أقامت صالة الفن الحديث بإدارة الأخوين دعدوش مسابقة لانتخاب (ملهمة الفنانين) فازت بنتيجتها الأنسة هالة الميداني باللقب. ومن ثم قام 48 فناناً برسمها في دمشق وحلب كان منهم إسماعيل حسني. الذي نملك صورة له أثناء الرسم، وصورة غير دقيقة للوجهية (البورتريه) التي صورها والتي تشير إلى أسلوبه الواقعي الحديث، والأوضح منها وجهية لرجل غير مؤرخة (قد يكون الأديب وليد إخلاصي). وهناك لوحة بعنوان (أمومة) منشورة بالأبيض والأسود تعود لعام 1957 أو لعام 1959 بخطوط مختزلة وأسلوب تجريدي. ولوحة تجريدية بعنوان (منظر) نشرها د. عبد العزيز علون في كتابه (منعطف الستينات في تاريخ الفنون الجميلة المعاصرة في سورية). وتتحدث بعض النصوص عن وجهية (ربما هي المنشورة هنا) رسمها للأديب وليد إخلاصي، بعد أن استوحى الأخير شخصية إسماعيل حسني في إحدى أعماله الأدبية، غير أن وليد هو من وصف إسماعيل حسني بأنه (شيخ عشيرة الفنانين) تعبيراً عن دوره في مجال التدريس لمادة الفنون وتاريخ الفن وعلم الجمال، سواءً في المدارس الثانوية أو كلية العمارة أو مركز الفنون التشكيلية الذي حمل اسم صديقه الراحل فتحي محمد. وتولى إدارته منذ تأسيسه عام 1960، وحتى عام 1965. وقد تجلى التفاف الفنانين الشباب حوله، وتقديرهم له بانتخابه مطلع السبعينات رئيساً لفرع نقابة الفنون الجميلة في حلب.
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كتبت (هيبا) في فوتوغرافيا .. الصورة القضية.. النموذج المُشتعل 1 ـــ 2

فوتوغرافيا

الصورة القضية.. النموذج المُشتعل 1 ـــ 2

في الأول من مارس 2015، نشرنا المقال رقم 126 من هذه الزاوية، بعنوان: الصورة «القضية». اليوم في هذا المقال الذي يحمل الرقم 519، نستعيد بعضاً من الأفكار المطروحة منذ 7 سنوات، والتي تتحدّث عن صورة ما، تمكَّنت خلال دقائق أن تصبح «قضية» تشغل الرأي العام وتصبح حديث المجالس، وتحجز مكانها في آلاف المواقع والصحف والقنوات، وربما تصبح خلفية الشاشة لعشرات الملايين من الأجهزة الذكية حول العالم، فنحن نعيش في زمن يتحدّث بلغة الكاميرا، إنه عصر «الصورة النفّاثة» التي تمنح لنفسها الإذن باقتحام كل الحواجز وصناعة الفارق الذي يحلو لها.نعيش هذه الأيام جنون الساحرة المستديرة مع مجريات كأس العالم 2022 في قطر، حيث يتابع الحدث «نصف سكان الأرض»، حسب تصريح رئيس الاتحاد الدولي لكرة القدم «فيفا»، السويسري «جياني إنفانتينو»، والنصف الثاني سيتأثر بهذه العاصفة على مدار شهر من الزمن، يزور كوكبنا مرة كل 4 سنوات. قبل بدء المونديال اجتاحت «صورة فوتوغرافية» منصات التواصل الاجتماعي وصنعت تفاعلاً مليونياً متصاعداً، بطلاها أسطورتا الكرة «كريستيانو رونالدو» و«ليو ميسي».

الصورة المنشورة على حساب «كريستيانو رونالدو» على منصة «إنستغرام» قبل 4 أيام من كتابة هذه السطور لامست 40 مليون إعجاب و500 ألف تعليق، بينما صورة «ليو ميسي» حصدت 30 مليون إعجاب و326 ألف تعليق، عدا الانتشار الإعلامي «شبه المتكامل» للصورة، ونعني بذلك أن كافة المنصات الدولية تقريباً، حتى غير المهتمة بالشأن الرياضي، نشرت الصورة مع تعليقها الخاص الذي ينمّ عن تصنيفها للصورة أنها «أعلى من الحصر داخل التصنيف الرياضي».

السؤال: هل نجاح الصورة في شهرة بطليها فحسب؟ الجواب.. في الجزء الثاني.

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فوتوغرافيا – الصورة القضية .. النموذج المُشتعل – الجزء الأول – اخبار فن  التصوير الفوتوغرافي

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قصة حياة الممثلة والمخرجة الأمريكية ديان كيتون Diane Keaton..مواليد عام 1946م.

Diane Keaton's Most Memorable Roles: 'The Godfather,' More

Diane Keaton - Rotten Tomatoes

Diane Keaton

Diane Keaton

American actress and director
Alternate titles: Diane Hall
Diane Keaton

Born:

January 5, 1946 (age 76)

Los Angeles

California

Awards And Honors:
Academy Award (1978) Academy Award (1978): Actress in a Leading Role Golden Globe Award (2004): Best Actress in a Motion Picture – Musical or Comedy Golden Globe Award (1978): Best Actress in a Motion Picture – Musical or Comedy
ديان كيتون
الممثلة والمخرجة الأمريكية
الألقاب البديلة: ديان هول
بواسطة محرري موسوعة بريتانيكا ، تحرير التاريخ
ديان كيتون
مشاهدة جميع وسائل الإعلام
وُلِدّ:
5 يناير 1946 (76 عامًا) لوس أنجلوس ، كاليفورنيا
الجوائز والتكريمات:

جائزة الأوسكار (1978) جائزة الأوسكار (1978): ممثلة في دور قيادي جائزة جولدن جلوب (2004): أفضل ممثلة في فيلم موسيقي أو كوميدي جائزة جولدن جلوب (1978): أفضل ممثلة في فيلم سينمائي أو كوميدي
Notable Works:
“Hanging Up”
Top Questions
What is Diane Keaton’s debut film?
For which film did Diane Keaton win her first Academy Award?
To which 2016 Pixar film did Diane Keaton lend her voice?
Who is Diane Keaton?
Summary

Read a brief summary of this topic

Diane Keaton, original name Diane Hall, (born January 5, 1946, Los AngelesCalifornia, U.S.), American film actress and director who achieved fame in quirky comic roles prior to gaining respect as a dramatic actress.

Keaton studied acting at Santa Ana College in California and at the Neighborhood Playhouse in New York. She appeared in summer stock in the mid-1960s and in 1968 understudied the lead in the Broadway rock musical Hair. She had the lead role in Woody Allen’s Broadway play Play It Again, Sam (1969), which she later reprised for the 1972 film version. Keaton made her film debut in Lovers and Other Strangers (1970); her character, a young naïf divorcing her husband because his hair no longer smells like raisins, established a comic persona that would sustain her early career.

USA 2006 - 78th Annual Academy Awards. Closeup of giant Oscar statue at the entrance of the Kodak Theatre in Los Angeles, California. Hompepage blog 2009, arts and entertainment, film movie hollywood
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Though she acted in Francis Ford Coppola’s acclaimed gangster dramas—The Godfather (1972) and The Godfather, Part II (1974)—Keaton appeared mostly in Allen’s comedies during the 1970s, including Sleeper (1973), Love and Death (1975), Interiors (1978), and Manhattan (1979).

Keaton’s watershed year was 1977: in two films she not only established herself as a star but succeeded in both reinventing her screen persona and capitalizing on her established one. Allen’s Annie Hall—which won Academy Awards for best picture, actress, and director—is probably the role for which she is best known, appearing as the archetypal Keaton “kook.” Based on the real-life relationship between Allen and Keaton, the film chronicles Annie’s transformation from shy awkwardness to mature confidence. In many ways it was an autobiographical statement for Keaton, who made a dramatic turn the same year in Richard Brooks’s dark, violent Looking for Mr. Goodbar. She continued in that vein as journalist Louise Bryant in Warren Beatty’s Reds (1981), which earned her another Oscar nomination.

Keaton found continued success in such diverse films as Shoot the Moon (1982), The Little Drummer Girl (1984) Crimes of the Heart (1986), and the popular Baby Boom (1987). She reunited with Allen for a cameo in Radio Days (1987) and a leading role in Manhattan Murder Mystery (1993). During the 1990s she appeared in several films with broad appeal, such as The Godfather, Part III (1990), the romantic farce Father of the Bride (1991), and the melodrama Marvin’s Room (1996).

In the early 21st century Keaton starred in a number of lighthearted comedies, including Nancy Meyers’s Something’s Gotta Give (2003), opposite Jack NicholsonThe Family Stone (2005); Because I Said So (2007); and Morning Glory (2010), in which she and Harrison Ford portrayed TV anchors with clashing personalities. She returned to less frothy fare with the dramedy Darling Companion (2012) before starring in the multigenerational-family farce The Big Wedding (2013) and the comedies And So It Goes (2014) and Love the Coopers (2015). Keaton voiced a blue tang fish, the mother of the title character (voiced by Ellen Degeneres), in Pixar’s computer animated aquatic adventure Finding Dory (2016).

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Keaton then took on her first regular television role, playing a nun in HBO’s The Young Pope (2016). She later starred in the romantic comedies Hampstead (2017), Book Club (2018), and Love, Weddings & Other Disasters (2020). In Poms (2019) she played a terminally ill woman who forms a cheerleading squad in her retirement community. The dramedy Mack & Rita (2022) centres on a 30-year-old social-media influencer who ages 40 years after spending time in a life-regression machine.

In addition to acting, Keaton also directed several films, including Hanging Up (2000). Her memoir, Then Again, was published in 2011. She later wrote a collection of essays, Let’s Just Say It Wasn’t Pretty (2014), and also published a series of house-styling guides, including House (2012) and The House That Pinterest Built (2017).

For Diane Keaton, 'The Godfather' role was an offer she couldn't refuse

********************************************

Diane Keaton 2012-1 (cropped).jpg

Diane Keaton

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Diane Keaton
Keaton in 2012
Born
Diane Hall

January 5, 1946 (age 76)

Occupation
  • Actress
  • filmmaker
Years active 1966–present
Children 2
Awards Full list

Diane Keaton (née Hall, born January 5, 1946) is an American actress and director. She has received various accolades throughout her career spanning over six decades, including an Academy Award, a British Academy Film Award, two Golden Globe Awards, and the AFI Life Achievement Award.

ديان كيتون (ني هول ، ولدت في 5 يناير 1946) هي ممثلة ومخرجة أمريكية. حصلت على العديد من الجوائز طوال حياتها المهنية التي امتدت لأكثر من ستة عقود ، بما في ذلك جائزة الأوسكار ، وجائزة الأكاديمية البريطانية للأفلام ، وجائزتي غولدن غلوب ، وجائزة AFI Life Achievement.

Keaton’s career began on stage when she appeared in the original 1968 Broadway production of the musical Hair. The next year she was nominated for a Tony Award for Best Featured Actress in a Play for her performance in Woody Allen‘s comic play Play it Again, Sam. She then made her screen debut in a small role in Lovers and Other Strangers (1970), before rising to prominence with her first major film role as Kay Adams-Corleone in Francis Ford Coppola‘s The Godfather (1972), a role she reprised in its sequels Part II (1974) and Part III (1990). She frequently collaborated with Woody Allen, beginning with the film adaptation of Play It Again, Sam (1972). Her next two films with him, Sleeper (1973) and Love and Death (1975), established her as a comic actor, while her fourth, Annie Hall (1977), won her the Academy Award for Best Actress.


بدأت مسيرة كيتون المهنية على خشبة المسرح عندما ظهرت في إنتاج برودواي الأصلي لعام 1968 من الشعر الموسيقي. في العام التالي ، تم ترشيحها لجائزة توني لأفضل ممثلة في مسرحية عن أدائها في مسرحية وودي آلن الكوميدية Play it Again ، Sam. ثم ظهرت لأول مرة على الشاشة في دور صغير في Lovers and Other Strangers (1970) ، قبل أن ترتفع إلى الصدارة مع أول دور رئيسي لها في فيلم Kay Adams-Corleone في فرانسيس فورد كوبولا The Godfather (1972) ، وهو دور أعادت تمثيله في فيلمه. تتمة الجزء الثاني (1974) والجزء الثالث (1990). تعاونت كثيرًا مع وودي آلن ، بدءًا من تأليف فيلم Play It Again ، Sam (1972). فيلمها التاليان معه ، سليبر (1973) والحب والموت (1975) ، جعلها ممثلة كوميدية ، بينما حصل فيلمها الرابع آني هول (1977) على جائزة الأوسكار لأفضل ممثلة.

To avoid being typecast as her Annie Hall persona, Keaton appeared in several dramatic films, starring in Looking for Mr. Goodbar (1977) and Interiors (1978). She received three more Academy Award nominations for her roles as activist Louise Bryant in Reds (1981), a leukemia patient in Marvin’s Room (1996), and a dramatist in Something’s Gotta Give (2003).

لتجنب أن يتم طباعتها كشخصية آني هول ، ظهرت كيتون في العديد من الأفلام الدرامية ، بطولة البحث عن السيد جودبار (1977) و إنتيريورز (1978). تلقت ثلاثة ترشيحات أخرى لجائزة الأوسكار عن أدوارها كناشطة لويز براينت في فيلم Reds (1981) ، ومريضة بسرطان الدم في غرفة مارفن (1996) ، وكاتبة مسرحية في فيلم Something's Gotta Give (2003).

Keaton was born Diane Hall in Los Angeles, California on January 5, 1946.[1][2] Her mother, Dorothy Deanne (née Keaton),[3] was a homemaker and amateur photographer; her father, John Newton Ignatius “Jack” Hall, was a real estate broker and civil engineer.[4][5][6] Keaton was raised a Free Methodist by her mother.[7][8][9] Her mother won the “Mrs. Los Angeles” pageant for homemakers; Keaton has said that the theatricality of the event inspired her first impulse to be an actress, and led to her desire to work on stage.[10] She has also credited Katharine Hepburn, whom she admires for playing strong and independent women, as one of her inspirations.[11]

Keaton is a 1964 graduate of Santa Ana High School in Santa Ana, California.[12] During her time there, she participated in singing and acting clubs at school, and starred as Blanche DuBois in a school production of A Streetcar Named Desire. After graduation, she attended Santa Ana College, and later Orange Coast College as an acting student, but dropped out after a year to pursue an entertainment career in Manhattan.[13] Upon joining the Actors’ Equity Association, she changed her surname to Keaton, which was her mother’s maiden name, as there was already an actress registered under the name of Diane Hall.[14] For a brief time she also moonlighted at nightclubs with a singing act.[15] She revisited her nightclub act in Annie Hall (1977), And So It Goes (2014), and a cameo in Radio Days (1987).

Keaton began studying acting at the Neighborhood Playhouse in New York City. She initially studied acting under the Meisner technique, an ensemble acting technique first evolved in the 1930s by Sanford Meisner, a New York stage actor/acting coach/director who had been a member of The Group Theater (1931–1940). She describes her acting technique as, “[being] only as good as the person you’re acting with … As opposed to going it on my own and forging my path to create a wonderful performance without the help of anyone. I always need the help of everyone!”[15] According to fellow actor Jack Nicholson, “She approaches a script sort of like a play in that she has the entire script memorized before you start doing the movie, which I don’t know any other actors doing that.”[16]

Career

1970s

In 1968, Keaton became a member of the “Tribe” and understudy to Sheila in the original Broadway production of Hair.[17] She gained some notoriety for her refusal to disrobe at the end of Act I when the cast performs nude, even though nudity in the production was optional for actors (Those who performed nude received a $50 bonus).[10][18] After acting in Hair for nine months, she auditioned for a part in Woody Allen‘s production of Play It Again, Sam. After nearly being passed over for being too tall (at 5 ft 8 in (173 cm), she is 2 inches (5 cm) taller than Allen), she won the part.[4] She went on to receive a Tony Award nomination for a Best Featured Actress in a Play for her performance in Play It Again, Sam.

Keaton with Woody Allen and Jerry Lacy in the play Play It Again, Sam (1969/1970)

The next year, Keaton made her film debut in Lovers and Other Strangers. She followed with guest roles on the television series Love, American StyleNight Gallery, and Mannix. Between films, Keaton appeared in a series of deodorant commercials.

Keaton’s breakthrough role came two years later when she was cast as Kay Adams, the girlfriend and eventual wife of Michael Corleone (played by Al Pacino) in Francis Ford Coppola‘s 1972 film The Godfather. Coppola noted that he first noticed Keaton in Lovers and Other Strangers, and cast her because of her reputation for eccentricity that he wanted her to bring to the role[19] (Keaton claims that at the time she was commonly referred to as “the kooky actress” of the film industry).[10] Her performance in the film was loosely based on her real-life experience of making the film, both of which she has described as being “the woman in a world of men.”[10] The Godfather was an unparalleled critical and financial success, becoming the highest-grossing film of the year and winning the Best Picture Oscar of 1972.

Two years later she reprised her role as Kay Adams in The Godfather Part II. She was initially reluctant, saying, “At first, I was skeptical about playing Kay again in the Godfather sequel. But when I read the script, the character seemed much more substantial than in the first movie.”[13] In Part II, her character changed dramatically, becoming more embittered about her husband’s criminal empire. Even though Keaton received widespread exposure from the films, some critics felt that her character’s importance was minimal. Time wrote that she was “invisible in The Godfather and pallid in The Godfather, Part II, but according to Empire magazine, Keaton “proves the quiet lynchpin which is no mean feat in [the] necessarily male dominated films.”[20][21]

Keaton’s other notable films of the 1970s included many collaborations with Woody Allen; although by the time they made films together, their romantic involvement had ended. She played many eccentric characters in several of his comic and dramatic films, including SleeperLove and DeathInteriorsManhattanManhattan Murder Mystery and the film version of Play It Again, Sam, directed by Herbert Ross. Allen has credited Keaton as his muse during his early film career.[22]

In 1977 Keaton won the Academy Award for Best Actress in Allen’s romantic comedy Annie Hall, one of her most famous roles. Annie Hall, written by Allen and Marshall Brickman and directed by Allen, was believed by many to be an autobiographical exploration of his relationship with Keaton. Allen based the character of Annie Hall loosely on Keaton (“Annie” is a nickname of hers, and “Hall” is her original surname). Many of Keaton’s mannerisms and her self-deprecating sense of humor were added into the role by Allen. (Director Nancy Meyers has claimed: “Diane’s the most self-deprecating person alive.”[23]) Keaton has also said that Allen wrote the character as an “idealized version” of herself.[24] The two starred as a frequently on-again, off-again couple living in New York City. Her acting was later summed up by CNN as “awkward, self-deprecating, speaking in endearing little whirlwinds of semi-logic”,[25] and by Allen as a “nervous breakdown in slow motion.”[26] The film was both a major financial and critical success and won the Academy Award for Best Picture. Of Keaton’s performance, feminist film critic Molly Haskell wrote, “Keaton took me by surprise in Annie Hall. Here she blossomed into something more than just another kooky dame—she put the finishing touches on a type, the anti-goddess, the golden shiksa from the provinces who looks cool and together, who looks as if she must have a date on Saturday night, but has only to open her mouth or gulp or dart spastically sideways to reveal herself as the insecure bungler she is, as complete a social disaster in her own way as Allen’s horny West Side intellectual is in his.”[27] In 2006 Premiere magazine ranked Keaton in Annie Hall 60th on its list of the “100 Greatest Performances of All Time”, and noted:

It’s hard to play ditzy. … The genius of Annie is that despite her loopy backhand, awful driving, and nervous tics, she’s also a complicated, intelligent woman. Keaton brilliantly displays this dichotomy of her character, especially when she yammers away on a first date with Alvy (Woody Allen), while the subtitle reads, ‘He probably thinks I’m a yoyo.’ Yo-yo? Hardly.[28]

Keaton’s eccentric wardrobe in Annie Hall, which consisted mainly of vintage men’s clothing, including neckties, vests, baggy pants, and fedora hats, made her an unlikely fashion icon of the late 1970s. A small amount of the clothing seen in the film came from Keaton herself, who was already known for her tomboyish clothing style years before Annie Hall, and Ruth Morley designed the movie’s costumes.[29] Soon after the film’s release, men’s clothing and pantsuits became popular attire for women.[30] She is known to favor men’s vintage clothing, and usually appears in public wearing gloves and conservative attire. (A 2005 profile in the San Francisco Chronicle described her as “easy to find. Look for the only woman in sight dressed in a turtleneck. On a 90-degree afternoon in Pasadena.”)[31]

Her photo by Douglas Kirkland appeared on the cover of the September 26, 1977, issue of Time magazine, with the story dubbing her “the funniest woman now working in films.”[20] Later that year she departed from her usual lighthearted comic roles when she won the highly coveted lead role in the drama Looking for Mr. Goodbar, based on the novel by Judith Rossner. In the film she played a Catholic schoolteacher for deaf children who lives a double life, spending nights frequenting singles bars and engaging in promiscuous sex. Keaton became interested in the role after seeing it as a “psychological case history.”[32] The same issue of Time commended her role choice and criticized the restricted roles available for female actors in American films:

A male actor can fly a plane, fight a war, shoot a badman, pull off a sting, impersonate a big cheese in business or politics. Men are presumed to be interesting. A female can play a wife, play a whore, get pregnant, lose her baby, and, um, let’s see … Women are presumed to be dull. … Now a determined trend spotter can point to a handful of new films whose makers think that women can bear the dramatic weight of a production alone, or virtually so. Then there is Diane Keaton in Looking for Mr. Goodbar. As Theresa Dunn, Keaton dominates this raunchy, risky, violent dramatization of Judith Rossner’s 1975 novel about a schoolteacher who cruises singles bars.[20]

In addition to acting, Keaton has said she “had a lifelong ambition to be a singer.”[33] She had a brief, unrealized career as a recording artist in the 1970s. Her first record was an original cast recording of Hair, in 1971. In 1977 she began recording tracks for a solo album, but the finished record never materialized.[4]

Keaton met with more success in the medium of still photography. Like her character in Annie Hall, Keaton had long relished photography as a favorite hobby, an interest she picked up as a teenager from her mother. While traveling in the late 1970s, she began exploring her avocation more seriously. “Rolling Stone had asked me to take photographs for them, and I thought, ‘Wait a minute, what I’m really interested in is these lobbies, and these strange ballrooms in these old hotels.’ So I began shooting them”, she recalled in 2003. “These places were deserted, and I could just sneak in anytime and nobody cared. It was so easy and I could do it myself. It was an adventure for me.” Reservations, her collection of photos of hotel interiors, was published in book form in 1980.[34]

1980s

With Manhattan (1979), Keaton and Woody Allen ended their long working relationship; it was their last major collaboration until 1993. In 1978 she became romantically involved with Warren Beatty, and two years later he cast her opposite him in the epic historical drama Reds. In the film, she played Louise Bryant, a journalist and feminist, who flees her husband to work with radical journalist John Reed (Beatty) and later enters Russia to find him as he chronicles the Russian Civil War. Beatty cast Keaton after seeing her in Annie Hall, as he wanted to bring her natural nervousness and insecure attitude to the role. The production of Reds was delayed several times following its conception in 1977, and Keaton almost left the project when she believed it would never be produced. Filming finally began two years later.

Keaton (right) at the White House with First Lady Nancy Reagan and Warren Beatty (December 1981)

In a 2006 Vanity Fair story, Keaton described her role as “the everyman of that piece, as someone who wanted to be extraordinary but was probably more ordinary … I knew what it felt like to be extremely insecure.” Assistant director Simon Relph later stated that Louise Bryant was one of Keaton’s most difficult roles, and that “[she] almost got broken.”[35] Reds opened to critical acclaim, and Keaton’s performance was particularly praised. The New York Times wrote that Keaton was “nothing less than splendid as Louise Bryant – beautiful, selfish, funny and driven. It’s the best work she has done to date.”[36] Roger Ebert called Keaton “a particular surprise. I had somehow gotten into the habit of expecting her to be a touchy New Yorker, sweet, scared, and intellectual. Here, she is just what she needs to be: plucky, healthy, exasperated, loyal, and funny.”[37] Keaton received her second Academy Award nomination for her performance.

The following year, Keaton starred in the domestic drama Shoot the Moon opposite Albert Finney. The film follows George (Finney) and Faith Dunlap (Keaton), whose deteriorating marriage, separation, and love affairs devastate their four children. Shoot the Moon received mostly positive reviews from critics and Keaton’s performance was again praised. In The New YorkerPauline Kael wrote that the film was “perhaps the most revealing American movie of the era”, saying of Keaton:

Diane Keaton may be a star without vanity: she’s so completely challenged by the role of Faith that all she cares about is getting the character right. Very few young American movie actresses have the strength and the instinct for the toughest dramatic roles — intelligent, sophisticated heroines. Jane Fonda did, around the time that she appeared in Klute and They Shoot Horses, Don’t They?, but that was more than ten years ago. There hasn’t been anybody else until now. Diane Keaton acts on a different plane from that of her previous film roles; she brings the character a full measure of dread and awareness and does it in a special, intuitive way that’s right for screen acting.[38]

David Denby of New York magazine called Keaton “perfectly relaxed and self-assured”, adding, “Keaton has always found it easy enough to bring out the anger that lies beneath the soft hesitancy of her surface manner, but she’s never dug down and found this much pain before.[39][full citation needed] Keaton’s performance garnered her a second Golden Globe nomination in a row for Best Actress in a Motion Picture – Drama, following Reds.

1984 brought The Little Drummer Girl, Keaton’s first excursion into the thriller and action genre. The Little Drummer Girl was both a financial and critical failure, with critics claiming that Keaton was miscast for the genre, such as one review from The New Republic claiming that “the title role, the pivotal role, is played by Diane Keaton, and around her the picture collapses in tatters. She is so feeble, so inappropriate.”[40] But the same year she received positive reviews for her performance in Mrs. Soffel, a film based on the true story of a repressed prison warden’s wife who falls in love with a convicted murderer and arranges for his escape. Two years later she starred with Jessica Lange and Sissy Spacek in Crimes of the Heart, adapted from Beth Henley‘s Pulitzer Prize-winning play into a moderately successful screen comedy. Keaton’s performance was well received by critics, and Rita Kempley of The Washington Post wrote, “As the frumpy Lenny, Keaton eases smoothly from New York neurotic to southern eccentric, a reluctant wallflower stymied by, of all things, her shriveled ovary.”[41]

In 1987 Keaton starred in Baby Boom, her first of four collaborations with writer-producer Nancy Meyers. She played a Manhattan career woman who is suddenly forced to care for a toddler. A modest box-office success, Keaton’s performance was singled out by Kael, who described it as “a glorious comedy performance that rides over many of the inanities in this picture. Keaton is smashing: the Tiger Lady’s having all this drive is played for farce and Keaton keeps you alert to every shade of pride and panic the character feels. She’s an ultra-feminine executive, a wide-eyed charmer, with a breathless ditziness that may remind you of Jean Arthur in The More The Merrier.”[42] That same year Keaton made a cameo in Allen’s film Radio Days as a nightclub singer. 1988’s The Good Mother was a financial disappointment (according to Keaton, the film was “a Big Failure. Like, BIG failure”),[43] and some critics panned her performance; according to The Washington Post, “her acting degenerates into hype—as if she’s trying to sell an idea she can’t fully believe in.”[44]

In 1987 Keaton directed and edited her first feature film, Heaven, a documentary about the possibility of an afterlife. It met with mixed critical reaction, with The New York Times likening it to “a conceit imposed on its subjects.”[45] Over the next four years Keaton directed music videos for artists such as Belinda Carlisle, including the video for Carlisle’s chart-topping hit “Heaven Is a Place on Earth,” two television films starring Patricia Arquette, and episodes of the series China Beach and Twin Peaks.

1990s

By the 1990s Keaton had established herself as one of the most popular and versatile actors in Hollywood. She shifted to more mature roles, frequently playing matriarchs of middle-class families. Of her role choices and avoidance of becoming typecast, she said: “Most often a particular role does you some good and Bang! You have loads of offers, all of them for similar roles … I have tried to break away from the usual roles and have tried my hand at several things.”[46]

Keaton began the decade with The Lemon Sisters, a poorly received comedy/drama that she starred in and produced, which was shelved for a year after its completion. In 1991 she starred with Steve Martin in the family comedy Father of the Bride. She was almost not cast in the film, as The Good Mother‘s commercial failure had strained her relationship with Walt Disney Pictures, the studio of both films.[43] Father of the Bride was Keaton’s first major hit after four years of commercial disappointments. She reprised her role four years later in the sequel, as a woman who becomes pregnant in middle age at the same time as her daughter. A San Francisco Examiner review of the film was one of many in which Keaton was once again compared to Katharine Hepburn: “No longer relying on that stuttering uncertainty that seeped into all her characterizations of the 1970s, she has somehow become Katharine Hepburn with a deep maternal instinct, that is, she is a fine and intelligent actress who doesn’t need to be tough and edgy in order to prove her feminism.”[47]

Keaton reprised her role of Kay Adams in 1990’s The Godfather Part III, set 20 years after the end of The Godfather, Part II. In 1993 Keaton starred in Manhattan Murder Mystery, her first major film role in a Woody Allen film since 1979. Her part was originally intended for Mia Farrow, but Farrow dropped out of the project after breaking up with Allen.[48] Todd McCarthy of Variety commended her performance, writing that she “nicely handles her sometimes buffoonish central comedic role”.[49] David Ansen of Newsweek wrote, “On screen, Keaton and Allen have always been made for each other: they still strike wonderfully ditsy sparks”.[50] For her performance, Keaton was nominated for a Golden Globe Award for Best Actress – Motion Picture Comedy or Musical.

In 1995 Keaton directed Unstrung Heroes, her first theatrically released narrative film. The movie, adapted from Franz Lidz‘s memoir, starred Nathan Watt as a boy in the 1960s whose mother (Andie MacDowell) is diagnosed with cancer. As her sickness advances and his inventor father (John Turturro) grows increasingly distant, the boy is sent to live with his two eccentric uncles (Maury Chaykin and Michael Richards). Keaton switched the story’s setting from the New York of Lidz’s book to the Southern California of her own childhood, and the four mad uncles were reduced to a whimsical odd couple.[51] In an essay for The New York Times, Lidz said that the cinematic Selma had died not of cancer, but of “Old Movie Disease”. “Someday somebody may find a cure for cancer, but the terminal sappiness of cancer movies is probably beyond remedy.”[52] Unstrung Heroes played in a relatively limited release and made little impression at the box office, but the film and its direction were generally well-received critically.[53]

Keaton’s most successful film of the decade was the 1996 comedy The First Wives Club. She starred with Goldie Hawn and Bette Midler as a trio of “first wives”: middle-aged women who had been divorced by their husbands in favor of younger women. Keaton claimed that making the film “saved [her] life.”[54] The film was a major success, grossing US$105 million at the North American box office,[55] and it developed a cult following among middle-aged women.[56] Its reviews were generally positive for Keaton and her co-stars, and The San Francisco Chronicle called her “probably [one of] the best comic film actresses alive.”[57] In 1997 Keaton, Hawn and Midler received the Women in Film Crystal Award, which honors “outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.”[58]

Also in 1996 Keaton starred as Bessie, a woman with leukemia, in Marvin’s Room, an adaptation of the play by Scott McPherson. Meryl Streep played her estranged sister, Lee, and had also initially been considered for the role of Bessie. The film also starred Leonardo DiCaprio as Lee’s rebellious son. Roger Ebert wrote, “Streep and Keaton, in their different styles, find ways to make Lee and Bessie into much more than the expression of their problems.”[59] Keaton earned a third Academy Award nomination for the film, which was critically acclaimed. She said the role’s biggest challenge was understanding the mentality of a person with a terminal illness.[10] Keaton next starred in The Only Thrill (1997) opposite her Baby Boom co-star Sam Shephard, and had a supporting role in The Other Sister (1999).

In 1999 Keaton narrated the one-hour public radio documentary “If I Get Out Alive”, the first to focus on the conditions and brutality young people face in the adult correctional system. The program, produced by Lichtenstein Creative Media, aired on public radio stations across the country and was honored with a First Place National Headliner Award and a Casey Medal for Meritorious Journalism.[60]

2000s

Keaton’s first film of 2000 was Hanging Up, with Meg Ryan and Lisa Kudrow. She directed the film, despite claiming in a 1996 interview that she would never direct herself in a film, saying “as a director, you automatically have different goals. I can’t think about directing when I’m acting.”[43] A drama about three sisters coping with the senility and eventual death of their elderly father (Walter Matthau), Hanging Up rated poorly with critics and grossed a modest US$36 million at the North American box office.[61]

In 2001 Keaton co-starred with Warren Beatty in Town & Country, a critical and financial fiasco. Budgeted at an estimated US$90 million, the film opened to little notice and grossed only US$7 million in its North American theatrical run.[62] Peter Travers of Rolling Stone wrote that Town & Country was “less deserving of a review than it is an obituary….The corpse took with it the reputations of its starry cast, including Warren Beatty and Diane Keaton.”[63] In 2001 and 2002 Keaton starred in four low-budget television films. She played a fanatical nun in the religious drama Sister Mary Explains It All, an impoverished mother in the drama On Thin Ice, and a bookkeeper in the mob comedy Plan B. In Crossed Over, she played Beverly Lowry, a woman who forms an unusual friendship with the only woman executed while on death row in Texas, Karla Faye Tucker.

Keaton in 2009

Keaton’s first major hit since 1996 came in 2003’s Something’s Gotta Give, directed by Nancy Meyers and co-starring Jack Nicholson. Nicholson and Keaton, aged 65 and 56 respectively, were seen as bold casting choices for leads in a romantic comedy. Twentieth Century Fox, the film’s original studio, reportedly declined to produce the film, fearing that the lead characters were too old to be bankable. Keaton told Ladies’ Home Journal, “Let’s face it, people my age and Jack’s age are much deeper, much more soulful, because they’ve seen a lot of life. They have a great deal of passion and hope—why shouldn’t they fall in love? Why shouldn’t movies show that?”[64] Keaton played a middle-aged playwright who falls in love with her daughter’s much older boyfriend. The film was a major success at the box office, grossing US$125 million in North America.[65] Roger Ebert wrote, “Nicholson and Keaton bring so much experience, knowledge and humor to their characters that the film works in ways the screenplay might not have even hoped for.”[66] Keaton received her fourth Academy Award nomination for her performance.

Keaton’s only film between 2004 and 2006 was the comedy The Family Stone (2005), starring an ensemble cast. In the film, scripted and directed by Thomas Bezucha, Keaton played a breast cancer survivor and matriarch of a big New England family that reunites at the parents’ home for its annual Christmas holidays.[67] The film was released to moderate critical and commercial success,[68] and earned US$92.2 million worldwide.[69] Keaton received her second Satellite Award nomination for her portrayal,[70] of which Peter Travers of Rolling Stone wrote, “Keaton, a sorceress at blending humor and heartbreak, honors the film with a grace that makes it stick in the memory.”[71]

In 2007 Keaton starred in both Because I Said So and Mama’s Boy. In the romantic comedy Because I Said So, directed by Michael Lehmann, Keaton played a long-divorced mother of three daughters, determined to pair off her only single daughter, Milly (Mandy Moore).[72] Also starring Stephen Collins and Gabriel Macht, the project opened to overwhelmingly negative reviews, with Wesley Morris of The Boston Globe calling it “a sloppily made bowl of reheated chick-flick cliches”, and was ranked among the worst-reviewed films of the year.[73][74][75] The following year Keaton received her first and only Golden Raspberry Award nomination to date for the film.[70][unreliable source?] In Mama’s Boy, director Tim Hamilton’s feature film debut, Keaton starred as the mother of a self-absorbed 29-year-old (Jon Heder) whose world turns upside down when she starts dating and considers kicking him out of the house. Distributed for a limited release to certain parts of the United States only, the independent comedy garnered largely negative reviews.[76]

In 2008 Keaton starred alongside Dax Shepard and Liv Tyler in Vince Di Meglio’s dramedy Smother, playing the overbearing mother of an unemployed therapist, who decides to move in with him and his girlfriend after breaking up with her husband (Ken Howard). As with Mama’s Boy, the film received a limited release only, resulting in a gross of US$1.8 million worldwide.[77] Critical reaction to the film was generally unfavorable,[78] and once again Keaton was dismissed for her role choices, with Sandra Hall of the New York Post writing, “Diane’s career is dyin’ […] this time, sadly, she’s gone too far. She’s turned herself into a mother-in-law joke.”[79] Also in 2008 Keaton appeared alongside Katie Holmes and Queen Latifah in the crime-comedy film Mad Money, directed by Callie Khouri. Based on the British television drama Hot Money (2001), the film revolves around three female employees of the Federal Reserve who scheme to steal money that is about to be destroyed.[80] As with Keaton’s previous projects, the film bombed at the box offices with a gross total of US$26.4 million,[81] and was universally panned, ranking third in the New York Post‘s Top 10 Worst Movies of 2008.[82]

2010s[edit]

In 2010 Keaton starred alongside Rachel McAdams and Harrison Ford in Roger Michell‘s comedy Morning Glory, playing the veteran TV host of a fictional morning talk show that desperately needs to boost its lagging ratings. Portraying a narcissistic character who will do anything to please the audience, Keaton described her role as “the kind of woman you love to hate.”[83] Inspired by Neil Simon‘s 1972 Broadway play The Sunshine Boys,[84] the film was a moderate success at the box office, taking a worldwide total of almost US$59 million.[85] Some critics felt that Keaton was underused in the film,[86] but she was generally praised for her performance, with James Berardinelli of ReelViews writing, “Diane Keaton is so good at her part that one can see her sliding effortlessly into an anchor’s chair on a real morning show.”[87]

In fall 2010 Keaton joined the production of the comedy drama Darling Companion by Lawrence Kasdan, which was released in 2012. Co-starring Kevin Kline and Dianne Wiest and set in Telluride, Colorado,[88] the film follows a woman, played by Keaton, whose husband loses her much-beloved dog at a wedding held at their vacation home in the Rocky Mountains, resulting in a search party to find the pet.[89] Kasdan’s first film in nine years, the film bombed at the US box office, where it scored about US$790,000 throughout its entire theatrical run.[90] Critics dismissed the film as “an overwritten, underplotted vanity project” but applauded Keaton’s performance.[91][92] Ty Burr of The Boston Globe wrote that the film “would be instantly forgettable if not for Keaton, who imbues [her role] with a sorrow, warmth, wisdom, and rage that feel earned […] Her performance here is an extension of worn, resilient grace.”[92]

Also in 2011 Keaton began production on Justin Zackham‘s 2013 ensemble comedy The Big Wedding, a remake of the 2006 French film Mon frère se marie in which she, along with Robert De Niro, played a long-divorced couple who, for the sake of their adopted son’s wedding and his very religious biological mother, pretend they are still married.[93] The film received largely negative reviews.[94] In his New York Post review Lou Lumenick wrote, “the brutally unfunny, cringe-worthy The Big Wedding provides ample opportunities for Robert De Niro, Diane Keaton, Susan Sarandon, and Robin Williams to embarrass themselves”.[95]

In 2014 Keaton starred in And So It Goes and 5 Flights Up. In Rob Reiner‘s romantic dramedy And So It Goes, Keaton portrayed a widowed lounge singer who finds autumnal love with a bad boy (Michael Douglas).[96] The film received largely negative reviews. One critic wrote that “And So It Goes aims for comedy, but with two talented actors stuck in a half-hearted effort from a once-mighty filmmaker, it ends in unintentional tragedy.”[97] Keaton co-starred with Morgan Freeman in Richard Loncraine‘s comedy film 5 Flights Up, based on Jill Ciment‘s novel Heroic Measures. They play a long-married couple who have an eventful weekend after they are forced to contemplate selling their beloved Brooklyn apartment.[98][99] Shot in New York, the film premiered, under its former name Ruth & Alex, at the 2014 Toronto International Film Festival.[100] The same year Keaton became the first woman to receive the Golden Lion Award at the Zurich Film Festival.[101][102]

Keaton’s only film of 2015 was Love the Coopers, an ensemble comedy about a troubled family getting together for Christmas, for which she reunited with Because I Said So writer Jessie Nelson.[103] Also starring John GoodmanEd Helms, and Marisa Tomei, Keaton was attached for several years before the film went into production.[103] Her cast was instrumental in financing and recruiting most other actors, which led her to an executive producer credit in the film.[103] Love the Coopers received largely negative reviews from critics, who called it a “bittersweet blend of holiday cheer”,[104] and became a moderate commercial success at a worldwide total of US$41.1 million against a budget of US$17 million.[105] Also in 2015 Netflix announced the comedy Divanation, for which Keaton was expected to reunite with her First Wives Club co-stars Midler and Hawn to portray a former singing group, but the project failed to materialize.[106]

Keaton voiced amnesiac fish Dory’s mother in Disney and Pixar‘s Finding Dory (2016), the sequel to the 2003 Pixar computer-animated film Finding Nemo. The film was a critical and commercial success, grossing over US$1 billion worldwide, the second Pixar film to cross this mark after Toy Story 3 (2010). It also set numerous records, including the biggest animated opening of all time in North America, emerging as the biggest animated film of all time in the US.[107][108] Keaton’s other project of 2016 was the HBO eight-part series The Young Pope, in which she plays a nun who raised the newly elected Pope (Jude Law) and helped him reach the papacy.[109] The miniseries received two nominations for the 69th Primetime Creative Arts Emmy Awards, becoming the first Italian TV series to be nominated for Primetime Emmy Awards.[110]

In 2017 Keaton appeared opposite Brendan Gleeson in the British dramedy film Hampstead.[111] Based on the life of Harry Hallowes, it depicts an American widow (Keaton) who helps a local man defending his ramshackle hut and the life he has been leading on Hampstead Heath for 17 years.[112] The specialty release had a mixed reception from critics, who were unimpressed by the film’s “deeply mediocre story”,[113] but became a minor commercial success.[114] Keaton’s only project of 2018 was Book Club, in which she, Jane FondaCandice Bergen, and Mary Steenburgen play four friends who read Fifty Shades of Grey as part of their monthly book club and subsequently begin to change how they view their personal relationships. The romantic comedy received mixed reviews from critics, who felt that Book Club only “intermittently rises to the level of its impressive veteran cast,”[115][116] but with a worldwide gross of over $91 million, became Keaton’s biggest commercial success in a non-voice role since 2003’s Something’s Gotta Give.[117] In 2019, Keaton starred in the comedy Poms as a woman dying of cancer who starts a cheerleading squad with other female residents of a retirement home. The film was a box office disappointment and was negatively received by critics.[118]

Personal life[edit]

Relationships and family[edit]

Keaton has had romantic associations with several entertainment industry personalities, starting with director Woody Allen during her role in the 1969 Broadway production of Play It Again, Sam. Their relationship turned romantic following a dinner after a late-night rehearsal. It was her sense of humor that attracted Allen.[119] They briefly lived together during the production, but by the time of the film release of the same name in 1972, their living arrangements became informal.[120] They worked together on eight films between 1971 and 1993, and Keaton has said that Allen remains one of her closest friends.[24]

Keaton also had a relationship with her Godfather Trilogy costar Al Pacino. Their on-again, off-again relationship ended after the filming of The Godfather Part III. Keaton said of Pacino, “Al was simply the most entertaining man… To me, that’s, that is the most beautiful face. I think Warren [Beatty] was gorgeous, very pretty, but Al’s face is like whoa. Killer, killer face.”[121]

Keaton was already dating Warren Beatty in 1979 when they co-starred in the film Reds.[122] Beatty was a regular subject in tabloid magazines and media coverage, and Keaton became included, much to her bewilderment. In 1985, Vanity Fair called her “the most reclusive star since Garbo.”[14] This relationship ended shortly after Reds wrapped. Troubles with the production are thought to have strained the relationship, including numerous financial and scheduling problems.[35] Keaton remains friends with Beatty.[24]

In July 2001, Keaton said of being older and unmarried, “I don’t think that because I’m not married it’s made my life any less. That old maid myth is garbage.”[123] Keaton has two adopted children, daughter Dexter (adopted 1996) and son Duke (2001). Her father’s death made mortality more apparent to her, and she decided to become a mother at age 50.[54] She later said of having children, “Motherhood has completely changed me. It’s just about like the most completely humbling experience that I’ve ever had.”[124]

Religious beliefs[edit]

Keaton said she produced her 1987 documentary Heaven because “I was always pretty religious as a kid … I was primarily interested in religion because I wanted to go to heaven.” When she grew up, she became agnostic.[125]

Other activities[edit]

Keaton has continued to pursue photography. In 1987, she told Vanity Fair, “I have amassed a huge library of images—kissing scenes from movies, pictures I like. Visual things are really key for me.”[125] She has published several collections of her photographs and served as an editor of collections of vintage photography. Works she has edited include a book of photographs by paparazzo Ron Galella, an anthology of reproductions of clown paintings, and a collection of photos of California’s Spanish-Colonial-style houses.

Keaton has served as a producer on films and television series. She produced the Fox series Pasadena, which was canceled after airing only four episodes in 2001 but completed its run on cable in 2005. In 2003, she produced the Gus Van Sant drama Elephant, about a school shooting. Of why she produced the film, she said, “It really makes me think about my responsibilities as an adult to try and understand what’s going on with young people.”[126]

In 2007, Keaton received the Film Society of Lincoln Center‘s Gala Tribute.

Keaton opposes plastic surgery. She told More magazine in 2004, “I’m stuck in this idea that I need to be authentic … My face needs to look the way I feel.”[11]

Since 2005, Keaton has been a contributing blogger at The Huffington Post. Since 2006 she has been the face of L’Oréal.[127]

Keaton is active in campaigns with the Los Angeles Conservancy to save and restore historic buildings, particularly in the Los Angeles area.[15] Among the buildings she has been active in restoring is the Ennis House in the Hollywood Hills, designed by Frank Lloyd Wright.[31] Keaton was also active in the failed campaign to save the Ambassador Hotel in Los Angeles (a hotel featured in Reservations), where Robert F. Kennedy was assassinated. She is an enthusiast of Spanish Colonial Revival architecture.[128]

Keaton has also established herself as a real estate developer. She has resold several mansions in Southern California after renovating and redesigning them. One of her clients was Madonna, who purchased a $6.5 million Beverly Hills mansion from Keaton in 2003.[129]

Keaton wrote her first memoir, Then Again, for Random House in November 2011.[130] Much of it relies on her mother’s private journals, which include the line “Diane…is a mystery…At times, she’s so basic, at others so wise it frightens me.”[131] In 2012, Keaton’s audiobook recording of Joan Didion‘s Slouching Towards Bethlehem was released on Audible.com.[132] Her performance was nominated for a 2013 Audie Award in the Short Stories/Collections category.

Acting style and legacy[edit]

Keaton has been called “one of the great American actresses from the heyday of the 1970s”, a style icon and a “treasure” with a personal and professional style that is “difficult to explicate and impossible to duplicate.”[133][134][135] Many critics have pointed to her versatility in starring in both light comedies and acclaimed dramas. The New York Times described Keaton as “remarkably skilled” at portraying Woody Allen’s “darling flustered muse” in his comedies, as well as “shy, self-conscious women overcome by the power of their own awakened eroticism” in dramatic films like Looking for Mr. GoodbarRedsShoot the Moon and Mrs. Soffel.[136] It also noted Keaton’s ability to consistently reinvent and challenge herself on screen, having transitioned from “Allen’s ditzy foil” to a “gifted and erotically nuanced character actress” and later “an appealing maternal figure… a woman’s woman with a sexy edge.”[136][137]

Literary critic Daphne Merkin argued that Keaton remained more popular with audiences than her contemporaries because of her “friendly accessibility” and “charmingly self-effacing” persona, calling Keaton’s most “steadfastly glamorous” asset her “megawatt personality, bursting out of her like an uncontrollable force of nature, a geyser of quirkily entertaining traits that fall on the air and lend everything around her a momentary sparkle.”[136] In New York magazine, Peter Rainer wrote, “In her Annie Hall days, [Keaton] was famed for her thrown-together fashion sense, and her approach to acting is, in the best way, thrown-together, too. Audiences love her because they identify with the women she plays, who are never all of a piece. Nobody can be grave and goofy all at once like Diane Keaton. In these fractious times, it’s the perfect combo for a modern heroine.”[138] Famously self-deprecating, Keaton has been noted for her “wry sense of humor” and “eccentric gender-bending style.”[139]

Analyzing her on-screen persona, Deborah C. Mitchell wrote that Keaton often played “a complex, modern American woman, a paradox of self-doubt and assurance”, which became her trademark. Mitchell suggests that Keaton made Annie Hall a “critical juncture for women in American culture. In this ism-infected age, Keaton became not just a star but an icon. Annie Hall, and with her Diane Keaton, presented all of the uncertainty and ambivalence of the new breed of women.”[140] Likewise, Bruce Weber felt Keaton’s eccentricity—”an amalgam of caginess and insecurity” and a “note of comic desperation… her round-cheeked Annie Hall dewiness”—was her gift as a screen comedian.[135] Keaton’s Annie Hall is often cited among the greatest Oscar-winning performances in history: Entertainment Weekly ranked it 7th on its “25 greatest Best Actress Winners” list, praising her “loopy mannerisms, jazz-club serenades, and endlessly imitated fashion sense.”[141] After seeing her performance in Looking for Mr. GoodbarAndrew Sarris remarked, “Keaton is clearly the most dynamic woman star in pictures. And any actress who can bring wit and humor to sex in an American movie has to be blessed with the most winning magic.”[142]

When asked what made Keaton funny, Allen said: “My opinion is that with the exception of Judy Holliday, she’s the finest screen comedienne we’ve ever seen. It’s in her intonation; you can’t quantify it easily. When Groucho Marx or W.C. Fields or Holliday would say something, it’s in the ring of their voices, and she has that. It’s never line comedy with her. It’s all character comedy.”[135] Charles Shyer, who directed her in Baby Boom, said Keaton was “in the mold of the iconic comedic actresses Carole LombardIrene Dunne and Rosalind Russell.”[143] In 2017 Keaton was chosen by the board of directors of the American Film Institute to receive the AFI Life Achievement Award, which Woody Allen presented.[144]

Filmography[edit]

Film[edit]

Year Title Role Notes
1970 Lovers and Other Strangers Joan Vecchio
1971 Men of Crisis: The Harvey Wallinger Story Renata Wallinger Short film
1972 The Godfather Kay Adams
Play It Again, Sam Linda Christie
1973 Sleeper Luna Schlosser
1974 The Godfather Part II Kay Adams-Corleone
1975 Love and Death Sonja
1976 I Will, I Will… for Now Katie Bingham
Harry and Walter Go to New York Lissa Chestnut
1977 Annie Hall Annie Hall
Looking for Mr. Goodbar Theresa Dunn
1978 Interiors Renata Wallinger
1979 Manhattan Mary Wilkie
1981 The Wizard of Malta Narrator
Reds Louise Bryant
1982 Shoot the Moon Faith Dunlap
1984 The Little Drummer Girl Charlie
Mrs. Soffel Kate Soffel
1986 Crimes of the Heart Lenny Magrath
1987 Radio Days New Years Singer
Baby Boom J.C. Wiatt
1988 The Good Mother Anna Dunlop
1989 The Lemon Sisters Eloise Hamer
1990 The Godfather Part III Kay Adams-Michelson
1991 Father of the Bride Nina Banks
1993 Manhattan Murder Mystery Carol Lipton
Look Who’s Talking Now Daphne Voice
1995 Father of the Bride Part II Nina Banks
1996 The First Wives Club Annie Paradis
Marvin’s Room Bessie Wakefield
1997 The Only Thrill Carol Fitzsimmons
1999 The Other Sister Elizabeth Tate
2000 Hanging Up Georgia Mozell
2001 Town & Country Ellie Stoddard
Plan B Fran Varecchio
2003 Something’s Gotta Give Erica Barry
2005 Terminal Impact Narrator
The Family Stone Sybil Stone
2007 Because I Said So Daphne Wilder
Mama’s Boy Jan Mannus
2008 Mad Money Bridget Cardigan
Smother Marilyn Cooper
2010 Morning Glory Colleen Peck
2012 Darling Companion Beth Winter
2013 The Big Wedding Ellie Griffin
2014 And So it Goes Leah
5 Flights Up Ruth Carver
2015 Love the Coopers Charlotte Cooper
2016 Finding Dory Jenny Voice
2017 Hampstead Emily Walters
2018 Book Club Diane
2019 Poms Martha
2020 Father of the Bride, Part 3(ish) Nina Banks Short film
Love, Weddings & Other Disasters Sara
2022 Mack & Rita Rita
Maybe I Do TBA
2023 Book Club 2 – The Next Chapter Diane Post-production

Television[edit]

Year Title Role Notes
1970 Love, American Style Louise Segment: “Love and Pen Pals”
Rod Serling’s Night Gallery Nurse Frances Nevins Segment: “Room with a View”
1971 The F.B.I. Diane Britt Episode: “Death Watch”
Mannix Cindy Conrad Episode: “The Color of Murder”
1977 The Godfather Saga Kay Adams Corleone 4 episodes
1992 Running Mates Aggie Snow Television film
1994 Amelia Earhart: The Final Flight Amelia Earhart
1997 Northern Lights Roberta Blumstein
2001 Sister Mary Explains It All Sister Mary Ignatius
2002 Crossed Over Beverly Lowry
2003 On Thin Ice Patsy McCartle
2006 Surrender, Dorothy Natalie Swerdlow
2011 Tilda Tilda Watski Pilot
2016 The Young Pope Sister Mary Ignatius 10 episodes
2019–present Green Eggs and Ham Michellee Weebie-Am-I Voice; 20 episodes

Music videos[edit]

Year Title Role Artist
2021 Ghost Self Justin Bieber

Awards and honors[edit]

Keaton has received various awards, including an Academy Award, and a Golden Globe Award for her performance in Woody Allen‘s Annie Hall (1977). She also received three more Academy Award nominations, for Reds (1981), Marvin’s Room (1996), and Something’s Gotta Give (2003). Keaton received a Primetime Emmy Award nomination for Amelia Earhart: The Final Flight (1994) and a Daytime Emmy Award nomination for CBS Schoolbreak Special in 1990. Keaton has received 12 Golden Globe Award nominations, winning for Annie Hall (1977) and Something’s Gotta Give (2003). She has received four Screen Actors Guild Award nominations for her work in film and television.

Over the years Keaton has been received various honors for her work as an actress and fashion icon. In 1991, she received the Hasty Pudding Woman of the Year award from Harvard’s Hasty Pudding Theatricals, which is given to performers who give a lasting and impressive contribution to the world of entertainment.[145] In 1995, she was honored by the New York Women in Film & Television association along with Angela BassettCokie RobertsGena Rowlands and Thelma Schoonmaker.[146] In 1996 she won the Golden Apple Award as the Female Star of the Year, sharing it with her First Wives Club co-stars Goldie Hawn and Bette Midler.[147] She also received the 1997 Crystal Award at the Women in Film Crystal + Lucy Awards in 1997, and the Elle Women in Hollywood Awards the Icon Award in 1998 along with Sigourney WeaverLucy Fisher and Gillian Armstrong.[148]

Keaton won the 2004 AFI Star Award during the US Comedy Arts Festival.[149] In 2005, she received a Lifetime Achievement award from the Hollywood Film Awards.[150] She was honored with the Film Society of Lincoln Center Gala Tribute in 2007.[151] In 2014 she received a Lifetime Achievement Award at the Manaki Brothers Film Festival.[152] That year she also received the Golden Icon Award at the Zurich Film Festival.[153] In 2017 she was honored by the American Film Institute and was given a Lifetime Achievement Award, which was presented to her by her close friend and frequent collaborator Woody Allen. Other who paid tribute to her included Steve MartinMartin ShortMeryl StreepReese WitherspoonEmma StoneRachel McAdamsMorgan Freeman, and Al Pacino.[154] In 2018 she received a Special David at the David di Donatello Awards.[155]

تعرفوا على الصحفي الأمريكي :ساتشيل رونان أوسوليفان فارو Ronan Farrow..نجل الممثلة ميا فارو والمخرج السينمائي وودي آلن

Ronan Farrow: 'Catch And Kill' Tactics Protected Both ...

Is Ronan Farrow Too Good to Be True? - The New York Times

Ronan Farrow
American journalist
About
Satchel Ronan O’Sullivan Farrow is an American journalist. The son of actress Mia Farrow and filmmaker Woody Allen, he is best known for his investigative reporting of allegations of sexual abuse against film producer Harvey Weinstein, which was published in The New Yorker magazine. Wikipedia
Born: December 19, 1987 (age 34 years), New York, NY
Education: Yale Law School (2009), Bard College (2004), MORE
Siblings: Dylan O’Sullivan Farrow, Soon-Yi Previn, Moses Farrow, MORE
Partner: Jon Lovett (2011–)
Height: 5′ 10″
Parents: Mia Farrow, Woody Allen

رونان فارو
صحفي أمريكي
حول
ساتشيل رونان أوسوليفان فارو صحفي أمريكي. نجل الممثلة ميا فارو والمخرج السينمائي وودي آلن ، اشتهر بتحقيقاته التحقيقية عن مزاعم الاعتداء الجنسي ضد المنتج السينمائي هارفي واينستين ، والتي نُشرت في مجلة نيويوركر. ويكيبيديا
مولود: 19 ديسمبر 1987 (34 عامًا) ، نيويورك ، نيويورك
التعليم: كلية الحقوق بجامعة ييل (2009) ، كلية بارد (2004) ، المزيد
الأشقاء: ديلان أوسوليفان فارو ، قريباً يي بريفين ، موسى فارو ، المزيد
الشريك: جون لوفيت (2011–)
ارتفاع: 5 10 ″
أولياء الأمور: ميا فارو ، وودي آلن

Ronan Farrow: Woody Allen, Harvey Weinstein and me ...

Ronan Farrow

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Ronan Farrow
Pulitzer2018-ronan-farrow-20180530-wp.jpg

Farrow in 2018
Born
Satchel Ronan O’Sullivan Farrow

December 19, 1987 (age 34)

Citizenship
  • United States
  • Ireland[a]
Education Bard College at Simon’s Rock
Bard College (BA)
Yale University (JD)
Magdalen College, Oxford (DPhil)
Occupation
  • Journalist
  • lawyer
Years active 2001–present
Partner(s) Jon Lovett (2011–present; engaged)
Parents
Relatives

Dylan Farrow (sister)

Satchel Ronan O’Sullivan Farrow[1] (born December 19, 1987) is an American journalist. The son of actress Mia Farrow and filmmaker Woody Allen, he is best known for his investigative reporting of allegations of sexual abuse against film producer Harvey Weinstein, which was published in The New Yorker magazine. The magazine won the 2018 Pulitzer Prize for Public Service for this reporting, sharing the award with The New York Times. Farrow’s subsequent investigations have exposed allegations against politician Eric Schneiderman, media executive Les Moonves, and Supreme Court Justice Brett Kavanaugh.

ساتشيل رونان أوسوليفان فارو [1] (مواليد 19 ديسمبر 1987) صحفي أمريكي. نجل الممثلة ميا فارو والمخرج السينمائي وودي آلن ، اشتهر بتحقيقاته الاستقصائية عن مزاعم الاعتداء الجنسي ضد المنتج السينمائي هارفي وينشتاين ، والتي نُشرت في مجلة نيويوركر. وفازت المجلة بجائزة بوليتسر للخدمة العامة لعام 2018 عن هذا التقرير ، وتقاسمت الجائزة مع صحيفة نيويورك تايمز. كشفت تحقيقات فارو اللاحقة عن مزاعم ضد السياسي إريك شنايدرمان ، والمسؤول الإعلامي لي مونفيس ، وقاضي المحكمة العليا بريت كافانو.

Farrow was born on December 19, 1987, in New York City to actress Mia Farrow and filmmaker Woody Allen. He is their only biological child.[2][3] His mother’s family is Catholic and his father’s Jewish.[4] His given names honor National Baseball Hall of Fame pitcher Satchel Paige[5] and maternal grandmother, actress Maureen O’Sullivan. Now known as Ronan, he was given the surname “Farrow” to avoid confusion. His siblings have the surnames Previn, from those born or adopted during his mother’s marriage to composer Andre Previn, and Farrow, for children she adopted after she and Previn divorced.[6]

As a child, Farrow skipped grades in school and took courses with the Center for Talented Youth at Johns Hopkins University.[7] At age 11, he began his studies at Bard College at Simon’s Rock, later transferring to Bard College for a Bachelor of Arts in philosophy.[8] He graduated at age 15, the youngest to do so at that institution.[9][10]

He entered Yale Law School, from which he received a Juris Doctor in 2009.[10][11] He later passed the New York State Bar examination.[12] Selected as a Rhodes Scholar, Farrow earned a Doctor of Philosophy in political science from the University of Oxford, where he was a student of Magdalen College.[13]

Career[edit]

Public service[edit]

From 2001 to 2009, Farrow served as a UNICEF Spokesperson for Youth,[14] advocating for children and women caught up in the ongoing crisis in Sudan’s Darfur region[15] and assisting in fundraising and addressing United Nations affiliated groups in the United States.[15][16] During this time, he also made joint trips to the Darfur region of Sudan with his mother, actress Mia Farrow, who is a UNICEF Goodwill Ambassador.[17] He subsequently advocated for the protection of Darfuri refugees.[18] Following his time in Sudan, Farrow was affiliated with the Genocide Intervention Network.[19]

During his studies at Yale Law School, Farrow interned at the law firm Davis Polk & Wardwell and in the office of the chief counsel at the United States House Committee on Foreign Affairs, focusing on international human rights law.[18][20]

In 2009, Farrow joined the Obama administration, as Special Adviser for Humanitarian and NGO Affairs in the Office of the Special Representative for Afghanistan and Pakistan.[18][21][22] He was part of a team recruited by diplomat Richard Holbrooke,[23] for whom Farrow had previously worked as a speechwriter.[24] For the next two years, Farrow was responsible for “overseeing the U.S. Government’s relationships with civil society and nongovernmental actors” in Afghanistan and Pakistan.[18][21]

In 2011, Farrow was appointed by Secretary of State Hillary Clinton as her Special Adviser for Global Youth Issues[25] and Director of the State Department’s Office of Global Youth Issues.[18] The office was created as a result of a multi-year task-force appointed by Clinton to review the United States’ economic and social policies on youth.[26] Farrow co-chaired the working group with senior United States Agency for International Development staff member David Barth beginning in 2010.[27][28] Farrow’s appointment and the creation of the office were announced by Clinton as part of a refocusing on youth following the Arab Spring revolutions.[29] Farrow was responsible for U.S. youth policy and programming with an aim toward “empower[ing] young people as economic and civic actors.”[18] Farrow concluded his term as Special Adviser in 2012, with his policies and programs continuing under his successor.[30]

Journalism[edit]

Farrow in 2012

After leaving government, Farrow began a Rhodes Scholarship at Magdalen College, Oxford. He studied toward a DPhil, researching the exploitation of the poor in developing countries, and submitted his thesis in October 2018.[31]

He has written essays, op-eds, and other pieces for The Guardian,[32] Foreign Policy magazine,[33] The Atlantic,[34] The Wall Street Journal,[35] the Los Angeles Times[36] and other periodicals. In October 2013, Penguin Press acquired Farrow’s book, Pandora’s Box: How American Military Aid Creates America’s Enemies, scheduling it for 2015 publication.[37]

From February 2014 through February 2015, Farrow hosted Ronan Farrow Daily, a television news program that aired on MSNBC.[38][39][40][41]

Farrow hosted the investigative segment “Undercover with Ronan Farrow” on NBC’s Today.[42][43] Launched in June 2015,[44] the series was billed as providing Farrow’s look at the stories “you don’t see in the headlines every day”, often featuring crowd-sourced story selection and covering topics from the labor rights of nail salon workers to mental healthcare issues to sexual assault on campus.[45][46][47]

On May 11, 2016, The Hollywood Reporter published a guest column by Farrow in which he drew comparisons between the long-term absence of journalistic inquiry into the rape allegations leveled against Bill Cosby and the sexual abuse allegations levied against Woody Allen by Farrow’s sister, Dylan Farrow (who was 7 years old at the time of the alleged abuse).[48] Farrow detailed first-hand accounts of journalists, biographers, and major publications purposefully omitting from their work decades of rape allegations targeting Cosby.[49] Similarly, Farrow recounts the efforts of Allen’s publicist, Leslee Dart, to mount a media campaign focused on countering Dylan Farrow’s allegations, while at the same time vindicating Allen:

Every day, colleagues at news organizations forwarded me the emails blasted out by Allen’s powerful publicist, who had years earlier orchestrated a robust publicity campaign to validate my father’s sexual relationship with another one of my siblings. Those emails featured talking points ready-made to be converted into stories, complete with validators on offer—therapists, lawyers, friends, anyone willing to label a young woman confronting a powerful man as crazy, coached, vindictive. At first, they linked to blogs, then to high-profile outlets repeating the talking points—a self-perpetuating spin machine.[49]

Farrow reiterated his support for Dylan Farrow and expressed his unwavering belief in her allegations:

I believe my sister. This was always true as a brother who trusted her and, even at 5 years old, was troubled by our father’s strange behavior around her: climbing into her bed in the middle of the night, forcing her to suck his thumb—behavior that had prompted him to enter into therapy focused on his inappropriate conduct with children prior to the allegations.[49]

In closing his guest column, Farrow expressed his view of media culture as one that actively discourages victims of abuse from coming forward.[49] Farrow said that victims are pressured to remain silent by threat of “having those tough newsroom conversations, making the case for burning bridges with powerful public figures”[49] and “going up against angry fans and angry publicists”.[49] Farrow’s regard for Hollywood (and media in general), as represented in his 2016 The Hollywood Reporter guest column, foreshadows his investigation into the alleged misconduct of Harvey Weinstein. His reporting on this was published the following year.

On October 10, 2017, The New Yorker published an investigative article by Farrow detailing allegations of sexual misconduct against film producer Harvey Weinstein five days after The New York Times published the findings of its own investigation into Weinstein. It was subsequently revealed that Farrow originally worked on the story for NBC and that the network decided against airing his initial findings.[50][51][52] The New Yorker won the 2018 Pulitzer Prize for Public Service for Farrow’s reporting, sharing the award with Jodi Kantor and Meghan Twohey at The New York Times.[53]

In 2018 Farrow was included in Times “100 Most Influential People in the World” list.[54][55] On May 7, 2018, The New Yorker published a joint article by Farrow and reporter Jane Mayer stating that New York State Attorney General Eric Schneiderman had physically abused at least four women with whom he had been romantically involved during his term in office, and that he had habitually abused alcohol and prescription drugs. Schneiderman resigned within hours of publication of the article on the following day.[56][57] Mayer and Farrow reported that they had confirmed the women’s allegations with photographs of contusions and with statements from friends with whom the alleged victims had confided subsequent to the claimed assaults.[56] Though he denied the allegations, Schneiderman said that he resigned because they “effectively prevent me from leading the office’s work”.[58] Governor Andrew Cuomo assigned a special prosecutor to investigate the filing of possible criminal charges against Schneiderman.[59]

On July 27, 2018, The New Yorker published an article by Farrow saying that six women had accused media executive and CBS CEO Leslie Moonves of harassment and intimidation, and that dozens more described abuse at his company.[60] On August 23, The New Yorker published an article by Adam Entous and Farrow stating that top aides of the Trump White House circulated a conspiracy memo entitled “The Echo Chamber” about President Barack Obama‘s aides.[61]

On September 14, 2018, Farrow and Jane Mayer published information pertaining to an allegation of sexual assault against lawyer, jurist, and then-United States Supreme Court nominee Brett Kavanaugh.[62]

In early 2019, Farrow said he and another journalist received demands from American Media, Inc. that sought to extort or blackmail him.[63] He investigated the concealment by the MIT Media Lab of its involvement with Jeffrey Epstein, leading to the resignation of Joi Ito, director of the Media Lab, and an internal investigation by MIT.[64]

On July 3, 2021, The New Yorker published an investigative article by Farrow and journalist Jia Tolentino detailing the Britney Spears conservatorship dispute. The article described the events related to the establishment of the conservatorship, alleged that Britney Spears was subject to a variety of abuses under Jamie Spears‘s control, and included testimonies from various named sources close to Spears.[65]

Film and television work[edit]

Farrow became involved in popular entertainment as well. He voiced minor characters in the English-language versions of two Japanese animated films, From Up on Poppy Hill (2011) and The Wind Rises (2013).[66][67] He also guest starred as himself on the Netflix comedy series Unbreakable Kimmy Schmidt.[68]

Farrow appeared on the daytime talk show The View as a guest co-host on December 3, 2019.[69][70] Farrow starred as a Guest Judge on Ru Paul’s Drag Race All Stars 7 All Winners in episode 10: “The Kennedy Davenport Center Honors Hall of Shade”, airing on July 15th 2022. He sat alongside Ru Paul, Michelle Visage, and Ross Matthews.

Recognition[edit]

In 2008, Farrow was awarded Refugees International‘s McCall-Pierpaoli Humanitarian Award for “extraordinary service to refugees and displaced people”.[71] In 2009, Farrow was named New York magazine’s “New Activist” of the year and included on its list of individuals “on the verge of changing their worlds”.[72] In 2011, Harper’s Bazaar listed him as an “up-and-coming politician”.[18][73] In 2012, he was ranked number one in “Law and Policy” on Forbes magazine’s “30 Under 30” Most Influential People.[74] He was also awarded an honorary doctorate by Dominican University of California in 2012.[75] In its 2013 retrospective of men born in its 80 years of publication, Esquire magazine named him the man of the year of his birth.[76]

In February 2014, Farrow received the third annual Cronkite Award for “Excellence in Exploration and Journalism” from Reach the World, in recognition of his work since 2001, including his being a UNICEF Spokesperson for Youth in 2001.[77][78] Some media outlets noted that the award came three days after Ronan Farrow Daily began airing and suggested that the award was therefore not justified.[79][80] Farrow is the recipient of the Stonewall Community Foundation’s 2016 Vision Award for his reporting on transgender issues.[81] He was also recognized by the Point Foundation in 2018, receiving the Point Courage Award for his in-depth reporting on #MeToo.[82][83] In July 2018, Farrow won the National Lesbian and Gay Journalists Association’s Journalist of the Year award.[84] In 2019, he was listed among the 40 Under 40 List put out by Connecticut Magazine.[85] He was also named the Out100 Journalist of the Year.[86]

In May 2020, The New York Times reporter Ben Smith published an article titled “Is Ronan Farrow Too Good to Be True?” and asserted that some of Farrow’s journalism did not hold up to scrutiny.[87][88] Farrow stated in a response that he stood by his reporting.[89] In a Slate piece, Ashley Feinberg described Smith’s report as an “overcorrection for resistance journalism” and opined that his approach showed “broad-mindedness, sacrificing accuracy for some vague, centrist perception of fairness.”[90]

The audiobook for Farrow’s book Catch and Kill, read by Farrow himself, was nominated for Best Spoken Word Album at the 63rd Annual Grammy Awards.[91]

On January 19, 2022, Erin Overbey, archive editor of The New Yorker, gave biographical information about Farrow that described his methodology and style as a reporter, labeling him as a “dogged investigator and intuitive storyteller”.[92] Links to several of Farrow’s articles are featured as well.

Personal life[edit]

As of August 2019, Farrow resided on the Lower East Side of Manhattan.[93] He publicly identified as part of the LGBT community in 2018.[94]

Farrow began dating podcast host and former presidential speech writer Jon Lovett in 2011.[95] The two became engaged in 2019 after Farrow wrote a proposal to Lovett in the draft for his book Catch and Kill: Lies, Spies, and a Conspiracy to Protect Predators.[95] The couple bought a $1.87 million home in Los Angeles in August 2019.[93]

Relationship to Woody Allen and paternity[edit]

Farrow is estranged from his father, Woody Allen.[96] After Allen married Soon-Yi Previn, the adopted daughter of Mia Farrow and André Previn, Farrow commented, “He’s my father married to my sister. That makes me his son and his brother-in-law. That is such a moral transgression.”[97]

In a 2013 interview with Vanity Fair, Mia Farrow said that Ronan could “possibly” be the biological child of singer Frank Sinatra, with whom she said she had “never really split up.”[98][1] Ronan Farrow tweeted, “Listen, we’re all *possibly* Frank Sinatra’s son.”[99]

In a 2015 CBS Sunday Morning interview, Sinatra’s daughter Nancy dismissed the suggestion that her father was Farrow’s biological father, calling it “nonsense”. She said that her father had a vasectomy years before Farrow’s birth.[100][101]

Sinatra’s biographer James Kaplan also disputes Sinatra’s potential paternity of Farrow in his book Sinatra: The Chairman (2015). He said that Sinatra was splitting his time between Hawaii and Palm Springs with his wife Barbara Marx Sinatra and was in ill health during the time when Farrow would have been conceived. Mia Farrow was living in New York.[102]

Farrow has refused to discuss DNA analysis. He has said that, despite their estrangement, “Woody Allen, legally, ethically, personally was absolutely a father in our family.”[103]

In a 2018 New York magazine article, Woody Allen said that Farrow may be Sinatra’s son:

“In my opinion, he’s my child … I think he is, but I wouldn’t bet my life on it. I paid for child support for him for his whole childhood, and I don’t think that’s very fair if he’s not mine.”[104][105]

Works[edit]

Books[edit]

Essays and reporting[edit]

مسيرة المبدع وودرو تريسي هارلسون Woody Harrelson..المرشح لجائزة الأوسكار والحائز على جائزة إيمي ، في 23 يوليو 1961l في ميدلاند ، تكساس

Woody Harrelson PosterWoody Harrelson - IMDb

Woody Harrelson Is Ready to Do It Live in Risky Movie

Woody Harrelson - AlloCiné

Biography

Jump to: Overview (3)  | Mini Bio (1)  | Family (4)  | Trade Mark (2)  | Trivia (58)  | Personal Quotes (19)  | Salary (2)

Overview (3)

Born in Midland, Texas, USA
Birth Name Woodrow Tracy Harrelson
Height 5′ 9½” (1.77 m)

Mini Bio (1)

Academy Award-nominated and Emmy Award-winning actor Woodrow Tracy Harrelson was born on July 23, 1961 in Midland, Texas, to Diane Lou (Oswald) and Charles Harrelson. He grew up in Lebanon, Ohio, where his mother was from. After receiving degrees in theater arts and English from Hanover College, he had a brief stint in New York theater. He was soon cast as Woody on TV series Cheers (1982), which wound up being one of the most-popular TV shows ever and also earned Harrelson an Emmy for his performance in 1989.

وُلد الممثل وودرو تريسي هارلسون ، المرشح لجائزة الأوسكار والحائز على جائزة إيمي ، في 23 يوليو 1961 في ميدلاند ، تكساس ، لديان لو (أوزوالد) وتشارلز هارلسون. نشأ في لبنان ، أوهايو ، حيث كانت والدته. بعد حصوله على درجات علمية في فنون المسرح واللغة الإنجليزية من كلية هانوفر ، قضى فترة قصيرة في مسرح نيويورك. سرعان ما تم اختياره كـ Woody في المسلسل التلفزيوني Cheers (1982) ، والذي انتهى به الأمر إلى كونه أحد أكثر البرامج التلفزيونية شهرة على الإطلاق وحصل أيضًا على Harrelon an Emmy عن أدائه في عام 1989.

While he dabbled in film during his time on Cheers (1982), that area of his career didn’t fully take off until towards the end of the show’s run. In 1991, Doc Hollywood (1991) gave him his first widely-seen movie role, and he followed that up with White Men Can’t Jump (1992), Indecent Proposal (1993) and Natural Born Killers (1994). More recently, Harrelson was seen in No Country for Old Men (2007), Zombieland (2009), 2012 (2009), and Friends with Benefits (2011), along with the acclaimed HBO movie Game Change (2012).

بينما كان يشتغل في الفيلم خلال فترة وجوده في Cheers (1982) ، لم ينطلق هذا المجال من حياته المهنية بالكامل حتى نهاية فترة العرض. في عام 1991 ، أعطاه Doc Hollywood (1991) أول دور سينمائي له على نطاق واسع ، وتبع ذلك مع White Men Can't Jump (1992) ، Indecent Proposal (1993) و Natural Born Killers (1994). في الآونة الأخيرة ، شوهد هارلسون في No Country for Old Men (2007) ، Zombieland (2009) ، 2012 (2009) ، و Friends with Benefits (2011) ، إلى جانب فيلم HBO المشهور Game Change (2012).

In 2011, Harrelson snagged the coveted role of fan-favorite drunk Haymitch Abernathy in the big-screen adaptation of The Hunger Games (2012), which ended up being one of the highest-grossing movies ever at the domestic box office. Harrelson is set to reprise that role for the sequels, which are scheduled for release in November 2013, 2014 and 2015. Harrelson has received two Academy Award nominations, first for his role as controversial Hustler founder Larry Flynt in The People vs. Larry Flynt (1996) and then for a role in The Messenger (2009). He also received Golden Globe nominations for both of these parts. In 2016, he had a stand-out role as a wise teacher in the teen drama The Edge of Seventeen (2016).

Harrelson was briefly married to Nancy Simon in the 80s, and later married his former assistant, Laura Louie, with whom he has three daughters.

– IMDb Mini Biography By: Anonymous and Anne-Marie Cowsill

في عام 2011 ، انتزع هارلسون الدور المطلوب من المخمور المفضل لدى المعجبين Haymitch Abernathy في التكيف على الشاشة الكبيرة من The Hunger Games (2012) ، والذي انتهى به الأمر إلى كونه واحدًا من أعلى الأفلام ربحًا على الإطلاق في شباك التذاكر المحلي. تم تعيين هارلسون لإعادة تمثيل هذا الدور في التكميلات ، والتي من المقرر إصدارها في نوفمبر 2013 و 2014 و 2015. تلقى هارلسون ترشيحين لجائزة الأوسكار ، أولاً عن دوره كمؤسس Hustler المثير للجدل لاري فلينت في The People vs. Larry Flynt ( 1996) ثم دور في The Messenger (2009). كما حصل على ترشيحات غولدن غلوب لكلا الجزأين. في عام 2016 ، كان له دور بارز كمدرس حكيم في دراما المراهقين The Edge of Seventeen (2016).

كان هارلسون متزوجًا لفترة وجيزة من نانسي سيمون في الثمانينيات ، وتزوج لاحقًا من مساعدته السابقة ، لورا لوي ، وأنجب منها ثلاث بنات.


- سيرة مصغرة على IMDb بقلم: مجهول وآن ماري كوزيل

Family (4)

Spouse Laura Louie (28 December 2008 – present)  (3 children)
Nancy Simon (29 June 1985 – 20 January 1986)  (divorced)
Children Deni Montana Harrelson
Zoe Harrelson
Makani Harrelson
Parents Diane Lou Harrelson (Oswald)
Charles Harrelson
Relatives Brett Harrelson (sibling)
Jordan Harrelson (sibling)

Trade Mark (2)

Southern accent
Piercing, blue eyes

Trivia (58)

Moonlights as the lead singer in the band Manly Moondog and the Three Kool Hats.
Graduated from Hanover College in 1983 with a degree in theatre arts & English. Member Sigma Chi fraternity.
Was married to Neil Simon‘s daughter, Nancy Simon. Has had relationships with: Carol KaneAlly Sheedy and Moon Unit Zappa.
Was arrested in Columbus (Ohio) in June 1983, charged with disorderly conduct – he was dancing in the street, halting traffic; he later jumped out of a moving police van, laughing maniacally, and finally punched one of the two arresting officers to the ground.
Admits to having been a sex addict.
Claims to have had 17 jobs in one year.
Chosen by People magazine as one of the 50 Most Beautiful People. [1990]
Activist for the legalization of marijuana.
A jury in Beattyville, Kentucky dismissed a marijuana possession charge against him. He was arrested in 1996 for planting 4 marijuana hemp seeds in rural Kentucky and in his defence he said he was challenging a state law that makes no distinction between marijuana and hemp, even though hemp contains little of the drug found in marijuana and can be used to make a variety of industrial products. [August 2000]
Woody and approximately a dozen other hemp activists and environmentalists took a bicycle tour down the west coast of America, starting in Seattle, Washington and 1000 miles later ending at the University of Santa Barbara in California. The tour was escorted by the Mothership, a Chicago city transit bus fueled by hemp oil and powered by solar panels. The journey was documented in the film Go Further (2003). [April 2001]
The ex-son-in-law of playwright Neil Simon, one of Woody’s first plays was Simon’s “Biloxi Blues” in 1984.
He is on the board of the directors for the Ex’pression Center For New Media, an art school in Emeryville, California.
Is the owner of an oxygen bar in West Hollywood, California. [2001]
Lives with Laura Louie and their children in Costa Rica. [2004]
Was set to star in the Danny Boyle‘s firefighter drama “Worcester Cold Storage” with Ed Harris, but the project never came to fruition.
He is the first and, as of 2005, only regular cast member from Cheers (1982) to receive a nomination for an Academy Award.
Wanted to play Jake Brigance in A Time to Kill (1996), but author John Grisham objected to his casting.
Good friends with the Red Hot Chili Peppers.
Lovingly refers to his three daughters as the “Goddess trilogy”.
He climbed the Golden Gate Bridge and put up a sign that read, “Hurwitz. Aren’t ancient redwoods more precious than gold?” in protest of MAXXAM/Pacific Lumber CEO Charles Hurwitz, who once stated, “He who has the gold, makes the rules”.
He and Nancy Simon were married in Tijuana, Mexico.
Daughters: Deni Montana Harrelson (born March 5, 1994), Zoe Harrelson (Zoe Giordano Harrelson, b. September 22, 1996) and Makani Harrelson (Makani Ravello Harrelson, b. June 3, 2006).
Friend of Owen Wilson.
His friends Darius RuckerMark BryanDean Felber and Jim ‘Soni’ Sonefeld of the rock band Hootie & the Blowfish wrote the song “Woody” about him. The number can be found on the group’s eponymous 2003 album.
Close friend of Michael J. Fox.
In 1991 he went to Nairobi, Kenya and lived in a tent on the outskirts of town for a few weeks to experience Africa and get away from it all.
He was inducted into the Texas Film Hall of Fame in March 2003 in Austin, Texas.
Was considered for the role of Lester Burnham in American Beauty (1999).
Maintains his residence on Hana in Maui, and his neighbors include Kris Kristofferson and Willie Nelson. The three have been known to play poker together.
He has played the same character (Woody Boyd) in three different series: Cheers (1982), The Simpsons (1989) and Frasier (1993).
Big fan of Bill Murray. Bill appeared in Zombieland (2009) as a favor to Woody.
His ancestry includes English, Scottish, German, and distant Dutch and Welsh.
Attended the 2009 Comic-Con International in San Diego, California. [July 2009]
Along with Owen Wilson, he attended the Sony Ericsson Open in Key Biscayne, Florida on April 5th. [April 2008]
Attended the 10th Annual Palm Beach International Film Festival in Florida. [April 2005]
Attended the 56th Berlinale International Film Festival in Berlin, Germany. [February 2006]
Attended the 2002 London Film Festival in England. [November 2002]
Attended the 32nd Annual Toronto International Film Festival in Canada. [September 2007]
Attended the 2004 Maui Film Festival in Hawaii. [June 2004]
Attended The Messenger (2009) premiere at the 59th Berlin Film Festival in Germany. [February 2009]
Attended the 2008 Cannes Film Festival in France. [May 2008]
Attended the 2009 Sundance Film Festival in Park City, Utah. [January 2009]
Attended the North County premiere in London, England on Feb. 1st. [February 2006]
Is close friends with Wesley Snipes.
He became co-owner of the boutique organic hotel Inn at the Black Olive located in Baltimore, Maryland.
Was cast in Benny and Joon but dropped out to do Indecent Proposal and because he dropped out so did Laura Dern.
Shares the same birthday (July 23rd) with his “Hunger Games” film series co-star Philip Seymour Hoffman.
Has worked with 8 directors who have won a Best Director Oscar: James L. BrooksOliver StoneMichael CiminoMilos FormanBarry LevinsonRon Howard, and Joel Coen & Ethan Coen.
Father Charles Harrelson (Charles Voyde Harrelson), who was a hitman, was arrested in 1979 for killing Federal Judge John H. Wood Jr. in San Antonio, Texas.
Roomed with good friend Rob Moran in New York when both were starting out.
His father was Charles Harrelson, a contract killer for the Mafia, who claimed, without evidence, to have participated in the assassination of President John F. Kennedy.
The longest he has gone without an Oscar nomination is the 13 years between The People vs. Larry Flynt (1996) and The Messenger (2009).
As of 2018, he has been in three films that were Oscar-nominated for Best Picture: The Thin Red Line (1998), No Country for Old Men (2007), and Three Billboards Outside Ebbing, Missouri (2017). No Country for Old Men won.
He considers Howard Zinn to be a personal hero of his.
Attended Indiana’s Hanover College with U.S. Vice President Mike Pence.
Both he and his Three Billboards Outside Ebbing, Missouri (2017)’s co-star Sam Rockwell were nominated for an Oscar for their performances and Harrelson voted for Rockwell over himself.
Was sued by MGM for dropping out of playing the brother in ‘Benny and June’ when he was offered ‘Indecent Proposal’.

Personal Quotes (19)

When I let up from the weed, and the drinking too, I cried every day. And I liked that. I like crying. And now I not only wanna cry and show my crying to other people, I wanna just split myself down the middle and open my guts and just throw everything out!
Well for six years during Cheers (1982), I couldn’t get another job. So I was getting to the mindset of, ‘Wow, so this is it. I thought the career was just starting and apparently it’s just over.’ Fortunately then, I got a role in Doc Hollywood (1991) and then White Men Can’t Jump (1992). Those I was doing during my hiatus from Cheers (1982), and then I did Indecent Proposal (1993) during my last hiatus. And then Indecent Proposal (1993) came out literally the day after we wrapped Cheers (1982). And then I started work on Natural Born Killers (1994). So I was fortunately able to segue, but for awhile I thought, ‘Jeez, this is it’. And I felt that I could do so much more. I really wanted to express myself a little more. Not to say that “Woody Boyd” was not a great role!
It was very interesting. I read that book and I honestly had no idea what the hell was going on. Then I did the movie because I just wanted to do it. I wanted to work with Richard LinklaterKeanu Reeves, ‘Robert Downey Jr.’ and Winona Ryder. I wanted to do it, but I really still don’t know what the hell that film is about. But I just know it’s really interesting (On A Scanner Darkly (2006)).
I never was disillusioned with acting because I love acting. But I just felt at one point that I was on a hamster wheel, you know? Just doing movie after movie and thinking so much about career related things and I think missing out on hanging with my friends and family as much I needed to. So I just took some time off. I was maybe going to do two or three years and it turned into five years. But certainly, I’d say it was the best thing I ever did. And now I come back to this whole thing really energized about it. (2005 quote)
Most people take it pretty badly and just go crazy – I was no exception. But I feel like I’ve come out of it with my spirit still intact. (2002 quote on fame)
I’ve found that every time you stand up for something and open your mouth, you alienate someone. I spent a lot of time wanting to become rich and famous, then when I got there, I found it was hollow. What is important to me is my connection with family and friends, and to nature, and to stand up for what I believe in. It really makes you feel good to follow through with your convictions. Granted, between opening my mouth and some of the movies I’ve chosen to do, I’ve alienated a lot of my fans, I’m sure. Hopefully I’ll make better movies, but I’ll never stop opening my large, prominent mouth. (1997 quote)
(On environmental issues) I’ve been concerned for years. When I was in the seventh grade, I did a report about the environment and the loss of species. It was supposed to be only a few pages, but ended up being nearly 50. I’ve always had an intense relationship with nature, something which I think all of us have somewhere inside of us. Getting involved environmentally, really stepping out there, happened when I was doing Cheers (1982). Ted Danson couldn’t make it to a couple of his meetings with the American Oceans Campaign, and he asked me if I would step in for him.
I don’t think anybody watches a two-hour movie and decides they’re going to become a serial killer. (On the furor over whether or not Natural Born Killers provoked a couple of teenagers to commit murder)
[on a scary moment in Dubrovnik] These guys were coming down from the hillside. They were the toughest-looking motherf***ers you ever saw – some kind of Croatian judo gang or something – and they were coming down basically to kill me for being with these red-hot girls. They were ready to tear me apart, and it got mind-blowingly tense. But then one of these f***ing guys recognises me from American TV, so we end up going out for drinks with them. I swear if I had not been on Cheers (1982), I’d have died right there on that beach in Croatia.
[on how Paul McCartney got him out of trouble when he attacked a photographer] I was feeling awful about it (the attack), and I ran into Sir Paul McCartney. We’ve been friends for a long time through our shared passion for veganism and many other issues. He’s got such a great capacity for happiness. I told him what happened and also that I’d just finished this movie called Zombieland (2009), and Paul said, ‘That’s it, man. Just tell the press you thought the cameraman was a zombie.’ So that’s what we went with.
I was about 24 years old and I had tons of acne and mucus. I met some random girl on a bus who told me to quit dairy and all those symptoms would go away three days later. By God, she was right!
I personally get freaked out watching horror films. I liked Shaun of the Dead (2004) because I like horror comedies. But 28 Days Later… (2002)? I was sleepless, man.
I am not loving Obama – he made this statement when they were talking about trying to accomplish with the new legislation about global warming and he said “Let’s not let great be the enemy of good.” That just stayed with me and haunted me. “Great be the enemy of good” – let’s not make great, firm international legislation and try to settle for what we can get. Lyndon B. Johnson probably would have said that.
[on the arrest of Roman Polanski] I have a daughter who is 13 and the thought of some guy giving her a Quaalude…then I was torn over the fact that it had been 32 years and the girl had forgiven him, so I don’t know. I do think that what he did was wrong.
I’ve always believed the road of excess leads to the palace of wisdom.
[on his daughter going to college] It was one of the single most difficult experiences of my life when it was time to separate and she walked off to the dorm and we drove away. I bawled my eyes out.
I was in a taxi the other night, and we started talking about life and the taxi driver goes, “Chaos and creativity go together. If you lose one per cent of your chaos, you lose your creativity.” I said that’s the most brilliant thing I’ve heard. I needed to hear that years ago.
[on People vs. Larry Flynt] You can’t ignore it when Milos Forman wants to make a movie, it’s a pretty big deal.
[on visiting Donald Trump during his 2004 Presidential election campaign with Jesse Ventura] We went over to Trump Tower – talk about a tough dinner to get through. All he could talk about was money. After about 45 minutes, I was like “excuse me,” and walked outside and fired up a joint. I was like: “Whoa, how am I going to get through the rest of this meal?” I wouldn’t even have dinner with that mother and here he is the fucking president.