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May 16, 2017
biography u
  • Hal Ashby was an American film director and film editor.
  • From Wikipedia, the free encyclopedia
  • Hal Ashby was an American film director and editor associated with the New Hollywood wave of filmmaking.
  • Before his career as a director Ashby edited films for Norman Jewison, notably The Russians Are Coming, the Russians Are Coming (1966), which earned Ashby an Oscar nomination for Best Editing, and In the Heat of the Night (1967), which earned him his only Oscar for the same category.
  • Ashby received a third Oscar nomination, this time for Best Director for Coming Home (1978). Other films directed by Ashby include The Landlord (1970), Harold and Maude (1971), The Last Detail (1973), Shampoo (1975), Bound for Glory (1976) and Being There (1979).
  • Born William Hal Ashby in Ogden, Utah, he grew up in a Mormon household. His tumultuous childhood as part of a dysfunctional family included the divorce of his parents, his father's suicide, and dropping out of high school. Ashby was married and divorced by the time he was 19.
  • As Ashby was entering adult life, he moved from Utah to California where he soon became an assistant film editor. After being nominated for the Academy Award for Film Editing in 1967 for The Russians Are Coming, the Russians Are Coming, his big break occurred in 1968 when he won the award for In the Heat of the Night.
  • At the urging of producer Norman Jewison, Ashby directed his first film The Landlord in 1970. While his birth date placed him squarely within the realm of the prewar generation, the filmmaker quickly embraced the hippie lifestyle, adopting vegetarianism and growing his hair long. In 1970 he married actress Joan Marshall. While they remained married until his death in 1988, the two had separated by the mid-seventies, with Marshall never forgiving Ashby, along with Warren Beatty and Robert Towne, for dramatizing certain unflattering elements of her life in Shampoo.
  • Over the next 16 years, Ashby directed several acclaimed and popular films, many were about outsiders and adventurers traversing the pathways of life. Aside from Shampoo, Ashby's most commercially successful film was the Vietnam War drama Coming Home (1978). Starring Jane Fonda and Jon Voight, both in Academy Award-winning performances, it was for this film that Ashby earned his only Best Director nomination from the Academy for his work.
  • After Being There (his last film to achieve widespread attention), Ashby became notoriously reclusive and eccentric, retreating to his home in Malibu Colony. Later it was learned that Ashby was using drugs, and he slowly became difficult and unemployable.
  • Attempting to turn a corner in his declining career, Ashby stopped using drugs, trimmed his hair and beard, and began to frequently attend Hollywood parties wearing a navy blue blazer so as to suggest that he was once again employable. Despite these efforts, he could only find work as a television director.
  • Ashby died on December 27, 1988 at his home in Malibu, California.
  • The Last Detail, Bound for Glory, Coming Home, and Being There were all nominated for the Palme d'Or.
February 24, 2017
en-US
biography u
  • From Wikipedia, the free encyclopedia.
  • Hal Ashby (September 2, 1929 – December 27, 1988) was an American film director and film editor.
  • Description above from the Wikipedia article Hal Ashby, licensed under CC-BY-SA, full list of contributors on Wikipedia
  • Hal Ashby was an American film director and film editor.
gender u
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January 4, 2017
es-ES
biography a
  • Director y editor de cine estadounidense nacido en Ogden, Utah. Fue un personaje atípico en el mundo del cine, que dejó una filmografía digna de elogio, repleta de pequeñas obras maestras en las que refleja el sello de un autor sobresaliente. Desde muy joven su destino estuvo marcado por la fatalidad. Su infancia en Utah no fue todo lo placentera que un joven mormón podría soñar. Su padre, tras un complicado divorcio, decidió que el camino más corto hacia ninguna parte era el suicidio. Ashby dejó atrás su pasado y puso rumbo a Los Ángeles en busca de fama y fortuna. Encontró ambas en su trabajo como ayudante de montaje. Rápidamente despuntó. Mejoraba cada película que pasaba por sus manos. Dotaba a cada secuencia de un ritmo y un estilo único. Era el mejor montador de Hollywood, él lo sabía. Los demás también. En 1967 ganó el Oscar al mejor montaje por, En el calor de la noche, asfixiante, enfermiza y envolvente película dirigida por Norman Jewison. El siguiente paso no tardaría en llegar. Sin duda, era el momento de pasar a la dirección con The Landlord (1970), pero realmente asombra a crítica y público con la extraordinaria Harold y Maude (1971), una rareza imprescindible para entender la genialidad de un cineasta en estado de gracia y el estilo que se imponía entre las nuevas generaciones lideradas por Coppola, De Palma, Friedkin y Cimino, entre otros. Mucha barba, mucho talento y poco respeto por el corsé de los estudios. La primera piedra estaba bien asentada, pero faltaba empezar a construir el edificio. Cintas como The last detail (El último deber, 1973), con un genial Jack Nicholson y Shampoo (1975), con Warren Beatty haciendo el papel más canalla de su carrera demostraron que, además, era un director taquillero y no sólo un artesano de elite. Pero lo mejor estaba por llegar. El final de la década le llevó a rodar dos filmes inolvidables, Coming Home (El regreso, 1978), película con la guerra del Vietman como telón de fondo, donde sirvió el Oscar en bandeja a Jane Fonda y Jon Voight y la increíble Being There (Bienvenido Mr. Chance, 1979), donde Peter Sellers demostró que es mucho más que un excelente actor de comedia en una de las mejores películas de la década. Ashby ya tenía fama de hombre complicado. Lo era. Con un aspecto de hippie en viaje de ida y su actitud de marciano en misión de paz empezaron a circular todo tipo de rumores sobre su persona. Sus adicciones y consumos cada vez menos moderados hicieron el resto. Tiró su matrimonio a la alcantarilla de Hollywood y empezó a dejarse ver, y oler, con todo tipo de mujeres. Comenzó la inevitable caída. Los ochenta no fueron buenos. No podían serlo. Fiascos en taquilla, pérdida de credibilidad en los estudios y la puntilla final: un cáncer pancreático le escribió un final rodado con escaso presupuesto. Ashby moriría el 27 de diciembre de 1988 en su casa de Malibú. Atrás dejó muchos buenos momentos y una manera de entender el cine que asombró a los estudios más conservadores. Era el sello de Ashby, sus mejores películas eran insuperables, las menos buenas, sobresalientes.
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