Inkers

A former journalist and fiction writer, he wrote "Kill Your Darlings" with his former college roommate and the film's director, John Krokidas. He is the author of the short-story collection "The Brink: stories" and "A Killer Life: How an Independent Film Producer Survives Deals and Disaster" (Simon and Schuster). In addition to his screenwriting, his writing has appeared in the New York Times Magazine, The Atlantic Monthly, Zoetrope, Best American Science and Nature Writing, The Pushcart Prize, and elsewhere.

Jean-Luc Godard was born in Paris on December 3, 1930, the second of four children in a bourgeois Franco-Swiss family. His father was a doctor who owned a private clinic, and his mother came from a preeminent family of Swiss bankers. During World War II Godard became a naturalized citizen of Switzerland and attended school in Nyons, Switzerland. His parents divorced in 1948, at which time he returned to Paris to attend the Lycée Rohmer. In 1949 he studied at the Sorbonne to prepare for a degree in ethnology. However, it was during this time that he began attending with François Truffaut, Jacques Rivette, and Éric Rohmer.

In 1950 Godard, with Rivette and Rohmer, founded "Gazette du cinéma", which published five issues between May and November. He wrote a number of articles for the journal, often using the pseudonym "Hans Lucas". After Godard worked on and financed two films by Rivette and Rohmer, Godard's family cut off their financial support in 1951, and he resorted to a Bohemian lifestyle that included stealing food and money when necessary. In January 1952 he began writing film criticism for "Les cahiers du cinéma". Later that year he traveled to North and South America with his father and attempted to make his first film (of which only a tracking shot from a car was ever accomplished).

In 1953 he returned to Paris briefly before securing a job as a construction worker on a dam project in Switzerland. With the money from the job, he made a short film in 1954 about the building of the dam called Operation Concrete (1958). Later that year his mother was killed in a motor scooter accident in Switzerland. In 1956 Godard began writing again for "Les cahiers du cinéma" as well as for the journal "Arts". In 1957 Godard worked as the press attache for "Artistes Associés", and made his first French film, All Boys Are Called Patrick (1959).

In 1958 he shot Charlotte and Her Boyfriend (1958), his homage to Jean Cocteau. Later that year he took unused footage of a flood in Paris shot by Truffaut and edited it into a film called A Story of Water (1961), which was an homage to Mack Sennett. In 1959 he worked with Truffaut on the weekly publication "Temps de Paris". Godard wrote a gossip column for the journal, but also spent much time writing scenarios for films and a body of critical writings which placed him firmly in the forefront of the "nouvelle vague" aesthetic, precursing the French New Wave.

It was also in that year Godard began work on Breathless (1960). In 1960 he married Anna Karina in Switzerland. In April and May he shot The Little Soldier (1963) in Geneva and was preparing the film for a fall release in Paris. However, French censors banned it due to its references to the Algerian war, and it was not shown until 1963. In March 1960 Breathless (1960) premiered in Paris. It was hugely successful both with the film critics and at the box office, and became a landmark film in the French New Wave with its references to American cinema, its jagged editing and overall romantic/cinephilia approach to filmmaking. The film propelled the popularity of male lead Jean-Paul Belmondo with European audiences.

In 1961 Godard shot A Woman Is a Woman (1961), his first film using color widescreen stock. Later that year he participated in the collective effort to remake the film The Seven Deadly Sins (1962), which was heralded as an important project in artistic collaboration. In 1962 Godard shot Vivre sa vie (1962) in Paris, his first commercial success since "Breathless". Later that year he shot a segment entitled "Le Nouveau Monde" for the collective film Ro.Go.Pa.G. (1963), another important work in the history of collaborative multiple-authored art.

In 1963 Godard completed a film in homage to Jean Vigo entitled The Carabineers (1963), which was a resounding failure with the public and stirred furious controversy with film critics. Also that year he worked on a couple of collective films: The World's Most Beautiful Swindlers (1964) (from which Godard's sequence was later cut) and Six in Paris (1965). In 1964 Godard and his wife Anna Karina formed their own production company, Anouchka Films. They shot a film called A Married Woman (1964), which censors forced them to re-edit due to a topless sunbathing scene shot by Jacques Rozier. The censors also made Godard change the title to "Une femme marié" so as to not give the impression that this "scandalous" woman was the typical French wife. Later in the year, two French television programs were produced in devotion to Godard's work.

In the spring of 1965 Godard shot Alphaville (1965) in Paris; in the summer he shot Pierrot le Fou (1965) in Paris and the south of France. Shortly thereafter he and Anna Karina separated. Following their divorce, Godard shot Made in U.S.A (1966), "Deux ou trois choses que je sais d'elle (1966)", "L'amour en l'an 2000" (1966) (a sequel to "Alphaville" shot as a sketch for the collective film "L'amour travers les ages" (1966)).

In 1967 Godard shot The Chinese (1967) in Paris with Anne Wiazemsky, who was the granddaughter of French novelist François Mauriac. During the making of the film Godard and Wiazemsky were married in Paris. Later in the year he was prevented from traveling to North Vietnam for the shooting of a sequence for the collective film Far from Vietnam (1967). He instead shot the sequence in Paris, entitled "Camera-Oeil". Also during 1967 Godard participated (as the only Frenchman) on an Italian collective film called Love and Anger (1969).

In 1968 Godard was commissioned by French television to make Le gai savoir (1969). However, television producers were so outraged by the product Godard produced that they refused to show it. In May of that year Henri Langlois was fired by the head of the French Jean-Pierre Gorin to form the Dziga-Vertov group, infuriating Godard. He became increasingly concerned with socialist solutions to an idealist cinema, especially in providing the proletariat with the means of production and distribution. Along with other militantly political filmmakers in the Dziga-Vertov group, Godard published a series of 'Ciné-Tracts' outlining these viewpoints. In the summer of 1968 Godard traveled to New York City and Berkeley, California, to shoot the film "One American Movie", which was never completed. In September he made a trip to Canada to start another film called "Communication(s)", which also went unfinished, and then made a visit to Cuba before returning to France.

In 1969 Godard traveled to England, where he made the film See You at Mao (1970) for BBC Weekend Television, but the network later refused to show it. In the late spring he traveled with the Dziga-Vertov group to Prague to secretly shoot the film "Pravda". Later that year he shot Lotte in Italia (1971) ("Struggle for Italy") for Italian television. It was never shown, either.

In 1970 Godard traveled to Lebanon to shoot a film for the Palestinian Liberation Organization entitled "Jusque à la victoire" (1970) ("Until Victory"). Later that year he traveled to dozens of American universities trying to raise money for the film. In spite of his efforts, it was never released.

John le Carré was born in Poole, Dorset in England on 19 October, 1931. He went to Sherborne School and, later, studied German literature for one year at University of Bern. Later, he went to Lincoln College, Oxford and graduated in Modern Languages. From 1956 to 1958, he taught at Eton and from 1959 to 1964, he was a member of the British Foreign Service as second secretary at British Embassy in Bonn, and then, as Politician Consul in Hamburg. His first novel was written in 1961 and, by the time of his death in December 2020, he had published nearly 30. His books took many prizes, and inspired numerous films.

Friedkin's mother was an operating room nurse. His father was a merchant seaman, semi-pro softball player and ultimately sold clothes in a men's discount chain. Ultimately, his father never earned more than $50/week in his whole life and died indigent. Eventually young Will became infatuated with Orson Welles after seeing Citizen Kane (1941). He went to work for WGN TV immediately after graduating from high school where he started making documentaries, one of which won the Golden Gate Award at the 1962 San Francisco film festival. In 1965, he moved to Hollywood and immediately started directing TV shows, including an episode of the The Alfred Hitchcock Hour (1962); Hitchcock infamously chastised him for not wearing a tie.

Ben Maddow was born on 7 August 1909 in Passaic, New Jersey, USA. He was a writer and director, known for The Asphalt Jungle (1950), The Savage Eye (1959) and Intruder in the Dust (1949). He was married to Flier, Freda. He died on 9 October 1992 in Los Angeles, California, USA.

Avid reader Charlie Kaufman wrote plays and made short films as a young student. He moved from Massapequa, New York to West Hartford, Connecticut in 1972 where he attended high school. As a comedic actor, he performed in school plays and, after graduation, he enrolled at Boston University but soon transferred NYU to study film. Charlie worked in the circulation department of the Star Tribune, in Minneapolis, in the late 1980s and moved to Los Angeles in 1991, where he was hired to write for the TV sitcom Get a Life (1990). He went on to write comedy sketches and a variety of TV show episodes. Between writing assignments, he wrote the inventive screenplay Being John Malkovich (1999), which created Hollywood interest and the attention of producer Steve Golin. Charlie works at home in Pasadena, California, where he lives with his wife Denise and children.

Fritz Lang was born in Vienna, Austria, in 1890. His father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. From 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse, the Gambler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.

In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.

Jean-Pierre Jeunet is a self-taught director who was very quickly interested by cinema, with a predilection for a fantastic cinema where form is as important as the subject. Thus he started directing TV commercials and video clips (such as Julien Clerc in 1984). At the same time he met designer/drawer Marc Caro with whom he made two short animation movies: L'évasion (1978) and Le manège (1979), the latter winning a César for the best short movie. After these two successful movies Jeunet and Caro spent more than one year together by making every detail (scenario, costumes, production design) of their third short movie: The Bunker of the Last Gunshots (1981). This movie combined sci-fi and heroic-fantasy in a visually delirious story of the rising paranoia among soldiers trapped underground. With that movie they garnered several festival prizes in France. (This movie also marked their first collaboration with Gilles Adrien who later wrote the story of their two feature movies with them). After that Jeunet directed two other short movies without the help of Caro: Pas de repos pour Billy Brakko (1983), then Foutaises (1989) with Dominique Pinon who became another regular collaborator of Jeunet. All Jeunet's short movies won a lot of awards in France but also overseas and he won a second César with Foutaises (1989).

In 1991, Jeunet and Caro took their first steps in a feature movie: Delicatessen (1991). It was such a success that it won 4 Césars including the awards for the best new director(s) and the best scenario. For this movie Jeunet and Caro divided responsibilities with the former guiding the actors and the latter coordinating the artistic elements. And Jeunet showed again his liking to have Dominique Pinon, of course, but also Rufus, Jean-Claude Dreyfus and Ticky Holgado who appeared again in Jeunet's next movies, or Maurice Lamy who already had a little role in Foutaises (1989). The success of Delicatessen (1991) even surprised Jeunet and Caro themselves but they took advantage of that in order to finally make their almost 10 year-old project! This project took more than 4 more years to be carried out but the movie turned out enormous: The City of Lost Children (1995) was a black tale and was so innovative at this period that they needed to create new software for the special effects (mostly made by Pitof). Jeunet and Caro kept the same responsibilities as in Delicatessen (1991) and the movie also combined different international skills: US actor Ron Perlman, Chilean-born actor Daniel Emilfork, Iranian cinematographer Darius Khondji (who was already in the crew of Delicatessen (1991)), Americo-Italian composer Angelo Badalamenti and French fashion-designer Jean-Paul Gaultier for the costumes. While the film was supposed to be suitable for children, some considered it "dark", to which Jeunet and Caro replied that it was no more "dark" than Pinocchio (1940) or Bambi (1942).

But these critics didn't stop the movie from being successful and when the movie gained them further attention, it was only a matter of time before Hollywood called them. Thus in 1997, Jeunet left France to make a temporary career in the USA for the fourth installment of the 'Alien' series: Alien Resurrection (1997). Marc Caro followed him just as a design supervisor but Jeunet brought with him a little army' of his usual collaborators (mostly French): actors Dominique Pinon and Ron Perlman, but also Pitof, Darius Khondji or editor Hervé Schneid, and for the first time Alain Carsoux who was responsible of the special effects of Jeunet's next film. In 2000, after two collaborations with Caro and one in the US, Jeunet came back to France in order to make a more personal movie, even if Guillaume Laurant wrote the story with him. Thus he used a lot of different details he wrote everywhere during his life (and also recycled things he'd already done, e.g. in Foutaises (1989)) and shot his story mostly in the Parisian suburb of Montmartre where he lives. Then the result was Amélie (2001) starring Audrey Tautou and Mathieu Kassovitz. With this movie Jeunet made the biggest worldwide success of French cinema history. A real magical potion, which won innumerable awards in the whole world including 4 Césars (therefore Jeunet won his fifth and sixth Césars!).

Jeunet eventually decided to adapt Sébastien Japrisot's book A Very Long Engagement (2004) for which he called Audrey Tautou and Dominique Pinon again, but also many other famous French actors and Jodie Foster. It had one of the most important budgets in French film history and eventually had a good international success and many nominations and awards.

Guillaume Laurant was born on 22 November 1961 in Saint-Quentin, Aisne, France. He is a writer and actor, known for Amélie (2001), A Very Long Engagement (2004) and I Lost My Body (2019). He was previously married to Sandrine Bonnaire.

Gillian Flynn was born on 24 February 1971 in Kansas City, Missouri, USA. She is a writer and producer, known for Gone Girl (2014), Widows (2018) and Sharp Objects (2018). She has been married to Brett Nolan since 2007. They have two children.

Stanislaw Lem was a visionary Polish author known for Solaris (1972).

He was born on September 12, 1921, in Lwów, Poland. His father, Samuel Lem, was a wealthy laryngologist who served in the Austrian army. His mother, Sabina Woller, was a homemaker. Although he was born into a Polish-Jewish family, Lem was raised a Catholic and later became an atheist. He graduated from the Lwów Gymnazium in 1939, then studied medicine at the Lvov Medical Institute in 1940-1941. During WWII, he survived the Nazi occupation of Lwów and worked as a mechanic and welder for a German firm until 1944.

After World War II Lem escaped from the Soviet occupation of Germany and moved to Krakow, Poland, as a repatriate. There he completed his medical studies at Jagellonian University, without taking the doctor's degree. He worked at the Konserwatorium Naukoznawcze as a research assistant for psychologist Dr. Choynowski. From 1946-1949 Lem was involved in medical research in psychology, which became a turning point in his life. He started writing poetry and science fiction in 1946, but his first serious novel, "Hospital of the Transfiguration", was suppressed by the Polish government for eight years. It was released only in 1956, when freedom of speech was earned after the "Polish October" popular uprising.

Lem quit medicine in 1949, because he did not want to be drafted into the army. He married a doctor instead of being one. In 1949 he became a professional writer and continued creating his increasingly unusual novels: "The Investigation", "Eden", "Return from the Stars". The 1960s and 1970s were the most productive for Lem. At that time he wrote 'Solaris', 'The Invincible', 'The Cyberiad', 'His Master's Voice', 'The Star Diaries', 'The Futurological Congress', and 'Tales of Pirx the Pilot'. His gift of a visionary materialized in 'Summa Technologiae' (Sum of Technologies, 1964), which tackled problems of virtual reality. Lem showed his talent for premonition in "Katar" (1975), which predicted international terrorism, and in "Observations on the Spot"' (1982), which showed absurdity of a conflict between two civilizations.

His novel 'Solaris' was adapted into eponymous films twice. First came the Russian-made film adaptation by director Andrei Tarkovsky in 1972, starring Donatas Banionis and Natalya Bondarchuk. Lem spent six months working with Tarkovsky in Moscow, but their collaboration ended in a bitter conflict over the changes and additions to the original story. After seeing edited parts of the 1972 film, Lem said of Tarkovsky: "Instead of focusing on deeper moral questions related to frontiers of human knowledge, he made a drama-type 'Crime and Punishment' in space, by making up unnecessary characters of parents and relatives, then adding a hut on an island." "Tarkovsky was a genius, but he was moving in the opposite direction from my book", also said Lem. Upon his doctor's advice Lem did not want to see the 2002 remake by director Steven Soderbergh, starring George Clooney and Natascha McElhone.

"Solaris" (1961) is arguably the best known work of Lem's works. It deals with the problem of human existence in the world of the unknown. It also shows the inevitability of misunderstandings in human contacts with other worlds. Planet Solaris is inhabited by a single Plasma Ocean organism with the eerie ability to materialize human thoughts. When astronauts become more aggressive in forcing contact with Solaris, it confronts them with pushing the buttons of their most painful thoughts by recreating their dead wives and relatives, and virtually bringing the dead back to life in front of their eyes. Obsolete biological human impulses are shown in stark contrast with the magnitude of the ocean-size organism. At some point humans become an irrational liability to their machine partner, the spaceship. Lem's imagination and talent for creation of alternative reality challenges the limits of human knowledge.

"Past is more perfect than future, which makes me sad," said Lem. Although some of his predictions came true, he expressed his disappointment about the failure of many positive prognosis that were made during the 1960s and 1970s. He died on March 27, 2006, in Kraków, and was laid to rest in the Salwatorski cemetery in Kraków, Poland. His books sold over 27 million copies in 41 languages.

Martin McDonagh was born on 26 March 1970 in Camberwell, London, England, UK. He is a writer and director, known for In Bruges (2008), Seven Psychopaths (2012) and Three Billboards Outside Ebbing, Missouri (2017).

Director, writer, and producer Lilly Wachowski was born in 1967 in Chicago, the daughter of Lynne, a nurse and painter, and Ron, a businessman. Lilly was educated at Kellogg Elementary School in Chicago, before moving on to Whitney M. Young High School. After graduating from high school, she attended Emerson College in Boston but dropped out.

Lilly teamed up with her older sibling, Lana Wachowski, and began working on films. Their first script was optioned and formed the basis for the film Assassins (1995). The Wachowskis went on to make their directorial debut with the self-written Bound (1996), which was well-received. They followed this with the smash hit The Matrix (1999) and went on to produce two successful sequels, The Matrix Reloaded (2003) and The Matrix Revolutions (2003).

Other projects include scripting and producing the cult hit V for Vendetta (2005), a live-action version of a Japanese anime series; Speed Racer (2008); Cloud Atlas (2012); and the ambitious epic Jupiter Ascending (2015).

Dario Argento was born in Rome, Italy on September 7 1940. He is the son of producer Salvatore Argento. He began his career as a movie critic for the Rome daily newspaper "Paese Sera". A professional screenwriter by the tender age of 20, he joined Bernardo Bertolucci to write the screenplay for Sergio Leone's epic western "Once Upon A Time In The West" in 1967. Many screenplays later, Argento was signed up by Goffredo Lombardo, head of an Italian film company (Titanus) and made his directing debut in 1970 with "The Bird With The Crystal Plumage". His father Salvatore was the producer on all his films up until "Deep Red" when Claudio Argento took over. He has always taken a great interest in all aspects of film making to ensure that the end results of his films are as near to his original vision as possible. One of the first directors to see the possibilities of the steady cam and the 'luma' crane, he used them npth to their full potential. He even helped compose the music for "Suspiria". Many of his films are considered to be `giallo'. Giallo meaning yellow, which in turn came from the yellow covers of the penny-dreadful horror/thriller paperbacks that were sold in Italy. He has directed 15 films - `The Bird with the Crystal Plumage', 'The Cat O Nine Tails', 'Five Days In Milan', 'Four Flies on Grey Velvet', 'Profondo Rosso', 'Suspiria', `Inferno', 'Tenebrae', 'Phenomena', 'Opera', 'Two Evil Eyes', 'Trauma', 'The Stendhal Syndrome', 'Phantom of the Opera' and 'Non ho sonno'. He has also been involved in producing/writing films for others such as his protege Michele Soavi. Argento has also worked on three series for Italian television. In 1972, 'The Door of Darkness', in 1987 'Giallo' and 'Turno di notte' in 1988. There are also three documentaries on Argento and his films, 'Dario Argento's World of Horror', 'Dario Argento: Master of Horror (Dario Argento's World of Horror 2)' and 'The World of Dario Argento 3'.

Daria Nicolodi was born on 19 June 1949 in Florence, Tuscany, Italy. She was an actress and writer, known for Phenomena (1985), Deep Red (1975) and Tenebrae (1982). She died on 26 November 2020 in Rome, Lazio, Italy.

William S. Burroughs, one of the three seminal writers of the Beat Generation (the other two being his friends Jack Kerouac and Allen Ginsberg), was born in St. Louis, Missouri, on February 5, 1914, to the son of the founder of the Burroughs Adding Machine Co. He grew up in patrician surroundings and attended private school in Los Alamos, New Mexico, chosen due to the climate as he suffered from sinus trouble (the school was later used to house the Manhattan Project during World War II)). Burroughs took his undergraduate degree at Harvard College (Class of 1936) but rebelled inwardly against the life that the upper-class Harvard man was supposed to lead during the pre-war period (outwardly he dressed the part of a patrician, with three-piece suit, necktie, black homburg and chesterfield overcoat being his standard wardrobe. His political options generally were also of his class, i.e., right-wing).

Planning to become a physician, Burroughs moved to Germany to study medicine. The plight of the Jews under the Nazis was desperate, and in 1937 Burroughs agreed to marry Ilse Herzfeld Klapper, a German Jewish woman, so she could leave Germany and eventually become a U.S. citizen. The two remained friends for many years after they moved back to the U.S., meeting often for lunch when Burroughs eventually settled in New York City in the early 1940s. They never lived together, and Burroughs formally divorced her in 1946 so he could marry his second wife, Joan.

Perhaps it was his exposure to National Socialism in Adolf Hitler's Germany that raised Burroughs' interest in his lifelong fascination: control mechanisms used by the state against its citizens. Burroughs left Germany for the United States without completing his studies, bringing along Ilse.

A homosexual in an extremely homophobic age, back in the U.S. he drifted from job to job while continuing his education as an autodidact. He lived in Chicago, where he was an exterminator, which he claimed was the best job he ever had. While in Chicago he met the young Lucien Carr (later to be the father of best-selling novelist Caleb Carr, author of "The Alienist") and David Kammerer. Kammerer was a homosexual 14 years Carr's senior who had been his private school tutor and had stalked Carr obsessively afterward, following him from city to city. While Carr was disturbed by Kammerer's behavior, he was also immature and flattered by the attention, a moth attracted to the flame. When the moth got singed, he would fly away. Carr dropped out of the University of Chicago to attend Columbia in New York in order to escape Kammerer, and when Kammerer inevitably followed, Burroughs tagged along.

Through Carr, Burroughs made the connections that would change his life: Columbia drop-out Kerouac, then in the Merchant Marine, and Columbia undergrad Ginsberg, then studying pre-law with the idea of becoming a labor lawyer. Intrigued by what he heard from Carr and Kammerer of Kerouac, he dropped in to see him at the apartment of Kerouac's girlfriend Edie Kerouac Parker, who shared the flat with Burroughs' future wife Joan.

Before the momentous meet-up, Burroughs had begun experimenting with morphine when he acquired a stash of the drug to sell, and he subsequently became hooked. Long fascinated by "low lifes" and the vitality they retained while the rest of "normal" Americans seemed wan and dessicated (this was the Great Depression, after all), Burroughs began conducting field "research" into New York's demimonde, aided and abetted by Herbert Huncke, a junkie and thief whom Burroughs befriended and let share his apartment in lower Manhattan. With Huncke playing Virgil to his Dante, Burroughs met the "low-lifes" who would become part of his fiction as he journeyed through the rings of hell that was World War II New York. "Sailor", who showed up as a character in Naked Lunch (1991), was a thief and drug dealer who once borrowed Burroughs' pistol and went out and shot a storekeeper to death (Sailor later hanged himself in jail after being arrested for an unrelated crime. He was known as an informer and had turned in a rival narcotics dealer--he was facing beatings, torture and possibly murder when he decided to take his own life). Soon Burroughs began to deal drugs in earnest in order to keep up with his own habit and fence merchandise himself, becoming part of a den of thieves that spilled over into Edie and Joan's apartment. The patrician Burroughs, with his high standards, prided himself on giving the best "cut" of heroin available, with personal home delivery to boot.

Jack Kerouac first urged Burroughs to write. Burroughs spent a lot of time at the apartment Kerouac shared with Edie and Joan. He particularly liked to psychoanalyze Kerouac and Ginsburg, and enjoyed having them act out scenarios, little dramas in which they would play roles: Burroughs an old queen/con artist, Ginsburg her pimp, and Kerouac as the gullible young American, mouth agape in a foreign land, ripe for the plucking. Their imaginations were quite fertile, and it fed Kerouac and Ginsberg's writing. Burroughs had never really had any inclination to write until he met Kerouac, but he and Jack collaborated on a mystery novel they eventually entitled "And the Hippos Were Boiled in Their Tanks," after the last sentence of a BBC-Radio report on a fire at the London Zoo. Each wrote alternating chapters, and after the book was complete, the manuscript was passed around among New York publishers. There were no takers, and for the time, Burroughs lost interest in writing.

In 1945 Lucien Carr stabbed David Kammerer to death during a stroll along the bank of the Hudson River below Morningside Heights that was a notorious gay cruising area. After holding the dying man in his arms, Carr weighted down the body of his former tutor with rocks and disposed of it in the Hudson. In bloodied clothes, Carr sought out Burroughs, soliciting advice. Ignoring the elder's wise counsel to get a good lawyer and turn himself in, Carr then went to see Kerouac, who helped him dispose of the murder weapon and Kammerer's glasses. Both Burroughs and Kerouac were arrested (Burroughs as a material witness; Kerouac as an accessory after the fact), but eventually both were released without being prosecuted. Carr pleaded guilty to manslaughter and was sent off to the Elmira Reformatory, where he was incarcerated for two years.

New York City became increasingly untenable as Burroughs became known to the police, so -- after he and Joan married -- they moved to Louisiana to become farmers. Their crop was marijuana, and eventually they moved on to Mexico, where living was cheaper and drugs easier to come by (and there was less hassle from police). In 1951, at a party in which they both were drunk, an exhibitionistic Burroughs shot and killed Joan in an alleged accident where he reportedly attempted to mimic the "apple on the son's head" scene from "William Tell". As the story is told, Joan put a glass of liquor on top of her head after Burroughs beseeched her to perform their William Tell trick for the guests. There had never been a William Tell trick, Burroughs later ruefully admitted, and Joan wound up with a .32 ACP slug in her head. Accounts of the death, which the Mexican police ruled a misadventure caused by a mistake in judgment, have never been entirely satisfactory. Like Lucien Carr before him, Burroughs may have consciously or subconsciously rid himself of a lover whom he no longer had any use for, or was piqued at. Burroughs at the time of the shooting was in love, involved in a heavy gay affair.

After the death of Joan, Burroughs spent time journeying through Central and South America, looking for the drug called "Yage", which like peyote was rumored to offer a key to opening the doors of perception and heightening consciousness. He found it and distributed it among friends. In 1953 Allen Ginsburg managed to get Burroughs into print under the pen name "William Lee." His autobiographical novel, "Junkie", was published by Ace Books (the son of the owner, Carl Solomon, was one of Ginsburg's friends) as a 35-cent paperback original (its formal title was "Junkie: Confessions of an Unredeemed Drug Adict", and it was published as "Two Books in One" back-to-back with another paperback original in the same volume). Returning to Mexico City, in the mid-'50s he began writing in earnest while keeping up with his drug habit, living off the small trust fund he received as a scion of the Burroughs family. It was in Mexico City that he began writing the sketches that would turn into his major book, "Naked Lunch". In 1956 he left Mexico City for Tangiers, Morocco, as the living was even cheaper than it was in Mexico City (as were the drugs). He eventually returned to the US in the 1960s.

"Naked Lunch" has the distinction of being the last major book to be prosecuted for obscenity in the United States. The novel was written in Mexico City and Tangiers, crafted from fragments he wrote while addicted to heroin. After it was published in Paris by the Olympia Press in 1959, it quickly became notorious for its graphic descriptions of sexual encounters, sadism and murder, as well as its no-holds-barred use of language. Many stalwart defenders of the First Amendment drew the line at "Naked Lunch", stating that they did not fight the good fight to get James Joyce's "Ulysses" and the works of D.H. Lawrence and Henry Miller before the American public so that something like "Naked Lunch" could be published. Grove Press acquired the rights to the book, but it was not published until 1962, as the publishing house awaited the outcome of other obscenity trials, including one involving Allen Ginsberg's epic poem "Howl", which featured Burroughs as one of its hipsters searching for "an angry fix". Guided by Justice William J. Brennan, the U.S. Supreme Court starting in the late 1950s had relaxed censorship standards to protect literature that had redeeming social value, no matter that passages in the works were accused of being obscene. To be banned, a work had to be utterly without redeeming social value. Undaunted, the Comonwealth of Massachusetts successfully prosecuted the book as obscene.

For the initial trial, Grove Press had gathered together an impressive list of "experts" such as Norman Mailer to defend the book, but Burroughs' modern classic initially lost, was declared obscene, and was banned in Massachusetts (a banned book would be destroyed, the copies already having been confiscated by the police). However, in 1966 the Massachusetts Supreme Court (in Memoirs v. Massachusetts) found that "Naked Lunch" was "not without social value, and therefore, not obscene." With this ruling an era that began in the 1870s when anti-smut crusader Anthony Comstock led the charge for stricter enforcement of obscenity laws by the federal and state governments came to an end.

By the late 1970s Burroughs had lived long enough to be hailed by critics and the public as a major American writer. He was embraced by punk rockers in New York and became an iconic figure by the 1980s. He died in 1997 at the age of 83.

David Cronenberg, also known as the King of Venereal Horror or the Baron of Blood, was born in Toronto, Ontario, Canada, in 1943. His father, Milton Cronenberg, was a journalist and editor, and his mother, Esther (Sumberg), was a piano player. After showing an inclination for literature at an early age (he wrote and published eerie short stories, thus following his father's path) and for music (playing classical guitar until he was 12), Cronenberg graduated from the University of Toronto with a degree in Literature after switching from the science department. He reached the cult status of horror-meister with the gore-filled, modern-vampire variations of Shivers (1975) and Rabid (1977), following an experimental apprenticeship in independent film-making and in Canadian television programs.

Cronenberg gained popularity with the head-exploding, telepathy-based Scanners (1981) after the release of the much underrated, controversial, and autobiographical The Brood (1979). Cronenberg become a sort of a mass media guru with Videodrome (1983), a shocking investigation of the hazards of reality-morphing television and a prophetic critique of contemporary aesthetics. The issues of tech-induced mutation of the human body and topics of the prominent dichotomy between body and mind were back again in The Dead Zone (1983) and The Fly (1986), both bright examples of a personal film-making identity, even if both films are based on mass-entertainment materials: the first being a rendition of a Stephen King best-seller, the latter a remake of a famous American horror movie.

With Dead Ringers (1988) and Naked Lunch (1991), the Canadian director, no more a mere genre movie-maker but a fully realized auteur, got the acclaim of international critics. Such profound statements on modern humanity and ever-changing society are prominent in the provocative Crash (1996) and in the virtual reality essay of eXistenZ (1999), both of which well fared at the Cannes and Berlin Film Festivals. In the last two film projects Spider (2002) and A History of Violence (2005), Cronenberg avoids expressing his teratologic and oneiric expressionism in favor of a more psychological exploration of human contradictions and idiosyncrasies.

Liam Gavin is known for A Dark Song (2016), Mutant Chronicles (2008) and Jericho (2009).

Adrian Garcia Bogliano was born on 4 July 1980 in Madrid, Spain. He is a director and writer, known for Night of the Wolf (2014), Here Comes the Devil (2012) and Come Play with Me (2021).

Born and raised in Istanbul, Evrenol studied Film Studies and Art History at the University of Kent at Canterbury. Upon graduating, he has independently written, directed and produced short horror films, which won him several international awards, as well as being officially selected to more than 40 international genre film festivals around the world.

His feature debut film Baskin (2015), based on his 2013 short film of the same title, premiered at Toronto International Film Festival's Midnight Madness section, and awarded the Best Director at Austin Fantasticfest's New Wave Awards.

Originally planning to become a lawyer, Billy Wilder abandoned that career in favor of working as a reporter for a Viennese newspaper, using this experience to move to Berlin, where he worked for the city's largest tabloid. He broke into films as a screenwriter in 1929 and wrote scripts for many German films until Adolf Hitler came to power in 1933. Wilder immediately realized his Jewish ancestry would cause problems, so he emigrated to Paris, then the US. Although he spoke no English when he arrived in Hollywood, Wilder was a fast learner and thanks to contacts such as Peter Lorre (with whom he shared an apartment), he was able to break into American films. His partnership with Charles Brackett started in 1938 and the team was responsible for writing some of Hollywood's classic comedies, including Ninotchka (1939) and Ball of Fire (1941). The partnership expanded into a producer-director one in 1942, with Brackett producing and the two turned out such classics as Five Graves to Cairo (1943), The Lost Weekend (1945) (Oscars for Best Picture, Director and Screenplay) and Sunset Boulevard (1950) (Oscars for Best Screenplay), after which the partnership dissolved. (Wilder had already made one film, Double Indemnity (1944) without Brackett, as the latter had refused to work on a film he felt dealt with such disreputable characters.) Wilder's subsequent self-produced films would become more caustic and cynical, notably Ace in the Hole (1951), though he also produced such sublime comedies as Some Like It Hot (1959) and The Apartment (1960) (which won him Best Picture and Director Oscars). He retired in 1981.

Bigas Luna was born on 19 March 1946 in Barcelona, Barcelona, Catalonia, Spain. He was a writer and director, known for Jamón, Jamón (1992), Caniche (1979) and Anguish (1987). He was married to Celia Orós. He died on 6 April 2013 in La Riera de Gaià, Tarragona, Catalonia, Spain.

The most internationally acclaimed Spanish filmmaker since Luis Buñuel was born in a small town (Calzada de Calatrava) in the impoverished Spanish region of La Mancha. He arrived in Madrid in 1968, and survived by selling used items in the flea-market called El Rastro. Almodóvar couldn't study filmmaking because he didn't have the money to afford it. Besides, the filmmaking schools were closed in early 70s by Franco's government. Instead, he found a job in the Spanish phone company and saved his salary to buy a Super 8 camera. From 1972 to 1978, he devoted himself to make short films with the help of of his friends. The "premieres" of those early films were famous in the rapidly growing world of the Spanish counter-culture. In few years, Almodóvar became a star of "La Movida", the pop cultural movement of late 70s Madrid. His first feature film, Pepi, Luci, Bom and Other Girls Like Mom (1980), was made in 16 mm and blown-up to 35 mm for public release. In 1987, he and his brother Agustín Almodóvar established their own production company: El Deseo, S. A. The "Almodóvar phenomenon" has reached all over the world, making his films very popular in many countries.

The name "Melville" is not immediately associated with film. It conjures up images of white whales and crackbrained captains, of naysaying notaries and soup-spilling sailors. It is the countersign to a realm of men and their deeds, both heroic and villainous. It is the American novel, with its Ishmaels and its Claggarts a challenge to the European canon. It is Herman Melville. And yet, for over three decades, it was also worn by one of the French cinema's brightest lights, Jean-Pierre Melville, whose art was as revolutionary as that of the eponymous author.

Jean-Pierre Grumbach was born on October 20, 1917, to a family of Alsatian Jews. In his youth he studied in Paris, where he was first exposed to great films, among them Robert J. Flaherty's and W.S. Van Dyke's silent documentary White Shadows in the South Seas (1928). It left so deep a mark upon the pubescent Grumbach that he became a regular at the cinema, an obsession that would benefit him in adulthood. His own earliest efforts, 16mm home movies, were made with a camera given to him by his father in this period. In 1937, however, his career was forestalled when he began obligatory service in the French army. He was still in uniform when the Nazis invaded in 1940; under the nom de guerre of Melville, he aided the Resistance and was eventually forced to flee to England. There he joined the Free French forces and took part in the Allies' liberation of continental Europe. After the war, despite a desire to revert to Grumbach, he found that pseudonym had stuck.

Eager to earn his place in the movie industry, Melville applied to the French Technicians' Union but was denied membership. Undaunted by what he regarded as party politics, he set up his own production company in 1946 and started releasing films outside the system. The first, a low-budget short titled 24 Hours in the Life of a Clown (1946), was a success, inspired by his boyhood love for the circus. His feature-length debut, The Silence of the Sea (1949), was highly innovative. An intimate piece on the horrors of World War II, it starred unknown actors and was filmed by a skeleton crew. Its schedule was unusual: It was shot over 27 days in the course of a year. Its production was unusual: it incorporated "on-location" scenes--rarities in that era--done without vital permits. Its provenance was unusual: it was adapted from a book before the author's consent was obtained. Above all, its style was unusual. Its dark, claustrophobic sets and bottom-lit close-ups signaled a departure from the highly cultured cinema of René Clair, Marcel Pagnol, Abel Gance and Jacques Feyder. It was neither comedietta nor costume drama nor avant-garde "cinéma pur." Where its roots may have been in Jean Renoir's The Grand Illusion (1937), it was clearly something new.

Over the following 12 years Melville continued to create films that would influence the auteurs of La Nouvelle Vague (i.e., the French New Wave.) In 1950 he collaborated with Jean Cocteau on an unsatisfying version of The Terrible Children (1950), the tale of a strange, incestuous relationship between siblings. When You Read This Letter (1953), with French and Italian backing, was his first commercial project. While it was unprofitable, the fee he received allowed him to establish a studio outside of Paris. His next work, Bob le Flambeur (1956), featured Roger Duchesne, a popular leading man of the 1930s who had drifted into the underworld during the war. As such, he was a uniquely apt choice for the role of the fashionable, self-immolating Bob. His supporting cast included Daniel Cauchy as toadying sidekick Paolo and newcomer Isabelle Corey as the temptress Anne. Although the picture was not a hit, it was a favorite of the aficionados that frequented Henri Langlois' Cinémathèque Français. Among them were the young savants Jean-Luc Godard and François Truffaut, the latter of whom used Guy Decomble of "Bob le flambeur" in his The 400 Blows (1959) that ushered in the "New Wave" era. They adored the hip, new rendering of a tired scenario, much of it shot in the streets with hidden cameras. They viewed it as fresh and daring, a "freeing up" through the rejection of high-minded literary adaptations and the embracing of pop culture. Simply put, Melville refused to play by the rules, and they followed suit.

In retrospect, "Bob le flambeur" seems straightforward: A reformed mobster turned high-stakes gambler comes out of retirement to pull one last job. Its genius lies in its simplicity. Melville admired American culture, as his alias indicated. He drove around Paris in an enormous Cadillac, sporting a Stetson hat and aviator sunglasses. He drank Coca-Cola and listened to American radio. The works of American directors John Ford and Howard Hawks were appealing to him, as they were ageless sagas of heroes and villains. Melville strove to build his own pantheon by blending the American ethos with his postwar sensibilities. As he perceived it, it was America that had valiantly rescued France from German occupation. Still, for a young man with Alsatian roots, the line separating good guys and bad guys had been breached, and one can see this disillusionment from The Silence of the Sea (1949) onward. Thus, while he borrowed from the American noir's revolt against the dichotomous Hollywood creations of the 1930s, the artist was forging his own apocryphal brand of dark tragedy. In his paradigm, a criminal could be a kind of hero within his milieu, so long as he stuck by his word and his allegiances. It was his personal style and his adherence to the code of honor that defined a "good guy"; obversely, it was his faith in others that was his downfall. It is a universe without the possibility for salvation, in which love and friendship are brief interludes in the cat-and-mouse games that lead to certain destruction. In that sense, Bob is a crucial link between Julien Duvivier's Pépé le Moko (1937) and Godard's Breathless (1960), in which Melville gave a brilliant cameo performance.

Jean-Pierre Melville is often regarded as the godfather of the Nouvelle Vague. Nonetheless, it is worth mentioning that had it not been for his aforementioned passion for American film, he might have shown us a very different "Bob le flambeur". Originally conceived as a hard-boiled gangster flick about the step-by-step plotting of a heist, Melville was forced to rethink its narrative after watching John Huston's remarkably similar The Asphalt Jungle (1950). It was only then that he had the idea to turn Bob into the comedy of manners that so delighted the cinephiles of the day. For this and other debts of gratitude, his next picture, Two Men in Manhattan (1959), was "a love letter to New York" and the America he revered. It was also his third straight box-office flop, however, and it caused Melville to break away from a New Wave movement that he felt catered to the cognoscenti. He later said, "If . . . I have consented to pass for their adopted father for a while, I do not wish it anymore, and I have put some distance in between us."

The first step in this split came with Léon Morin, Priest (1961), a wartime piece about a priest's endeavors to bring redemption to the inhabitants of a small town. Produced by Carlo Ponti, it was a big-budget affair with Jean-Paul Belmondo and Emmanuelle Riva, both household names by then. On the strength of its favorable reception, Melville released four consecutive cops-and-robbers movies, the most notable of which were Le Doulos (1962) and Le Samouraï (1967). Belmondo again headlined in "Le Doulous", not as a clergyman but as the fingerman Silien, whose loyalty to his old mob cronies entangles him in a web of intrigue and disaster. During the making of "Le Samouraï", a hauntingly minimalist film about a doomed assassin, Melville's studio burned to the ground and the project was completed in rented facilities. Regardless, it was a critical and commercial success. Presenting Alain Delon as ultra-cool assassin Jef Costello, it was considered one of the most meticulously-crafted pictures in the history of the cinema. Delon would later star in a second masterpiece, Le cercle rouge (1970), featuring the ultimate onscreen jewel heist. His Charles Bronson-cum-Jack Lord sang-froid toughness served as a counterpoint in Melville's oeuvre to the lighter and less predictable Belmondo. Another memorable production was Army of Shadows (1969), an austere portrait of perfidy within the ranks of the French Resistance.

It is trite to say that a particular artist is "not for everyone." In Melville's case, this statement could not be more fitting. Despite a round belly and an unattractive face, he was a notorious womanizer, and his chauvinism is painfully obvious in his movies. They are cynical, male-driven works in which women are devoid of nobility, merely functioning as beautiful chess pieces. His men also lack spiritual depth, diligently playing out their roles toward the final showdown. A "profound moment" inevitably occurs before a mirror, a cliché for which many critics do not share the creator's enthusiasm. As a result of these peccadilloes, as well as its lack of back-stories and character motivations, Melville's later output has been accused of stiffness, with its wooden troupe of cops, crooks and general mauvais sujets. Further, well-structured plots notwithstanding, Melville films are methodically paced with tremendous attention paid to time and place. Hollywoodphiles often find them slow, with an overemphasis on tone and style.

Some have gone as far as to claim that the réalizateur's genius was outstripped by his importance to the development of the medium. They look to him as a sort of Moses figure, helping to guide the Nouvelle Vague to the promised land without partaking in its fruits. At his death by heart attack in 1973, the 55-year-old had directed just 14 projects, at least six of which are acknowledged classics. Aside from Godard and Truffaut, luminaries such as John Woo, Quentin Tarantino, Michael Mann, Volker Schlöndorff, Johnnie To and Martin Scorsese have pointed to him as an key influence. If a man's legacy is best measured not only by its quality but by the respect of his colleagues, Jean-Pierre Melville's contribution to cinema surely ranks with the greatest.

Veronika Franz was born in 1965 in Vienna, Austria. She is a writer and director, known for Goodnight Mommy (2014), The Lodge (2019) and The Devil's Bath (2024). She is married to Ulrich Seidl. They have two children.