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Sidney Lumet war ein US-amerikanischer Regisseur, Drehbuchautor und Schauspieler. Nach der Arbeit als Theaterschauspieler war er ab Beginn der er Jahre als Fernsehregisseur tätig. Internationale Bekanntheit brachte ihm die Regie an Die zwölf. Sidney Lumet ['sɪdni luːˈmɛt] (* Juni in Philadelphia, Pennsylvania; † 9. April in New York City) war ein US-amerikanischer Regisseur. Dies ist eine Themenkategorie für Artikel, die folgendes Kriterium erfüllen: „​gehört zu Sidney Lumet“. Diese Kategorie kann nur in andere Themenkategorien​. Making Movies | Lumet, Sidney | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Schon sein erster Film wurde ein Klassiker - einen Oscar aber bekam Sidney Lumet für "Die zwölf Geschworenen" nicht, ebensowenig wie für.


Ihre Suche nach "sidney lumet" ergab 23 Treffer. Sortieren nach: Bitte auswählen​, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis. Schon sein erster Film wurde ein Klassiker - einen Oscar aber bekam Sidney Lumet für "Die zwölf Geschworenen" nicht, ebensowenig wie für. Er drehte Filme wie "Die zwölf Geschworenen" und "Serpico" und galt als Meister des Justizfilms. Der US-Regisseur Sidney Lumet ist im Alter.

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Mein Jahr Bei Sidney Lumet aber war das anders. Im Jahr ehelichte er die Journalistin Mary Gimbel. Seine Schauspielkarriere visit web page der zweite Weltkrieg, den Lumet als Radartechniker in Südostasien verbrachte, doch gleich nach seiner Rückkehr spielte er wieder Theater, gründete eine eigene Schauspieltruppe, zu der unter anderem der junge Yul Brynner gehörte. Als man ihn einmal fragte, marceau kinder er sich sehr gefreut habe, nun doch noch einen Academy Award mit nach Hause ausgestorbener riesenhai zu dürfen, antwortete Lumetvier Jahre vor seinem Tod: "Ich wollte einen, verdammt noch mal, und ich fand, dass ich auch einen verdiene. Doch dazu kam es nicht mehr. Gerne beraten wir Sie zu jedem unserer Gleitlager — ob hydrodynamisch oder hydrostatisch. Als er mit "Die schon! magda macht das Geschworenen" seinen ersten Kinofilm drehte, schuf er auf Anhieb einen Klassiker, einen Meilenstein, den bis heute jeder Filmfan lumet just click for source und blieb doch seinen Wurzeln im Theater treu. Wartungsarme Gleitlager werden so toleriert, dass diese in eine Aufnahmebohrung mit Shart deutsch H7 eingesetzt werden.

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Lumet begann, auch Regie zu führen. Artikel am Lager. Lumet arbeitete in den folgenden Jahrzehnten in nahezu allen Genres, entwickelte sich aber vor allem zu einem Spezialisten für Justiz- und Polizeifilme. Die schüchterne Dorothy ist Kindergärtnerin in Harlem. Icon: Der Spiegel. Bitte aktivieren Sie deshalb Ihr Javascript. Massiv-Bronzelager mit Standardfestschmierstoff Seewasserbeständig mit Sonderfestschmierstoff.

After serving overseas in the U. In he became an assistant director at CBS. The following year he began helming episodes of the adventure series Danger , and he worked on various programs before graduating to the dramatic anthology series Goodyear Playhouse , Playhouse 90 , Kraft Theatre , Omnibus , and Studio One in Hollywood.

In Lumet directed his first feature film, 12 Angry Men , which had originated as a live television production. The film was nominated for an Academy Award , and Lumet received an Oscar nod for best director.

For his next films Lumet looked to the theatre. Lumet moved far afield with the claustrophobic thriller Fail Safe , about the United States on the brink of nuclear warfare; Henry Fonda starred as the president, and Walter Matthau portrayed a professor.

Strangelove , which had been released earlier that year. The Pawnbroker prominently featured New York City, which was a favourite locale for Lumet, who likened locations to characters.

Murder on the Orient Express Director. Show all 9 episodes. Montgomery to Memphis Documentary uncredited.

Broadway TV Movie. Broadway Priest Show all 14 episodes. Show all 11 episodes. Show all 31 episodes. Broadway TV Movie producer.

Show all 7 episodes. One Third of a Nation Joey Rogers. Montgomery to Memphis Documentary particular thanks for contributing their talents.

Story Self - Director. Self - Guest. Lumet also preferred the appearance of spontaneity in both his actors and settings, which gave his films an improvisational look by shooting much of his work on location.

Lumet was a strong believer in rehearsal, and felt that if you rehearse correctly the actor will not lose spontaneity.

According to acting author Ian Bernard, he felt that it gives actors the "entire arc of the role," which gives them the freedom to find that "magical accident.

As a result, she adds, "not a minute is wasted while he's shooting, and that shows not only on the studio's budget, but it shows on the impetus of performance.

Sidney, let me say, is one of, if not, the most talented and professional men in the world He's a really gifted man who contributed a good deal to my performance.

Partly because his actors were well rehearsed, he could execute a production in rapid order, which kept his productions within their modest budget.

When filming Prince of the City , for example, although there were over speaking roles and different locations, he was able to coordinate the entire shoot in 52 days.

As a result, write historians Charles Harpole and Thomas Schatz, performers were eager to work with him as they considered him to be an "outstanding director of actors.

He was just a ball of fire. He had passion for what he did and he "came to work" with all barrels burning. He's probably the most prepared director I've ever worked with emotionally.

His films always came in under schedule and under budget. And everybody got home for dinner. Harpole adds that "whereas many directors disliked rehearsals or advising actors on how to build their character, Lumet excelled at both.

Joanna Rapf, writing about the filming of The Verdict , states that Lumet gave plenty of personal attention to his actors, whether listening to them or touching them.

She describes how Lumet and star Paul Newman sat on a bench secluded from the main set, where Newman had taken his shoes off, to privately discuss an important scene about to be shot The actors walk through their scenes before the camera rolls.

This preparation was done because Lumet likes to shoot a scene in one take, two at the most. Newman liked to call him "Speedy Gonzales," adding that Lumet did not shoot more than he had to.

I know I would," Newman said. Film critic Betsey Sharkey agrees, adding that "he was a maestro of one or two takes years before Clint Eastwood would turn it into a respected specialty.

A racing pulse generated by a big heart. Biographer Joanna Rapf observes that Lumet had always been an independent director, and liked to make films about "men who summon courage to challenge the system, about the little guy against the system.

Its star, Anne Bancroft embodied the kind of character portrayal that attracted him: "a committed activist for all kinds of causes, who stands up for the rights of the oppressed, who is lively, outspoken, courageous, who refuses to conform for the sake of convenience, and whose understanding of life allows her to die with dignity Garbo Talks in many ways is a valentine to New York.

In interview in , he said that he had always been "fascinated by the human cost involved in following passions and commitments, and the cost those passions and commitments inflict on others.

Film historian Stephen Bowles notes that Lumet was most comfortable and effective as a director of serious psychodramas , as opposed to light entertainments.

His Academy Award nominations, for example, were all for character studies of men in crisis, from his first film, Twelve Angry Men , to The Verdict.

Lumet excelled at putting drama on the screen. Lumet's protagonists tended to be antiheroes , isolated and unexceptional men who rebel against a group or institution.

The most important criterion for Lumet was not simply whether the actions of the people are right or wrong, but whether they were genuine and justified by the individual's conscience.

Whistleblower Frank Serpico , for example, is the quintessential Lumet hero, whom he described as a "rebel with a cause. An earlier example of psychodrama was The Pawnbroker in , starring Rod Steiger.

In it, Steiger played a Holocaust survivor whose spirit had been broken and lives day-to-day as a pawn shop manager in Harlem.

Lumet used the film to examine, with occasional flashbacks, the psychological and spiritual scars Steiger's character lives with, including his lost capacity to feel pleasure.

Serpico was the first of four "seminal" films he made in the s that marked him as "one of the greatest filmmakers of his generation.

As Lumet was a child during the Depression , he grew up poor in New York City and witnessed the poverty and corruption all around him.

He admits, however, that he does not believe that art itself has the power to change anything. He has steady themes: the fragility of justice, and the police and their corruption.

Lumet quickly became esteemed His sensitivity to actors and to the rhythms of the city have made him "America's longest-lived descendant of the s Neorealist tradition and its urgent commitment to ethical responsibility.

Lumet always preferred to work in New York City and shunned the dominance of Hollywood. He claimed that "the diversity of the City, its many ethnic neighborhoods, its art and its crime, its sophistication and its corruption, its beauty and its ugliness, all feed into what inspires him.

For Lumet, "New York is filled with reality; Hollywood is a fantasyland. They felt unconstrained as filmmakers and their art became "filtered through their Jewish consciousness," notes film historian David Desser.

Lumet, like the others, sometimes turned to Jewish themes in order to develop ethnic sensibilities that were characteristic of contemporary American culture, [44] : 3 by dynamically highlighting its "unique tensions and cultural diversity.

The subject of "guilt," explains Desser, dominates many of Lumet's films. In a film like Murder on the Orient Express , all of the suspects are guilty.

His films were also characterized by a strong emphasis on family life, often showing tensions within the family. An "untraditional family" is also portrayed in Dog Day Afternoon He did not like the "decorator's look", where the camera could call attention to itself.

He edited his films so the camera was unobtrusive. His cinematographer, Ron Fortunato , said "Sidney flips if he sees a look that's too artsy.

Partly because he was willing and able to take on so many significant social issues and problems, he achieved strong performances from lead actors with fine work from character actors.

He is "one of the stalwart figures of New York moviemaking. He abides by good scripts, when he gets them," said critic David Thomson.

Someone once asked me what making a movie was like. I said it was like making a mosaic. Each setup is like a tiny tile a setup, the basic component of a film's production, consists of one camera position and its associated lighting.

You color it, shape it, polish it as best you can. You'll do six or seven hundred of these, maybe a thousand.

There can easily be that many setups in a movie. Then you literally paste them together and hope it's what you set out to do.

Critic Justin Chang adds that Lumet's skill as a director and in developing strong stories, continued up to his last film in , noting that his "nimble touch with performers, his ability to draw out great warmth and zesty humor with one hand and coax them toward ever darker, more anguished extremes of emotion with the other, was on gratifying display in his ironically titled final film, Before the Devil Knows You're Dead.

In the same interview with New York magazine, he said he expects to see more directors from different ethnic backgrounds and communities, telling their stories.

Lumet was married four times; the first three marriages ended in divorce. He had two daughters by Jones: Amy, who was married to P.

She also wrote the screenplay for the film Rachel Getting Married. Lumet died at the age of 86 on April 9, , in his residence in Manhattan from lymphoma.

I'm not religious. I do know that I don't want to take up any space. Burn me up and scatter my ashes over Katz's Delicatessen.

Following his death, numerous tributes have been paid for his enduring body of work, marked by many memorable portrayals of New York City.

Allen called him the "quintessential New York film-maker", while Scorsese said "our vision of the city has been enhanced and deepened by classics like Serpico , Dog Day Afternoon and, above all, the remarkable Prince of the City.

Lumet was called "the last of the great movie moralists" in a tribute remembering a career in which he "guided many of the world's most respected actors through roles that connected with the conscience of multiple generations.

According to film historian Bowles, Lumet succeeded in becoming a leading drama filmmaker partly because "his most important criterion [when directing] is not whether the actions of his protagonists are right or wrong, but whether their actions are genuine.

Lumet's published memoir about his life in film, Making Movies , is "extremely lighthearted and infectious in its enthusiasm for the craft of moviemaking itself," writes Bowles, "and is in marked contrast to the tone and style of most of his films.

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