Career
Boorman first began by working as a drycleaner and journalist in the late 1950s. He ran the newsrooms at Southern Television in Southampton and Dover before moving into TV documentary filmmaking, eventually becoming the head of the BBC's Bristol-based Documentary Unit in 1962.
Capturing the interest of producer David Deutsch, he was offered the chance to direct a film aimed at repeating the success of A Hard Day's Night (directed by Richard Lester in 1964): Catch Us If You Can (1965) is about competing pop group Dave Clark Five. While not as successful commercially as Lester's film, it drew good reviews from distinguished critics such as Pauline Kael and Dilys Powell and smoothed Boorman's way into the film industry. Boorman was drawn to Hollywood for the opportunity to make larger-scale cinema and in Point Blank (1967), a powerful interpretation of a Richard Stark novel, brought a stranger's vision to the decaying fortress of Alcatraz and the proto-hippy world of San Francisco. Lee Marvin gave the then-unknown director his full support, telling MGM he deferred all his approvals on the project to Boorman.
After Point Blank, Boorman re-teamed with Lee Marvin and Toshirō Mifune for the robinsonade of Hell in the Pacific (1968), which tells a fable story of two representative soldiers stranded together on an island.
Returning to the UK, he made Leo The Last (US/UK, 1970). This film exhibited the influence of Federico Fellini and even starred Fellini regular Marcello Mastroianni, and won him a Best Director award at Cannes.
Boorman achieved much greater resonance with Deliverance (US, 1972, adapted from a novel by James Dickey), the odyssey of city people played by Jon Voight, Burt Reynolds, Ronny Cox and Ned Beatty as they trespass into Appalachian backwoods and discover their inner savagery. This film became Boorman's first true box office success, earning him several award nominations.
At the beginning of the 1970s, Boorman was planning to film The Lord of the Rings and corresponded about his plans with the author, J. R. R. Tolkien. Ultimately the production proved too costly, though some elements and themes can be seen in Excalibur.
A wide variety of films followed. Zardoz (1973), starring Sean Connery, was a post-apocalyptic science fiction piece, set in the 24th century. According to the director's film commentary, the 'Zardoz world' was on a collision course with an "effete" eternal society, which it accomplished, and in the story must reconcile with a more natural human nature.
Boorman was selected as director for Exorcist II: The Heretic (1977), but the resultant film was widely ridiculed and regarded by many as a failure.
Excalibur (UK, 1981), a long-held dream project of Boorman's, is a retelling of the Arthurian legend, based on Le Morte D'Arthur. Boorman cast actors Nicol Williamson and Helen Mirren against their protests, as the two disliked each other intensely, but Boorman felt their mutual antagonism would enhance their characterizations of the characters they were playing. The production was based in the Republic of Ireland, where Boorman had relocated. For the film he employed all of his children as actors and crew and several of Boorman's later films have been 'family business' productions.
Hope and Glory (1987, UK) is his most autobiographical movie to date, a retelling of his childhood in London during The Blitz. Produced by Goldcrest Films with Hollywood financing the film proved a Box Office hit in the US, receiving numerous Oscar, BAFTA and Golden Globe nominations. However his 1990 US produced comedy about a dysfunctional family, Where the Heart Is, was a major flop.
The Emerald Forest (1985) saw Boorman cast his actor son Charley Boorman as an eco-warrior, in a rainforest adventure that included commercially-required elements — action and near-nudity — with authentic anthropological detail. Rospo Pallenberg's original screenplay was adapted into a book of the same name by award winning author Robert Holdstock.
When his friend David Lean died in 1991, Boorman was announced to be taking over direction of Lean's long planned adaptation of Nostromo, though the production collapsed. Beyond Rangoon (US, 1995) and The Tailor of Panama (US/Ireland, 2000) both explore unique worlds with alien characters stranded and desperate.
Boorman won the Best Director Award at the 1998 Cannes Film Festival for The General, his black-and-white biopic of Martin Cahill. The film is about a glamorous, yet mysterious, criminal in Dublin who was killed, apparently by the Provisional Irish Republican Army. Boorman himself had been one of Cahill's burglary victims, having the gold record awarded for the score to Deliverance stolen from his home.
In 2004, Boorman was made a Fellow of BAFTA.
Released in 2006, The Tiger's Tail was a thriller set against the tableau of early 21st century capitalism in Ireland. At the same time, Boorman began work on a long-time pet project of his, a fictional account of the life of Roman Emperor Hadrian (entitled Memoirs of Hadrian), written in the form of a letter from a dying Hadrian to his successor. In the meantime, a re-make/re-interpretation of the classic The Wonderful Wizard Of Oz with Boorman at the helm has been announced in August 2009.
In 2007 and 2009 he has taken part in a series of events and discussions as part of the Arts in Marrakech Festival along with his daughter Katrine Boorman including an event with Kim Cattrall 'Being Directed'.
He is next to direct a film about the events of the Chernobyl disaster, which will hopefuly reunite him with actress Helen Mirren.
Read more about this topic: John Boorman
Famous quotes containing the word career:
“It is a great many years since at the outset of my career I had to think seriously what life had to offer that was worth having. I came to the conclusion that the chief good for me was freedom to learn, think, and say what I pleased, when I pleased. I have acted on that conviction... and though strongly, and perhaps wisely, warned that I should probably come to grief, I am entirely satisfied with the results of the line of action I have adopted.”
—Thomas Henry Huxley (1825–95)
“Clearly, society has a tremendous stake in insisting on a woman’s natural fitness for the career of mother: the alternatives are all too expensive.”
—Ann Oakley (b. 1944)
“I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.”
—Ruth Behar (b. 1956)