Erich von Stroheim
Birthday:
22 September 1885, Vienna, Austria-Hungary [now Austria]
Birth Name:
Erich Oswald Stroheim
Height:
170 cm
Erich von Stroheim was born Erich Oswald Stroheim in 1885, in Vienna, Austria, to Johanna (Bondy), from Prague, and Benno Stroheim, a hatmaker from Gliwice, Poland. His family was Jewish.After spending some time working in his father's hat factory, he emigrated to America around 1909. Working in various jobs he arrived in Hollywood in 1914 and...
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Erich von Stroheim was born Erich Oswald Stroheim in 1885, in Vienna, Austria, to Johanna (Bondy), from Prague, and Benno Stroheim, a hatmaker from Gliwice, Poland. His family was Jewish.After spending some time working in his father's hat factory, he emigrated to America around 1909. Working in various jobs he arrived in Hollywood in 1914 and got work in D.W. Griffiths' company as a bit player. America's entry into WW1 enabled him to play sadistic monocled German officers but these roles dried up when the war ended. He turned to writing and directing but his passion for unnecessary detail such as Austrian guards wearing correct and expensively acquired regulation underwear which was never seen in 'Foolish Wives' caused the budget to reach a reported $1 million. Although the film became a hit the final edit was given to others resulting in a third of his footage being cut. Irving Thalberg fired him from 'Merry Go Round' which was completed by Rupert Julien. He then started on 'Greed', which when completed was unreleasable being 42 reels with a running time of 7 hours. It was eventually cut down to 10 reels which still had a striking effect on audiences. 'The Wedding March' was so long that even in it's unfinished state it was released as two separate films in Europe. Gloria Swanson fired him from her production of 'Queen Kelly' when with no sign of the film nearing completion the costs had risen to twice the budget partly due to him reshooting scenes that had already been passed by the Hays office. She then had to spend a further $200,000 putting the footage into releasable state. It was the end for him as a director, but he made a reasonable success as an actor in the talkies. Show less «
If you live in France and you have written one good book, or painted one good picture, or directed one outstanding film, 50 years ago, and n...Show more »
If you live in France and you have written one good book, or painted one good picture, or directed one outstanding film, 50 years ago, and nothing ever since, you are still recognized as an artist and honored accordingly . . . In Hollywood - in Hollywood, you're as good as your last picture. If you didn't have one in production in the last three months, you're forgotten, no matter what you have achieved ere this. It is that terrific, unfortunately necessary, egotism in the makeup of the people who make the cinema, it is the continuous endeavor for recognition, that continuous struggle for survival and supremacy, among the newcomers, that relegates the old-timers to the ashcan. Show less «
The difference between me and [Ernst Lubitsch] is that he shows you the king on the throne and then he shows you the king in his bedroom. I ...Show more »
The difference between me and [Ernst Lubitsch] is that he shows you the king on the throne and then he shows you the king in his bedroom. I show you the king in his bedroom first. Then when you see him on the throne you have no illusions about him. Show less «
[on seeing the two-hour version of Greed (1924), rather than the whole film] It was like viewing a corpse in a graveyard.
[on seeing the two-hour version of Greed (1924), rather than the whole film] It was like viewing a corpse in a graveyard.
[on Irving Thalberg and the cutting of Greed (1924)] The man who cut my picture has nothing on his head but a hat!
[on Irving Thalberg and the cutting of Greed (1924)] The man who cut my picture has nothing on his head but a hat!
[shouting at actors while shooting Foolish Wives (1922)] I'm making this picture for the theatre! Not for the actors!
[shouting at actors while shooting Foolish Wives (1922)] I'm making this picture for the theatre! Not for the actors!
[dying in bed, telling his biographer] This is not the worst. The worst is that they stole 25 years from my life . . .
[dying in bed, telling his biographer] This is not the worst. The worst is that they stole 25 years from my life . . .
[Sunday, May 18, 1941, article "I Am an American Day") I feel that the many reasons why I am glad to be an American will be propounded by ot...Show more »
[Sunday, May 18, 1941, article "I Am an American Day") I feel that the many reasons why I am glad to be an American will be propounded by others more articulate and eloquent than I . . . therefore I shall not touch "Liberty" and all other prerogatives that are America's. One reason I dare mention. I have been traveling abroad a great deal lately and I have had ample opportunity to notice the profound respect that little red passport with that gilded spread eagle and that simple inscription, "United States of America", commands everywhere . . . no matter who the bearer may be. They may not love us everywhere . . . but they respect and fear us. I prefer that! Show less «
My Vienna is as different from what they call Vienna now as the quick is from the dead.
My Vienna is as different from what they call Vienna now as the quick is from the dead.
Yelling at Jean Hersholt and Gibson Gowland during a fight scene in Greed (1924), "Fight! Fight! Try to hate each other as you both hate me!...Show more »
Yelling at Jean Hersholt and Gibson Gowland during a fight scene in Greed (1924), "Fight! Fight! Try to hate each other as you both hate me!" Show less «
[introducing his version of The Merry Widow (1925)] All the good things in this film were made by me. The things that are no good in it were...Show more »
[introducing his version of The Merry Widow (1925)] All the good things in this film were made by me. The things that are no good in it were made by others. Show less «
Max von Mayerling