Franco Nero
Birthday:
23 November 1941, San Prospero Parmense, Emilia-Romagna, Italy
Birth Name:
Francesco Clemente Giuseppe Sparanero
Height:
180 cm
Blue-eyed and well-built Italian actor in international cinema, Franco Nero, was a painting photographer when he was discovered as an actor by director John Huston. He has since appeared in more than 200 movies around the world, working with Europe's top directors, such as Luis Buñuel, Rainer Werner Fassbinder, Claude Chabrol, Sergey Bondarch...
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Blue-eyed and well-built Italian actor in international cinema, Franco Nero, was a painting photographer when he was discovered as an actor by director John Huston. He has since appeared in more than 200 movies around the world, working with Europe's top directors, such as Luis Buñuel, Rainer Werner Fassbinder, Claude Chabrol, Sergey Bondarchuk, Mihalis Kakogiannis, Elio Petri, Marco Bellocchio, Enzo G. Castellari, among many others.Nero was born in Parma (Northern Italy), in the family of a strict police sergeant. His inclination for acting had already become obvious in his teenage years, when he began organizing and participating in student plays. After a short stint at a leading theater school, he moved to Rome, where he joined a small group of friends for the purpose of making documentaries. Still unsure of his ultimate vocation, he worked various jobs on the crew. He studied economics and trade in Milan University, and appeared in popular Italian photo-novels. This gave him a chance to gain a little role in Carlo Lizzani's La Celestina P... R... (1965).A year later, the handsome face of Nero was noticed by Huston, who chose him for the role of "Abel" in The Bible: In the Beginning... (1966) (aka La Bibbia). But success came after he got the role of the lonely gunfighter, dragging a coffin, in one of the best spaghetti-westerns; Sergio Corbucci's Django (1966). Nero then filmed a few other westerns of that style as Ferdinando Baldi's Texas, addio (1966) and Lucio Fulci's Le colt cantarono la morte e fu... tempo di massacro (1966).In 1967, Joshua Logan cast him in the film version of the musical Camelot (1967) (Warner Bros.), opposite Vanessa Redgrave, for which he was nominated for a Golden Globe award. During filming of Camelot, he met actress Vanessa Redgrave, who become his long-time partner (they married decades later). He played with Catherine Deneuve in Luis Buñuel's Tristana (1970) and was directed by Sergey Bondarchuk in the war drama Bitka na Neretvi (1969). Later, director Bondarchuk cast Nero for the role of famous American reporter "John Reed" in two-part "Krasnye kolokola II" (1982). In the late 60s and during the 70s, Nero played many different roles, but most of them connected with political and criminal genre, which criticized the Italian justice system.In the early 80s, Nero was chosen for the role of the white ninja, "Cole", in Enter the Ninja (1981) and in 1990 as terrorist "Gen. Esperanza", opposite Bruce Willis, in Renny Harlin's Die Hard 2 (1990). He has also payed the roles of leading national heroes, such as "Garibaldi" (Italy), "Arpad" (Hungary), and "Banovic Strahinja" (Yugoslavia). In the USA, he has been in successful mini-series, such as "The Pirate" (Warner Bros), "The Last Days of Pompeii" (CBS), "Young Catherine" (TNT), "Bella Mafia" (CBS), "The Painted Lady", "Saint Augustine", and movies such as "The Legend of Valentino", "21 Hours to Munich", "Force 10 from Navarone", "Enter the Ninja", "The Versace Murder", and Letters to Juliet (2010).He worked with the top European directors from Carlo Lizzani, Damiano Damiani, Luigi Zampa, Luis Buñuel, Elio Petri, Mihalis Kakogiannis, Rainer Werner Fassbinder, Claude Chabrol, 'Vatroslav Mimica', Marco Bellocchio, etc. At the beginning of the 80s, he also began producing, writing and directing. Between films, he participates in various theatrical events.Apart from his cinematographic work, Nero also works for charitable organizations. Over the last 45 years, he has been a benefactor of the Don Bosco orphanage in Tivoli. He has received many awards and, in 1992 for his artistic merits, a knighthood of the Italian Republic was bestowed on him by the President of Italy. In 2011, he was honored by Brunel University of London with the honorary degree of doctor of Letters honoris causa and, in Toronto, with a star on the Walk of Fame. Show less «
[interview in Toronto Globe and Mail, 11/12/1982] I would speak to Vanessa's [Vanessa Redgrave] father [Sir Michael Redgrave], or Laurence O...Show more »
[interview in Toronto Globe and Mail, 11/12/1982] I would speak to Vanessa's [Vanessa Redgrave] father [Sir Michael Redgrave], or Laurence Olivier or John Gielgud, and they told me that, at a certain point, I had to make a choice. I could be a star and maybe make lots of money, or I could change roles all the time and have a more interesting--and longer--career. People will criticize you, they said, but if you keep changing, you'll win in the end. Show less «
on 11/27/1978] I was working as a set photographer on [Dino De Laurentiis'] The Bible: In the Beginning... (1966). Director John Huston had ...Show more »
on 11/27/1978] I was working as a set photographer on [Dino De Laurentiis'] The Bible: In the Beginning... (1966). Director John Huston had seen a photo of me and said, "That's the face I want". Show less «
[to L.A. Times columnist Roderick Mann] If you're a big Hollywood star, you make one movie a year at the most. I can make five in Europe.
[to L.A. Times columnist Roderick Mann] If you're a big Hollywood star, you make one movie a year at the most. I can make five in Europe.
[on his two-month stint at acting school] They wanted to *teach* me to act. But to act is natural. It is ten percent acting and ninety perce...Show more »
[on his two-month stint at acting school] They wanted to *teach* me to act. But to act is natural. It is ten percent acting and ninety percent being smart. Show less «
I am the busiest actor. Why? Because an actor either decides he wants to be a star and play the same role over and over, or be an actor and ...Show more »
I am the busiest actor. Why? Because an actor either decides he wants to be a star and play the same role over and over, or be an actor and change all the time. Show less «
[to Tomas Milian after being asked why he was wearing heavy make-up for Vamos a matar, compañeros (1970)] You know why? Because when ...Show more »
[to Tomas Milian after being asked why he was wearing heavy make-up for Vamos a matar, compañeros (1970)] You know why? Because when I am very old, when I am fifty, the audience will always see me in the same way. I will look like I never aged because I'm going to be an actor forever. Show less «
[on the cultural impact of Django (1966)] I had no idea it would turn out to be so special. It wasn't just a success; it was a phenomenon. E...Show more »
[on the cultural impact of Django (1966)] I had no idea it would turn out to be so special. It wasn't just a success; it was a phenomenon. Everywhere I go people shout "Django" at me. Even today, as I am working in Brazil, kids call me Django. In Japan, they won't even put my name on movie posters, they put "Django". In Germany, they call all my movies "Django"; I did a great movie about the Sicilian mafia [Il giorno della civetta (1968)] and they called it "Django in the Mafia". [Il cacciatore di squali (1979)] they called "Django Django". They say: "Well, it's your problem." Show less «
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Amerigo Vessepi
Uncle Topolino
Cole
Gen. Ramon Esperanza
Ditob