John Landis
Birthday:
3 August 1950, Chicago, Illinois, USA
Height:
178 cm
John Landis began his career in the mail room of 20th Century-Fox. A high-school dropout, 18-year-old Landis made his way to Yugoslavia to work as a production assistant on Kelly's Heroes (1970). Remaining in Europe, Landis found work as an actor, extra and stuntman in many of the Spanish/Italian "spaghetti" westerns. Returning to th...
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John Landis began his career in the mail room of 20th Century-Fox. A high-school dropout, 18-year-old Landis made his way to Yugoslavia to work as a production assistant on Kelly's Heroes (1970). Remaining in Europe, Landis found work as an actor, extra and stuntman in many of the Spanish/Italian "spaghetti" westerns. Returning to the US, he made his feature debut as a writer-director at age 21 with Schlock (1973), an affectionate tribute to monster movies. Clad in a Rick Baker-designed gorilla suit, Landis starred as "Schlockthropus", the missing link. After working as a writer, actor and production assistant, Landis made his second film, The Kentucky Fried Movie (1977), in collaboration with the Zucker brothers and Jim Abrahams. Landis rose to international recognition as director of the wildly successful Animal House (1978). With blockbusters such as The Blues Brothers (1980), Trading Places (1983), Spies Like Us (1985), ¡Three Amigos! (1986) and Coming to America (1988), Landis has directed some of the most popular film comedies of all time. Other feature credits include Into the Night (1985), Innocent Blood (1992) and the comedy/horror genre classic An American Werewolf in London (1981), which he also wrote. In 1986 Landis and four others, were acquitted of responsibility for the tragic accident that occurred in Landis' segment of Twilight Zone: The Movie (1983) in which actor Vic Morrow and two child actors were killed. The film also included segments directed by Joe Dante, George Miller and Steven Spielberg. In 1983 Landis wrote and directed the groundbreaking music video of Michael Jackson's Michael Jackson: Thriller (1983), created originally to play as a theatrical short. "Thriller" forever changed MTV and the concept of music videos, garnering multiple accolades including the MTV Video Music Awards for Best Overall Video, Viewer's Choice, and the Video Vanguard Award - The Greatest Video in the History of the World. In 1991 "Thriller" was inducted into the MVPA's Hall of Fame. In 1991, Landis collaborated again with Jackson (I) on Michael Jackson: Black or White (1991), which premiered simultaneously in 27 countries with an estimated audience of 500 million. Although it was not the first motion picture or music video to do so, "Black or White" popularized the use of "digital morphing", where one object appears to seamlessly metamorphoses into another; the project raised the standard for state-of-the-art special effects in music videos. Landis has also been active in television as the executive producer (and often director) of the Ace- and Emmy Award-winning HBO series Dream On (1990). Other TV shows produced by his company, St. Clare Entertainment (St. Clare is the patron saint of television), include Weird Science (1994), Sliders (1995), Honey, I Shrunk the Kids: The TV Show (1997), Campus Cops (1995) and The Lost World (1998). In 2004 the Independent Film Channel broadcast his feature-length documentary about a used-car salesman, Slasher (2004). Deer Woman, an original one-hour episode written by Landis and his son Max Landis, inaugurated the Masters of Horror (2005) series in the fall of 2005 on Showtime. "Masters of Horror" also features one-hour episodes by John Carpenter, Roger Corman, Tobe Hooper, Don Coscarelli, Mick Garris, Dario Argento and Larry Cohen.A sought-after commercial director, Landis has worked for a variety of companies including Direct TV, Taco Bell, Coca Cola, Pepsi, Kellogg's and Disney. He was made a Chevalier dans l'ordre des Arts et des Lettres by the French government in 1985, awarded the Federico Fellini Prize by Rimini Cinema Festival in Italy and was named a George Eastman Scholar by The Eastman House in Rochester, New York. Both the Edinburgh Film Festival and the Torino Film Festival have held career retrospectives of his films. In 2004 Landis received the Time Machine Career Achievement Award at the Sitges Film Festival in Spain. Sent as a filmmaker/scholar by the Academy of Motion Pictures Arts & Sciences, Landis has lectured at many film schools and universities including Yale, Harvard, NYU, UCLA, UCSB, USC, Texas A&M, The North Carolina School of the Arts, University of Miami and Indiana University. He has also acted as a teacher and advisor to aspiring filmmakers at the Sundance Institute in Utah. Additionally, he edited Best American Movie Writing 2001 (Thunder's Mouth Press, NY, 2001). Born in Chicago, Illinois, Landis moved to Los Angeles soon after his birth. He is married to Deborah Nadoolman, an Oscar-nominated costume designer, and President of the Costume Designers Guild, with whom he has two children. Show less «
The [movie industry] ratings board reflect[s] the morals of the times. So now, with Reagan as president, it's all right to shred children, b...Show more »
The [movie industry] ratings board reflect[s] the morals of the times. So now, with Reagan as president, it's all right to shred children, but bare breasts are pretty disgusting. The morality of the times is deeply sick. American Film Institute speech, January 27, 1982 Show less «
When 'Animal House' turned out the way it did, they all rushed to me with barrels of money begging me to make them rich.
When 'Animal House' turned out the way it did, they all rushed to me with barrels of money begging me to make them rich.
I've done every job there is to do on a movie set except makeup. Wait a minute, I've done makeup. I've done every job there is to do on a mo...Show more »
I've done every job there is to do on a movie set except makeup. Wait a minute, I've done makeup. I've done every job there is to do on a movie set except hairdressing. Show less «
[Commenting on visiting Paramount for the first time in years.] "I felt like Norma Desmond."
[Commenting on visiting Paramount for the first time in years.] "I felt like Norma Desmond."
In 1991: "I live with the "Twilight Zone" every day of my life."
In 1991: "I live with the "Twilight Zone" every day of my life."
I've had people come up to me and say Jake and Elwood Blues are these legendary blues artists and I start thinking 'uh-oh'.
I've had people come up to me and say Jake and Elwood Blues are these legendary blues artists and I start thinking 'uh-oh'.
On working with Eddie Murphy on Trading Places (1983): His effect was dazzling. There was a "ding!" when he walked on, almost like Marilyn M...Show more »
On working with Eddie Murphy on Trading Places (1983): His effect was dazzling. There was a "ding!" when he walked on, almost like Marilyn Monroe. Show less «
See American Werewolf (In London) is not a comedy. People keep calling it a comedy, it's very funny I hope, but it is a horror film. We meet...Show more »
See American Werewolf (In London) is not a comedy. People keep calling it a comedy, it's very funny I hope, but it is a horror film. We meet these guys in a truckload of sheep. This is not subtle. I mean these boys are dead by the end of the movie. That's not really a happy tale. Show less «
The Thing (1982) is a terrific movie, probably John Carpenter's best
The Thing (1982) is a terrific movie, probably John Carpenter's best
[on superstars] I've worked with Paul McCartney, and Michael Jackson, and The Blues Brothers, and David Bowie, and a lot of people that have...Show more »
[on superstars] I've worked with Paul McCartney, and Michael Jackson, and The Blues Brothers, and David Bowie, and a lot of people that have gone through that experience, and man I think it's difficult to remain sane under those circumstances. When you see what happened to Elvis Presley - I mean, I understand it, but with that level of stardom, and that level of celebrity, it's a miracle if you can make it through it with any sense of sanity after that. Show less «
On working with Eddie Murphy in Coming to America (1988): Eddie is an immensely overpowering talent. But if you can imagine a nuclear plant,...Show more »
On working with Eddie Murphy in Coming to America (1988): Eddie is an immensely overpowering talent. But if you can imagine a nuclear plant, that energy is productive as long as it's contained. And if Eddie's not contained, he's gonna blow. Show less «
I always loved those 1960s films and the things Richard Lester had done with The Beatles, and I conceived An American Werewolf in London (19...Show more »
I always loved those 1960s films and the things Richard Lester had done with The Beatles, and I conceived An American Werewolf in London (1981) with that spirit in mind. London was horror central, of course, home of Jack the Ripper, Jekyll and Hyde, so I wanted all that Victorian Gothic, but I also wanted to show the real London of 1981. Show less «
[on the death of Michael Jackson] I was lucky enough to know and work with Michael Jackson in his prime. Michael was an extraordinary talent...Show more »
[on the death of Michael Jackson] I was lucky enough to know and work with Michael Jackson in his prime. Michael was an extraordinary talent and a truly great international star. He had a troubled and complicated life and despite his gifts, remains a tragic figure. My wife Deborah and I will always have great affection for him. Show less «
[on Blues Brothers 2000 (1998)] I never had that experience before, where committees are telling me what they're going to do. What I should ...Show more »
[on Blues Brothers 2000 (1998)] I never had that experience before, where committees are telling me what they're going to do. What I should have done is quit, but instead - out of loyalty to Danny [Aykroyd] - I finished the movie. We had fabulous music - I'm proud of the music - but by the time we were shooting, the movie was fucked. Show less «
The new versions of The Texas Chainsaw Massacre (2003) and The Last House on the Left (2009) looked like shampoo commercials.
The new versions of The Texas Chainsaw Massacre (2003) and The Last House on the Left (2009) looked like shampoo commercials.
I still think that The Exorcist (1973) is the scariest movie I ever saw. However I have never walked away from a movie uneasy - I've been cr...Show more »
I still think that The Exorcist (1973) is the scariest movie I ever saw. However I have never walked away from a movie uneasy - I've been creeped out during the movie, but once I leave the cinema, it's more about my next meal. Show less «
(On The 7th Voyage of Sinbad) The reason it changed my life, and it really did-I had complete suspension of disbelief. Really, I was eight y...Show more »
(On The 7th Voyage of Sinbad) The reason it changed my life, and it really did-I had complete suspension of disbelief. Really, I was eight years old, and it transported me. I was on that beach running from that dragon, fighting that Cyclops. It just really dazzled me and I bought it completely. All my energy and efforts were to be a filmmaker, and it was because of that film. Show less «
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