Vincente Minnelli
Birthday:
28 February 1903, Chicago, Illinois, USA
Birth Name:
Lester Anthony Minnelli
Height:
175 cm
Born Lester Anthony Minnelli in Chicago on February 28 1903, his father Vincent was a musical conductor of the Minnelli Brothers' Tent Theater. Wanting to pursue an artistic career, Minelli worked in the costume department of the Chicago Theater, then on Broadway during the depression as a set designer and costumer, adopting a Latinized versio...
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Born Lester Anthony Minnelli in Chicago on February 28 1903, his father Vincent was a musical conductor of the Minnelli Brothers' Tent Theater. Wanting to pursue an artistic career, Minelli worked in the costume department of the Chicago Theater, then on Broadway during the depression as a set designer and costumer, adopting a Latinized version of his father's first name when he was hired as an art-director by Radio City Music Hall. The fall of 1935 saw his directorial debut for a Franz Schubert revue, At Home Abroad. The show was the first of three, in the best Florenz Ziegfeld Jr. spirit, before receiving Arthur Freed's offer to work at MGM. This was his second try at Hollywood -- a short unsuccessful contract at Paramount led nowhere. He stayed at MGM for the next 26 years. After working on numerous Mickey Rooney/Judy Garland vehicles, usually directed by Busby Berkeley, Arthur Freed gave him his first directorial assignment on Cabin in the Sky (1943), a risky screen project with an all-black cast. This was followed by the ambitious period piece Meet Me in St. Louis (1944) whose star Judy Garland he married in 1945. Employing first-class MGM technicians, Minnelli went on directing musicals -- The Band Wagon (1953) - as well as melodramas -- Some Came Running (1958) - and urban comedies like Designing Woman (1957), occasionally even working on two films simultaneously. Minnelli is one of the few directors for whom Technicolor seems to have been invented. Many of his films included in every one of his movies features a dream sequence. Show less «
[on the re-editing of "Two Weeks In Another Town"]: It's painful to talk about the ruin of that film even now.
[on the re-editing of "Two Weeks In Another Town"]: It's painful to talk about the ruin of that film even now.
But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.
But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
But surrealism is present in most of my pictures.
But surrealism is present in most of my pictures.
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a mar...Show more »
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man. Show less «
Dali was the great painter then and surrealism was a way of life.
Dali was the great painter then and surrealism was a way of life.
I see wonderful films by Bertolucci, Visconti, and Fellini.
I see wonderful films by Bertolucci, Visconti, and Fellini.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
American films are terribly popular all over the world and American movie stars are terribly important. I don't know why.
Cedric Gibbons was the grand cardinal of the art department.
Cedric Gibbons was the grand cardinal of the art department.
But I think musicals are going to have to deal with important subjects.
But I think musicals are going to have to deal with important subjects.
Designing Woman was written for the screen.
Designing Woman was written for the screen.
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
Nowadays the audience has changed. No one can anticipate the audience.
Nowadays the audience has changed. No one can anticipate the audience.
That's what I think musicals will come to. No backstage stories, nothing of that sort.
That's what I think musicals will come to. No backstage stories, nothing of that sort.
We shot that in all the real places where Van Gogh worked.
We shot that in all the real places where Van Gogh worked.
It's always the story that interests me.
It's always the story that interests me.
I use colors to bring fine points of story and character.
I use colors to bring fine points of story and character.
It's the story that counts.
It's the story that counts.
I always have coffee without sugar, you know. Just cream.
I always have coffee without sugar, you know. Just cream.
Color can do anything that black-and-white can.
Color can do anything that black-and-white can.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.
I always liked the Van Gogh story because I was terribly involved in that.
I always liked the Van Gogh story because I was terribly involved in that.
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
I made three films with Douglas, two with Charles Boyer.
I made three films with Douglas, two with Charles Boyer.
I learn new things all the time.
I learn new things all the time.
I had given up the theater and everything propelled me into entertainment. And I didn't resist it.
I had given up the theater and everything propelled me into entertainment. And I didn't resist it.
If anybody reads a story in a magazine or book, different pictures compete in their minds.
If anybody reads a story in a magazine or book, different pictures compete in their minds.
In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.
In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.
I seem to be drawn to things that actually happen.
I seem to be drawn to things that actually happen.
I started out to be a painter and was born into the theater.
I started out to be a painter and was born into the theater.
I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.
I've worked with an awful lot of people. Katy Hepburn, Spencer Tracy.
Vincente Minnelli's Photos
