John Schlesinger Biography (1926-)

Full name, John Richard Schlesinger; born February 16, 1926, in London, England; son of Bernard Edward (a physician) and Winifred Henrietta (maiden name,Regensburg) Schlesinger. Addresses: Agent: United Talent Agency Inc.,9560 Wilshire Blvd., 5th Floor, Beverly Hills, CA 90212.

Nationality
British
Gender
Male
Occupation
Director, actor, writer
Birth Details
February 16, 1926
London, United Kingdom

Famous Works

  • CREDITS
  • Stage Director
  • No Why, Royal Shakespeare Company, Aldwych Theatre, London, 1964
  • Timon of Athens, Royal Shakespeare Company, Royal Shakespeare Theatre, Stratford-on-Avon, England, 1965
  • Days in the Trees, Royal Shakespeare Company, Aldwych Theatre, 1966
  • I and Albert, Piccadilly Theatre, London, 1972
  • Heartbreak House, National Theatre, London, 1975
  • Julius Caesar, National Theatre, 1977
  • True West, National Theatre, 1980
  • Opera Director
  • Les contes d'Hoffmann, Royal Opera House, London, 1980
  • Der Rosenkavalier, Salzburg Festival, Austria, 1984
  • Un Balio in Maschera, Salzburg Festival, 1989
  • Film Appearances
  • Sailor of the King (also known as Single-Handed, Able Seaman Brown, and Single Handed), Twentieth-Century Fox, 1953
  • Ticket Collector, The Divided Heart, Ealing/Republic, 1955
  • Gentleman, Oh ... Rosalinda (also known as Fledermaus `55),1955
  • Dr. Goldfinger, The Last Man to Hang, Columbia, 1956
  • Pursuit of the Graf Spee (also known as Battle of the River Plate), Rank, 1957
  • Tim, garage mechanic, Stormy Crossing (also known as Black Tide), 1957
  • Seven Thunders (also known as The Besasts of Marseilles), 1957
  • Brothers in Law, Continental, 1957
  • (Uncredited) Location: Far from the Madding Crowd, 1967
  • Fifty Years of Action! (documentary), Directors Guild of America Golden Jubilee Committee, 1986
  • Cameo, Pacific Heights, Fox, 1990
  • Interviewee, The Celluloid Closet (also known as Celluloid Closet and Gefangen in der Traumfabrik), 1995
  • Film Director
  • Terminus (documentary), British Transport Films, 1961
  • A Kind of Loving, Governor, 1962
  • Billy Liar, Continental, 1963
  • Darling, Embassy, 1965
  • Far from the Madding Crowd, Metro-Goldwyn-Mayer, 1967
  • Midnight Cowboy, United Artists, 1969
  • Sunday Bloody Sunday, United Artists, 1970
  • "Olympic Marathon," Visions of Eight, Cinema V, 1973
  • The Day of the Locust, Paramount, 1974
  • Marathon Man, Paramount, 1976
  • Yanks, Universal, 1978
  • Honky Tonk Freeway, Universal, 1980
  • (And producer) The Falcon and the Snowman, Orion, 1985
  • (And producer) The Believers, Orion, 1987
  • Madame Sousatzka, Cineplex-Odeon, 1988
  • Pacific Heights, Fox, 1990
  • A Question of Attribution, 1992
  • The Innocent, 1993
  • Eye for an Eye, Paramount, 1996
  • The Next Best Thing, Paramount, 2000
  • Also directed The Class.
  • Other Film Work
  • Restoration supervisor, Midnight Cowboy, 1969
  • Consultant director, Privileged, New Yorker, 1981
  • Television Appearances
  • Movies
  • Brothers-in-Law, 1985
  • Dr. Adrian Lodge, The Twilight of the Golds, Showtime, 1997
  • Specials
  • Living in America, VH-1, 1991
  • Derek Moulthorp, The Lost Language of Cranes, PBS, 1992
  • Episodic
  • Jack Ludlow, "The Masked Bandits," Ivanhoe, 1958
  • "Waldo Salt: A Screenwriter's Journey," American Masters, PBS, 1992
  • Television Director
  • Movies
  • Separate Tables, BBC, 1982
  • An Englishman Abroad, BBC, 1983
  • Cold Comfort Farm, 1995
  • The Tale of Sweeney Todd, Showtime, 1998
  • Also directed the short film Tonight.
  • Episodic
  • Monitor, 1958
  • "A Question of Attribution," Masterpiece Theatre, PBS, 1992
  • Also directed episodes of The Valiant Years, BBC.
  • WRITINGS
  • Screenplays
  • Terminus (documentary), British Transport Films, 1960
  • Darling, Embassy, 1965
  • Madame Sousatzka, Cineplex-Odeon, 1988

Further Reference

OTHER SOURCES

    Books
    • Phillips, Gene D., John Schlesinger, Twayne, 1981
    Periodicals
    • Advocate, March 26, 1991, p. 32; March 28, 2000, pp. 68-71
    • American Film, November, 1987, p. 13; January, 1991, pp. 16-21
    • Art in America, March, 1993, pp. 66-75
    • New Yorker, February 28, 1994, pp. 41-42

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