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French [?] photocard. Editor unknown. Don César de Bazan is an opéra comique by Jules Massenet, based on the drama Ruy Blas by Victor Hugo.
French actor and director Henry Krauss (1866-1935) was a veteran of the European cinema. From 1908 on he starred in several powerful character roles in early silent films.
Henry Krauss, sometimes credited as Henri Krauss, was born as Henry Kraus in Paris in 1866. For two decades he appeared on the stages of Paris in plays like Valet de cœur (1893), La peur des coups (1894) and Théroigne de Méricourt (1902). In 1908 he discovered the early cinema and played parts in short silent films as L'Arlésienne (Albert Capellani, 1908), based on the play by Alphonse Daudet, and Marie Stuart/Mary Stuart (Albert Capellani, 1908). In the next five years he played a wealth of powerful leading roles for SCAGL (Société Cinématographique des Auteurs et Gens de Lettres) and Krauss became one of the film studio’s first character stars. Krauss played Buridau in the film adaptation of Alexandre Dumas' La tour de Nesle/The Tower of Nesle (Albert Capellani, 1909), the title character in the drama Le lépreux de la cité d'Aosta/The leper of the city of Aosta (André Calmettes, 1910), the bohemian in L’oiseau s’envole/The bird flies (Albert Capellani, 1911), Dr. Cezambre in the crime melodrama La glu/The Siren (Albert Capellani, 1913) featuring Mistinguett, and Prince Grégoire III in Le réveil/The alarm (1914). Before the First World War, he became a star with his interpretations of two characters from novels by Victor Hugo. In 1911 he starred as Quasimodo in Notre Dame de Paris/The Hunchback of Notre-Dame (Albert Capellani, 1911) opposite Stacia Napierkowska as Esmeralda, and in Les Misérables (Albert Capellani, 1913), he was Jean Valjean, relentlessly pursued by the Justice. His last starring role before the war was Étienne Lantier in Émile Zola's Germinal (Albert Capellani, 1913) with Sylvie.
Although Henry Krauss remained active in front of the camera after the war, his star rapidly declined. In the 1920s and 1930s his acting style was considered too pompous and exaggerated. He was the father of Ginette Relly in L'empereur des pauvres/The Emperor of the poor (René LePrince, 1922), and played the lead in Le bossu/The Hunchback (1923) with Claude Mérelle. In 1925, the nearly 60-year-old artist in 1925 plated another signature role again as the father of the title character in Poil de carotte/Carrot hair (Julien Duvivier, 1925). Krauss occasionally worked as a director. In 1925/26 he was an assistant director to Abel Gance at the classic epic Napoleon. He had a supporting part in the sound film Le procureur Hallers/The Prosecutor Hallers (Robert Wiene, 1930) starring Jean-Max and Colette Darfeuil. It was the French-language version of the German film Der Andere/The Other (Robert Wiene, 1930) based on the play Der Andere by Paul Lindau. The two films were made at the same studio in Berlin, with Wiene beginning work on the French version immediately after finishing the German film. Over two decades after his Jean Valjean interpretation in Les Miserables (1913), Henry Krauss also appeared in the first sound film version of the Hugo-adaptation, Les misérables (Raymond Bernard, 1934). This time Harry Baur interpreted Jean Valjean and Krauss had to be content with the much smaller role of Mgr. Myriel. At the age of 69, Henry Krauss died in 1935 in his hometown Paris. His son was the art director Jacques Krauss.
Sources: Wikipedia (French, German and English) and IMDb.
French actor and director Henry Krauss (1866-1935) was a veteran of the European cinema. From 1908 on he starred in several powerful character roles in early silent films.
Actor head shots. Thanks for the inspiration from Shineylewis, Regina Pagles.
Lighting: AB800 in medium softbox CR, AB800 with grid, fill with 64" PLM with cover for fill.
German postcard by Ross Verlag, no. 6458/1, 1931-1932. Photo: Fox.
Mexican actor and tenor José Mojica (1896-1974) was briefly slated to become a Ramón Novarro-style Latin lover in early Hollywood sound films. Together with Novarro, Dolores del Río, Tito Guízar, and Lupe Vélez, he was among the first Mexican people who made history in Hollywood.
José Mojica was born Crescenciano Abel Exaltación de la Cruz José de Jesus Mojica Montenegro y Chavarín in 1896 in San Gabriel, Jalisco, Mexico. Mojica was raised in a coffee and sugar plantation community until the age of six after his stepfather Francisco died. He never knew his real father. When his mother's extended family suffered financial challenges, they moved with limited means to Mexico City where he studied at the Academy of San Carlos and later attended the National School of Agriculture. He initially planned for a career in engineering, but changed his mind and studied singing at the National Conservatory of Music. In 1916 he debuted at the Teatro Arbeu, playing the Count Almaviva role in Rossini's opera 'The Barber of Seville'. The following year, he performed the role of Rodrigo in Verdi's 'Otello'. Funded by his mother, he went to New York with $500 in his pocket, attending performances of Enrico Caruso. Caruso, having met Mojica in 1919, was sufficiently impressed by his singing to help him obtain a contract with the Chicago Civic Opera Company. He debuted that same year with the minor role of Lord Arthur Bucklaw in Donizetti's 'Lucia di Lammermoor', an opera loosely based upon Sir Walter Scott's historical novel 'The Bride of Lammermoor'. He was soon given leads opposite Mary Garden and Amelita Galli-Curci when playing leading parts in Debussy´s 'Pelléas et Mélisande' and Prokofiev's 'The Love for Three Oranges'. José Mojica also recorded for Edison in 1920, 1925 and 1926.
Signed by Fox in 1930, José Mojica moved to California and appeared as a Spanish outlaw in the romantic musical One Mad Kiss (Marcel Silver, James Tinling, 1930), co-starring Argentine actress Mona Maris. I.S. Mowis at IMDb: "Though he lacked neither charm nor a good voice, his popular appeal was limited by a square jaw, a stocky figure and a rather broad nose - worse, he had a tendency to overact. Fox, as a result, dropped Mojica from their 'A-list'." He starred in a series of Spanish-language romances and adventures for the next three years, often alongside Maris, Conchita Montenegro or Rosita Moreno. One of the first was Cuando El Amor Rie/When Love Laughs (David Howard, 1930). Hal Erickson at AllMovie: "Cuando el Amor Rie is one of several Spanish-language films produced in Hollywood by Fox Studios before its 1935 merger with 20th Century studios. Set in Spanish California, the story revolves around devil-may-care-singing cowboy Jose Mojica. Wandering onto the ranch property owned by Don Alvarado, Mojica offers to tame a dangerous bucking bronco. Once he's done what he promised, Mojica accepts Alvarado's invitation to likewise "tame" his employer's tempestuous daughter Mona Maris. In other words, it's South-of-the-Border Shakespeare." His characters remained essentially the same, even including a curious impersonation of highwayman Dick Turpin in El caballero de la noche/Dick Turpin (James Tinling, 1932). Mojica made a few more films in Mexico at the end of the decade. Following the death of his mother and prompted by religious visions, he then took the unusual step of selling his worldly possessions and becoming a Franciscan monk under the name Fray Jose de Guadalupe Mojica. After his retirement, he appeared in a few films to collect money for his order, such as El Pórtico de la Gloria/The porch of glory (Rafael J. Salvia, 1953) and Seguiré Tus Pasos/I Will Follow in Your Footsteps (Alfredo B. Crevenna, 1966). He spent the remainder of his life in seminaries and monasteries in Peru. There he died of heart trouble in 1974 in Lima, Peru at the age of 79.
Sources: I.S. Mowis (IMDb), Hal Erickson (AllMovie), José L Bernabé Tronchoni (Find A Grave), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Modelo: Alfredo Zapata, actor
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Terracotta figurine of actors with masks. During the Hellenistic age comedy grew so popular that its theatrical types became the subjects of mosaics, wall-paintings and a common non expensive motif figurines. All favorite subjects of comedy (the pedagogue, the villager, Heracles and old Silen) are often depicted as humorous, rotund figures wearing mask.
The actors wore tights that covered them from neck to wrists and ankles; under the tights they had heavy padding fixed over the belly and backside, and sometimes breasts as well. The seams down the sides of sleeves or leggings were often made clear by painters. On the outside of the tights at the front was affixed a large leather phallus.
Source: Gregory W. Dobrov, “Brill’s Companion to the Study of Greek Comedy”
Terracotta figurine
Ca. 4th century BC
Thessaloniki, Archaeological Museum
Serenity Owens in "Vampire"
Be careful opening old boxes, what comes out may no want to go back in.
** Warning **
These are shots used for giving starting actors and models a look to get roles in the Horror genre.
** Disclaimer **
No Children ( Or Parents ) was harmed in this photoshoot, all prop use, Outfits, and poses was done with strict parental supervision.
#Ghost #AmericanHorrorStory #Portrait #filmmaking #Headshots #kidsofhorror #Hollywood #filmmaker #Haunting #actors #vampire #video #childactor #Zombies #movies #movies #Girl #Photography #Child #Actress #Casting #Horror
Photo shoots geared to bring out character, rather than just another headshot
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From a visit to Højris Castle. As a visitor you were invited to solve a 'murder crime'. They have live actors roaming the castle and a different story/crime to solve each year. Very popular and a good way to engage visitors of all ages.
Photo by Poul-Werner Dam / bit.ly/PWD_Flickr
Photoshoot with Matthew Raetz
Actor/Model
Learn more about Matt here
and here
Lake Vista
New Orleans, Louisiana
Vintage Italian postcard. 1920s. Ed. A. Traldi, Milano, No. 61.
Gennaro Righelli (12 December 1886 – 6 January 1949) was an Italian film director, screenwriter and actor, who directed over 110 films in Italy and Germany between 1910 and 1947. In 1930, he directed the first Italian sound film, La canzone dell'amore (The Song of Love). He was married to the film star Maria Jacobini, whom he frequently cast in his films.
Salvatore Gennaro Righelli, born in Salerno, was the son of the Neapolitan dialect actor Angelo and the Bolognese Maria Galassi. He took up the theatrical activity in 1902 in a dialect company following the footsteps of his father. His daughter Lea was the mother of directors Luciano and Sergio Martino.
Righelli started to work in cinema in 1910, when he made his acting debut for the Roman company Cines in a handful of short films such as Amore di schiava (Enrique Santos, 1910) and Anore di torero (Santos, 1910), often acting together with his first wife, Maria Righelli, née Maria Mauro. IMDB and Aldo Bernardini give contrasting information about Righelli's film directions. IMDb claims it was for Andreuccio da Perugia, after Boccaccio, in 1910, but Bernardini doesn't list a director for this film. IMDb lists the film Sperduta with Righelli first playing opposite Maria Jacobini but Bernardini indicates the films as 1911 and with Maria Righelli instead. Indeed, it seems that IMDb erroneously conflates Maria Righelli with Maria Jacobini (Gennaro Righelli and Maria Jacobini would only work professionally from the late 1910s onward and would marry eventually in 1925).
In 1911 Gennaro and Maria Righelli continued at Cines, alternating historical and modern dramas. While it seems that Righelli co-directed with Mario Caserini La fidanzata di Messina and Giovanna la pallida, his first independent directing must have been that of La vita di una chanteuse/ Povera Dora!. In May 1911 Righelli and his wife moved to Vesuvio Films in Naples, where he was actor-director of some 9 films until early 1913, and also manager of the studio. He made his first feature films there, including an adaptation of Boccaccio's Decamerone (1912), the Napoleonic Der Tugenbund (1912), and L'eroica fanciulla di Derna (1912), set during the Italo-Turkish war. In 1913 work at Vesuvio halted and Maria Righelli stopped acting for several years, probably due to a marital crisis, Bernardini suggests. In 1914 Gennaro Righelli encountered misfortune with the companies Victoria Film and Parioli Film, so he returned to Cines in 1915, where he shot the short propaganda comedy Il sogno patriottico di Cinessino and launched Diomira Jacobini, Maria Jacobini's younger sister, in the comedy Diomira si diverte (1915). For Milano Films he did the heavy drama La macchia nel blasone (1915).
Yet, more substantial was Righelli's career at the Roman company Tiber Film, between 1916 and 1920. In 1916 Righelli directed Primo e ultimo bacio, Alla capitale, Febbre di gloria, and Nella città eterna, often with the couple André Habay and Matilde Di Marzio in the lead. In 1917 Righelli continued at Tiber Film with the Giacosa adaptation Come le foglie, with Maria Jacobini in the lead - probably their first professional collaboration on the film sets. Until 1920, Righelli turned out several films per year at Tiber Film, again with the couple Habay-Di Marzio but in particular 9 films with Diomira Jacobini: L'ombra che passa (1917), Demonietto (1917), Quando il sole tramonta (1917), Camere separate (1917), Duecento all'ora (1918), L'autunno dell'amore (1918), Il veleno del piacere (1918), Mademoiselle Pas-Chic (1918), and Le avventure di Doloretta (1919). Righelli also directed Polidor (Il nipote di America, 1917, Venti giorni all'ombra, 1918, also with Diomira Jacobini); Vittoria Lepanto, Diana Karenne (La peccatrice casta, 1919), Italia Almirante Manzini (L'innamorata, 1919); and last but not least, Diomira's sister Maria Jacobini (L'articolo IV, 1918, La regina del carbone, 1919, La vergine folle, 1921). In 1918-19 he co-directed with Polidor also shot a long serial, La canaglia di Parigi, which had trouble with the censor.
From 1920, Righelli worked for the Turinese company Fert, where he was a prolific author varying between literary inspiration (Il viaggio, 1921, after PIrandello) and melodrama with an evocative setting (Cainà, l'isola e il continente, 1922). It was here that he did various acclaimed dramas with Maria Jacobini, who became his girlfriend and finally, in 1925, his wife. Together they did, in addition to Il viaggio and Cainà, also La casa di vetro (1920) with Amleto Novelli, Amore rosso (1921) set in Spain, Il richiamo (1921) with Lido Manetti, and L'incognita (1922). Single collaborations at Fert Righelli had once more with Diomira Jacobini and Italia Almirante Manzini. For the small company EDA, Righelli and Jacobini did the fascinating film La casa sotto la neve (1922), with a thrilling Kammerspiel-like climax when Jacobini's character and her daughter are menaced by the mother's evil suitor (Alberto Capozzi), within a house that is snowed-in.
In 1923, following the crisis that hit Italian cinema, Righelli joined the ranks of Italian directors, from Mario Almirante to Mario Bonnard, from Guido Brignone to Amleto Palermi, who decided to move to Germany. Once in Berlin, the director was hired by producer Jakob Karol and, together with Maria Jacobini, they founded the film company Maria Jacobini-Film GmbH, from which the film entitled Bohème - Künstlerliebe was released. Afterward, they collaborated with several companies such as Trianon and Phoebus. In 1925 Righelli married Jacobini, who starred in his German films Steuerlos (1924), the exotic film Orient - Die Tochter der Wüste (1924) also with the German heartthrob Harry Liedtke, Die Puppenkönigin (1925), and Der Bastard/ Il transatlantico (1925) which includes a spectacular shipwreck scene and of which a nicely tinted & toned version has been found and restored.
In the later 1920s, Righelli maintained his productivity of three to four films a year in Germany, but with other stars in the lead such as Fred Solm (Der Meister der Welt, 1927), Paul Wegener (Svengali, 1927), Mady Christians (Heimweh, 1927), Claire Rommer (Frauenraub in Marokko, 1928), Ivan Mozzhukhin (Der Präsident, 1928; Der geheime Kurier, 1928), Paul Richter (Sensation im Wintergarten, 1928), and Fritz Kortner (Die Nacht des Schreckens, 1929), while Jacobini still starred in Righelli's Fünf bange Tage (1928).
In 1930, when sound film had set in, Righelli returned to Italy to shoot the first Italian sound film, La canzone dell'amore. It starred Dria Paola as young woman who takes care of her mother's baby, causing a break with fiancé (Elio Steiner), a singer who is about to have his breakthrough. Isa Pola is the girlfriend who tries to drive a wedge between the couple. Righelli also directed the French alternative version of the film, La dernière berceuse, with Dolly Davis in the lead. The film, produced by Cines-Pittaluga, was the start of Righelli's new, prolific career in sound film.
During the 1930s, Righelli directed several comedies, some of which starred Sicilian actor Angelo Musco, in titles such as L'aria del continente (1935), Pensaci, Giacomino! (1936), Lo smemorato (1936), and Gatta ci cova (1937). He also directed Jacobini once more opposite Armando Falconi in the comedy Patatrac (1931). Although Righelli directed several Italian sound films in the 1930s and early 1940s, many were average fare comedies and dramas that didn't make history, and none were die-hard propaganda films. They starred the stars of those years, such as Gino Cervi, Germana Paolieri, and Nino Besozzi, although he often directed former stars of the silent era too, in supporting parts. In the immediate post-war period, Righelli directed Anna Magnani in two films that were a great success with the public: Abbasso la miseria! (1945) and Abbasso la ricchezza! (1946), the latter starring the great Roman actress alongside Vittorio De Sica.
Sources: Aldo Bernardini, Cinema muto italiano protagonisti, Aldo Bernardini/ Vittorio Martinelli, il cinema muto italiano, Italian Wikipedia, IMDb.
West-German postcard by Filmbilder-Vertrieb Ernst Freihoff, Essen, no. 284. Photo: Columbia Film.
Audie Murphy (1925-1971) was the most decorated US soldier of World War II. Subsequently, he was a film actor and songwriter. In the 1950s and 1960s, he enjoyed success as a performer in Westerns and adventure films. Murphy received every military award his country had to offer, some of them more than once - a total of 33 awards and medals; among others, he was a recipient of the Medal of Honor. He received five of his decorations from France and one from Belgium. During his three years of service, he served in the 3rd US Infantry Division, where he rose from Private to First Lieutenant.
Audie Leon Murphy was born in Kingston, Texas in 1925. His parents were Josie Bell (Killian) and Emmett Berry Murphy, poor sharecroppers of Irish descent. There was great poverty in his family which counted eleven children, two of whom died. As soon as these children were old enough, they were employed to help earn a living. His father disappeared one day and was never heard from again. Over the years, the mother became increasingly weak and died when Murphy was 16 years old. The three youngest children were sent to an orphanage and Murphy went to work, first at a petrol pump and then at a radio repair shop. When the Japanese attacked Pearl Harbor, he decided to enlist in the army. On his seventeenth birthday, he applied to a Marine recruiting station but was rejected because he was not of sufficient weight. Finally, after another unsuccessful application to the paratroopers, he was accepted into the infantry. With the help of his sister, he had used a forged birth certificate, with 1924 as his date of birth, to make himself look old enough. At Fort Meade, where his training was to be completed, he kept insisting on being sent overseas and in early 1943 Murphy landed with the rest of the troops in North Africa. He would become the most decorated American soldier of World War II and participated in combat operations for 27 months. Early in June 1945, a month after the German capitulation, Murphy returned to the United States, where he received a hero's welcome in his native Texas. He was honourably discharged from the army with the rank of a first lieutenant on 21 September 1945. Murphy became world famous when he appeared on the cover of Life (16 July 1945) as the "most decorated soldier". After the outbreak of the Korean War in June 1950, he reenlisted in the 36th Infantry Division of the Texas National Guard. However, this division did not participate in combat. When Murphy left the Guard in 1966 it was with the rank of major. After Murphy returned from Europe, he bought a house in Farmersville for his eldest sister Corrine, her husband Poland Burns and their three children. His intention was that his youngest sister and two brothers, Nadine, Billie and Joe, who had been in an orphanage since their mother's death, would also move in with them but six children under one roof proved a bit much so Murphy took them in.
After actor James Cagney had seen Audie Murphy's picture on the cover of Life magazine, he invited him to Hollywood in September 1945. The first years there were difficult for Murphy. Cagney Productions paid for acting and dancing lessons but was reluctantly forced to admit that Murphy - at least at that point in his career - didn't have what it took to become a movie star. For the next several years he struggled to make it as an actor. Due to a lack of work, he became disillusioned, often ran out of money and slept on the floor of an old gym 'Terry Hunt's Athletic Club', owned by his friend Terry Hunt. He eventually got a bit role in the film Beyond Glory (John Farrow, 1948) starring Alan Ladd, and in Texas, Brooklyn and Heaven (William Castle, 1948) with Guy Madison and Diana Lynn. In this third film, Bad Boy (Kurt Neumann, 1949), Murphy got a leading role. Murphy also appeared in the film adaptation of Stephen Crane's book The Red Badge of Courage (John Huston, 1951), for which he received rave reviews. Murphy wrote his autobiography 'To hell and back' in 1949 and it became a national bestseller. The book was written by his friend David "Spec" McClure, a professional writer. He had great difficulty playing himself in the film version, To Hell and Back (Jesse Hibbs, 1955). He initially saw it as a kind of sell-out of his actions during the war and thought Tony Curtis should be given the lead role in the film. In the film, the reality was followed and Murphy's comrades died just as was mentioned in the book. At the end of the film, Murphy was the only member of his original regiment left. During the ceremony in which Murphy was awarded the Medal of Honor, his friends were represented as ghosts. This was Murphy's idea to honour his friends. The film was a huge hit and brought in almost 10 million US dollars during its first years, setting a box-office record for Universal that wasn't broken for 20 years until it was finally surpassed by Jaws (Steven Spielberg, 1975). One of his better pictures was Night Passage (James Neilson, 1957), a Western in which he played the kid brother of James Stewart. In 1959 he starred in the Western No Name on the Bullet (Jack Arnold, 1959), which was well received, despite Murphy playing a professional killer. He worked for Huston again on The Unforgiven (John Huston, 1960) opposite Burt Lancaster and Audrey Hepburn.
Audie Murphy was plagued by insomnia, bouts of depression and nightmares, probably a result of the many battles he had to fight during his life. His first wife, Wanda Hendrix, often spoke of Murphy's struggles. During the 1960s Murphy was addicted to the sleeping pill Placidyl for a time. When he realised he had become addicted he locked himself in a hotel room and taught himself not to use it. He also broke the taboo of talking about war-related mental conditions. To draw attention to the problems of returning veterans from Korea and Vietnam, he spoke candidly about his own. He called on the US government to pay more attention to this issue and to study more closely the impact of war on mental health. Meanwhile, the studio system that Murphy grew into as an actor crumbled. Universal's new owners, MCA, dumped its "International" tag in 1962 and turned the studio's focus toward the more lucrative television industry. For theatrical productions, it dropped its roster of contract players and hired actors on a per-picture basis only. That cheap Westerns on the big screen were becoming a thing of the past bode no good for Murphy, either. The Texican (Lesley Selander, 1966) with Broderick Crawford, his lone attempt at a new, European form of inexpensive horse opera, to become known as "the Spaghetti Western", was unsuccessful. His star was falling fast. He made a total of 44 films, but Murphy was also a rancher and businessman. He bred and raised thoroughbred horses and owned several ranches in Texas, Arizona and California. Murphy was also successful as a country singer and composer. He worked with Guy Mitchell, Jimmy Bryant, Scott Turner, Coy Ziegler and Ray and Terri Eddlemon, among others. Murphy's songs were recorded and sung by Dean Martin, Eddy Arnold, Charley Pride, Jimmy Bryant, Porter Waggoner, Jerry Wallace, Roy Clark and Harry Nilsson, among others. His two biggest hits were 'Shutters and Boards' and 'When the Wind Blows in Chicago'. In 1949, Murphy married film actress Wanda Hendrix and divorced her in 1952. He then married flight attendant Pamela Archer, with whom he had 2 children, Terrance Michael and James Shannon - named after two of his closest friends. Audie Murphy died in 1971 in a plane crash in the mountains of Virginia. Murphy was buried with military honours in Arlington National Cemetery. The official government representative was the decorated World War II veteran and future President G.H.W. Bush.
Sources: Wikipedia (Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana
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Actress Penelope Cruz models for the new ad campaign for the Spanish fashion label Mango.
NON-EXCLUSIVE April 17, 2009
Job: 90417X7 Spain
Actress and fight coordinator Katie Warner
Sword by Rogue Steel
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James Gandolfini, whose portrayal of a brutal, emotionally delicate mob boss in HBO's The Sopranos helped create one of TV's greatest drama series and turned the mobster stereotype on its head, died Wednesday in Italy. He was 51.
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana
A series of actor head shots photographed with a Samyang 85mm F/1.4 Aspherical IF lens and a Lastolite Ezbox softbox.
More information about the session is found on my blog: frontallobbings.blogspot.com/2011/02/samyang-85mm-f14-asp...
Aspiring actor and model. I've been stepping out of my comfort zone and doing more photo shoots lately. Watch out for Matthew, I believe he has it in him to do well in the business. Learn more about him here
City Park
New Orleans, Louisiana
Actor, Model, Musician, Poet
Learn more about Jason here
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Fort St. John
Mid City
New Orleans, Louisiana