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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
German autograph card. Photo: Hans-Ludwig Böhme. Signed in 2007.
On 14 November 2018, German stage and film actor Rolf Hoppe (1930-2018) passed away. He played villains in many DEFA films, produced in East-Germany. Hoppe was 87.
Rolf Hoppe was born in 1930 as son of a master baker in Ellrich, Thuringia, Germany. After his apprenticeship as a baker, he worked from 1945 to 1948, as a coachman. He then started an actors’ training in Erfurt and worked in the circus Aeros. He later engaged at the Thalia Theater in Halle (Saale) and at the Young World Theatre in Leipzig. He acted at the Staatsschauspiel Dresden, the Deutsches Theater in Berlin, and the Salzburg Festival. He was internationally active in Switzerland, Italy, and China. From 1964 on, Rolf Hoppe often appeared in films produced by the DEFA, the state-owned film studio in the German Democratic Republic (East-Germany). One of his first films was the drama Der Frühling braucht Zeit/The Spring Takes Time (Günter Stahnke, 1966), which was banned by the Communist auhorities shortly after it was released. He played villains in different ‘Osterns’ (Eastern - the typical Eastern Bloc countries' take on the Western). An example is Spur des Falken/Trail of the Falcon (Gottfried Kolditz, 1968), starring Gojko Mitic as the Indian hero. He also appeared in other Mitic films, Weiße Wölfe/White Wolves (Konrad Petzold, Bosko Boskovic, 1969), one of the most popular DEFA films ever, and Tödlicher Irrtum/Fatal error (Konrad Petzold, 1970), also with Armin Müller-Stahl. In 1971, Hoppe was awarded the National Prize of East Germany for artistic achievement.
Rolf Hoppe also appeared in the East-German Science Fiction film Eolomea (Herrmann Zschoche 1972) with Cox Habbema. One of his most notable roles was that of the Tábornagy (Hermann Göring) in Mephisto (István Szabó, 1981), a film adaptation of Klaus Mann's novel Mephisto, starring Klaus Maria Brandauer as Hendrik Höfgen. The film was awarded the 1981 Academy Award for Best Foreign Language Film. His later films include the crime film Ärztinnen/Woman Doctors (Horst Seemann, 1984), the drama Das Haus am Fluß/The House on the River (Roland Gräf, 1986) and the East German–Swiss drama Pestalozzis Berg/Pestalozzi's Mountain (Peter von Gunten, 1989) featuring Gian Maria Volonté. All three films were entered into editions of the Berlin International Film Festival. Hoppe had a supporting part in the satire Schtonk! (Helmut Dietl, 1992), a retelling of the hoax of the Hitler Diaries, starring Götz George. He also had a part in another German success of the 1990s, Comedian Harmonists/The Harmonists (Joseph Vilsmaier, 1997), about the popular German vocal group the Comedian Harmonists of the 1920s and 30s. He then appeared in the Neo-Noir Palmetto (Volker Schlöndorff, 1998), based on the novel Just Another Sucker by James Hadley Chase. The film stars Woody Harrelson, Elisabeth Shue and Gina Gershon. Also interesting is the Jewish comedy Alles auf Zucker!/Go for Zucker (Dani Levy, 2004). Director Dani Levy, himself Jewish, made an ironic comedy about modern Jewish identity in present-day Germany. It was critically acclaimed in Germany and won a number of awards. Hoppe also did a lot of TV work. He appeared in several Krimi series, including Tatort (1994-2003), Polizeiruf 110 (1996) and Donna Leon (2004). Since 1962, he was married with Friederike and they had two daughters, Josephine and Christine. Christine Hoppe (1968), is also an actress. Rolf Hoppe passed away in his hometown Dresden.
Sources: FilmZeit.de (German), DEFA Filmsterne (German), Wikipedia and IMDb.
.... John Barrymore (born John Sidney Blyth; February 14 or 15, 1882 – May 29, 1942) was an American actor on stage, screen and radio. A member of the Drew and Barrymore theatrical families, he initially tried to avoid the stage, and briefly attempted a career as an artist, but appeared on stage together with his father Maurice in 1900, and then his sister Ethel the following year. He began his career in 1903 and first gained attention as a stage actor in light comedy, then high drama, culminating in productions of Justice (1916), Richard III (1920) and Hamlet (1922); his portrayal of Hamlet led to him being called the "greatest living American tragedian".
After a success as Hamlet in London in 1925, Barrymore left the stage for 14 years and instead focused entirely on films. In the silent film era, he was well received in such pictures as Dr. Jekyll and Mr. Hyde (1920), Sherlock Holmes (1922) and The Sea Beast (1926). During this period, he gained his nickname, the Great Profile. His stage-trained voice proved an asset when sound films were introduced, and three of his works, Grand Hotel (1932), Twentieth Century (1934) and Midnight (1939) have been inducted into the National Film Registry.
Barrymore's personal life has been the subject of much attention before and since his death. He struggled with alcohol abuse from the age of 14, was married and divorced four times, and declared bankruptcy later in life. Much of his later work involved self-parody and the portrayal of drunken has-beens ....
Da un idea di Giulia Catania, progetto attore/doppiatore. Con l'aiuto di Giorgio Violino e Andrea Marietta. Grazie alla collaborazione di Spazio 211 - Torino. L’attore ci affascina, ci conquista, ci fa scegliere un film. È in grado di condizionare con il suo nome, il suo volto, la sua storia, la scelta di uno spettacolo, di inchiodarci alla poltrona. Poi nel buio, quando il racconto ci trattiene, ecco che la fascinazione del volto perde forza ed è la voce che ci conquista, la sua capacità di trasformare un momento di banali sequenze, in recitazione. La storia diventa rifrangenze, sonorità, una malia. Il volto lentamente si stempera e, da quel momento, l’attore diventa la sua voce e quella voce ci seguirà in altre storie, ritornerà altre volte e sempre riandremo a quelle emozioni che hanno saputo conquistarci. A poco a poco ogni attore si sfuma, perde consistenza, quasi si annulla e di lui resta, rimbalzando per altre opere, per momenti anche brevi, la sua voce, come una eco, come un miraggio. La parte è diventata il tutto e quel tutto sarà eterno, insostituibile. Cadono i capelli spuntano le rughe, il volto diviene meno bello, non è più interessante, ma c’è una parte di quel ritratto di Dorian Gray, in una sala di registrazione, che mai invecchia che sempre resta giovane, magari un po’ più maturo, ma migliora, ogni volta, ad ogni appuntamento. E la bravura di chi dietro lo specchio anima la vita professionale di un attore, spesso viene fraintesa, dimenticata, sottovalutata. Ho voluto con questo mio lavoro restituire un volto a una voce, rendere giustizia e chi è costretto a vivere di riflesso. Sovente, finiamo per amare di più quella voce che quell’attore, anzi quell’attore ci piace proprio per quella voce. Loro danno una vita nuova agli attori che doppiano, io ho voluto restituire una vita a chi riesce a farmi continuare un sogno. Quindi, in questo gioco, ho deciso di far doppiare fisicamente in foto l'attore, in questo caso Alex Polidori, che doppia con la voce e nelle mie foto Tom Holland (Spiderman). L'idea è di fare un progetto più completo con un buon numero di doppiatori che potrebbero prendere parte alla mia idea. Se sei un doppiatore e ti interessa chiamami.
Amy, Jackie, Vincent, and me
"JFK" set
Dealey Plaza, downtown Dallas
1991
One thing that I love about Oliver Stone's movies is the way he throws well-known actors in small roles -- you really have to look for them sometimes. Well, one of the biggest treats as an extra on the "JFK" set was meeting some of these "real" actors -- especially Vincent D'Onofrio.
This was a few years after he played the overweight, bullied, and ultimately deranged recruit in Stanley Kubrick's "Full Metal Jacket." I was so taken with his powerful performance in that movie that I watched it over and over again to see his character's transformation from naive kid to crazed killer and to capture his every nuance; I was just blown away by him (not literally, like the drill seargent, though!).
So, a few years later, when we arrived on the "JFK" set in Dealey Plaza the first day, I looked over and saw my favorite actor, Vincent D'Onofrio, sitting in the grass not five feet in front of me. I was in heaven and wanted to run up and bombard him with a million questions right then and there. But, I knew we had two weeks on the set together and bided my tiime.
One day in between scenes, he and I started chatting, and I told him how much I admired his work. Then, our conversation drifted to Stanley Kubrick (one of my very favorite directors ever) and what it was like to work with him. Vincent said that Kubrick was a great director (of course) but that, during the shoot, he completely lacked a sense of humor. He was all business and wanted to shoot a scene until it was just right (something I've heard in interviews with other actors, too). Vincent said that it was a very serious set, which helped with the mood of the finished movie.
Luckily, that wasn't the case on the "JFK" set. While the subject matter of the movie was very serious, the actors, extras, and crew seemed to have a lot of fun during filming. D'Onofrio was gracious and nice and happy to chat with everyone (although I don't think a lot of people knew who he was -- this was before "The Player" and "Law and Order" and after he lost the 70 pounds he gained for "Full Metal Jacket").
It was a great time!
I have more shots of the JFK set and more stories in my photostream.
Here at the University of Kansas, I have had the pleasure of working with a number of college actors and actresses. Aden is one of my most recent clients, and I had a great time working with him!
Strobist info: 1 Nikon SB-26 on 1/4 power for two of the photos; bare bulb and bouncing off the walls. Triggered via Cactus V5's. Note: for the photo on the left, subject was positioned in front of a large window; the outside was over-exposed.
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Arsi Nami still photo in Detective/Fedora look
Actor I Music Therapist I Singer I Songwriter
arsinami.com
imdb.me/arsinami
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Photo by: Charles Ge
Austrian postcard by Iris-Verlag, no. 5824. Photo: Fox.
Charles Morton (1908-1966) was a good-looking American film and television actor. His film career started as a leading man in the silent era in films by John Ford and Friedrich Wilhelm Murnau. Morton continued into sound features and finally acted on television.
Charles Morton was born in 1908 in Illinois, USA. Morton spent his adolescence in Madison, Wisconsin, and received his education at Madison High School and the University of Wisconsin–Madison. He made his first stage appearance at the age of seven and later appeared in vaudeville, stock, and the legitimate stage. His polished physical appearance, charm, and personality were noted by the studios and at the age of 19 signed his first contract with Fox in 1927. Audiences first discovered the handsome youth that same year opposite the studio's leading flapper, Madge Bellamy, in Colleen (Frank O'Connor, 1927), one of the era's many comedy dramas. Morton went on to star in John Ford's World War I silent film Four Sons (1928). Morton was also a member of the ultimately tragic circus troupe in F. W. Murnau's near-classic 4 Devils, among the most mourned of the lost films of the silent era. Morton also starred in Fox's None but the Brave (Albert Ray, 1928).
In 1931, Charles Morton married Lya Lys, but the marriage ended in divorce some months later, not long after the birth of their daughter. Later a dispute over alimony payments would see Morton spending a few days behind bars. After 1933 with the widespread use of sound film, Morton's career began to lose momentum; and by 1936 his roles were significantly reduced, playing minor roles on television until his death from heart disease in 1966, at the age of 58. Even though Charles Morton's career continued into the mid-1960s, almost all of his roles after 1933 were so minor he was left uncredited for the majority of his performances.
Source: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Martin Milner and Fay Spain
"The Private Lives of Adam and Eve"
Directors: Albert Zugsmith and Mickey Rooney
(1960)
French postcard, no P.T. 4. Photo: Film Osso. Jean Weber and Henri Desfontaines in L'Aiglon/The Eagle (Victor Tourjansky, 1931).
French actor Jean Weber (1906-1995) was a Sociétaire (member) of the famous stage company Comédie-Française. He also appeared in several French films during the late 1920s and 1930s.
Jean-Édouard-Constant Weber was born in Paris in 1906. In 1925 he joined the Comédie-Française and acted that year in plays like 'Les Corbeaux' (The Raven) by Henry Becque, and 'Fantasio' by Alfred de Musset. In 1926 he made his film debut in Eh bien! dansez maintenant/Well, let’s dance! (Émilien Champetier, 1926). In the following years, he appeared in silent films like Figaro (Gaston Ravel, Tony Lekain, 1929), as the pageboy Cherubino, and the historical drama Le Collier de la Reine/The Queen's Necklace (Gaston Ravel, Tony Lekain, 1929), with Marcelle Chantal and Diana Karenne. He played the title role in the early sound film L'Aiglon (Viktor Tourjansky, 1931) opposite Victor Francen. D.B. du Monteil at IMDb: “The performances may seem old-fashioned for today's audience, the actors overplay as if they were on a stage; Jean Weber, who plays the lead, may seem ridiculous to some, but his performance, which seems extra-terrestrial - he displays some female sensitiveness, one should remember that the part was created on stage by Sarah Bernhardt - is deeply moving, particularly in the last scenes (last act: ‘broken wings’): they wouldn't film a dying man that way nowadays .”
In 1932, Jean Weber became a Sociétaire at the Comédie-Française. The sociétaires of the Comédie-Française are chosen from among the Pensionnaires who have been in the company a year or more. On becoming a sociétaire, an actor automatically becomes a member of the Société des Comédiens-Français and receives a share of the profits as well as receiving a number of shares in the société to which he or she is contractually linked. Weber continued to be a Sociétaire till 1949. During this period he appeared in a dozen films, including the comedy Tricoche et Cacolet/Tricoche and Cacolet (Pierre Colombier, 1938), starring Fernandel, and the adventure film Le Capitaine Fracasse/Captain Fracasse (Abel Gance, 1943) based on the novel by Théophile Gautier. During the 1950s he appeared in a few more films. He was among the star cast of Si Paris nous était conté/If Paris Were Told to Us (Sacha Guitry, 1955) about the history of the city of Paris. His final film was Action immédiate (Maurice Labro, 1957), starring Henri Vidal. In 1961, he appeared on stage in 'Henri III et sa cour' by Alexandre Dumas, directed by Pierre Bertin at the Théâtre de l'Athénée. Later he could be seen on TV in the series Café du Square (Louis Daquin, 1969) with Catherine Allégret, and finally, in a registration of Collette’s play 'Chéri' (Yves-André Hubert, 1984), starring Michèle Morgan and Jean-Pierre Bouvier as Chéri. Jean Weber died in Neuilly-sur-Seine near Paris in 1995. He was 89.
Sources: Thomas Staedeli (Cyranos), Wikipedia (French) and IMDb.
And, please check out our blog European Film Star Postcards.
Greek actor George Roussakis. Part of a commissioned photo shoot for the actor's portfolio and promotion.
Strobist info: 1 speedlight 1 meter away right and a little above the model.
Roman copy of Greek original from post 4th century BC. Made c100AD, Rome, Quirinal Hill. It shows an actor wearing the woollen costume of Silenus from an Attic satyr play of the classical period. Antikensammlung, Berlin.
Actress and fight coordinator Katie Warner
Sword by Rogue Steel
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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.
Photoshoot with Matthew Raetz
Actor/Model
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Lake Vista
New Orleans, Louisiana
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