Zemeckis at the 2010 Tribeca Film Festival.
|Born||Robert L. Zemeckis
May 14, 1952
Chicago, Illinois, U.S.
|Residence||Los Angeles, California|
|Alma mater||University of Southern California|
|Occupation||Film director, film producer, screenwriter|
|Notable work(s)||Back to the Future trilogy, Who Framed Roger Rabbit, Forrest Gump|
|Spouse(s)||Mary Ellen Trainor (1980–2000)
Leslie Harter Zemeckis (2001–present)
Robert L. Zemeckis1 (born May 14, 1952)1 is an American film director, producer and screenwriter. Zemeckis first came to public attention in the 1980s as the director of the comedic time-travel Back to the Future film series, as well as the Academy Award-winning live-action/animation epic Who Framed Roger Rabbit (1988), though in the 1990s he diversified into more dramatic fare, including 1994's Forrest Gump,2 for which he won an Academy Award for Best Director.
His films are characterized by an interest in state-of-the-art special effects, including the early use of match moving in Back to the Future Part II (1989) and the pioneering performance capture techniques seen in The Polar Express (2004), Beowulf (2007) and A Christmas Carol (2009). Though Zemeckis has often been pigeonholed as a director interested only in effects,3 his work has been defended by several critics, including David Thomson, who wrote that "No other contemporary director has used special effects to more dramatic and narrative purpose."4
Zemeckis was born in Chicago, Illinois,1 the son of Rose (née Nespeca) and Alphonse Zemeckis.5 His father was Lithuanian American and his mother was Italian American. Zemeckis grew up on the south side.6 He attended a Roman Catholic grade school.7 Zemeckis has said that "the truth was that in my family there was no art. I mean, there was no music, there were no books, there was no theater....The only thing I had that was inspirational, was television—and it actually was."7 As a child, Zemeckis loved television and was fascinated by his parents' 8 mm film home movie camera. Starting off by filming family events like birthdays and holidays, Zemeckis gradually began producing narrative films with his friends that incorporated stop-motion work and other special effects.
Along with enjoying movies, Zemeckis remained an avid TV watcher. "You hear so much about the problems with television," he said, "but I think that it saved my life."7 Television gave Zemeckis his first glimpse of a world outside of his blue-collar upbringing;7 specifically, he learned of the existence of film schools on an episode of The Tonight Show Starring Johnny Carson. After seeing Bonnie and Clyde with his father and being heavily influenced by it,3 Zemeckis decided that he wanted to go to film school.
His parents disapproved of the idea, Zemeckis later said, "But only in the sense that they were concerned....for my family and my friends and the world that I grew up in, this was the kind of dream that really was impossible. My parents would sit there and say, 'Don't you see where you come from? You can't be a movie director.' I guess maybe some of it I felt I had to do in spite of them, too."7
Zemeckis applied only to University of Southern California's School of Cinematic Arts, and went into the Film School on the strength of an essay and a music video based on a Beatles song. Not having heard from the university itself, Zemeckis called and was told he had been rejected because of his average grades. The director gave an "impassioned plea" to the official on the other line, promising to go to summer school and improve his studies, and eventually convinced the school to accept him.7 Arriving at USC that Fall, Zemeckis encountered a program that was, in his words, made up of "a bunch of hippies [and] considered an embarrassment by the university."7 The classes were difficult, with professors constantly stressing how hard the movie business was. Zemeckis remembered not being much fazed by this, citing the "healthy cynicism" that had been bred into him from his Chicago upbringing.7
While at USC, Zemeckis developed a close friendship with the writer Bob Gale, who was also a student there. Gale later recalled, "The graduate students at USC had this veneer of intellectualism ... So Bob and I gravitated toward one another because we wanted to make Hollywood movies. We weren't interested in the French New Wave. We were interested in Clint Eastwood and James Bond and Walt Disney, because that's how we grew up."8 He graduated from USC in 1973.9
As a result of winning a Student Academy Award at USC for his film, A Field of Honor, Zemeckis came to the attention of Steven Spielberg. Spielberg said, "He barged right past my secretary, and sat me down and showed me this student film ... and I thought it was spectacular, with police cars and a riot, all dubbed to Elmer Bernstein's score for The Great Escape."8 Spielberg became Zemeckis's mentor and executive produced his first two films, both of which Zemeckis co-wrote with Bob Gale. He later executive produced other Zemeckis films, including the Back to the Future trilogy and Who Framed Roger Rabbit.
1978's I Wanna Hold Your Hand (starring Nancy Allen) and 1980's Used Cars (starring Kurt Russell) were well-received critically, with Pauline Kael going into particular rhapsody over the latter film, but both were commercially inert. (I Wanna Hold Your Hand was the first of several Zemeckis films to incorporate historical figures and celebrities into his movies; in the film, he used archival footage and doubles to simulate the presence of The Beatles.) After the failure of his first two films, and the Spielberg-directed 1941 in 1979 (which Zemeckis and Gale had written the screenplay for), the pair gained a reputation for writing "scripts that everyone thought were great [but] somehow didn't translate into movies people wanted to see."8
As a result of his reputation within the industry, Zemeckis had trouble finding work in the early 1980s, though he and Gale kept busy. They wrote scripts for other directors, including Car Pool for Brian De Palma and Growing Up for Spielberg; neither ended up getting made. Another Zemeckis-Gale project, about a teenager who accidentally travels back in time to the 1950s, was turned down by every major studio.10 The director was jobless until Michael Douglas hired him in 1984 to film Romancing the Stone. A romantic adventure starring Douglas and Kathleen Turner, Romancing was expected to flop (to the point that, after viewing a rough cut of the film, the producers of the then-in-the-works Cocoon fired Zemeckis as director),10 but the film became a sleeper hit. While working on Romancing the Stone, Zemeckis met composer Alan Silvestri, who has scored all of his subsequent pictures.
After Romancing, the director suddenly had the clout to direct his time-traveling screenplay, which was titled Back to the Future. Starring Michael J. Fox, Lea Thompson, and Christopher Lloyd, the 1985 film was wildly successful upon its release, and was followed by two sequels, released as Back to the Future Part II in 1989 and Back to the Future Part III in 1990. Before the Back to the Future sequels were released, Zemeckis collaborated with Disney and directed another film, the madcap 1940s-set mystery Who Framed Roger Rabbit, which painstakingly combined traditional animation and live action; its US$70 million budget made it one of the most expensive films made up to that point. The film was both a financial and critical success, and won four Academy Awards. In 1990, Zemeckis commented, when asked if he would want to make non-comedies, "I would like to be able to do everything. Just now, though, I’m too restless to do anything that’s not really zany."10
In 1992, Zemeckis directed the black comedy Death Becomes Her, starring Meryl Streep, Goldie Hawn, and Bruce Willis. Although his next film would have some comedic elements, it was Zemeckis's first with dramatic elements, and was also his biggest commercial success to date, 1994's Forrest Gump. Starring Tom Hanks in the title role, and borrowing to some extent from Woody Allen's earlier Zelig, Forrest Gump tells the story of a man with a low I.Q., who unwittingly participates in some of the major events of the twentieth century, falls in love, and interacts with several major historical figures in the process. The film grossed $677 million worldwide and became the top grossing U.S. film of 1994; it won six Academy Awards, including Best Picture, Hanks as Best Actor, and Zemeckis as Best Director. In 1997, Zemeckis directed Contact, a long-gestating project based on Carl Sagan's 1985 novel of the same name. The film centers on Eleanor Arroway, a scientist played by Jodie Foster, who believes she has made contact with extraterrestrial beings.
In 1999, Zemeckis donated $5 million towards the Robert Zemeckis Center for Digital Arts at USC, a 35,000-square-foot (3,300 m2) center that houses production stages, an immense 60-system digital editing lab, and a 50-seat screening room. When the Center opened in March 2001, Zemeckis spoke in a panel about the future of film, alongside friends Steven Spielberg and George Lucas. Of those (including Spielberg) who clung to celluloid and disparaged the idea of shooting digitally, Zemeckis said, "These guys are the same ones who have been saying that LPs sound better than CDs. You can argue that until you're blue in the face, but I don't know anyone who's still buying vinyl. Film, as we have traditionally thought of it, is going to be different. But the continuum is man's desire to tell stories around the campfire. The only thing that keeps changing is the campfire."11 The Robert Zemeckis Center currently hosts many film school classes, much of the Interactive Media Division, and Trojan Vision, USC's student television station, which has been voted the number one college television station in the country.
In 1996, Zemeckis had begun developing a project titled The Castaway with Tom Hanks and writer William Broyles, Jr.. The story, which was inspired by Robinson Crusoe, is about a man (Hanks) who becomes stranded on a desert island and undergoes a profound physical and spiritual change.12 While working on The Castaway, Zemeckis also became attached to a Hitchcockian thriller titled What Lies Beneath, the story of a married couple experiencing an extreme case of empty nest syndrome that was based on an idea by Steven Spielberg.13 Because Hanks's character needed to undergo a dramatic weight loss over the course of The Castaway (which was eventually retitled Cast Away), Zemeckis decided that the only way to retain the same crew while Hanks lost the weight was to shoot What Lies Beneath in between. He shot the first part of Cast Away in early 1999, and shot What Lies Beneath in fall 1999, completing work on Cast Away in early 2000.13 Zemeckis later quipped, when asked about shooting two films back-to-back, "I wouldn't recommend it to anyone."12 What Lies Beneath, starring Harrison Ford and Michelle Pfeiffer, was released in July 2000 to mixed reviews, but did well at the box office, grossing over $155 million domestically. Cast Away was released that December and grossed $233 million domestically; Hanks received an Oscar nomination for Best Actor for his portrayal of Chuck Noland.
In 2004, Zemeckis reteamed with Hanks and directed The Polar Express, based on the children's book of the same name by Chris Van Allsburg. The Polar Express utilized the computer animation technique known as performance capture, whereby the movements of the actors are captured digitally and used as the basis for the animated characters. As the first major film to use performance capture, The Polar Express caused The New York Times to write that, "Whatever critics and audiences make of this movie, from a technical perspective it could mark a turning point in the gradual transition from an analog to a digital cinema."14
In February 2007, Zemeckis and Walt Disney Studios chairman Dick Cook announced plans for a new performance capture film company devoted to CG-created, 3-D movies.15 The company, ImageMovers Digital, created films using the performance capture technology, with Zemeckis directing most of the projects and Disney distributed and marketed the motion pictures worldwide. Zemeckis used the performance capture technology again in his film, Beowulf, which retells the Anglo-Saxon epic poem of the same name and stars Ray Winstone, Angelina Jolie, and Anthony Hopkins. Hugo Award-winning science fiction writer Neil Gaiman, who co-wrote the adaptation with Roger Avary, described the film as a "cheerfully violent and strange take on the Beowulf legend."16 The film was released on November 16, 2007, to mixed reviews.
In July 2007, Variety announced that Zemeckis had written a screenplay for A Christmas Carol, based on Charles Dickens' 1843 short story of the same name, with plans to use performance capture and release it under the aegis of ImageMovers Digital. Zemeckis wrote the script with Jim Carrey in mind, and Carrey agreed to play a multitude of roles in the film, including Ebenezer Scrooge as a young, middle-aged, and old man, and the three ghosts who haunt Scrooge.17 The film began production in February 2008, and was released on November 6, 2009, again to mixed reviews.18 Actor Gary Oldman also appeared in the film.19
In August 2008, Movies IGN revealed in an interview with Philippe Petit that Zemeckis is working with Petit to turn Petit's memoir To Reach the Clouds into a feature film.20 Robert Zemeckis was either seriously considered to, or attached to direct the 2005 version of Charlie and the Chocolate Factory. Zemeckis is an avid supporter of 3-D Digital Cinema, and has stated that, starting with the 3-D presentations of Beowulf, all of his future films will be done in 3-D using digital motion capture. He has reportedly backed away from that statement and has said that the decision to use 3-D will be on a film-by-film basis.
On August 19, 2009, it was reported that Zemeckis and his company were in talks with Apple Corps ltd to remake the animated film Yellow Submarine in 3-D once again utilizing performance capture. However, on March 12, 2010, with Zemeckis' biggest Disney ally gone, former Chairman Dick Cook, and amid drastic cost-cutting by the new management team, Disney announced that it was ending its relationship with ImageMovers Digital.21 The studio's final film, 2011's Zemeckis-produced Mars Needs Moms, was a box office failure.
Zemeckis has said that, for a long time, he sacrificed his personal life in favor of a career. "I won an Academy Award when I was 44 years old," he explained, "but I paid for it with my 20s. That decade of my life from film school till 30 was nothing but work, nothing but absolute, driving work. I had no money. I had no life."7 In the early 1980scitation needed, Zemeckis married actress Mary Ellen Trainor, with whom he had a son, Alexander Francis.1 He described the marriage as difficult to balance with filmmaking,7 and his relationship with Trainor eventually ended in divorce.1 On December 4, 2001, he married actress Leslie Harter,1 with whom he has children Zane and Rhys.5
He is a pilot who has logged approximately 1,600 hours of flight time as of October 2012.22
According to campaign donation records, Robert Zemeckis has frequently contributed to the political candidates affiliated with the Democratic Party, as well as PACs that support the interests of aircraft owners and pilots, family planning interests, and a group that advocates for Hollywood women.23
|1978||I Wanna Hold Your Hand||Yes||Yes|
|1984||Romancing the Stone||Yes|
|1985||Back to the Future||Yes||Yes|
|1988||Who Framed Roger Rabbit||Yes|
|1989||Back to the Future Part II||Yes||Yes|
|1990||Back to the Future Part III||Yes||Yes|
|1992||Death Becomes Her||Yes||Yes|
|1999||House on Haunted Hill||Yes|
|The Pursuit of Happiness: Smoking, Drinking and Drugging in the 20th Century||Yes||Documentary24|
|2000||What Lies Beneath||Yes||Yes|
|2004||The Polar Express||Yes||Yes||Yes|
|2005||House of Wax||Yes|
|Return to House on Haunted Hill||Yes|
|2009||A Christmas Carol||Yes||Yes||Yes|
|2010||Behind the Burly Q||Yes|
|2011||Mars Needs Moms||Yes|
|Bound by Flesh||Yes||Documentary|
|1989–1996||Tales from the Crypt||Executive producer|
Among the actors that have collaborated with Zemeckis on his films, other filmmakers, writers, and producers have also collaborated with Zemeckis in multiple instances. This includes Steven Spielberg, Bob Gale, Frank Marshall, Kathleen Kennedy, Steve Starkey, Jack Rapke, Arthur Schmidt, Dean Cundey and Neil Canton. Also, music composer Alan Silvestri has been responsible for every film score for Zemeckis' films since Romancing the Stone.
|Actor||I Wanna Hold Your Hand
|Romancing the Stone
|Back to the Future
|Who Framed Roger Rabbit
|Back to the Future Part II
|Back to the Future Part III
|Death Becomes Her
|The Polar Express
|A Christmas Carol
|Who Framed Roger Rabbit 2
|Michael J. Fox|
|Thomas F. Wilson|
|Wendie Jo Sperber|
|Mary Ellen Trainor|
- "Robert Zemeckis Biography (1952-)". FilmReference.com. Retrieved October 20, 2012.
- Gleiberman, Owen (1994-07-15). "Movie Review: Forrest Gump". Entertainment Weekly. Retrieved 2007-01-26.
- Kehr, Dave (2000-12-17). "FILM: 'Cast Away' Director Defies Categorizing". The New York Times. Retrieved 2008-03-31.
- Thomson, David. “Robert Zemeckis,” The New Biographical Dictionary of Film. 2002 ed. ISBN 0-375-70940-1 p. 958-959.
- "Rose Zemeckis Obituary". Northwest Herald (Crystal Lake, Illinois). Undated; death occurred , April 27, 2010. Retrieved October 20, 2012.
- Kunk, Deborah J. (1988-06-26). "The Man Who Framed Roger Rabbit". Pioneer Press (St. Paul, Minnesota). Retrieved 2007-12-10.
- "Robert Zemeckis Interview". Academy of Achievement: A Museum of Living History, 1996-06-29. p. . Retrieved 2007-01-22.
- Shone, Tom. Blockbuster: How Hollywood Learned To Stop Worrying And Love The Summer. New York: Free Press, 2004. ISBN 0-7432-3568-1 p. 123-125.
- Notable Alumni, USC School of Cinematic Arts.
- Horowitz, Mark. "Back with a Future," American Film, July/Aug. 1988. p. 32-35.
- Hayes, Dade, and Dana Harris. "Helmers mull digital around state-of-art campfire," Variety, 2001-03-05.
- Fall Movie Preview: December, Entertainment Weekly, 2000-08-18. Retrieved on 2007-09-11.
- Petrikin, Chris. "Pairing for Zemeckis: Fox, DW near to sharing next two projects", Variety, 1998-10-14. Retrieved on 2007-09-11.
- Kehr, Dave (2004-10-24). "FILM: The Face That Launched A Thousand Chips". The New York Times. Retrieved 2008-03-31.
- Reuters (2007-02-05). "Disney, "Polar Express" director in animation deal". Reuters. Retrieved 2010-11-21.
- Goldstein, Hilary (2006-07-21). "Comic-Con 2006: Neil Gaiman's Future Movies". IGN. Retrieved 2007-01-13.
- Fleming, Michael. "Jim Carrey set for 'Christmas Carol': Zemeckis directing Dickens adaptation", Variety, 2007-07-06. Retrieved on 2007-09-11.
- McClintock, Pamela (2008-02-07). "Studios rush to fill '09 schedule". Variety.
- Gary Oldman To Play Three Roles in Robert Zemeckis’ ‘A Christmas Carol’
- Aftab, Kaleem "Man on Wire Q&A"
- "Disney to Close Zemeckis' ImageMovers Digital Studio". AWN.
- Horn, John (October 20, 2012). "How the movie 'Flight' got off the ground". Los Angeles Times. Retrieved October 20, 2012.
- Robert Zemeckis. Newsmeat.
- Meisler, Andy (August 29, 1999). "TELEVISION/RADIO; Getting Down to What Makes America High". The New York Times. Retrieved 2012-05-07.
|Wikimedia Commons has media related to Robert Zemeckis.|
- Robert Zemeckis at the Internet Movie Database
- Robert Zemeckis at AllRovi
- Works by or about Robert Zemeckis in libraries (WorldCat catalog)
- Robert Zemeckis collected news and commentary at The New York Times
- Robert Zemeckis at the Notable Names Database
- The Art of Robert Zemeckis - French PDF (40 Mo)
- The best movies of Robert Zemeckis