Best known to genre buffs as the adroit filmmaker behind the giddily gory H. P. Lovecraft adaptations, "Re-Animator" (1985) and "From Beyond" (1986), Gordon also boasts a significant theatrical backgr...
Chicago, Illinois, USA
|Daughter of Darkness||Director||n/a||2|
|Lovecraft: Fear of the Unknown||Actor||n/a||1|
|Boogeymen II: Masters of Horror (2003-2004)||Actor||Interviewee||2003||1|
|The 100 Scariest Movie Moments (2003-2004)||Actor||Interviewee||2003||1|
|Bread and Roses||Actor||Himself||1|
|King Of The Ants||Director||n/a||2|
|The Black Cat||Director||n/a||2|
|The Wonderful Ice Cream Suit||Director||n/a||2|
|Dreams in the Witch House||Director||n/a||2|
|Daughter of Darkness (1988-1989)||Director||n/a||1988||2|
|The Pit and the Pendulum||Director||n/a||2|
|The Wonderful Ice Cream Suit||Producer||n/a||3|
|King Of The Ants||Co-Producer||n/a||3000007|
|Bleacher Bums (2000-2001)||Co-Executive Producer||n/a||2000||3000007|
|Honey, I Blew Up the Kid||Executive Producer||n/a||3000007|
|The Black Cat||Teleplay||n/a||4000006|
|Castle Freak||From Story||n/a||4000006|
|The Dentist (1995-1996)||Screenplay||n/a||1995||4000006|
|Dreams in the Witch House||Teleplay||n/a||4000006|
|Robo Warriors||Characters as Source Material||n/a||4000006|
|Robot Jox||From Story||n/a||4000006|
|The Dentist II (1997-1998)||Characters as Source Material||n/a||1997||4000007|
|From Beyond||Story By||story adaptation||4000007|
|Honey, I Shrunk The Kids||From Story||n/a||4000008|
|Space Truckers||From Story||n/a||4000008|
|Honey, We Shrunk Ourselves||Characters as Source Material||n/a||4000008|
|Honey, I Blew Up the Kid||Characters as Source Material||n/a||4000009|
|Bleacher Bums (2000-2001)||Play as Source Material||("Bleacher Bums")||2000||4000011|
|Disney's Honey, I Shrunk the Kids: The TV Show (1996-1999)||Characters as Source Material||n/a||1996||4000012|
|Wrote (with wife Carolyn Purdy-Gordon) "The Little Sister", adapted from Raymond Chandler's novel; directed Chicago production|
|Co-founded the Organic Theater Company in Madison and subsequently Chicago|
|Toured Europe with Organic Theater Company production of "The Adventures of Huckleberry Finn"; toured the US the following year|
|Served as a consultant for the short-lived CBS medical sitcom based on "E/R"|
|Wrote (with Joe Mantagna and others) "Bleacher Bums"; directed the Chicago production|
|Served as the artistic director and a producing director at the the Organic Theater Company|
|Directed the world premiere of David Mamet's "Sexual Perversity in Chicago" for the Organic Theater Company at the Uptown Center Theater in Chicago|
|Executive produced "Honey, I Blew Up the Kid" (also received co-creator credit)|
|Toured Europe with "Bloody Bess" and "The Wonderful Ice Cream Suit", both productions of the Organic Theater Company|
|TV directorial debut, "Daughter of Darkness"|
|Worked in a commercial art studio for six months|
|Feature directing and screenwriting debut, "Re-Animator"|
|Wrote (with Bury St. Edmund) "Warp", a science fiction play originally produced by the Organic Theater Company at the Body Politic Theater in Chicago (also directed)|
|Co-wrote, with Brian Yuzna and Ed Naha, the story for "Honey, I Shrunk the Kids"|
|TV directing debut, helmed (with Pat Denny) the PBS production of "Bleacher Bums"|
|Co-wrote (with Ronald Berman and others) "E/R"; directed the Chicago production|
|Founded the Broom Street Theater in Madison, WI|
|Directed the NYC productions of "Bleacher Bums" at Performing Garage and American Place Theater|
|Directed "Warp" in NYC at the Ambassador Theater|
|Directed 35 original plays and adaptations|
Gordon shifted to features with his directorial and screenwriting debut "Re-Animator". This absurdly bloody and sexually perverse variation on the standard "mad scientist" movie formulas was a surprising critical success. The film was a hit at Cannes (and a recipient of a critics prize) and became the first horror film ever included in the London Film Festival. Gordon's second released feature, "From Beyond" (1986), was actually his third completed film. Another irreverent take on Lovecraft, this atmospheric fever dream of a monster movie was less delirious than Gordon's debut but still had imagination to spare. His actual second feature, "Dolls" (released in 1987), was an uninspired comic horror rehash of killer doll stories. However, it has the minor distinction of being a special effects film that was shot for a modest $1.2 million budget in a mere six weeks. Gordon's subsequent credits include "Robot Jox" (1990), a good-natured tribute to Japanese monster movies, and "The Pit and the Pendulum" (1991), an impressive Poe adaptation.
Along with frequent collaborator Brian Yuzna (producer of "Re-Animator", "From Beyond" and "Dolls") and film critic-turned-screenwriter Ed Naha (writer of "Dolls"), Gordon contributed the story for Disney's blockbuster fantasy "Honey, I Shrunk the Kids" (1989) and served as the executive producer for the sequel "Honey, I Blew Up the Kid" (1992). He went abroad for his next directorial assignment, "Fortress" (1993), a satisfying sci-fi prison flick shot in Australia. Produced for a thrifty $14 million (more than double Gordon's previous highest budget), this solid genre film put its money up on the screen rather than in the bank account of some major star. Gordon also wrote the screenplay (from a Larry Cohen story) for Abel Ferrara's "Bodysnatchers" (1993), the third film to be derived from Jack Finney's novel, "Invasion of the Body Snatchers". As a film director, he continues to gravitate toward low-budget projects. Gordon also remains active in the theater.
|Jillian Bess Gordon||Daughter|
|Margaret Berni Gordon||Daughter|
|Suzanna Katherine Gordon||Daughter|
|Bernard Gordon||Father||with the Helene Curtis company (cosmetics; toiletries)|
|Carolyn Purdy-Gordon||Wife||married December 20, 1968|
|University of Wisconsin at Madison|
|Gordon is a member and past director of the League of Chicago Theaters.|
|Gordon is a member and past director of the Theater Communications Group.|
|Gordon received a Challenge Grant from the National Endowment for the Arts (c. 1978).|
|Gordon has received Joseph Jefferson Awards for his writing and directing on the Chicago stage.|
|The PBS presentation of "Bleacher Bums" won a local Chicago Emmy.|
|A theatrical production of "Peter Pan" staged by a student named Stuart Gordon caught the mood of the isthmus. In Gordon's interpretation, Peter Pan was a hippie, Tinker Bell was gay, Captain Hook and his pirates were police, the three Darling children were the last straight kids in America, and the voyage to Never-Never Land was an acid trip portrayed by a half-hour light show in which half a dozen nude co-eds danced hypnotically to Iron Butterfly's "Inna gadda da vida." Threatened with prosecution by Dane County District Attorney James Boll, Gordon mounted the production behind locked doors in Commerce Hall. On an evening that summed up America in 1968, make-believe cops and hippies went at it on stage while real police pounded on the doors with warrants for the arrest of the producer and his nubile cast.
--From "Rads" by Tom Banks (New York: Harper, Collins, 1992)
|"Gordon's first film is pure splatstick, a knockabout zombie gorefest played dead straight by its actors, which revitalises the bit that other horror films can't reach, namely the funnybone."--Anne Billson's review of "Re-Animator" in "The Time Out Film Guide", edited by Tom Milne (Penguin Books, 1989)|
|Stuart Gordon interviewed by the Phantom of the Movies in the latter's VIDEOSCOPE (Vol. 2, No. 1), Jan. 15/Mar. 15 1996:
PHANTOM: Have you done any theater recently?
GORDON: I did a play about a year ago, called "Ghost Man", written by Wendy Hammond, about a coalminer in Utah, a Mormon. His father dies and all of a sudden he starts having all these weird hallucinations in which he becomes convinced that his father had sexually abused him as a child. Of course, everyone is telling him this is impossible, his father was one of the elders of the church....
PHANTOM: Any chance of it becoming a film?
GORDON: It's one of those things where the subject matter seems to be so upsetting to people that it's very hard to get a company to produce it. What I've noticed is that if you put something into a fantasy context, you have a better chance of getting it produced. You have to put it into a science-fiction or horror context to be able to deal with some of these things.
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