Crowned "The Unknown King of Comedy" by NEW YORK magazine in 1985, this former publicist and aspiring academic entered film comedy writing at the very highest level. The 26-year-old Bergman, having pe...
Queens, New York, USA
|Honeymoon in Vegas||1992||Director||n/a||4|
|It Could Happen to You||1994||Director||n/a||4|
|Isn't She Great||2000||Director||n/a||4|
|Undercover Blues||1993||Executive Producer||n/a||1|
|Mickey and Nora||1986 1985 - 1986||Executive Producer||n/a||1|
|White Fang||1991||Executive Producer||n/a||1|
|Little Big League||1994||Executive Producer||n/a||1|
|Honeymoon in Vegas||1992||Screenplay||n/a||1|
|Mickey and Nora||1986 1985 - 1986||Writer||n/a||1|
|Oh, God! You Devil||1983||Screenplay||n/a||1|
|Black Bart||1974 1973 - 1974||Creator||n/a||2|
|Blazing Saddles||1974||From Story||n/a||1|
|The Freshman||1990||Theme Lyrics||special parody lyrics("There She Is, Miss America")||1|
|TV debut, wrote and co-executive produced (with Lobell) TV sitcom pilot, "Mickey and Nora"|
|First film credited as producer (co-executive with Lobell), "White Fang"|
|Feature film co-writing debut (with Richard Pryor and director Mel Brooks), "Blazing Saddles" (also story)|
|Directed the Jacqueline Susann biopic "Isn't She Great"|
|First film produced for own production company, Bergman/Lobell Productions (with Michael Lobell), "The Journey of Natty Gann"|
|Credited as Warren Bogle for producing and co-writing (with director John Cassavetes), "Big Trouble"|
|Feature directing debut (also writer), "So Fine"|
|Worked as publicist at United Artists; authored several books on Hollywood (fiction and non-fiction)|
|Feature solo writing debut, "The In-Laws"|
Bergman formed Lobell/Bergman Productions with Michael Lobell in the mid-1980s. In addition to Bergman's projects, they have released several family-oriented adventures ("The Journey of Natty Gann" 1985; "White Fang" 1991) and comedies ("Chances Are" 1989; "Little Big League" 1994) with Bergman sometimes serving as an executive producer. His recent film works include the screenplay for the modestly successful "Soapdish" (1991), writing and directing "Honeymoon in Vegas" (1992), and helming "It Could Happen to You (1994), the latter two comedies both starring Nicholas Cage.
Bergman earned a Ph.D. in American history from the University of Wisconsin. His dissertation, a study of Depression-era Hollywood films, was published by NYU Press under the title "We're In the Money: Depression America and Its Films" in 1971 and subsequently reprinted in paperback by Harper and Row. Bergman's knowledge of 1930s screwball comedy doubtlessly influenced the "old-fashioned genre entertainment" feel of many of his films and more particularly the populist optimism conveyed by "Little Big League" and "It Could Happen to You." He has also written several mystery novels and a Broadway comedy, "Social Security".
|Rudy Bergman||Father||wrote a radio and TV column for the New York "Daily News"; wrote for Victor Borge among others; introduced Bergman to Borge, Ernie Kovacs, and Bob and Ray|
|University of Wisconsin|
|"Bergman is a clever writer, full of off-the-wall notions, which he works into elaborate farce plots: he's Mel Brooks with structure. In 'The In-Laws,' Alan Arkin is a dentist led astray by a rogue C.I.A. operative (Peter Falk)...and winds up dodging bullets on a Caribbean island. The college professor played by Ryan O'Neal in 'So Fine' finds himself working in the garment trade and running for his life from a hulking mobster. The hero of 'The Freshman' is, within a few days of arriving in New York, making deliveries for an "importer"...and being treated like a member of Sabatini's family (or Family).... All the movies he's worked on have funny things in them, but they're all marred, in varying degrees, by overinsistence: they keep telling us how outrageous they are and what a great time we're having, and we're rarely allowed to respond freely--to catch a comic detail out of the corner of our eye." --Terrence Rafferty in his review of "The Freshman" (THE NEW YORKER, July 30, 1990)|
|"Bergman writes the same story over and over, and it's a serviceable one: a reserved middle-class guy is plunked down in an unfamiliar and dangerous subculture....The key to Bergman's sense of humor is that the denizens of each movie's alien culture always act as if their way of life were the most natural thing in the world: the hero is sweating and shaking and looking for the nearest exit, and the people around him can't figure out what he's so upset about." --Terrence Rafferty in his review of "The Freshman" (THE NEW YORKER, July 30, 1990)|
From classic movie palaces to the state-of-the-art IMAX screens.