|Everybody Just Stay Calm -- Stories in Independent Filmmaking||1994 1993 - 1994||Actor||n/a||19947|
|La Linea del Cielo||1984||Actor||Thornton||19847|
|Damsels In Distress||2012||Director||n/a||4|
|The Last Days of Disco||1998||Director||n/a||4|
|Homicide: Life on the Street||1998 1991 - 1998||Director||n/a||4|
|The Last Days of Disco||1998||Producer||n/a||3|
|Damsels In Distress||2012||Producer||n/a||3|
|Damsels In Distress||2012||Screenplay||n/a||1|
|The Last Days of Disco||1998||Screenplay||n/a||1|
|While in L.A., approached by Castle Rock president Martin Shafer and president of production Liz Glotzer; they expressed interest in funding "Barcelona" while giving Stillman complete creative control (date approx.)|
|Started his own Spanish production company (date approx.)|
|Began appearing as "the quirky American" in Spanish films: "Sal Gorda/Fat Salt" and Fernando Colomo's "La linea del Cielo/Skyline"|
|After graduating from Harvard, aspired to work in TV and film production but landed in the training program at Doubleday|
|Returned to Spain to marry|
|Left Harvard during his sophomore year to visit Mexican relatives; learned Spanish; published his first article, about political violence in Mexico, in The Village Voice (date approx.)|
|Grew up in Manhattan and Cornwall-on-Hudson, NY except during Democratic administrations (when he lived in Washington, DC)|
|Worked as editor and freelance journalist in book and magazine publishing; became acting editor at Doubleday and executive editor of a daily world news summary while writing fiction and journalism for such publications as Harper's, The Wall Stre|
|Feature producing debut, "Barcelona"; also wrote and directed|
|After a long hiatus, returned to features as writer, director, and producer of comedy "Damsels in Distress"|
|Made third film, "The Last Days of Disco"|
|First feature film as director and writer, "Metropolitan" (made on a budget of approximately $250,000); received Oscar nomination for Best Original Screenplay|
|Entered film industry representing Spanish films for foreign sales|
|Made film acting debut as an extra in "Hammersmith is Out", a Spanish production filmed in Mexico starring Elizabeth Taylor and Richard Burton|
|Left for Spain to woo his future wife, a Barcelona native|
|Played a party goer in "The Imperialists Are Still Alive!"|
|Signed contract with Farrar, Straus & Giroux to write novel based on "The Last Days of Disco"|
|Took over family business, an agency representing cartoonists and illustrators (including French artists Sempe and Pierre Le-Tan)|
He was born John Whitney Stillman in Washington, D.C. on Jan. 25, 1952, to an aristocratic pedigree; his great-grandfather James Stillman was the one-time president of Citibank forerunner National City Bank, and his father was a lawyer with the U.S. Department of Commerce in the administration of his Harvard University classmate John Kennedy. The family resided in Cornwall-on-Hudson, NY, where Whit enjoyed an idyllic upbringing until his parents divorced in 1965. Meg Stillman moved Whit and his two siblings to New York City. Though no longer endowed with the wealth of his old money family, he attended exclusive prep academy the Millbrook School in Millbrook, NY, and planned to follow his father into studying law at Harvard. He did matriculate at the Ivy League university, but reconsidered his course of study, mulling a literary future as he contributed humorous items to The Harvard Crimson. Graduating in 1973, he took a job with book publisher Doubleday. After four years there, he moved to Barcelona, Spain, where he worked for a time brokering Spanish films to U.S. Spanish-language cable stations. That affiliation saw him occasionally pop up in the films of his clients, including appearances in Fernando Trueba's "Sal Gorda" (1982) and Fernando Colomo's "La Linea del Cielo" (1984). He married Spanish television journalist Irene Perez Porro in 1980.
Upon the death of an uncle, Stillman returned to the U.S. in 1984 to take the helm of his business, an agency brokering the works of illustrators. In the meantime, he began working on a screenplay following the social hobnobbing of an eclectic assortment of characters from the New York swell set. By the end of the decade, he had sold his apartment for $50,000 and borrowed $175,000 more to make the film "Metropolitan," casting young unknowns from local drama schools. Released to the arthouse market in 1990, the slice-of-life comedy skewered debutante circles amid the questionable morality of the Reagan Era, running less on plot and more on the dry, stinging wit of characters devoid of much else yet still clamoring toward something approximating meaning - something which would become a Stillman theme. The New York Times review praised it for "a most unparochial wit and sense of fun. 'Metropolitan' is a comedy of manners of a very high order." More auspiciously, the film garnered Stillman an Academy Award nomination for Best Screenplay the next year.
Arriving amid a renaissance for independent film in the U.S., the success won Stillman a moderate budget of $3 million-plus from indie studios Castle Rock and Fine Line for his next project, which would revisit his days abroad. "Barcelona" starred two of supporting players from "Metropolitan," Taylor Nichols and Christopher Eigeman, as American cousins - one an expatriate working for the Spanish branch of a U.S. corporation, the other a less buttoned-down U.S. Navy officer visiting him, with both dating various locals (one played by a young Mira Sorvino), conduits of Stillman's witty deconstruction of the "ugly American" ethos, cultural and imperial. The film again won over critics and made back its budget twice over. Now something of a Golden Boy, Stillman's announcement of a new project after "Barcelona" drew offers of more production money and interest from name stars. Stillman eschewed the latter but Castle Rock, PolyGram Filmed Entertainment and distributor Gramercy Pictures came up with an indie-substantive $8 million for "The Last Days of Disco," his paean to New York's nightlife in the late 1970s and early '80s.
Stillman's script again followed a cadre of privileged youth, this time centered around two young women (Chloe Sevigny and Kate Beckinsale) working entry-level publishing jobs and their social swirl with various young wealthy gadabouts at their local nightclub. Seeking again to mine redeeming values from essentially vapid yuppies-in-training, Stillman again scored with critics but less so with filmgoers, as the movie only drew $3 million in North American revenues. In 1998, Stillman moved to Paris with his wife and children, though he and Irene would separate in 2002. In 2000, he published The Last Days of Disco, With Cocktails at Petrossian Afterwards, an ill-received, somewhat embellished novelization of the film. He spent ensuing years attempting produce a number of projects that never came to fruition. He returned to the U.S. in 2010, going back to basics with a low-budget film about snarky youngsters played by a raft of up-and-coming actors. "Damsels in Distress" premiered at the 2011 Venice Film Festival, the tale of four girls attending a small, only recently co-ed liberal arts college and attempting to offset a male-centric frat boy culture, including fielding the boys' mostly idiotic angst via the campus suicide prevention center. Upon its later opening in the U.S., The New York Times observed, "You could say that 22 years after his debut . . . [Stillman] has come full circle, returning to the romantic travails of ruling-class late adolescence. But the world has changed - perhaps more than some of us have realized - and "Damsels in Distress" is remarkable for feeling both exquisitely observant and completely untethered to any recognizable social reality."
By Matthew Grimm
|Irene Stillman||Wife||married in 1980; from Barcelona, Spain|
|Ann Stillman||Daughter||born c. 1986; mother, Irene Stillman|
|Isabel Stillman||Daughter||born c. 1991; mother, Irene Stillman|
|James Stillman||Great-Grandfather||helped start Citibank; knew J P Morgan personally|
|"Ultimately, despite the unusual circumstance of shooting in Spain and having access to Hollywood funding, Stillman's mode of production remained the same, as has the essential personality of his films. Visually, 'Barcelona' retains the simple, unobstrusive style of 'Metropolitan'. Stillman's directorial style is designed to give him the greatest amount of freedom in the editing room; it also accommodates his penchant for extended close-ups. Perhaps Stillman's knack for holding onto his artistic vision lies in his belief that the writing and editing stages are where his production really takes place. It is as a writer that Stillman creates his style as an auteur, and it is in the editing room that he refines that style."- from "Sketches of Spain" by Noam Christopher, Filmmaker, Summer 1994|
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