|William Eggleston in the Real World||2005||Narrator||n/a||1|
|The Rocking Horse Winner||1996||Director||n/a||4|
|Happy Here and Now||2005||Director||n/a||4|
|This So-Called Disaster||2004||Director||n/a||4|
|New Orleans Mon Amour||2007||Director||n/a||4|
|A Hero of Our Time||1990||Director||n/a||4|
|The Man Who Came Out Only at Night||2012||Director||n/a||4|
|Another Girl, Another Planet||1991||Director||n/a||4|
|William Eggleston in the Real World||2005||Director||n/a||4|
|Tonight at Noon||2014||Director||n/a||4|
|The Rocking Horse Winner||1996||Producer||n/a||3|
|William Eggleston in the Real World||2005||Producer||n/a||3|
|The Man Who Came Out Only at Night||2012||Producer||n/a||3|
|Another Girl, Another Planet||1991||Producer||n/a||3|
|The Rocking Horse Winner||1996||Screenplay||n/a||1|
|Happy Here and Now||2005||Screenplay||n/a||1|
|New Orleans Mon Amour||2007||Screenplay||n/a||1|
|The Man Who Came Out Only at Night||2012||Screenplay||n/a||1|
|Another Girl, Another Planet||1991||Screenplay||n/a||1|
|Search and Destroy||1995||Screenplay||n/a||1|
|Tonight at Noon||2014||Screenplay||n/a||1|
|William Eggleston in the Real World||2005||Cinematographer||n/a||1|
|Hamlet||2000||Archival Footage||Pixelvision footage||1|
|Uncredited collaboration with Wim Wenders, the screenplay for "Until the End of the World"|
|Directed and wrote the straight-to-video sci-fi horror feature "Trance"; first color film in nearly ten years|
|Family moved from Kansas to Orange County, California when he was a teenager|
|Received first screenplay credit for Steve de Jarnette's sci-fi action feature "Cherry 2000"|
|Traveled to Australia to work with director Bruce Beresford, polishing a script inspired by a Philip K. Dick short story that would eventually become "Total Recall" (1990), directed by Paul Verhoeven; received no screen credit|
|Helmed and adapted modern dress version of "Hamlet" set in NYC|
|Continued to use Pixelvision (to represent the vampire's point-of-view) in his eccentric, ironic vampire feature "Nadja", executive produced by David Lynch|
|First Hollywood job, rewriting for Embassy Pictures the unproduced "Mandrake the Magician", based on the comic strip|
|Produced, directed and wrote the 23-minute Pixelvision fable "The Rocking Horse Winner", based on the short story by D.H. Lawrence|
|Wrote screenplay for artist David Salle's feature directorial debut, "Search and Destroy", adapted from the play by Howard Korder|
|Commissioned by director Tim Burton to adapt Nathaniel Hawthorne's "Rappaccini's Daughter"; although it was never produced, Burton seems to have absorbed some of it into his "Sleepy Hollow" (1999)|
|Moved to NYC after dropping out of Harvard; began writing screenplays and secured an agent early on with the help of writer Tom Pope, who had worked previously with Wim Wenders|
|Inspired by Wenders' "Room 666" 1980s documentary of the Cannes Film Festival, co-directed (with "Nadja" producer Amy Hobby) documentary "At Sundance", shot on the fly in Pixelvision at the 1995 Sundance Film Festival; narrated film and also received cred|
|Feature directing debut, "Twister", a tale of family dysfunction set against a raging tornado in the director's native Kansas; writer William S. Burroughs appeared in a cameo|
|First producing credit, the 56-minute "Another Girl, Another Planet"; also wrote screenplay and directed; received a special citation from the National Society of Film Critics for "expanding the possibilities of experimental filmmaking including the use o|
|"Before I could drive I was carpooling to see Howard Hawks or John Huston talk at community colleges. There were more TV channels in L.A. than in Kansas, pre-cable. Movies were everywhere. So of course I wanted to make them. A simple, common disease.
"It didn't take much to figure out the difference between a Hitchcock or Welles film and something with less visual energy. All the towering maverick directors were pretty conspicuous then, and they showed up in public. Also, I was lucky to have met [critic] Manny Farber when he came to Orange Coast College with a Fassbinder film under his arm. I was sixteen, and I happened to have just read his book ["Negative Space"]. Manny was my first flesh-and-blood guide to movie culture, and to culture itself as a present tense activity. His influence ... was crucial. He was always pushing the edges of things, searching and reaching ... To have run into him as a kid was really lucky." --Almereyda quoted in Filmmaker, February-April 1999
|"I think your primary influence is what you grew up in, and for me that's suburban Kansas. I seem to be an implausible Kansan--people never expect that I'm from there--but my basic sense of myself is as a kid in Kansas with a big sky hovering overhead, and I don't think I'll ever quite outgrow that. Of course, it's connected to a sense of space, of behavior, of light and even time. The fact that I talk slowly and my films tend to move slowly has everything to do with growing up in that place, which to me will always be magical, and not merely because it's cross-referenced with 'The Wizerd of Oz'! I have a very physical memory of Kansas, and I'd like to shoot another movie there and get it right." --Almereyda to Filmmaker, February-April 1999.|
|"The screenplay [for "Hamlet"] came together quickly and even easily--a process of channeling and distillation. (Typing Shakespeare straight into your computer is a thrilling act of ventriloquism that I can recommend to any writer.) My main job, anticipating work behind the camera, was to imagine a parallel visual language that might hold a candle to Shakespeare's imagery and ideas.|
|"From what I can tell, global power is as smoothly treacherous and absolute as anything going in a well-oiled feudal kingdom, and the notion of an omnipresent Denmark Corp. provided an easy vehicle for Claudius's smiling villainy ... It's more meaningful to explore how Shakespeare's massive interlocking themes--innocence and corruption, identity and fate, love and death, the division between action and thought--might be heightened, even clarified, when colliding with the spectacle of contemporary media-saturated technology." --to The New York Times, May 9, 2000.|
|"It's a truism that every movie is made three times: in the writing, in the shooting, and in the editing, each process generating new contingencies and surprises. And so, many of our best and worst ideas fell by the wayside--sacrificed for the sake of clarity and momentum and to dodge mistakes, making this latest 'Hamlet' the most condensed straight film adaptation in English. Entire scenes were dropped, Shakespeare's text was further trimmed and torn, and the result is, inevitably, an attempt at 'Hamlet'--not so much a sketch but a collage, a patchwork of intuitions, images and ideas." --Almereyda in The New York Times, May 9, 2000|
Which Oscar-nominated actor went to school with the Duke of Cambridge?
As if! Clueless turns 20-years-old this July.
We loved Leah Remini as Stacy Carosi. Next Jimmy Fallon reunion, maybe?
Which actor has been working on the same television network since 2002?
We all know what Daniel Radcliffe and Emma Watson are up to, but what ever happened to Seamus Finnigan?