|Heart of Darkness||1999 1998 - 1999||Actor||Interviewee||19997|
|The AMC Project: Rated R: Republicans In Hollywood||2005 2004 - 2005||Actor||Interviewee||20057|
|Ben Johnson: Third Cowboy On the Right||1995||Actor||Himself||19957|
|John Ford/John Wayne: The Filmmaker and the Legend||Actor||Interviewee||7|
|Hollywood Don't Surf!||2010||Actor||Himself||20107|
|The Hustons: Hollywood's Maverick Dynasty||1999 1998 - 1999||Actor||Interviewee||19997|
|Hearts of Darkness: A Filmmaker's Apocalypse||1991||Actor||n/a||19917|
|Deadhead Miles||1982||Actor||2nd State Trooper||19827|
|American Cinema||1995 1994 - 1995||Actor||n/a||19957|
|Farewell to the King||1989||Director||n/a||4|
|The Wind and the Lion||1974||Director||n/a||4|
|Conan the Barbarian||1982||Director||n/a||4|
|Flight of the Intruder||1991||Director||n/a||4|
|The Twilight Zone||1987 1985 - 1987||Director||n/a||4|
|Rome||2005 2005||Executive Producer||n/a||1|
|Fatal Beauty||1987||Executive Producer||n/a||1|
|Used Cars||1980||Executive Producer||n/a||1|
|Farewell to the King||1989||Screenplay||n/a||1|
|The Wind and the Lion||1974||Screenplay||n/a||1|
|Geronimo: An American Legend||1993||Screenplay||n/a||1|
|Conan the Barbarian||1982||Screenplay||n/a||1|
|Clear and Present Danger||1994||Screenplay||n/a||1|
|The Life and Times of Judge Roy Bean||1972||Screenplay||Original Screenplay||1|
|Melvin Purvis: G-Man||Screenplay||n/a||1|
|Extreme Prejudice||1987||From Story||n/a||1|
|Magnum Force||1973||From Story||n/a||1|
|Geronimo: An American Legend||1993||From Story||n/a||1|
|Red Dawn||2012||Source Material||(from original screenplay: "Red Dawn")||1|
|Lone Wolf McQuade||1983||Technical Advisor||(spiritual)||1|
|First credit as producer, "Uncommon Valor"|
|Won an International Student Film Festival Award for an animated short|
|TV writing debut, wrote story and scripted "Melvin Purvis: G-Man", an ABC-TV period gangster telefilm|
|Signed deal with TNT to direct and write a four-hour miniseries about Teddy Roosevelt and the Rough Riders|
|TV directing debut, "Opening Day", an episode of the CBS revival of "The Twilight Zone"|
|Feature directing debut, "Dillinger" (also wrote)|
|Feature screenplay debut, "The Devil's Eight", a prison drama (co-written by Willard Huyck)|
|First executive producer credit, Paul Schrader's "Hardcore"|
|Founded A-Team production company|
|Moved from St. Louis to L.A. with his family at age seven upon his father's retirement from a successful career as a shoe manufacturer (date approximate)|
|Co-wrote (with Francis Ford Coppola) his most acclaimed project, Coppola's "Apocolypse Now"|
|Provided the story for "Viking Bikers From Hell", an episode of NBC's crime drama "Miami Vice"|
|Began career as assistant to Lawrence Gordon at American International Pictures (AIP)|
|TV-movie directing debut, "Motorcycle Gang", an installment of Showtime's "Rebel Highway" series of remakes of American International Pictures drive-in fare|
|Involved in the formation of Zoetrope Studios|
|Hired by actor George Hamilton to rewrite some scenes for "Evel Knievel" for $1000 a day; Milius rewrote the entire screenplay|
|Co-produced and wrote for the HBO epic series "Rome"; earned a Golden Globe nomination for Best Drama series|
|As a student at USC, made his first short student film, "Marcello, I'm So Bored", a spoof of Italian art-house films|
|Renee Fabri||Wife||married January 7, 1967; divorced|
|Celia Kaye||Wife||married February 26, 1978|
|Ethan Milius||Son||mother Renee Fabri|
|Marco Milius||Son||mother Renee Fabri|
|University of Southern California|
|Los Angeles City College|
|Once a devoted surfer, Milius sometimes claims to have been born in Malibu, California rather than St. Louis, Missouri as stated in Quigley's "Motion Picture Almanac" and Honig & Rodek's "100001: Die Showbusiness-Enzyklopadie".|
|"I was known as crazy," says John Milius whose first film was "Dillinger", "and everyone was afraid I was going to do something terrible, like shoot somebody or something on the first day. I remember that I had gotten myself into a state of pneumonia and was sure I was dying. I'd heard about people who chickened out [of directing], and I didn't want to be remembered as someone who froze at the controls. So I convinced myself that I could last for three days without dying. I got out there on the first day--a big crowd scene had been arranged, and it had been rehearsed--and all I had to do was say, 'Roll' and 'Cut.' It was easy."--from "Remembering the First Time", AMERICAN FILM, April 1989.|
|Admittedly influenced by directors John Ford ("for his personal views, his concern with people rather than events") and Akira Kurosawa ("for the look of his films"), Milius began his career as a screenwriter.
"I'm not a director," he insists, "but a writer who became a director in self-defense."--John Milius quoted in PR for "Farewell to the King" (1989).
|"'The hunter does not exist without the prey,'" Milius says, "'nor does the prey without the hunter.'" In his films hunter and pursued mirror each other. They depend on each other to create the legend that alone will give them tenuous immortality. They wish to be seen as great men. They will become legends by exceptional acts. As the great men they will transcend the essential absurdity of the one act that can ensure their fame--dying. By becoming mythic figures, long-remembered, they make their death worthwhile. What Milius shows is the process by which they build the myth." --From "The Movie Brats" by Michael Pye & Lynda Myles (Holt, Rinehart and Winston, 1979).|
|"At Warners he converted his office into an imitation of a command post under siege, with guns and military equipment lying casually around. For the first time he posted the name A-Team on his door. He talked of his hunting exploits, of some mystical need to experience the reality of blood and death in hunting animals rather than driving to the supermarket to pick up a cellophane-wrapped package of meat. The talk of war and blood did not, however, give him a warrior past. John Milius, samurai, never passed the medical examination for the U.S. armed forces."
From "The Movie Brats" by Michael Pye & Lynda Myles
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