|Robert Redford: Hollywood Outlaw||2001 2000 - 2001||Actor||Interviewee||20017|
|Skinwalkers||2003 2002 - 2003||Actor||Judge||20037|
|Friday Night Lights||2011 2008, 2011||Director||n/a||4|
|A Thief of Time||Director||n/a||4|
|Bringing It All Back Home||1996||Director||n/a||4|
|Law & Order: Special Victims Unit||2008 2008||Director||n/a||4|
|Edge of America||Director||n/a||4|
|We Shall Remain||2009 2009||Director||n/a||4|
|A Thousand Roads||2004||Director||n/a||4|
|Bringing It All Back Home||1996||Producer||n/a||3|
|Arctic Son||2007 2006 - 2007||Consulting Producer||n/a||1|
|Became the US recipient of the Cinema 100/Sundance International Award|
|Grew up in Portland. Oregon with adoptive parents|
|Directed "Skins", a contemporary comedy-drama about Native Americans; screened at Sundance|
|Co-produced and directed "Bringing It All Back Home", a documentary about Indian performance artist James Luna (also co-producer); shown at 1998 Sundance Film Festival|
|Together with writer Sherman Alexie, began develping material at the Sundance Filmmakers and Screenwriter's Lab, resulting in the short, "Somebody Kept Saying Powwow", culled from the second act of the longer script that would become "Smoke Signals"|
|Helmed the TV adapation of Tony Hillerman's novel "Skinwalkers" (lensed 2002) for airing on PBS' "Mystery!"|
|Traveled to Oklahoma at the age of 18 to receive tribal diploma, officially joining the Cheyenne-Arapaho|
|"Smoke Signals", adapted from Alexie's "The Lone Ranger and Tonto Fistfight in Heaven", premiered at Sundance Film Festival and became the first major theatrical film written and directed by and starring Indians|
|Wrote and directed short film "Tenacity"; shown at 1995 Sundance Film Festival|
After a brief hiatus, Eyre directed the feature "Skins," (2002) an inspirational drama about two Sioux brothers and their incredible relationship.
|Shahiyela||Daughter||mother Lori Pourier|
|Lori Pourier||Companion||dated since 1996; mother of Shahiyela|
|Tisch School of the Arts, New York University|
|About meeting his blood mother: "I remember sitting in a parking lot at Target, being one exit away, and calling her and hearing her say, 'Yeah, we're here.' I'm one exit from seeing my life. Do you want to go and knock on the door? It wasn't butterflies-in-the-stomach, it was more like boulders. Surreal to the point where you can't absorb it. For the few minutes I just sat with my mother, my grandmother, my brother and twin sisters and nobody said anything. What do you say? And then you take a breath.
"But I needed to do it for my own health. You need to look and see your own image. The biggest thing I've ever done in my life was to look at my mother for the first time. I couldn't die without doing that." --Eyre quoted in Newsday, July 16, 1998.
|"We need to give out portrayal of ourselves. Every non-Indian writer writes about 1860 to 1890 pretty much, and there is no non-Indian writer that can write movies about contemporary Indians. Only Indians can. Indians are usually romanticized. Non-Indians are totally irrepsonsible with the appropriation of Indians, because any time tou have an Indian in a movie, it's political. They're not used as people, they're used as points." --Chris Eyre in Newsday, July 16, 1998.|
|"Indian country is really small. I had a friend who knew Sherman [Alexie], so I called him and said, 'Hey, what's this guy's number?' I mean, if you can't call an Indian guy and say, 'Hey, give me a number,' then what's this world coming to." --Eyre quoted in Indie, July-August, 1998.|
|Eyre received first prize in the graduate division of NYU's annual First Run Film Festival in 1995 for "Tenacity". The film was later shown at the Independent Feature Film Market.|
|"Burning that house [during the filming of 'Smoke Signals'] was a lot of fun. By the end of the movie, I wanted to burn things. I was like, 'Let's burn that! What do you mean, I can't burn that? I'm making a movie, I want to burn it.' They're like, 'The movie's over.' Really, well, I still want to burn it.' 'Well, we're not responsible.' It was surprising how fast it went up. This fire was so big, it was unbelievable. It was like a bonfire, because it could get oxygen in the middle. They had pipes and they were pumping gas in there and there was fire all around. The wind was blowing. It was so cool. I had three Panavisions going on at the same time. That's when you look around and go, 'this is cool.'" --Chris Eyre to Anthony Kaufman in "Having Words With..." on citysearch-nyc.iconnet.net|
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