|De Domeinen Ditvoorst||1992||Actor||Himself||19927|
|Sartoria Tirelli - Vestire il cinema||2005||Actor||n/a||20057|
|The Story of X||1997||Actor||Interviewee||19977|
|Addicted to Fame||1994 1993 - 1994||Actor||n/a||19947|
|Pier Paolo Pasolini e la Ragione di un Sogno||2000||Actor||Himself||20007|
|Farough Farroukhzad||2001||Actor||(archival footage)||20017|
|Omnibus||1988 1987 - 1988||Actor||n/a||19887|
|Words In Progress||2003||Actor||Himself||20037|
|Seduced and Abandoned||2013||Actor||Himself||20137|
|The True Life of Antonio H.||1993||Actor||Himself||19937|
|Golem, the Spirit of the Exile||1991||Actor||n/a||19917|
|Before the Revolution||1965||Director||n/a||4|
|Ten Minutes Older: The Cello||2002||Director||("History of Water")||4|
|Last Tango in Paris||1972||Director||n/a||4|
|Tragedy of A Ridiculous Man||1982||Director||n/a||4|
|The Grim Reaper||1961||Director||n/a||4|
|Me and You||2014||Director||n/a||4|
|The Sheltering Sky||1990||Director||n/a||4|
|The Spider's Stratagem||1969||Director||n/a||4|
|Amore E Rabbia||1966||Director||n/a||4|
|Io con te non ci sto piu||1982||Producer||n/a||3|
|The Triumph of Love||2002||Producer||n/a||3|
|Before the Revolution||1965||Screenplay||n/a||1|
|Ten Minutes Older: The Cello||2002||Screenplay||("History of Water")||1|
|Last Tango in Paris||1972||Screenplay||n/a||1|
|Tragedy of A Ridiculous Man||1982||Screenplay||n/a||1|
|The Grim Reaper||1961||Screenplay||n/a||1|
|The Triumph of Love||2002||Screenplay||n/a||1|
|Me and You||2014||Screenplay||n/a||1|
|The Sheltering Sky||1990||Screenplay||n/a||1|
|The Spider's Stratagem||1969||Screenplay||n/a||1|
|Stealing Beauty||1996||From Story||n/a||1|
|Last Tango in Paris||1972||Story By||n/a||1|
|Once Upon a Time in the West||1969||From Story||n/a||1|
|Little Buddha||1994||From Story||n/a||1|
|Producing debut, "Sconcerto Rock"|
|Soared to international prominence with "The Conformist"; picture brought him acclaim in the USA; earned first Oscar nomination for Best Adapted Screenplay; first film with actress Dominique Sanda|
|Film directing and co-writing (with Pasolini and Sergio Citti) debut, "La commare secca/The Grim Reaper"; shot on location with a cast of nonprofessionals|
|English language directing debut, "The Last Emperor"; first teaming with screenwriter (and brother-in-law) Mark Peploe; film won nine Academy Awards including Best Picture and two for Bertolucci, as Best Director and for the Best Screenplay|
|Had poems published in magazines by age 12|
|Joined the Italian Communist Party; resigned ten years later|
|Reteamed with wife on screenplay for "Besieged" (filmed for less than $3 million), adapted from a short story by James Lasdun|
|For Italian TV directed three-part documentary "La Via del Petrolio," about an Italian oil company in Iran|
|First collaboration with screenwriter (and wife) Clare Peploe, "Luna"|
|Made amateur 16mm films as a teenager, the first one showing a pig being slaughtered|
|Helmed "The Dreamers," an adaption of the book "Holy Innocents," written by Gilbert Adair. Set in France in the spring of 1968, about three young cineastes that are drawn together through their passion for film|
|Continued the political argument begun in "Before the Revolution" with "The Partner" (based on Fyodor Dosteyevsky's novel "The Double"); also marked first collaboration with actress Stefania Sandrelli|
|Made first film appearance in documentary, "Bertolucci Secundo il Cinema/The Cinema According to Bertolucci/The Making of '1900'", co-directed by his brother and Gianni Amelio|
|Co-wrote (with Mark Peploe) and directed "The Sheltering Sky", adapted from the Paul Bowles novel; executive produced by William Aldrich whose director father Robert Aldrich had first optioned the 1949 novel but failed to obtain studio financing after yea|
|Published first collection of poems, "In cerca del mistero/In Search of Mystery" (winner of the Viareggio Prize)|
|Initiated by a lama into the Tibetan practice of meditation|
|Began moving away from the epic format with "Stealing Beauty," starring Liv Tyler; first film made in his native Italy since 1981's "The Tragedy of a Ridiculous Man"; also reunited with Sandrelli for the first time since "1900"|
|Initial collaborations with director of photography Vittorio Storaro, "The Spider's Stratagem" (originally made for Italian television) and "The Conformist"|
|Worked as assistant director to family friend Pier Paolo Pasolini on the latter's feature directing debut, "Accattone"|
|Assembled an international cast, including Robert De Niro, Gerard Depardieu and Sanda, for the epic "1900"|
|Co-wrote story (with director and Dario Argento) for Sergio Leone's "Once Upon a Time in the West"|
|Came into his own directing "Before the Revolution"; critical acclaim, however, did not translate to box office success|
|Third film with Mark Peploe, "Little Buddha"; eighth and final collaboration (to date) with Storaro|
|Helmed "Last Tango in Paris", arguably the most controversial film of its era; garnered Oscar nod as Best Director; film was originally banned in Italy; after finally being released, it was again banned for 11 years; tried for blasphemy, Bertolucci receiv|
|Attilio Bertolucci||Father||died on June 14, 2000 at age 88|
|Nina Bertolucci||Mother||Irish-Italian; born in Australia where her revolutionary father had been forced into exile|
|Giuseppe Bertolucci||Brother||born in 1947; co-scripted (with brother and editor Franco Arcalli) "Novecento/1900"|
|Clare Peploe||Wife||married in 1978|
|Mark Peploe||Brother-In-Law||has worked frequently with Bertolucci|
|About the role of his father, Attilio (one of Italy's most respected poets), in his films: "My father is the sweetest man, but also very strong. One way to make him less menacing was to make weak fathers in my movies ... All my characters are searching for liberation from my father, but this is the first time (in 'Little Buddha') that someone has been able to free himself.
"When I grew up I found poetry was belonging to him. He already had my mother so I wanted something all mine. Maybe the real reason this Oedipal syndrome wasn't resolved earlier was because my parents are so close. They're kind of impenetrable, always together, no way to sneak in, no way to win. Maybe one way was to do movies, because it was different." --Bernardo Bertolucci quoted in Premiere, May 1994.
|On his experience directing Brando in "Last Tango in Paris": "When you work with Marlon Brando you discover what is beyond the great actor is something else--a man who is so omnivorous in his curiosity it's contagious. His questions force you to be as curious as he is. It was an incredible lesson--and I was attempting to take off his Actors Studio mask.
"About a year ago we were talking up at his house--I had not seen him in a long time.
"We were so greedy to talk to each other we sat there--3 p.m., 7 p.m., 8 p.m.--it got dark, but we didn't stop to turn on the lights. At a certain point I said, 'Do you agree that I got something of you in the film?' He said, 'Do you think that man up there on the screen is me? Ha! Ha!' There will always be another 'beyond' with Brando. Doing 'Last Tango' was an initiation into adulthood. I was dealing with an American icon--the American icon." --Bertolucci to Kevin Thomas in Los Angeles Times, October 18, 1996.
|"After I made '1900', my great monument to communism, I started to lose faith in it. Communism was a terrible failure. I'm disappointed, but I recognize that to allow me to have my great dreams and utopia, millions of people would have to suffer.
"I'm no longer interested in making political films. There's something old-fashioned about them. Young people now don't care for politics. It isn't present in life as it used to be. And increasingly I like films which reflect present-day reality." --Bertolucci quoted in Los Angeles Times, May 16, 1999.
|"You know for American filmmakers, the Oscars is like a mystic thing. For me it was being in a mirror of my dreams when I was dreaming of Hollywood when I was an adolescent."---Bertolucci to CNN.com, September 20, 2007.|
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