Wolfgang Petersen

Director, Screenwriter, Producer
After establishing himself in his native Germany, director Wolfgang Petersen enjoyed a huge international success with the tense submarine thriller, "Das Boot" (1981), which opened the doors wide open for what proved to ... Read more »
Born: 03/13/1941 in Germany

Filmography

Director (15)

Poseidon 2006 (Movie)

(Director)

Troy 2004 (Movie)

(Director)

The Perfect Storm 2000 (Movie)

(Director)

Air Force One 1997 (Movie)

(Director)

Outbreak 1995 (Movie)

(Director)

In the Line of Fire 1993 (Movie)

(Director)

Shattered 1991 (Movie)

(Director)

Enemy Mine 1985 (Movie)

(Director)

The Neverending Story 1984 (Movie)

(Director)

Das Boot 1982 (Movie)

(Director)

Reifezeugnis 1981 (Movie)

(Director)

Black and White Like Days and Nights 1977 (Movie)

(Director)

The Consequence 1976 (Movie)

(Director)

Einer von uns Beiden 1972 (Movie)

(Director)

Smog (TV Show)

Director
Producer (13)

Poseidon 2006 (Movie)

(Producer)

Troy 2004 (Movie)

(Producer)

The Agency 2001 - 2003 (TV Show)

Executive Producer

The Perfect Storm 2000 (Movie)

(Producer)

Bicentennial Man 1999 (Movie)

(Producer)

Instinct 1999 (Movie)

(Executive Producer)

Air Force One 1997 (Movie)

(Producer)

The Red Corner 1997 (Movie)

(Executive Producer)

Outbreak 1995 (Movie)

(Producer)

In the Line of Fire 1993 (Movie)

(Executive Producer)

Shattered 1991 (Movie)

(Producer)

Einer von uns Beiden 1972 (Movie)

(Producer)

Avenger (TV Show)

Executive Producer
Writer (5)

Shattered 1991 (Movie)

(Screenplay)

The Neverending Story 1984 (Movie)

(Screenplay)

Das Boot 1982 (Movie)

(Screenplay)

Reifezeugnis 1981 (Movie)

(Screenplay)

The Consequence 1976 (Movie)

(Screenplay)
Actor (2)

Shooting 'In the Line of Fire' 2014 (Movie)

Himself (Actor)

A Day With... 1996 - 1997 (TV Show)

Actor

Biography

After establishing himself in his native Germany, director Wolfgang Petersen enjoyed a huge international success with the tense submarine thriller, "Das Boot" (1981), which opened the doors wide open for what proved to be a successful career making blockbuster Hollywood movies. Following "Das Boot," Petersen earned critical acclaim for his touching, but visually dynamic children's fantasy, "The Neverending Story" (1984), an American debut that trumpeted his arrival on the scene. But he failed to have another success until almost a decade later with "In the Line of Fire" (1993), a tense and well-received action thriller that benefited greatly from the cat-and-mouse between star Clint Eastwood and his onscreen tormentor John Malkovich. Following that picture's commercial success, Petersen floundered with the ill-received "Outbreak" (1995), though he bounced back with the blockbuster "Air Force One" (1997), a sometimes silly and implausible thriller that harkened back to the previous decade's action hits. Entering the next century, Petersen raised the stakes - both onscreen and with his budget - for "A Perfect Storm" (2000), a less-than-factual accounting of real-life events that struggled to recoup its financials at the box office. Following the even more bloated "Troy" (2004) and "Poseidon" (2006), Petersen had without a doubt cemented his reputation as a fine technical director who, despite his early successes, unfortunately struggled later in his career with presenting compelling characters audiences could relate to.

Relationships

Daniel Petersen

Son
filmmaker

EDUCATION

Johanneum School

Hamburg 1953 - 1960

studied acting in private schools in Hamburg and Berlin

German Film and Television Academy

Berlin 1966 - 1970

Milestones

2006

Helmed the remake of the "The Poseidon Adventure" which centers on a passenger ship that is capsized by a tidal wave

2004

Helmed the epic "Troy," starring Brad Pitt and Orlando Bloom

2001

Served as one of the executive producers of the CBS fall drama "The Agency"

2000

Formed Red Cliff Prods.

2000

Helmed the film adaptation of the nonfiction best-seller "The Perfect Storm"; seventh producing collaboration with Katz

1999

Executive produced Jon Turteltaub's "Instinct" and produced Chris Columbus' "Bicentennial Man"

1997

Supervised the director's cut of "Das Boot", re-released theatrically to enormous acclaim; enhancement included redesigned and re-recorded sound bringing it up to digital standards of the day, as well as a restored negative, reprinted onto the improved co

1997

Had huge box-office success with the summer thriller "Air Force One"; served as one of the film's producers (as did Katz) and also directed; picture reunited him with Prochnow; second film with Ballhaus

1997

Executive produced Jon Avnet's "Red Corner"

1995

Directed "Outbreak", a thriller about a deadly virus running amok; despite the Ebola hysteria of that year, the picture stumbled at the box office compared with "In the Line of Fire", though it did more than make back its money; with Katz served as one of

1993

Enjoyed hit with American debut as an executive producer, "In the Line of Fire", starring Clint Eastwood; also directed; first film made with the full cooperation of the Secret Service

1991

Directed, wrote and produced the stylish thriller "Shattered", adapted from Richard Neely's novel "The Plastic Warriors"; first association with producing partner Gail Katz (who co-produced); had planned to film this story prior to "Das Boot"

1987

Moved to California

1985

American directorial debut, "Enemy Mine" (also filmed at Bavarian Studios)

1984

Helmed and co-scripted "The Neverending Story", a partly American-financed project filmed in Munich's Bavarian Studios; first English-language film

1981

Won international acclaim with "Das Boot", at the time the most expensive German film ever made (about $12 million); received Best Director and Best Adapted Screenplay Oscar nominations, giving him the distinction of being the first director of a German f

1978

Helmed "Black and White Like Night and Days", a thriller set in the world of championship chess starring Bruno Ganz

1977

First feature as a screenwriter (also director), "The Consequence", a controversial homosexual love story starring Prochnow; banned in parts of Germany

1973

Feature directorial debut, "Einer von uns Beiden/One or the Other", the story of a student who blackmails one of his professors; won the German National Film Prize as Best New Director; Prochnow acted in picture, re-released in 1979 and picked up by Lufth

1970

Directed six episodes of German series "Tatort/Crime Scene"; first met and worked with actor Jurgen Prochnow on this series

1969

German TV directorial debut, "I Will Kill You, Wolf"

1961

Directed first play

Returned to TV as executive producer of two-part, $12 million adaptation of "The Ring", based on Wagner's "Das Niebelungenlied"

Worked on a project with Kathleen Turner that dissolved when the actress became pregnant

Began career as assistant director at Ernst Deutsch Theater, Hamburg; also acted

Bonus Trivia

.

Petersen and Gail Katz's production company is Radiant Productions.

.

"I grew up in the 'fifties. The Americans came to Germany and they were like people from Mars. It was like a new vision with the most positive messages. I was a kid, 7 or 8, in Hamburg. And the American ships came in one morning and it was like a vision, like out of 'Close Encounters of the Third Kind'. We had no money, and these big shiny ships came in, and the troops on the ships began throwing down chewing gum and oranges and bananas. It was like gifts from heaven. I fell in love with America then and there." --Wolfgang Petersen to Bernard Weinraub in The New York Times, July 6, 1993.

.

"Even the thought of directing Clint [Eastwood] made me sweat. Coming from Europe, coming from Germany, I was awed by Eastwood. He's even more of a legend there than he is here. To have him say, 'We want you to direct this script' is very intimidating."But Clint, from the first day, said he would not interfere. And he never did. I've worked with a lot of actors and he was probably the easiest. There were no star things, no ego problems. And he has the power--he could have done that--but he never did." --Petersen in The New York Times, July 6, 1993.

.

"I've always aspired to work in the manner of David Lean, who had a great talent for combining the excitement of a large-scale visual experience, with very concentrrated, intimate character studies. I'm not interested in wall-to-wall action--I want to be touched and moved--but that doesn't mean the characters have to sit in the kitchen all the time and talk. This is, after all, a visual medium." --Petersen to Los Angeles Times, July 4, 1993.

.

On the director's cut of "Das Boot": "I always thought that even though the film version I delivered worked well it would be wonderful to one day go back and cut my own ideal version--to ask what is the best way for me to tell the story of 'Das Boot' based purley on creative rather than commercial considerations . . . "My vision for 'Das Boot' was always to show the gritty and terrible reality of war, and to combine it with a highly entertaining story and fast-paced action style that would pull audiences into the experience of these young men out there. This cut represents my ideal version of that experience. Thanks to new technology, the film now comes even closer to revealing the shocking realities of life in a U-boat--the way it sounded, the way it felt, the way it affected people so strongly--and I think that this new cut will be even more shocking and affecting for audiences." --Petersen, quoted on dasboot.com.

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