Darryl F. Zanuck
Producteur, Directeur, Éditeur, Scénariste, Acteur
5 septembre 1902 — 22 décembre 1979 (77 ans)
Darryl Francis Zanuck (September 5, 1902 – December 22, 1979) was an American film producer and studio executive; he earlier contributed stories for films starting in the silent era. He played a major part in the Hollywood studio system as one of its longest survivors (the length of his career was rivaled only by that of Adolph Zukor). He produced three films that won the Academy Award for Best Picture during his tenure.
Zanuck was born in Wahoo, Nebraska, the son of Sarah Louise (née Torpin), who later married Charles Norton, and Frank Harvey Zanuck, who owned and operated a hotel in Wahoo. He had an older brother, Donald (1893–1903), who died in an accident when he was only 9 years old. Zanuck was of partial Swiss descent, and raised a Protestant. At age six, Zanuck and his mother moved to Los Angeles, where the better climate could improve her poor health. At age eight, he found his first movie job as an extra, but his disapproving father recalled him to Nebraska. In 1917, despite being 15, he deceived a recruiter, joined the United States Army, and served in France with the Nebraska National Guard during World War I.
Upon returning to the US, he worked in many part-time jobs while seeking work as a writer. He found work producing movie plots, and sold his first story in 1922 to William Russell and his second to Irving Thalberg. Screenwriter Frederica Sagor Maas, story editor at Universal Pictures' New York office, stated that one of the stories Zanuck sent out to movie studios around this time was completely plagiarized from another author's work.
Zanuck then worked for Mack Sennett and FBO (where he wrote the serials The Telephone Girl and The Leather Pushers) and took that experience to Warner Bros., where he wrote stories for Rin Tin Tin and under a number of pseudonyms wrote over 40 scripts from 1924 to 1929, including Red Hot Tires (1925) and Old San Francisco (1927). He moved into management in 1929, and became head of production in 1931.
In 1933, Zanuck left Warner Bros. over a salary dispute with studio head Jack L. Warner. A few days later, he partnered with Joseph Schenck to form 20th Century Pictures, Inc. with financial help from Joseph's brother Nicholas Schenck and Louis B. Mayer, president and studio head of Loew's, Inc and its subsidiary Metro-Goldwyn-Mayer, along with William Goetz and Raymond Griffith. 20th Century released its material through United Artists.
During that short time (1933–1935), 20th Century became the most successful independent movie studio of its time, breaking box-office records with 18 of its 19 films, all profitable, including Clive of India, Les Miserables, and The House of Rothschild. After a dispute with United Artists over stock ownership, Schenck and Zanuck negotiated and used their studio to bring the bankrupt Fox studios in 1935 to create Twentieth Century-Fox Film Corporation.
Zanuck was Vice President of Production of this new studio and took a hands-on approach, closely involving himself in scripts, film editing, and producing. ... Source: Article "Darryl F. Zanuck" from Wikipedia in English, licensed under CC-BY-SA 3.0.
Zanuck was born in Wahoo, Nebraska, the son of Sarah Louise (née Torpin), who later married Charles Norton, and Frank Harvey Zanuck, who owned and operated a hotel in Wahoo. He had an older brother, Donald (1893–1903), who died in an accident when he was only 9 years old. Zanuck was of partial Swiss descent, and raised a Protestant. At age six, Zanuck and his mother moved to Los Angeles, where the better climate could improve her poor health. At age eight, he found his first movie job as an extra, but his disapproving father recalled him to Nebraska. In 1917, despite being 15, he deceived a recruiter, joined the United States Army, and served in France with the Nebraska National Guard during World War I.
Upon returning to the US, he worked in many part-time jobs while seeking work as a writer. He found work producing movie plots, and sold his first story in 1922 to William Russell and his second to Irving Thalberg. Screenwriter Frederica Sagor Maas, story editor at Universal Pictures' New York office, stated that one of the stories Zanuck sent out to movie studios around this time was completely plagiarized from another author's work.
Zanuck then worked for Mack Sennett and FBO (where he wrote the serials The Telephone Girl and The Leather Pushers) and took that experience to Warner Bros., where he wrote stories for Rin Tin Tin and under a number of pseudonyms wrote over 40 scripts from 1924 to 1929, including Red Hot Tires (1925) and Old San Francisco (1927). He moved into management in 1929, and became head of production in 1931.
In 1933, Zanuck left Warner Bros. over a salary dispute with studio head Jack L. Warner. A few days later, he partnered with Joseph Schenck to form 20th Century Pictures, Inc. with financial help from Joseph's brother Nicholas Schenck and Louis B. Mayer, president and studio head of Loew's, Inc and its subsidiary Metro-Goldwyn-Mayer, along with William Goetz and Raymond Griffith. 20th Century released its material through United Artists.
During that short time (1933–1935), 20th Century became the most successful independent movie studio of its time, breaking box-office records with 18 of its 19 films, all profitable, including Clive of India, Les Miserables, and The House of Rothschild. After a dispute with United Artists over stock ownership, Schenck and Zanuck negotiated and used their studio to bring the bankrupt Fox studios in 1935 to create Twentieth Century-Fox Film Corporation.
Zanuck was Vice President of Production of this new studio and took a hands-on approach, closely involving himself in scripts, film editing, and producing. ... Source: Article "Darryl F. Zanuck" from Wikipedia in English, licensed under CC-BY-SA 3.0.
Films & Séries sur Plex
Connue pour
Filmographie
| 1970 | Tora! Tora! Tora! · as Executive Producer |
| 1969 | |
| 1968 | |
| 1965 | The Agony and the Ecstasy · as Executive Producer |
| 1965 | |
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| 1958 | |
| 1958 | The Barbarian and the Geisha · as Executive Producer |
| 1957 | |
| 1957 | |
| 1956 | The King and I · as Executive Producer |
| 1956 | |
| 1956 | On the Threshold of Space · as Executive Producer |
| 1956 | Carousel · as Executive Producer |
| 1955 | Good Morning, Miss Dove · as Executive Producer |
| 1955 | The View from Pompey's Head · as Executive Producer |
| 1955 | Seven Cities of Gold · as Executive Producer |
| 1954 | |
| 1954 | There's No Business Like Show Business · as Executive Producer |
| 1954 | Broken Lance · as Executive Producer |
| 1953 | Beneath the 12-Mile Reef · as Executive ProducerSur Plex |
| 1952 | The Snows of KilimanjaroSur Plex |
| 1952 | With a Song in My Heart · as Executive Producer |
| 1952 | |
| 1951 | People Will TalkSur Plex |
| 1951 | |
| 1950 | |
| 1950 | The Gunfighter · as Executive ProducerSur Plex |
| 1950 | |
| 1950 | Night and the City · as Executive Producer |
| 1950 | Under My Skin · as Executive Producer |
| 1950 | A Ticket to Tomahawk · as Executive Producer |
| 1950 | Cheaper by the Dozen · as Executive Producer |
| 1949 | |
| 1949 | Everybody Does It · as Executive Producer |
| 1949 | Thieves' Highway · as Executive Producer |
| 1949 | Father Was a Fullback · as Executive Producer |
| 1949 | |
| 1949 | Slattery's Hurricane · as Executive Producer |
| 1949 | Sand · as Executive Producer |
| 1949 | The Fan · as Executive Producer |
| 1949 | You're My Everything · as Executive Producer |
| 1949 | It Happens Every Spring · as Executive Producer |
| 1949 | Mother Is a Freshman · as Executive Producer |
| 1949 | The Forbidden Street · as Executive Producer |
| 1948 | That Wonderful Urge · as Executive Producer |
| 1948 | The Walls of Jericho · as Executive Producer |
| 1948 | The Snake Pit · as Executive Producer |
| 1948 | Road House · as Executive Producer |
| 1948 | Cry of the City · as Executive Producer |
| 1948 | Give My Regards to Broadway · as Executive Producer |
| 1948 | Apartment for Peggy · as Executive Producer |
| 1948 | Fury at Furnace Creek · as Executive Producer |
| 1948 | Sitting Pretty · as Executive Producer |
| 1948 | Call Northside 777 · as Executive Producer |
| 1947 | Captain from Castile · as Executive Producer |
| 1947 | |
| 1947 | Nightmare Alley · as Executive Producer |
| 1947 | Forever Amber · as Executive Producer |
| 1947 | The Foxes of Harrow · as Executive Producer |
| 1947 | Moss Rose · as Executive Producer |
| 1947 | Carnival in Costa Rica · as Executive Producer |
| 1947 | The Homestretch · as Executive Producer |
| 1947 | 13 Rue Madeleine · as Executive Producer |
| 1947 | Boomerang! · as Executive Producer |
| 1947 | The Shocking Miss Pilgrim · as Executive Producer |
| 1946 | |
| 1946 | Home, Sweet Homicide · as Executive Producer |
| 1946 | If I'm Lucky · as Executive Producer |
| 1946 | Centennial Summer · as Executive Producer |
| 1946 | Somewhere in the Night · as Executive Producer |
| 1946 | Strange Triangle · as Executive Producer |
| 1946 | |
| 1946 | Claudia and David · as Executive Producer |
| 1945 | Leave Her to Heaven · as Executive Producer |
| 1944 | |
| 1944 | |
| 1944 | Buffalo Bill · as Executive Producer |
| 1944 | |
| 1944 | Lifeboat · as Executive Producer |
| 1943 | Wintertime · as Executive Producer |
| 1943 | Crash Dive · as Executive Producer |
| 1942 | |
| 1942 | The Black Swan · as Executive Producer |
| 1942 | Thunder Birds: Soldiers of the Air · as Executive Producer |
| 1942 | My Gal Sal · as Executive Producer |
| 1942 | The Pied Piper · as Executive Producer |
| 1942 | |
| 1942 | Moontide · as Executive Producer |
| 1942 | |
| 1942 | Song of the Islands · as Executive Producer |
| 1942 | |
| 1942 | |
| 1941 | Remember the Day · as Executive Producer |
| 1941 | |
| 1941 | Rise and Shine · as Executive Producer |
| 1941 | Swamp Water · as Executive Producer |
| 1941 | |
| 1941 | Week-End in Havana · as Executive Producer |
| 1941 | |
| 1941 | Sun Valley Serenade · as Executive Producer |
| 1941 | Wild Geese Calling · as Executive Producer |
| 1941 | Moon Over Miami · as Executive Producer |
| 1941 | Man Hunt · as Executive Producer |
| 1941 | |
| 1941 | |
| 1941 | |
| 1941 | |
| 1941 | Western Union · as Executive Producer |
| 1941 | Tall, Dark and Handsome · as Executive Producer |
| 1940 | |
| 1940 | |
| 1940 | The Mark of Zorro · as Executive Producer |
| 1940 | |
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| 1940 | |
| 1940 | |
| 1940 | The Return of Frank JamesSur Plex |
| 1940 | |
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| 1939 | |
| 1939 | |
| 1939 | |
| 1939 | |
| 1939 | |
| 1939 | Second Fiddle · as Executive Producer |
| 1939 | Susannah of the Mounties · as Executive Producer |
| 1939 | Young Mr. LincolnSur Plex |
| 1939 | |
| 1939 | |
| 1939 | The Hound of the Baskervilles · as Executive Producer |
| 1939 | |
| 1939 | |
| 1939 | |
| 1938 | Kentucky · as Executive Producer |
| 1938 | |
| 1938 | |
| 1938 | |
| 1938 | |
| 1938 | |
| 1938 | |
| 1938 | |
| 1938 | |
| 1938 | |
| 1938 | Josette · as Executive Producer |
| 1938 | |
| 1938 | |
| 1938 | Sally, Irene and Mary · as Executive Producer |
| 1938 | |
| 1938 | |
| 1937 | |
| 1937 | |
| 1937 | Lancer Spy · as Executive Producer |
| 1937 | Life Begins in College · as Executive Producer |
| 1937 | |
| 1937 | |
| 1937 | |
| 1937 | |
| 1937 | |
| 1937 | |
| 1937 | |
| 1937 | |
| 1936 | Banjo on My Knee · as Executive Producer |
| 1936 | |
| 1936 | Ramona · as Executive Producer |
| 1936 | |
| 1936 | |
| 1936 | |
| 1936 | |
| 1936 | |
| 1936 | |
| 1936 | |
| 1936 | The Prisoner of Shark IslandSur Plex |
| 1936 | |
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| 1935 | |
| 1935 | |
| 1935 | Les MisérablesSur Plex |
| 1935 | |
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| 1933 | |
| 1933 | |
| 1933 | |
| 1933 | |
| 1933 | |
| 1932 | |
| 1932 | |
| 1932 | |
| 1932 | Life Begins · as Executive Producer |
| 1932 | Doctor X · as Executive Producer |
| 1932 | |
| 1932 | |
| 1932 | |
| 1931 | Blonde Crazy · as Executive Producer |
| 1931 | |
| 1931 | |
| 1931 | Little CaesarSur Plex |
| 1930 | The Doorway to Hell · as Executive Producer |
| 1930 | Maybe It's Love · as Executive Producer |
| 1930 | |
| 1929 | |
| 1929 | |
| 1929 | |
| 1928 | Noah's Ark · as Associate Producer |
| 1928 | |
| 1928 | |
| 1928 | |
| 1927 | |
| 1927 | |
| 1926 | |
| 1925 |
| 1963 |
| 1969 | |
| 1960 | |
| 1947 | I Wonder Who's Kissing Her Now · as Contributing Writer |
| 1942 | China Girl · as Screenplay |
| 1942 | |
| 1938 | Alexander's Ragtime Band · as Contributing Writer |
| 1935 | 'G' Men · as Novel |
| 1935 | Folies Bergère de Paris · as Contributing Writer |
| 1931 | Little CaesarSur Plex |
| 1930 | |
| 1927 | |
| 1926 | The Better 'Ole · as Screenplay |
| 1924 |
| 2022 | Becoming Marilyn · as Self |
| 2022 | Rat Pack · as Self (archive Footage) |
| 2022 | This Is Joan Collins · as Self |
| 2019 | John Ford: The Man Who Invented America · as Self |
| 2013 | |
| 2011 | Making the Boys · as Self - Legendary Hollywood Producer |
| 2009 | 1939: Hollywood's Greatest Year · as Self (archive Footage) |
| 2009 | |
| 2005 | Filmmakers vs. Tycoons · as Self (archive Footage) |
| 2003 | Dorothy Dandridge: An American Beauty · as Self |
| 2002 | Cinerama Adventure · as Self |
| 2002 | The Kid Stays in the Picture · as Self |
| 2001 | Cleopatra: The Film That Changed Hollywood · as Self (archive Footage) |
| 1998 | |
| 1997 | Frank Capra's American Dream · as Self (archive Footage) |
| 1997 | |
| 1996 | |
| 1995 | |
| 1992 | John Ford · as Self |
| 1988 | John Huston: The Man, the Movies, the Maverick · as Self (archive Footage) |
| 1969 | D-Day Revisited · as Self |
| 1968 | The Dick Cavett Show · as Self - GuestSur Plex |
| 1962 | The Tonight Show starring Johnny Carson · as Self - Guest |
| 1957 | Island in the Sun · as Self - Introduction Trailer |
| 1956 | Cinépanorama · as Self |
| 1955 | The 27th Annual Academy Awards · as Self - Audience Member |
| 1953 | The 25th Annual Academy Awards · as Self |
| 1952 | Reflets de Cannes · as Self |
| 1950 | What's My Line? · as Self - Mystery Guest |
| 1943 | |
| 1939 |
| 1995 | The Casting Couch · as Cast |
| 1946 | The Razor's Edge · as Additional Scenes |
| 1944 | The Purple Heart · as Story |
| 1942 | Thunder Birds: Soldiers of the Air · as Story |
| 1941 | A Yank in the R.A.F. · as Story |
| 1940 | The Great Profile · as Story |
| 1939 | The Gorilla · as Executive In Charge Of ProductionSur Plex |
| 1938 | Rebecca of Sunnybrook Farm · as Executive In Charge Of Production |
| 1937 | This Is My Affair · as Production Manager |
| 1937 | This Is My Affair · as Story |
| 1937 | Love Is News · as Executive In Charge Of Production |
| 1936 | Lloyd's of London · as Production Manager |
| 1936 | Ladies in Love · as Executive In Charge Of Production |
| 1936 | Private Number · as Production Manager |
| 1935 | The Littlest Rebel · as Production Manager |
| 1935 | Thanks a Million · as Story |
| 1933 | Lady Killer · as Story |
| 1933 | Baby Face · as Story |
| 1932 | The Dark Horse · as Story |
| 1930 | Maybe It's Love · as Story |
| 1929 | Say It with Songs · as Story |
| 1929 | Madonna of Avenue A · as Story |
| 1928 | Noah's Ark · as Story |
| 1928 | Lights of New York · as Production Supervisor |
| 1928 | Tenderloin · as Story |
| 1927 | Ham and Eggs at the Front · as Story |
| 1927 | The Jazz Singer · as Supervising ProducerSur Plex |
| 1927 | The First Auto · as Story |
| 1927 | Tracked by the Police · as Story |