Joel Schumacher<\/b>, last year’s recipient of Plus Camerimage Special Award for the Director, is going to visit Bydgoszcz again, this time to preside over the Jury of Polish Films Competition<\/b>. He will also show the festival audience his latest film \u201cTrespass”<\/b>, starring Nicolas Cage and Nicole Kidman. <\/p>\n
Joel Schumacher, photo by Roman Bosiacki, taken during Plus Camerimage 2010<\/i>
For more than twenty years Joel Schumacher<\/b> has been one of the best known filmmakers existing on the map of American cinema. Throughout his career Schumacher<\/b> has established a reputation as a professional, commercial director, though quite often courageously entering the areas of life that many would not like to admit exist. He has proven many times that he is able to shoot both wide-appeal action flicks and low-budget, \u201cartsy” dramas. There isn’t a topic Schumacher<\/b> is afraid of, there isn’t a genre in which he won’t work. <\/p>\n
He launched his film career in the 1970s as a costume designer, screenwriter and TV director, but it was the subsequent decade that would bring him the fame of a promising feature career. His \u201cSt. Elmo’s Fire”<\/b> and \u201cThe Lost Boys”<\/b> made him a name with both the young people filling the theatres and the large studios that financed these projects. During the 90s his career flourished as these studios trusted him with bigger and bigger fare: \u201cFlatliners”<\/b>, \u201cFalling Down”<\/b>, \u201cA Time for Kill”<\/b>, \u201cThe Client”<\/b> and two pictures about the Caped Crusader – Batman. Schumacher<\/b> was acknowledged not only as a director who is constantly looking for new challenges, trying to explore different areas of cinema, but also a filmmaker who is not afraid to work with young unknown actors. Although Colin Farrell, Kiefer Sutherland, Demi Moore, Matthew McConaughey or Rob Lowe were not given their very first roles by Schumacher<\/b>, he gave them the roles that brought them great fame. <\/p>\n
Still from “A Time for Kill”<\/i>
After a string of big-budget successes, Schumacher<\/b> decided to re-invent himself, looking for more modest, independent projects exploring the darkest areas of the human psyche. \u201c8MM”<\/b>, \u201cTigerland”<\/b>, \u201cPhone Booth”<\/b>, \u201cVeronica Guerin”<\/b> and \u201cThe Number 23″<\/b>. While navigating through the constraints of these smaller films, Schumacher<\/b> reaffirmed himself as a wonderful organizer who always finishes shooting on time and – more importantly – within the budget limitations. <\/p>\n
If there is one characteristic that defines Joel Schumacher’s<\/b> directorial style, it is surely the visual breadth and beauty of his films. The origins of this can be tracked to his youthful adoration of the one-and-only classic Hollywood stars like Audrey Hepburn, Cary Grant, Grace Kelly or Gary Cooper, as well as his eventual first career in New York’s fashion industry. The protagonists of Joel Schumacher’s<\/b> films always look great on the screen, no matter if they are simple clerks or extravagant people on the verge of madness. And the cinematography is always connected with the style of a given story; \u201cBatman Forever”<\/b> had the aesthetics of colorful psychedelic, while \u201cTigerland”<\/b> was inspired by the Dogma 95 manifesto. Although he has never had \u201chis” cinematographer, the visuals were always an additional character of Schumacher’s<\/b> films. <\/p>\n
Still from “Tigerland”<\/i>
We are extremely happy that Joel Schumacher<\/b> will visit Plus Camerimage<\/b> for the second straight year. To paraphrase the immortal words – it is the contiunation of a beautiful friendship. <\/p>\n<\/div>\n
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