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Ken Russell
Birthday:
3 July 1927
Birth Name:
Henry Kenneth Alfred Russell
Height:
171 cm
Biography
I believe in what I'm doing whole-heartedly, passionately, and what's more, I simply go about my business. I suppose such a thing can be annoying to some people.
I believe in what I'm doing whole-heartedly, passionately, and what's more, I simply go about my business. I suppose such a thing can be annoying to some people.
[advert on his own website, through which he met his fourth wife Lisi Tribble] "Unbankable film director Ken Russell seeks soulmate. Must be mad about music, movies and Moet & Chandon champagne."
[advert on his own website, through which he met his fourth wife Lisi Tribble] "Unbankable film director Ken Russell seeks soulmate. Must be mad about music, movies and Moet & Chandon champagne."
Sir Richard 'I'm-going-to-attack-the-Establishment-fifty-years-after-it's-dead' Attenborough is guilty of caricature, a sense of righteous self-satisfaction, and repetition which all undermine the impact of the film.
Sir Richard 'I'm-going-to-attack-the-Establishment-fifty-years-after-it's-dead' Attenborough is guilty of caricature, a sense of righteous self-satisfaction, and repetition which all undermine the impact of the film.
[on working with screenwriter Paddy Chayefsky on Altered States (1980)] I don't think Paddy had ever been involved with a director who wasn't malleable. He would make suggestions and I would listen courteously, and then disagree.
[on working with screenwriter Paddy Chayefsky on Altered States (1980)] I don't think Paddy had ever been involved with a director who wasn't malleable. He would make suggestions and I would listen courteously, and then disagree.
[on working with William Hurt on Altered States (1980)] I hired William Hurt for "Altered States" and found I was his analyst for six months. It wasn't the part he talked about, never that, but how it was such a terrible thing being a billionaire after being born in abject poverty. I was quite deferential to him, but my wife listened to the crap he was talki...
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[on working with William Hurt on Altered States (1980)] I hired William Hurt for "Altered States" and found I was his analyst for six months. It wasn't the part he talked about, never that, but how it was such a terrible thing being a billionaire after being born in abject poverty. I was quite deferential to him, but my wife listened to the crap he was talking and said, "Okay, preppy, let's cut the shit." He was stunned and amazed but he was quite human after that.
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[on Glenda Jackson] Glenda Jackson I'd never heard of. When she walked into the room I found myself watching her varicose veins more than her face, and only later in the movie of "Marat/Sade" [Marat/Sade (1967)] did I realize what a magnificent screen personality she was. I couldn't quite understand it. Sometimes she looked plain ugly, and sometimes just pla...
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[on Glenda Jackson] Glenda Jackson I'd never heard of. When she walked into the room I found myself watching her varicose veins more than her face, and only later in the movie of "Marat/Sade" [Marat/Sade (1967)] did I realize what a magnificent screen personality she was. I couldn't quite understand it. Sometimes she looked plain ugly, and sometimes just plain and then sometimes the most beautiful creature one had ever seen.
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[on Stanley Kubrick] I find his films quite long and boring, but I quite liked Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).
[on Stanley Kubrick] I find his films quite long and boring, but I quite liked Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).
This is not the age of manners. This is the age of kicking people in the crotch and telling them something and getting a reaction. I want to shock people into awareness. I don't believe there is any virtue in understatement.
This is not the age of manners. This is the age of kicking people in the crotch and telling them something and getting a reaction. I want to shock people into awareness. I don't believe there is any virtue in understatement.
I know my films upset people. I want to upset people.
I know my films upset people. I want to upset people.
Life is too short to make destructive films about people one doesn't like. My films are meant to be constructive and illuminating.
Life is too short to make destructive films about people one doesn't like. My films are meant to be constructive and illuminating.
I never want to do a violent, disturbing film like The Devils (1971) again. That's why I did The Boy Friend (1971). It's pure escapism and fun.
I never want to do a violent, disturbing film like The Devils (1971) again. That's why I did The Boy Friend (1971). It's pure escapism and fun.
A critic's typical praise is "Beautifully understated." That means beautifully false . . . I'd rather go the other way - to gamble rather than play it safe. If I err it's by overstating, but I try to get it right.
A critic's typical praise is "Beautifully understated." That means beautifully false . . . I'd rather go the other way - to gamble rather than play it safe. If I err it's by overstating, but I try to get it right.
It is a pity when one, either through force of circumstance or because one is afraid of being ridiculed by others, won't produce and expose to everyone that little spark of something special which is unique to him alone.
It is a pity when one, either through force of circumstance or because one is afraid of being ridiculed by others, won't produce and expose to everyone that little spark of something special which is unique to him alone.
The Devils (1971) is a harsh film, but it's a harsh subject. I wish the people who were horrified and appalled by it had read the book, because the facts are more horrible than anything in the film.
The Devils (1971) is a harsh film, but it's a harsh subject. I wish the people who were horrified and appalled by it had read the book, because the facts are more horrible than anything in the film.
[concerning his style of biographical films] The whole idea had degenerated into a series of third-rate clichés. I wanted to dress people in old clothes and do it in a totally unreal way, and thus make it more real than ever, and in the process send up this new civil service/academic way of doing films.
[concerning his style of biographical films] The whole idea had degenerated into a series of third-rate clichés. I wanted to dress people in old clothes and do it in a totally unreal way, and thus make it more real than ever, and in the process send up this new civil service/academic way of doing films.
Ken Russell
Ken Russell tried several professions, before choosing to become a film director. He was a still photographer, a dancer and even served in the army, but it was film that was to be Mr. Russell's destiny. He began by making several short films, and those paved the way for his brilliant television films of the sixties that are acclaimed for his attention to detail and opulent visuals. His third feature film Women in Love (1969) was a triumph and he became an internationally known filmmaker. In the 1970s, his talent truly blossomed. Over the next 2 decades, he would direct a succession of remarkable films, most of them contained his trademark flamboyance that critics generally dismiss but many seem to find this engrossing. He will forever be remembered as a controversial and visionary artist with something of a third eye when it comes to making oddball dramas that have captivating images and themes.
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