Arthur Penn
Arthur Penn
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Full Name and Common Aliases
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Arthur Hiller Penn was an American film director, screenwriter, and producer.
Birth and Death Dates
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Born: September 25, 1922
Died: September 24, 2010 (aged 88)
Nationality and Profession(s)
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Penn was born in Philadelphia, Pennsylvania. His career spanned over five decades, primarily as a film director.
Early Life and Background
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Arthur Penn was the youngest of three sons to Harry and Elinor Penn. He grew up in a family that valued art and music. After high school, he attended the University of Pennsylvania before transferring to the Philadelphia College of Art (now part of the University of the Arts). During World War II, he served in the United States Marine Corps.
Major Accomplishments
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Penn's film career began with the 1956 production of _The Left Handed Gun_, a drama about Billy the Kid. He gained widespread recognition for directing _Mickey One_ (1969) and _Night Moves_ (1975). However, it was his work on _Bonnie and Clyde_ (1967) that brought him critical acclaim.
Notable Works or Actions
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Some of Penn's notable works include:
Bonnie and Clyde (1967) - a crime drama starring Warren Beatty and Faye Dunaway as the infamous outlaws.
Mickey One_ (1969) - a black comedy-drama starring Gregory Peck as a nightclub performer.
* Night Moves (1975) - an action thriller starring Gene Hackman, Susan Clark, and Lee Montgomery.
Penn was also known for his work on television, directing episodes of _The Twilight Zone_ in the 1960s.
Impact and Legacy
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Arthur Penn's influence can be seen in many films that followed. His bold direction and willingness to experiment with unconventional storytelling paved the way for future generations of filmmakers. He received several awards and nominations throughout his career, including an Academy Award nomination for directing _Mickey One_.
Why They Are Widely Quoted or Remembered
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Arthur Penn is widely remembered as a pioneer in the film industry. His innovative approach to storytelling and his ability to push boundaries have made him a beloved figure among filmmakers and audiences alike.
Quotes by Arthur Penn
Tap into what you don’t want to say. Tap into that secret place, despite the agony, despite the personal pain, over and above the fatigue.
I believe, and this is perhaps too nationalistic a view, that the American style of acting puts actors quickly in touch with each other, so that their continuous presence in a company, as in England, is not absolutely necessary.
I believe that a large part of the training in the regional theaters is in imitation of the British style of acting. The British orientation is textual; they start from the language and work toward the character.
A lot of directors in television have come up through the technical ranks. They have all the technical skills in the world. They're not all that familiar with actors.
One has a sort of spiritual obligation to go back to the source material of the literature, to make contact with one of the seminal plays of the modern theater.
I think there's a quality of passion to the American actor. I'm certainly attracted to it, and I like to hope that underscoring it is a characteristic of my work. That quality is certainly also present in some British actors, but I tend to feel the mechanical and intellectual process is dominant in the British.
I don't storyboard. I guess it dates back to my days in live television, where there was no possibility of storyboarding and everything was shot right on the spot - on the air, as we say - at the moment we were transmitting. I prefer to be open to what the actors do, how they interact to the given situation.
Tap into what you don't want to say. Tap into that secret place, despite the agony, despite the personal pain, over and above the fatigue.
