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Len Wiseman

34quotes

Len Wiseman
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Full Name and Common Aliases


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Len Wiseman is the full name of this renowned film director, producer, and screenwriter. He is commonly known by his surname alone.

Birth and Death Dates


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Len Wiseman was born on March 4, 1973. Unfortunately, we do not have information about his passing.

Nationality and Profession(s)


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Wiseman holds American nationality and is a film director, producer, and screenwriter by profession.

Early Life and Background


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Len Wiseman grew up in the San Jose area of California, where he developed an interest in filmmaking at an early age. His parents, who were both artists themselves, encouraged his creative pursuits. He attended high school in California before pursuing a career in film.

Wiseman's entry into the film industry was marked by his work as a special effects artist and stunt coordinator on various projects. This hands-on experience not only honed his technical skills but also instilled in him a deep understanding of storytelling and visual narrative. His early exposure to the craft laid the foundation for his future success.

Major Accomplishments


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Wiseman's breakthrough project was Underworld (2003), a film that showcased his innovative approach to blending action, horror, and fantasy elements. The movie was well-received by critics and audiences alike, grossing over $207 million worldwide. Its success led to the creation of two sequels: Underworld: Evolution (2006) and Underworld: Awakening (2012).

However, it is his work on Total Recall (2012), a sci-fi remake starring Colin Farrell, that further cemented Wiseman's reputation as a capable director. His ability to balance complex action sequences with engaging character development was evident in this film.

Notable Works or Actions


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In addition to the films mentioned above, Len Wiseman has directed episodes of popular TV series such as Sleepy Hollow and served as an executive producer on several projects. His work is characterized by a blend of action, suspense, and fantasy elements, often infused with social commentary.

Wiseman's ability to navigate multiple formats (film and television) demonstrates his versatility and adaptability in the industry. His vision for storytelling has been shaped by influences ranging from classic horror movies to contemporary blockbusters.

Impact and Legacy


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Len Wiseman's contributions to the film industry are multifaceted. As a director, he has shown a unique ability to merge seemingly disparate genres into compelling narratives. This talent for fusion has not only expanded the possibilities of storytelling but also influenced subsequent generations of filmmakers.

His impact extends beyond his body of work; it is also reflected in the careers and projects that have been inspired by or associated with him. Wiseman's legacy as a visionary director will undoubtedly continue to shape the film landscape, inspiring new voices and pushing the boundaries of cinematic expression.

Why They Are Widely Quoted or Remembered


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Len Wiseman's influence on contemporary cinema is undeniable. His innovative approach to storytelling has left an indelible mark on popular culture. As a result, his quotes and insights are widely sought after by industry professionals and enthusiasts alike.

Quotes by Len Wiseman

Science fiction is an extension of science.
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Science fiction is an extension of science.
Some people will always be disappointed.
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Some people will always be disappointed.
A lot of these movies are informed by the movies that come before them.
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A lot of these movies are informed by the movies that come before them.
I really thought the process and what I'm used to doing on film would be different. I thought that because I wouldn't have the same amount of time, I wouldn't do all of the tracks that I like to do or the lighting that it takes. And then, I got there and realized that I don't know any other way. I just do all that stuff really, really fast and under a lot of stress.
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I really thought the process and what I'm used to doing on film would be different. I thought that because I wouldn't have the same amount of time, I wouldn't do all of the tracks that I like to do or the lighting that it takes. And then, I got there and realized that I don't know any other way. I just do all that stuff really, really fast and under a lot of stress.
When I started doing television, I thought that I would change the way that I shot, the way that I blocked, and the technical side of it. You're not going to change your relationship with the actors or how you approach the characters. That wasn't any different.
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When I started doing television, I thought that I would change the way that I shot, the way that I blocked, and the technical side of it. You're not going to change your relationship with the actors or how you approach the characters. That wasn't any different.
My family is Mormon. I'm not Mormon, but my family is, and my mom was like, "You're doing a show called Lucifer?! But I will admit, he is handsome, so I'll watch it."
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My family is Mormon. I'm not Mormon, but my family is, and my mom was like, "You're doing a show called Lucifer?! But I will admit, he is handsome, so I'll watch it."
With Die Hard it was just something that I, you know, I grew up with those movies. I made a Die Hard movie with my friends in my backyard during high school. It was terrible.
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With Die Hard it was just something that I, you know, I grew up with those movies. I made a Die Hard movie with my friends in my backyard during high school. It was terrible.
I think that it drives from an emotional connection with everybody that pulls you through all of those events, whether it's the events or what would be more the action, or I guess the visual effects side of it. So it always starts with me from - emotionally - 'Why do you care about the people who are going through what they're going through?' Because it takes a hell of a lot to put them through that. So you better care for them when they're doing it.
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I think that it drives from an emotional connection with everybody that pulls you through all of those events, whether it's the events or what would be more the action, or I guess the visual effects side of it. So it always starts with me from - emotionally - 'Why do you care about the people who are going through what they're going through?' Because it takes a hell of a lot to put them through that. So you better care for them when they're doing it.
It was practically with people with strings. There was no CG involved, it was just painfully taking Collin [Farrell] and Jessica Biel and putting them upside-down, we built the set upside-down and just try to twist perspective to make it all seem like zero gravity. And it was one of the most difficult things I've ever shot.
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It was practically with people with strings. There was no CG involved, it was just painfully taking Collin [Farrell] and Jessica Biel and putting them upside-down, we built the set upside-down and just try to twist perspective to make it all seem like zero gravity. And it was one of the most difficult things I've ever shot.
I would love to travel to the future to plot out some things so there's no more guess work.
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I would love to travel to the future to plot out some things so there's no more guess work.
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