Marc Forster was nominated for the Best Director Oscar in 2004 for “Finding Neverland.”

With a notably versatile range of films to his credit, Marc Forster has persistently evaded categorization, having helmed a slate of major motion pictures of varying scale and genres for studios and independents alike, starring many of the industry’s premier talent.

Acclaimed for his unique aesthetic and compelling visuals, Forster has tackled deeply emotional themes in his largely character driven films, ranging from stylish studio blockbusters to his modestly budgeted, Oscar-nominated Best Picture.

Forster’s filmmaking style was clearly evident in his first film, “Everything Put Together,” which he also co-wrote. This searing psychological drama was nominated for a Grand Jury Prize at the 2001 Sundance Film Festival, and at the Independent Spirit Awards that year Forster won the ‘Someone to Watch’ award and was nominated for the Best Feature under $500,000 honor.

Forster broke through in a convincing way in 2001 with “Monster’s Ball,” which was a critical and commercial success and received two Oscar nominations with Halle Berry winning for Best Actress. The film offered a powerful glimpse into the legacies of race, loss and redemption, as well as commanding performances by Berry, Billy Bob Thornton, Heath Ledger, Peter Boyle and Sean Combs.

In “Finding Neverland,” Forster recreated turn-of-the-century London, crafting the semi-autobiographical story of the inspiring friendship between J.M. Barrie, author of “Peter Pan,” and the four young boys and single mother who lived next door. Starring Johnny Depp, Kate Winslet, Dustin Hoffman and Julie Christie, “Finding Neverland” was one of the most celebrated films of 2004, earning Forster a DGA Best Director nomination.

It was also recognized as Best Film of the Year by the National Board of Review, and received seven Academy Award nominations, five Golden Globe® nominations, and 11 BAFTA nominations, all including Best Picture.

Forster’s next film was 2005’s reality-bending thriller “Stay,” starring Ewan McGregor, Naomi Watts and Ryan Gosling. He followed that with the imaginative comedy “Stranger Than Fiction,” starring Will Ferrell, Maggie Gyllenhaal, Dustin Hoffman, Emma Thompson and Queen Latifah. “Stranger Than Fiction” premiered at the 2006 Toronto International Film Festival to critical and audience acclaim, and earned a Golden Globe ® nomination for Ferrell.

In 2007, Forster adapted the New York Times best-selling and beloved novel “The Kite Runner.” The film earned a Golden Globe® nomination for Best Foreign Language Film and a BAFTA bid for Film Not In The English Language.

Following “The Kite Runner,” Forster directed the 22nd James Bond franchise’s “Quantum of Solace.” The film, starring Daniel Craig, was the first Bond film ever to be completed ahead of schedule and under budget, and became one of the highest grossing films in the franchise’s history, with a worldwide box office of more than $586 million.
Forster’s gripping indie action drama “Machine Gun Preacher,” released in September 2011, starring Gerard Butler, was based on the true story of Sam Childers, a former drug-dealing criminal who becomes a crusader for refugee children in Sudan.

Born in Germany and raised in Switzerland, Forster came to the United States in 1990 to attend NYU Film School, graduating in 1993.

Specifically, the Academy’s Board of Governors approved a plan that will allow members to see the nominated documentary shorts and foreign language films either at a theatrical screening or on DVD. Prior to the final round of voting, the Academy will provide members with DVDs of the nominated films in five categories: foreign-language film, feature documentary, documentary short subject, animated short and live-action short.

In previous years, members had been required to see the nominated films in certain categories in a theater in order to vote.

“This change continues our efforts to expand our members’ participation in all aspects of the Academy’s activities including, of course, voting for the Oscars,” said Koch. “Building on this past season’s 90% record voter turnout, we want to give our members as many opportunities as possible to see these great films and vote in these categories next year.”

Next year’s Oscars will take place March 2. The nomination processes for all categories remain unchanged.

“That’s the nature of life,” the first lady told NBC’s Today show in an interview that aired just days after the show. “I mean, we live in a time when there are bloggers and tweeters and 24-hour news and everyone has a voice in this town square and it’s a big one. And it’s good–overall, it’s good –but that means that at any point and given time, somebody’s not gonna like what you do. That’s just the nature of

things.”

Today interviewed Obama on Thursday in Springfield, Mo., during the last leg of a tour promoting her “Let’s Move!” campaign to combat childhood obesity.

Her Oscar cameo, broadcast from the White House, was arranged by movie mogul Harvey Weinstein and intentionally kept off the show’s run sheets so it wouldn’t leak. After the fact, producer Craig Zadan said that when it was pitched to the first lady, her response was: “Yes, I think it’s a great idea. We watch movies all the time at the White House. Let’s do it.”

It’s not clear whether Seth MacFarlane will return as host, although after this year’s broadcast, MacFarlane tweeted that he wouldn’t return.

The move to announce the show’s producers so early represents a break with Academy tradition, since usually the show producers are chosen later in the year by the Academy president. Current Academy president Hawk Koch will complete his one-year tenure this summer, and the board of governors will then elect a new president, who will preside over next year’s Academy Awards cycle.

But Hawk explained in a statement, “Craig and Neil have the overwhelming support of the Academy governors to produce the Oscars again in 2014. In order to establish continuity with this year’s enormously successful show, we felt it was important to give these consummate professionals the green light now to begin creating another great evening.”

While MacFarlane’s hosting drew criticism from some quarters for choices like his “Boob Song,” the February broadcast enjoyed a ratings bump. The show, which drew upon movie musicals from the past decade as an overall theme, attracted an average 40.3 million total viewers and delivered a 13.0 rating among adults 18-49. Its audience was up three percent from the previous year and grew by 11 percent

among adults 18-49.

“We are very honored to have been asked to return as Oscar producers for a second year. We look forward to creating a distinctive and entertaining show,” Zadan and Meron said in a statement.

Academy CEO Dawn Hudson said, “Craig and Neil have grat relationships, a sense of showmanship and a passion for our Academy. And they’re a pleasure to work with. All perfect qualities for our show.”

Zadan and Meron served as executive producers of the Oscar-winning Chicago, and have produced such Broadway plays as How To Succeed in Business without Really Trying and Promises, Promises.

PHOTOS: THR’s Oscar Icons Portfolio: Steven Spielberg, Eva Marie Saint, Michael Moore

The Academy also announced Monday that the 2015 Academy Awards will move back to the last Sunday in February, which that year will be Feb. 22. The choice of dates for the next two Oscars effectively ends any speculation that the show could move to an earlier date on the Hollywood awards calendar.

In setting key dates for next year, the Academy has built a little more time into its voting schedule than was the case this past season.

Nomination voting will begin Dec. 27, and the nominations voting deadline will be Wednesday, Jan. 8. This past season, during which the Academy inaugurated electronic voting, nominations voting began Dec. 17 and originally was set to end on Jan. 3, though that deadline was extended by a day.

PHOTOS: Backstage at the Oscars: What You Didn’t See on TV

Nominations for the 86th Academy Awards will be announced on Thursday, Jan. 16, a week later than they were unveiled this year, when the announcement took place Jan. 10.

Next year, the final balloting will begin Feb. 14, with ballots due Feb. 25. This past season, final voting began Feb. 8 and ended Feb. 19.

The 86th and 87th Academy Awards again will be held at the Dolby Theatre at

Hollywood & Highland and broadcast live by ABC.

The key dates for the 86th Academy Awards are as follows:

Saturday, Nov. 16: The Governors Awards

Monday, Dec. 2: Official Screen Credits due

Friday, Dec. 27: Nominations voting begins

Wednesday, Jan. 8: Nominations voting ends 5 p.m. PT

Thursday, Jan. 16: Oscar nominations announced

Monday, Feb. 10: Nominees Luncheon

Friday, Feb. 14: Final voting begins

Saturday, Feb. 15: Scientific and Technical Awards

Tuesday, Feb. 25: Final voting ends 5 p.m. PT

Sunday, March 2: 86th Annual Academy Awards

a Supporting Actress Oscar nomination for her critically acclaimed starring performance in Joe Wright’s “Atonement.”

She is currently in production on Wes Anderson’s Grand Budapest Hotel opposite Ralph Fiennes and Bill Murray. She has also wrapped production on the independent feature How I Live Now directed by Kevin McDonald and upcoming will begin Working Title’s Mary Queen of Scots and How To Catch a Monster directed by Ryan Gosling. Ronan will next be seen in Neil Jordan’s Byzantium, opposite Gemma Arterton, which screened at the Toronto International Film Festival. IFC will release the film this Spring.

In 2011, Ronan played the title role in Hanna, about a teenage girl trained from birth to be an assassin. Directed by Joe Wright, the film starred Cate Blanchett and Eric Bana.

“Making a name for himself in the industry with only three feature films (“The Face You Deserve,” “This Dear Month of August” and “Tabu”), Miguel Gomes embodies what (Critics’ Week) is about: discovering new (helmers) through their first or second feature film and showcasing their work on the international scene,” stated the org.

His latest film, “Tabu,” the Africa-set black-and-white story of an illicit love, played at Berlin to warm reviews and won

two nods, the Fipresci and the Alfred Bauer prizes.

“As a director and president of a jury of international film critics, I aim to be very democratic and open,” said Gomes, who also mentioned he had just completed a short, and was preparing a new feature film.

Created in 1962, Critics’ Week will run May 16-24 during the Cannes Film Festival, which unspools May 15-26

The highest-grossing actor of all time, Harrison Ford almost languished in thankless walk-on roles when he began his career in the early 1960s.

Instead of accepting any role that came along, Ford was picky about his choices right from the start, despite a severe lack of Hollywood clout. While he made ends meet as a carpenter, Ford patiently pursued his career, even turning down several roles over the objections of his manager. But his persistence paid off with a memorable supporting role in “American Graffiti” (1973), George Lucas’ 1960s coming-of-age tale. His struggle continued throughout the mid-1970s until Lucas reluctantly cast him as the cocky space pirate Han Solo in “Star Wars” (1977). From that moment on, Ford struggled no more; taking on some of the biggest movies of the 1980s, including genre classics “Raiders of the Lost Ark” (1981) and “Blade Runner” (1982), as well as the finely crafted “Witness” (1985) – the latter of which earned him his sole Academy Award nomination. By the time he starred in the heart-pounding thriller “The Fugitive” (1993), Ford was widely recognized as being one of the biggest stars in the world and the sole throwback to Golden Age swashbucklers like Clark Gable and Errol Flynn. Despite a few duds like “The Devil’s Own” (1997) and “Hollywood Homicide” (2003) on his resume, Ford continued to remain a top box office draw while generating the excitement of a new generation of fans with the release of a long-awaited fourth installment of Indiana Jones in 2008.
Born on July 13, 1942 in Chicago, IL, Ford grew up the son of an advertising executive and homemaker in nearby Park Ridge. He was a quiet, isolated child, picked on by classmates who liked to routinely push him down a steep embankment at school. After surviving Main East High School, where he was president of the Social Science Club and a sportscaster for WMTH, Ford studied philosophy and English at Ripon College in Wisconsin. While looking to boost his sagging grade point average, Ford stumbled upon a drama class, but was surprised to learn that he was required to perform in a play. He went on to appear in several productions, including “The Skin of Our Teeth” and “The Fantasticks.” Unable to maintain passable grades, however, Ford flunked out of Ripon with only a month left to graduate. But he finally had his sights set on the path to becoming an actor. He did local summer stock, performing in productions of “Night of the Iguana” and “Damn Yankees,” then moved to the West Coast in the early-1960s, where he took part in his last play, “John Brown’s Body,” at the Laguna Playhouse.

In 1965, Ford took his first stab at a film career after signing a seven-year contract with Columbia Pictures for $150 per week – a considerably small sum even for the times. He made his feature debut as a hotel bellboy paging James Coburn in “Dead Heat on a Merry-Go-Round” (1966). But after an executive saw his performance, Ford was told to give up the business. Instead, he moved over to Universal Studios where he earned $250 per week and began guest starring in episodic television while still making the occasional feature appearance in films like the Civil War drama “Journey to Shiloh” (1968). At the time, however, Ford was married to his first wife, Mary, while adjusting to being a father for the first time. Because of a litany of mediocre films and his new responsibilities, Ford left acting to become a carpenter. He first learned the craft out of necessity when trying to fix up a rundown house he bought in the Hollywood Hills, reading several books while getting hold of some tools. Later, a friend recommended Ford’s services to recording engineer, Sergio Mendes, who wanted a $100,000 recording studio in his home. Satisfied with the work, Mendes recommended Ford to several friends.

It was through his carpentry work that Ford was able to resuscitate his acting career, even though he never gave up that ambition. In fact, the stability of his carpentry work allowed Ford to be selective in choosing roles rather than taking anything that came his way. In 1970, he signed with respected manger of up-and-coming actors, Patricia McQueeney, who was forced to contend with Ford’s ever-increasing pickiness. He had already begun to develop a reputation for being surly and grumpy, mainly because he went to auditions and acted as if he did not want to be there. He did, however, receive several offers – some well-paying – but he usually turned them down, much to McQueeney’s dismay. But Ford’s determination not to carve a career out of mediocre roles paid off when he was cast by George Lucas in “American Graffiti” (1973), a seminal coming-of-age film set during the last summer night of 1962, when a group of teens face difficult decisions about the directions of their lives. Ford played an older street racer donned in a white cowboy hat (his suggestion) who manages to lure the girlfriend (Cindy Williams) of a college-bound teen (Ron Howard) struggling with his feelings about leaving home.

With the success of his first major film, both critically and financially, Ford found his career had finally taken a turn for the better. After Francis Ford Coppola, who had produced “American Graffiti,” cast him for a small role in the paranoid thriller, “The Conversation” (1974), Ford made a brief return to television movies, playing an Ohio frontiersman in “James A. Michener’s ‘Dynasty’” (NBC, 1976). But it was his next project that catapulted the still-struggling actor into an international superstar. By the time Ford was cast as Han Solo in “Star Wars,” director George Lucas had auditioned just about every young actor available for the three lead roles. Originally, Lucas was uninterested in Ford playing Han Solo, as he did not want to recycle actors from his previous films; instead asking him to read lines with actors during the audition process – which included helping Mark Hamill and Carrie Fisher land their roles. Eventually, Ford won Lucas over with his cheeky read, earning himself the role. But then there was the shoot, the stories of which became Hollywood legend. From Ford’s perspective, Lucas was distant with his actors, barely talking to them except to give terse direction like “faster” or “more intense,” while the dialogue was painful to say out loud. Though at the time everyone working on the film thought it was doomed to fail, “Star Wars” became an instant cultural phenomenon, with Ford’s turn as the irascible smuggler who gets embroiled in an intergalactic struggle being one of the film’s many indelible elements.

Thanks to the international sensation “Star Wars” became during the summer of 1977, Ford had finally reached stardom after a decade and a half of labor. But it would take several more films before he could open a film on his name alone. Meanwhile, he starred in “Force 10 from Navarone” (1978), the unheralded sequel to the blockbuster hit, “The Guns of Navarone” (1961). After a one-scene role as a colonel (whom he named Col. Lucas in honor of his director/friend) who helps brief Captain Willard (Martin Sheen) in “Apocalypse Now” (1979), Ford starred as an American bomber pilot who has an affair with a married British nurse (Lesley-Anne Down) during World War II in “Hanover Street” (1979), perhaps his most forgettable film as a leading actor. After a brief appearance in “More American Graffiti” (1979) and a starring role in the comedy-western “The Frisco Kid” (1979), Ford returned to play Han Solo in “The Empire Strikes Back” (1980), widely considered to be the best of the original three-part series. Though the focus was primarily on Luke Skywalker (Mark Hamill) becoming a Jedi knight, Han Solo struggles with Princess Leia (Carrie Fisher) and Chewbacca (Peter Mayhew) to escape from the Empire, which hunts them down to the ethereal Cloud City where Solo is tracked by the bounty hunter Boba Fett, frozen in carbonite and used as a trap to lure Skywalker to Darth Vader (David Prowse/James Earl Jones).

During the production, Ford was dissatisfied with Han telling Leia he “loved her, too” before he was put into hibernation, feeling that the response was out of character. Director Irvin Kershner agreed and allowed Ford to improvise a take, in which he responded to Leia’s “I love you” with “I know.” Though initially infuriated with the change, Lucas used the take in the finished product, allowing for one of the series’ few truly emotionally connective moments – and one of Ford’s first invaluable off-the-cuff contributions to his projects which would resound w/ viewers. Unlike the first “Star Wars,” the sequel was expected to dominate the box office, which it did to the tune of over $200 million. Meanwhile, Ford was firmly in command of his international stardom, though it came as part of an ensemble cast, along with Hamill and Fisher. But that problem was alleviated with his next film, “Raiders of the Lost Ark,” one of the most successful and beloved films of all time; as well as a nod and wink to 1930s action serials beloved by producer Lucas and director Steven Spielberg as young boys. Ford played Indiana Jones, a hard-scrabble, but all-too-human archeologist who hunts for the fabled Arc of the Covenant with the help of his old flame, Marion (Karen Allen), and old friend, Sallah (John Rhys Davies). Once again, Ford was not the first pick to play Indiana Jones. Lucas wanted Tom Selleck, but could not get the television star because of his contractual agreement with “Magnum P.I.” (CBS, 1980-88). Eventually, Lucas caved, despite not wanting to have a Martin Scorsese-Robert De Niro-type relationship with Ford. But, in the end, Lucas knew he was the right actor for the role.

“Raiders of the Lost Ark” was a grueling shoot – Ford suffered a torn knee ligament when an airplane wheel ran over him during the famous airstrip fistfight. But instead of submitting himself to local doctors, Ford wrapped his knee in ice and soldiered on. Meanwhile, Ford and everyone else on the crew got sick from the local Tunisian cuisine. Though ravaged with dysentery, Ford continued shooting, which actually served to the film’s advantage. In an elaborate fight scene in an outdoor market, Ford was scheduled to battle a swordsman, but was unable to continue. So instead, he suggested to director Spielberg that he simply draw his gun and shoot him. Another of Ford’s brilliant ideas, the scene was kept and turned into one of the most memorable (and hilarious) onscreen moments in the film. Upon its release, “Raiders” was an enormous financial and critical success, becoming the highest-grossing film of the year, while it earned eight Academy Award nominations, including one for Best Picture. Single-handedly bring back fedora hat sales for men, Ford was instantly propelled to superstar status and had easily created his most indelible character since Han Solo.
For his next film, “Blade Runner,” Ford starred in what became one of the most popular and revered science fiction films ever made. It was also one of the worst production experiences of his career. Ford played Rick Deckard, a down-and-out ex-detective brought out of retirement to hunt down and kill a group of human androids – or replicants – who have escaped a mining company and taken refuge in the dystopian world of Los Angeles, circa 2019. As he discovers disturbing secrets about Tyrell Corporation, the company that manufactures the replicants, Deckard finds himself falling in love with an android, Rachael (Sean Young), but is unaware of her true nature. Behind the scenes, director Ridley Scott caused considerable friction from day one, upsetting the production design crew with demands of drastically changing established sets, thanks to his commercial background. Ford and Scott were at odds the entire shoot, especially concerning the film’s ending, which contained a happily-ever-after shot of Deckard and Rachael driving off into the sunset and a studio-mandated voiceover that was apparently phoned-in by the actor. The film was a flop after its initial release, but would eventually become a smashing success on video and DVD. Meanwhile, Ford and Scott reconciled their creative differences, though to date, they never worked together again.

For the third and last time, Ford played Han Solo, this time in “Return of the Jedi” (1983). However, before there was a script, it remained unclear whether or not he would return to the role. Unlike his fellow co-stars, Ford was not signed to participate in more than two films. So when time came for a third installment, he suggested to Lucas and new director Richard Marquand that Solo die in order to heighten tension with the remaining characters. But Lucas vehemently refused and eventually Ford signed on. It was clear from the outset, however, that Ford was uninterested in playing the character again, as evidenced by his hammy overacting. In another sequel, Ford revived his favorite character for “Indiana Jones and the Temple of Doom” (1984), a much darker and more violent adventure that brought Jones, an annoying gold-digger (Kate Capshaw) and a cloying kid (Ke Huy Quan) to the jungles of India on a quest to rescue a magic stone from an evil cult. Though successful at the box office, “Temple of Doom” nonetheless stirred controversy for the repulsive images of tribal witch doctors ripping still-beating hearts from sacrificial lambs – the film, itself, helping to create the PG-13 rating.
In perhaps his most critically lauded performance, Ford starred in Peter Weir’s excellent romantic thriller, “Witness” (1985), playing John Book, a rough-and-tumble police detective who protects an Amish boy (Lukas Haas) and his widowed mother (Kelly McGillis) after the boy witnesses a murder. But the tables are turned when Book learns that the murder was part of a larger conspiracy that involve several high-ranking members of the department, forcing him to flee to Amish country where he assimilates himself into their culture, while at the same time, falling in love with the boy’s mother. Widely considered to be one of the most well-made films of the decade, “Witness” allowed Ford to demonstrate his exceptional acting chops to a skeptical populace that once thought him to be a mere action star. Ford rightly earned an Academy Award nomination for Best Actor. He reunited with Weir for his next film, “The Mosquito Coast” (1986), playing an inventor who moves his family to Central America to escape civilization, only to turn into an egomaniacal tyrant. Ford once again displayed considerable depth playing the obsessive husband and father, though no Academy Award nominations were forthcoming for his second outing with Weir.

Taking a rare turn to romantic comedy territory, Ford starred as a New York financial executive who is taken in by a secretary (Melanie Griffith) posing as her boss (Sigourney Weaver) in “Working Girl” (1988). After a turn as an American doctor in Paris dealing with the kidnapping of his wife (Betty Buckley) in Roman Polanski’s “Frantic” (1988), Ford once again revived Indiana Jones for “Indiana Jones and the Last Crusade” (1989), a competent, though somewhat underwhelming addition to the series. This time, Ford starred alongside Sean Connery, who played his combative archeologist father, Dr. Henry Jones. Both father and son go off on an adventure to find the famed Holy Grail – the supposed challis used by Christ at the Last Supper – before the Nazis can get their hands on it. Though still not as revered as the first film, “The Last Crusade” nonetheless helped wash out the bad taste left behind by “The Temple of Doom.” Ford rang in the 1990s with another compelling performance, playing a prosecutor accused of murdering a beautiful colleague (Greta Scacchi) with whom he was having an affair in “Presumed Innocent” (1990).

By the time Ford had made “Presumed Innocent,” he was widely considered to be one of the most bankable stars working in Hollywood. Even box office duds like Michael Mann’s “Regarding Henry” (1991) failed to put much of a chink in his armor. In 1992, he took on the role of CIA agent Jack Ryan in “Patriot Games” (1992), a tense action thriller that depicted Ryan trying to protect his family from an IRA fringe group after saving English royals from assassination. Ford followed with “The Fugitive” (1993), arguably one of the most intense and finely-crafted action films of all time. In the film, he played Dr. Richard Kimble, a vascular surgeon wrongly accused of murdering his wife (Sela Ward) after a society dinner. Though his wife was killed by an unknown one-armed man (Andreas Katsulas), all the evidence points to Kimble, who is arrested, tried and convicted of first degree murder, to be punished by lethal injection. But Kimble manages to escape after fellow inmates overturn the bus en route to prison, triggering a manhunt lead by a relentless U.S. marshal (Tommy Lee Jones). “The Fugitive” was yet another huge success for Ford, who only confirmed his status as the biggest box office draw of his generation.

While “The Fugitive” represented a high water mark for his career, by no means did Ford put his career on autopilot. He next starred in the third adaptation of Tom Clancy’s Jack Ryan series, “Clear and Present Danger” (1994), once again delivering a dependable performance in this entertaining thriller that saw Ryan journey to Columbia to rescue a captured paramilitary force from a drug cartel with the aid of a renegade intelligence operative (Willem Dafoe). In what many considered to be a pointless exercise, Ford starred in a remake of Billy Wilder’s “Sabrina” (1995), playing the successful heir to a family fortune who tries to woo the daughter (Julia Ormond) of the chauffeur to spurn his brother (Greg Kinnear), only to find himself failing in love for real. After “Sabrina,” Ford retreated into a series of mediocre films that occasionally did well at the box office, but nonetheless gave fans and critics alike the impression his prowess had begun to diminish. In his next film, “The Devil’s Own” (1997), Ford starred as a New York City police officer who takes in an Irish émigré (Brad Pitt) possessing a dark past and bloody-minded purpose in America. Behind the scenes, Ford and Pitt were dissatisfied with the script, which led to constant rewrites, resulting in a muddled story that never reached fruition onscreen.

For his next project, Ford took heroism to new, absurd heights by playing the President of the United States as a badass who fights a group of Kazakhstan terrorists after they take over his plane in Wolfgang Petersen’s ridiculous action thriller, “Air Force Once” (1997). Despite the $172 million take at the box office, there was no escaping the over-the-top action, silly one-liners and completely implausible stunts, including one with Ford hanging on to the plane’s open bay door only by his fingertips at 30,000 feet. Moving on, Ford returned to romantic comedy territory with “Six Days, Seven Nights” (1998), playing a brash airplane pilot who flies a New York business woman (Anne Heche) to Tahiti, only to crash on a deserted island where the combative couple fights to survive and ultimately falls in love. In a rare turn as the antihero, Ford starred in “Random Hearts” (1999), playing an obsessive Internal Affairs detective whose wife dies in an airline crash, but learns that she was having an affair with the husband of a prominent Congresswoman (Kristin Scott Thomas). Despite a pedigreed cast – which also included Charles S. Dutton – and with Sydney Pollack directing, “Random Hearts” fell flat with audiences and critics.

Once content with playing the action hero, Ford occasionally made the switch to playing the villain, as he did in “What Lies Beneath” (2000), a haunting thriller from director Roger Zemeckis. Ford played Dr. Norman Spencer, a successful genetic scientist who cheated on his wife, Claire (Michelle Pfeiffer), and nearly ruined his marriage. But a year later, they have reconciled and their relationship seems stronger than ever, until his wife begins to hear strange voices and see the mysterious wraith-like image of a young woman. While her husband and her psychiatrist (J. Morton) dismiss her as delusional, Claire remains steadfast and uncovers the truth about the girl and Norman. In another adventurous turn, Ford played a Russian submarine captain who prevents World War III by forcing his crew to repair a radiation leak after test launching a nuclear missile in “K-19: The Widowmaker” (2002). Unfortunately, the film flat solely based on Ford’s laughable attempt at a Russian accent. After he made forgettable turns in the disastrous buddy comedy “Hollywood Homicide” (2003) and the techno-thriller “Firewall” (2006), it was finally announced after years of rumor, speculation and secretive script rewrites that Ford would revive Indiana Jones for “Indiana Jones and the Kingdom of the Crystal Skull” (2008). Set sometime in the 1950s, Jones goes on a quest to find the lost city of Atlantis, aided by Shia LaBoeuf and – back by popular demand – his former “Raiders” flame, Karen Allen. While certainly a hit at the box office, the highly anticipated film managed to disappoint some fans and even elicited some ridicule following a scene where Jones survives a nuclear blast by hiding in a 1950s-era refrigerator; a scene that coined the phrase “nuke the fridge,” which alluded to a film reaching unparalleled heights of absurdity.
Following the financial success of “Indiana Jones,” Ford slipped into obscurity with his next film, “Crossing Over” (2009), a politically-themed drama in which he played an Immigration and Customs Enforcement agent in Los Angeles battling the growing problem of illegal immigration. Despite the film’s timely subject matter, “Crossing Over” barely made a blip at the box office. He went on to co-star in the romantic comedy “Morning Glory” (2010), in which he played a serious news journalist who is brought onto a failing morning show by a plucky TV producer (Rachel McAdams) in an effort to save the program, only to run afoul with his new co-host (Diane Keaton). Following the critical and box office disappointment of the underwhelming medical drama “Extraordinary Measures” (2010), also starring Brendan Fraser, Ford played the iron-fisted head of an Old West town that is suddenly beset by an alien attack in the hybrid “Cowboys & Aliens” (2011), co-starring Daniel Craig. It was during the filming of the latter movie that Ford made an honest woman of Calista Flockhart, whom he married in New Mexico on June 15, 2010, near where “Cowboys” was being made. Following a relatively quiet 2012, Ford thrilled fanboys everywhere when it was rumored he would reprise Han Solo for the seventh installment of the “Star Wars” saga, which was put into production after George Lucas sold his empire to Walt Disney Studios. With J.J. Abrams set to direct “Episode VII,” Ford was unofficially confirmed by Lucas to be returning to his most famous roles, joining Mark Hamill and Carrie Fisher in their rumored reprisals of Luke Skywalker and Princess Leia respectively. Meanwhile, Ford played Brooklyn Dodgers owner Branch Rickey in “42″ (2013), Brian Helgeland’s baseball biopic about Jackie Robinson (Chadwick A. Boseman) becoming the first African-American to play Major League baseball and signed on to join the cast of the comedy sequel “Anchorman: The Legend Continues” (2013).
Bio Record last updated: 03/08/2013

(Wikipedia)
Harrison Ford has been confirmed to reprise the role of Han Solo in the upcoming Star Wars Episode VII.
 
FAMILY
Father: Christopher Ford, advertising executive, former actor. Irish-Catholic; born November 20, 1906; died
on February 10, 1999
Mother: Dorothy Ford, homemaker and former radio actress. Russian-Jewish; born in 1917; died in 2004
Grandfather: Harry Nidelman. Maternal grandparent; Jewish immigrant from Minsk
Grandmother: Maternal grandparent; Jewish immigrant from Minsk
Grandfather: John Fitzgerald Ford. Paternal grandparent; Irish Catholic
Anna Lifschutz
Grandmother: Florence Veronica Niehaus. Paternal grandparent; German
Brother: Terence Ford. Born c. 1945; starred in the first pan-Europe soap opera, “Riviera” (1992); career
was stalled in the 1970s and 80s by addiction to drugs and alcohol
Son: Benjamin Ford, chef. Born in 1967; mother Mary Marquardt
Son: Willard Ford, teacher. Born in 1969; mother Mary Ford Marquardt
Son, Malcolm Carswell Ford, born on March 10, 1987; mother, Melissa Mathison
Daughter: Georgia Ford, born on June 30, 1990; mother, Melissa Mathison
Step-son: Liam. Born January 1, 2001. Adopted by Calista Flockart, January 11, 2001, in San Diego
(added by EL).

COMPANIONS
Wife : Calista Flockhart. Began dating in early 2002; Ford surprised Flockhart with a Valentine’s Day wedding
proposal in 2009; couple was married on June 15, 2010 in Santa Fe, New Mexico
Wife: Melissa Mathison, screenwriter. Wrote the screenplays for “The Black Stallion” (1979) and “E.T. The
Extra-Terrestrial” (1982); married from 1983-2004
Wife: Mary Ford. met at Ripon College; married from 1964-1979

EDUCATION
Maine Township High School, Park Ridge, Illinois, 1960
- Was the first student voice broadcast on his high school’s new radio station, WMTH-FM, and was its first sportscaster during his senior year, 1959–1960
Ripon College, Ripon, Wisconsin, English Literature. Flunked out one month before graduating; member of
the Sigma Nu Fraternity

AWARDS
1994 MTV Movie Award, Best On-Screen Duo “The Fugitive”
1994 Showest. Box Office Star of the Century Award
2000 American Film Institute Life Achievement Award
2000 People’s Choice Award, Favorite Motion Picture Actor
2002 Cecil B DeMille Award
 
MILESTONES
- Grew up in Park Ridge and Morton Grove, Illinois
1963 Professional debut in a variety of musicals and dramas in summer stock in Williams Bay, Wisconsin
1964 Moved to Laguna Beach, California and appeared in local production of “John Brown’s Body”
1964 Signed a seven-year contract with Columbia Pictures at $150 per week
1966 Film acting debut with a one-line appearance as a bellboy in “Dead Heat on a Merry-Go-Round”
1968 Moved over to Universal from Columbia; featured in film “Journey to Shiloh”
1968 Gave up acting and worked as a carpenter; built Sergio Mendes’ $100,000 recording studio; also built
elaborate entrance for Francis Ford Coppola’s offices at Goldwyn Studios
1970 TV-movie acting debut, “The Intruders” (NBC)
1973 First major success, George Lucas’ “American Graffiti”
1977 Breakthrough role, playing Han Solo in George Lucas “Star Wars”
1980 Reprised the role of Han Solo for “The Empire Strikes Back”
1981 First feature starring role, playing the swashbuckling archaeologist Indiana Jones in “Raiders of the
Lost Ark”, executive produced by Lucas and directed by Steven Spielberg
1982 Portrayed android bounty hunter in Ridley Scott’s “Blade Runner”
1983 Third turn to the role of Han Solo for “Return of the Jedi”
1984 Reprised role of Indy for “Indiana Jones and the Temple of Doom”
1985 Earned Best Actor Academy Award nomination as a detective in Peter Weir’s “Witness”
1986 Teamed with Weir again on “The Mosquito Coast”
1988 Did rare comic turn opposite Melanie Griffith in Mike Nichols’ “Working Girl”
1989 Donned the fedora again for “Indiana Jones and the Last Crusade”
1990 Played an adulterous husband with a terrible secret in Alan J Pakula’s “Presumed Innocent”
1991 Played a ruthless litigator transformed by brain injury in Mike Nichols’ “Regarding Henry”
1992 Assumed Jack Ryan character (replacing Alec Baldwin) in Tom Clancy’s “Patriot Games”
1993 Cast as Dr Richard Kimble in big screen adaptation of “The Fugitive”
1994 Reprised role of Jack Ryan in “Clear and Present Danger”
1995 Played role originated by Humphrey Bogart in Sydney Pollack’s ill-advised remake of “Sabrina”
1997 Starred as a NYC detective opposite Brad Pitt’s Irish terrorist in “The Devil’s Own”
1997 Portrayed the President of the United States in Wolfgang Petersen’s “Air Force One”
1998 Played a cargo pilot opposite Anne in the romantic comedy “Six Days, Seven Nights”
1999 played widower cop obsessed with learning details of his late wife’s affair in Pollack’s “Random Hearts”
2000 Played a professor whose wife (Michelle Pfeiffer) is haunted by the ghost in “What Lies Beneath”
2002 Received a reported $25 million salary to star as a Russian submarine officer in “K-19: The
Widowmaker”
2003 Starred in the fast paced action comedy “Hollywood Homicide”
2003 Received a star on the Hollywood Walk of Fame (June)
2006 Cast as a security specialist, forced into robbing a bank in order to protect his family in the thriller,
“Firewall”
2008 Reprised the role of Indy for the fourth installment of the adventure series, “Indiana Jones and the Kingdom of the Crystal Skull”; film re-teamed Ford with George Lucas and director Steven Spielberg
2008 Nominated for the 2008 People’s Choice Award for Favorite Male Star
2009 Played Immigrations officer Max Brogan in “Crossing Over”
2010 Portrayed research scientist Robert Stonehill in “Extraordinary Measures,” which is based on a true
story; also produced
2010 Played a morning show anchor in the comedy, “Morning Glory”
2011 Co-starred with Daniel Craig in sci-fi Western “Cowboys & Aliens”
2013 Made franchise return in “Star Wars: Episode VII,” confirmed by George Lucas
 

AFFILIATIONS Democrat

NOTES
- Not to be confused with, and not related to, prolific silent screen actor Harrison Ford (1892-1957). Ford was billed as Harrison J Ford until 1970 to avoid confusion.

- In 1993, the arachnologist Norman Platnick named a new species of spider, Calponia harrisonfordi, and in 2002, the entomologist Edward O. Wilson named a new ant species Pheidole harrisonfordi (in recognition of Harrison’s work as Vice Chairman of Conservation International).

“If you become a part of that machinery, someone the machinery thinks it can use and exploit at that particular moment, then there is sure to be a time limit on you, and you are soon going to be unfashionable. Because I have never been fashionable, I can never be unfashionable.” –From Vanity Fair, July 1993.

“I think part of what has led me to a commercially successful career has been a certain wisdom about choosing projects, and choosing movies that people might want to see. This is a business, and I’m in the business of making movies.” –Harrison Ford quoted in Us, June 1997.

“I don’t feel any lack of noble purpose if I do a film that’s commercial”.
–Harrison Ford to The Daily Telegraph, June 14, 1997.

“I wasn’t too much of a wild child. I knew my limits. And rarely exceeded them.”
–Ford quoted in Newsday, July 20, 1997.

“I’ll say it again. [Movie acting] ain’t brain surgery. But it is, nonetheless, a craft, a skill that demands that you twist yourself into emotional situations connected with the issues you’re dealing with. It helps to have your craft skills developed so that you can give expression to a variety of different moods and psychological situations. It helps to know how to support your fellow actors and contrive to get them to support you. All these things take time to develop, And there’s no mystery, really, to the acting process. There are occasional suprises. But no mystery.” –Harrison Ford in Newsday, July 20, 1997.

Ford on why he doesn’t play villains: “I’ve never read a script where I thought the bad guy was as interesting as the good life … But it depends on what comes my way.” –From Daily News, October 3, 1999.

Ford spoke about suffering from clinical depression when he was in college: “I would sleep for four or five days at a time”. –to The Daily Telegraph, November 15, 1999.

“I refuse to sell myself. That’s not what I’m about”. –Los Angeles Times, February 13, 2000.

After college, Harrison Ford applied for–and received–conscientious objector status to avoid being drafted.

The scar on the actor’s chin came from car accident when he was in his 20s.

Ford began flight training in the 1960s; he abandoned the activity until the mid 1990s when he earned his pilot’s license.
 

Ford is actively involved in a number of environmental conservation groups and does public service annopuncements for the Archaeology Advisory Groups of Colorodo, Arizona, Alaska, New Mexico, North Carolina and Mississippi. He has donated 389 acres of his property for a conservation easement to the Jaskson Hole Land Trust. In addition, Ford is the spokesman for the Lancaster Farmland Trust to protect Amish farms in Pennsylvania.

“Celebrity is a complete pain in the ass. I think the loss of anonymity is the greatest trade that you make. There’s no way to imagine what the loss if anonymity will do to your life until you suffer it.”
—Ford quoted in Empire, April 2006.

On Oct. 23, 1999, Harrison Ford was involved in the crash of a Bell 206-L4 helicopter. When asked about the incident by fellow pilot James Lipton in an interview on the TV show “Inside the Actor’s Studio” (Bravo) Ford replied “I broke it.”

“I was never the hippest thing around, which means I wasn’t in the position to be replaced by the next hippest thing. I’m more like old shoes. But I can still whip Sean Connery with one hand tied behind by back.” – Ford quoted to Playboy magazine, August 2002

42
Type Feature Film AKAs Untitled (Jackie Robinson / Legendary Pictures Project)
Status Awaiting Release US Release 04/12/2013 Int’l Release 04/12/2013
Budget Estimate $31,000,000 – $40,000,000 (04/14/2012)
Start Date 05/14/2012 Wrap Date 07/18/2012
Genres Biopic, Drama, Period, Sports
Keywords 1940s, african-american, baseball, racism
Logline The story of Jackie Robinson, the first African-American to play in American Major League Baseball,
focusing on the two years of his life after he entered the game in 1947.
Studio: warner bros Production Company_ Legenday Entertainment
Cast: Cadwick Boseman, Harrison Ford
Director /witer: Biarn Helgenland
Notes Jackie Robinson’s widow, Rachel Robinson, has committed to collaborating on the project to ensure
the accuracy of her late husband’s story.
- Project will fall under Legendary’s overall agreement with Warner Bros. under which the studio distributes Legendary titles.
Locations Birmingham, Alabama, USA Macon, Georgia, USA Atlanta, Georgia, USA
Chattanooga, Tennessee, USA
 
PARANOIA
Type Feature Film Status Wrapped
US Release10/04/2013
Budget Estimate $40,000,000 (Variety 07/19/2012)
Start Date 07/21/2012 Wrap Date12/20/2012
Genres Drama, Spy, Thriller
Synopsis A bright young executive is fingered for corporate malfeasance and ordered to infiltrate a high-tech
rival. As the executive becomes a rising star at his new employer, he seeks to break the bonds with the former company.
Domestic Theatrical Distribution: Relativity Media
Production Company Gaumont/EMJAG Digital Productions/Management 360/ Demarest Films
Cast: Liam Hemsworth Adam Cassidy
Harrison Ford Jock Goddard
Gary Oldman Nicholas Wyatt
Director: Robert Luketic
Script: Jason Hall Screenplay (current draft) / Michael Tolkin Screenplay (previous draft)/Barry Levy Screenplay (adaptation) /Joseph Finder Source Material (from novel: “Paranoia”)
Development NotesBased on the novel “Paranoia” written by Joseph Finder and published by St. Martin’s
Press in January 2004.
Project was previously in development at Paramount Pictures with Di Bonaventura Pictures attached to
produce.
Locations Philadelphia, Pennsylvania, USA New York, New York, USA
Development Notes Based on the novel “Paranoia” written by Joseph Finder and published by St. Martin’s
Press in January 2004.

ENDERS GAME
Status Awaiting Release US Release11/01/2013
Budget Estimate$61,000,000 – $70,000,000 (11/14/2011)
Start Date02/24/2012 Wrap Date06/15/2012 Genres Sci-Fi, Action, Adaptation
Keywords alien, children, education, hero, invasion, military, novel, school, soldier, war
Synopsis In the near future, a hostile alien race, the Formics, have attacked Earth. If not for the legendary
heroics of International Fleet Commander Mazer Rackham, all would have been lost. In preparation for the next attack,

the highly esteemed Colonel Hyrum Graff and the International Military are training only the best young children to find the future Mazer. Ender Wiggin, a shy, but strategically brilliant boy is pulled out of his school to join the elite. Arriving at Battle School, Ender quickly and easily masters increasingly difficult war games, distinguishing himself and winning respect amongst his peers. Ender is soon ordained by Graff as the military’s next great hope, resulting in his promotion to Command School. Once there, he’s trained by Mazer Rackham to lead his fellow soldiers into an epic battle that will determine the future of Earth and save the human race.
Studio Summit Entertainment, LLC
Production Company Digital Domain Productions/ OddLot Entertainment/ K/O Paper Products
Cast:
Asa Butterfield Ender Wiggin
Hailee Steinfeld Petra Arkanian
Ben Kingsley Mazer Rackham Sir Ben Kingsley
Viola Davis Actor
Abigail Breslin Valentine Wiggin
Harrison Ford Colonel Hyrum Graff
Dir/Screenplay: Gavin Hood
NOTES
- Based on the novel “Ender’s Game” written by Orson Scott Card and published by Tor Books in 1985. “Ender’s Game” won the Hugo Award in 1986.
- Project was previously set up at Warner Bros. Pictures.
- Wolfgang Petersen previously attached to direct.
- Orson Scott Card, Dan Harris, Michael Dougherty and D.B. Weiss wrote previous drafts of the screenplay when the project was in development at Warner Bros.
Locations New Orleans, Louisiana, USA (02/24/2012 – 06/09/2012)Los Angeles, California, USA (Motion
Capture) (06/10/2012 – 06/15/2012)

ANCHORMAN: THE LEGENDS CONTINUES
AKAs Anchorman 2, Anchorman Sequel
Status In Production US Release12/20/2013 Start Date03/04/2013 Wrap Date05/04/2013
Genres Comedy, Sequel
Logline Ron Burgundy and his news team head to New York City.
Studio Paramount Pictures
Production Company Apatow Productions/Gary Sanchez ProductionsActor
Cast:
Will Ferrell Ron Burgundy
Steve Carell Brick Tamland
Paul Rudd Brian Fantana
David Koechner Champ Kind
Christina Applegate Veronica Corningstone
Kristen Wiig
Harrison Ford
Director: Adam McKay
Screenplay: Adam McKay/Will Ferrell
Production Office
(310) 943-4400 (Apatow Productions)
(323) 956-5000 (Paramount)
(323) 465-4600 (Gary Sanchez Productions)
Locations Atlanta, Georgia, USA New York City, New York, USA
Development Notes
- Sequel to “Anchorman” (USA/2004) directed by Adam McKay and starring Will Ferrell, Christina Applegate, Paul Rudd and Steve Carrell.

Melodrama” was made by MGM in the same year that Gable appeared in Columbia’s IT Happened One Night, for which he received his first of three Best Actor nominations and his only Academy Award.

“Manhattan Melodrama” became more famous and infamous, as the one that real-life gangster John Dillinger attended on the night he was killed, with clips shown in those later films.

The structure of the tale, an epic saga of sort of kids who are intimate friends but growing up to be enemies, was used in many pictures, including “Ängels with Dirty Faces” and “Cry of the City.”

Arthur Caesar who wrote the story won the Oscar, though the screenplay was written by Oliver H.P. Garrett and Joseph L. Mankiewicz , before he became a director.

Oscar Nominations: 1

Original Story: Arthur Caesar

Oscar Awards: 1

Credits

Running time: 93 Minutes.
Directed By: W.S. Van Dyke , George Cukor
Written By: Oliver H.P. Garrett, Joseph L. Mankiewicz
DVD: August 7, 2007

A sailor and a civil engineer before entering show business in burlesque in 1914, Bickford switched to the legitimate stage and made his Broadway debut in 1919. In 1929, he joined other stage performers lured to Hollywood by the advent of sound.

At first he played romantic leads, memorably as Greta Garbo’s seaman lover in “Anna Christy.” But he found his niche as a commanding character player, tackling supporting parts with his powerful screen presence.

Oscar Record
Bickford was nominated for an Oscar three times, always in the Supporting Actor category:

The Song of Bernadette (1943)
The Farmer’s Daughter (1947)
Johnny Belinda (1948)

He never

won the Oscar award, though his the stars of the above movies won the Best Actress Oscar.

Bickford co authored a play, The Cyclone Lover (1928). He wrote an autobiography, Bulls, Balls, Bicycles, and Actors (1965).

He co starred in The Virginian TV series.