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Raimi, Sam Biography




biography of Raimi, Sam

Samuel Marshall Raimi
Sammy
23 October 1959, Royal Oak, Michigan, USA
5' 11"
Highly inventive U.S. film director/producer/writer/actor Sam Raimi first came to the attention of film fans with the savage, yet darkly humorous, low-budget horror film, _The Evil Dead (1981)_ (qv). From his childhood, Raimi was a fan of the cinema and, before he was ten-years-old, he was out making movies with an 8mm camera. He was a devoted fan of 'The Three Stooges' (qv), so much of Raimi's film work in his teens, with good friends 'Bruce Campbell (I)' (qv) and 'Robert G. Tapert' (qv), was slapstick comedy based around what they had observed from "Stooges" movies. Among the three of them, they wrote, directed, produced and edited a short horror movie titled _Within the Woods (1978)_ (qv), which was then shown to prospective investors to raise the money necessary to film _The Evil Dead (1981)_ (qv). It met with lukewarm interest in the U.S. with local distributors, so Raimi took the film to Europe, where it was much more warmly received. After it started gaining positive reviews and, more importantly, ticket sales upon its release in Europe, U.S. distributors showed renewed interest, and "Evil Dead" was eventually released stateside to strong box office returns. His next directorial effort was _Crimewave (1985)_ (qv), a quirky, cartoon-like effort that failed to catch fire with audiences. However, he bounced back with _Evil Dead II (1987)_ (qv), a racier and more humorous remake/sequel to the original "Dead" that did even better at the box office. Raimi was then given his biggest budget to date to shoot _Darkman (1990)_ (qv), a comic book-style fantasy about a scarred avenger. The film did moderate business, but Raimi's strong visual style was evident throughout the film via inventive and startling camera work that caught the attention of numerous critics. The third chapter in the Evil Dead story beckoned, and Raimi once again directed buddy Campbell as the gritty hero "Ash", in the Gothic horror _Army of Darkness (1992)_ (qv). Raimi surprised fans when he took a turn away from the fantasy genre and directed 'Gene Hackman' (qv) and 'Sharon Stone (I)' (qv) in the sexy western, _The Quick and the Dead (1995)_ (qv); four years later, he took the directorial reins on _A Simple Plan (1998)_ (qv), a crime thriller about stolen money, starring 'Bill Paxton' (qv) and 'Bridget Fonda' (qv). In early 1999, he directed the baseball film, _For Love of the Game (1999)_ (qv), and, in 2000, returned to the fantasy genre with a top-flight cast in _The Gift (2000)_ (qv). In 2002, Raimi was given a real opportunity to demonstrate his dynamic visual style with the big-budget film adaptation of the 'Stan Lee (I)' (qv) comic book superhero, _Spider-Man (2002)_ (qv), and fans were not disappointed. The movie was strong in both script and effects, and was a runaway success at the box office. Of course, Raimi returned for the sequel, _Spider-Man 2 (2004)_ (qv), which surpassed the original in box-office takings. Raimi remains one of Hollywood's most creative, exciting and intelligent filmmakers.
firehouse44@hotmail.com



-   'Gillian Greene' (qv) (1993 - present); 5 children


-   [Three Stooges] He uses Stooge-like sequences in many of his movies (especially in the Evil Dead films). Raimi is a huge fan of 'The Three Stooges' (qv). He made many super-8 films that resembled classic Stoogeshorts.

-   [Shemp] Often credits a character called a "Shemp", another homage to 'The Three Stooges' (qv). Most frequently, it is a "Fake Shemp", a reference to the Three Stooges shorts where a stunt man was used in place of 'Shemp Howard' (qv).

-   Often has a voiceover from a principal character at the end of his films (_Army of Darkness (1992)_ (qv), all the Spider-Man films).

-   On-going in-joke feud with 'Wes Craven' (qv)

-   Frequently casts 'Bruce Campbell (I)' (qv), 'Theodore Craven', 'J.K. Simmons' (qv), and his brother 'Ted Raimi' (qv).

-   Kinetic, wild camera movement (Includes the Evil Dead and Spider-Man films)

-   Likes the "whip pan," possibly inspired by 'Martin Scorsese' (qv)

-   Frequently figures out difficult shots by "reverse motion acting" (filming the actor acting backwards and playing in reverse).

-   Usually wears a jacket and tie on the set of his films, a tribute to 'Alfred Hitchcock (I)' (qv).

-   Often includes scenes in his movies in which large clocks/clock towers play important parts (_The Quick and the Dead (1995)_ (qv), _Spider-Man 2 (2004)_ (qv)).

-   Always has his car (a yellow 1973 Oldsmobile Delta 88 dubbed "the classic") somewhere visible to the audience in all of his films (including a modified covered wagon, according to 'Bruce Campbell (I)' (qv), in _The Quick and the Dead (1995)_ (qv)). It is even visible in the _Spider-Man (2002)_ (qv) trailer (the car that Spider-man jumps on).

-   [POV] Often features a shot from the point-of-view of the villain/monster (The Dark Spirit in the Evil Dead films, the camera view of Doc Ock's mechanical tentacles in _Spider-Man 2 (2004)_ (qv), the black blob from outer space in _Spider-Man 3 (2007)_ (qv)).

-   Often collaborates with the Coen Brothers

-   Supernatural and Fantasy Themes

-   References to Classic Comedy and Horror Films

-   Known for inflicting physical Violence on main characters either with large violent scenes or smaller ones throughout

-   Bloody but comical set pieces

-   Known for humorously "Abusing" actors,i.e,hitting Them with tree branches to simulate getting hit with debris,throwing popcorn at Them.

-   Frequently films scenes in which a main character is on the receiving end of an extremely brutal attack

-   References to the works of Alfred Hitchcock

-   Unflinchingly graphic and brutal depiction of Violence

-   His characters are often ordinary individuals caught up in extraordinary circumstances


-   Attended Michigan State University, East Lansing MI, as an English major.

-   'Joel Coen' (qv) and 'Ethan Coen' (qv) use many of Raimi's trademark camera movements in their films.

-   Middle brother of 'Ted Raimi' (qv) and 'Ivan Raimi' (qv).

-   During the mid-80s, Raimi used to live in an apartment with actor 'Bruce Campbell (I)' (qv), writer/director 'Scott Spiegel' (qv), writer/director 'Joel Coen' (qv), writer/producer 'Ethan Coen' (qv) and actresses 'Holly Hunter' (qv), 'Frances McDormand' (qv) and 'Kathy Bates (I)' (qv).

-   His wife, 'Gillian Greene' (qv), is the daughter of 'Lorne Greene' (qv) and 'Nancy Deale' (qv).

-   Is an avid fan of "Spider-Man" comic books.

-   Friends with director 'John Landis (I)' (qv). Had cameos in Landis' _Spies Like Us (1985)_ (qv) and _Innocent Blood (1992)_ (qv), while Landis did cameos in Raimi's _Darkman (1990)_ (qv) and _Spider-Man 2 (2004)_ (qv). Both also appeared in 'Stephen King (I)' (qv)'s ABC mini-series _"The Stand" (1994)_ (qv).

-   Many years before landing the role of director on the Spider-Man movies, Raimi planned to create a film based on Marvel's comic interpretation of "The Mighty Thor" with 'Stan Lee (I)' (qv). While the movie never materialized, Lee, co-creator of Spider-Man and many other Marvel characters, became good friends with Raimi and later appeared in cameos on the Spidey flicks.

-   In 2004, both he and the Coen brothers cast 'J.K. Simmons' (qv) and 'Bruce Campbell (I)' (qv) in one of their movies; _Spider-Man 2 (2004)_ (qv) and _The Ladykillers (2004)_ (qv).

-   His oldest brother, Sander, died in a swimming pool accident at the age of 15 while on a scholarship trip to Israel. Sander used to perform magic tricks for Sam and his friends; when he died, Sam learned to perform the tricks himself.

-   His family name was changed from the German name Reingewertz.

-   Featured on Premiere's Power 50 list from 2003 to 2006 with the following rankings: #37 in 2003, #48 in 2004, #33 in 2005, and #23 in 2006.

-   He wanted to adapt and direct _The Shadow (1994)_ (qv), but was denied the rights to do it. Instead, he created his own superhero with his film _Darkman (1990)_ (qv).

-   His breakthrough project, the low-budget horror cult film _The Evil Dead (1981)_ (qv), had an estimated budget of $350,000. Twenty-five years later he helmed a production with an estimated budget at 1,000 times the cost of that film, _Spider-Man 3 (2007)_ (qv), with an estimated production cost of $350,000,000, making it the most expensive motion picture produced up to that time.

-   1977 graduate of Birmingham Groves High School, Birmingham, Michigan.

-   Attended high school and remains close friends with producer 'John Cameron (II)' (qv) and actor 'Bruce Campbell (I)' (qv).

-   Children: 'Lorne Raimi' (qv), 'Henry Raimi' (qv), 'Emma Raimi' (qv), Dashiell William Schooley Raimi.

-   Was asked to direct _I Am Legend (2007)_ (qv) but chose not to because he was not interested.

-   At college he ran a film society, but instead of renting films to exhibit he and his friends created their own feature-length movies on Super 8 and showed them to the campus audiences instead.

-   Frequently employs 'Bob Murawski' (qv) as his editor.

-   Over his years as a director, Raimi's 1973 Oldsmobile Delta 88 (originally bought by Raimi's father for the family when Sam was 14) has "played" Ash's car in the Evil Dead movies, Uncle Ben and Aunt May's car in the Spider-Man movies, Annie's car in _The Gift (2000)_ (qv), and Mrs. Ganoush's car in _Drag Me to Hell (2009)_ (qv), and has made cameos in nearly all of his other movies.

-   He is the first director ever to do three live-action adaptations of a comic book character.


-   Contributing interviewee to 'Bruce Campbell (I)' (qv)'s autobiography 'If Chins Could Kill: Confessions of a B-Movie Actor'.

-   Commentary Track: _Army of Darkness (1992)_ (qv) DVD.

-   Commentary Track: _Ju-on (2002)_ (qv) DVD

-   Commentary Track: _Spider-Man (2002)_ (qv) DVD

-   Commentary Track: _Spider-Man 2 (2004)_ (qv) DVD

-   Commentary Track: _The Evil Dead (1981)_ (qv) DVD

-   Commentary Track: _Evil Dead II (1987)_ (qv) DVD

-   Directed music video for Iggy Pop, "Cold Metal," in 1988.


-   Maitland McDonagh. _Filmmaking on the Fringe: The Good, the Bad and the Deviant Directors._ New York: Citadel Press, 1995. ISBN 0-8065-1557-0

-   John Kenneth Muir. _Unseen Force: The Films of Sam Raimi._


-   I love the Spider-Man character. And that's what's at the heart of it. That's why I really love it. But there's another fun thing that I never had before where you make your movie and a lot of people see it and they seem to like it. So it's like oh my god, I've always been the nerd, lame ass guy on the side, but I made something that a lot of people like. I know that won't last for long, and I'm obviously riding the Spider-Man thing. He's a popular character for 40 years. So anyone who makes a Spider-Man movie gets to make a popular movie. But it's fun to be popular, even if it's a brief, lame thing, and even though I know it's not important. I can't help it. It's really fun and I know how quickly things turn in Hollywood.

-   Audiences really don't go see a lot of movies - except in L.A. and New York I think, and maybe one or two other cities, maybe Chicago - where there are foreign-born, foreign-speaking actors. That's just the culture we are.

-   And it was great making movies in college because if you made the right movie you'd get this cigar box full of $5 and $1 bills, you'd have like 500 bucks after a weekend. And it was like oh my god, we're rich! We've got to make another picture. But if the movie bombed, you spent a lot of money on the movie, on the ads at the State news, renting the theater, lugging these heavy speakers, the projector bulbs, [and] it was a washout, you realize this movie is not making money. I'm broke. I've got to make the movie that they want to see. So it was a great learning experience.

-   And I do think there's a new crop of American filmmakers coming. And they're in high school right now. They're in Mrs. Dawson's English class! They've got new tools, they've got computers and the video cameras, which are the equivalent of our super-8mm training ground. It's even better because they can shoot for free. We had to gather up like four bucks, five bucks to buy a roll of film, another three bucks to process it, and that was a very limiting [thing], in high school you've gotta rake leaves for three hours to shoot a roll of film! So these new filmmakers have these advanced editing tools with the incredible manipulation of imagery available on a standard computer."

-   I think if people love the source material, and that's really whey they're making the movie, then that's a natural outcome. That the things we all love, and work with the creators of the movie to save the things that were so effective. I think it's situations where people don't love the material, they just say, oh that was a big hit, it could be a big hit here. It's just generalizing. Things got lost if you don't understand why people like a thing. When you love something, it's easy to say, 'That's my son, cut out his heart? No, he needs the heart.' It's harder when you don't love the thing yourself.

-   At every step of the way wanted to be careful to make sure that what they thought worked in Japanese horror got translated into this. [Taka and Shimizu] didn't want to have solid explanations for everything. That was the challenge, to somehow make it acceptable to the American audience, rules being one of the many things we talked about but not lose what make it striking and unique. [on 'Grudge, The']

-   In an American horror film, you usually have a character and a shot of them. Then their point-of-view moving down a hallway, approaching a door and they're coming closer to the door. And a hand reaches for the knob, and you know, the moment or the moment before or the moment after, based on the timing of the editor and the director, there'll be a big moment of an attack or a scare. What Shimizu does is a moment where 'Sarah Michelle Gellar' (qv) is opening this closet, to see what's inside, and we Americans think something is going to jump out, there's nothing in the closet but darkness. And then you start to realize, within that darkness, you see a shape. Is it a knee? Oh, yes it's a knee, and there's a face in there. That's always been there. That I can just perceive within the blackness. And it unnerves me in the freakiest way! And in a completely different way than the sledgehammer technique of some of our cruder American directors. [pause] Such as myself!"

-   I look at myself as an entertainer, more than anything else. I wanted to make the movie a little more different than the previous films. ... That was less about me growing as a craftsman. That was more about me trying to provide an element to the audience that I thought they might need something different, that came from a different place.

-   _The Dark Knight (2008)_ (qv) was brilliant, and the audience seemed to love it, and I think it rightfully raises expectations for the other superhero pictures, which is a great thing for everybody, for the filmmakers, for the audience.

-   [on undertaking 'Oz The Great and Powerful'] I didn't want anything to do with it. I really had so much respect for the original movie that I didn't want to even read it. [But later] I actually fell in love with the characters in the story and I realized this does not dishonor the original 'Wizard of Oz' movie. It's a love note to the works of Baum.


-   "7" (Greece), 22 April 2007, Iss. 283, pg. 8,9, by: Loukas Katsikas, "O anthropos arahni eimai ego"

-   "Widescreen" (Germany), 15 December 2004, Iss. 01/2005, pg. 65, by: Jürgen Fröhlich, "Ich mag keine Audiokommentare"

-   "Fangoria" (USA), March 1996, Iss. 150, pg. 40-45, by: Anthony C. Ferrante, "Sam Raimi's All-American Fear"

-   "Fangoria" (USA), March 1993, Iss. 120, pg. 36-40,+68, by: Bill Warren, "Commander of Darkness"

-   "Prevue" (USA), November 1990, Vol. 2, Iss. 41, pg. 26-31+57, by: Steranko, "The Darkman Lives!"

-   "Starlog" (USA), September 1990, Iss. 158, by: Bill Warren, "Darkman Director"

-   "The Bloody Best of Fangoria" (USA), 1987, Vol. 6, pg. 5-7,+74, by: John Gallagher, "From Michigan With Blood"


-   "The Los Angeles Times" (USA), 28 May 2009, by: Gina McIntyre, "Sam Raimi Has Horror in His Clutches"

-   "Minneapolis Star Tribune" (USA), 28 May 2009, by: David Germain, "'Spider-Man 4' Update: Director Raimi Says 'Dark Knight' Has Upped Superhero Ante"

-   "Listowel Banner" (Canada), 25 March 2009, Iss. 12, pg. 11, by: Andrew Smith, "Local director to screen film at Atlanta convention"

-   "The Los Angeles Times" (USA), 27 June 2004, by: Fred Schruers, "Spider's Man"

-   "Widescreen" (Germany), 16 June 2004, Iss. 07/2004, pg. 24-31, by: Emanuel Bergmann, "Wir brauchen Helden - Spider-Man, Sam Raimi und die Suche nach Mythen"

-   "Wizard" (USA), February 2001, Vol. 1, Iss. 113, pg. 72-73, by: Mike Cotton, "Casting Spell"

-   "Entertainment Weekly" (USA), 17 September 1999, Vol. 1, Iss. 503, pg. 44-46, by: Chris Nashawaty, "Out Of Left Field"

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