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|Also Known As:||Died:|
|Born:||January 26, 1941||Cause of Death:|
|Birth Place:||London, England, GB||Profession:||Director ...|
Mr. Jaglom is man of various birth dates. All sources seem to agree on the month and day but the year varies from 1938 to 1943. We previously listed 1941 in this database. However, since we have information that he moved with his family from London to the USA in 1939, we will consider 1938 to be closest to the truth.
Jaglom was the third recipient of the Beatrice Wood Film Award.
"Mr. Jaglom's loosely lyrical improvisations masquerading as movies have exasperated me more often than they have enchanted me over the past two decades. Yet, there is a soft spot somewhere deep in my heart for a filmmaker who provided a haven for the late Orson Welles in the less employable period of the Great Man's Life, from "A Safe Place" in 1971 to "Someone to Love" in 1987.
"As an aspiring actor-auteur, Mr. Jaglom generously played the nerdy, voluble beast to such tantalizing beauties as Tuesday Weld, Gwen Welles, Patrice Townsend, Andrea Marcovicci, Oja Kodar. He likes women and he likes Jerome Kern, and who could ask for anything more?
"Mr. Jaglom, a man who truly loves women and has never pretended to understand them, has never claimed to be a revolutionary of any kind. He has simply followed his feelings to the end of the line, and thereby unleashed a completely absorbing and edifying entertainment." --Andrew Sarris in THE NEW YORK OBSERVER, May 13, 1991
"He doesn't really have a sense of other people's feelings. In social situations he won't hold back from embarrasing people. That can be both good and bad, depending on who it is. He's absolutely fearless." --childhood friend actress Joanna Frank, quoted in an undated MOVIELINE article (c. 1991)
"Jaglom is an acquired taste, like goat cheese." --an unnamed critic
"His pictures have no guts; they have no point. Is his life as empty as his movies?" --an unidentified Hollywood film producer
"Concerned neither with box-office grosses nor with critical acclaim, the effusive 54-year old filmmaker has indulged himself over three decades with self-produced, self-directed, self-acted, self-edited, self-promoted movies which plunge headlong into his microanalysis of life and his yearning for human connection." --From "Jaglom's Edge" by Susan Kittenplan in VANITY FAIR, October 1995
"Henry has elevated home movies into an art form." --Milos Forman in VANITY FAIR, October 1995
"One studio executive recently said, 'My wife makes me see all your movies. How'd you like to make a real film?' I said, 'What's a real film?' He said, 'Thirty, thirty-five million.' I said, 'Give me $30 million and I'll come back in five years with five films and I guarantee you make a profit.' He said, that's not a deal.' It's all deal-making, not movie-making." --Henry Jaglom, LOS ANGELES TIMES, April 26, 1998
Jaglom and Orson Welles lunched together weekly at Ma Maison for more than 10 years until Welles' death in 1985. Speaking of the effect of Welles' mentorship: " . . . it supported my belief that [you] make a movie for yourself, not for anybody else. In 10 to 15 years, you're going to have to live with it. And nobody knows what's commercial anyway and don't worry about that and just make the best movie you know how for yourself. He was so intent on that. I think that was the greatest lesson I learned. And every other way, we were very close friends. I was spending a lot of my energy, the energy I had left over from trying to put my films together was spent trying to get him financing which I failed to do."
" . . . Orson, you know, never had final cut except for 'Citizen Kane'. And I determine never to not have Final Cut . . . the greatest lesson I could learn up-front was to never give away Final Cut." --Henry Jaglom to indieWIRE.com, June 17, 1998
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