2 Days in the Valley


1h 45m 1996

Brief Synopsis

What is it that causes people to connect? It can be love, it can be money and sometimes it can be murder. The clock is ticking, and over the next 48 hours the lives of ten people in L.A.'s San Fernando Valley will intersect and be irrevocably altered--or abruptly ended. The plot is laid with a contr

Film Details

Also Known As
Två dagar i LA
MPAA Rating
Release Date
1996
Distribution Company
METRO-GOLDWYN-MAYER STUDIOS INC. (MGM )
Location
Los Angeles, California, USA

Technical Specs

Duration
1h 45m

Synopsis

What is it that causes people to connect? It can be love, it can be money and sometimes it can be murder. The clock is ticking, and over the next 48 hours the lives of ten people in L.A.'s San Fernando Valley will intersect and be irrevocably altered--or abruptly ended. The plot is laid with a contract kill, the work of a ruthless professional and a has-been hitman who soon learns that his own death is an integral part of the plan. Barely escaping his partner's fiery death trap, the hitman crawls to safety in an opulent hillside home. Now the hitman becomes a reluctant kidnapper, holding hostage in the house an insufferable modern art dealer and his loyal secretary. Complicating matters, the art dealer's half-sister arrives with a down-and-out screenwriter in tow. Meanwhile, the contract killer's money is still at the crime scene which is crawling with cops, particularly an overzealous vice officer trying to make it into homicide without much help from his burnt out partner.

Crew

Nick Agid

Special Thanks To

Gregory P Alcus

On-Set Dresser

Tony Amatullo

Executive Producer

Richard L Anderson

Sound Editor

Steve Aredas

Other

Rick Ash

Special Thanks To

James Ashwill

Foley Mixer

Bruce Balestier

Sound

George Bamber

Assistant Director

William D Barber

Camera Operator

Bob Baron

Adr Mixer

Roy Bean

Video Assist/Playback

Rick Benedetto

Best Boy

Jellybean Benitez

Music

Garrett M Benson

Assistant Camera Operator

Michael A Benson

Camera Assistant

Paula Benson-himes

Production Coordinator

Paula Benson-himes

Other

Harry Bernson

Props

Scott Blakney

On-Set Dresser

Judith Blinick

Accounting Assistant

Fernand Bos

Music Editor

Michael Bowen

Special Thanks To

Jim Burke

Coproducer

Ed Callahan

Sound Editor

Jim Chankin

Assistant Location Manager

Marina Chavez

Art Department Coordinator

Michael Chock

Sound Editor

David Chong

Other

James Christopher

Sound Editor

Mark Coffey

Sound

Michael D Combs

Other

Tony Conforti

Production Associate

Kevin Constant

Art Director

Paul Coogan

Other

Gloria Cooper

Boom Operator

Damian Costa

Grip

Gregg Covlin

Assistant

Margaret Cox

Other

Jimmy Crawford

Lighting Technician

Charles Cresap

Medic

Bill Cucask

Art Assistant

John Cucci

Foley Artist

Mark Curry

Other

Frank Del Boccio

Camera Assistant

Alicia Delfoss

Other

Deborah Lamia Denevar

Makeup Artist

Patsy Deshields

Production Accountant

David Diano

Camera Operator

Katie Dimento

Casting Associate

Bruce Divalerio

Construction Coordinator

Porf Dominguez

Grip

Brad Edmiston

Steadicam Operator

Steffani Edwards

Post-Production Assistant

Julia Evershade

Sound Editor

Marty Ewing

Unit Production Manager

Tod Feuerman

Editor

Tass Filipos

Music Editor

Larry Fioritto

Special Effects Supervisor

Blair Forward

Video Assist/Playback

David Gaines

Associate Producer

John Gallagher

Special Thanks To

Dick Gardner

Art Department

Gary Gero

Animal Services

Gregg Gibbs

Special Thanks To

Paul Gitahi

Production Assistant

Stephen Glassman

Special Thanks To

Avram D Gold

Sound Editor

Rick Graham

Accounting Assistant

Justin C Green

Editor

Sophia Guerrero

Accounting Assistant

Derek Guiley

Production Assistant

Ana Gutierrez

Assistant

Catherine Hardwicke

Production Designer

Irene Hardwicke

Special Thanks To

Richard Hartley

Other

Zoe Hay

Makeup Artist

Gerald Heffernon

Special Thanks To

Gerald Heffernon

Art Department

Betsy Heimann

Costume Designer

John Herzfeld

Screenplay

John Herzfeld

Music Producer

Joe Hicks

Dolly Grip

Jessica Himes

Production Assistant

Marie Hoke

Other

Chris Hopkins

Art Department

Elyse Hoyt

Music Coordinator

John Hulsman

Sound Editor

Johnny Johnson

Other

Donlee Jorgensen

Foley Editor

Stephen Kaltenbach

Art Department

Stephen Kaltenbach

Special Thanks To

Doc Kane

Adr Mixer

Scott Kidner

Other

Graham Knuttel

Special Thanks To

Kern Konwiser

Production Assistant

Michael Koz

Assistant Editor

David Krupnick

Other

Norman Langley

Camera Operator

Michael Laws

Other

Marc Lazard

Production Assistant

Andrew Leary

Music Supervisor

Steven M Levine

Property Master

Scott Allen Logan

Location Manager

Marco Lopez

On-Set Dresser

James R Lowder

Transportation Coordinator

Charles Lungren

Other

Adrienne Manhan

Costumes

Mindy Marin

Associate Producer

Mindy Marin

Casting Director

Anthony Marinelli

Music

Anthony Marinelli

Music Producer

Anthony Marinelli

Original Music

Gary Marullo

Foley Artist

Antoine Mascaro

Caterer

Linda Matthews

Costume Supervisor

Meg Matthews

Assistant

Douglas Mckay

On-Set Dresser

Rene Megroz

Special Thanks To

Rene Megroz

Art Department

Fran Messer

Assistant

Mel Metcalfe

Rerecording

Lisa Meyers

Hair Stylist

Jim Miller

Editor

Leslie Miller

Other

Terry Miller

Associate Producer

Terry Miller

Assistant Director

Rick Mitchell

Foley Editor

Robert Morey

Assistant Camera Operator

Jim Morphesis

Special Thanks To

Matthew W. Mungle

Makeup

Bob Munoz

Key Grip

Todd Murata

Assistant Director

Frank Mussitelle

Other

Joseph Musso

Visual Effects

Herb Nanas

Producer

Alan L Nineberg

Adr Supervisor

Randy Nolen

Steadicam Operator

Dan O'connell

Foley Artist

Kim Okuhara

Production Assistant

Kim Ornitz

Sound Mixer

Violet Ortiz

Hair Stylist

John Papsidera

Casting

George Parra

Assistant Director

John J Passanante

Other

Tony Pettrilla

Grip

Peter Popp

Craft Service

Terry Porter

Rerecording

Katharine Rager

Assistant Production Coordinator

Tanya Ragir

Special Thanks To

K G Ramsey

Hair Stylist

Mike Raspa

Assistant Camera Operator

Scott Reader

Music

Stephen J Readmond

On-Set Dresser

Seth Reed

Art Department Coordinator

Brad Rivers

Assistant

Jim Robinson

Assistant Property Master

Todd Rosenberg

Music

David Rushing

Art Department

Nava Sadan

Costumes

Ozmandias Dale Saiger

Props

Keith Samples

Executive Producer

Gary Sawaya

Set Designer

Maurin Scarltata

Assistant Set Decorator

Nina Seligman

Production Assistant

Gene Serdena

Set Decorator

Steve Sheridan

Color Timer

Adam Silverman

Post-Production Coordinator

John Simanovich

Transportation Captain

Jordan Sommers

Music

Rebecca Stefan

Production Assistant

George Stewart

Carpenter

George Stewart

Props

Ronald Robert Stinton

Transportation Captain

Ralph Stuart

Assistant Sound Editor

Jeff Tasker

Assistant

Joseph T Terranova

Best Boy

Joseph T Terranova

Other

Gary Theard

Boom Operator

Scott Tindell

Dolly Grip

George Tippee

Special Effects

Simon Toparovsky

Special Thanks To

Judi Townsend

Script Supervisor

Michael T Travers

Best Boy Grip

Jon Van Dyke

Animal Trainer

Brenda Wachel

Other

Rick Waddell

Sound Mixer

Wayne Wahrman

Editor

Jeff Wald

Producer

Karen Wanderman

Assistant Editor

Lynne Warr

Assistant Editor

William R Wheaton

Production

Adrienne Whitaker

Special Thanks To

David A. Whittaker

Sound Editor

Doug Willis

Key Grip

Brad Wilson

Craft Service

Stephen Wong

Assistant Camera Operator

Oliver Wood

Director Of Photography

Oliver Wood

Dp/Cinematographer

Mary Woronov

Special Thanks To

Film Details

Also Known As
Två dagar i LA
MPAA Rating
Release Date
1996
Distribution Company
METRO-GOLDWYN-MAYER STUDIOS INC. (MGM )
Location
Los Angeles, California, USA

Technical Specs

Duration
1h 45m

Articles

TCM Remembers - Lawrence Tierney


A SCREEN TOUGH GUY WHO WAS MEANER THAN A JUNKYARD DOG

Lawrence Tierney, one of the screen's toughest tough guys, died February 26th at the age of 82. He first startled audiences with his impassioned work in the 1940s but Tierney's rowdy off-screen life eventually pushed him out of the limelight. Though he kept working in small parts, Tierney found a new generation of fans with a few memorable roles in the 80s and 90s.

Tierney was born March 15, 1919 in Brooklyn, New York. He grew up in New York and was a track star in school before becoming interested in acting. (His two brothers also became actors though they changed their names to Scott Brady and Ed Tracy.) He went through the usual period of stage appearances before getting bit parts in little-remembered films. His first credited role was in Sing Your Worries Away (1942) but Tierney quickly made his mark playing the title role in Dillinger (1945). A string of memorable roles followed in films like San Quentin (1946), The Devil Thumbs a Ride (1947), Born to Kill (1947) and the Oscar-winning circus drama from director Cecil B. DeMille, The Greatest Show on Earth (1952) in which Tierney played the villain responsible for the epic train wreck toward the film's conclusion. However, Tierney had a knack for real-life trouble and was arrested several times for disorderly conduct and drunken driving. By the end of the 50s he only found sporadic acting work, sometimes not working for several years between films. During this period his best-known work was in Custer of the West (1967) and Andy Warhol's Bad (1977).

Slowly in the 1980s, Tierney landed small but frequently noticable parts in Hollywood films such as Prizzi's Honor (1985) and The Naked Gun (1988). He appeared on TV shows like Hill Street Blues, Star Trek: The Next Generation and Seinfeld (as Elaine's father). In 1992 that changed when Quentin Tarrantino cast Tierney as the crime boss in Reservoir Dogs, an unforgettable part that gave him new fans. While the subsequent roles or films didn't get any bigger, Tierney was finally a recognized name. One of his oddest roles was the half-hour Red (1993) based on the infamous mid-70s Tube Bar tapes where a real-life bar owner responds with startlingly over-the-top remarks to prank phone calls. (If that sounds familiar it's because The Simpsons based Moe's responses to prank calls on these tapes. Tierney provided a voice in the 1995 Simpsons episode "Marge Be Not Proud.") Tierney's last film appearance was in Armageddon (1998)!

By Lang Thompson

CHUCK JONES, 1912 - 2002

Animator Chuck Jones died February 22nd at the age of 89. Jones may not have boasted quite the name recognition of Howard Hawks or John Ford but he was unquestionably one of the greatest American directors. His goals might have been primarily to entertain, which he did so wonderfully that his 50 and 60 year old cartoons seem fresher than most anything produced in the 21st century. But Jones displayed a sense of movement, timing and character barely equalled elsewhere. Literary critics have a saying that while there are no perfect novels there are certainly flawless short stories. Several of Jones' cartoons reach a perfection that Hawks and Ford could only have dreamed about.

Jones was born September 21, 1912 in Spokane, Washington but grew up in Hollywood. As a child he would watch films by Charlie Chaplin and others being made in the streets, absorbing the process and supposedly even appearing as an extra in Mack Sennett shorts. After graduating from L.A.'s Chouinard Art Institute (now California Institute of the Arts), Jones started selling pencil drawings on street corners. He soon landed a job in 1932 with ground-breaking animator Ub Iwerks as a cel washer (somebody who removes ink from the expensive celluloid frames so they could be reused). The following year Jones began to work for Leon Schlesinger Productions which was sold to Warner Brothers. There he directed his first film, The Night Watchman in 1938.

Jones would stay at Warners for almost 25 years until it closed the animation division. Here is where Jones did some of his most-beloved work, putting Bugs Bunny, Daffy Duck, the Road Runner, Marvin Martian and numerous others through many of their most memorable exploits. Who can forget Bugs and Daffy's hilariously convoluted arguments about hunting season in Rabbit Seasoning (1952) and Duck Rabbit Duck (1953)? Or the Coyote's tantalized, endless pursuit of the Road Runner? What's Opera Doc? (1957) sending Elmer and Bugs to Bayreuth? A cheerfully singing and dancing frog that, alas, only performs for one frustrated man? Daffy tormented by the very elements of the cartoon medium in Duck Amuck (1953)? That's only a fraction of what Jones created while at the Warners animation studio, affectionately known as Termite Terrace. This building on the Warners lot boasted an array of individualist talents that Jones, like Duke Ellington, could pull into a whole. There was voice artist Mel Blanc's impeccable timing, writer Michael Maltese's absurdist love affair with language, music director Carl Stalling's collaged scores and perhaps best of all a studio that knew enough to just leave the gang alone so long as the cartoons kept coming.

After Warners shuttered its animation division in 1962, Jones moved to MGM where he worked on several Tom & Jerry cartoons, his inimitable lines always immediately apparent. In 1966 he directed How the Grinch Stole Christmas from Dr. Seuss' book, one of the finest literary adaptations. A feature version of Norman Juster's classic The Phantom Tollbooth followed in 1969. Along with his daughter Linda, Jones was one of the first to see the value of original animation art and in the late 70s began a thriving business. (For more info see http://www.chuckjones.com.) Jones made cameo appearances in Joe Dante's Gremlins (1984) and Innerspace (1987). In 1989, he wrote a touching and funny memoir, Chuck Amuck, that's pretty much essential reading.

Jones won an Best Short Subject Cartoons Oscar for The Dot and the Line (1965), having earlier been nominated twice in 1962. His Pepe LePew film For Scent-imental Reasons (1949) and public-health cartoon So Much for So Little also won Oscars though not for Jones himself. In 1996 he was awarded an honorary Oscar "for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than a half century."

By Lang Thompson

GEORGE NADER, 1921 - 2002

Actor George Nader, best known for the B-movie anti-classic Robot Monster, died February 4th at the age of 80. One-time co-star Tony Curtis said, "He was one of the kindest and most generous men I've ever known. I will miss him." Nader was born in Pasadena, California on October 19, 1921 and like many other actors started performing while in school. His first film appearance was the B-Western Rustlers on Horseback (1950) and he made other appearances, often uncredited, before the immortal Robot Monster in 1953. This dust-cheap, charmingly inept film (originally in 3-D!) features Nader as the father of Earth's last surviving family, everybody else having been wiped out by a gorilla in a diving helmet. Shortly after, Nader landed major roles in RKO's Carnival Story (1954) and with Curtis in Universal's Six Bridges to Cross (1955), bringing a beefy charm that earned him numerous fans. As a result, in 1955 Nader shared a Golden Globe for Most Promising Male Newcomer. He then appeared in numerous lower profile studio films before closing out the decade playing Ellery Queen in a short-lived TV series. He relocated to Europe in the sixties where he found steady work. As secret agent Jerry Cotton, he made a series of spy thrillers which earned him a cult reputation in Europe, starting with Schusse aud dem Geigenkasten (aka Operation Hurricane: Friday Noon) (1965). The eighth and final entry in the series was Dynamit in gruner Seide (aka Dynamite in Green Silk) (1968). His film career ended in the mid-70s when a car wreck damaged his eyes so that he could no longer endure a film set's bright lights. Nader began writing novels, most notably the recently reprinted Chrome (1978), an acclaimed science fiction novel with openly gay characters.

By Lang Thompson

TCM REMEMBERS HAROLD RUSSELL, 1914 - 2002

Oscar-winning actor Harold Russell died January 29th of a heart attack at age 88. As a disabled veteran whose hands had been amputated in The Best Years of Our Lives (1946), Russell won Best Supporting Actor but also an honorary award "for bringing hope and courage to his fellow veterans." This made Russell the only person to receive two Oscars for the same role. Russell was born in Nova Scotia on January 14, 1914 but grew up in Cambridge Massachusetts. He joined the US Army after the attack on Pearl Harbor and while training paratroopers lost both hands in an accidental explosion. He then made a training film where director William Wyler saw Russell. Wyler was so impressed that he changed the character in The Best Years of Our Lives from a man with neurological damage to an amputee so that Russell could play the part. After winning the Oscar, Russell followed Wyler's advice and went to college, eventually running a public relations company and writing his autobiography. He made two more film appearances, Inside Moves (1980) and Dogtown (1997), and appeared in a few TV episodes of China Beach and Trapper John MD. Russell made waves in 1992 when he decided to sell his acting Oscar to help cover expenses of his large family. The Motion Picture Academy offered to buy the statue for $20,000 but it sold to an anonymous bidder for $60,000. About the other statute, Russell said, "I'd never sell the special one. The war was over, and this was the industry's way of saying thank you to the veterans."

By Lang Thompson

Tcm Remembers - Lawrence Tierney

TCM Remembers - Lawrence Tierney

A SCREEN TOUGH GUY WHO WAS MEANER THAN A JUNKYARD DOG Lawrence Tierney, one of the screen's toughest tough guys, died February 26th at the age of 82. He first startled audiences with his impassioned work in the 1940s but Tierney's rowdy off-screen life eventually pushed him out of the limelight. Though he kept working in small parts, Tierney found a new generation of fans with a few memorable roles in the 80s and 90s. Tierney was born March 15, 1919 in Brooklyn, New York. He grew up in New York and was a track star in school before becoming interested in acting. (His two brothers also became actors though they changed their names to Scott Brady and Ed Tracy.) He went through the usual period of stage appearances before getting bit parts in little-remembered films. His first credited role was in Sing Your Worries Away (1942) but Tierney quickly made his mark playing the title role in Dillinger (1945). A string of memorable roles followed in films like San Quentin (1946), The Devil Thumbs a Ride (1947), Born to Kill (1947) and the Oscar-winning circus drama from director Cecil B. DeMille, The Greatest Show on Earth (1952) in which Tierney played the villain responsible for the epic train wreck toward the film's conclusion. However, Tierney had a knack for real-life trouble and was arrested several times for disorderly conduct and drunken driving. By the end of the 50s he only found sporadic acting work, sometimes not working for several years between films. During this period his best-known work was in Custer of the West (1967) and Andy Warhol's Bad (1977). Slowly in the 1980s, Tierney landed small but frequently noticable parts in Hollywood films such as Prizzi's Honor (1985) and The Naked Gun (1988). He appeared on TV shows like Hill Street Blues, Star Trek: The Next Generation and Seinfeld (as Elaine's father). In 1992 that changed when Quentin Tarrantino cast Tierney as the crime boss in Reservoir Dogs, an unforgettable part that gave him new fans. While the subsequent roles or films didn't get any bigger, Tierney was finally a recognized name. One of his oddest roles was the half-hour Red (1993) based on the infamous mid-70s Tube Bar tapes where a real-life bar owner responds with startlingly over-the-top remarks to prank phone calls. (If that sounds familiar it's because The Simpsons based Moe's responses to prank calls on these tapes. Tierney provided a voice in the 1995 Simpsons episode "Marge Be Not Proud.") Tierney's last film appearance was in Armageddon (1998)! By Lang Thompson CHUCK JONES, 1912 - 2002 Animator Chuck Jones died February 22nd at the age of 89. Jones may not have boasted quite the name recognition of Howard Hawks or John Ford but he was unquestionably one of the greatest American directors. His goals might have been primarily to entertain, which he did so wonderfully that his 50 and 60 year old cartoons seem fresher than most anything produced in the 21st century. But Jones displayed a sense of movement, timing and character barely equalled elsewhere. Literary critics have a saying that while there are no perfect novels there are certainly flawless short stories. Several of Jones' cartoons reach a perfection that Hawks and Ford could only have dreamed about. Jones was born September 21, 1912 in Spokane, Washington but grew up in Hollywood. As a child he would watch films by Charlie Chaplin and others being made in the streets, absorbing the process and supposedly even appearing as an extra in Mack Sennett shorts. After graduating from L.A.'s Chouinard Art Institute (now California Institute of the Arts), Jones started selling pencil drawings on street corners. He soon landed a job in 1932 with ground-breaking animator Ub Iwerks as a cel washer (somebody who removes ink from the expensive celluloid frames so they could be reused). The following year Jones began to work for Leon Schlesinger Productions which was sold to Warner Brothers. There he directed his first film, The Night Watchman in 1938. Jones would stay at Warners for almost 25 years until it closed the animation division. Here is where Jones did some of his most-beloved work, putting Bugs Bunny, Daffy Duck, the Road Runner, Marvin Martian and numerous others through many of their most memorable exploits. Who can forget Bugs and Daffy's hilariously convoluted arguments about hunting season in Rabbit Seasoning (1952) and Duck Rabbit Duck (1953)? Or the Coyote's tantalized, endless pursuit of the Road Runner? What's Opera Doc? (1957) sending Elmer and Bugs to Bayreuth? A cheerfully singing and dancing frog that, alas, only performs for one frustrated man? Daffy tormented by the very elements of the cartoon medium in Duck Amuck (1953)? That's only a fraction of what Jones created while at the Warners animation studio, affectionately known as Termite Terrace. This building on the Warners lot boasted an array of individualist talents that Jones, like Duke Ellington, could pull into a whole. There was voice artist Mel Blanc's impeccable timing, writer Michael Maltese's absurdist love affair with language, music director Carl Stalling's collaged scores and perhaps best of all a studio that knew enough to just leave the gang alone so long as the cartoons kept coming. After Warners shuttered its animation division in 1962, Jones moved to MGM where he worked on several Tom & Jerry cartoons, his inimitable lines always immediately apparent. In 1966 he directed How the Grinch Stole Christmas from Dr. Seuss' book, one of the finest literary adaptations. A feature version of Norman Juster's classic The Phantom Tollbooth followed in 1969. Along with his daughter Linda, Jones was one of the first to see the value of original animation art and in the late 70s began a thriving business. (For more info see http://www.chuckjones.com.) Jones made cameo appearances in Joe Dante's Gremlins (1984) and Innerspace (1987). In 1989, he wrote a touching and funny memoir, Chuck Amuck, that's pretty much essential reading. Jones won an Best Short Subject Cartoons Oscar for The Dot and the Line (1965), having earlier been nominated twice in 1962. His Pepe LePew film For Scent-imental Reasons (1949) and public-health cartoon So Much for So Little also won Oscars though not for Jones himself. In 1996 he was awarded an honorary Oscar "for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than a half century." By Lang Thompson GEORGE NADER, 1921 - 2002 Actor George Nader, best known for the B-movie anti-classic Robot Monster, died February 4th at the age of 80. One-time co-star Tony Curtis said, "He was one of the kindest and most generous men I've ever known. I will miss him." Nader was born in Pasadena, California on October 19, 1921 and like many other actors started performing while in school. His first film appearance was the B-Western Rustlers on Horseback (1950) and he made other appearances, often uncredited, before the immortal Robot Monster in 1953. This dust-cheap, charmingly inept film (originally in 3-D!) features Nader as the father of Earth's last surviving family, everybody else having been wiped out by a gorilla in a diving helmet. Shortly after, Nader landed major roles in RKO's Carnival Story (1954) and with Curtis in Universal's Six Bridges to Cross (1955), bringing a beefy charm that earned him numerous fans. As a result, in 1955 Nader shared a Golden Globe for Most Promising Male Newcomer. He then appeared in numerous lower profile studio films before closing out the decade playing Ellery Queen in a short-lived TV series. He relocated to Europe in the sixties where he found steady work. As secret agent Jerry Cotton, he made a series of spy thrillers which earned him a cult reputation in Europe, starting with Schusse aud dem Geigenkasten (aka Operation Hurricane: Friday Noon) (1965). The eighth and final entry in the series was Dynamit in gruner Seide (aka Dynamite in Green Silk) (1968). His film career ended in the mid-70s when a car wreck damaged his eyes so that he could no longer endure a film set's bright lights. Nader began writing novels, most notably the recently reprinted Chrome (1978), an acclaimed science fiction novel with openly gay characters. By Lang Thompson TCM REMEMBERS HAROLD RUSSELL, 1914 - 2002 Oscar-winning actor Harold Russell died January 29th of a heart attack at age 88. As a disabled veteran whose hands had been amputated in The Best Years of Our Lives (1946), Russell won Best Supporting Actor but also an honorary award "for bringing hope and courage to his fellow veterans." This made Russell the only person to receive two Oscars for the same role. Russell was born in Nova Scotia on January 14, 1914 but grew up in Cambridge Massachusetts. He joined the US Army after the attack on Pearl Harbor and while training paratroopers lost both hands in an accidental explosion. He then made a training film where director William Wyler saw Russell. Wyler was so impressed that he changed the character in The Best Years of Our Lives from a man with neurological damage to an amputee so that Russell could play the part. After winning the Oscar, Russell followed Wyler's advice and went to college, eventually running a public relations company and writing his autobiography. He made two more film appearances, Inside Moves (1980) and Dogtown (1997), and appeared in a few TV episodes of China Beach and Trapper John MD. Russell made waves in 1992 when he decided to sell his acting Oscar to help cover expenses of his large family. The Motion Picture Academy offered to buy the statue for $20,000 but it sold to an anonymous bidder for $60,000. About the other statute, Russell said, "I'd never sell the special one. The war was over, and this was the industry's way of saying thank you to the veterans." By Lang Thompson

Quotes

Trivia

Miscellaneous Notes

Began shooting May 31, 1995.

Released in United States Fall September 27, 1996

Released in United States on Video February 25, 1997

Released in United States 1996 (Shown at American Film Market (AFM) in Los Angeles February 29 - March 8, 1996.)

Released in United States November 1997 (Shown at Tokyo International Film Festival (Special Screening) November 1-10, 1997.)

Released in United States Fall September 27, 1996

Released in United States on Video February 25, 1997

Released in United States 1996

Released in United States November 1997

Shown at American Film Market (AFM) in Los Angeles February 29 - March 8, 1996.

Shown at Tokyo International Film Festival (Special Screening) November 1-10, 1997.

Feature directorial debut for veteran TV writer/diector John Herzfeld.

Completed shooting August 3, 1995.