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Albert Maysles (November 26, 1926 – March 5, 2015) and his brother David Maysles (January 10, 1931 – January 3, 1987; / ˈ m eɪ z ɛ l z / MAY-zelz) were an American documentary filmmaking team known for their work in the Direct Cinema style. Their best-known films include Salesman (1969), Gimme Shelter (1970) and Grey Gardens (1975).
- The Maysles Brothers
- David January 3, 1987 (aged 55), New York City, U.S., Albert March 5, 2015 (aged 88), New York City
- Albert (1955–2015; his death), David (1955–1987; his death)
Mar 6, 2015 · John Sotomayor/The New York Times. By Anita Gates. March 6, 2015. Albert Maysles, the award-winning documentarian who, with his brother, David, made intensely talked-about films, including...
May 1, 2024 · Albert and David Maysles (respectively, born November 26, 1926, Boston, Massachusetts, U.S.—died March 5, 2015, New York, New York; born January 10, 1932, Boston, Massachusetts, U.S.—died January 3, 1987, New York, New York) were American documentary filmmakers who worked in a cinema verité style that was sensitive and compassionate as ...
- Pat Bauer
Mar 6, 2015 · The filmmaker Albert Maysles, one of the crucial artists of modern documentary filmmaking—or, simply, one of the most important filmmakers of the past half-century—died on Thursday night, at...
Born in Boston of Jewish immigrants from Eastern Europe, Albert received his B.A. at Syracuse and his M.A. at Boston University where he taught Psychology for three years. He made the transition from Psychology to film in the summer of 1955 by taking a 16mm camera to Russia to film patients at several mental hospitals.
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Mar 7, 2015 · He and his brother made a film about young people in Poland in 1957, and three years later Albert Maysles was a cinematographer for Robert Drew’s influential documentary “Primary,” which ...
Mar 7, 2015 · 1. Albert Maysles got his start in the 1960s as part of the so-called Direct Cinema movement, which was founded by documentary filmmaker Robert Drew. Drew, who started out as a newsreel cameraman in the Air Force, hated the usual way that nonfiction films had been done up until then.
