Norman Jewison
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He is known for directing such films as the seminal Australian New Wave picture Wake in Fright (1971), the Mordechai Richler adaptations The Apprenticeship of Duddy Kravitz (1974) and Joshua Then and Now (1985), the original Rambo film First Blood (1982), and the comedies Fun with Dick and Jane (1977), North Dallas Forty (1979), and Weekend at B...
- William T. Kotcheff
- William Theodore Kotcheff, April 7, 1931 (age 92), Toronto, Ontario, Canada
- 1956–present
- 5, including Thomas Kotcheff and Alexandra Kotcheff
His film career started in England: Tiara Tahiti (1962), a social comedy starring James Mason and John Mills ; Life at the Top (1965), starring Laurence Harvey and Jean Simmons ; Two Gentlemen Sharing (1969) , starring Robin Phillips, a film set in the West Indian community of London and dealing with relationships between blacks and whites which...
- January 1, 1
- 2 min
- Toronto, Ontario, Canada
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18 titles. 1. Tiara Tahiti (1962) Not Rated | 100 min | Drama, Comedy. 5.8. Rate. James Mason and Sir John Mills star in this comedy-drama about a tough Colonel and a refined Captain who clashed during the war and continue their personal battle in peacetime Tahiti. Director: Ted Kotcheff | Stars: James Mason, John Mills, Claude Dauphin, Herbert Lom
Ted Kotcheff (born April 7, 1931), sometimes credited as William Kotcheff or William T. Kotcheff, is a Canadian film and television director, who is well known for his work on several high-profile British television productions and as a director of films such as First Blood.
His film career started in England: Tiara Tahiti (1962), a social comedy starring James Mason and John Mills ; Life at the Top (1965), starring Laurence Harvey and Jean Simmons ; Two Gentlemen Sharing (1969) , starring Robin Phillips, a film set in the West Indian community of London and dealing with relationships between blacks and whites which...
- April 7, 1931
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Kotcheff travelled to Australia to film Wake in Fright (1971) about the harsh conditions in the Outback, and the film became a sparkplug for the Australian New Wave of filmmakers (Kotcheff allowed a young Peter Weir to shadow him on set). Though largely unseen in the United States for 30 years, the film earned the distinction of being named a ...
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