Carl Franklin - Biography, Date of Birth, Place of Birth, Filmography (Read)

Karl Franklin - biography, date of birth, place of birth, filmography, clips, Actor, Director, Writer, Producer.

Born April 11, 1949, Richmond, California is an American actor, director, screenwriter and producer.

At school, Franklin worked hard on his academics, which paid off when he received a scholarship to the University of California, Berkeley. Franklin's initial desires to become a teacher or a lawyer led him to study history while entering university. However, two years later, Franklin changed his specialty to theater arts. Rumors spread that he became interested in art, trying to meet girls while spending time in the theater department. His time at Berkeley marked the beginning of his acting career.

The right moment found Franklin at the center of famous political demonstrations in Berkeley in the 1960s. While the entire movement could not be ignored, Franklin did not take an active part and preferred to observe his surroundings. However, it has been noted that the Black Power movement in particular has caught his attention.

After completing his bachelor's degree in theater arts, Franklin moved to New York almost immediately in hopes of becoming an actor. One of his first jobs was acting at the New York Shakespeare Festival, where he appeared in Twelfth Night, Timon of Athens and Cymbeline. Revisiting his love of acting with a career on stage, Franklin performed off-Broadway with the Public Theater. He has performed in many famous public arenas like the Lincoln Center and the Joseph Papp Public Theater in New York, and the Arena Stage (Washington, DC).

With a background on the off-Broadway circuit, Franklin began his film career with the 1973 High Five movie. From there, he has made guest appearances on television shows such as The Rockford Detective Dossier, Good Times, Caribe, The Incredible Hulk, and The Streets of San Francisco. Over the years, Franklin's views have typically earned him roles that portray people of power, such as police officers or military officials. Franklin's most recognizable role was that of Captain Crane in the hit action-adventure series Team A. After two seasons on the show, Franklin realized that acting had become mundane and unsatisfactory to him.

He began experimenting with cinema, tasting water with his foot with writing and producing. And so, at the age of 37, Franklin made the important decision to return to school in 1986. This time, he chose the AFI Conservatory in Los Angeles, where he studied directing, studying mainly the work of European and Japanese directors. He received his Master of Arts in Directing in 1986.

His time at AFI ended on a life-changing project. For his master's thesis, Franklin directed a short film called Punk in 1989. The film tells the story of an African American boy faced with the realities of family stress, social pressure and an ever frightening development of sexual discovery. Franklin's thirty-minute film can be attributed to both failure and success. The production of the film cost him a house and left him in a state of financial crisis, however, the impressive end product has drawn attention to him in an industry that is nearly impossible to penetrate. From there, his vision helped him survive a successful career.

Straight out of his master's program, Franklin took a job with film producer / director Roger Corman in 1989. Corman was one of the many directors who were impressed by Franklin's graduation work Punk. Corman adopted Franklin as a kind of protege, working under him at his production company Concord Films.

While at Concord Films, Franklin gained experience working on low-budget films, helping to produce six films in just two years. Roger Corman is known for his fast pace of filmmaking, with a reputation for cranking scripts over the course of several weeks and filming them even faster. Working with Corman gave Franklin the opportunity to write, direct, produce, and sometimes even play in a wide range of mostly invisible films. By all accounts, Franklin has worked on films in exotic locations such as Peru and the Philippines, and punching himself out creatively. From 1989 to 1990, Franklin worked on Nowhere to Run, Eye of the Eagle 2: Inside the Enemy and Full Fathom Five, respectively, for Concord Films.

In the late 1980s, producer Jesse Beaton was looking for a director for One Wrong Move. The dramatic script needed someone bold and fresh. Remembering Franklin's short, Punk, Beaton met with Karl to discuss the film's vision. Hoping to focus on the character of the story rather than the aesthetic, Beaton realized that Franklin was the right person for the job, making One Wrong Move the directorial debut of Karl Franklin.

Franklin's approach to the script has created a thriller, a bit modest from the genre noir, which deals with the themes of drugs, violence and sexual relations. The story follows three drug dealers, played by Billy Bob Thornton, Cinda Williams and Michael Beach, and their interaction with the Sheriff of Arkansas, played by Bill Paxton. Far from his low-budget past, Franklin's $ 2 million budget gave him little room to be creative and achieve his entire film vision. What set the film apart from countless other cop and robber films was Franklin's understanding of the basic racial dimensions that the film presented. With a unique take on the classic theme of racial tension, Franklin's directorial performance was highly praised. However, the original version of the film, which was released in 1991 was considered overly violent.

The film was noted for Franklin's creative use of pastoral motifs. Combining cinematic and literary traditions, Franklin paints a picture of a crime deeply rooted in the South, pointing out that real issues go further than might be expected. Basic commentary on the severity of racial issues is one that has not been expressed by many other filmmakers in this way, however, Franklin's films have been likened to Oscar Michaud's In Our Yard (1920), The Boys Next Door (1991) by John Singleton, and Chinatown "(1974) by Roman Polanski.

Despite the film's lack of professional publicity, One Wrong Move was heavily promoted by word of mouth and received mixed reviews. However, the feedback that was positive was very positive, earning more attention for the project. Gene Siskel named the film the best film of the year and was named one of the 10 best films by the National Review Board.

The next film became one of Franklin's most famous films, The Devil in the Blue Dress. Franklin's involvement in the production stemmed from his admiration for Walter Mosley, the author of the original detective story. Investing in the project as a director and fan, Franklin adapted the script himself. Working again with Jesse Beaton, and with Jonathan Demmi as executive producer, they were able to secure a $ 20 million budget for the film, paving the way for smooth production. With Denzel Washington on board, starring, the film was very promising.

Based in Los Angeles in the late 1940s, the story follows an African-American private detective and his often challenging career. The film's greatest contribution was its recreation of South Central Los Angeles, at a time when the area was at its height of historical significance. His portrayal of the area, touched on a chunk of time, is often overlooked and reminded audiences of the values ??of Los Angeles society, and is especially relevant to many African American viewers who have appreciated the understanding of the family values ??that define their culture. Reviews of the films varied, many praising Franklin's direction more than the film itself. Switching back to television, Franklin directed Laurel Avenue, a two-part miniseries centered on an African-American family from Minnesota for HBO in 1993. Franklin's portrayal of the realities of the African American community was highly regarded, once again demonstrating his talent for hard-hitting reality mixed with deep sentimentality and an understanding of humanity. One specific issue that stood out on the show was drug use. Franklin defended his images, explaining that "Drugs are a huge problem in the black community. Not that it would be a silly oversight. But if the subject of drugs is introduced into the context of a hardworking family that has managed to maintain unity, and the viewer sees drugs as a threat to that unity," they get a lot more understanding of the problem. " The series earned Franklin even more positive reviews, proving that it is his outspoken approach to portraying reality that continues to bring him success.
once again demonstrating his talent for hard-hitting reality, mixed with deep sentimentality and understanding of humanity. One specific issue that stood out on the show was drug use. Franklin defended his images, explaining that "Drugs are a huge problem in the black community. Not that it would be a silly oversight. But if the subject of drugs is introduced into the context of a hardworking family that has managed to maintain unity, and the viewer sees drugs as a threat to that unity," they get a lot more understanding of the problem. " The series brought Franklin even more positive reviews, proving that his outspoken approach to portraying reality continues to bring him success.
once again demonstrating his talent for hard-hitting reality, mixed with deep sentimentality and understanding of humanity. One specific issue that stood out on the show was drug use. Franklin defended his images, explaining that "Drugs are a huge problem in the black community. Not that it would be a silly oversight. But if the subject of drugs is introduced into the context of a hardworking family that has managed to maintain unity, and the viewer sees drugs as a threat to that unity," they get a lot more understanding of the problem. " The series earned Franklin even more positive reviews, proving that it is his outspoken approach to portraying reality that continues to bring him success.
One specific issue that stood out on the show was drug use. Franklin defended his images, explaining that "Drugs are a huge problem in the black community. Not that it would be a silly oversight. But if the subject of drugs is introduced into the context of a hardworking family that has managed to maintain unity, and the viewer sees drugs as a threat to that unity," they get a lot more understanding of the problem. " The series earned Franklin even more positive reviews, proving that it is his outspoken approach to portraying reality that continues to bring him success.
One specific issue that stood out on the show was drug use. Franklin defended his images, explaining that "Drugs are a huge problem in the black community. Not that it would be a silly oversight. But if the subject of drugs is introduced into the context of a hardworking family that has managed to maintain unity, and the viewer sees drugs as a threat to that unity," they get a lot more understanding of the problem. " The series earned Franklin even more positive reviews, proving that it is his outspoken approach to portraying reality that continues to bring him success.

Following Laurel Avenue, Franklin earned A-list status, which allowed him to work on larger and more visible projects like True Values ??(1998). This film is an adaptation of the autobiographical novel by New York journalist Anna Quindlan, which follows a woman (Renee Zellweger) who has no choice but to leave Manhattan and move to the small town where she grew up when her mother (Meryl Streep) was diagnosed with cancer. ...

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Author: Jane Watson