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Encyclopedia of French Film Directors

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DA PALMA, ANNA (October, 16, 1963, Lisbon,<br />

Portugal–)<br />

Portuguese born, she settled in France at age twelve.<br />

After completing her studies <strong>of</strong> art history, she<br />

moved to Paris, where she joined a theatrical group.<br />

She performed onstage for three years before enrolling<br />

in La Maison du Court Métrage, where she acquired<br />

some cinematographic experience. During her<br />

apprenticeship, she directed a unfi nished short, Mémoire<br />

Sépia. Then she began working as a second assistant<br />

director for fi lms (1995 Fiesta, Pierre Boutron;<br />

1997 Le Ciel est à nous / USA: Shooting Stars, Graham<br />

Guit) and TV (1995 Les Femmes et les Enfants d’abord,<br />

Sandra Joxe; 1996 Les Faux Médicaments, Alain-Michel<br />

Blanc; 1998 Le Temps d’un Eclair, Marc Pauly) and<br />

studied screenwriting at the Fémis. Other credit (as<br />

co-screenwriter): 2003 Lune (short, Hubert Fillet).<br />

<strong>Film</strong>ography<br />

2000 Bienvenue (short; also screenwriter, dialogist)<br />

2005 Sem Ela / Sans Elle (also screenwriter, dialogist;<br />

Portugal / France; shot in 2003)<br />

Television <strong>Film</strong>ography<br />

2005 Telma Demain (also screenwriter, dialogist)<br />

2008 Lisbon Calling (short; also screenwriter)<br />

DABAT, GRISHA M. (July 1, 1921, Cairo, Egypt–)<br />

Known mainly as a co-screenwriter (1961 De quoi<br />

tu t’mêles, Daniela! / Zarte Haut in schwarzer Seide /<br />

UK and USA: Daniela, Criminal Strip-Tease / Daniella<br />

by Night, Max Pécas, France / West Germany; 1962<br />

Douce Violence / UK: Sweet Violence / Violent Ecstasy<br />

/ USA: Sweet Ecstasy, Max Pécas; 1963 Le Cri de la<br />

Chair / L’Eternité pour nous / USA: Sin <strong>of</strong> the Beach /<br />

Romance on the Beach, José Benazeraf; shot in 1961),<br />

D<br />

277<br />

he directed only one feature fi lm, supervised by<br />

Roger Vadim.<br />

<strong>Film</strong>ography<br />

1962 Et Satan traduit le Bal (supervised by Roger<br />

Vadim; also co-screenwriter, co-adapter, dialogist)<br />

DAËRT, DANIEL (Jacques Godaert / 1941, France–)<br />

He started out directing comedies before specializing<br />

himself in erotic and then porn movies (under the<br />

pseudonyms <strong>of</strong> Jacques Dumoda, Maurice Claveret,<br />

and Stanley Mills).<br />

<strong>Film</strong>ography<br />

1969 Le Débutant (also screenwriter, dialogist, producer)<br />

1970 Caïn de nulle part / USA: Cain from Nowhere<br />

(also adapter, dialogist, cinematographer, editor)<br />

Le Voyageur (also producer, cinematographer)<br />

1971 Chaleurs / La Femme créa l’Amant<br />

1972 Les Félines / UK: The Cats / USA: The Felines<br />

1973 Le Dingue (also producer, cinematographer)<br />

1974 Les Filles de Malemort / Le Carnaval de Malemort<br />

(also co-screenwriter)<br />

Un Couple parmi tant d’Autres . . . mais si pervers<br />

(as Jean-Paul Maryse)<br />

Cours du Soir pour Messieurs seuls (L’Annonce<br />

faite au mari) (as Jean-Paul Maryse, also<br />

screenwriter, dialogist)<br />

1978 Plein les Poches pour pas un Rond (also<br />

adapter)<br />

DAGAN, ROBERT-PAUL (January 9, 1904, Paris,<br />

France–November 3, 1983, Saint-Lo, Manche, France)

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