Name	Universum Film AG
Logo
Type	subsidiary, AG
Foundation	Berlin, Germany
Founder	Government
Location city	Berlin
Location country	Germany
Area served	Domestic area
Industry	Film industry
Products	Dr. Mabuse (1922),Metropolis (1927),The Blue Angel (1930)
Production	Film, TV program
Parent	RTL Group
Homepage	www.ufa.de

Universum Film AG, (originally Universum Film Aktiengesellschaft) better known as UFA or Ufa, was the principal film studio in Germany, home of the German film industry during the Weimar Republic and through World War II, and a major force in world cinema from 1917 to 1945. After World War II, UFA continued producing movies and television programmes to the present day, making it the longest standing film company in Germany.

History

UFA was created during November 1917 in Berlin as a government-owned producer of World War I propaganda and public service films. It was created through the consolidation of most of Germany's commercial film companies, including Nordisk and Decla. Decla's former owner, Erich Pommer, served as producer for the 1920 film The Cabinet of Dr. Caligari, which was not only the best example of German Expressionism and an enormously influential film, but also a commercial success. During the same year, UFA opened the UFA-Palast am Zoo theatre in Berlin.

Pressured by the US film industry, in late 1921 UFA was merged with Decla-Bioscop, "with government, industrial and banking support" and a near-monopoly in an industry that produced around 600 films each year and attracted a million customers every day. In the silent movie years, when films were easier to adapt for foreign markets, UFA began developing an international reputation and posed serious competition to Hollywood.

During the Weimar years the studio produced and exported an enormous, accomplished, and inventive body of work. Only an estimated 10% of the studio's output still exists. Famous directors based at UFA included Fritz Lang and F.W. Murnau, producing landmark films such as Dr. Mabuse (1922), Metropolis (1927), and Marlene Dietrich's first talkie, The Blue Angel (1930).

and his wife, writer Thea von Harbou, who together created many of UFA most noted films, in their Berlin apartment in 1923 or 1924]]

In addition to avant-garde experiments and lurid films of Weimar street life, UFA was also the studio of the bergfilm, a uniquely German genre that glorified and romanticized mountain climbing, downhill skiing, and avalanche-dodging. The bergfilm genre was primarily the creation of director Arnold Fanck, and examples like The Holy Mountain (1926) and White Ecstasy (1931) are notable for the appearance of Austrian skiing legend Hannes Schneider and a young Leni Riefenstahl.

The studio over-extended itself financially during the late 1920s, partly as a result of the expensive production of Metropolis, and was taken over by Alfred Hugenberg in March 1927. Hugenberg was connected to Krupp and sympathetic to the Nazis, and the company became a producer of Nazi propaganda films after Hitler gained power in 1933. Joseph Goebbels' ministry of propaganda essentially controlled the content of UFA films through political threat. Because of this, Lang, like many of his UFA colleagues, would soon leave Germany to work in Hollywood.

]]

During the 1930s UFA produced both lighthearted musicals and comedies (starring such genuine talents as Truus van Aalten) – and, as the Nazi Party gained power, odious examples of anti-Semitic propaganda. During 1937 the Nazis bought 72% of UFA's shares, and in 1942 the company was nationalized totally by the Third Reich as the monopoly parent company of the German state's film industry, under which were absorbed all other production and distribution companies and studio facilities active at that time. The studio's design was also an inspiration to the newly constructed Manchukuo Film Association.

After the end of the Second World War UFA ceased activity, and initially was so associated with the Third Reich that even reissues of its non-political product were possible only by removing all reference to the company from the credits. Furthermore, the UFA studios were located in the Soviet Zone of Germany and were incorporated subsequently into the German Democratic Republic (East Germany). The new studio, DEFA (Deutsche Film AG), carried on the UFA tradition with many directors returning from exile, while actors and technicians were recruited from the old company. During the 1960s, the UFA name and logo were co-opted by a West German chain of movie theaters. DEFA went out of business soon after German reunification in 1990, but the UFA studios in Babelsberg now house a number of independent production companies as well as a theme park and museum devoted to the history of German film. Attempts were made in West Germany to resurrect UFA as a production company, but failed to produce more than a few films. During 1991, UFA was re-established as a major producer of television programs. Now it is part of the transnational Bertelsmann corporation.

See also

Studio Babelsberg

List of films featuring Berlin

Notes

References

Kreimeier, Klaus : The Ufa story : a history of Germany's greatest film company, 1918-1945. New York : Hill & Wang, 1996; Paperback: Berkeley, Calif. ; London : University of California Press 1999, 459 pp, ISBN 978-0520220690

External links

Ufa and German film chronology

"Dream Factory and State Enterprise: the history of UFA"

Filmmuseum Potsdam

Studio Babelsberg

DEFA Film Library and Online Shop

Konrad Wolf College of Film and Television

Category:Film production companies of Germany Category:Companies established in 1917 Category:Weimar culture Category:State-owned film companies

Name	Fritz Lang
Caption	Lang in the 1950s
Birth date	December 05, 1890
Birth place	Vienna, Austria-Hungary
Birth name	Friedrich Christian Anton Lang
Influenced	Luis Buñuel, Stanley Kubrick
Death date	August 02, 1976
Death place	Beverly Hills, California, U.S.
Occupation	Film director, film producer
Years active	1919-1960
Spouse	Lisa Rosenthal (1919-1921)Thea von Harbou (1922-1933)Lily Latté (1971-1976)}}

Friedrich Christian Anton "Fritz" Lang (December 5, 1890 – August 2, 1976) was an Austrian-American filmmaker, screenwriter, and occasional film producer and actor. One of the best known émigrés from Germany's school of Expressionism, he was dubbed the "Master of Darkness" by the British Film Institute. His most famous films are the groundbreaking Metropolis (the world's most expensive silent film at the time of its release) and M, made before he moved to the United States, his iconic precursor to the film noir genre.

Life and career

Early life

Lang was born in Vienna as the second son of Anton Lang (1860–1940), an architect and construction company manager, and his wife Pauline "Paula" Lang née Schlesinger (1864–1920). Fritz Lang himself was baptized on 28 December 1890 at the Schottenkirche in Vienna.

Lang's parents were of Moravian descent and practicing Roman Catholics, his mother having been born Jewish and converted to Catholicism when Fritz was ten. His mother took this conversion seriously and was dedicated to raising Fritz as a Catholic. Lang never had an interest in his Jewish heritage and identified himself as Catholic. Although he was not a particularly devout Catholic, he "regularly used Catholic images and themes [in] his films".

After finishing school, Lang briefly attended the Technical University of Vienna, where he studied civil engineering and eventually switched to art. In 1910 he left Vienna to see the world, traveling throughout Europe and Africa and later Asia and the Pacific area. In 1913, he studied painting in Paris, France.

At the outbreak of the Great War, Lang returned to Vienna and volunteered for military service in the Austrian army and fought in Russia and Romania, where he was wounded three times. While recovering from his injuries and shell shock in 1916, he wrote some scenarios and ideas for films. He was discharged from the army with the rank of lieutenant in 1918 and did some acting in the Viennese theater circuit for a short time before being hired as a writer at Decla, Erich Pommer's Berlin-based production company.

Expressionist films: the Weimar years (1918-1933)

His writing stint was brief, as Lang soon started to work as a director at the German film studio Ufa, and later Nero-Film, just as the Expressionist movement was building. In this first phase of his career, Lang alternated between art films such as Der Müde Tod ("The Weary Death") and popular thrillers such as Die Spinnen ("The Spiders"), combining popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema. In 1920, he met his future wife, the writer and actress Thea von Harbou. She and Lang co-wrote all of his movies from 1921 through 1933, including 1922's Dr. Mabuse, der Spieler (Dr. Mabuse the Gambler), which ran for over four hours in two parts in the original version and was the first in the Dr. Mabuse trilogy, 1924's , the famed 1927 masterpiece Metropolis, and the 1931 classic, M, his first "talking" picture.

Although some consider Lang's work to be simple melodrama, he produced a coherent oeuvre that helped to establish the characteristics of film noir, with its recurring themes of psychological conflict, paranoia, fate and moral ambiguity. His work influenced filmmakers as disparate as Jacques Rivette and William Friedkin.

In 1931, after Woman in the Moon, Lang directed what many film scholars consider to be his masterpiece: M, a disturbing story of a child murderer (Peter Lorre in his first starring role) who is hunted down and brought to rough justice by Berlin's criminal underworld. M remains a powerful work; it was remade in 1951 by Joseph Losey, but this version had little impact on audiences, and has become harder to see than the original film. Lang epitomized the stereotype of the tyrannical German film director such as Erich von Stroheim and Otto Preminger; he was known for being hard to work with. During the climactic final scene in M, he allegedly threw Peter Lorre down a flight of stairs in order to give more authenticity to Lorre's battered look. His wearing a monocle added to the stereotype.

At the end of 1932. Lang started filming The Testament of Dr. Mabuse. Adolf Hitler came to power in January 1933, and by March 30, the new regime banned it as an incitement to public disorder. Testament is sometimes deemed an anti-Nazi film as Lang had put phrases used by the Nazis into the mouth of the title character.

Whereas Lang was worried about the advent of the Nazi regime, partly because of his Jewish heritage,

This account is problematic as many portions cannot be verified, while those that can, run counter to other evidence: Lang actually left Germany with most of his money, unlike most refugees, and made several return trips later in the same year. There were no witnesses to the meeting besides Goebbels and Lang, but Goebbels's appointment books, when they refer to the meeting, mention only the banning of Testament. No evidence has been discovered in any of Goebbels's writings to affirm the suggestion that he was planning to offer Lang any position. Jean-Luc Godard's film Contempt (1963), in which Lang appeared as himself, presents a bare outline of the story as fact.

Whatever the details, Lang did in fact leave Germany in 1934 and moved to Paris. after his marriage to Thea von Harbou, who stayed behind, ended in 1933.

In Paris, Lang filmed a version of Ferenc Molnár's Liliom, starring Charles Boyer. This was Lang's only film in French (not counting the French version of Testament). He then went to the United States. so Lang abandoned his plans for retirement and returned to Germany in order to make his "Indian Epic". Following the production, Brauner was ready to proceed with his remake of Das Testament des Doctor Mabuse when Lang approached him with the idea of adding another original film to the series. The result was The Thousand Eyes of Dr. Mabuse (1960), made in a hurry and with a relatively small budget. It can be viewed as the marriage between the director's early experiences with expressionist techniques in Germany as well as the spartan style already visible in his late American work. Lang was approaching blindness during the production, making it his final project.

Death and legacy

While his career had ended without fanfare, his American and later German works were championed by the critics of the Cahiers du cinéma. Lang died in 1976 and was interred in the Forest Lawn - Hollywood Hills Cemetery in Los Angeles.

Filmography

Pop culture

Lang appears as himself in Jean-Luc Godard's 1963 film Le Mepris.

A fictional Lang appears as a main character in the Fullmetal Alchemist movie "".

An old German director with the demeanors of Lang appears during the filming of a bank robbery in Woody Allen's 1969 comedy Take the Money and Run.

In David Foster Wallace's novel Infinite Jest, Lang is mentioned in tandem with James Cameron on page 48.

References

Further reading

Friedrich, Otto. City of Nets: A Portrait of Hollywood in the 1940s; New York: Harper & Row, 1986; ISBN 0060156260 (See e.g. pp. 45–46 for anecdotes revealing Lang's arrogance.)

McGilligan, Patrick. Fritz Lang: The Nature of the Beast; New York: St. Martins Press, 1997; ISBN 0312132476

Schnauber, Cornelius. Fritz Lang in Hollywood; Wien: Europaverlag, c1986; ISBN 3203509539 (in German)

- Contains interviews with Lang and a discussion of the making of the film M

External links

Fritz Lang Bibliography (via UC Berkeley Media Resources Center)

Senses of Cinema - Biographie

Fritz Lang at filmportal.de

Interview with Fritz Lang from 1967

Bibliography

"Symptôme, exhibition, angoisse. Représentation de la terreur dans l’œuvre allemande de Fritz Lang (1919-1933/1959-1960)", un article de Nicole Brenez extrait de De la Figure en général et du Corps en particulier (1998).

Category:1890 births Category:1976 deaths Category:American film directors Category:American Roman Catholics Category:American people of Austrian descent Category:American people of Jewish descent Category:American screenwriters Category:Austrian expatriates in France Category:Austrian expatriates in Germany Category:Austrian film directors Category:Austrian immigrants to the United States Category:Austrian people of Jewish descent Category:Austrian Roman Catholics Category:Austrian people of Moravian German descent Category:Austro-Hungarian military personnel of World War I Category:Burials at Forest Lawn Memorial Park (Hollywood Hills) Category:English-language film directors Category:German-language film directors Category:Naturalized citizens of the United States Category:People from Margareten Category:People from Vienna Category:People of Jewish descent Category:Vienna University of Technology alumni Category:Western (genre) film directors

Name	Zarah Leander
Birthname	Zarah Stina Hedberg
Birth date	March 15, 1907
Birth place	Karlstad, Sweden
Death date	June 23, 1981
Death place	Stockholm, Sweden
Occupation	Actress, singer
Yearsactive	1929–1979
Spouse	Nils Leander (1926–1930)Vidar Forsell (1932–1943)Arne Hülphers (1956–1978)

Zarah Leander (March 15, 1907 – June 23, 1981) was a Swedish actress and singer.

Leander began her career in the late 1920s, and by the mid 1930s her success in Europe, particularly in Germany and the Scandinavian countries, led to invitations to work in the United States. Leander was reluctant to relocate her children, and opted to remain in Europe, and from 1936 was contracted to work for the German Universum Film AG (UFA) while continuing to record songs. Leander later noted that while her films were successful, her work as a recording artist was more profitable.

As a result of her controversial choice to work for the state-owned UFA in Adolf Hitler's Germany, her films and song lyrics were viewed by some as propaganda for the Nazi cause, although she took no public political position. Leander was strongly criticized as a result, particularly in Sweden where she returned after her Berlin home was bombed during an air raid. Initially she was shunned by much of the artistic community and public in Sweden, and found herself unable to resume her career after the Second World War. It was several years before she could make a comeback in Sweden, and she would remain a figure of public controversy for the rest of her life.

Eventually she returned to performing throughout Europe, but was unable to equal the level of success she had previously achieved. She spent her later years in retirement in Stockholm, and died there at the age of 74.

Beginnings

She was born as Sara Stina Hedberg in Karlstad. While Zarah Leander's career in the Third Reich has been criticized, rumors nevertheless erroneously implied that Zarah was of Jewish heritage. According to her son Göran, his mother's family, going back through generations, were from the Swedish provinces of Dalarna and Värmland.

Although Zarah Leander studied piano and violin as a small child, and sang on stage for the first time at the age of six, she initially had no intention of becoming a professional performer and led an ordinary life for several years. As a teenager she lived two years in Riga (1922–1924), where she learned German, took up work as a secretary, married Nils Leander (1926), and had two children (1927 and 1929). However, in 1929 she was engaged, as an amateur, in a touring cabaret by the entertainer and producer Ernst Rolf and for the first time sang "Vill ni se en stjärna," ('Do you want to see a star?') which soon would become her signature tune.

In 1930, she participated in four cabarets in the capital, Stockholm, made her first records, including a cover of Marlene Dietrich's "Falling in Love Again", and played a part in a film. However, it was as "Hanna Glavari" in Franz Lehár's operetta The Merry Widow that she had her definitive break-through (1931). By then she had divorced Nils Leander. In the following years, she expanded upon her career and made a living as an artist on stage and in film in Scandinavia. Her fame brought her proposals from the European continent and from Hollywood, where a number of Swedish actors and directors were working.

Zarah Leander opted for an international career on the European continent. As a mother of two school-age children, she ruled out a move to America. In her view it was, most of all, too insecure. She feared the consequences, should she bring the children with her such a great distance and subsequently be unable to find employment. Despite the political situation, Austria and Germany were much closer, and Leander was already well-versed in German.

A second breakthrough, by contemporary measures her international debut, was the world premiere (1936) of Axel an der Himmelstür at the Theater an der Wien in Vienna, directed by Max Hansen. It was a parody on Hollywood and not the least a parody of the German Marlene Dietrich, who had left a Europe marked by Benito Mussolini, Joseph Stalin and Adolf Hitler. It was followed by the Austrian film Premiere, in which she played the role of a successful cabaret star.

The UFA star

In 1936, she landed a contract with UFA in Berlin. She became known as an extraordinarily tough negotiator, demanding influence and high salaries with half of her salary paid in Swedish kronor to a bank in Stockholm. Propaganda Minister Joseph Goebbels dubbed her an "Enemy of Germany", but as a leading film star at UFA, she participated in ten films, most of them great successes. However, unlike other film stars at the time, such as Olga Chekhova, Leander neither socialized with leading party members nor took part in official Nazi party functions. (Both actresses are rumored to have been Communist spies.) Joseph Goebbels, a leading Nazi Party member, once suggested that she was Jewish because Zarah is a variation of the Old Testament name Sarah. She silenced him by noting that Joseph was also a Biblical name.

In her films, Zarah Leander repeatedly played the role of a femme fatale, independently minded, beautiful, passionate and self-confident. Although most of her songs had a melancholic flair, some had a frivolous undertext, or could at least be interpreted that way. In 1942, in the midst of a burning war, Leander scored the two biggest hits of her recording career - in her signature deep voice, she sang her anthems of hope and survival: "Davon geht die Welt nicht unter" ('That is not the end of the world') and "Ich weiß, es wird einmal ein Wunder gescheh'n" ('I know that someday a miracle will happen'). These two songs in particular are often included in contemporary documentaries as obvious examples of effective Nazi propaganda at work; however, it should also be noted that Leander's performance on these tracks, along with countless other hits she had all over Europe, struck a chord with the German people. Although no exact record sales numbers exist, it is likely that she was among Europe's best-selling recording artists in the years prior to 1945. Zarah herself was quick to point out in later years that what made her a fortune was indeed not her salary from Ufa, but the royalties from the records she released. "Ich weiß, es wird einmal ein Wunder gescheh'n" was the song on which New Wave singer Nina Hagen (who grew up in the German Democratic Republic (GDR) and as a child had idolized Leander) based her 1983 hit "Zarah".

Return to Sweden

Her last film in Nazi Germany premiered on 3 March 1943. Her villa in the fashionable Berlin suburb of Grunewald was hit in an air raid, and the increasingly desperate Nazis pressured her to apply for German citizenship. At this point she decided to break her contract with Ufa, leave Germany, and retreat to Sweden, where she had bought a mansion at Lönö, not far from Stockholm.

After the Wehrmacht's defeat in the 1943 Battle of Stalingrad, public opinion in Sweden (the government of which remained officially neutral throughout the war, though ideologically aligned with the Allies, but also supplying the Nazis with strategic war materials), was more free to display outward hostility toward the Nazis, especially as news of the Holocaust became widespread (public opinion was mainly anti-Nazi from the start, but was censored in the press by the government, to avoid severe repercussions from Germany). Leander had been far too extensively associated with Nazi propaganda, and as a result was shunned. Gradually she managed to land engagements on the Swedish stage. After the war she did eventually return to tour Germany and Austria, giving concerts, making new records and acting in musicals. Her comeback found an eager audience among pre-war generations who had never forgotten her. She appeared in a number of films and television shows, but she would never regain the popularity she had enjoyed before and into the first years of World War II. In 1981, after having retired from show business, she died in Stockholm of a stroke.

After the war, Zarah Leander was often questioned about her years in Nazi Germany. Though she would willingly talk about her past, she stubbornly rejected allegations of her having had sympathy for the Nazi regime. She claimed that her position as a German film actress merely had been that of an entertainer working to please an enthusiastic audience in a difficult time. She repeatedly described herself as a political idiot.

In 1987 two Swedish musicals were written about Zarah Leander.

In 2003 a bronze statue was placed in Zarah Leander's home town Karlstad, by the Opera house of Värmland where she first began her career. After many years of discussions, the town government accepted this statue on behalf of the first Swedish local Zarah Leander Society. Many great Swedish artists celebrated on that day, but nothing further has been done to profile Karlstad as the birthplace of Zarah Leander.. A Zarah Leander museum is open near her mansion outside Norrköping. Every year a scholarship is given to a creative artist in Zarah's tradition. The performer Mattias Enn received the prize in 2010, the female impersonator Jörgen Mulligan in 2009 and Zarah's friend and creator of the museum Brigitte Pettersson in 2008.

Filmography

1930 – Dantes Mysterier, with Eric Abrahamson, Elisabeth Frisk, Gustaf Lövås

1931 – Falska Millionären, with Sture Lagerwall, Fridolf Rhudin

1935 – Äktenskapsleken, with Einar Axelsson, Karl Gerhard, Elsa Carlsson

1936 – Premiere (her first film in German), with Karl Martell, Attila Hörbiger, Theo Lingen

1937 – Zu neuen Ufern, with Willy Birgel, Viktor Staal, Carola Höhn, Erich Ziegel, Hilde von Stolz

1937 – La Habanera, with Ferdinand Marian, Karl Martell, Paul Bildt, Edwin Juergenssen, Werner Finck

1938 – Heimat, with Heinrich George, Ruth Hellberg, Lina Carstens, Paul Hörbiger, Leo Slezak

1938 – Der Blaufuchs, with Willy Birgel, Paul Hörbiger, Jane Tilden, Karl Schönböck, Rudolf Platte

1939 – Es war eine rauschende Ballnacht, with Marika Rökk, Paul Dahlke, Aribert Wäscher

1939 – Das Lied der Wüste, with Gustav Knuth, Friedrich Domin, Herbert Wilk, Franz Schafheitlin

1940 – Das Herz der Königin, with Willy Birgel, Axel von Ambesser, Will Quadflieg, Margot Hielscher

1941 – Der Weg ins Freie, with Hans Stüwe, Agnes Windeck, Siegfried Breuer, Hedwig Wangel

1942 – Die große Liebe, with Viktor Staal, Paul Hörbiger, Grethe Weiser, Wolfgang Preiss

1942 – Damals, with Hans Stüwe, Rossano Brazzi, Karl Martell, Hilde Körber, Otto Graf

1950 – Gabriela, with Siegfried Breuer, Carl Raddatz, Grethe Weiser, Gunnar Möller

1952 – Cuba Cabana, with O. W. Fischer, Paul Hartmann, Hans Richter, Eduard Linkers, Karl Meixner, Werner Lieven

1953 – Ave Maria, with Hans Stüwe, Marianne Hold, Hilde Körber, Berta Drews, Carl Wery

1954 – Bei Dir war es immer so schön, with Willi Forst, Heinz Drache, Sonja Ziemann, Margot Hielscher

1959 – Der blaue Nachtfalter, with Christian Wolff, Marina Petrowa, Paul Hartmann, Werner Hinz

1964 – Das Blaue vom Himmel (TV-Film), with Karin Baal, Toni Sailer, Carlos Werner

1966 – Das gewisse Etwas der Frauen, with Nadja Tiller, Anita Ekberg, Romina Power, Robert Hoffmann, Michèle Mercier

Operettas and musicals

1931 Franz Lehár, Die lustige Witwe

1936 Ralph Benatzky, Axel an der Himmelstür (as Gloria Mills)

1958 Ernst Nebhut, Peter Kreuder, Madame Scandaleuse (as Helene)

1960 Oscar Straus, Eine Frau, die weiß, was sie will (as Manon Cavallini)

1964 Karl Farkas u. Peter Kreuder, Lady aus Paris (as Mrs. Erlynne)

1968 Peter Thomas, Ika Schafheitlin, Helmuth Gauer, Wodka für die Königin (as Königin Aureliana)

1975 Stephen Sondheim, Hugh Wheeler, Das Lächeln einer Sommernacht (as Madame Arnfeldt)

Footnotes

References

Ascheid, Antje. Hitler's heroines : stardom and womanhood in Nazi cinema. Philadelphia, Pa. : Temple University Press, 2003

Carter, Erica. ''Dietrich's ghosts : the sublime and the beautiful in Third Reich film. London : BFI Publishing, 2004

Seiler, Paul. Ich bin eine Stimme. LinkBerlin : Ullstein, 1997

Autobiography

Es war so wunderbar. Mein Leben. Hamburg: Hoffmann u. Campe. 1973. ISBN 3-455-04090-X

External links

Listen to Zarah sing

Zarah Leander talking about her German film years (in Swedish)

Photographs and bibliography

Category:Swedish female singers Category:Swedish actors Category:Swedish film actors Category:Swedish musical theatre actors Category:Schlager Category:Sweden in World War II Category:Swedish people of World War II Category:Swedish expatriates in Germany Category:People from Karlstad Category:1907 births Category:1981 deaths

Caption	Cage at the 66th Venice International Film Festival, September 4, 2009
Birth date	January 07, 1964 January 7, 1964) is an American actor, producer and director, having appeared in over 60 films including The Rock (1996), Face/Off (1997), Gone In 60 Seconds (2000), National Treasure (2004), Ghost Rider (2007), (2009), and Kick-Ass (2010). Cage, at age 32, became the fifth youngest actor ever to win the Academy Award for Best Actor for his performance in Leaving Las Vegas.
- style	"text-align:center;"

External links

World Trade Center Interview with Nicolas Cage From IGN FilmForce

Nicolas Cage Ghost Rider video interview with stv.tv/movies

Category:Coppola family members Category:1964 births Category:Actors from California Category:American actors of German descent Category:American actors of Italian descent Category:American film actors Category:American film directors Category:American film producers Category:Best Actor Academy Award winners Category:Living people Category:People from Long Beach, California Category:Science fiction fans