He has made a total of three films with Denzel Washington. The only directors to work with Washington more times than that are Spike Lee and Tony Scott, who have done four films each with him.
Edward Zwick is an American film director, producer and screenwriter. He has been nominated for three Academy Awards and won the Golden Globe Award for Best Motion Picture – Drama for The Last Samurai (2003).
Zwick was born in 1952 in New York City, the son of Ruth (née Lefkowitz), a teacher, and Bernard Zwick, an advertising executive. He has a sister, Linda. His parents were Jewish immigrants, his father from Poland and his mother from Russia. He grew up in a middle-class neighborhood in the San Fernando Valley.
He attended Harvard University, where he was a member of the rowing team and graduated in 1974 with a BA in History and Literature. He then attended the AFI Conservatory, where he earned his MFA in Film Directing.
Zwick’s first feature film was About Last Night… (1986), which he co-wrote with Glenn Gordon Caron and which starred Rob Lowe and Demi Moore. His next film, Glory (1989), was nominated for five Academy Awards, including Best Picture, and won three, including Best Supporting Actor for Denzel Washington.
In 2000, Zwick directed the war film Courage Under Fire, starring Denzel Washington and Meg Ryan. The film was nominated for five Academy Awards, including Best Picture.
In 2003, Zwick directed the historical drama The Last Samurai, starring Tom Cruise. The film was nominated for four Academy Awards, including Best Picture, and won the Golden Globe Award for Best Motion Picture – Drama.
In 2010, Zwick directed the action thriller Love & Other Drugs, starring Jake Gyllenhaal and Anne Hathaway. The film was nominated for two Academy Awards, including Best Actress for Hathaway.
Zwick’s most recent film is Pawn Sacrifice (2014), starring Tobey Maguire as Bobby Fischer. The film was nominated for the BAFTA Award for Best Film Music.
Zwick is married to actress Mariel Hemingway. They have two daughters: Ava and Zoe.
$20 million dollars
Date Of Birth
October 8, 1952
Screenwriter, Television producer, Film producer, Film director, Actor, Businessperson, Television Director
American Film Institute, Harvard University
Jesse Zwick, Frankie Zwick
Ruth Ellen Zwick, Allen Zwick
Academy Award for Best Picture, Golden Globe Award for Best Motion Picture – Musical or Comedy, Primetime Emmy Award for Outstanding Drama Series, BAFTA Award for Best Film, Primetime Emmy Award for Outstanding Writing for a Limited Series, Movie, or Dramatic Special, Laurel Award for TV Writing A...
Golden Globe Award for Best Director - Motion Picture, Golden Globe Award for Best Motion Picture – Drama, Primetime Emmy Award for Outstanding Writing for a Drama Series, Producers Guild of America Award for Best Theatrical Motion Picture, Primetime Emmy Award for Outstanding Writing - Variety Se...
Jack Reacher: Never Go Back, The Last Samurai, Blood Diamond, Love & Other Drugs, Glory, Defiance, Legends of the Fall, Pawn Sacrifice, The Siege, Courage Under Fire, About Last Night, Leaving Normal, The Great Wall, Shakespeare in Love, Special Bulletin, I Am Sam, Abandon, Dangerous Beauty, Cut Ban...
Quarterlife, Once and Again, Thirtysomething, Dream Street, A Marriage
I think all popular culture is de facto political, so you goddam well better be responsible about it.
To relate to something simply on the basis of race is to deny the universality drama, and I won't be a party to it.
There is a segment of the American population that has been excluded from the national myth, and that should be redressed.
I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.
I look at modern life and I see people not taking responsibility for their lives. The temptation to blame, to find external causes to one's own issues is something that is particularly modern. I know that personally I find that sense of responsibility interesting.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.
I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.
To me this movie is about what is valuable. To one person it might be a stone; to someone else, a story in a magazine; to another, it is a child. The juxtaposition of one man obsessed with finding a valuable diamond with another man risking his life to find his son is the beating heart of this film.
It seems that almost every time a valuable natural resource is discovered in the world-whether it be diamonds, rubber, gold, oil, whatever-often what results is a tragedy for the country in which they are found. Making matters worse, the resulting riches from these resources rarely benefit the people of the country from which they come.
I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.
Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.
There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.
Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.
I have nothing against diamonds, or rubies or emeralds or sapphires. I do object when their acquisition is complicit in the debasement of children or the destruction of a country.
The interesting movies can definitely still be made but on a very small scale. The idea of putting that many resources to a story that might only make a certain amount of money is not what the studios want. They want movies that will move the stock price or justify giving up one of their tentpole slots.