Seamless combination of practical and CGI effects.
Fact
He lived in London, Italy, Los Angeles and India.
Tarsem Singh (born 1961) is an Indian-American film director and producer. He is known for his use of lavish production design and his trademark visual style, which often makes use of slow motion and time dilation.
https://www.youtube.com/watch?v=M-c__USQQ4U
Born in Jalandhar, Punjab, India, Singh moved to the United States with his family at the age of two. He was raised in Queens, New York, and later attended the University of California, Berkeley. After graduating from Berkeley, Singh worked as a commercial director before making his feature film debut with The Cell (2000).
Singh’s next film, The Fall (2006), was an international critical and commercial success. His following films, Immortals (2011) and Mirror Mirror (2012), were both box office successes. In 2015, Singh directed the critically acclaimed film Self/less.
Singh has been married to wife Lisa since 1997. The couple have two daughters.
Early Life
Tarsem Singh was born in 1961 in Jalandhar, Punjab, India. His father was a doctor and his mother was a homemaker. Singh’s family moved to the United States when he was two years old, settling in Queens, New York. He attended public schools in Queens, and later attended the University of California, Berkeley.
Career
After graduating from Berkeley, Singh worked as a commercial director. His work in commercials led to him being noticed by Hollywood producers, and he made his feature film debut with The Cell (2000). The Cell was a critical and commercial success, and established Singh as a talented director.
Singh’s next film, The Fall (2006), was an even bigger success. The Fall was an international critical and commercial success, and won several awards. Singh’s following films, Immortals (2011) and Mirror Mirror (2012), were both box office successes. In 2015, Singh directed the critically acclaimed film Self/less.
Singh has been married to wife Lisa since 1997. The couple have two daughters.
General Info
Full Name
Tarsem Singh
Date Of Birth
May 26, 1961
Died
January 24, 1995, London, United Kingdom
Profession
Screenwriter, Lyricist, Film producer, Film director, Television Director
Education
Art Center College of Design, Hans Raj College, Bishop Cotton School
Nationality
Indian
Accomplishments
Awards
Grammy Award for Best Music Video, Directors Guild of America Award for Outstanding Directing - Commercials
Movies
Self/less, Mirror Mirror, Immortals, The Fall, The Cell, Killing on Carnival Row
Use of symetrical structures, most prominently sqaures and cubes
2
Many seens depicting sand or desert landscapes
3
Frequently collaborated with the late Eiko Ishioka. Until her passing, she was the only costume designer he had worked with.
4
Seamless combination of practical and CGI effects.
5
Characters with elaborate costumes
6
Colorful settings
Quotes
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Quote
1
I shot The Fall (2006) in 28 countries and when I came back, I said, 'Right, next movie nothing shot outside a stage.' Because "The Fall" (2006) doesn't have a thing shot in a stage. Everything was done outside.[2015]
2
[on The Fall (2006)] When my brother asked me how much I think the movie cost, I told him for ten years I wasn't going to go into the numbers so I didn't have to sit down and feel bad about the project. At that particular time I just knew that if I didn't get that movie done we would just be a bunch of guys that had money in the bank and we'd always think about the movie we wanted to make. We either make it right now or we don't. It literally was at the correct time at the correct place and I had to make it. It took close to 17 years of location scouting and looking at stuff and having the ideas and finding the people. That kind of project doesn't happen everyday. Maybe you have a couple of them in you. Of course, when we released it after we made the movie, no one wanted the movie. So then I had to work for more money, put another two years of work in to put it in theaters myself and then people like you saw it. Still, it's a very, very polarizing film. It either blows people's minds or it's a very big wank for them. Right now, on the [Rottentomatoes] Tomatometer it isn't even a recommended movie. So that's the kind of definition of cult. It's a polarizing film. You love it or you hate it and I'm OK with both. It's the middle I'm terrified of.[2015]
3
[on being inspired by Sergei Parajanov] I showed Paradjanov to Kodak, and they said, "That's not the kind of thing the new generation would like." Now, I get calls from ad agencies every week saying "we want you to do another commercial just like this."
4
Anybody in Europe who tries to compete directly with Hollywood will die because they'll just spend more money on it. But things like Hindi cinema have evolved from a different angle, and they've survived because of it. In the west, for example, you don't mix opera and film. If someone is 44 he won't play himself as a 12 or 14-year-old, but he will in a Hindi movie. If he's fat and ugly, people will still call him beautiful. In opera you'd accept that, but you don't accept it in cinema. In the middle of a really serious situation, a dog can have a flashback in a Hindi movie. It is still played seriously, but in the west you wouldn't.
5
I saw a book in India titled Guide to Film Schools in America, and it shell-shocked me. It changed my life, because I thought you went to college to study something that your father loved and you hated. I told my father I wanted to study film and he said there was no way he was gonna let me do that. I made my way to Los Angeles, and made a film that won a scholarship to the Art Center College of Design. My father thought I was headed for Harvard. I called him and said, 'I want to study film,' and he said, 'You don't exist anymore'.
Facts
#
Fact
1
Graduate of Art Center College of Design in Pasadena, CA.
2
He was attached to direct Nautica (2008) and Constantine (2005).
3
He lived in London, Italy, Los Angeles and India.
4
Is a prominent commercial director with Radical Media; he directed music videos that were influenced by the work of the genius Sergei Parajanov.