جودی فاستر

از ویکی‌پدیا، دانشنامهٔ آزاد
پرش به: ناوبری، جستجو
فارسیEnglish
جودی فاستر
Jodie Foster Césars 2011 cropped.JPG
جودی فاستر در مراسم جوایز سزار
نام اصلی آلیشیا کریستین فاستر
تولد ۱۹ نوامبر ۱۹۶۲(۱۹۶۲-11-۱۹) ‏(۵۵ سال)[۱]
لس آنجلس، کالیفرنیا آمریکا
والدین اولاین برَندی (مادر)
لوسیوس فیشر فاستر (پدر)
محل زندگی لس آنجلس، کالیفرنیا[۱]
پیشه بازیگر، تهیه‌کننده، کارگردان
سال‌های فعالیت ۱۹۶۸ تا کنون
فرزندان چارلز برنارد فاستر
کیت برنارد فاستر
صفحه در وب‌گاه IMDb

آلیشیا کریستین فاستر معروف به جودی فاستر (به انگلیسی: Alicia Christian "Jodie" Foster) (زادهٔ ۱۹ نوامبر ۱۹۶۲) بازیگر، کارگردان و تهیه‌کنندهٔ آمریکایی، برندهٔ دو جایزهٔ اسکار، سه جایزهٔ بَفتا و یک جایزه گلدن گلوب است.

جودی فاستر بازیگری خود را از سه سالگی آغاز کرد.[۱] اولین نقش مهم او در سال ۱۹۷۶ در نقش یک فاحشهٔ خردسال، در فیلم راننده تاکسی بود که توانست نامزد جایزه اسکار بهترین بازیگر نقش مکمل زن شود. او جایزه اسکار بهترین بازیگر نقش اول زن را در سال ۱۹۸۸ برای بازی در فیلم متهم دریافت کرد. او با درخشش در فیلم سکوت بره‌ها در نقش کلاریس استارلینگ، یک مأمور اف‌بی‌آی، که به‌دنبال افشای راز چند قتل زنجیره‌ای بود، تحسین منتقدان بین‌المللی را برانگیخت و دومین جایزهٔ اسکار خود را به‌عنوان بازیگر نقش اول زن دریافت کرد.

تنوع نقش‌هایی که او ایفا کرده بسیار زیاد است و از ژانرهای وحشت، ظالمانه و تخیلی گرفته تا احساسی و طنز و کودکانه را شامل می‌شود. از میان فیلم‌های او که به موفقیت تجاری دست یافته‌اند می‌توان به تماس (۱۹۹۷)، اتاق وحشت (۲۰۰۲)، نقشهٔ پرواز (۲۰۰۵)، مرد نفوذی (۲۰۰۶) و شجاع (۲۰۰۷) اشاره کرد.

جودی فاستر برندهٔ چندین جایزهٔ معتبر از جشنواره‌های جهانی، همچون دو جایزهٔ اسکار، سه جایزهٔ بَفتا، دو گُلدِن گلوب، یک جایزهٔ بازیگران انجمن و جایزهٔ انتخاب مردمی شده است.

زندگی‌نامه[ویرایش]

فاستر در لس‌آنجلس، کالیفرنیا به‌دنیا آمد. مادرش اولاین برَندی آلمانی و پدرش لوسیوس فیشر فاستر یک سرهنگ آمریکایی بود که پیش از تولد جودی از همسرش جدا شد.[۲] فاستر در کودکی به بازی در آگهی‌های بازرگانی پرداخت[۱] و از همان کودکی در برنامهٔ تلویزیونیِ دوریس دِی شو (به انگلیسی: The Doris Day Show) به اجرای برنامه پرداخت.[۳]

اولین سابقهٔ بازیگری او در سینما به فیلم تلویزیونی تهدید در کوهستان (به انگلیسی: Menace on the Mountain) بازمی‌گردد که در سال ۱۹۷۰ توسط شرکت والت دیزنی پیکچرز عرضه شد.[۱]

او در مدرسهٔ ابتدایی زبان فرانسه را آموخت و در سال ۱۹۸۰ به زبان فرانسوی مسلط شد. وی بعدها در چند فیلم فرانسوی نیز ظاهر شد.[۴][۵] سپس وارد دانشگاه یِیل شد و نخست مدرک کارشناسی خود را در رشتهٔ ادبیات دریافت کرد[۶] و نهایتاً از همین دانشگاه موفق به دریافت مدرک دکتری ادبیات با درجه بسیار خوب شده است.[۷]

دوران کاری[ویرایش]

دوران کودکی و نوجوانی[ویرایش]

جودی فاستر و کریستوفر کانلی در ماه کاغذی

فاستر در بیش از ۵۰ فیلم حضور یافته است. در سال ۱۹۶۸ در سریال می بری آر دی اف حضور یافت،[۸] و یک سال بعد در سریال تفنگ دودی شرکت کرد. پس از آن در فیلم معاشقه با پدر ادی در نقش "جو کلی"، دوست "ادی" نقش‌آفرینی کرد.[۹] در سال ۱۹۷۰ در فیلم تلویزیونیِ تهدید در کوهستان بازی کرد و پس از آن در فیلمهای ناپلئون و سمانتا (۱۹۷۲)، یک سرخ‌پوست کوچک (۱۹۷۳)، جمعهٔ غریب (۱۹۷۶) و کندلشو (۱۹۷۷) ایفای نقش کرد. همچنین، او در سریالی به نام ماه کاغذی در کنار کریستوفر کانلی به ایفای نقش پرداخت.[۱]

جودی فاستر در چهارده سالگی مجری برنامهٔ یکشنبه شب زنده شد. او پس از درو باریمور، که در هفت سالگی مجری این برنامه بوده، جوان‌ترین مجری این برنامه به‌شمار می‌رود.[۱۰] وی به‌عنوان بازیگر نقش "شاهزاده لیلا" در فیلم جنگ ستارگان مطرح شد، اما در انتها قرارداد بازیگری با وی بسته نشد.[۱۱]

او در سال ۱۹۷۶ (۱۴سالگی) در فیلم بسیار معروف راننده تاکسی در نقش "آیریش استینسما"، یک دختر فاحشه، در کنار رابرت دنیرو حضور یافت. کارگردانی این فیلم بر عهدهٔ مارتین اسکورسیزی بود که سرانجام فاستر با حضور در این فیلم، نامزد جایزه اسکار بهترین بازیگر نقش مکمل زن شد و دو جایزهٔ بَفتا به‌عنوان بهترین بازیگر نقش مکمل زن و بهترین بازیگر نوپا را به‌خاطر حضور در فیلم‌های راننده تاکسی و باگزی مالون ازآنِ خود کرد.[۱۲][۱۳]

ماجرای ترور رونالد ریگان[ویرایش]

جودی فاستر در فیلم راننده تاکسی

جان هینکلی، یکی از طرفداران افراطیِ جودی، پس از دیدن فیلم راننده تاکسی، مجذوب جودی فاستر شد و پس از ورود فاستر به دانشگاه یِیل، برای او نامه می‌فرستاد و گاهی نیز برای او پیغام تلفنی می‌گذاشت. در ۳۰ مارس ۱۹۸۱ هینکلی سوءقصدی به جان رونالد ریگان، رئیس‌جمهور وقت ایالات متحدهٔ آمریکا کرد (در این حادثه، ریگان و سه نفر همراه او آسیب دیدند).

پس از این ترور، هینکلی انگیزهٔ این کار خود را تحت تأثیر قراردادن جودی فاستر اعلام کرد.[۱۴] در سال ۱۹۸۲، فاستر با حضور در دادگاه به این موضوع اشاره کرد که او هیچ رابطه‌ای با جان هینکلی ندارد و در همان هنگام، هینکلی یک مداد به سمت فاستر پرتاب کرد و با فریاد گفت: "من پیدایت می‌کنم فاستر!"[۱۵]

شخص دیگری با نام ادوارد ریچاردسون نیز فاستر را تا اطراف دانشگاه تعقیب کرد و قصد شلیک گلوله به سمت او را کرد، اما ناموفق بود.[۱۶][۱۶] در سال ۱۹۹۱، فاستر از حضور در مصاحبه با برنامهٔ امروز در شبکهٔ ان‌بی‌سی صرف‌نظر کرد. همچنین، در سال ۱۹۹۹، او در مصاحبه‌ای با چارلی رز در برنامهٔ ۶۰ دقیقهٔ دوم درمورد این موضوع بحث کوتاهی کرد.[۱۷]

دوران جوانی[ویرایش]

جودی فاستر در مراسم اسکار سال ۱۹۸۹

جودی فاستر، برخلاف دیگر ستارگان کودک، مانند شرلی تمپل و تاتوم اونیل، در سنین جوانی هم از شهرت بالایی برخوردار بود. بااینکه فیلم‌های راننده تاکسی، روباه‌ها، هتل نیوهمپشایر،[۱۸] پنج گوشه[۱۹] و سرقت از خانه[۲۰] ازنظر درآمدزایی ناموفق بودند، اما نقش فاستر در این فیلم‌ها، امتحانی برای بازی در فیلم متهم بود. او برای بازی در این فیلم، در نقش "سارا توبیاس"، زنی که مورد تجاوز جنسی قرار گرفته بود، برندهٔ جایزهٔ اسکار و گلدن گلوب به‌عنوان بهترین بازیگر نقش اول زن شد. دیگر نقش معروف او شخصیت کلاریس استارلینگ، یک مأمور اف‌بی‌آی بود. او در کنار آنتونی هاپکینز، که ایفاگر نقش هانیبال لکتر در فیلم سکوت بره‌ها، محصول سال ۱۹۹۱ بود، توانست دومین جایزهٔ اسکار خود را دریافت کند.[۲۱] پس از این فیلم، او فیلمی به نام کوچک‌مردی به نام تیت را در همان سال کارگردانی کرد. این فیلم درمورد یک بچهٔ بسیار زیرک بود که نقش مادرِ آن کودک را خود جودی فاستر ایفا کرد.[۲۲] همچنین، او در سال ۱۹۹۵ فیلمی به نام خانه‌ای برای تعطیلات را کارگردانی کرد. این فیلم یک کمدی سیاه با بازی هالی هانتر و رابرت داونی جونیور بود. در سال ۱۹۹۲، فاستر یک شرکت ساخت فیلم با نام «اگ پیکچرز» را در لس آنجلس تأسیس کرد. این شرکت فیلم‌های مستقلی را تهیه می‌کرد که در سال ۲۰۰۱ بسته شد. دراین‌خصوص، فاستر گفته بود که این شرکت قدرت تولید فیلم‌های سرگرم‌کننده را ندارد.[۱]

جودی فاستر در سال ۱۹۹۴ تهیه‌کنندگی فیلم نل را برعهده گرفت. این اولین حضور او به‌عنوان تهیه‌کننده بود. همچنین، خود او نیز در این فیلم نقش‌آفرینی کرد. داستان این فیلم درمورد یک زن جوان است که در یک محل بسته، به‌صورت قرنطینه نگهداری می‌شود که قصد بازگشت به انسانیت را دارد. جودی فاستر پس از این فیلم، حضورش به‌عنوان بازیگر و تهیه‌کننده را دشوار خواند. در سال ۱۹۹۳، او در فیلمی با نام سامرزبای با ریچارد گی‌یر بازی کرد. پس از این فیلم، ریچارد گی‌یر درمورد او گفت:

او خیلی کلوزآپ بازی می‌کند، زیرا افکار او کاملاً پاک است.

در سال ۱۹۹۷، او با متیو مک‌کانهی در فیلم تماس ظاهر شد. این فیلم براساس رمانی از کارل ساگان بود. در این فیلم، فاستر ایفاگر نقش یک دانشمند بود که به‌دنبال یافتن حیات در خارج از زمین است. تماس، اولین فیلم داستانی ـ تخیلیِ جودی فاستر بود و همچنین اولین تجربهٔ او با بازی در محیط پرده آبی بود. دراین‌خصوص او گفت:

دیوارهای آبی، سقف‌های آبی، فقط آبی بود. آبی آبی آبی؛ و من در یک سینی چرخان با دوربین می‌چرخیدم. این واقعاً برای من دشوار بود.

[۲۳] در سال ۱۹۹۸، سیارک ۱۷۷۴۴ در آسمان به نام جودی فاستر نام‌گذاری شد.[۲۴]

در سال ۲۰۰۲، جودی فاستر در فیلم اتاق وحشت بازی کرد. این فیلم به کارگردانی دیوید فینچر در هفتهٔ اولِ اکران خود در آمریکا توانست ۳۰میلیون دلار فروش داشته‌باشد. این بزرگ‌ترین موفقیت تجاری سینماییِ فاستر بود.[۲۵] پس از این فیلم، او در فیلمی فرانسوی‌زبان با نام یک نامزدی بسیار طولانی را بازی کرد. در سراسر فیلم، او به‌صورت روان فرانسوی صحبت کرد. فیلم بعدی او نقشهٔ پرواز در سال ۲۰۰۵ به روی پرده‌های سینما رفت. او در این فیلم ایفاگر نقش یک مادر بود که در هواپیما فرزندش را گم می‌کند[۲۶][۲۷].

در سال ۲۰۰۶، او در فیلم مرد نفوذی بازی کرد؛ یک فیلم مهیج به کارگردانی اسپایک لی و با بازی دنزل واشنگتن و کلایو اوون، که این فیلم پرفروش‌ترین فیلم آن سال شد.[۲۸] در سال ۲۰۰۷، او در فیلمی به نام شجاع به کارگردانی نیل جوردن و با بازی ترنس هاوارد حضور یافت. با بازی در این فیلم، او برای ششمین بار نامزد جایزه گلدن گلوب شد.[۲۹][۳۰]

کارهای کنونی[ویرایش]

جودی فاستر در کنار مل گیبسون در جشنوارهٔ فیلم کن در سال ۲۰۱۱

جودی فاستر به‌همراه مت دیمون در فیلمی باعنوان ایلیسیم به کارگردانی نیل بلومپکمپ بازی کرد٬ این فیلم در ژانر علمی ـ تخیلی است.[۳۱][۳۲]

فاستر قصد ساخت فیلمی به نام فلورا پلوم با بازی مریل استریپ و ایوان مک گرگور بود که به گفته خودش در نهایت از ساخت آن منصرف شد.[۳۳][۳۴][۳۵] در فوریه ۲۰۱۱ مجری سی و ششمین دوره جشنواره سزار فرانسه بود و یک ماه بعد از آن فیلم سگ آبی به کارگردانی را عرضه کرد. مل گیبسون٬ آنتون یلچین٬ جنیفر لارنس و خود جودی فاستر از بازیگران آن هستند.[۳۶][۳۷] همچنین در همان سال در فیلم کشتار ساخته رومن پولانسکی بازی کرد٬ از دیگر بازیگران آن فیلم می‌توان به جان سی ریلی٬ کیت وینسلت و کریستوف والتز اشاره کرد. کشتار در شصت و هشتمین دوره جشنواره ونیز در سپتامبر ۲۰۱۱ به روی پرده رفت و نظر مثبت منتقدان را جلب کرد. جودی فاستر برای بازی در این فیلم نامزد گلدن گلوب بهترین بازیگر زن شد.[۳۸]

زندگی شخصی[ویرایش]

به‌گفتهٔ فاستر، او تنها سه بار به ملاقات پدر خود رفته است و این ملاقات‌ها بسیار خشک بوده است. جودی دو خواهر بزرگ‌تر از خود با نام‌های لوسیندا «سیندی» فاستر (متولد ۱۹۵۴) و کانستیس «کانی» فاستر (متولد ۱۹۵۵) و یک برادر بزرگ‌تر از خودش به نام لوسیوس «بادی» فاستر (متولد ۱۹۵۷) دارد.[۳۹] همچنین، پدر جودی فاستر در سال ۲۰۱۱، با سوءاستفاده از نام دخترش، بیش از ۱۰۰هزار دلار به بهانهٔ کمک برای ساخت خانه برای چندین بی‌خانمان اختلاس کرده بود. وی در ۸۹ سالگی با رأی دادگاهِ نهایی به ۵ سال زندان محکوم شد.[۴۰][۴۱][۴۲][۴۳]

خواهرش، کانی، در بعضی از برنامه‌های تلویزیونی حضور داشت. فاستر و برادرش برای چندین سال از یکدیگر دور هستند. در سال ۱۹۹۷، برادرش یک کتاب با نام فرزند فاستر نوشت. او در این کتاب درمورد جودی نوشت: "من همواره می‌پنداشتم که جودی یک همجنسگرا یا دوجنسگرا بوده."[۴۴] او مدعی شده که تغییر نام آلیشیا به جودی حالتی رمزدار دارد؛ زیرا به‌گفته او، جودی Jo D نام سری بود که مادر وی، که یک همجنسگراست، برای معشوقهٔ خود، جوزفین دومینگز گذاشته بود. نظر فاستر درمورد این گفته این بود که این گفته‌ها فقط برای شکستن قلب مادر او بوده است.[۴۵]

جودی فاستر دو پسر دارد با نام‌های چارلز فاستر (متولد ۲۰ ژوئیهٔ ۱۹۹۸) و کریستوفر کیت فاستر (متولد ۲۹ سپتامبر ۲۰۰۱)؛ اما هویت پدر فرزندان او نامشخص است.[۴۶] فاستر در سال ۲۰۱۴ با دوست‌دختر خود، الکساندرا هدیسون ازدواج کرد. رابطهٔ آن‌ها از مهٔ ۲۰۱۳ آغاز شده بود.[۴۷]

ازنظر عقیده، فاستر یک بی‌خدا است و به دین یا آیین خاصی باور ندارد؛[۴۸] اما به‌گفتهٔ خودش به عقاید و دین دیگران احترام می‌گذارد.[۴۹] او همچنین از خشونت بی‌جا در فیلم‌ها بیزار است، به‌طوری‌که از فیلم شهر گناه نیز انتقاد کرد و گفت:

این فیلم آنقدر کارتونی و دردآور بود که خیلی عذابم داد. من نمی‌دانم شما چطور می‌توانید از آزار و اذیت و کودک‌ربایی سرگرم شوید یا بخندید. کجای این موضوع بامزه است؟ من از این قضیه نمی‌توانم رد شوم. نمی‌دانم کسی می‌داند که تأثیر این پیام چیست؟[۵۰]

مل گیبسون و مارتین اسکورسیزی از نزدیک‌ترین دوستان جودی فاستر هستند.[۵۱][۵۲] مایلی سایرس، خواننده و بازیگر سینما نیز در یک مصاحبه اعلام کرده بود که جودی فاستر مانند یک استاد برای او بوده است.[۵۳]

او به ورزش علاقهٔ خاصی دارد و یوگا و کیک‌بوکسینگ ورزش روزانهٔ اوست.[۵۴]

فیلم‌شناسی[ویرایش]

بازیگر[ویرایش]

سال نام فیلم نقش جزئیات
۱۹۶۸ می‌بری آر. اف. دی بخش‌هایی در دو قسمت مجموعهٔ تلویزیونی
۱۹۷۰ تهدید در کوهستان سولن مک‌لور تلویزیونی
۱۹۷۲ بمبگذار شهر کنساس ریتا
ناپلئون و سمنتا سمنتا
خواهرم هنک هنک بنیت تلویزیونی
۱۹۷۳ تازه‌کار سال شارون لی تلویزیونی
الکساندر، الکساندر سو تلویزیونی
خانواده آدامز پاگسلی (صدا پیشه) مجموعهٔ تلویزیونی
کونگ فو آلتا پاتریشیا اینگرم مجموعهٔ تلویزیونی
تام سایر تام سایر
یک سرخپوست کوچک مارتا مکلور
۱۹۷۴ آلیس دیگر اینجا زندگی نمی‌کند آدری
خنده، جنی، تو مردی لیبرتی کول تلویزیونی
ماه کاغذی ادی لاگینز مجموعهٔ تلویزیونی
۱۹۷۵ راز زندگی تی‌کی دیرینگ تی‌کی دیرینگ تلویزیونی
۱۹۷۶ دختر بچه‌ای که پایین کوچه زندگی می‌کند رایان جاکوبز
جمعه غریب آنابل اندروز
باگزی مالون تلوله
راننده تاکسی آیریش استینسما
طنین یک تابستان دیدر استریدین آخرین قلعه
۱۹۷۷ کندلشو کیسی برون
کازاتو تره سینا فدلی خانه شنی
اینقدر به من نگو عزیزم! ایزابل تریستان (فلور بلو)
۱۹۸۰ روباه‌ها جنی
ریشخند دونا
۱۹۸۲ همسر اوهارا باربارا اوهارا
۱۹۸۳ اسونگالی زو الکساندر
۱۹۸۴ خون دیگران هلن برترند
هتل نیوهمپشایر فرینی بری
۱۹۸۶ مبهوت ویکتوریا تامپسون
۱۹۸۷ قیلوله ننسی
پنج گوشه لیندا
۱۹۸۸ متهم سارا توبیاس
سرقت خانه کیتی چندلر
۱۹۹۰ آتشگیر آنه بنتون ردگم
۱۹۹۱ کوچک‌مردی به نام تیت ددی تیت
سکوت بره‌ها کلاریس استارلینگ
۱۹۹۲ سایه‌ها و مه پروسچیوت
۱۹۹۳ سامرزبای لورل سامرزبای
۱۹۹۴ نل نل کلتی
ماوریک خانم آنابل برنسفورد
۱۹۹۷ تماس دکتر الی آرووی
پرونده‌های اکس صدا پیشه بتی، قسمت «هرگز برنگرد»
۱۹۹۸ آتموست خودش مستند
پیکو زنان در پشت‌زمینه
۱۹۹۹ آنا و شاه آنا لیونوونز
۲۰۰۲ اتاق وحشت مگ آلتمن
زندگی‌های خطرناک پسران آلتر خواهر آسومپتا
دندان گراز مینی صدا پیشه پویانمایی
۲۰۰۳ ابی سینگر خودش
۲۰۰۴ یک نامزدی بسیار طولانی (Un long dimanche de fiançailles) آلودی گوردس
۲۰۰۵ نقشه پرواز کایل پرت
استاتلر و والدورف:از ایوان خودش میهمان قسمت هشتم
۲۰۰۶ مرد نفوذی مادلین وایت
۲۰۰۷ شجاع اریکا بین
۲۰۰۸ جزیره نیم الکساندرا روور
۲۰۰۹ سیمپسون‌ها صدای مگی سیمپسون
۲۰۱۱ سگ آبی مردیت بلک
۲۰۱۱ کشتار پنه‌لوپه لانگ‌استریت
۲۰۱۳ ایلیسیم ننسی لیولد
۲۰۱۴ سازندگان: زنانی که آمریکا را ساختند (راوی)

[۵۵]

کارگردان[ویرایش]

سال نام فیلم جزئیات
۱۹۸۸ داستانی از طرف تاریک یک قسمت
۱۹۹۱ کوچک‌مردی به نام تیت
۱۹۹۵ خانه‌ای برای تعطیلات
۲۰۱۱ سگ‌آبی
۲۰۱۳–۲۰۱۴ نارنجی همان سیاه است[۵۶] دو قسمت
۲۰۱۴ خانه پوشالی فصل دوم، قسمت ۹
۲۰۱۶ هیولای پول

[۵۵]

تهیه‌کننده[ویرایش]

سال نام فیلم جزئیات
۱۹۸۶ مبهوت تهیه‌کننده
۱۹۹۴ نل
۱۹۹۵ خانه‌ای برای تعطیلات
۱۹۹۸ رقص بچه تهیه‌کنندهٔ انحصاری (تلویزیونی)
۲۰۰۰ بیداری مرگ تهیه‌کنندهٔ انحصاری
۲۰۰۲ زندگی‌های خطرناک پسران آلتر
۲۰۰۷ بی‌باک تهیه‌کنندهٔ انحصاری
۲۰۱۳ فلوراپلوم تهیه‌کننده

[۵۵]

جوایز[ویرایش]

سال گروه جایزه برنده؟ فیلم
۱۹۷۶ جایزه بفتا بهترین بازیگر نقش مکمل زن و بهترین تازه‌وارد بله باگسی مالون
۱۹۷۷ جایزه گلدن گلوب بهترین بازیگر زن سینما - موزیکال/کمدی خیر جمعه غریب
جایزه اسکار بهترین نقش مکمل زن راننده تاکسی
جایزه بفتا بهترین بازیگر نقش مکمل زن بله
۱۹۷۸ جایزه ساترن بهترین بازیگر زن بله دختر بچه‌ای که پایین کوچه زندگی می‌کند
۱۹۸۸ جایزه گلدن گلوب بهترین کارایی یک بازیگر زن در سینما - دراما بله متهم
جایزه اسکار جایزه اسکار بهترین بازیگر نقش اول زن
۱۹۹۱ جایزه حلقه منتقدان فیلم نیویورک بهترین بازیگر نقش اول زن بله سکوت بره‌ها
جایزه اسکار جایزه اسکار بهترین بازیگر نقش اول زن
بفتا بازیگر نقش اول زن
جایزه گلدن گلوب بهترین کارایی یک بازیگر زن در سینما - دراما
۱۹۹۲ جایزه ساترن بهترین بازیگر زن خیر
۱۹۹۵ انجمن بازیگران نمایشی بهترین بازیگر زن سینما بله نل
جایزه اسکار جایزه اسکار بهترین بازیگر نقش اول زن خیر
۱۹۹۷ جایزه گلدن کلوب بهترین کارایی یک بازیگر زن در سینما - دراما خیر تماس
۱۹۹۸ جایزه ساترن بهترین بازیگر زن بله تماس
۲۰۰۳ جایزه ساترن بهترین بازیگر زن خیر اتاق وحشت
۲۰۰۶ جایزه ساترن بهترین بازیگر زن خیر نقشه پرواز
۲۰۰۸ شصت و پنجمین جوایز گلدن گلوب بهترین کارایی یک بازیگر زن در سینما - دراما خیر شجاع
سی و چهارمین جوایز انتخاب مردم ستاره اکشن زن مورد علاقه  
۲۰۱۲ شصت و نهمین جوایز گلدن گلوب جایزه گلدن گلوب بهترین بازیگر زن فیلم موزیکال یا کمدی خیر کشتار
شصت و نهمین جوایز گلدن گلوب جایزه گلدن گلوب سیسیل. ب. دمیل بله جایزه افتخاری به پاس یک عمر فعالیت هنری

[۵۵]

منابع[ویرایش]

  1. ۱٫۰ ۱٫۱ ۱٫۲ ۱٫۳ ۱٫۴ ۱٫۵ ۱٫۶ «Jodie Foster Biography - Yahoo movies»(انگلیسی)‎. Yahoo Movies. بایگانی‌شده از نسخهٔ اصلی در 17 December 2012. بازبینی‌شده در ۱۵ فوریهٔ ۲۰۱۰. 
  2. Abramowitz, Rachel. "What It Means To Be Jodie Foster." Us Weekly. May 8, 2000.
  3. Amazon.com: Paul Brogan's review of The Doris Day Show
  4. Gollin, Timothy. "Foster's Fanatic." People Magazine. April 20, 1981.
  5. "Jodie Foster: Hollywood fait confiance à mes choix." StudioMagazine.fr.
  6. Commencement 1997. . Yale Bulletin and Calendar, June 2, 1997.  Retrieved on 2007-12-14.
  7. «ستاره‌های پرآوازه». دویچه وله. ۲۰۱۴-۰۵-۲۹. بازبینی‌شده در ۲۰۱۶-۰۲-۱۳. 
  8. Erickson, Hal. "Allmovie - Jodie Foster Biography." Retrieved April 17, 2007
  9. Brooks, Tim and Marsh, Earle (1992) The Complete Directory to Prime Time Network TV Shows 1946 to Present, 5th Edition. New York: Valentine Books. ISBN 0-345-37792-3.
  10. The StarPhoenix”.  Retrieved on 2006-03-31.
  11. "Star Wars." Not Starring. Retrieved March 31, 2007.
  12. "Taxi Driver: Its Influence on John Hinckley, Jr." UMKC Law School. Retrieved April 17, 2007.
  13. Noe, Denise. "Taxi Driver." Crime Library. Courtroom Television Network. Retrieved April 17, 2007.
  14. Schneider, Karen S. "Foster Mom." People Magazine. March 23, 1998.
  15. Noe, Denise. "I'll Get You, Foster!" Crime Library. Courtroom Television Network. Retrieved March 31, 2007.
  16. ۱۶٫۰ ۱۶٫۱ "Jodie Foster." UMKC Law School. Retrieved March 10, 2007.
  17. "Jodie Foster, Reluctant Star."
  18. "The Hotel New Hampshire." Box Office Mojo. Retrieved April 17, 2007.
  19. "Five Corners." Box Office Mojo. Retrieved April 17, 2007.
  20. "Stealing Home." Box Office Mojo. Retrieved April 17, 2007.
  21. "Silence of the Lambs." Box Office Mojo. Accessed March 16, 2009.
  22. Little Man Tate”. Rotten Tomatoes ed. 
  23. Svetkey, ‎Benjamin. “Cover Story: Making Contact”. Entertainment Weekly ed. 1997–07-18.  Retrieved on 2007-04-17.
  24. "Caussols discovers." Astrosurf.com. May 15, 2005. Retrieved April 17, 2007.
  25. Angulo, ‎Sandra P.. “'Panic' Attack”. Entertainment Weekly ed. 2001-01-26.  Retrieved on 2009-03-01.
  26. Flightplan (2005)
  27. Deming, Mark. "Flightplan." Allmovie. Retrieved April 17, 2007.
  28. Inside Man (2006)
  29. "'Brave One' Leads Slow Weekend." Box Office Mojo. September 17, 2007.
  30. Foster, Howard to star in Neil Jordan film. . UPI.  Retrieved on 2006-03-27.
  31. Jodie Foster Cast in Neill Blomkamp's 'Elysium' | /Film
  32. Jodie Foster Joins Neill Blomkamp’s ‘Elysium’
  33. وب‌گاه روزنامهٔ هم‌وطن سلام، جودی فاستر دوشنبه ۳۰ شهریور ۱۳۸۳
  34. Cannes: Why Jodie Foster Doesn't Feel Box-Office Pressure for 'Money Monster' (Q&A)
  35. WHEN ACTORS DIRECT: JODIE FOSTER
  36. Kohn, Eric (March 17, 2011). "Jodie Foster on The Beaver and Making Personal Films". Indiewire. Retrieved July 18, 2009.
  37. Barker, Andrew (March 16, 2011). "Variety Reviews: The Beaver". Variety. Retrieved February 18, 2013.
  38. "Carnage". Rotten Tomatoes. Flixter. Retrieved December 16, 2011.
  39. Jodie Foster Biography. . CNN, 2009-04-11. 
  40. فارس نیوز - پدر جودی فاستر به ۵ سال زندان محکوم شد
  41. فیلم آنلاین - سوءاستفادهٔ پدر جودی فاستر از نام دخترش برای کلاهبرداری هزاران دلار
  42. Jodie Foster’s dad sentencing delayed after grand theft conviction in Calif. housing scheme
  43. Jodie Foster's father arrives at court with zimmer frame accused of $130,000 housing scam | Mail Online
  44. "Foster Child: A Biography of Jodie Foster"
  45. Sydney, ‎Laurin. Foster angry over brother's tell-all. . CNN, 1997-05-15. 
  46. Jodie Foster's Other Starring Role”. USA Today ed. 2002-03-03. 
  47. D'Zurilla, Christie. “Jodie Foster marries Alexandra Hedison in low-key fashion”. Los Angeles Times, 23 April 2014. Retrieved 24 April 2014. 
  48. Valby, ‎Karen. “Jodie Foster: Unbreakable”. Entertainment Weekly ed. 2007-08-30. 
  49. The Georgia Straight, Interview with Jodie Foster by Dan McLeod, July 10-17, 1997; page 43.
  50. جودی فاستر از سین سیتی انتقاد کرد | سایت جهان سینما| شنبه ۲۴ شهریور ۱۳۸۶
  51. راجر فریدمن. “Jodie Foster: Mel Gibson’s Only Celeb Friend”. ShowBiz 411 ed. 2010-02-28. 
  52. اسکات بولز. “DiCaprio, Scorsese reunite for fourth time in 'Shutter Island'”. USA Today ed. 2010-02-4. 
  53. Miley Cyrus "Jodie Foster Is My Mentor"
  54. روزنامهٔ جام‌جم، «چهره‌های دور، جودی فاستر»، شنبه ۷ اردیبهشت ۱۳۸۷
  55. ۵۵٫۰ ۵۵٫۱ ۵۵٫۲ ۵۵٫۳ «Jodie Foster - IMDB»(انگلیسی)‎. IMDB. بایگانی‌شده از نسخهٔ اصلی در 17 December 2012. بازبینی‌شده در ۱۵ فوریه ۲۰۱۰. 
  56. [۱]

پیوند به بیرون[ویرایش]

جوایز
جایزه اسکار
پیشین:
شر
برای ماه‌زده
بهترین بازیگر زن
۱۹۸۸
برای متهم
پسین:
جسیکا تندی
برای رانندگی برای خانم دیزی
پیشین:
کتی بیتس
برای بدبختی
بهترین بازیگر زن
۱۹۹۱
برای سکوت بره‌ها
پسین:
اما تامپسون
برای هاوارد
جایزه بفتا
پیشین:
دایان لد
برای آلیس دیگر اینجا زندگی نمی‌کند
بهترین بازیگر نقش مکمل زن
۱۹۷۶
برای راننده تاکسی
پسین:
جنی آگوتر
برای اکوئوس
پیشین:
جسیکا تندی
برای رانندگی برای خانم دیزی
بهترین بازیگر زن
۱۹۹۱
برای سکوت بره‌ها
پسین:
اما تامپسون
برای هاوارد
جایزه گلدن گلوب
پیشین:
سالی کرکلند
برای آنا
بهترین بازیگر زن درام
۱۹۸۸
برای متهم
پسین:
میشل فایفر
برای پسران نانوای شگفت‌انگیز
پیشین:
کتی بیتس
برای بدبختی
بهترین بازیگر زن درام
۱۹۹۱
برای سکوت بره‌ها
پسین:
۱۹۹۱
برای سکوت بره‌ها
جایزه میزگرد منتقدان فیلم شهر کنزاس
پیشین:
لیلی تاملین
برای نشوایل
'بهترین بازیگر نقش مکمل زن'
۱۹۷۶
برای راننده تاکسی
پسین:
ونسسا رودگراو
برای جولیا
پیشین:
شر
برای ماه‌زده
'بهترین بازیگر زن'
۱۹۸۸
برای متهم
پسین:
جسیکا تندی
برای رانندگی برای خانم دیزی
پیشین:
جوآن وودوارد
برای آقا و خانم بریج
'بهترین بازیگر زن'
۱۹۹۱
برای سکوت بره‌ها
پسین:
اما تامپسون
برای هاوارد
جایزه هیئت ملی منتقدان
پیشین:
لیلیان گیش برای نهنگهای آگوست
هالی هانتر برای پخش اخبار
'بهترین بازیگر زن'
۱۹۸۸
برای متهم
پسین:
میشل فایفر
برای پسران نانوای شگفت‌انگیز
جایزه انجمن ملی نقدهای فیلم
پیشین:
لیلی تاملین
برای نشوایل
'بهترین بازیگر نقش مکمل زن'
۱۹۷۶
برای راننده تاکسی
پسین:
آن وجورث
برای دسته با غم
جایزه هیئت منتقدان فیلم نیویورک
پیشین:
جوآن وودوارد
برای آقا و خانم بریج
'بهترین بازیگر زن'
۱۹۹۱
برای سکوت بره‌ها
پسین:
اما تامپسون
برای هاوارد
جایزه ساترن
پیشین:
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Jodie Foster
Jodie Foster Césars 2011 2 (cropped).jpg
Foster at the 2011 César Awards ceremony
Born Alicia Christian Foster
(1962-11-19) November 19, 1962 (age 55)
Los Angeles, California, U.S.
Alma mater Yale University
Occupation
  • Actress
  • director
  • producer
Years active 1965–present
Spouse(s) Alexandra Hedison (m. 2014)
Partner(s) Cydney Bernard (1993–2008)
Children 2
Awards Full list
Rod Serling and Jodie Foster in TV's Ironside (1972)

Alicia Christian "Jodie" Foster (born November 19, 1962)[1] is an American actress and filmmaker who has worked in films and on television. She has often been cited as one of the best actresses of her generation.[2][3] Foster began her professional career as a child model when she was three years old in 1965, and two years she later moved to acting in television series, when she debuted the sitcom Mayberry R.F.D.. In the late 1960s and early 1970s, she worked in several primetime television series and starred in children's films. Foster's breakthrough came in Martin Scorsese's Taxi Driver (1976), in which she played a teenage prostitute; the role garnered her a nomination for an Academy Award. Her other critically acclaimed roles as a teenager were in the musical Bugsy Malone (1976) and the thriller The Little Girl Who Lives Down the Lane (1976), and she became a popular teen idol by starring in Disney's Freaky Friday (1976), Candleshoe (1977) and Foxes (1980).

After attending college at Yale, Foster struggled in her transition to adult roles until she won widespread critical acclaim for her portrayal of a rape survivor in The Accused (1988), for which she won several awards, including an Academy Award and a Golden Globe. She won her second Academy Award three years later for her role in the sleeper hit The Silence of the Lambs, where she played Clarice Starling, an FBI trainee investigating a serial murder case. Foster made her debut as a film director the same year with the moderately successful Little Man Tate (1991), and founded her own production company, Egg Pictures, in 1992. The company's first production was Nell (1994), in which she also played the title role, gaining another nomination for an Academy Award. Her other films in the 1990s included period drama Sommersby, Western comedy Maverick (1994), science fiction film Contact (1997), and period drama Anna and the King (1999). Her second film direction, Home for the Holidays (1995), was not well-received commercially, while critical reviews were mixed.

Foster experienced career setbacks in the early 2000s that included the cancellation of a film project and the closing down of her production company. She then starred in four thrillers, Panic Room (2002), Flightplan (2005), Inside Man (2006) and The Brave One (2007). She has focused on directing in the 2010s, directing the films The Beaver (2011) and Money Monster (2016),[4] as well as episodes for Netflix television series Orange is the New Black and House of Cards. She also starred in the film Elysium (2013). In addition to her two Academy Awards, Foster has won three BAFTA Awards, three Golden Globe Awards, a Screen Actors Guild Award and the Cecil B DeMille Award.

Early life and education

Foster was born on November 19, 1962 in Los Angeles, the youngest child of Evelyn Ella "Brandy" (née Almond) and Lucius Fisher Foster III. Her father came from a wealthy Chicago family, whose forebears included John Alden, who had arrived in North America on the Mayflower in 1620.[5][6] He was a Yale University graduate and a decorated U.S. Air Force lieutenant colonel, and made his career as a real estate broker.[5] He had already been married once and had three sons from the union before marrying Brandy in Las Vegas in 1953.[6] Brandy Foster was of German heritage and grew up in Rockford, Illinois.[7] Foster also has Irish roots, with ancestry that can be traced back to County Cork.[8] Before Foster's birth, she and Lucius had three other children: daughters Lucinda "Cindy" Foster (b. 1954) and Constance "Connie" Foster (b. 1955), and son Lucius Fisher "Buddy" Foster (b. 1957).[6] Their marriage ended before Foster was born, and she never established a relationship with her father.[5][9][10] Following the divorce, Brandy raised the children with her partner in Los Angeles.[11] She worked as a publicist for film producer Arthur P. Jacobs, until focusing on managing the acting careers of Buddy and Jodie.[5][6][9] Although Foster was officially named Alicia, her siblings began calling her "Jodie", and the name stuck.[12]

The Lycée Français de Los Angeles, which Foster attended

Foster was a gifted child who learned to read at the age of three.[5][9] She attended a French-language prep school, the Lycée Français de Los Angeles.[9] Her fluency in French has enabled her to act in French films, and she also dubs herself in French-language versions of most of her English-language films.[5][13][14] She also understands Italian although does not speak it,[15] as well as a little Spanish[16] and German.[17] At her graduation in 1980, she delivered the valedictory address for the school's French division.[9] Already a successful actor, Foster attended Yale University in New Haven, Connecticut.[10][18] She majored in literature, writing her thesis on Toni Morrison, and graduated magna cum laude in 1985.[5][19][20] She returned to Yale in 1993 to address the graduating class, and was awarded an honorary Doctor of Fine Arts degree in 1997.[21][22]

Career

1965–75: Early work

Foster with Christopher Connelly in a publicity photo for Paper Moon (1974), in which she had one of the first starring roles of her career

Foster's career began with an appearance as the Coppertone girl in a television advertisement in 1965, when she was only three years old.[9][23] Her mother had originally intended only for her older brother Buddy to audition for the ad, but had taken Jodie with them to the casting call, where she was noticed by the casting agents.[6][9][23] The television spot led to more advertisement work, and in 1968 to a minor appearance in the sitcom Mayberry R.F.D., in which her brother starred.[9][24] In the following years Foster continued working in advertisements and appeared in over fifty television shows; she and her brother became the breadwinners of the family during this time.[6][23] Although most of Foster's television appearances were minor, she had recurring roles in The Courtship of Eddie's Father (1969–1971) and Bob & Carol & Ted & Alice (1973), and starred opposite Christopher Connelly in the short-lived Paper Moon (1974), adapted from the hit film.[23]

Foster also appeared in films, mostly for Disney.[23] After a role in the television film Menace on the Mountain (1970), she made her feature film debut in Napoleon and Samantha (1972), playing a girl who becomes friends with a boy, played by Johnny Whitaker, and his pet lion. She was accidentally grabbed by the lion on set, which left her with permanent scars on her back.[25] Her other early film work includes the Raquel Welch vehicle Kansas City Bomber (1972), the Western One Little Indian (1973), the Mark Twain adaptation Tom Sawyer (1973), and Martin Scorsese's Alice Doesn't Live Here Anymore (1974), in which she appeared in a supporting role as a "Ripple-drinking street kid".[9][23]

Foster has said she loved acting as a child, and values her early work for the experience it gave her: "Some people get quick breaks and declare, 'I'll never do commercials! That's so lowbrow!' I want to tell them, 'Well, I'm real glad you've got a pretty face, because I worked for 20 years doing that stuff and I feel it's really invaluable; it really taught me a lot.'"[26]

1976–80: Taxi Driver and teenage stardom

Foster's mother was concerned that her daughter's career would end by the time she grew out of playing children, and decided that to ensure continued work and to gain greater recognition, Foster should also begin acting in films for adult audiences.[27] After the minor supporting role in Alice, Martin Scorsese cast her in the role of a teenage prostitute in Taxi Driver (1976).[28] The Los Angeles Welfare Board initially opposed twelve-year-old Foster's appearing in the film due to its violent content, but relented after governor Pat Brown intervened and a UCLA psychiatrist assessed her.[29][30] A social worker was required to accompany her on set and her older sister Connie acted as her stand-in in sexually suggestive scenes.[30][31] Foster later commented on the controversy saying that she hated "the idea that everybody thinks if a kid's going to be an actress it means that she has to play Shirley Temple or someone's little sister."[32]

During the filming, Foster developed a close bond with co-star Robert DeNiro, who saw "serious potential" in her and dedicated time outside of filming on rehearsing scenes with her.[33] She described Taxi Driver as a life-changing experience and stated that it was "the first time anyone asked me to create a character that wasn't myself. It was the first time I realized that acting wasn't this hobby you just sort of did, but that there was actually some craft."[9] Released in February, it won the Palme d'Or at the Cannes Film Festival in May; Foster also impressed journalists when she acted as French interpreter at the film's press conference.[29][34] Taxi Driver was a critical and commercial success, and earned her a supporting actress Academy Award nomination, as well as two BAFTAs, a David di Donatello and a National Society of Film Critics award.[9][29] The film is considered one of the best films ever made by both the American Film Institute[29] and Sight & Sound,[35] and has been preserved in the National Film Registry.[36]

"I wasn't a science prodigy or a math prodigy ... I had a prodigious life, living in a grown-up world when I was a child. But I think my abilities were about perceptiveness and they were about examining psychology and examining people and relationships. And I had instincts about adult stories that I shouldn't have known anything about. That's very different to all those really cool prodigies that can play piano. But I wouldn't change it for anything. I found, at a very young age, even though it's not my personality to be an actor, a way of expressing myself that allowed me to not be so lonely."
–Foster on her early success[12]

Foster also acted in another film nominated for the Palme d'Or in 1976, Bugsy Malone.[37] The British musical parodied films about Prohibition Era gangsters by having all roles played by children; Foster appeared in a major supporting role as a star of a speakeasy show.[38] Its director Alan Parker was impressed by her, saying that "she takes such an intelligent interest in the way the film is being made that if I had been run over by a bus I think she was probably the only person on the set able to take over as director."[39] She gained several positive notices for her performance: Roger Ebert of the Chicago Sun-Times stated that "at thirteen she was already getting the roles that grown-up actresses complained weren't being written for women anymore",[40] Variety described her as "outstanding",[41] and Vincent Canby of The New York Times called her "the star of the show".[42] Foster's two BAFTAs were awarded jointly for her performances in Taxi Driver and Bugsy Malone.[43] Her third film release in spring 1976 was the independent drama Echoes of a Summer, which had been filmed two years previously.[44] The New York Times named Foster's performance as a terminally ill girl the film's "main strength"[44] and Gene Siskel of the Chicago Tribune stated that she "is not a good child actress; she's just a good actress", although both reviewers otherwise panned the film.[45]

Foster's fourth film of 1976 was the Canadian-French thriller The Little Girl Who Lives Down the Lane, in which she starred opposite Martin Sheen.[46] The film combined aspects from thriller and horror genres, and showed Foster as a mysterious young girl living on her own in a small town; the performance earned her a Saturn Award.[47] On November 27, she hosted Saturday Night Live, becoming the youngest person to do so until 1982.[25] Her final film of the year was Freaky Friday, a Disney comedy commenting on the generation gap, which was "her first true star vehicle".[48] She played a tomboy teen who accidentally changes bodies with her mother; she later stated that her character's desire to become an adult was matched by her own feelings at the time, and that the film marked a "transitional period" for her when she began to grow out of child roles.[49] It received mainly positive reviews,[50] and was a box office success,[51] gaining Foster a Golden Globe nomination for her performance.[52]

After her breakthrough year, Foster spent nine months living in France, where she starred in Moi, fleur bleue (1977) and recorded several songs for its soundtrack.[18][53] Her other films released in 1977 were the Italian comedy Casotto (1977), and the Disney heist film Candleshoe (1977), which was filmed in England and co-starred veteran actors David Niven and Helen Hayes.[54] After its release, Foster did not appear in any new releases until 1980, the year she turned eighteen. She gained positive notices for her performances in Adrian Lyne's debut feature film Foxes (1980), which focuses on the lives of Los Angeles teenagers, and Carny (1980), in which she played a waitress who runs away from her former life by joining a touring carnival.[55]

1981–89: Transition to adult roles

Foster at the Governor's Ball after winning an Academy Award for The Accused (1988). Her performance as a rape survivor marked her breakthrough into adult roles.

Aware that child stars are often unable to successfully continue their careers into adulthood, Foster became a full-time student at Yale in fall 1980, and her acting career slowed down in the following five years.[56][57] She later stated that going to college was "a wonderful time of self-discovery", and changed her thoughts about acting, which she had previously thought was an unintelligent profession, but now realised that "what I really wanted to do was to act and there was nothing stupid about it."[26][57] She continued making films on her summer vacations,[18] and during her college years appeared in O'Hara's Wife (1982), television film Svengali (1983), John Irving adaptation The Hotel New Hampshire (1984), French film The Blood of Others (1984), and period drama Mesmerized (1986), which she also co-produced.[58] None of them were however successful, and Foster struggled to find work after graduating in 1985.[59] The neo-noir Siesta (1987), in which she appeared in a supporting role, was a failure.[60] Five Corners (1987) was a moderate critical success and earned Foster an Independent Spirit Award for her performance as a woman whose sexual assaulter returns to stalk her.[61][62] In 1988, Foster made her debut as a director with the episode "Do Not Open This Box" for the horror anthology series Tales from the Darkside,[63] and in August appeared in the romantic drama Stealing Home (1988) opposite Mark Harmon. It was a flop,[64] with film critic Roger Ebert even "wondering if any movie could possibly be that bad".[65]

Foster's breakthrough into adult roles came with her performance as a rape survivor in The Accused, a drama based on a real criminal case, which was released in October 1988.[66] The film focuses on the aftermath of a gang rape and its survivor's fight for justice in the face of victim blaming. Before making the film, Foster was having doubts about whether to continue her career and planned on starting graduate studies, but decided to give acting "one last try" in The Accused.[57] She had to audition twice for the role and was cast only after several more established actors had turned it down, as the film's producers were wary of her due to her previous failures and because she was still remembered as a "chubby teenager".[57][67] Due to the heavy subject matter, the filming was a difficult experience for all cast and crew involved, especially the shooting of the rape scene, which took five days to complete.[9] Foster was initially unhappy with her performance, and feared that it would end her career.[68] Her fears turned out to be unfounded: although The Accused received overall mixed reviews upon its release, Foster's performance was positively received by the critics[69] and earned her Academy, Golden Globe and National Board of Review awards, as well as a nomination for a BAFTA Award.

1990–94: Box office success, debut as film director and Egg Pictures

Foster at the Academy Awards in 1990

Foster's first film release after the success of The Accused was the thriller The Silence of the Lambs (1991). She played FBI trainee Clarice Starling, who is sent to interview incarcerated serial killer Hannibal Lecter (Anthony Hopkins) in order to solve another serial murder case; Foster later named the role one of her favorites.[68] She had read the novel it was based on after its publication in 1988 and had attempted to purchase its film rights,[70] as it featured "a real female heroine" and its plot was not "about steroids and brawn, [but] about using your mind and using your insufficiencies to combat the villain."[9] Despite her enthusiasm, director Jonathan Demme did not initially want to cast her, but the producers overruled him.[71] Demme's view of Foster changed during the production, and he later credited her for helping him define the character.[71][72]

Released in February 1991, Silence of the Lambs became one of the biggest hits of the year, grossing close to $273 million,[73][74] with a positive critical reception. Foster received largely favorable reviews[68] and won Academy, Golden Globe, and BAFTA awards for her portrayal of Starling; Silence won five Academy Awards overall,[75] becoming one of the few films to win in all main categories. In contrast, some reviewers criticized the film as misogynist for its focus on brutal murders of women, and blamed it for homophobia due to its main villain, serial killer "Buffalo Bill".[76] Much of the criticism was directed towards Foster, whom the critics alleged was herself a lesbian.[76] Despite the controversy, the film is considered a modern classic: Starling and Lecter are included on the American Film Institute's top ten of the greatest film heroes and villains, and the film is preserved in the National Film Registry.[36] Later in 1991, Foster also starred in the unsuccessful low-budget thriller Catchfire, which had been filmed before Silence, but was released after it in an attempt to profit from its success.[77]

In October 1991, Foster released her first feature film as a director, Little Man Tate, a drama about a child prodigy who struggles to come to terms with being different.[78] The main role was played by previously unknown actor Adam Hann-Byrd, and Foster co-starred as his working-class single mother. She had found the script from the "slush pile" at Orion Pictures,[79] and explained that for her debut film she "wanted a piece that was not autobiographical, but that had to do with the 10 philosophies I've accumulated in the past 25 years. Every single one of them, if they weren't in the script from the beginning, they're there now."[9] Although she was publicly lauded for her choice to become a director, many reviewers felt that the film itself did not live up to the high expectations, and regarded it as "less adventurous than many films in which [she] had starred".[80] Regardless, it was a moderate box office success.[81] Foster's final film appearance of the year came in a small role as a prostitute in Shadows and Fog (1991), directed by Woody Allen, with whom she had wanted to collaborate since the 1970s.[18]

The following year, Foster founded her own production company, Egg Pictures, a subsidiary of PolyGram Filmed Entertainment.[82] She was to produce up to six films, each with the budget of $10–25 million, in the following three years.[83] Her next films were a romantic period film and a comedy, and according to film scholar Karen Hollinger, featured her in more "conventionally feminine" roles.[84] She starred opposite Richard Gere in Sommersby (1993), portraying a woman who begins to suspect that her husband who returns home from the Civil War is in fact an impostor. She then replaced Meg Ryan in the Western comedy Maverick (1994), playing a con artist opposite Mel Gibson and James Garner.[85] Both films were box office hits, earning over $140 and $183 million respectively.[86][87] Foster's first project for Egg Pictures, Nell, was released in December 1994. In addition to acting as its producer, she starred in the title role as a woman who grew up isolated in the Appalachian Mountains and speaks her own language as her only human connection has been her disabled mother.[88] It was based on Mark Handley's play Idioglossia, which interested Foster for its theme of "otherness", and because she "loved this idea of a woman who defies categorization, a creature who is labeled and categorized by people based on their own problems and their own prejudices and what they bring to the table."[88][89] It was a moderate commercial success,[90] but a critical disappointment.[91] Despite the negative reviews, Foster received a Screen Actors Guild Award for her performance and was nominated for an Academy Award and a Golden Globe.

1995–99

The second film that Foster directed was Home for the Holidays, released in 1995. It starred Holly Hunter and Robert Downey Jr. and was described as a black comedy "set around a nightmarish Thanksgiving".[12][92] Released in November 1995, it was a critical and commercial failure.[93] The following year, Foster received two honorary awards: the Crystal Award, awarded annually for women in the entertainment industry,[94] and the Berlinale Camera at the 46th Berlin International Film Festival.[95] After Nell in 1994, Foster did not act in any new projects until 1997, aside from voicing characters in episodes of Frasier in 1996 and The X-Files in early 1997. She was in talks to star in David Fincher's thriller The Game, but its production company, Polygram, dropped her from the project after disagreements over her role.[96] Foster sued the company, saying that she had an oral agreement with them to star in the film and had as a result taken "herself off the market" and lost out on other film projects.[97] The case was later settled out of court.[98] Foster finally made her return to the big screen in Contact (1997), a science fiction film based on a novel by Carl Sagan and directed by Robert Zemeckis. She starred as a scientist searching for extraterrestrial life in the SETI project. Due to the special effects, many of the scenes were filmed with a bluescreen; this was Foster's first experience with the technology. She commented, "Blue walls, blue roof. It was just blue, blue, blue. And I was rotated on a lazy Susan with the camera moving on a computerized arm. It was really tough."[99] The film was a commercial success[100] and earned Foster a Saturn Award and a nomination for a Golden Globe. She also had an asteroid, 17744 Jodiefoster, named in her honor in 1998.[101]

Foster's next project was producing Jane Anderson's television film The Baby Dance (1998) for Showtime.[102][103] Its story deals with a wealthy California couple who struggle with infertility and decide to adopt from a poor family in Louisiana.[102] On her decision to produce for television, Foster stated that it was easier to take financial risks in that medium than in feature films.[102] In 1998, she also moved her production company from PolyGram to Paramount Pictures.[83] Foster's last film of the 1990s was the period drama Anna and the King (1999), in which she starred opposite Chow Yun-Fat. It was based on a fictionalized biography of British teacher Anna Leonowens, who taught the children of King Mongkut of Siam, and whose story became well known as the musical The King and I. Foster was paid $15 million to portray Leonowens, making her one of the highest-paid female actors in Hollywood.[24] The film was subject to controversy when the Thai government deemed it historically inaccurate and insulting to the royal family and banned its distribution in the country.[104] It was a moderate commercial success,[105] but received mixed to negative reviews.[106][107] Roger Ebert panned the film, stating that the role required Foster "to play beneath [her] intelligence"[108] and The New York Times called it a "misstep" for her and accused her of only being "interested ... in sanctifying herself as an old-fashioned heroine than in taking on dramatically risky roles".[109]

2000–09: Career setbacks and thrillers

At the German premiere of The Brave One in 2007

Foster's first project of the new decade was Keith Gordon's film Waking the Dead (2000), which she produced.[110] She declined to reprise her role as Clarice Starling in Hannibal (2001), with the part going instead to Julianne Moore, and concentrated on a new directorial project, Flora Plum.[111] It was to focus on a 1930s circus and star Claire Danes and Russell Crowe, but had to be shelved after Crowe was injured on set and could not complete filming on schedule; Foster unsuccessfully attempted to revive the project several times in the following years.[12][112][113] Controversially, she also expressed interest in directing and starring in a biopic of Nazi film director Leni Riefenstahl, who did not like the idea.[114][115] In addition to these setbacks, Foster shut down Egg Pictures in 2001, stating that producing was "just a really thankless, bad job".[12][83] The company's last production, The Dangerous Lives of Altar Boys, premiered at the Sundance Film Festival in January 2002. It received good reviews,[116] and had a limited theatrical release in the summer.[117]

After the cancellation of Flora Plum, Foster took on the main role in David Fincher's thriller Panic Room after its intended star, Nicole Kidman, had to drop out due to an injury on set.[118] Before filming resumed, Foster was given only a week to prepare for the role of a woman who moves with her daughter to a house fitted with a panic room, which they have to use on their first night due to a home invasion.[119] It grossed over $30 million on its North American opening weekend in March 2002, thus becoming the most successful film opening of Foster's career as of 2015.[120][121] In addition to being a box office success, the film also received largely positive reviews.[122][123]

After a minor appearance in the French period drama A Very Long Engagement (2004), Foster starred in three more thrillers. The first was Flightplan (2005), in which she played a woman whose daughter vanishes during an overnight flight. It became a global box office success,[124] but received mainly negative reviews.[125][126] It was followed by Spike Lee's critically and commercially successful Inside Man (2006), about a bank heist on Wall Street, which co-starred Denzel Washington and Clive Owen.[127][128][129] The third thriller, The Brave One (2007), prompted some comparisons to Taxi Driver, as Foster played a New Yorker who becomes a vigilante after being seriously injured and losing her fiancé and dog in a random street attack.[130] It was not a success,[131][132][133] but earned Foster her sixth Golden Globe nomination. Her last film role of the decade was in the children's adventure film Nim's Island (2008), in which she portrayed an agoraphobic writer opposite Gerard Butler and Abigail Breslin. It was the first comedy that she had starred in since Maverick (1994), and was a commercial success but a critical failure.[134][135] In 2009, she provided the voice for Maggie in a tetralogy episode of The Simpsons titled "Four Great Women and a Manicure".[136]

2010–present: Focus on directing

Foster with co-star Mel Gibson at the premiere of The Beaver at the 2011 Cannes Film Festival
Foster with the stars of Money Monster at the 2016 Cannes Film Festival.

In the 2010s, Foster has focused on directing and taken fewer acting roles.[137] In February 2011, she hosted the 36th César Awards in France, and the following month released her third feature film direction, The Beaver (2011), about a depressed man who develops an alternative personality based on a beaver hand puppet.[138] It starred Maverick co-star Mel Gibson and featured herself, Anton Yelchin and Jennifer Lawrence in supporting roles as his family.[139] Foster called its production "probably the biggest struggle of my professional career", partly due to the film's heavy subject matter but also due to the controversy that developed around Gibson as he was accused of domestic violence and making anti-semitic, racist, and sexist statements.[137][140] The film received mixed reviews,[141][142] and failed the box office, largely due to the controversy surrounding its star.[143][144][145] In 2011, Foster also appeared as part of an ensemble cast with John C. Reilly, Kate Winslet and Christoph Waltz in Roman Polanski's comedy Carnage, focusing on middle class parents whose meeting to settle an incident between their sons descends into chaos. It premiered at the 68th Venice International Film Festival in September 2011 to mainly positive reviews and earned Foster a Golden Globe for Best Actress nomination.[146]

In January 2013, Foster received the honorary Cecil B. DeMille Award at the 70th Golden Globe Awards.[147] Her next film role was playing Secretary of Defense Delacourt opposite Matt Damon in the dystopian film Elysium (2013), which was a box office success.[148] She also returned to television directing for the first time since the 1980s, directing the episodes "Lesbian Request Denied" (2013) and "Thirsty Bird" (2014) for Orange Is the New Black, and the episode "Chapter 22" (2014) for House of Cards.[149] "Lesbian Request Denied" brought her a Primetime Emmy Award nomination, and the two 2014 episodes earned her two nominations for a Directors Guild of America Award.[150][151] In 2014, she also narrated the episode "Women in Space" for Makers: Women Who Make America, a PBS documentary series about women's struggle for equal rights in the United States. The following year, Foster received the Laura Ziskin Lifetime Achievement Award at the Athena Film Festival,[152] and directed her next film, Money Monster, which stars George Clooney and Julia Roberts, and was released in May 2016.[153]

Personal life

In interviews, Foster rarely talks about her private life, and she has explained that she "values privacy against all else" due to having spent most of her life in the public eye.[12][154] She lives in Los Angeles,[155] and had two sons, Charles "Charlie" Foster (b. 1998) and Christopher "Kit" Foster (b. 2001), while partnered with Cydney Bernard.[11][156][157] She met Bernard on the set of Sommersby (1993) and was in a relationship with her from 1993 to 2008.[12][157] In April 2014, Foster married actress and photographer Alexandra Hedison.[156][157] She stated in 2011 that having children has made her take on fewer projects: "It is a big sacrifice to leave home. I want to make sure that I feel passionate about the movies I do because it is a big sacrifice... Even if you take the average movie shoot of four months – you have three weeks' prep, press duties here and abroad, dubbing and looping, magazine covers, events and premieres – that's eight months out of a year. That's a long time. If you do two movies back-to-back, you're never going to see your children."[12]

Foster's sexual orientation became subject to public discussion in 1991, when activists protesting the alleged homophobia in The Silence of the Lambs (1991) claimed that she was a closeted lesbian in articles in publications such as OutWeek and The Village Voice.[158] While she had been in a relationship with Bernard for a long time, Foster first publicly acknowledged it in a speech at The Hollywood Reporter's "Women in Entertainment" breakfast honoring her in 2007.[11] In 2013, she addressed coming out in a speech after receiving the Cecil B. DeMille Award at the 70th Golden Globe Awards,[154][159][160][161] which led many news outlets to afterwards describe her as lesbian or gay,[162] although some sources noted that she did not use the words "gay" or "lesbian" in her speech.[163]

Foster is an atheist but has said it is important to teach children about different religions, stating that "in my home, we ritualize all of them. We do Christmas. We do Shabbat on Fridays. We love Kwanzaa. I take pains to give my family a real religious basis, a knowledge, because it's being well educated. You need to know why all those wars were fought."[155] She also supports gun control.[164]

John Hinckley

During her freshman year at Yale in 1980–1981, Foster was stalked by John W. Hinckley, Jr., who had developed an obsession with her after watching Taxi Driver.[165] He moved to New Haven and tried to contact her, both through letters and by phone.[165][166] On March 30, 1981, Hinckley attempted to assassinate U.S. President Ronald Reagan, wounding him and three other people, claiming that his motive was to impress Foster.[165] The incident made her subject to intense media attention, and she had to be accompanied by bodyguards while she was on campus.[7][24] Although Judge Barrington D. Parker confirmed that Foster was wholly innocent in the case and had been "unwittingly ensnared in a third party's alleged attempt to assassinate an American President", she was required to give a videotaped testimony, which was played at the trial.[11][166] During her time at Yale, Foster also had other stalkers, including Edward Richardson, who initially planned to murder her but changed his mind after watching her perform in a college play.[7][24]

The experience was very difficult for Foster, and she has rarely commented on it publicly.[9] In the aftermath of the events, she wrote an essay titled Why Me?, which was published by Esquire in 1982 on the condition that "there be no cover lines, no publicity and no photos".[7] In 1991, she cancelled an interview with NBC's Today Show when she discovered Hinckley would be mentioned in the introduction, and the producers were unwilling to change it.[167] She discussed Hinckley with Charlie Rose of 60 Minutes II in 1999, explaining that she does not "like to dwell on it too much [...] I never wanted to be the actress who was remembered for that event. Because it didn't have anything to do with me. I was kind of a hapless bystander. But [...] what a scarring, strange moment in history for me, to be 17 years old, 18 years old, and to be caught up in a drama like that."[10] She stated that the incident had a major impact on career choices she made but acknowledged that as difficult as the ordeal was for her, it was minimal compared to the suffering of Reagan's press secretary James Brady, who was permanently disabled in the shooting and died as a result of his injuries 33 years later, and his loved ones: "whatever bad moments that I had certainly could never compare to that family".[10]

Awards and nominations

Selected filmography

See also

References

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Further reading

  • Brickman, Barbara Jane (2012). New American Teenagers: The Lost Generation of Youth in 1970s Film. Continuum. ISBN 978-1-4411-7658-5. 
  • Cullen, Jim (2013). Sensing the Past: Hollywood Stars and Historical Visions. Oxford University Press. ISBN 978-0-19-992766-1. 
  • Ebert, Roger (2008). Scorsese by Ebert. University of Chicago Press. ISBN 978-0-226-18202-5. 
  • Erb, Cynthia, 2010. "Jodie Foster and Brooke Shields: "New Ways to Look at the Young"". In Morrison, James (ed.), Hollywood Reborn: Movie Stars of the 1970s (2010). Rutgers University Press. ISBN 978-0-8135-4748-0
  • Ewing, Charles Patrick and McCann, Joseph T. (2006). Minds on Trial: Great Cases in Law and Psychology. Oxford University Press. ISBN 978-0-19-518176-0
  • Dye, David (1988). Child and Youth Actors: Filmography of Their Entire Careers, 1914-1985. Jefferson, NC: McFarland & Co., pp. 76-77.
  • Foster, Gwendolyn Audrey (1995). Women Film Directors: An International Bio-critical Dictionary. Greenwood Press. ISBN 0-313-28972-7. 
  • Gallagher, John (1989). Film Directors on Directing. Greenwood Publishing Group. ISBN 0-275-93272-9. 
  • Hollinger, Karen (2006). The Actress: Hollywood Acting and the Female Star. Taylor and Francis. ISBN 978-0-415-97792-0. 
  • Hollinger, Karen (2012). "Jodie Foster: Feminist Hero?". In Everett, Anne (ed.), Pretty People: Movie Stars of the 1990s (2012), pp. 43–64. Rutgers University Press. ISBN 978-0-8135-5244-6
  • Martin, Ray (2011). Ray Martin's Favourites. Victory Books. ISBN 9780522860887. 
  • Rausch, Andrew J. (2010). The Films of Martin Scorsese and Robert DeNiro. Scarecrow Press. ISBN 978-0-8108-7413-8. 
  • Snodgrass, Mary Ellen (2008). Beating the Odds: A Teen Guide to 75 Superstars Who Overcame Adversity. Greenwood Press. ISBN 978-0-313-34564-7. 
  • Sonneborn, Liz (2002). A to Z of American Women in the Performing Arts. Facts on File. ISBN 0-8160-4398-1. 
  • Swallow, James (2007). "House Arrest". Dark Eye: The Films of David Fincher. Reynolds & Hearn. pp. 145–173. ISBN 978-1-905287-30-7. 
  • Thomson, David (2014). The New Biographical Dictionary Of Film, 6th Edition. Abacus. ISBN 978-0-3491-4111-4. 

External links

Awards and achievements
Preceded by
Cher
Best Actress in a Leading Role
1988
Succeeded by
Jessica Tandy
Preceded by
Kathy Bates
Best Actress in a Leading Role
1991
Succeeded by
Emma Thompson