Get a closer look at some of Hollywood's perfect pairs.

Hollywood Power Couples

Get a closer look at some of Hollywood&#39;s perfect pairs.

See which big screen releases you can watch from the comfort of your couch.

Theatrical Releases Coming to Streaming

Get a closer look at these actors from their many TV and streaming series roles.

Streaming Stars, Then and Now

Henry Jaglom trained with Lee Strasberg at the Actors Studio in New York, where he acted, wrote and directed off-Broadway theater and cabaret before settling in Hollywood in the late 1960s. Under contract to Columbia Pictures, Jaglom guest-starred in such TV shows as Gidget (1965) and The Flying Nun (1967), and acted in a number of films which included Richard Rush's Psych-Out (1968), Boris Sagal's The Thousand Plane Raid (1969), Jack Nicholson's Drive, He Said (1971), Dennis Hopper's The Last Movie (1971), Maurice Dugowson's Lily, aime-moi (1975) and Orson Welles' never-completed The Other Side of the Wind (2018).

Jaglom began his filmmaking career, working with Nicholson, on the editing of Hopper's Easy Rider (1969), and made his writing/directing debut in 1971 with A Safe Place (1971), starring Tuesday Weld, Nicholson and Welles. His next film, Tracks (1976), starred Hopper and was one of the earliest movies to explore the psychological cost on America of the Vietnam War. His third film, the first to be a commercial success, was Sitting Ducks (1980), a comic romp that co-starred Zack Norman with Jaglom's brother, Michael Emil.

Film critic David Thomson said of Jaglom's Can She Bake a Cherry Pie? (1983) that it "is an actors' film in that it grows out of their personalities - it is as loose and unexpected as life, but is shaped and witty as a great short story. In truth, a new kind of film..." It starred Karen Black.

Jaglom co-starred in four of his most personal films - Always (1985), Someone to Love (1987) (starring Orson Welles in his farewell film performance); New Year's Day (1989) (which introduced David Duchovny), and Venice/Venice (1992) (opposite French star Nelly Alard).

In 1990, Jaglom directed Eating (1990), about a group of women with eating disorders and how they cope with it and one another. Babyfever (1994) was about the issue of women with ticking biological clocks. Last Summer in the Hamptons (1995) was a Chekhovian look at the life of a theatrical family and starred Viveca Lindfors in her last screen role. Déjà Vu (1997) was about the yearning of people trying to find their perfect soul mate and was the only film in which actresses Vanessa Redgrave and Rachel Kempson (real life daughter and mother), appeared together.

Festival in Cannes (2001) explored the lives and relationships of those involved in the world of filmmaking and was shot entirely at the Cannes International Film Festival. Going Shopping (2005) explored that subject as the third part of Jaglom's "Women's Trilogy", the others being "Eating" and "Babyfever".

Hollywood Dreams (2006) dealt with a young woman's obsession with fame in the film industry and introduced Tanna Frederick, who then starred in Jaglom's Irene in Time (2009), a look at the complex relationships between fathers and daughters and how it haunts some women for the rest of their lives. Frederick's third film with Jaglom, Queen of the Lot (2010), opened in theaters across the United States in November 2010.

As a playwright, Jaglom wrote four plays that have been successfully performed on Los Angeles stages: "The Waiting Room" (1974), "A Safe Place" (2003), "Always-But Not Forever" (2007), and "Just 45 Minutes From Broadway" (2009/2010).

Jaglom was also the subject of the Henry Alex Rubin's and Jeremy Workman's 1997 documentary, Who Is Henry Jaglom? (1995).

As a filmmaker, I don&#39;t direct. I take away. I extract. Orson said I was like an old Eskimo carving away at a walrus tusk, trying to find what&#39;s inside.

I don&#39;t believe in rehearsals...because the best stuff can happen the first time around, and why put yourself in a position when you have to say, &#39;Oh, damn, I wish I had that on camera!&#39;

[on Fellini&#39;s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0056801/?ref_=nmqu_qu">8½ (1963)</a>] It taught me that it was OK to do the very thing that I&#39;m criticized for, which is to use my own life as the subject, such as my emotions or those of the people very close to me. It&#39;s something that nobody questions in the other arts, but since movies are the so-called popular medium, people do question whether that is too narcissistic. I talk about this subject a lot in my character in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0105729/?ref_=nmqu_qu">Venice/Venice (1992)</a>. People try to tell you that it&#39;s wrong because movies are a popular medium, and therefore you should find a popular common denominator. If you have the temerity to think of movies as art, then I don&#39;t think that should apply.

Quotes

Henry Jaglom

Contribute to this page

More from this person

More to explore

Recently viewed