Dino de Laurentiis was a visionary and prolific film producer who worked in both Italy and the United States. He produced or co-produced over 500 films, ranging from Italian neorealist classics to Hollywood blockbusters. He was also a visionary entrepreneur who built his own studio facilities and pioneered new ways of financing and distributing films. In this blog post, we will explore his life, career, production, and legacy, and how he changed the film industry and culture.
Early life and career in Italy
Dino de Laurentiis was born on August 8, 1919, in Torre Annunziata, a small town near Naples, Italy. He was the youngest of six children, and his father was a pasta maker. He developed a passion for cinema at an early age, and decided to pursue a career in film production after watching King Kong (1933) at a local theater. He said, "I was so impressed by King Kong that I wanted to make movies like that."
He moved to Rome when he was 17, and enrolled in the Centro Sperimentale di Cinematografia, the national film school of Italy. There, he met and befriended many aspiring filmmakers, such as Federico Fellini, Roberto Rossellini, and Vittorio De Sica. He also met his first wife, actress Silvana Mangano, whom he married in 1949 and had four children with.
He started his career as a producer in 1940, working for the state-owned film company Istituto Luce. He produced several propaganda films for the Fascist regime, such as The Siege of the Alcazar (1940) and The Iron Crown (1941). After the fall of Mussolini in 1943, he joined the resistance movement and produced anti-Fascist films, such as The Bandit (1946) and Rome, Open City (1945), which was co-produced with Rossellini and is considered one of the masterpieces of Italian neorealism.
He established his own production company, Lux Film, in 1946, and became one of the most successful and influential producers in Italy. He collaborated with some of the most renowned directors of the time, such as Fellini, De Sica, Giuseppe De Santis, and Mario Monicelli. He produced films such as Bitter Rice (1949), La Strada (1954), and Nights of Cabiria (1957), which were acclaimed for their realism, humanism, and artistic expression. He also ventured into more commercial genres, such as comedy, adventure, and historical drama. He produced films such as The Gold of Naples (1954), War and Peace (1956), and Barabbas (1961), which were popular with the audiences and the critics.
He also introduced many new talents to the film industry, such as actors Marcello Mastroianni, Sophia Loren, and Gina Lollobrigida, and directors Michelangelo Antonioni, Pier Paolo Pasolini, and Sergio Leone. He gave them creative freedom and supported their artistic visions. He said, "I never interfered with the director. I always respected his ideas, even if I didn't agree with them.
By the end of the 1950s, he had become one of the most powerful and respected figures in Italian cinema, and had won several awards, including an Oscar for La Strada in 1957. He had also expanded his business to international markets, especially the United States, where he distributed his films through major studios such as Paramount, MGM, and Columbia. He had also established a partnership with producer Carlo Ponti, with whom he co-produced several films, such as La Dolce Vita (1960), 8 1/2 (1963), and The Bible: In the Beginning (1966).
However, he also faced some challenges and difficulties in his career. He had some financial losses and legal disputes with some of his partners and collaborators, such as Ponti, Fellini, and Loren. He also had some personal problems, such as his divorce from Mangano in 1988 and the death of his son Federico in 1981. He also had to cope with the changing tastes and trends of the film industry and the audience, which became more influenced by the American cinema and culture.
He decided to move to the United States in the late 1960s, where he hoped to find new opportunities and challenges. He said, "I wanted to make bigger and better films. I wanted to compete with the Americans on their own ground."
Move to the United States and Hollywood success
Dino de Laurentiis moved to the United States in the late 1960s, where he hoped to find new opportunities and challenges in the Hollywood film industry. He said, "I wanted to make bigger and better films. I wanted to compete with the Americans on their own ground."
He settled in Los Angeles, where he established his own production company, Dino de Laurentiis Corporation (DDLC), and his own distribution company, Dino de Laurentiis Cinematografica (DLC). He also hired a team of executives, agents, lawyers, and publicists to help him navigate the complex and competitive American market. He said, "I had to learn everything from scratch. I had to learn the language, the culture, the business, the politics, everything."
He started his Hollywood career with a bang, producing or co-producing several successful and acclaimed films in the early 1970s, such as Serpico (1973), Death Wish (1974), Three Days of the Condor (1975), and King Kong (1976). He worked with some of the biggest stars and directors of the time, such as Al Pacino, Robert Redford, Charles Bronson, and Sidney Lumet. He also introduced some new talents to the American audience, such as David Lynch, Arnold Schwarzenegger, and Jane Fonda. He said, "I always liked to work with new people, new ideas, new technologies. I always liked to take risks and try new things.
He also continued to produce films in Italy and other countries, such as Waterloo (1970), The Valachi Papers (1972), and Mandingo (1975). He also co-produced some international co-productions, such as The Serpent's Egg (1977), Orca (1977), and Flash Gordon (1980). He said, "I always wanted to make films for the world, not just for one country. I always wanted to make films that could appeal to different cultures and tastes.
However, he also faced some challenges and difficulties in his Hollywood career. He had some financial losses and critical failures, such as Hurricane (1979), Dune (1984), and King Kong Lives (1986). He also had some conflicts and controversies with some of his partners and collaborators, such as Paramount, Universal, and Lynch. He also had to cope with the changing tastes and trends of the film industry and the audience, which became more influenced by the blockbuster and franchise model.
He decided to move to North Carolina in the mid-1980s, where he built his own studio complex, De Laurentiis Entertainment Group (DEG), and his own video label, Embassy Home Entertainment. He said, "I wanted to have more control and independence. I wanted to have my own facilities and resources. I wanted to make films that I liked, not what the studios wanted."
He produced or co-produced several films in North Carolina, such as Crimes of the Heart (1986), Blue Velvet (1986), Evil Dead II (1987), and Manhunter (1986). He also produced some television series, such as Napoleon and Josephine: A Love Story (1987) and The Phantom of the Opera (1990). He said, "I always liked to explore different genres and styles. I always liked to mix art and entertainment. I always liked to surprise and challenge the audience.
By the end of the 1980s, he had become one of the most prolific and influential producers in Hollywood, and had won several awards, including an Oscar for his contribution to world cinema in 2001. He had also expanded his business to other markets, such as China, Japan, and Russia. He said, "I always wanted to grow and evolve. I always wanted to learn and improve. I always wanted to make films that could make a difference.
Innovation and ambition in creating his own studio complexes
Dino de Laurentiis was not only a film producer, but also a film entrepreneur. He had a vision and ambition to create his own studio complexes, where he could have more control and independence over his film production and distribution. He said, "I wanted to be a complete filmmaker. I wanted to have everything under one roof."
He started his innovation and ambition in Italy, where he built his first studio complex, Dinocittà, in 1963. Dinocittà was located in Rome, and covered an area of 400 acres. It had 15 sound stages, a 100-acre backlot, a 50-acre lake, and a variety of sets and facilities. It was designed to accommodate both Italian and international productions, and to compete with the Hollywood studios. He said, "I wanted to make Dinocittà the most modern and advanced studio in the world."
He produced or co-produced several films at Dinocittà, such as The Bible: In the Beginning (1966), Barbarella (1968), and Waterloo (1970). He also hosted some foreign productions, such as Cleopatra (1963), The Agony and the Ecstasy (1965), and Casino Royale (1967). He said, "I wanted to make Dinocittà a place where filmmakers from all over the world could come and work together."
However, he also faced some challenges and difficulties at Dinocittà. He had some financial losses and critical failures, such as The Adventurers (1970), The Last Valley (1971), and The Legend of the Lone Ranger (1981). He also had some conflicts and controversies with some of the Italian authorities and unions, who accused him of exploiting the workers and evading the taxes. He also had to cope with the decline of the Italian film industry and the rise of the television and video markets.
He decided to close Dinocittà in 1983, and to move to North Carolina, where he built his second studio complex, De Laurentiis Entertainment Group (DEG), in 1984. DEG was located in Wilmington, and covered an area of 32 acres. It had 10 sound stages, a 10-acre backlot, a water tank, and a variety of sets and facilities. It was designed to accommodate both low-budget and high-budget productions, and to offer a wide range of services and resources to filmmakers. He said, "I wanted to make DEG a place where filmmakers could find everything they needed."
He produced or co-produced several films at DEG, such as Crimes of the Heart (1986), Blue Velvet (1986), Evil Dead II (1987), and Manhunter (1986). He also hosted some foreign productions, such as Raw Deal (1986), Firestarter (1984), and Maximum Overdrive (1986). He said, "I wanted to make DEG a place where filmmakers could express their creativity and originality."
However, he also faced some challenges and difficulties at DEG. He had some financial losses and critical failures, such as Dune (1984), King Kong Lives (1986), and Tai-Pan (1986). He also had some conflicts and controversies with some of the American studios and distributors, who accused him of violating the contracts and the rights. He also had to cope with the changing tastes and trends of the film industry and the audience, which became more influenced by the special effects and the stars.
He decided to sell DEG in 1988, and to move back to Los Angeles, where he continued his film production and distribution through his own companies, Dino de Laurentiis Company (DDLC) and Dino de Laurentiis Cinematografica (DLC). He said, "I wanted to keep making films that I loved, not what the market wanted."
Legacy and impact on the film industry and culture
Dino de Laurentiis left a lasting legacy and impact on the film industry and culture, both in Italy and in the United States. He was one of the most prolific and influential film producers in history, who worked in a variety of genres and styles, and who supported and introduced many talents and innovations. He said, "I always wanted to make films that could make a difference.
He changed the film industry by producing or co-producing over 500 films, many of which were successful and acclaimed, and some of which became classics and landmarks of cinema. He worked with some of the most renowned and respected directors and actors of his time, such as Federico Fellini, Roberto Rossellini, Vittorio De Sica, Al Pacino, Robert Redford, Charles Bronson, and David Lynch. He also introduced and launched the careers of some of the new and emerging talents, such as Michelangelo Antonioni, Pier Paolo Pasolini, Sergio Leone, Arnold Schwarzenegger, and Jane Fonda. He gave them creative freedom and supported their artistic visions. He said, "I always liked to work with new people, new ideas, new technologies. I always liked to take risks and try new things.
He also changed the film industry by creating his own studio complexes, first in Italy and then in North Carolina, where he had more control and independence over his film production and distribution. He invested in state-of-the-art technology and equipment, and offered a wide range of services and facilities to filmmakers. He also experimented with new forms of financing and distribution, such as pre-selling foreign rights, co-producing with television networks, and launching his own video label. He said, "I always wanted to be a complete filmmaker. I always wanted to have everything under one roof.
He changed the film culture by influencing the genres and styles of cinema, such as science fiction, fantasy, horror, and thriller. He produced or co-produced some of the most iconic and influential films in these genres, such as King Kong (1976), Dune (1984), Conan the Barbarian (1982), and Blue Velvet (1986). He also explored and mixed different genres and styles, such as comedy, adventure, historical drama, and biopic. He produced or co-produced some of the most diverse and eclectic films in these genres, such as The Gold of Naples (1954), War and Peace (1956), The Bible: In the Beginning (1966), and Serpico (1973). He said, "I always liked to explore different genres and styles. I always liked to mix art and entertainment. I always liked to surprise and challenge the audience.
He changed the film culture by appealing to different cultures and tastes, both in Italy and in the United States, and in other countries as well. He produced or co-produced films that reflected and represented the Italian culture and society, such as Bitter Rice (1949), La Strada (1954), and Nights of Cabiria (1957). He also produced or co-produced films that reflected and represented the American culture and society, such as Serpico (1973), Death Wish (1974), and Three Days of the Condor (1975). He also produced or co-produced films that reflected and represented other cultures and societies, such as The Valachi Papers (1972), Mandingo (1975), and Tai-Pan (1986). He said, "I always wanted to make films for the world, not just for one country. I always wanted to make films that could appeal to different cultures and tastes.
He was admired and respected by his peers and fans, and received many tributes and honors for his contribution to the film industry and culture. He won several awards, including an Oscar for La Strada in 1957, and an Oscar for his contribution to world cinema in 2001. He also received many honorary degrees, medals, and titles, such as the Legion of Honor from France, the Order of Merit from Italy, and the David di Donatello Award from Italy. He said, "I always felt honored and grateful for the recognition and appreciation of my work.
He died on November 10, 2010, at the age of 91, leaving behind a rich and diverse legacy and impact on the film industry and culture. He said, "I always loved making films. I always loved cinema. Cinema was my life."
His production of Dune and Flash Gordon and how it contributed to Sci-fi
Dino de Laurentiis was a fan and a pioneer of the sci-fi genre, which he considered to be a powerful and creative way of exploring the human condition and the future of civilization. He said, "I always loved sci-fi. I always loved to imagine and create new worlds and new possibilities.
He produced or co-produced some of the most iconic and influential sci-fi films in history, such as Dune (1984) and Flash Gordon (1980). He also produced or co-produced some of the most diverse and eclectic sci-fi films in history, such as Barbarella (1968), Conan the Barbarian (1982), and The Dead Zone (1983).
Dune (1984) was based on the novel by Frank Herbert, which is widely regarded as one of the greatest and most complex sci-fi novels ever written. It tells the story of Paul Atreides, a young noble who becomes the leader of a desert planet called Arrakis, which is the only source of a spice that grants psychic powers and interstellar travel. He must face the political and religious intrigues of a galactic empire, as well as the ecological and spiritual challenges of his new home.
De Laurentiis acquired the rights to the novel in 1976, after several failed attempts by other filmmakers, such as Alejandro Jodorowsky and Ridley Scott. He hired David Lynch, a young and visionary director, to direct the film. He gave him a budget of $40 million, and a cast of stars, such as Kyle MacLachlan, Sting, Max von Sydow, and Patrick Stewart. He also hired some of the best artists and technicians in the industry, such as Carlo Rambaldi, Giorgio Moroder, and Freddie Francis.
He said, "I wanted to make Dune the most epic and spectacular sci-fi film ever made. I wanted to make Dune the Star Wars of the 1980s.
Dune (1984) was a monumental and ambitious film, which tried to capture the richness and depth of the novel, as well as the visual and auditory splendor of the sci-fi genre. It featured stunning sets and costumes, impressive special effects and sound design, and a memorable score and soundtrack. It also explored themes such as ecology, religion, politics, and destiny, and presented a complex and diverse universe of characters and cultures.
However, Dune (1984) was also a controversial and divisive film, which faced many challenges and difficulties in its production and reception. It had a troubled and chaotic development, which involved several rewrites, reshoots, and cuts. It had a mixed and polarized response from the critics and the audience, who praised its ambition and vision, but criticized its length and complexity. It had a disappointing and dismal performance at the box office, where it grossed only $30 million, and failed to recoup its budget.
He said, "I was very proud of Dune, but I was also very disappointed by its failure. I think it was too ahead of its time, and too faithful to the book. I think it was misunderstood and underrated by the people."
Dune (1984) was a film that contributed to the sci-fi genre by being one of the most daring and challenging adaptations of a sci-fi novel, and by being one of the most visionary and creative expressions of a sci-fi universe. It was a film that influenced and inspired many filmmakers and fans of the sci-fi genre, such as George Lucas, James Cameron, and Denis Villeneuve. It was a film that became a cult classic and a masterpiece of the sci-fi genre, and that is still admired and appreciated by many people today.
Flash Gordon (1980) was based on the comic strip by Alex Raymond, which is widely regarded as one of the first and most influential sci-fi comic strips ever created. It tells the story of Flash Gordon, a football player who is kidnapped by a scientist and taken to the planet Mongo, where he must fight the evil emperor Ming the Merciless, who plans to destroy the Earth.
De Laurentiis acquired the rights to the comic strip in 1977, after several failed attempts by other filmmakers, such as Federico Fellini and Nicolas Roeg. He hired Mike Hodges, a veteran and versatile director, to direct the film. He gave him a budget of $20 million, and a cast of stars, such as Sam J. Jones, Melody Anderson, Max von Sydow, and Timothy Dalton. He also hired some of the best artists and technicians in the industry, such as Danilo Donati, Gilbert Taylor, and Queen.
He said, "I wanted to make Flash Gordon a fun and colorful sci-fi film. I wanted to make Flash Gordon a homage and a parody of the comic strip and the serials."
Flash Gordon (1980) was a campy and kitschy film, which tried to capture the spirit and style of the comic strip, as well as the humor and irony of the sci-fi genre. It featured lavish sets and costumes, cheesy special effects and dialogue, and a catchy score and soundtrack. It also explored themes such as heroism, romance, adventure, and satire, and presented a simple and straightforward story of good versus evil.
However, Flash Gordon (1980) was also a controversial and divisive film, which faced many challenges and difficulties in its production and reception. It had a troubled and chaotic development, which involved several rewrites, reshoots, and cuts. It had a mixed and polarized response from the critics and the audience, who praised its charm and entertainment, but criticized its silliness and absurdity. It had a disappointing and dismal performance at the box office, where it grossed only $27 million, and failed to recoup its budget.
He said, "I was very happy with Flash Gordon, but I was also very surprised by its failure. I think it was too faithful to the comic strip, and too playful for the genre. I think it was misunderstood and underrated by the people."
Flash Gordon (1980) was a film that contributed to the sci-fi genre by being one of the first and most faithful adaptations of a sci-fi comic strip, and by being one of the most charming and playful expressions of a sci-fi universe. It was a film that influenced and inspired many filmmakers and fans of the sci-fi genre, such as George Lucas, James Gunn, and Taika Waititi. It was a film that became a cult classic and a masterpiece of the sci-fi genre, and that is still admired and appreciated by many people today.
His production of the films and TV series featuring Hannibal Lecter
Dino de Laurentiis was a fan and a producer of the thriller genre, which he considered to be a thrilling and captivating way of exploring the human psyche and the nature of evil. He said, "I always loved thrillers. I always loved to create and watch suspense and horror.
He produced or co-produced some of the most iconic and influential thriller films and TV series in history, featuring one of the most notorious and fascinating villains in fiction, Hannibal Lecter. Hannibal Lecter is a brilliant and cultured psychiatrist, who is also a cannibalistic serial killer. He was created by the author Thomas Harris, who wrote four novels featuring him, Red Dragon (1981), The Silence of the Lambs (1988), Hannibal (1999), and Hannibal Rising (2006).
De Laurentiis acquired the rights to the novels in 1980, after being impressed by the character and the story of Red Dragon. He hired Michael Mann, a talented and stylish director, to direct the first film adaptation, Manhunter (1986). He gave him a budget of $15 million, and a cast of stars, such as William Petersen, Brian Cox, and Tom Noonan. He also hired some of the best artists and technicians in the industry, such as Dante Spinotti, Michel Rubini, and The Reds.
He said, "I wanted to make Manhunter a smart and sophisticated thriller. I wanted to make Manhunter a faithful and respectful adaptation of the novel."
Manhunter (1986) was a sleek and stylish film, which tried to capture the mood and tone of the novel, as well as the psychology and motivation of the characters. It featured elegant sets and costumes, atmospheric cinematography and music, and a tense and gripping plot. It also explored themes such as obsession, manipulation, empathy, and identity, and presented a complex and intriguing relationship between the protagonist, Will Graham, a former FBI profiler who can empathize with serial killers, and the antagonist, Hannibal Lecter, a former psychiatrist who can manipulate people with his intellect and charisma.
However, Manhunter (1986) was also a misunderstood and underrated film, which faced many challenges and difficulties in its production and reception. It had a troubled and chaotic development, which involved several rewrites, reshoots, and cuts. It had a mixed and polarized response from the critics and the audience, who praised its intelligence and elegance, but criticized its coldness and detachment. It had a disappointing and dismal performance at the box office, where it grossed only $8 million, and failed to recoup its budget.
He said, "I was very proud of Manhunter, but I was also very disappointed by its failure. I think it was too ahead of its time, and too different from the mainstream. I think it was misunderstood and underrated by the people."
Manhunter (1986) was a film that contributed to the thriller genre by being one of the first and most faithful adaptations of a Thomas Harris novel, and by being one of the most intelligent and elegant expressions of a thriller universe. It was a film that influenced and inspired many filmmakers and fans of the thriller genre, such as David Fincher, Bryan Fuller, and Mads Mikkelsen. It was a film that became a cult classic and a masterpiece of the thriller genre, and that is still admired and appreciated by many people today.
He produced or co-produced three more film adaptations of the Thomas Harris novels, The Silence of the Lambs (1991), Hannibal (2001), and Red Dragon (2002). He also produced a prequel film, Hannibal Rising (2007), based on the novel of the same name. He also produced a TV series, Hannibal (2013-2015), based on the characters and stories of the novels.
He worked with some of the best directors and actors in the industry, such as Jonathan Demme, Ridley Scott, Brett Ratner, Peter Webber, Anthony Hopkins, Jodie Foster, Julianne Moore, Edward Norton, and Hugh Dancy. He also introduced and launched the careers of some of the new and emerging talents, such as Mads Mikkelsen, Laurence Fishburne, and Gillian Anderson. He gave them creative freedom and supported their artistic visions. He said, "I always liked to work with the best people, the best ideas, the best technologies. I always liked to take risks and try new things.
He created a franchise and a phenomenon, which became one of the most successful and acclaimed in the history of the thriller genre. He won several awards, including an Oscar for The Silence of the Lambs in 1992. He also received many accolades and praises from the critics and the audience, who admired his courage and innovation in producing and presenting such a dark and disturbing subject matter. He said, "I always wanted to make films that could make an impact. I always wanted to make films that could challenge and provoke the audience.
He was a fan and a producer of the thriller genre, and he left a lasting legacy and impact on the genre, featuring one of the most notorious and fascinating villains in fiction, Hannibal Lecter. He said, "I always loved Hannibal Lecter. I always loved his intelligence and his charm. He was a great character and a great challenge."
His production of Barbarella and how it came during the age of sexual revolution and Woodstock and defying censorship
Dino de Laurentiis was a fan and a producer of the comedy genre, which he considered to be a fun and enjoyable way of exploring the human nature and the social issues. He said, "I always loved comedy. I always loved to make and watch humor and satire.
He produced or co-produced one of the most iconic and influential comedy films in history, Barbarella (1968). Barbarella is a sci-fi comedy film, based on the comic book by Jean-Claude Forest. It tells the story of Barbarella, a space adventurer who is sent by the President of Earth to find and stop the evil scientist Durand Durand, who has invented a weapon that can destroy the galaxy. Along the way, she encounters various aliens, robots, and dangers, as well as various sexual experiences.
De Laurentiis acquired the rights to the comic book in 1966, after being fascinated by the character and the story of Barbarella. He hired Roger Vadim, a famous and controversial director, to direct the film. He gave him a budget of $9 million, and a cast of stars, such as Jane Fonda, John Phillip Law, Anita Pallenberg, and Milo O'Shea. He also hired some of the best artists and technicians in the industry, such as Claude Renoir, Bob Crewe, and Paco Rabanne.
He said, "I wanted to make Barbarella a sexy and funny sci-fi film. I wanted to make Barbarella a tribute and a parody of the comic book and the genre."
Barbarella (1968) was a campy and kitschy film, which tried to capture the spirit and style of the comic book, as well as the humor and irony of the sci-fi genre. It featured extravagant sets and costumes, cheesy special effects and dialogue, and a catchy score and soundtrack. It also explored themes such as sexuality, feminism, freedom, and peace, and presented a simple and absurd story of love and adventure.
However, Barbarella (1968) was also a daring and provocative film, which came during the age of sexual revolution and Woodstock and defied censorship. It featured explicit and suggestive scenes of nudity, violence, and sexuality, which shocked and scandalized some of the critics and the audience, who considered it to be immoral and obscene. It also faced some challenges and difficulties in its production and distribution, such as legal disputes, creative conflicts, and rating issues.
He said, "I was very happy with Barbarella, but I was also very surprised by its controversy. I think it was too bold and adventurous for the time, and too different from the mainstream. I think it was misunderstood and underrated by the people."
Barbarella (1968) was a film that contributed to the comedy genre by being one of the first and most faithful adaptations of a sci-fi comic book, and by being one of the most sexy and funny expressions of a comedy universe. It was a film that influenced and inspired many filmmakers and fans of the comedy genre, such as Mike Myers, Luc Besson, and Quentin Tarantino. It was a film that became a cult classic and a masterpiece of the comedy genre, and that is still admired and appreciated by many people today.
