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Lewis Teague
Lewis Teague (born March 8, 1938) is an American film director, whose work includes Alligator, Cat's Eye, Cujo, The Jewel of the Nile, The Dukes of Hazzard: Reunion!, Navy SEALs and Wedlock.
Teague was born in Brooklyn, New York. Teague fell in love with films at age 14 when he saw The Steel Helmet (1951). He later said he "had every intention of becoming an artist, at least a comic book artist, if not a fine artist living in a garret in Greenwich Village when I grew up. But I got into trouble, got kicked out of high school, joined the Army, discovered German beer, stopped drawing and painting."
Teague dropped out of high school at age 17 and enrolled in the army, serving for three years in Germany. He studied at New York University, where he fell in love with filmmaking and realised that was what he wanted to do for a career. His short films included Sound and the Painter (1962) and It's About a Carpenter, which was circulated through public libraries. His influences were French filmmakers like Jean Luc Godard, Francois Truffaut and Jacques Rivette and his classmates included Jim McBride and Martin Scorsese. In 1963 Teague won a scholarship for being the most promising student at the school.
Teague left the school in 1963 without completing a degree when he was offered a job by Universal working on The Alfred Hitchcock Hour. (Teague returned to NYU to complete his degree in 2016, at the age of 78.) Teague apprenticed with Sydney Pollack and had an early directing credit with the episode "The Second Verdict" on The Alfred Hitchcock Hour (1964) starring Martin Landau. Teague then went to work with George Roy Hill assisting on Hawaii. He said "I sort of got separated from Universal in the process... so when I came back from Hawaii, my contacts at Universal said, you know, you haven't followed up on that original directing opportunity and so we are terminating your contract" adding "I was happy because that wasn't the kind of moviemaking that I was really interested in."
Teague later said he "discovered marijuana and dropped out" after watching The Beatles perform. He ran the Cinemateque 16, an underground movie theater in Los Angeles. It was owned by Robert Lippert, who Teague met through his friend Fred Roos. Teague recalled "this is the pre-porn era. And what it did, they just showed girls with big boobs dancing around and that kind of stuff. But when the hippies took over Sunset Strip, it was amazing." Teague said " it was a great opportunity for me to show some of my favorite films and it was also an opportunity for me to show films that were being made by young filmmakers who were experimenting."
Teague eventually "got bored, and returned to filmmaking." He provided a film segment for a theatre production of The Disenchanted (1968), which the Los Angeles Times described as "effective". His friend Don Devlin asked him to work as his associate on Loving (1970), a film Devlin had written and was producing. Teague worked as a production manager on the rock concert documentary Woodstock (1970) and was cinematographer on Bongo Wolf's Revenge (1970). He then worked in the film department of KCT directing documentaries. Teague made his debut as a feature director with Dirty O'Neil (1974), which he co-directed.
In 1974, Teague was employed by Roger Corman at New World Pictures at the recommendation of Martin Scorsese who had also been to NYU. Corman asked Scorsese to edit Cockfighter (1974) but the director was unavailable and he recommended Teague.
Teague was second unit director and assistant editor on Death Race 2000 (1975); edited Crazy Mama (1975) for Jonathan Demme; assistant director on Thunder and Lightning (1977) (made for Corman but at 20th Century Fox); and was responsible for the avalanche sequence in Avalanche (1978). Teague later said, "The main things you learn by working for Corman are how to get every nickel on the screen, how to be as expedient as possible, and how to work very quickly. Also, Roger is an extremely clever person. Even though most of his material was exploitive, he always had a very intelligent approach. I learned a lot from the way he dealt with directors and editors. He was extremely well-organized, very insightful, very quick to make decisions."
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Lewis Teague
Lewis Teague (born March 8, 1938) is an American film director, whose work includes Alligator, Cat's Eye, Cujo, The Jewel of the Nile, The Dukes of Hazzard: Reunion!, Navy SEALs and Wedlock.
Teague was born in Brooklyn, New York. Teague fell in love with films at age 14 when he saw The Steel Helmet (1951). He later said he "had every intention of becoming an artist, at least a comic book artist, if not a fine artist living in a garret in Greenwich Village when I grew up. But I got into trouble, got kicked out of high school, joined the Army, discovered German beer, stopped drawing and painting."
Teague dropped out of high school at age 17 and enrolled in the army, serving for three years in Germany. He studied at New York University, where he fell in love with filmmaking and realised that was what he wanted to do for a career. His short films included Sound and the Painter (1962) and It's About a Carpenter, which was circulated through public libraries. His influences were French filmmakers like Jean Luc Godard, Francois Truffaut and Jacques Rivette and his classmates included Jim McBride and Martin Scorsese. In 1963 Teague won a scholarship for being the most promising student at the school.
Teague left the school in 1963 without completing a degree when he was offered a job by Universal working on The Alfred Hitchcock Hour. (Teague returned to NYU to complete his degree in 2016, at the age of 78.) Teague apprenticed with Sydney Pollack and had an early directing credit with the episode "The Second Verdict" on The Alfred Hitchcock Hour (1964) starring Martin Landau. Teague then went to work with George Roy Hill assisting on Hawaii. He said "I sort of got separated from Universal in the process... so when I came back from Hawaii, my contacts at Universal said, you know, you haven't followed up on that original directing opportunity and so we are terminating your contract" adding "I was happy because that wasn't the kind of moviemaking that I was really interested in."
Teague later said he "discovered marijuana and dropped out" after watching The Beatles perform. He ran the Cinemateque 16, an underground movie theater in Los Angeles. It was owned by Robert Lippert, who Teague met through his friend Fred Roos. Teague recalled "this is the pre-porn era. And what it did, they just showed girls with big boobs dancing around and that kind of stuff. But when the hippies took over Sunset Strip, it was amazing." Teague said " it was a great opportunity for me to show some of my favorite films and it was also an opportunity for me to show films that were being made by young filmmakers who were experimenting."
Teague eventually "got bored, and returned to filmmaking." He provided a film segment for a theatre production of The Disenchanted (1968), which the Los Angeles Times described as "effective". His friend Don Devlin asked him to work as his associate on Loving (1970), a film Devlin had written and was producing. Teague worked as a production manager on the rock concert documentary Woodstock (1970) and was cinematographer on Bongo Wolf's Revenge (1970). He then worked in the film department of KCT directing documentaries. Teague made his debut as a feature director with Dirty O'Neil (1974), which he co-directed.
In 1974, Teague was employed by Roger Corman at New World Pictures at the recommendation of Martin Scorsese who had also been to NYU. Corman asked Scorsese to edit Cockfighter (1974) but the director was unavailable and he recommended Teague.
Teague was second unit director and assistant editor on Death Race 2000 (1975); edited Crazy Mama (1975) for Jonathan Demme; assistant director on Thunder and Lightning (1977) (made for Corman but at 20th Century Fox); and was responsible for the avalanche sequence in Avalanche (1978). Teague later said, "The main things you learn by working for Corman are how to get every nickel on the screen, how to be as expedient as possible, and how to work very quickly. Also, Roger is an extremely clever person. Even though most of his material was exploitive, he always had a very intelligent approach. I learned a lot from the way he dealt with directors and editors. He was extremely well-organized, very insightful, very quick to make decisions."
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