Philip Kaufman

Philip Kaufman (born October 23, 1936) is an American film director and screenwriter who has directed fifteen films over a career spanning nearly five decades. He has received numerous accolades including a BAFTA Award along with nominations for an Academy Award, and a Primetime Emmy Award. He has been described as a "maverick" and an "iconoclast," notable for his versatility and independence, often directing eclectic and controversial films. He is considered an "auteur" whose films have always expressed his personal vision. Kaufman's works have included genres such as realism, horror, fantasy, erotica, western, and crime.

Kaufman earned his breakthrough for the film The Unbearable Lightness of Being (1988) which earned him the BAFTA Award for Best Adapted Screenplay as well as a nomination for the Academy Award for Best Adapted Screenplay. He is noted for directing such films as The Wanderers (1979), Rising Sun (1993), the remake of Invasion of the Body Snatchers (1978), Henry & June (1990), and Quills (2000). He gained prominence for The Right Stuff (1983), which received eight Academy Award nominations, including Best Picture. He is also known for directing the HBO film Hemingway & Gellhorn (2012), for which he received a Primetime Emmy Award for Outstanding Directing for a Miniseries, Movie or a Dramatic Special nomination.

Kaufman was born in Chicago in 1936, the only son of Elizabeth (née Brandau), a housewife, and Nathan Kaufman, a produce businessman. He was the grandson of German Jewish immigrants. One of his grammar and high school friends was William Friedkin, who also became a director. He developed an early love of movies, and during his youth he would often go to double features.

He attended the University of Chicago where he received a degree in history, and then enrolled at Harvard Law School where he spent a year. He returned to Chicago for a postgraduate degree, hoping to become a professor of history.

Before graduating Kaufman became involved in the counterculture movement and in 1960 moved to San Francisco. He took various jobs there, including postal worker, and befriended a number of influential people, such as writer Henry Miller. He and his wife then decided to travel and live in Europe for a while where he would teach. After spending time working on a kibbutz in Israel, he taught English and math for two years in Greece and Italy. During his travels he also met author Anaïs Nin, whose relationship with her lover, Henry Miller, later became the inspiration and subject for Kaufman's film Henry & June (1990).

He met Saugus, Massachusetts-born Rose Fisher in 1957, when he was 21 and she was 18, and both were undergraduates at the University of Chicago. A year later, in 1958, they married. They had one son, Peter. Rose Kaufman was also a screenwriter and had bit roles in two of her husband's films. After backpacking in Europe with his wife and their young son, they returned to the United States. His time in Europe heavily influenced Kaufman's decision to become a filmmaker, when he and his wife would wander into small movie theaters showcasing the works of experimental new filmmakers such as John Cassavetes and Shirley Clarke, among others. He recalls the effect of being exposed to those filmmakers as the "start of something new" which would later inspire the European flavor of many of his films: "I could feel the cry of America, the sense of jazz ... So I came back to Chicago in 1962 and set about trying to learn as much as I could, seeing every foreign movie I could."

Kaufman returned to Chicago, ready to make his first feature film. He went around town looking for funding for his directorial debut, Goldstein (1964), co-written and co-directed with Benjamin Manaster. Kaufman initially conceived of the story in an unfinished novel, but at the urging of Anaïs Nin he then made it into a "mystical comedy" film. It was inspired by a story from Martin Buber's Tales of the Hasidim, and was filmed on location in Chicago with a cast composed of local actors from The Second City comedy troupe.

The film won the Prix de la Nouvelle Critique (New Critics Prize) at the 1964 Cannes Film Festival, with French director Jean Renoir calling it the best American film he had seen in 20 years. François Truffaut, another leading French director, was visiting Chicago when the film premiered and he came to the opening. Kaufman recalled that Truffaut "leaped to his feet" in the middle of the screening and began applauding.