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Louis J. Gasnier. Louis Joseph Gasnier (September 15, 1875 – February 15, 1963) was a French-American film director, producer, screenwriter and stage actor. A cinema pioneer, Gasnier shepherded the early career of comedian Max Linder, co-directed the enormously successful film serial The Perils of Pauline (1914), and capped his ...
Louis J. Gasnier (Paris, França, 15 de setembro de 1875 – Hollywood, Califórnia, EUA, 15 de fevereiro de 1963) foi um cineasta, produtor, roteirista e ator franco-americano. [1] Um dos pioneiros do cinema, Gasnier conduziu o início da carreira do comediante Max Linder , co-dirigiu o bem sucedido seriado The Perils of Pauline ...
French-born Louis J. Gasnier was a stage actor / director / producer in Paris when he was hired by Pathe to direct comedy shorts. After discovering and showcasing comedian Max Linder, Gasnier was sent by Pathe to the U.S. in 1912 to run its operation there.
- January 1, 1
- Paris, France
- January 1, 1
- Hollywood, California, USA
Louis Gasnier est un réalisateur, scénariste, producteur et acteur français, né Louis Joseph Gasnier, le 15 septembre 1875 à Paris 9e 1 ( France) et mort le 15 février 1963 à Hollywood ( États-Unis ).
- 15 septembre 1875Paris 9eFrance
- Louis Joseph Gasnier
- Français
Louis J. Gasnier (15 de septiembre de 1875 – 15 de febrero de 1963) fue un director cinematográfico francés. Biografía. Su nombre completo era Louis Joseph Gasnier, y nació en París, Francia. Gasnier estaba trabajando en el teatro cuando Pathé le contrató para dirigir producciones en la incipiente industria cinematográfica.
Louis J. Gasnier (15 September 1875 - 15 February 1963) was a French film director. Born in Paris, Gasnier was working in theatre when Pathé hired him to direct films in the earliest days of cinema. He directed comedian Max Linder in many of his early short comedies.
Louis J. Gasnier · 68m · 16mm. Originally financed by a church group, Reefer Madness is, on the surface, a film about the dangers of marajiuana consumption. But its long-standing appeal is less rooted in the “public good” of its message and more in the absurdly over-the-top performances and scenarios portrayed.
