| The Creators Of Rome|
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| Bruno Heller Co-Creator And Executive Producer|
Bruno Heller was born in 1961 and raised in London, England with three siblings,one who is Zoe Heller ( a British columnist and novelist.) The son of Lucus Heller and Caroline Cartor. Heller credits his father's success with likely keeping him from becoming a writer for many years. Before venturing into the writing careers Bruno graduated from The University Of Sussex in Brighton, and spent many years working on various film jobs,eventually becoming a successful boom operator. Heller would make his screenwriting debut on the 1994 Portuguese film Pax, which starred Amanda Plummer. Following the European release of Pax, Heller would move to Los Angelos in 1997. Bruno then began work for two television projects for the USA Network: Touching Evil and The Huntress, before co-creating the HBO series Rome. He is now working on the CBS programme, The Mentalist, which he created and is an executive producer which stars Simon Baker. In 1993 Bruno married Miranda Phillips Cowley, a senior vice president at HBO. Together they have two sons and are currently living in Los Angelos.
| Career Highlights |
Pax (1994) - Writer (Bruno's Screenwriter Debut)
Touching Evil (1998) - Writer and Executive Producer
The Huntress (1999) - Writer and Executive Producer
Rome (2005 - 2007) - Writer and Executive Producer
The Mentalist(2008) - Creator and Executive Producer.
Bruno Heller On Working On Rome
When HBO approached me about writing the show that became Rome, I immediately jumped at the opportunity, then I got very scared. The fall of the Roman Republic is a story that has been told brilliantly many times before. We started with the notion of telling the story from the perspective of two foot soldiers, Lucius Vorenus and Titus Pullo, the only two rank-and-file soldiers mentioned by Caesar in his Commentaries on the Gallic Wars. I realised that their working-class, "street" perspective was the key. What if we made the show as if it were a contemporary urban drama? As if it were shot on the actual streets of Republican Rome? What if we showed the Romans the way they really were- in all their shocking pagan glory- without judging them and without imposing a modern morality on them? We tend to think that people never change, that human nature is immutable, that human emotions translate across time and culture. Love is love; despair is despair. In fact, in many ways, the ancient Romans could not have been in anyway more different than us. By modern standards, hey were an immoral people. If Caesar were alive today and doing the things he did, he might be ranked up there with Pol Pot and Stalin as a heinous war criminal. Endless warfare, mass slavery, public displays of brutal sadism, and unbridled sexuality were the Lifeblood of Roman culture. The Romans were a cruel, lustful, avaricious, and violent people. They were us, but before monotheism and Freud taught us to be ashamed of ourselves. Romans celebrated the dark vices of the soul that we are taught to repress from infancy. Being true to that culture would open up Rome to accusations of explosion-of using sex and violence titillate and shock. It would have been much easier to make these characters sympathetic by not showing them as they really were. It was precisely this challenge that appealed: to bring that world to life in all its beauty and brutality yet succeed in making it relatable. When we began to look for a place to create the show, we traveled to London, the United States, Bulgaria, Romania and Tunisia. But everywhere we went, we felt some intangible sense of reality was missing. And then we arrived at the fabled Cinecitta Studios in Rome. There, where Ben Hur Antony and Cleopatra, and all Fellini's masterpieces were shot, the light and air of ancient Rome was still alive, unchanged. The modern Romans, whom we would use to people the slums of the Subura and the benches of the Senate, were still as they were two thousand years ago, there gestures and idioms unaltered. They still carry themselves with hauteur and dignity; they still have a keen sense of life as theatre. We had to shoot the show in Rome. And so we set the task of re-creating a vanished world. If the audience was really to feel like they were stepping back in time, we had to create a living, breathing world completely from scratch. Every dress, every teacup, every knife had to be manufactured. Every word, every gesture, every emotion had to be true to the period. It was a monumental task and one that all of us involved in the making of Rome are very proud of the results.
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| John Milius Co Creator/Executive Producer || William J MacDonald Co Creator/Executive Producer|
| Biography |
John Milius was born in St .Louis Missouri on April 11th 1944. John attempted to join the Marine Corps in the late 1960's but was rejected due to chronic asthma. A former student of the University Southern California School of Cinema-Television, John started his movie career in a student film contest in 1967 taking first prize for Marcello I'm Bored. He has been married three times and is currently married to actress Ellen Oberman. He has two children by his first wife Renee Fabri. His credentials include "Rough Riders," "Clear And Present Danger,"Geronimo; an American Legend," "Farewell To The King," "Extreme Prejudice," "Miami Vice," "Red Dawn," "Conam The Barbarian," "1941," Apocalypse Now," "Jaws," "The Wind And The Lion," "Magnum Force," "Dilinger" "The Life And Times Of Judge Roy Bean," "Dirty Harry," "Evil Knieval" and the "Emperor."
| | ~~~~~~~~~~~BiographyWilliam J MacDonald's credits include "One Mans Hero", "Molly", "Rough Roders", "The Saint", "An Occasional Hell", "Jade" and "Sliver".
| Frank Doelger Executive Producer || Anne Thomopoulos Executive Producer|
| ~~~~~~~~Biography |
Frank Doelger is an award winning executive producer whose discerning taste and keen sense of story telling led him to win back to back Emmy Awards in 2001 and 2002 for executing producing the HBO films "Conspiracy" and "The Gathering Storms." While Vice President of HBO and NYC Productions, Doelger oversaw production on the Emmy Award winning films "Miss Evers Boys," and "A Lesson Before Dieing," as well as the Emmy award nominated "For Life Or For Country," and "Always Outnumbered."
A graduate of Williams Collage, Doelgar was one of three Americans to be awarded a Keasby Scholarship to Oxford University in 1975. At Oxford, where he was awarded his MA, he directed several shows for the Oxford University Dramatic Society, and produced three shows for the Oxford Theatre Group's 1977 season at the Edinburgh Festivel. One of the shows, a new adaption of Evelyn Waugh's "The Loved One" which Doelger directed and co-authored with Richard Curtis, was named one of the best shows of the Festival. Doelger was also honoured for his work directing.
Anne Thomopoulos was senior vice president, original programming director for HBO when she put ROME into development. During her time at HBO she oversaw "Band Of Brothers" which won six Emmy Awards, including Outstanding Miniseries, and a Peabody Award. Prior to that, she oversaw the award winning HBO series "From Earth To The Moon." With Tom Hanks serving as an executive producer, the twelve part mini-series won numerous awards, including three Emmy Awards and a Golden Globe Award. She was also responsible for developing "Oz," HBO's first one hour drama-series, as well as the anthology projects "Laurel Avenue," "Grand Avenue" ans "America's Dream."
Thomopoulos, a dual nation of The United States and France, lives in Los Angelos with her husband and daughter. She holds a BA degree in English from Georgetown University in Washington,D.C.
| John Melfi Executive Producer|
John Melfi served as an executive producer on HBO's "The Comeback" and on the Emmy and Golden Globe award winning series Sex and The City. He was with Sex and The City from the second season and was awarded the Producers Guild Award for season three, four and six.
Prior to Sex and The City John's work for HBO included the mini series Laurel Avenue(1993), Grand Avenue (1996), and From The Earth To The Moon(1998, which was honoured with the Emmy, Golden Globe and Producers Guild awards for an outstanding miniseries. Johns other producing credits include the NBC's Earth 2(Amblin/Universal TV); Midnight Run( Universal TV - a series of two hour television movies based on this feature),; On The Make( Feature Taurus Entertainment); December (Feature I.R.S Media - Columbia TriStar); Other production credits include Tales Of The City Part 1 (Channel 4/Working Title) and One False Move (Feature I.R.S Media -Columba/ Tri Star), as well as many other films, television movies and commercials. John began his career as a stage manager
in New York City in 1982, where he worked on over 40 plays and musicals.
| Johnathon Stamp Historical Consultant|
Johnathon was educated at St Paul' School, London, and Balliol Collage, Oxford where he completed a Bachelor' and Master' degree in Classical Studies. He was awared the Brackenbury Scholarship in Literature while at Baliol, and graduated summa com laude, with a First Class Honours Degree. In the year following his graduation he was awarded a UNESCO International Arts scholarship for the purpose of travel in the Mediterranean world better to acquaint himself with sites of classical significance. He traveled widely in Greece, Turkey, Africa and Italy. On his return he began his career on television as a documentary maker, initially on Chanel 4 and then, 1990-2002 with the BBC.
His career at the BBC was spent with its History Department where he produced, and directed more than twenty documentaries, at least half of them that were related to the classical world, and particularly, to the world of Ancient Rome. During the course of making these documentaries he continued to work and travel widely across the Mediterranean. For the purpose of research on these projects he was, and remains, affiliated o the British School of Rome, one of the worlds premier academic centres for Roman studies. His films won more than twenty awards, including three Emmy awards, and a CableAce award. He was twice the winner of the Amnesty International Special Jury Award, and also of the Howard League Award. In 2000 he was appointed The Directer of Development in the BBC's history department. In 2002 he was appointed the BBC's Head of Archaeology.
He joined the HBO Rome project as Historical Consultant in 2004.
| Johnathon Stamp on his work on Rome|
I was a documentary filmmaker working for the BBC Television in London when I first heard of HBO's plans for a major drama set in Ancient Rome. The BBC was a co-producer of the series and was given an advanced review of the first three scripts. They were sent to me because I was a graduate in Greek and Roman history and most of the documentaries I m,ade were about the ancient world. I was the in house "Rome expert" so they asked me what I thought.
I read them and was immediately struck by how lively and fresh they felt, and how well they subverted the cliches that normally surrounded screen depictions of ancient Rome. This Rome felt real. It felt like an actual world inhabited by actual people, not the usual "HollyRome", a tired and over familiar stage of pillars and marble. To me, it also felt very close to the spirit of the city I had studies for so long: swaggering, histrionic, cruel, sexy, earthy, unapologetic bathed in fire and blood. It was very exciting. That was what I thought and what I said. And I longed to be further involved in the production myself. In the end my wish was fulfilled and I became Rome's historical consultant.
In this position I was often asked, "Is it all true? Did it really happen that way?" The simple answer is,"No". Rome is not one hundred percent historically accurate and it was never meant to be. It is, after all a drama, not a documentary, a distinction I was very clear about from the beginning. It was inspired by - and stayed close to-the actual events of the late Rome Republic, but it fictionalizes them, filled in some gaps, and made some imaginative new connections. That was a huge part of the shows appeal for me. But I am tempted to answer "Yes" to the question, Rome was not intended to be one hundred percent historically accurate but we did everything we could to make it one hundred percent authentic. We made every possible effort to bring to life a world than an ancient Roman would have recognized, in all its details: from hairstyles to religious rituals, from the chain mail worn by the Roman legionnaires during battle to the food served at an aristocratic dinner party. Every single element was considered. From that point of view, I think Rome can be considered to be the truest depiction of the subject ever brought to the screen. It's a grand statement, but I believe it to be true. Rome told the story of the Roman Republic. The story of Rome; the story of one man, Caesar,whose assassination made way for the rise of another, Octavian. It's the story of their family, of the men who rivaled them for power. But it's also the story of the those who served under them: of the ordinary men and women who walked the streets of Rome. Rome is the tale of one city, but a tale uniquely told, not just from the top down but also from the bottom up. And it is, arguably, the tale of the most important, certainly the most tumultuous, years in that city's extraordinary history.