Akira Kurosawa height - How tall is Akira Kurosawa?

Although his "samurai" films are considered the archetypal samurai films over the rest of the world, they were actually considered atypical in Japan. Most Japanese samurai films had been set in the 18th & 19th centuries, when a peaceful Japan was at the peak of its nationalism, with the largest number of bushido code-adhering samurai. Kurosawa's films typically feature individualistic "ronin" (masterless samurai) rather than true "samurai" and a majority are set in the far more chaotic feudal periods (16th-17th centuries) when the Japanese were engaged in civil war.

The Akira Kurosawa School of Film was launched in April 2015, offering an online Master of Fine Arts in Digital Filmmaking.

Interviewed in "World Directors in Dialogue" by Bert Cardullo (Scarecrow Press, 2011).

Ranked #6 in Empire (UK) magazine's "The Greatest directors ever!" [2005]

A theoretical interpretation of his work can be found in "Akira Kurosawa and Intertextual Cinema" by James Goodwin, published by Johns Hopkins in 1994.

" He continued to work into his eighties with the more personal Dreams (1990), Hachi-gatsu no rapusodî (1991) and Mâdadayo (1993).

In December 1971, after a period of suffering from mental fatigue and frustrated with a run of unsatisfying and sub par directing work, Kurosawa attempted suicide by slashing his wrist thirty times with a razor. Fortunately, the wounds were not fatal and he made a full recovery.

He survived, and made a small, personal, low-budget picture with Dodes'ka-den (1970), a larger-scale Russian co-production Dersu Uzala (1975) and, with the help of admirers Francis Ford Coppola and George Lucas, the samurai tale Kagemusha (1980), which Kurosawa described as a dry run for Ran (1985), an epic adaptation of Shakespeare's "King Lear.

Keisuke Kinoshita, Akira Kurosawa, Kon Ichikawa and Masaki Kobayashi founded their own company, Yonki No Kai ('Club of The Four Knights'), in 1969 to assert an independent film making process and escape the studio system. They managed to produce only one movie, Kurosawa's Dodes'ka-den (1970).

After a lean period in the late 1960s and early 1970s, though, Kurosawa attempted suicide.

Several of his films have been remade in America as westerns. Seven Samurai (1954) ("The Seven Samurai") was remade as The Magnificent Seven (1960), and Yojimbo (1961) ("The Bodyguard") was remade as A Fistful of Dollars (1964). In addition, The Hidden Fortress (1958) ("The Hidden Fortress") was a major inspiration for the "Star Wars" saga, which takes many inspirations from westerns and is often referred to as a space western. Common story elements include Gen. Makabe, who became Obi-Wan Kenobi; Princess Yuki, who became Princess Leia and whose trick of disguising herself as a handmaiden would later be used by Queen Amidala; and the farmers from whose viewpoint the film is told, Matashichi and Tahei, whose constant bickering inspired C-3PO and R2-D2.

The next few years saw the low-key, touching Ikiru (1952) (Living), the epic Seven Samurai (1954), the barbaric, riveting Shakespeare adaptation Throne of Blood (1957), and a fun pair of samurai comedies Yojimbo (1961) and Sanjuro (1962).

After working in a wide range of genres, Kurosawa made his international breakthrough film Rashômon (1950) in 1950. It won the top prize at the Venice Film Festival, and first revealed the richness of Japanese cinema to the West.

Drunken Angel (1948)--"Drunken Angel"--was the first film he made without extensive studio interference, and marked his first collaboration with Toshirô Mifune. In the coming decades, the two would make 16 movies together, and Mifune became as closely associated with Kurosawa's films as was John Wayne with the films of Kurosawa's idol, John Ford.

He had a son Hisao (b. 20-Dec-1945), and a daughter, award-winning film costume designer Kazuko (b. 29-Apr-1954).

After training as a painter (he storyboards his films as full-scale paintings), Kurosawa entered the film industry in 1936 as an assistant director, eventually making his directorial debut with Sanshiro Sugata (1943). Within a few years, Kurosawa had achieved sufficient stature to allow him greater creative freedom.

He was voted the 6th greatest director of all time by Entertainment Weekly, making him one among only two Asians along with Satyajit Ray (who is ranked in 25th position) on a list of 50 directors and the highest ranking non-American.

He named the film that made him want to work in cinema as Abel Gance's film La roue (1923), particularly certain kinetic shots of trains.

Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890- 1945". Pages 583-605. New York: The H.W. Wilson Company, 1987.