Joseph Granby was born on March 24, 1885 in Boston, Massachusetts, USA. He was an actor, known for Written on the Wind (1956), The Great Romance (1919) and The Victim (1916). He died on September 22, 1965 in Los Angeles, California, USA.
Joseph Granda is an actor and producer, known for The Healing Garden (2021), Amongst Friends (1993) and A Walk in the Clouds (1995).
Growing up in the middle of the East Coast as the son of an Electrical Designer & a Teacher, chasing his dream of being a professional actor didn't seem like an idea that made any sense at all! But, after years of soul-searching & prayerful consideration, Joseph could no longer avoid this passionate calling he felt to pursue a career in filmmaking... Once the realization was made, Joseph immersed himself in training & devoted every bit of time & energy he could to developing this art. He immediately began studying at the Actor's Group - a rigorous training studio in North Carolina, which teaches "Method" acting. It was here that he learned to focus on the subtle nuances, raw emotions, and fine details that are required to move an audience. As Joseph became adept in this natural yet captivating methodology, he quickly began booking an array of characters in Television, Commercials & Films. Some of Joseph's episodic TV bookings include Guest roles on NBC's "Revolution", Lifetime Network's "Drop Dead Diva" & the CW's "The Originals". He also played a supporting role in the National Geographic Channel's record-breaking TV Movie "Killing Kennedy"; which, amongst other accolades, was nominated for a Screen Actors Guild Award. Joseph has secured numerous roles in films as well. Notably, his portrayal of 'John', a principal role in the Academy Award nominated film "Alone, Yet Not Alone", is slated for it's official theatrical release this coming June... Along with his many acting credits, he has recently expanded his resume to also include credits as a Writer & Associate Producer. Joseph & his loving bride of 13 years are quite busy these days raising their beautiful young daughter. This experience as a father has expanded his resume even further, to include proficiency in the following skills: singing lullabies for hours on end without stopping, professional-level swaddling, master napper, producing an infinite number of hugs & kisses, becoming the tickle monster, snuggle / cuddle aficionado & other such related expertise.
Joseph Griffiths is an actor, known for AM Radio (2021).
Joseph Griffo is known for his work on Woodstock 99: Peace, Love, and Rage (2021).
Joseph Grogan is known for The Hitman's Bodyguard (2017), Jolt (2021) and Tár (2022).
Joseph Guzman is a producer and art director, known for Run! Bitch Run! (2009), Nude Nuns with Big Guns (2010) and Back Alley Butcher.
Joseph was born and raised in Flint, MI and moved to Los Angeles after getting his undergraduate degree in theatre from Western Michigan University. There he earned his Master's degree in Drama at the University of California, Irvine. Fun Facts: While attending Western Michigan, Joseph was nominated to perform in the American College Theater Festival XXXVIII at the Kennedy Center. He won an Irene Ryan Acting Scholarship there for Best Partner. In 2015, Joseph performed in the NBC Universal Diversity Scene Showcase.
The term "style over content" fits director Joseph H. Lewis like a glove. His ability to elevate basically mundane and mediocre low-budget material to sublime cinematic art has gained him a substantial cult following among movie buffs. The Bonnie & Clyde look-alike Gun Crazy (1950), shot in 30 days on a budget of $400,000, is often cited as his best film. This taut gangster flick about two gun-crazy sociopaths on a crime spree is impregnated with an electric atmosphere, zipping along at a breakneck pace. It has been likened to a "tone poem of camera movement" and described by Martin Scorsese as "unrelenting and involving". A master of expressive lighting, tight close-ups, tracking and crane shots and offbeat camera angles and perspectives, Lewis possessed an instinctive sense of visual style, which imbued even the most improbable of his B-grade westerns and crime melodramas. Significant peripheral detail was his stock-in-trade. He acquired these skills working as a camera assistant in the 1920's (his aptitude for the work may have been come from his optometrist father) and further honed them in the MGM editorial department in the early '30s. After that Lewis edited serials at Republic and served the remainder of his apprenticeship as second unit director. He was signed to a full directing contract by Universal in 1937. During the next two decades, Lewis spent time at Columbia (1939-40, 1946-49), Universal again (1942), PRC (1944), MGM (1950, 1952-53) and United Artists (1957-58), reliably turning out a couple of pictures per year. While he helmed more than his fair share of horse operas, it was invariably his films noir which attracted the most attention. Pick of the bunch were two slick second features during his spell at Columbia, My Name Is Julia Ross (1945), about a diabolical murder plot involving Nina Foch in her first starring role; and So Dark the Night (1946), an offbeat psychological thriller with character actor Steven Geray well cast as a French detective who unwittingly investigates his own crimes. Another candidate for inclusion on any Lewis "best" list would have to be The Big Combo (1955), made for Allied Artists and boasting impressive camera work by John Alton. It marked the beginning of a new cycle of films in which violence became rather more accentuated (the film ran into censorship trouble for that reason) and where the villain (in this case, philosophizing racketeer Richard Conte) was rather more interesting and dynamic than the maniacally obsessive but dullish nominal hero (cop Cornel Wilde). After suffering a heart attack in 1953, Lewis began to reduce his workload. His cinematic curtain call was the low-budget western Terror in a Texas Town (1958), characterized by deliberate and fluid camera movement and some neat touches, like the hero (Sterling Hayden) sporting a harpoon for the climactic final showdown. The idea of successfully uniting the townsfolk against the tyranny of arbitrary rule was also intended as a veiled attack on McCarthyism. With the credits shot through the spokes of a wagon wheel, "Terror" was a fitting finale to Lewis's career. He spent a few more years directing episodic TV westerns (including several of the better episodes of The Rifleman (1958)) and finally retired in 1966. When not addressing aspiring directors on the lecture circuit, he spent his remaining decades in leisure pursuits, in particular sailing and deep-sea fishing aboard his much-loved 50-foot trawler "Buena Vista".