Kenneth Lonergan

Kenneth Lonergan's biography

Kenneth Lonergan is 60 years old screenwriter born at New York City. He was born on Tuesday 16th of October 1962. According to year of birth 1962 he belongs to Boomers. Birthday on 16th of October means he is Libra. Libra sign depicts that it is all about “Balance”. It seems that their life is very balanced, however, things are way opposite as they always face unstable situations in order to balance it further.

Kenneth is native english speaker. He is white american. Kenneth is citizen of United States of America. Kenneth´s primary profession is to be screenwriter. You can know him also as playwright, theatrical director, actor, film director. He is recently known as author. He received Sundance Film Festival U.S. Dramatic Grand Jury Prize Award You Can Count on Me in 2000

Kenneth Lonergan's family

Kenneth Lonergan's spouse

J is known as television actor. Kenneth´s spouse was born on Saturday 7th of September 1957 in Louisville.

Kenneth Lonergan's ex spouse

Kenneth Lonergan's schools

We found 3 schools He attended. Complete list of schools: Wesleyan University, New York University Tisch School of the Arts, HB Studio.

Detailed informations about Kenneth´s schools

He studied university - Wesleyan University, New York University.

Kenneth Lonergan's career

His main focus is to be screenwriter. Kenneth is famous thanks to Analyze This.

Awards and competitions

Kenneth Lonergan's Awards

• Kenneth received award for Sundance Film Festival U.S. Dramatic Grand Jury Prize Award for work You Can Count on Me in 2000
• He received award for National Society of Film Critics Award for Best Screenplay for work You Can Count on Me in 2000
• Kenneth received award for Sutherland Trophy for work You Can Count on Me in 2000
• Kenneth received award for Independent Spirit Award for Best First Feature for work You Can Count on Me in 2001
• He received award for Independent Spirit Award for Best Screenplay for work You Can Count on Me in 2001
• Kenneth received award for Satellite Award for Best Original Screenplay for work You Can Count on Me in 2001
• Kenneth received award for Writers Guild of America Award for Best Original Screenplay for work You Can Count on Me in 2001
• Kenneth received award for Academy Award for Best Writing, Original Screenplay for work Manchester by the Sea in 2015

Kenneth Lonergan's Nominations

• He was nominated for Academy Award for Best Writing, Original Screenplay
• He was nominated for Academy Award for Best Writing, Original Screenplay
• Kenneth was nominated for National Society of Film Critics Award for Best Screenplay for work You Can Count on Me in 2000
• Kenneth was nominated for Open Palm Award for work You Can Count on Me in 2000
• He was nominated for Golden Globe Award for Best Screenplay for work You Can Count on Me in 2000
• He was nominated for Independent Spirit Award for Best First Feature for work You Can Count on Me in 2001
• Kenneth was nominated for Independent Spirit Award for Best Screenplay for work You Can Count on Me in 2001
• Kenneth was nominated for Pulitzer Prize for Drama for work The Waverley Gallery in 2001
• Kenneth was nominated for Satellite Award for Best Original Screenplay for work You Can Count on Me in 2001
• He was nominated for Writers Guild of America Award for Best Original Screenplay for work You Can Count on Me in 2001
• Kenneth was nominated for BAFTA Award for Best Original Screenplay for work Gangs of New York in 2003
• Kenneth was nominated for Writers Guild of America Award for Best Original Screenplay for work Gangs of New York in 2003
• Kenneth was nominated for Academy Award for Best Director
• He was nominated for Academy Award for Best Writing, Original Screenplay

Kenneth Lonergan's quotes

• I'm always struck when I go somewhere I've never been before, especially if it's in my home town, by just how different the atmosphere can be, and how disorienting it can be - especially if there's any kind of trouble.
• Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.
• It's not a character flaw to become an adult.
• You can shoot a film in New York without seeing the Empire State Building. Or Starbucks... although the latter is much less realistic.
• You're thinking about the physical consequences about what you're writing if you're going to direct it. If you're not going to direct it, then it's somebody else's problem, and they'll solve it.
• I grew up going to the movies, not watching them on television, so I'm still a bit resistant to TV as a medium.
• There's something about the impact of a big screen that means something to me, even though I realize almost every film is fated to be seen for a year in theaters, and then forever after on television.
• I love 'Close Encounters of the Third Kind.'
• I love accents, I love listening to people talk, I like to try to emulate it as accurately as I can.
• I've done a lot of assignment work in my life, and the only way you can do it is to make it your own as quickly as possible, and then you give it back.
• I think I have never seen a humorless movie that was any good to me.
• I remember the kind of teenager I was, the kind of teenager I wanted to be, and then the kind of teenagers that were all around me. Life is lived on such a big scale in those years - and such an embarrassing one as well.
• I know there are some actors who won't switch their accents off when they're on set and like to be called by their character's names. That works for them, and that's great.
• There are a lot of elements when you're writing, or when I'm writing, that are sitting in the back of your mind. I try to let them stay there, because they find their way in more naturally that way.
• Sometimes films have no rehearsals - you don't have real rehearsals on the set because the day is so dominated by the schedule.
• If you're going to make a statement, I think you should write it in prose and make a statement. If you have characters who are mouthpieces for a point of view, then you have to be very clever about disguising it.
• I feel like if you can describe something fully and accurately, then people will be able to see it themselves - they don't need be told what to.
• I wrote a play once called 'Lobby Hero,' which I thought turned out very well, but there's no final version of it. I published the one we produced, but there are seven other versions with different variations sitting in my desk at home.
• I was nearly a teenager before I stopped assuming that everyone I met was Jewish.
• I still haven't quite caught on to the idea of writing without dialogue. I like writing dialogue, and there's nothing wrong with dialogue in movies.
• There's a lot of pressure on a film set that's more immediate than the pressure in the theater where you're nervous about what's going to happen next week.
• I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times. We used two storyboards in 'Margaret': one for the bus accident and for the opera sequence at the end.
• I often find myself writing about people taking care of each other, or trying to.
• The creative process on 'Margaret' was incredibly satisfying. I loved the cast; I had a great time writing the script. I liked making the movie. Believe it or not, I actually like editing the movie. It was all the rest of it that was such a nightmare.
• When I walk onto a film set, I become frightened and nervous. There's all this equipment, all these people, and most of them do things you don't know how to do. I didn't come from a film background.
• There are so many details in a movie that it's amazing how much work you'll do to change what adds up to not that much material.
• You Can Count On Me' took 20 days to shoot, and we had 50 days to shoot 'Margaret.
• I do a lot of improvising when I'm writing, and I work very hard on the scripts... they are written very much in an actor-friendly way.
• To me, 'director's cut' means that what was released before was somebody else's cut. That, to me, always implies that what was released wasn't what the director wanted.
• 'Margaret' as a creative entity is something that I'm very happy and proud of. But 'Margaret' as a professional experience was a nightmare until it was rescued by critics and people who liked it.
• I personally don't need to see a story about a person that starts up miserable and ends up worse.
• I'm always really interested in different environments and how they affect people's lives and what it would be like to live somewhere else.
• There are some situations in life that are simply not funny, and there's nothing funny about them, but they're rare, and they don't last all that long.
• A really good comedy, I think, is played as if it was real, and it's the circumstances that make it amusing. And I think that the - the inverse or the reverse is true for drama.
• The really funny comedies to me are always the ones that are played the straightest or given the most emotional content. And when people start making faces and setting things up and commenting and winking at you, I don't find that to be very funny.
• Truthfully, and I don't mean to sound naive, but I don't know that much about the film business.
• My personal pride is not strong enough to make me brave. But I don't know why I equate being brave with fighting.
• The theater is often seen as comical in the movies; to me, it's not comical - it's my life. I don't mean that it can't be comical, but it's not only comical.
• I remember yelling at my mother one time, horribly. I was in tenth grade or something like that, and I hadn't done something, and she misunderstood because my stepfather told her something that was wrong that I hadn't done.
• Adolescents show off. That's another way of wanting to connect with people. It's not an aspect of human behavior that we generally consider to be very admirable, but it is, in some way, a means of connecting with someone else and not being alone.
• See also Other Works |  Publicity Listings |  Official Sites

Kenneth Lonergan's body shape, hair color

Lets describe how Kenneth Lonergan looks. We will focus on his body shape, hair color. Body build is average. Kenneth´s hair is shade of brown - dark.