HENRY JAGLOM
BIOGRAPHY

Born in London, England, brought up from earliest childhood in New York City, Henry Jaglom trained with Lee Strasberg at The Actors Studio and performed in off-Broadway theatre and cabaret before coming to Hollywood in the late 1960's. Under contract to Columbia Pictures, he guest-starred on T.V. shows ("Gidget", "The Flying Nun") and was featured in a number of films (Richard Rush's "PSYCHE-OUT," Boris Sagal's "THE 1000 PLANE RAID)" including movies directed by Jack Nicholson ("DRIVE, HE SAID") Dennis Hopper ("THE LAST MOVIE") and Orson Welles ("THE OTHER SIDE OF THE WIND") - each of whom he eventually directed in return. Although Jaglom's film-making career began in the cutting room (when he helped edit Dennis Hopper's "EASY RIDER"), his roots are firmly planted in acting and he has costarred in four of his own films and played supporting roles in two more of them. According to movie historian David Thompson: "Jaglom's films are actors' films, in that they grow out of the actors' personalities. They are as loose and as unexpected as life but as shaped and witty as great short stories!"

Jaglom is unique in the extraordinary degree to which his movies reflect his deeply felt personal concerns - and those of his friends and culture. "In my work I try to understand what IÕm going through - and what the people close to me are going through - at any particular time in our lives," Jaglom explains. "My first film, 'A SAFE PLACE' (1971), explored the emotions of a young woman having a hard time adjusting to the "real world" and its expectations and requirements of her, just as the 1960s - with all its profound social changes - was coming to an end; when I shot 'TRACKS' (1976), I - like everyone I knew - was profoundly disturbed by the Vietnam War, its ruinous physical and emotional cost, and its devastating effect on America's psyche; 'SITTING DUCKS' (1980) was a happy romp, done at a time that I felt, for the first time, that I was actually getting away with life; but I was miserable and felt abandoned in New York City at the end of a marriage when I did 'CAN SHE BAKE A CHERRY PIE?' (1983); and I was still suffering from the pain of divorce when I plunged into 'ALWAYS (BUT NOT FOREVER)' (1985); I was trying to understand why I and so many of my friends were alone and found ourselves unable to sustain relationships, when I put together 'SOMEONE TO LOVE' (1987); I tried to learn how to start over again and move on in life when I made 'NEW YEAR'S DAY' (1989); most of the women I knew had complex eating issues and were in one way or another obsessed with food, so we created 'EATING' (1991); I - and they - were confused about the blur between the reality and the illusion of love, out of which came 'VENICE/VENICE' (1992); we were all yearning for parenthood and many of the women I knew were struggling with their biological clocks, which led to 'BABYFEVER' (1994); following the deaths of my parents and the subsequent end of "family" as I had known it, I made 'LAST SUMMER IN THE HAMPTONS' (1996); out of a lifetime of yearning for the romantic dream of finding the perfect 'soul mate,' came 'DEJA VU' (1998); 'FESTIVAL IN CANNES' (2002) explored the behind the scenes world of moviemaking that I have been a part of my entire adult life, the excitement and the duplicity, the desperation and the rewards; and the movie coming out this fall, 'GOING SHOPPING' (2005) is a sister film to 'EATING' and 'BABYFEVER,' an attempt to portray another complex aspect of women's lives that is usually overlooked by mainstream Hollywood. I've just completed principal photography on my next film, 'HOLLYWOOD DREAMS,' which deals with our culture's obsession with fame and its effects on a young woman desperately pursuing it. It is scheduled for release in 2006.