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Michael Green may not be a name recognized by the casual film fan, though he
has been involved in a number of activities related to the film world over the
years, mainly as an assistant director, as well as a unit production manager.
Had he been a full director in his own right, he might have been far more
easily identified among the throng of cinema fanatics, but as such, has sadly
had to be in a lesser limelight for his efforts. Nonetheless, his credits are
impressive, most notably in the horror realm.
Born in England, Green has worked in film both in his native land and in the
USA, where he has lived from a California homebase for several years.
Among his credits, usually in the aforenoted assistant director position, have
been Crossed Swords, A Touch Of Class, Superman I &
II, Yanks, Reds, Waterworld, The
Matrix, Clear and Present Danger,
and The Great Gatsby. He has also been prolific in the horror and psychotic
film areas as well, both for television and the big screen. He has worked on
Stephen King films such as Thinner and The Perfect Storm and you really cannot
get much bigger than that.
Oddly enough, some of the films Green has been involved with in the past are
not the ones he places at the top of his resume, but nonetheless have become
regarded as cult classics by horror fans.
First there's Madhouse, the film with Peter Cushing and Vincent Price as
rival horror stars, more or less killing and doublcrossing each other through
the script. While in personal conversations Green has not said a great deal
about the attributes of the film itself, he did state what a pleasure it was
to work with both Cushing and Price (I had some dealings by mail with the late
Peter Cushing myself, when i was still a kid and just a fan, not a writer. He
was one of the most easygoing, friendly and respectful men I have ever
encountered in cinema. Green, who had face to face delaings with him, has only
reconfirmed what I already knew). Funny that while he, himself, does not
seem awestruck by the product, the movie is regarded as one of the favorites
of the many horror fans devoted to Cushing and Price.
Likewise, Green worked on The Temp, a psychological thriller about a
sociopathic temp worker who takes a job in a major corporation and ends up
working, threatening and murdering her way to the top of the ladder, thanks to
a hidden agenda from the start. The movie has many uncanny twists and is worth
a look if you have not seen it.
Green was likewise involved with the first Child's Play which introduced the
murering doll and several sequels to the world. While again not as artistic as
The Great Gatsby or as thoughtprovoking as Reds, this movie is regarded among
the best of the horror genre.
Oddly enough, I met Green myself, not through the film world, but through a
bullfighting talk group, to which he is a member. While the man's love for
film knows few limits, his enthusiasm for bullfighting, picked up during trips
to Spain, remains equally enthusiastic. Animal rights people or those opposed
to the spectacle would be in for an argument, as to the pros and cons
involved. He is a big fan of the retired bullfighters, Curro Romero and El
Cordobes, the latter of whom played in several several films himself int he
1960s. In spite of his supooirt for the world of blood and sand though, green
has never made a bullfight film.
Keep an eye out for this man, as he is still quite active. Likewise, some of
the titles mentioned here are only a partial listing of his credits. He pops
up on the screen at times when you least expect it.
Hail to Michael Green, one of cinema's most prolific, yet unrecognized of men.
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