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Sir Alan William Parker, CBE
CBE
(born 14 February 1944) is an English film director, producer and screenwriter. Parker's early career, beginning in his late teens, was spent as a copywriter and director of television advertisements. After about ten years of filming adverts, many of which won awards for creativity, he began screenwriting and directing films. Parker is noted for having a wide range of filmmaking styles and working in differing genres. He has directed musicals, including Bugsy Malone (1976), Fame (1980), Pink Floyd – The Wall
Pink Floyd – The Wall
(1982), The Commitments (1991) and Evita (1996); true-story dramas, including Midnight Express (1978), Mississippi Burning
Mississippi Burning
(1988), Come See the Paradise (1990) and Angela's Ashes (1999); family dramas, including Shoot the Moon
Shoot the Moon
(1982), and horrors and thrillers including Angel Heart (1987) and The Life of David Gale
The Life of David Gale
(2003).[1] His films have won nineteen BAFTA
BAFTA
awards, ten Golden Globes
Golden Globes
and ten Academy Awards. Parker was appointed a Commander of the Order of the British Empire for his services to the British film industry
British film industry
and knighted in 2002. He has been active in both the British cinema and American cinema, along with being a founding member of the Directors Guild of Great Britain and lecturing at various film schools. In 2013 he received the BAFTA
BAFTA
Academy Fellowship Award, the highest honour the British Film Academy
British Film Academy
can give a filmmaker. Parker donated his personal archive to the British Film Institute's National Archive in 2015.[2]

Contents

1 Early years 2 Television advertising 3 Film director

3.1 1970s 3.2 1980s 3.3 1990s 3.4 2000s

4 Honours and awards 5 Filmography 6 References 7 External links

Early years[edit] Parker was born into a working-class family in Islington, North London, the son of Elsie Ellen, a dressmaker, and William Leslie Parker, a house painter.[3] He grew up on a council estate of Islington, which has always made it easy for him to remain "almost defiantly working-class in attitudes" said the British novelist and screenwriter Ray Connolly. Parker says that although he had his share of fun growing up, he always felt he was studying for his secondary school exams, while his friends were out having a good time.[4] He had an "ordinary background" with no aspirations to become a film director, nor did anyone in his family have any desire to be involved in the film industry. The closest he ever came, he says, to anything related to films was learning photography, a hobby inspired by his uncles: "That early introduction to photography is something I remember."[5] Parker attended Dame Alice Owen's School, concentrating on science in his last year. He left school when he was eighteen to work in the advertising field, hoping that the advertising industry might be a good way to meet girls.[4] His first job was office boy in the post room of an advertising agency. But more than anything, he says, he wanted to write, and would write essays and ads when he got home after work.[5] His colleagues also encouraged him to write, which soon led him to a position as a copywriter in the company. Television advertising[edit] Parker took jobs with different agencies over the next few years, having by then become proficient as a copywriter, One such agency was Collett Dickenson Pearce, in London, where he first met the future producers David Puttnam
David Puttnam
and Alan Marshall, both of whom would later produce many of his films. Parker credits Puttnam with inspiring him and talking him into writing his first film script, Melody (1971).[4] By 1968, Parker had moved from copywriting to successfully directing numerous television advertisements. In 1970, he joined Alan Marshall to establish a company to make advertisements. That company eventually became one of Britain's best commercial production houses, winning nearly every major national and international award open to it.[6] Among their award-winning adverts were the UK Cinzano
Cinzano
vermouth advertisement (starring Joan Collins), and a Heineken
Heineken
advert, noted for using one hundred actors.[7] Parker credits his years writing and directing adverts for his later success as a film director:

Looking back, I came from a generation of filmmakers who couldn't have really started anywhere but commercials, because we had no film industry in the United Kingdom at the time. People like Ridley Scott, Tony Scott, Adrian Lyne, Hugh Hudson, and myself. So commercials proved to be incredibly important.[5]

Film director[edit] 1970s[edit] Parker made his first fictional film titled No Hard Feelings (1973), for which he wrote the script. The film is a bleak love story set against the Blitz on London during the Second World War, when the Luftwaffe bombed the city for 57 consecutive nights.[8] Parker was born during one of those bombing raids, and says "the baby in that [film] could well have been me".[6] With no feature film directing experience, he could not find financial backing, and decided to risk using his own money and funds from mortgaging his house to cover the cost.[6] The film impressed the BBC, which bought the film and showed it on television a few years later, in 1976. The BBC producer Mark Shivas had, in the interim, also contracted Parker to direct The Evacuees (1975), a Second World War story written by Jack Rosenthal which was shown as a Play for Today. The work was based on true events which involved the evacuation of school children from central Manchester for protection.[9] The Evacuees won a BAFTA
BAFTA
for best TV drama and also an Emmy for best International Drama. Parker next wrote and directed his first feature film, Bugsy Malone (1976), a parody of early American gangster films and American musicals, but with only child actors. Parker's desire in making the film was to entertain both children and adults with a unique concept and style of film:

I'd worked a lot with kids and I had four very young children of my own at the time. When you do have young children like that you're very sensitive to the kind of materials that's available for them ... The only kind of movies they could see were Walt Disney movies ... I thought it would be nice to make a movie that would be good for the kids, and also the adults that had to take them. So to be absolutely honest, Bugsy Malone
Bugsy Malone
was a pragmatic exercise to break into American film.[10]

The film received eight British Academy Award
Academy Award
nominations and five Awards, including two BAFTAs for Jodie Foster. He next directed Midnight Express (1978), based on a true account by Billy Hayes, about his incarceration and escape from a Turkish prison for trying to smuggle hashish out of the country. Parker made the film in order to do something radically different from Bugsy Malone, which would broaden his style of filmmaking.[10] The script was written by Oliver Stone
Oliver Stone
in his first screenplay, and won Stone his first Academy Award. The music was composed by Giorgio Moroder, who was also awarded his first Oscar for the film. Midnight Express established Parker as a "front rank director", as both he and the film were Oscar nominated. The success of that film also gave him the freedom from then on to direct films of his own choosing.[11] 1980s[edit] Parker directed Fame (1980), which follows the lives of eight students through their years at the New York City's High School of Performing Arts. It was a huge box-office success and led to a television spin-off series of the same name. Parker states that after doing a serious drama like Midnight Express, he wanted to do a film with music, but very different from typical musicals of the past:[10]

I didn't want this sort of classy MGM musical where you stop and then there's the musical number. I wanted it to come out in real situations, which it kind of does ... I went to the school and I hung out with the kids for quite a few months ... I think so much of the stuff I put into the film came out of the kids.[5]

The actress Irene Cara recalls that "the nice thing about the way Alan works with everyone is that he allowed us to really feel like classmates."[5] However, Parker was refused permission to use the actual school portrayed in the film, the High School for the Performing Arts, because of the notoriety he achieved from his previous film, Midnight Express. The head of the school district told him, "Mr. Parker, we can't risk you doing for New York high school the same thing you did for Turkish prisons."[5] Parker's next film was Shoot the Moon
Shoot the Moon
(1982), the story of a marital break-up that takes place in Northern California. Parker calls it "the first grown-up film that I'd done".[10] He again chose to direct a subject distinctly different from his previous film, explaining, "I really try to do different work. I think that by doing different work each time, it keeps you creatively fresher."[5] He describes the theme of the film being about "two people who can't live together but who also can't let go of one another. A story of fading love, senseless rage, and the inevitable bewildering betrayal in the eyes of the children."[12] Critics considered the film to be Parker's best, "brilliantly scripted and acted". Its stars, Albert Finney
Albert Finney
and Diane Keaton, received Golden Globe nominatations for their performances. The film also had a personal significance for Parker, who says he was forced to examine his own marriage: "It was a painful film to make for me because there were echoes of my own life in it. It was about a breakup of a marriage, and the children in the story were quite close to my own children in age. Shoot the Moon
Shoot the Moon
was very, very close to my own life."[5] He spent days with the writer Bo Goldman
Bo Goldman
on developing a realistic story, and states that his marriage became "infinitely stronger as a result of the film".[6] Parker directed Birdy (1984), starring Matthew Modine
Matthew Modine
and Nicolas Cage. It recounts the story of two school friends who have returned from the Vietnam war but were both psychologically and physically injured. Parker called it a "wonderful story" after having read the book by William Wharton. However, because of the nature of the story, he had no idea how to make it into a movie: "I didn't know if you could take the poetry of the book and make it cinematic poetry, or if an audience would actually want it."[10] The film became a critical success. Richard Schickel says that Parker had "transcended realism ... [and] achieved his personal best", while Derek Malcolm considers Birdy to be Parker's "most mature and perhaps his best movie".[6] The message of the film, writes critic Quentin Falk, is "joyously life-affirming", which he notes is common to much of Parker's work. He adds that Parker's films manage to achieve a blend of "strong story and elegant frame", a style which he says typically eludes other directors who rely too much on the purely visual.[13] With Mississippi Burning
Mississippi Burning
(1988), Parker received his second Oscar nomination for Best Director. The film is based on a true story about the murders of three civil rights workers in 1964, and stars Gene Hackman and Willem Dafoe. Hackman was nominated for Best Actor, while the film was nominated for five other Oscars, including Best Picture. It won for Best Cinematography. 1990s[edit] In 1991 Parker directed The Commitments, a comedy about working class Dubliners who form a soul band. The film was an international success and led to a successful sound track album. To find a cast Parker visited most of the estimated 1,200 different bands then playing throughout Dublin. He met with over 3,000 different band members. Rather than pick known actors, Parker says he chose young musicians, most of whom had no acting experience, in order to remain "truthful to the story".[14] "I cast everybody to be very close to the character that they play in the film. They're not really playing outside of who they are as people."[5] Parker says he wanted to make the film because he could relate to the hardships in the lives of young Dubliners, having come,from a similar working-class background,in north London.[14] The film critic David Thomson observes that with The Commitments, Parker "showed an unusual fondness for people, place, and music. It was as close as Parker has come to optimism."[15] Parker says that it was the "most enjoyable film" he ever made.[5] Evita (1996), was another musical, starring Madonna, Antonio Banderas and Jonathan Pryce. Andrew Lloyd Webber
Andrew Lloyd Webber
and Tim Rice's score originated from the earlier musical, but was cut for the film.[16] Parker remembers Madonna's strong desire to play the role of Evita, that "as far as she was concerned, no one could play Evita as well as she could, and she said that she would sing, dance and act her heart out, ... and that's exactly what she did".[17] Evita was nominated for five Academy Awards, winning for Best Original Song, which was sung by Madonna. Parker's next film was Angela's Ashes (1999), a drama based on the real-life experiences of the Irish-American teacher, Frank McCourt, and his childhood. His family was forced to move from America back to Ireland because of financial difficulties, which led to the family's problems caused by his father's alcoholism. Colm Meaney, who acted in The Commitments, noticed the dramatic shift in theme and style of Parker's films. He says "it's the variety of his work that sort of staggers me. He can go from Evita to Angela's Ashes. He adds that "when Alan starts a project, it's going to be something very interesting and completely out of left field".[5] Parker explains that doing a story like Angela's Ashes was simply his "reaction against a big film" like Evita.[5] He says that he tries to avoid the "obvious movies":[5] "You want the film to stay with people afterwards ... It just seems to me that the greatest crime is to make just another movie."[10] Parker says it is important to carefully choose which films to write and direct:

My mentor was the great director, Fred Zinnemann, whom I used to show all my films to until he died. He said something to me that I always try to keep in my head every time I decide on what film to do next. He told me that making a film was a great privilege, and you should never waste it.[5]

Therefore, when Parker visits film schools and talks to young filmmakers, he tells them that the new film technology available for making films and telling a story is less important than conveying a message: "If you haven't got something to say, I don't think you should be a filmmaker".[18] The British film critic Geoff Andrew describes Parker as a "natural storyteller" who gets his message across using "dramatic lighting, vivid characterisation, scenes of violent conflict regularly interrupting sequences of expository dialogue, and an abiding sympathy for the underdog (he is a born liberal with a keen sense of injustice)".[19] 2000s[edit] Parker produced and directed The Life of David Gale
The Life of David Gale
(2003), a crime thriller, starring Kevin Spacey
Kevin Spacey
and Kate Winslet. It tells the story of an advocate for the abolition of capital punishment who finds himself on death row after being convicted of murdering a fellow activist. The film received generally poor reviews. Roger Ebert
Roger Ebert
did not like the film, calling the story "silly", although he said the acting was "splendidly done".[20] Honours and awards[edit] Parker's films have won nineteen BAFTA
BAFTA
awards, ten Golden Globes
Golden Globes
and six Oscars. He is a founding member of the Directors Guild of Great Britain and has lectured at film schools around the world. In 1985, the British Academy awarded him the prestigious Michael Balcon
Michael Balcon
Award for Outstanding Contribution to British Cinema. In 1995 Parker was awarded as Commander of the Order of the British Empire
Commander of the Order of the British Empire
(CBE) by Queen Elizabeth II for his services to the British film industry.[5] In 1999 he was awarded the Lifetime Achievement Award by the Directors Guild of Great Britain. He became chairman of the Board of Governors of the British Film Institute
British Film Institute
(BFI) in 1998 and in 1999 was appointed the first chairman of the newly formed Film Council.[5] He was knighted in the 2002 New Year Honours in Australia and in 2005 he received an Honorary Doctorate
Honorary Doctorate
of Arts from the University of Sunderland of which his long-time associate Lord Puttnam
Lord Puttnam
is chancellor. In 2004 he was the Chairman of the Jury at the 26th Moscow International Film Festival.[21] In 2013 he was awarded the BAFTA Academy Fellowship Award "in recognition of outstanding achievement in the art forms of the moving image", which is the highest honour the British Academy can bestow.[18] The British Film Institute
British Film Institute
(BFI) planned to pay tribute to Parker in late September 2015 with an event titled "Focus on Sir Alan Parker". The event coincides with his decision to donate his entire working archive to the BFI National Archive.[22] Filmography[edit]

Melody (1971) (writer only) Our Cissy (1974) (short film) Footsteps (1974) (short film) The Evacuees (TV, 1975) Bugsy Malone
Bugsy Malone
(1976) Midnight Express (1978) Fame (1980) Shoot the Moon
Shoot the Moon
(1982) Pink Floyd – The Wall
Pink Floyd – The Wall
(1982) Birdy (1984) Angel Heart
Angel Heart
(1987) Mississippi Burning
Mississippi Burning
(1988) Come See the Paradise
Come See the Paradise
(1990) The Commitments (1991) The Road to Wellville (1994) Evita (1996) Angela's Ashes (1999) The Life of David Gale
The Life of David Gale
(2003)

References[edit]

^ Alberge, Dalya (2017-01-14). "'Film-making lost its lustre': how Alan Parker
Alan Parker
found solace in art". The Guardian. ISSN 0261-3077. Retrieved 2017-07-31.  ^ "Sir Alan Parker
Alan Parker
donates personal archive to British Film Institute", Belfast Telegraph, 24 July 2015 ^ " Alan Parker
Alan Parker
profile". Filmreference.com. Retrieved 9 April 2012.  ^ a b c Connolly, Ray. The Observer, 30 May 1982 ^ a b c d e f g h i j k l m n o p Emery, Robert J. The Directors, Allworth Press, N.Y. (2003) pp. 133–154 ^ a b c d e Wakeman, John, ed. World Film Directors, Vol. II, H.W. Wilson Co., N.Y. (1988) pp. 740–743 ^ "Jets, jeans and Hovis". The Guardian. 13 June 2015.  ^ Parker, Alan. Making of "No Hard Feelings" ^ "The Evacuees", Alan Parker
Alan Parker
Biography ^ a b c d e f Gallagher, John Andrew. Film Directors on Directing, Praeger (1989) p. 183-194 ^ Katz, Ephraim. The Film Encyclopedia, HarperCollins (1998) p. 1064 ^ Parker, Alan. The Making of "Shoot the Moon" ^ Hillstrom, Laurie C. ed. International Dictionary of Films and Filmmakers: Directors 3rd ed., St. James Press (1997) p. 744 ^ a b The Making of the Commitments, 2004, DVD supplement ^ Thomson, David. The New Biographical Dictionary of Film, Alfred A. Knopf (2002) p. 667 ^ Hishak, Thomas (2008). The Oxford Companion to the American Musical: Theatre, Film and Television. New York: Oxford University Press. p. 229. ISBN 978-0-19-533533-0.  ^ Parker, Alan. "The Making of 'Evita'" ^ a b "Bafta: Director Sir Alan Parker
Alan Parker
on fellowship award", BBC interview, 8 February 2013 ^ Andrew, Geoff. The Director's Vision, Cappella (1999) p. 166 ^ Ebert, Roger. The Life of David Gale
The Life of David Gale
review, Rogerebert.com 21 February 2003 ^ " 26th Moscow International Film Festival (2004)". MIFF. Archived from the original on 3 April 2013. Retrieved 6 April 2013.  ^ " Alan Parker
Alan Parker
Receives BFI Tribute, Donates Working Archive", Variety, 27 July 2015

External links[edit]

Alan Parker
Alan Parker
on IMDb Official Alan Parker
Alan Parker
Website

Preceded by Nick Park NFTS Honorary Fellowship Succeeded by David Yates

v t e

Films directed by Alan Parker

The Evacuees (1975, Play for Today) Bugsy Malone
Bugsy Malone
(1976) Midnight Express (1978) Fame (1980) Shoot the Moon
Shoot the Moon
(1982) Pink Floyd – The Wall
Pink Floyd – The Wall
(1982) Birdy (1984) Angel Heart
Angel Heart
(1987) Mississippi Burning
Mississippi Burning
(1988) Come See the Paradise
Come See the Paradise
(1990) The Commitments (1991) The Road to Wellville (1994) Evita (1996) Angela's Ashes (1999) The Life of David Gale
The Life of David Gale
(2003)

v t e

BAFTA
BAFTA
Award for Best Direction

Mike Nichols
Mike Nichols
(1968) John Schlesinger
John Schlesinger
(1969) George Roy Hill (1970) John Schlesinger
John Schlesinger
(1971) Bob Fosse
Bob Fosse
(1972) François Truffaut
François Truffaut
(1973) Roman Polanski
Roman Polanski
(1974) Stanley Kubrick
Stanley Kubrick
(1975) Miloš Forman
Miloš Forman
(1976) Woody Allen
Woody Allen
(1977) Alan Parker
Alan Parker
(1978) Francis Ford Coppola
Francis Ford Coppola
(1979) Akira Kurosawa
Akira Kurosawa
(1980) Louis Malle
Louis Malle
(1981) Richard Attenborough
Richard Attenborough
(1982) Bill Forsyth
Bill Forsyth
(1983) Wim Wenders
Wim Wenders
(1984) no award (1985) Woody Allen
Woody Allen
(1986) Oliver Stone
Oliver Stone
(1987) Louis Malle
Louis Malle
(1988) Kenneth Branagh
Kenneth Branagh
(1989) Martin Scorsese
Martin Scorsese
(1990) Alan Parker
Alan Parker
(1991) Robert Altman
Robert Altman
(1992) Steven Spielberg
Steven Spielberg
(1993) Mike Newell (1994) Michael Radford
Michael Radford
(1995) Joel Coen (1996) Baz Luhrmann
Baz Luhrmann
(1997) Peter Weir
Peter Weir
(1998) Pedro Almodóvar
Pedro Almodóvar
(1999) Ang Lee
Ang Lee
(2000) Peter Jackson
Peter Jackson
(2001) Roman Polanski
Roman Polanski
(2002) Peter Weir
Peter Weir
(2003) Mike Leigh
Mike Leigh
(2004) Ang Lee
Ang Lee
(2005) Paul Greengrass
Paul Greengrass
(2006) Joel Coen and Ethan Coen (2007) Danny Boyle
Danny Boyle
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) David Fincher
David Fincher
(2010) Michel Hazanavicius
Michel Hazanavicius
(2011) Ben Affleck
Ben Affleck
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Richard Linklater
Richard Linklater
(2014) Alejandro G. Iñárritu (2015) Damien Chazelle
Damien Chazelle
(2016) Guillermo del Toro
Guillermo del Toro
(2017)

v t e

BAFTA
BAFTA
Award for Best Screenplay

Calder Willingham and Buck Henry
Buck Henry
(1968) Waldo Salt (1969) William Goldman
William Goldman
(1970) Harold Pinter
Harold Pinter
(1971) Paddy Chayefsky
Paddy Chayefsky
/ Larry McMurtry
Larry McMurtry
and Peter Bogdanovich
Peter Bogdanovich
(1972) Luis Buñuel
Luis Buñuel
and Jean-Claude Carrière
Jean-Claude Carrière
(1973) Robert Towne
Robert Towne
(1974) Robert Getchell (1975) Alan Parker
Alan Parker
(1976) Woody Allen
Woody Allen
and Marshall Brickman (1977) Alvin Sargent (1978) Woody Allen
Woody Allen
and Marshall Brickman (1979) Jerzy Kosiński
Jerzy Kosiński
(1980) Bill Forsyth
Bill Forsyth
(1981) Costa-Gavras
Costa-Gavras
and Donald E. Stewart (1982)

v t e

BAFTA
BAFTA
Fellowship recipients

1971–2000

Alfred Hitchcock
Alfred Hitchcock
(1971) Freddie Young (1972) Grace Wyndham Goldie (1973) David Lean
David Lean
(1974) Jacques Cousteau
Jacques Cousteau
(1975) Charlie Chaplin
Charlie Chaplin
(1976) Laurence Olivier
Laurence Olivier
(1976) Denis Forman (1977) Fred Zinnemann
Fred Zinnemann
(1978) Lew Grade
Lew Grade
(1979) Huw Wheldon
Huw Wheldon
(1979) David Attenborough
David Attenborough
(1980) John Huston
John Huston
(1980) Abel Gance
Abel Gance
(1981) Michael Powell
Michael Powell
& Emeric Pressburger
Emeric Pressburger
(1981) Andrzej Wajda
Andrzej Wajda
(1982) Richard Attenborough
Richard Attenborough
(1983) Hugh Greene (1984) Sam Spiegel
Sam Spiegel
(1984) Jeremy Isaacs (1985) Steven Spielberg
Steven Spielberg
(1986) Federico Fellini
Federico Fellini
(1987) Ingmar Bergman
Ingmar Bergman
(1988) Alec Guinness
Alec Guinness
(1989) Paul Fox (1990) Louis Malle
Louis Malle
(1991) John Gielgud
John Gielgud
(1992) David Plowright (1992) Sydney Samuelson (1993) Colin Young (1993) Michael Grade
Michael Grade
(1994) Billy Wilder
Billy Wilder
(1995) Jeanne Moreau
Jeanne Moreau
(1996) Ronald Neame
Ronald Neame
(1996) John Schlesinger
John Schlesinger
(1996) Maggie Smith
Maggie Smith
(1996) Woody Allen
Woody Allen
(1997) Steven Bochco
Steven Bochco
(1997) Julie Christie
Julie Christie
(1997) Oswald Morris (1997) Harold Pinter
Harold Pinter
(1997) David Rose (1997) Sean Connery
Sean Connery
(1998) Bill Cotton
Bill Cotton
(1998) Eric Morecambe
Eric Morecambe
& Ernie Wise
Ernie Wise
(1999) Elizabeth Taylor
Elizabeth Taylor
(1999) Michael Caine
Michael Caine
(2000) Stanley Kubrick
Stanley Kubrick
(2000) Peter Bazalgette
Peter Bazalgette
(2000)

2001–present

Albert Finney
Albert Finney
(2001) John Thaw
John Thaw
(2001) Judi Dench
Judi Dench
(2001) Warren Beatty
Warren Beatty
(2002) Merchant Ivory Productions (2002) Andrew Davies (2002) John Mills
John Mills
(2002) Saul Zaentz
Saul Zaentz
(2003) David Jason (2003) John Boorman
John Boorman
(2004) Roger Graef (2004) John Barry (2005) David Frost
David Frost
(2005) David Puttnam
David Puttnam
(2006) Ken Loach
Ken Loach
(2006) Anne V. Coates (2007) Richard Curtis
Richard Curtis
(2007) Will Wright (2007) Anthony Hopkins
Anthony Hopkins
(2008) Bruce Forsyth
Bruce Forsyth
(2008) Dawn French
Dawn French
& Jennifer Saunders
Jennifer Saunders
(2009) Terry Gilliam
Terry Gilliam
(2009) Nolan Bushnell
Nolan Bushnell
(2009) Vanessa Redgrave
Vanessa Redgrave
(2010) Shigeru Miyamoto
Shigeru Miyamoto
(2010) Melvyn Bragg
Melvyn Bragg
(2010) Christopher Lee
Christopher Lee
(2011) Peter Molyneux
Peter Molyneux
(2011) Trevor McDonald (2011) Martin Scorsese
Martin Scorsese
(2012) Rolf Harris
Rolf Harris
(2012) Alan Parker
Alan Parker
(2013) Gabe Newell
Gabe Newell
(2013) Michael Palin
Michael Palin
(2013) Helen Mirren
Helen Mirren
(2014) Rockstar Games
Rockstar Games
(2014) Julie Walters
Julie Walters
(2014) Mike Leigh
Mike Leigh
(2015) David Braben (2015) Jon Snow (2015) Sidney Poitier
Sidney Poitier
(2016) John Carmack
John Carmack
(2016) Ray Galton & Alan Simpson (2016) Mel Brooks
Mel Brooks
(2017) Joanna Lumley
Joanna Lumley
(2017) Ridley Scott
Ridley Scott
(2018)

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WorldCat Identities VIAF: 112463195 LCCN: n77016167 GND: 11926546X SUDOC: 087881462 BNF: cb138982458 (data) MusicBrainz: 6fe210dc-84ee-4b60-bacf-9645abf1cd34 NLA: 35807601 NDL: 00452138 NKC: pna2005261936 B

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