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Carroll Ballard Net Worth

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Carroll Ballard was born on October 14, 1937 in Los Angeles, California, USA as Carroll James Ballard. He is known for his work on Fly Away Home (1996), Star Wars: Episode IV - A New Hope (1977) and The Black Stallion (1979). Wikipedia

More about Carroll James Ballard:

  • Filmography
  • Awards
  • Salaries
  • Facts
  • Quotes
  • Trademarks
  • Pictures


Director

Director

TitleYearStatusCharacter
Duma2005
Fly Away Home1996
Wind1992
Nutcracker1986
Never Cry Wolf1983
The Black Stallion1979
Rodeo1969Documentary short

Camera Department

Camera Department

TitleYearStatusCharacter
My Family1995cinematographer: River Crew
Star Wars: Episode IV - A New Hope1977second unit photography
Finian's Rainbow1968second unit photography - uncredited
ABC Stage 671967TV Series additional photography - 1 episode
Skaterdater1966Short additional photographer
The Duel1962Short assistant camera

Cinematographer

Cinematographer

TitleYearStatusCharacter
Norman Rockwell's World... An American Dream1972Documentary short
San Francisco Summer 19671967TV Movie uncredited
Surfin'1964TV Short

Producer

Producer

TitleYearStatusCharacter
Harvest1967Documentary producer

Production Designer

Production Designer

TitleYearStatusCharacter
3 Nuts in Search of a Bolt1964

Self

Self

TitleYearStatusCharacter
Sodankylä Forever2010TV Series documentaryHimself
Fog City Mavericks2007DocumentaryHimself
A Legacy of Filmmakers: The Early Years of American Zoetrope2004Video documentaryHimself
Artifact from the Future: The Making of 'THX 1138'2004Video documentary shortHimself
HBO First Look1996TV Series documentaryHimself
The Making of 'Never Cry Wolf'1983TV Movie documentaryHimself

Won awards

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
1997Christopher AwardChristopher AwardsMotion PicturesFly Away Home (1996)Robert Rodat, Vince McKewin, Carol Baum, John Veitch
1984Bronze WranglerWestern Heritage AwardsTheatrical Motion PictureNever Cry Wolf (1983)
1980New Generation AwardLos Angeles Film Critics Association AwardsThe Black Stallion (1979)

Nominated awards

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
1968OscarAcademy Awards, USABest Documentary, FeaturesHarvest (1967)

TitleSalary
The Black Stallion (1979)$33,000 + 7% of gross

#Fact
1Was UCLA classmate of Francis Ford Coppola, who as exec. producer of The Black Stallion (1979), chose Ballard to direct it.

#Quote
1The film business seems like it's kind of moving away from ... possibility.
2They go to see animated animals, they go to see end of the world movies, they go to see TV remakes. They know what they are. The studio, y'know, to me the problem is, and it's been getting worse year by year, is the deals, the source of it. It's my own [concept]. The problem is that the deals that have been made between the distributors and the exhibitors. Since they make a fair amount of their money off of the DVDs that are after the theatrical release, they're interested in keeping the films in theaters for a while. But in terms of the money that they make ... They try to encourage the theaters to run the pictures for a longer period of time, so they give them a bigger share of the money. So the studio only makes money off of the film in the first couple of weeks. So that encourages them to make films that have an instant audience, something that grabs people's attention. That's why we're in the situation we're in now in terms of the only pictures that get made are the ones based on old ideas or things that are already known: known stars, known quantities of one kind or another.
3Character and a world of its own, those are the things that are most important in any picture, that it takes you into a world of its own that is palpable in some way, that you can practically smell. The same thing with characters, they're not a stock, off-the-shelf item, they're unpredictable and ephemeral and interesting and unique.
4Yeah, for me, Kurosawa is still king.
5That's exactly correct. Really great movies don't happen except by someone having a great passion for that movie, somehow, despite the fact they don't have the instant audience connection.
6If you don't have a million of what I call 'whammo' scenes, which means you can't go five seconds between somebody getting whammoed, studios don't think kids will like it. Personally, I think children are a lot more observant and adaptable.
7It used to be that if you made a good film that really worked on a lot of levels, that was the most important thing. Now you've got to sell people with a sound bite. There's no time for people to discover movies anymore.

#Trademark
1Films often focus on animal and human interactions.

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