Thodoros Angelopoulos

Award won Role or nomination

1. 1935 age 0

   Born

2. 1975 age 40

   CreditThe Travelling Playersdirector

   CreditThe Travelling Playersscreenwriter

3. 1984 age 49

   CreditVoyage to Cytheradirector

   CreditVoyage to Cytheraproducer

   CreditVoyage to Cytherascreenwriter

4. 1986 age 51

   CreditThe Beekeeperdirector

   CreditThe Beekeeperproducer

   CreditThe Beekeeperscreenwriter

5. 1988 age 53

   CreditLandscape in the Mistdirector

   CreditLandscape in the Mistproducer

   CreditLandscape in the Mistscreenwriter

6. 1991 age 56

   CreditThe Suspended Step of the Storkdirector

   CreditThe Suspended Step of the Storkproducer

   CreditThe Suspended Step of the Storkscreenwriter

7. 1995 age 60

   CreditLumière and Company

   CreditLumière and Companydirector

   CreditUlysses' Gazedirector

   CreditUlysses' Gazeproducer

   CreditUlysses' Gazescreenwriter

8. 1998 age 63

   CreditEternity and a Daydirector

   CreditEternity and a Dayproducer

   CreditEternity and a Dayscreenwriter

9. 2004 age 69

   CreditTrilogy: The Weeping Meadowdirector

   CreditTrilogy: The Weeping Meadowexecutive producer

   CreditTrilogy: The Weeping Meadowproducer

   CreditTrilogy: The Weeping Meadowscreenwriter

10. 2007 age 72

    CreditTo Each His Own Cinemadirector

11. 2012 age 76

    Died

• EKEleni Karaindrou8 titles
• TGTonino Guerra7 titles
• GAGiorgos Arvanitis7 titles
• MGMichalis Giannatos6 titles
• PMPetros Markaris5 titles
• EKEva Kotamanidou4 titles
• CNChristoforos Nezer4 titles
• MMMarcello Mastroianni3 titles
• ÉHÉric Heumann3 titles
• TVThanasis Valtinós3 titles

• 
  Photo:George LaoutarisCC BY-SA 2.0

• History is not dead: it is only taking a nap.

  Theo Angelopoulos, CC BY-SA 4.0

• You cannot help but be influenced by a place and its culture when you grow up there, especially at a particular time, as I did, when the church was an important part of my cultural (not necessarily religious) life.

  Theo Angelopoulos, CC BY-SA 4.0

• The world needs cinema now more than ever. It may be the last important form of resistance to the deteriorating world in which we live. In dealing with borders, boundaries, the mixing of languages and cultures today, I am trying to seek a new humanism, a new way.

  Theo Angelopoulos, CC BY-SA 4.0

• I draw techniques from everything I've seen [...] I continue to love [...] very much the films of Murnau, Mizoguchi, Antonioni. More recently: Tarkovsky's Stalker, Godard's Every Man for Himself and of course Ordet. [...] But the only specific influences I acknowledge are Orson Welles, for his use of plan-sequence and deep focus, and Mizoguchi, for his use of time and off-camera space.

  Theo Angelopoulos, CC BY-SA 4.0