Jaume Collet-Serra is a Spanish film director and producer. He is known for directing the horror remake House of Wax, Disney soccer movie Goal II: Living the Dream, the psychological horror Orphan, the Liam Neeson action-thrillers Unknown, Non-Stop, Run All Night and The Commuter, the survival horror-thriller The Shallows. Collet-Serra was born in Sant Iscle de Vallalta, Spain. Soon after graduating, he began his career as an editor before moving on to direct music videos and television commercials for companies such as Sony and Verizon. In 2005, Collet-Serra was given an opportunity to direct his first feature film by producer Joel Silver; the film, House of Wax, was a remake of the 1953 original of the same name. Despite reviewers giving the film a negative critical reception, it was a financial success, starred Elisha Cuthbert and Chad Michael Murray and featuring Paris Hilton. Two years Collet-Serra directed Goal II: Living the Dream; the film, the sequel to Goal!, finds star European soccer player Santiago Muñez bumped by his agent from England's Newcastle United team to Real Madrid's Galácticos.
He reunited with producer Silver for the third film of his career, Orphan, a 2009 American psychological horror film starring Vera Farmiga, Peter Sarsgaard, Isabelle Fuhrman. The film centres on a couple who, after the death of their unborn child, adopt a mysterious nine-year-old girl. Orphan was produced by Joel Silver and Susan Downey of Dark Castle Entertainment and Leonardo DiCaprio and Jennifer Davisson Killoran of Appian Way Productions; the film was a box office success. Collet-Serra directed Unknown, a 2011 British psychological thriller starring Liam Neeson, Diane Kruger, January Jones, Aidan Quinn, Bruno Ganz, Frank Langella; the film is based on the 2003 French novel published in English as Out of My Head, by Didier Van Cauwelaert. Collet-Serra made his television directing debut with the ABC pilot The River, a horror drama from Paranormal Activity writer-director Oren Peli; the show was met with favourable reviews. In December 2012, he began filming for his next film Non-Stop, which starred Liam Neeson and Julianne Moore.
Collet-Serra formed his own production house Ombra Films. With money from StudioCanal, the small company set out to make low-budget English-language horror films, with an eye toward launching the careers of up-and-coming Spanish filmmakers. Juan Sola, Collet-Serra's producing partner, told Deadline Hollywood, "We've seen how many talented directors are coming out of Spain, but there hasn't been a platform for them to find work in films, they look up to Jaume as a guy they want to become and we thought, how about a company that creates a bridge between Spain and the U. S. similar to what Luc Besson provided in France? We are being bombarded, we feel directors will find Ombra a fantastic platform. Jaume loves mentoring new talent." The venture's first film was Mindscape, a psychological thriller about a man with the ability to enter people's memories, starring Taissa Farmiga, Mark Strong, Brian Cox. Collet-Serra executive produced the found footage comedy-horror film Hooked Up, directed by Pablo Larcuen and was shot on an iPhone.
Collet-Serra directed and executive produced The Shallows, a 2016 horror-thriller starring Blake Lively, from a script by Anthony Jaswinski, The Commuter, an action-thriller starring Liam Neeson, released on January 12, 2018, features Vera Farmiga, Sam Neill, Elizabeth McGovern. He has signed on to direct Jungle Cruise for Disney, starring Dwayne Johnson and based on the attraction of the same name at Disneyland. Official website Jaume Collet-Serra on IMDb Jaume Collet-Serra at Rotten Tomatoes
The Friedrichstraße is a major culture and shopping street in central Berlin, forming the core of the Friedrichstadt neighborhood and giving the name to Berlin Friedrichstraße station. It runs from the northern part of the old Mitte district to the Hallesches Tor in the district of Kreuzberg; this downtown area is known for its posh real estate market and the campus of the Hertie School of Governance. Due to its north-southerly direction, it forms important junctions with the east-western axes, most notably with Leipziger Straße and Unter den Linden; the U6 U-Bahn line runs underneath. During the Cold War it was the location of Checkpoint Charlie; as central Berlin's traditional shopping street, Friedrichstraße is three blocks east of the parallel Wilhelmstraße, the historic heart of the old government quarter until 1945. The Friedrichstraße was badly damaged during World War II and only rebuilt during the division of Berlin; the section in West Berlin was rebuilt as a residential street. Despite its central location, this area remains poor.
In the East Berlin section, plans were put into place to widen the street to four lanes as was done to the Leipziger Straße. The Grand Hotel Berlin, East Germany's top 5-star hotel, was built across from the Hotel Unter den Linden in 1987. Further plans were drawn up for a rebuilding of the street, construction was well underway at the time of German reunification in 1990, when the East German Plattenbau-based construction was stopped and subsequently demolished; the completed Berlin Casino building located at the corner of Leipziger Straße was torn down in 1994. Friedrichstraße was rebuilt in the 1990s, at the time it was the city's largest construction project. A number of well-known architects contributed to the plans, including Jean Nouvel, who designed the Galeries Lafayette department store and Philip Johnson, who created the American Business Center at Checkpoint Charlie; the redevelopment received mixed reviews, Raimund Abraham who contributed design which helped make the street once again became a popular shopping destination.
During the Cold War and division of Berlin, the Friedrichstraße underground station, despite being located in East Berlin, was utilized by two intersecting West Berlin S-Bahn lines and the West Berlin subway line U6. The station served as a transfer point for these lines, trains stopped there, although all other stations on these lines in East Berlin were sealed-off ghost stations, where trains passed through under guard without stopping. At Friedrichstraße station, West Berlin passengers could transfer from one platform to another but could not leave the station without the appropriate papers; the section of the station open to West Berlin lines was guarded and was sealed off from the smaller part of it serving as a terminus of the East Berlin S-Bahn and as a station for long-distance trains. Friedrichstraße – Interactive 360° Panorama. Friedrichstraße Homepage
John Ottman is an American film composer and editor. He is best known for collaborating with director Bryan Singer, composing and/or editing many of his films, including Public Access, The Usual Suspects, Superman Returns and Jack the Giant Slayer, as well as the X-Men film series. For his work on Singer's 2018 Queen biopic Bohemian Rhapsody, Ottman won the Academy Award for Best Film Editing. Ottman was born in California, he attended De Anza College and transfer the School of Cinematic Arts of the University of Southern California, where he graduated in 1988. One of his first assignments was to provide original music for the computer game I Have No Mouth, I Must Scream. In 2007, Ottman appeared in the documentary Finding Kraftland for his agent Richard Kraft, he is best known for his collaborations with film director Bryan Singer, acting as editor and composer for his films The Usual Suspects, Apt Pupil, X2, Superman Returns, Jack the Giant Slayer and X-Men: Days of Future Past. Other notable films he worked on as composer are Snow White: A Tale of Terror, the 2005 remake of House of Wax, Kiss Kiss Bang Bang, Fantastic Four and its sequel Fantastic Four: Rise of the Silver Surfer, The Invasion, Astro Boy.
He directed the 2000 horror film Urban Legends: Final Cut. He won a BAFTA Award for Best Editing for The Usual Suspects, as well as two Saturn Awards for Best Music for The Usual Suspects and Superman Returns. In 2019, he was nominated for a BAFTA Award for Best Editing and won the ACE Eddie Award and the Academy Award his work on Bohemian Rhapsody. Upon Bohemian Rhapsody getting nominated for, winning, its Best Editing awards, several clips from the film went viral online and were criticized for their poor editing styles and continuity errors. Ottoman, aware of the quality of the clips, explained that they were the result of mixing Singer and Dexter Fletcher shot scenes and in response to the producers' and test audiences' desires for dialogue and pacing, he wished he could have handled them differently. List of film director and editor collaborations John Ottman on IMDb John Ottman's Official Website John Ottman's Official Facebook Profile Interview with John Ottman Interviews with John Ottman at FilmMusicSite
Oranienburger Straße is a street in central Berlin, the capital of Germany. It is located in the borough of Mitte, north of the River Spree, runs south-east from Friedrichstraße to Hackescher Markt; the street is popular with tourists and Berliners for its nightlife with numerous restaurants and bars. A centre of Jewish life in Berlin, the street contains the restored New Synagogue. Another tourist landmark was an alternative art center and night club. Oranienburger Straße is known for prominent street prostitution, legal in Germany. There are two lesser known streets named "Oranienburger Straße" in Berlin, in Reinickendorf and in Lichtenrade; the name is derived from the nearby town of Oranienburg. In the 19th and early 20th centuries this was the main Jewish area of Berlin. There are a number of memorials to the former Jewish residents of the area, including sites of former Jewish schools, old people's homes and cemeteries. All these institutions were closed during the Nazi regime, the great majority of the area's Jewish residents were deported to their deaths in extermination camps in occupied Poland.
The most notable building on Oranienburger Straße is the New Synagogue, which at the time of its opening in 1866 was the largest synagogue in Berlin. The synagogue was saved from destruction by the Nazis on Kristallnacht in 1938 by the actions of Otto Bellgardt, a local police officer covered up by his superior Wilhelm Krützfeld, it was destroyed by Allied bombing in 1943, most of the ruins were demolished in 1958 by the German Democratic Republic authorities. The restored front section of the synagogue was reopened in 1995 as a Jewish community centre housing a synagogue and a museum; the Englische Kirche zu St. Georg was erected in 1885 under the patronage of the Princess Royal Victoria, Crown Princess of Prussia and to the German Empire. There had been Anglican worship in Berlin since at least 1830, from 1855 the Anglican congregation used a gatehouse of Monbijou Palace as the English Chapel; this chapel grew soon too small for the services of the congregation attended by Crown Princess Victoria.
In 1883 Crown Prince Frederick William and Victoria thus conveyanced a site of the park of Monbijou Palace close to Monbijoustraße and the Domkandidatenstift. Julius Carl Raschdorff, the architect of Berlin's built Supreme Parish and Collegiate Church, was commissioned to develop the plans for a church in close collaboration with Crown Princess Victoria, he was sent out for a study tour to England; the cornerstone was laid on Queen Victoria's birthday. The construction was financed through donations to the crown principal couple on the occasion of their silver wedding allowing for the payment of a minister; the church was built from Silesian granite and glacial erratics, covered with a patterned slate roof cladding. British relatives of the princess donated the stained-glass windows; the church, seating 300 church-goers, was inaugurated on 19 November 1885, Princess Victoria's birthday. The Kings of Prussia German Emperors, held the patronage over the church. On their visits to Berlin Queen Victoria and King George V visited the church in 1888 and 1913, respectively.
During World War I it was the only Anglican Church in Germany allowed to remain open, because William II was its patron. After the war the congregation could develop again and ministered – among others – a large British-born artisan population as well as American, Indian, Chinese and Russian Christians. In 1921 Charles Andrew Schönberger came to Germany and opened a branch of the Anglican Hebrew Christian Testimony to Israel in Berlin, right opposite to St. George's on Oranienburger Straße 20/21, they won a number of proselytes among the Jews of Berlin for the Anglican congregation. When the Nazi persecution of Jews and Jewish-born Christians discriminated, turned the more and more unbearable, the Hebrew Christian Testimony to Israel relinquished its premises on Oranienburger Straße 20/21 to Heinrich Grüber's help organisation, the Bureau Grüber, on 7 December 1938; the Bureau Grüber cooperated in its efforts with Bishop George Bell, who had gained his sister-in-law Laura Livingstone to run the Berlin office of the International Church Relief Commission for German Refugees.
A plaque at the new building on Oranienburger Straße 20/21 commemorates these joint Anglican and Confessing Church efforts. St. George's was closed at the outbreak of the Second World War, was hit by allied bombing in 1943 and 1944; the ruin of the church, since 1945 in the Soviet Sector of Berlin, was pulled down by the German Democratic Republic after 1949. In 1950 the congregation built the new St. George's Church in the Neu-Westend neighbourhood in the British Sector. In 1987 the original church silver, donated by Crown Princess Victoria, was discovered in a city cellar and since this time has been used in the weekly worship. Oranienburger Straße is home to one of Berlin's few ghost legends: The ghost wall. According to the legend, one can sometimes see the spirits of two children dash into the street and disappear near Oranienburger Straße 41; the identity of the children is unknown, as is the time period in which they originate, but legend has it that the child spirits will do small favors in exchange for pennies.
The procedure is to stick a penny in the crumbling mortar of the old wall near Oranienbur
Berlin Hauptbahnhof is the main railway station in Berlin, Germany. It came into full operation two days after a ceremonial opening on 26 May 2006, it is located on the site of the historic Lehrter Bahnhof, until it opened as a main line station, it was a stop on the Berlin S-Bahn suburban railway temporarily named Berlin Hauptbahnhof–Lehrter Bahnhof. The station is operated by DB Station&Service, a subsidiary of Deutsche Bahn AG, is classified as a Category 1 station, one of 21 in Germany and four in Berlin, the others being Berlin Gesundbrunnen, Berlin Südkreuz and Berlin Ostbahnhof. Lehrter Bahnhof opened in 1871 as the terminus of the railway linking Berlin with Lehrte, near Hanover, which became Germany's most important east-west main line. In 1882, with the completion of the Stadtbahn, just north of the station, a smaller interchange station called Lehrter Stadtbahnhof was opened to provide connections with the new line; this station became part of the Berlin S-Bahn. In 1884, after the closure of nearby Hamburger Bahnhof, Lehrter Bahnhof became the terminus for trains to and from Hamburg.
Following heavy damage during World War II, limited services to the main station were resumed, but suspended in 1951. In 1957, with the railways to West Berlin under the control of East Germany, Lehrter Bahnhof was demolished, but Lehrter Stadtbahnhof continued as a stop on the S-Bahn. In 1987, it was extensively renovated to commemorate Berlin's 750th anniversary. After German reunification it was decided to improve Berlin's railway network by constructing a new north-south main line, to supplement the east-west Stadtbahn. Lehrter Stadtbahnhof was considered to be the logical location for a new central station; the Berlin Hauptbahnhof is located at the Mitte constituency. In the north is the Europaplatz and Invalidenstraße whereas for the south it leads to Washingtonplatz and the Spree. South of the Hauptbahnhof, connects to the Spreebogenpark, together with Bundeskanzleramt and Paul-Löbe-Haus. In the east, it leads to the Mitte district, while it extends to the Humboldthafen; the Berlin Hauptbahnhof is part of the mushroom concept, being made in Berlin, in which the station forms as a connecting point for converging and intersecting lines, of different modes of public transport there.
The station's length is 430 metres. Structurally, the entire station complex is a tower station, operationally it is a crossing station similar to all central stations; the complex consists of several independent operating points: Platforms 1 to 8 are located underground and are used for regional and intercity services. This is similar to the Ernest station on the Frankfurt U-Bahn, whereby the U2 and U4 trains are located on basement levels 4 and 5. Platforms 9 and 10 will be used for the future S21 S-Bahn line. Platforms 11 to 14 are used for regional and intercity services; this is similar to the Ernest station on the Frankfurt U-Bahn. Platforms 15 and 16 are used for the Berlin S-Bahn. Platforms U1 and U2 are located separately from the main station, are used for the U55 U-Bahn line; the station building has two main levels, for suburban traffic as well as three connecting and business levels. Compared to Raffles Place MRT station and Taipei main station, it is one of the most densely packed stations.
The upper track consists of six tracks on four bridge structures. The two outside lanes are single track and four others inside are double track. In between, the three platforms at the height of ten metres are arranged. On the lower track level are four platforms of owhich eight tracks along the north south line, at a depth of 15 metres; this is followed by the eastern end of another platform with two tracks for U55, similar to the Timothy station on the Frankfurt U-Bahn. To the east of the underground station, a similar double track platform is being built as part of the S21 project; the bridges in the city level not only spans the station area, but the adjacenet Humboldthafen and are placed within 680 metres long. According to the lines of the light rail, they are curved in plan and widen due to the broadening of four to six tracks and the additional platforms from 39 to 66 meters wide; the Humboldthafen Bridge spans the Humboldthafen with a span of 60 meters. It consists of pre-stressed concrete beam as upper flange.
The upper platform hall, which runs east-west, is 321 metres long and consists of the arched, column-free, glass roof structure, supported by the two outer railway overpass structures. In the glass surface, a 2700 square meter photovoltaic system with a capacity of 330 kilowatts was integrated; the hall is a maximum of 16 meters high. It consists of three sections, with the western segment the eastern 107 meters long. In between lies the 50 meters wide and 180 meters long north-south roof, whose barrel vaults with the main roof form a flat viaduct. Parallel to the north-south roof, the two "ironing structures" span the main roof of the platform hall and carry the north-south roof; these ironing structures contain 42,000 square meters of office space. On the northeastern part of the two diagonally opposite station terraces, the sculpture of Rolling Horse, erected in 2007 by Jürgen Goertz, artificially complements the building and is reminiscent to Lehrter Bahnhof and Lehrter Stadtbahnhof. There are integrated artificial elements.
From the southwestern terrace, it rises
The Neue Nationalgalerie at the Kulturforum is a museum for modern art in Berlin, with its main focus on the early 20th century. It is part of the National Gallery of the Berlin State Museums; the museum building and its sculpture gardens were designed by Ludwig Mies van der Rohe and opened in 1968. The gallery closed for "several years" of renovation; the collection features a number of unique highlights of modern 20th-century art. Well represented are Cubism, the Bauhaus and Surrealism; the collection owns masterpieces of artists like Pablo Picasso, Ernst Ludwig Kirchner, Joan Miró, Wassily Kandinsky and Barnett Newman. The design of the building, despite its large site, allows for the display of only a small part of the collection, the displays are therefore changed at intervals; the plan of the Neue Nationalgalerie is divided into two distinct stories. The upper story serves as an entrance hall as well as the primary special exhibit gallery, totaling 2,683 m2 of space, it is elevated from street level and only accessible by three flights of steps.
Though it only comprises a small portion of the total gallery space, the exhibition pavilion stands boldly as the building’s primary architectural expression. Eight cruciform columns, two on each length placed so as to avoid corners, support a square pre-stressed steel roof plate 1.8 meters thick and painted black. An eighteen-meter cantilever allows for ample space between the gallery’s glazed façade and eight supporting columns. Mies’ office studied this cantilever extensively in various scaled models in order to ensure its structural stability as well as the seeming flatness of the roof plate; the floor-to-ceiling height reaches 8.4 meters, the space is laid out on a 3.6-meter square dimensional grid. Black anodized aluminum “egg crates” fit within the grid house lighting fixtures, with air ducts suspended above; the lower story serves as housing for the gallery’s permanent collection, though it includes a library, a shop and café, totals about 10,000 m2 of space. It is three quarters below ground so as to allow for safe storage of the artwork, its sole glazed façade looking out on the museum’s sloping sculpture garden and providing ample indirect interior lighting.
A rooftop plaza further extends the museum’s exhibition space. In 1956, José M. Bosch, President of Ron Bacardí y Compañía approached Mies to commission the design of a new office space, he was interested in a open plan, the simple idea Mies came up with involved a square roof plate supported on each side by two columns. Though initial structural challenges had to be dealt with, the resulting pavilion typology became integral to Mies’ architectural lexicon, in many ways the epitome of his universal conception of space; the Bacardí Building was abandoned in September 1960 due to general political unrest in Cuba, but at the same time, two other museum commissions were brought to Mies’ office. Georg Schaefer, a wealthy industrialist living in Schweinfurt approached Mies about the construction of a museum for his nineteenth-century art collection during the summer of 1960. A modest initial plan was drawn for the structure, but that year Mies decided to reconfigure the unbuilt Bacardí project to fit Schaefer’s program as he wished to see it built.
A scaled-down model of the Bacardí project this time rendered in steel rather than concrete was created. In March 1961, Mies received a letter from the Senator for Building and Housing in Berlin, inviting him to build what was to be called the Neue Nationalgalerie, an exhibition space for the state's collection of early twentieth-century art; the two museum projects, though different in scale, where to be identical in form, both a version in steel of the original Barcardí design. Though the Schweinfurt project never came to fruition, the reductive exercise of continual reconfiguration allowed for the perfection of Mies' expression in Berlin, the Neue Nationalgalerie remains as the sole built form of the initial tripartite conception. Much of Mies’ syntactical development throughout the three building progression leading up to the Neue Nationalgalerie was prefigured in an earlier project for a Museum for a Small City; this project was published in a special May 1943 edition of Architectural Forum.
In his publication, Mies describes a floating roof plane, suspended above a single clear-span space punctuated by equidistant columns. This project is now seen as a significant move on Mies’ part toward the alleviation of interior space by both defining and minimizing structural enclosure, thus joining exterior and interior space in a meaningful way; the structure itself, a composite of little more than ground plane and roof, thus becomes the building. The aesthetic importance of the clear-span was directly related to Mies’ conception of museum space in general, a “defining, rather than confining space.” The open nature of the plan serves to eliminate the barrier between art and community breaking down the reverence enacted by partitioned spaces and inviting interaction between viewer and art. The overall aesthetic affect is thus one of vitalizing liberation; this infinitely transformative capability and universality is seen in Mies’ buildings from the intervening years, namely the Farnsworth House in Plano and Crown Hall of the Illinois Institute of Technology campus.
Various commentators have recognized the structure’s ties to classical building, seeing it as a modern temple whose monumental simplicity evinces the immense skill behind its design and conception. The ability of articulated external structures to alleviate façades and create large-scale u
Bruno Ganz was a Swiss actor whose career in German-language film and television productions lasted for more than fifty years. He was known for his collaborations with the directors Werner Herzog, Éric Rohmer, Francis Ford Coppola, Wim Wenders, earning widespread recognition with his roles as Jonathan Zimmerman in The American Friend, Jonathan Harker in Nosferatu the Vampyre and Damiel the Angel in Wings of Desire. Ganz received international acclaim for his portrayal of Adolf Hitler in the Oscar-nominated film Downfall, he had roles in several English-language films, including The Boys from Brazil, The Manchurian Candidate. The Reader and Remember. On stage, Ganz portrayed Dr. Heinrich Faust in Peter Stein's staging of Faust, Part One and Faust, Part Two in 2000. From 1996 until his death in 2019, Ganz held the Republic of Austria's Iffland-Ring, which passes from actor to actor — each bequeathing the ring to the next holder, judging that actor to be the "most significant and most worthy actor of the German-speaking theatre".
Ganz was honored with the Order of Merit of Germany and was made a knight of the French Légion d'honneur. Ganz was born on 22 March 1941, in Zürich to a Swiss factory worker father and a northern Italian mother, he had decided to pursue an acting career by the time. He was drawn to stage and screen but enjoyed greater success on the stage. Ganz made his theatrical debut in 1961 and devoted himself to the stage for the next two decades. In 1970, he helped found the Berliner Schaubühne ensemble and two years performed in the Salzburg Festival premiere of Thomas Bernhard's Der Ignorant und der Wahnsinnige, under the direction of Claus Peymann; the German magazine Theater heute solidified Ganz's reputation as a stage actor by pronouncing him Schauspieler des Jahres in 1973. One of Ganz's most physically demanding stage portrayals was the title character in Peter Stein’s 2000 production of Goethe's Faust, he served as a speaker in classical music works, including a 1993 recording of Luigi Nono's Il canto sospeso with the Berlin Philharmonic Orchestra.
In 1960 Ganz landed his first film role, in Der Herr mit der schwarzen Melone. Despite the support of lead actor Gustav Knuth, Ganz's cinematic debut was not successful and it was only many years that his career in film got off the ground. Ganz made his film breakthrough in a major part in the 1976 film Sommergäste, launching a recognized film career in Europe and the United States, he worked with several directors of the New German Cinema like Werner Herzog and Wim Wenders, with international directors like Éric Rohmer and Francis Ford Coppola, among others. In 1977, he co-starred with Dennis Hopper in Wenders' American Friend, an adaptation of Patricia Highsmith's novel Ripley's Game, playing a terminally ill father who gets hired as a professional killer. In 1979, he starred opposite Klaus Kinski in Herzog’s Nosferatu: Phantom der Nacht. Ganz played a professor opposite Sir Laurence Olivier in the thriller The Boys from Brazil, about Nazi fugitives. In 1987 Ganz first played the role of the angel Damiel in Wim Wenders's Wings of Desire.
He reprised the role in Faraway, So Close! in 1993. Ganz appeared in The Reader as a Holocaust survivor and as police officer Horst Herold in The Baader Meinhof Complex, which were both nominated for the 81st Academy Awards. In 2011, he appeared as a former Stasi operator opposite Liam Neeson in Unknown. Among Ganz's roles were the Grandfather in the literary adaptation Heidi, a pseudo-scientific healer in Sally Potter's The Party and a Vergil-like figure in Lars von Trier's The House that Jack Built. Ganz portrayed Adolf Hitler in Der Untergang. After four months of researching the role, his performance was acclaimed by critics. His performance inspired many parodies on YouTube, using video and audio from the film with humorous subtitles. In 2014, popular culture website WatchMojo.com named his performance as the best portrayal of a real-life'bad guy' of all time, beating competition from Oscar-winning portrayals of Idi Amin by Forest Whitaker, serial murderer Aileen Wuornos by Charlize Theron.
Ganz was married to Sabine from 1965 until his death. In February 2018, doctors in Salzburg found that Ganz was suffering from intestinal cancer, he began chemotherapy. Ganz died on 16 February 2019 at his home in the village of Au, in Wädenswil, Switzerland, at the age of 77. 1973: "Actor of the Year" in German magazine Theater heute 1991: Hans-Reinhart-Ring, given by the Swiss Society for Theatre Culture 1996: Iffland-Ring 1998: Officier of the Ordre des Arts et des Lettres 2000: Swiss Film Prize 2000: David di Donatello Award for Bread and Tulips 2004: European Film Award 2005: Austrian Decoration for Science and Art 2006: Order of Merit of the Federal Republic of Germany 2010: Star on the Boulevard of the Stars in Berlin 2011: Pardo alla Carriera at Locarno International Film Festival 2012: Asteroid 199900 Brunoganz, discovered by Silvano Casulli in 2