Career
Buchanan visited Hollywood and landed a job in the props department at 20th Century Fox. It was while working here where his film career got off the ground. He made movies for the United States Army Signal Corps during World War II.
In the early 1950s, Buchanan began producing, writing, editing and acting in his own movies. The first was The Cowboy in 1951.
He is perhaps best known for exploitation, science fiction, and other genre films, including Free, White and 21, High Yellow, The Naked Witch, The Loch Ness Horror, and Mistress of the Apes. Among Buchanan's work, eight direct-to-television films he wrote, produced, and directed under his own Azalea Films production entity in the mid- and late-1960s, for American International Pictures, still generate a good degree of fan adoration. The titles − The Eye Creatures, Zontar, The Thing from Venus, Creature of Destruction, Mars Needs Women, In the Year 2889, Curse of the Swamp Creature, Hell Raiders, and It's Alive! − were largely remakes of AIP films from a decade earlier. Buchanan's instructions from AIP were: "We want cheap color pictures, we want half-assed names in them, we want them eighty minutes long and we want them now".
In 1964, Buchanan created The Trial of Lee Harvey Oswald, which presented an alternate history in which John F. Kennedy and Lee Harvey Oswald both survived Kennedy's assassination. In 1984 he produced Down on Us, which charged that the United States government was responsible for the deaths of Jimi Hendrix, Jim Morrison and Janis Joplin.
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Famous quotes containing the word career:
“He was at a starting point which makes many a man’s career a fine subject for betting, if there were any gentlemen given to that amusement who could appreciate the complicated probabilities of an arduous purpose, with all the possible thwartings and furtherings of circumstance, all the niceties of inward balance, by which a man swings and makes his point or else is carried headlong.”
—George Eliot [Mary Ann (or Marian)
“Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.”
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“A black boxer’s career is the perfect metaphor for the career of a black male. Every day is like being in the gym, sparring with impersonal opponents as one faces the rudeness and hostility that a black male must confront in the United States, where he is the object of both fear and fascination.”
—Ishmael Reed (b. 1938)