Biography
Raised in Hersham, Surrey, he began making student films while studying American History at the University of Kent and the University of Massachusetts Amherst. After graduation, he sold his first feature screenplay, Underground, to British producers Jeremy Bolt and Paul Trijbits in 1995.
In 1997, he secured representation in Los Angeles after writing Blade Runner Down, a spec sequel to the film Blade Runner, based on the novel Blade Runner 2: The Edge of Human by K. W. Jeter. He then wrote an early draft of The Mutant Chronicles, followed by an adaptation of The 10th Victim from a story by Matt Greenberg, both for producer Edward R. Pressman.
In 1999, after selling the horror treatment Rizen to Universal Pictures and writing an unused draft of Paycheck for Spyglass Entertainment, he began the first of many collaborations with director Alex Proyas when they co-wrote an adaptation of Edgar Allan Poe's The Masque of the Red Death together.
His first produced script was the science fiction adventure TV movie Riverworld, based on the novels by Philip Jose Farmer, for Alliance Atlantis and the Sci Fi Channel. It premiered in March 2003. An adaptation of the comic book Battle Chasers followed in 2004.
In 2005 he wrote and directed his debut short film, Christian.
In 2006 he rewrote the supernatural thriller "Knowing" directed by Proyas and starring Nicolas Cage, then he adapted John Milton's epic poem Paradise Lost for Legendary Pictures, which will enter production in 2011, also directed by Alex Proyas and starring Bradley Cooper as Lucifer/Satan. .
In 2007 he rewrote the remake of The Day the Earth Stood Still, directed by Scott Derrickson and starring Keanu Reeves, and co-wrote an adaptation of John Christopher's science fiction trilogy The Tripods with Proyas.
In 2010/11 he co-wrote the screenplay "Moses", based on the life of the Biblical prophet and leader, with American writer Michael Green for Lin Pictures and Warner Bros.
Read more about this topic: Stuart Hazeldine
Famous quotes containing the word biography:
“The best part of a writer’s biography is not the record of his adventures but the story of his style.”
—Vladimir Nabokov (1899–1977)
“In how few words, for instance, the Greeks would have told the story of Abelard and Heloise, making but a sentence of our classical dictionary.... We moderns, on the other hand, collect only the raw materials of biography and history, “memoirs to serve for a history,” which is but materials to serve for a mythology.”
—Henry David Thoreau (1817–1862)
“A biography is like a handshake down the years, that can become an arm-wrestle.”
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