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James L. Brooks
A video camera is being pointed at a bearded man who is wearing glasses. Some other people stand in the background.
James L. Brooks in July 2007 at the Springfield, Vermont premiere of The Simpsons Movie
Born James Lawrence Brooks
May 9, 1940 (1940-05-09) (age 69)
Brooklyn, New York, United States
Occupation Director, producer, screenwriter
Years active 1965–present
Spouse(s) Marianne Catherine Morrissey (1964-unknown)
Holly Beth Holmberg (1978-1999)
Official website

James Lawrence Brooks (born May 9, 1940) is an American director, producer and screenwriter. Growing up in North Bergen, New Jersey, Brooks endured a fractured family life and passed the time by reading and writing. After dropping out of New York University, he got a job as an usher at CBS, going on to write for the CBS News broadcasts. He moved to Los Angeles in 1965 to work on David L. Wolper's documentaries. After being laid off he met producer Allan Burns who secured him a job as a writer on the series My Mother the Car.

Brooks wrote for several shows before being hired as a story editor on My Friend Tony and later creating the series Room 222. Grant Tinker hired Brooks and Burns at MTM Productions to create The Mary Tyler Moore Show in 1970. The show, one of the first to feature an independent working woman as its lead character, was critically acclaimed and won Brooks several Primetime Emmy Awards. Brooks and Burns then created two successful spin-offs from Mary Tyler Moore in the shape of Rhoda (a comedy) and Lou Grant (a drama). Brooks left MTM Productions in 1978 to co-create the sitcom Taxi which, despite winning multiple Emmys, suffered from low ratings and was canceled twice.

He moved into feature film work when he wrote and co-produced the 1979 film Starting Over. His next project was the critically acclaimed film Terms of Endearment, which he produced, directed and wrote, winning an Academy Award for all three positions. Basing his next film, Broadcast News, on his journalistic experiences the film earned him a further two Academy Award nominations. Although his 1994 work I'll Do Anything was hampered by negative press attention due to the cutting of all of its recorded musical numbers, As Good as It Gets (co-written with Mark Andrus) earned further praise. It was seven years until his next film, which came in the shape of 2004's Spanglish. Brooks also produced and mentored Cameron Crowe on Say Anything... (1989) and Wes Anderson and Owen Wilson on Bottle Rocket (1996).

Although he did not intend to do so, Brooks returned to television in 1987 as the producer of The Tracey Ullman Show. He hired cartoonist Matt Groening to create a series of shorts for the show, which eventually led to The Simpsons in 1989. The Simpsons won numerous awards and is still running after 20 years. Brooks also co-produced and co-wrote the 2007 film adaptation of the show, The Simpsons Movie. In total, Brooks has received 47 Emmy nominations, winning 20 of them.[1]


Early life

Brooks was born James Lawrence Brooks on May 9, 1940 in Brooklyn, New York, United States and raised in North Bergen, New Jersey.[2][3][4] His parents, Dorothy and Edward Brooks, were both Jewish salespeople (his mother sold children's clothes; his father furniture).[4][5] He described his early life as "tough" with a "broken home, [and him being] poor and sort of lonely, that sort of stuff",[6] later adding: "My father was sort of in-and-out and my mother worked long hours, so there was no choice but for me to be alone in the apartment a lot." He has an older sister, Dianne, who helped look after him as a child.[4][7] Brooks' father abandoned his mother when he found out she was pregnant with him,[8] and lost contact with him when Brooks was twelve.[9] His mother died when he was 22.[8]

Brooks spent much of his childhood "surviving" and reading numerous comedic and scripted works,[4] as well as writing; he sent comedic short stories out to publishers and occasionally got positive responses although none were published,[7] and he did not believe he could make a career as a writer.[4] Brooks attended Weehawken High School but was not a high achiever. He was on his high school newspaper team and frequently secured interviews with celebrities including Louis Armstrong.[4] He lists some of his influences as Sid Caesar, Jack Benny, Lenny Bruce, Mike Nichols and Elaine May,[7] as well as writers Paddy Chayefsky and F. Scott Fitzgerald.[4]



A smiling women wearing a black and white dress holds a golden statuette.
Brooks won several Emmy Awards for The Mary Tyler Moore Show

In 1987, The Chicago Sun-Times described Brooks' career as "a non-stop crescendo."[6] Although he dropped out of a New York University public relations course,[4][5][8][9] Brooks' sister got him a job as an usher at CBS in New York City, a job usually requiring a college education, as she was friends with a secretary there.[4] He held it for two and a half years. For two weeks he filled in as a copywriter for CBS News and was given the job permanently when the original employee never returned. Brooks went on to become a writer for the news broadcasts, joining the Writers Guild of America and writing reports on events such as the assassination of President Kennedy. He moved to Los Angeles in 1965 to write for documentaries being produced by David L. Wolper, something he "still [hasn't] quite figured out how [he] got the guts to do,"[7] as his job at CBS was secure and well-paid. He worked as an associate producer on series such as Men in Crisis but after sixth months he was laid off as the company were trying to cut back on expenses.[4] Brooks did occasionally work for Wolper's company again, including on a National Geographic insect special.[7]

Failing to find another job at a news agency, he met producer Allan Burns at a party. Burns got him a job on My Mother the Car where he was hired to rewrite a script after pitching some story ideas.[7] Brooks then went on to write episodes of That Girl,[7] The Andy Griffith Show[8] and My Three Sons before Sheldon Leonard hired him as a story editor on My Friend Tony.[4] In 1969 he created for ABC the series Room 222, which lasted until 1974. Room 222 was the second series in American history to feature a black lead character, in this case high school teacher Pete Dixon played by Lloyd Haynes.[2] The network felt the show was sensitive and so attempted to change the pilot story so that Dixon helped a white student rather than a black one, but Brooks prevented it. On the show Brooks worked with Gene Reynolds who taught him the importance of extensive and diligent research, which he conducted at Los Angeles High School for Room 222, and he used the technique on his subsequent works. Brooks left Room 222 as head writer after one year to work on other pilots and brought Burns in to produce the show.[4][7]

He and Burns were hired by CBS programming executive Grant Tinker to create a series together with MTM Productions for Tinker's wife Mary Tyler Moore which became The Mary Tyler Moore Show.[2] Drawing on his own background in journalism, Brooks set the show in a newsroom. Initially the show was unpopular with CBS executives who demanded Tinker fire Brooks and Burns. However the show was one of the beneficiaries of network president Fred Silverman's "rural purge"; executive Bob Wood also liked the show and moved it into a better timeslot.[7][10] Brooks and Burns hired all of the show's staff themselves and eventually ended it of their own accord.[7] The Mary Tyler Moore Show became a critical and commercial success and was the first show to feature an independent-minded, working women, not reliant on a man, as its lead.[11] Geoff Hammill of the Museum of Broadcast Communications described it as "one of the most acclaimed television programs ever produced" in US television history.[11] During its seven-year period it received high praise from critics and numerous Primetime Emmy Awards including for three years in a row Outstanding Comedy Series.[11] In 2003, USA Today called it "one of the best shows ever to air on TV".[12] In 1997, TV Guide selected a Mary Tyler Moore Show episode as the best TV episode ever and in 1999, Entertainment Weekly picked Mary's hat toss in the opening credits as television's second greatest moment.[13][14]

With Mary Tyler Moore going strong, Brooks produced and wrote the TV film Thursday's Game,[2] before creating the short-lived series Paul Sand in Friends and Lovers in 1974.[15] He and Burns moved on to Rhoda, a spin-off of Mary Tyler Moore, taking Valerie Harper's character Rhoda Morgenstern into her own show.[16] It was well received, lasting four years and earning Brooks several Emmys.[1] The duo's next project came in 1977 in the shape of Lou Grant, a second Mary Tyler Moore spin-off, which they created along with Tinker. Unlike its source however, the series was a drama starring Edward Asner as Grant. James Brown of the Museum of Broadcast Communications said it "explore[d] a knotty issue facing media people in contemporary society, focusing on how investigating and reporting those issues impact on the layers of personalities populating a complex newspaper publishing company." The show was also critically acclaimed, twice winning the Primetime Emmy Award for Outstanding Drama Series and also a Peabody Award.[17]

Brooks left MTM Productions in 1978 and formed the John Charles Walters Company along with David Davis, Stan Daniels and Ed Weinberger. They decided to produce Taxi, a show about a New York taxi company, which unlike the other MTM Productions focused on the "blue-collar male experience".[18] Brooks and Davis had been inspired by the article "Night-Shifting for the Hip Fleet" by Mark Jacobson, which appeared in the September 22, 1975 issue of New York magazine.[19] The show began on ABC in 1978 airing on Tuesday nights after Three's Company which generated high ratings and after two seasons it was moved to Wednesday. Its ratings fell and in 1982 it was canceled; NBC picked it up, but the ratings remained low and it was dropped after one season. Despite its ratings, it won three consecutive Outstanding Comedy Series Emmys.[18] Brooks' last TV show produced before he began making films was The Associates (1979–1980) for ABC. Despite positive critical attention, the show was quickly canceled.[20]

Alex Simon of Venice Magazine described Brooks as "[bringing] realism to the previously overstated world of television comedy. Brooks' fingerprints can now be seen in shows such as Seinfeld, Friends, Ally McBeal and numerous other shows from the 1980's and 90's."[7] Brooks' sitcoms were some of the first with a "focus on character" using an ensemble cast in a non-domestic situation.[2][7]


"When I broke into movies, it was hard for anyone who had previously worked in television to break into the movies. It's easier now, but was almost impossible back then".

—Brooks in 2000[21]

In 1978, Brooks began work on feature films. His first project was the 1979 film Starting Over which he wrote and co-produced with Alan J. Pakula.[21] He adapted the screenplay from a novel by Dan Wakefield into a film The Washington Post called "a good-humored, heartening update of traditional romantic comedy" unlike the "drab" novel.[22]

Brooks next project came in 1983 when he wrote, produced and directed Terms of Endearment, adapting the screenplay from Larry McMurtry's novel of the same name.[23] It cost $8.5 million and took four years to film.[7] Brooks won the Academy Awards for Best Picture, Director and Screenplay Adapted from Another Medium.[6]

Brooks was fearful of the attention Oscar success would bring as he would be "deprived of a low profile", finding it "hard to work with the spotlight shining in your eyes." He added: "There's a danger of being seduced into being self-conscious, of being aware of your 'career'. That can be lethal."[6] He also grew more concerned of the "threatening" corporate influence into the film industry at the expense of "the idea of the creative spirit".[6] He channelled this ambivalence into Broadcast News. As a romantic comedy, Brooks felt he could say "something new ... with that form" adding "One of the things you're supposed to do every once in a while as a filmmaker is capture time and place. I was just glad there was some way to do it in a comedy."[6] He cast William Hurt, Holly Hunter and Albert Brooks in the three main roles.[6]

He wished to set the film in a field he understood and opted for broadcast journalism. After talking with network journalists at the 1984 Republican National Convention Brooks realised it had "changed so much since I had been near it" and so "did about a year and a half of solid research," into the industry.[6] When he began writing the screenplay, Brooks felt he "didn't like any of the three [main] characters" but decided not to change them and after two months had reversed his original opinion. Brooks stated that this also happens to the audience: "You're always supposed to arc your characters and you have this change and that's your dramatic purpose. But what I hope happens in this film is that the audience takes part in the arc. So what happens is that the movie doesn't select its own hero. It plays differently with each audience. The audience helps create the experience, depending on which character they hook onto."[6] He did not decide on the ending of the film until the rest of it had been completed. Brooks was nominated for the Academy Awards for Best Picture and Best Original Screenplay for Broadcast News.[7]

His 1994 film I'll Do Anything, starring Nick Nolte, was conceived and filmed by Brooks as an old-fashioned movie musical and parody of "Hollywood lifestyles and movie clichés", costing $40 million.[24] It featured songs by Carole King, Prince, and Sinéad O'Connor, among others, with choreography by Twyla Tharp.[5][24] When preview audience reactions to the music were overwhelmingly negative, all production numbers from the film were cut and Brooks wrote several new scenes, filming them over three days and spending seven weeks editing the film down to two hours.[5] Brooks noted: "Something like this not only tries one's soul - it threatens one's soul." While it was not unusual for Brooks to edit his films substantially after preview screenings on this occasion he was "denied any privacy" because the media reported the negative reviews before its release and "it had to be good enough to counter all this bad publicity."[24] It was a commercial failure,[7] and Brooks attempted to produce a documentary about it four years later but was scuppered by failing to obtain the rights to Prince's song.[8]

A man wearing a suit looks down at the peace of paper he is signing for the person who is out of shot.
Brooks produced two of Cameron Crowe's films

Brooks agreed to produce and direct Old Friends, a screenplay by Mark Andrus. Andrus' script "needed you to suspend disbelief" but Brooks realised "my style when directing is that I really don't know how to get people to suspend disbelief." Brooks spent a year reworking the screenplay: "There were changes made and the emphasis was changed but it's the product, really, of a very unusual writing team," and the project became As Good as It Gets, taking a year to produce after funding had been secured.[7] According to the New York Times, Brooks "was constantly experimenting, constantly reshooting, constantly re-editing" the film, changing its ending five times and allowing the actors to improvise the film's tone.[25]

The film garnered more praise than I'll Do Anything and Brooks was again nominated for the Academy Awards for Best Picture and Best Original Screenplay.[26] Jonathan Rosenbaum of the Chicago Reader labelled it Brooks' best film, stating "what Brooks manages to do with [the characters] as they struggle mightily to connect with one another is funny, painful, beautiful, and basically truthful—a triumph for everyone involved."[27] It also ranked 140 in Empire's 2008 list of the "The 500 Greatest Movies of All Time".[28] Brooks cast Jack Nicholson in both Terms of Endearment and As Good as It Gets with the actor taking and Academy Award for each role.[29]

Brooks did not direct and write a film again for seven years until 2004's Spanglish. Filming took six months, ending in June with three days of additional filming in October; Brooks produced three endings for the film, shooting several scenes in "15 to 25 takes" as he did not feel the film was tonally complete, although the script did not change much during filming. He opted to cast Adam Sandler in a more dramatic role than his usual goofball comedy parts based on his performance in Punch-Drunk Love and Sandler's relationship with his family. Describing the length of production, Brooks said: "It's amazing how much more perverse you are as a writer than as a director. I remember just being so happy that I'd painted myself into some corners [while writing]. I thought that would make it interesting. When I had to wrestle with that as a director, it was a different story." Brooks directing style "drove [the cast] bats", especially Téa Leoni, with Cloris Leachman (who replaced an ill Anne Bancroft a month into filming) describing it as "free-falling. You're not going for some result. It's just, throw it in the air and see where it lands."[8]

Brooks started his own film and television production company, Gracie Films, in 1984.[2] He produced Big (1988) and The War of the Roses (1989).[5][7] Brooks mentored Cameron Crowe and was the executive producer of Crowe's directorial debut Say Anything... (1989) and produced his later film Jerry Maguire (1996).[7] Brooks also helped Owen Wilson and Wes Anderson after their feature-length script and short film version of Bottle Rocket (1996) were brought to his attention. Brooks went to Wilson and Anderson's apartment in Dallas after agreeing to produce the film. Wilson stated: "I think he felt kind of sorry for us". Despite having "the worst [script] reading [Brooks] had ever heard", Brooks kept faith in the project.[30] Brooks produced and directed Brooklyn Laundry, his first theatrical production, in 1990. It starred Glenn Close, Woody Harrelson and Laura Dern.[7] In 2007, Brooks appeared—along with Nora Ephron, Carrie Fisher and others in Dreams on Spec, a documentary about screenwriting in Hollywood.[31]

Return to television

A man in glasses sits in front of a microphone
Matt Groening originally intended to pitch Life in Hell to Brooks

Although Brooks "never meant" to return to television, he was helping Tracey Ullman start The Tracey Ullman Show and when she could not find another producer, stepped in.[21] Brooks asked cartoonist Matt Groening to pitch an idea for a series of animated shorts to appear on The Tracey Ullman Show, which Groening initially intended to present as his Life in Hell series. However, when Groening realized that animating Life in Hell would require the rescinding of publication rights for his life's work, he chose another approach and formulated his version of a dysfunctional family in the lobby of Brooks' office.[32] After the success of the shorts, the Fox Broadcasting Company in 1989 commissioned a series of half-hour episodes of the show, now called The Simpsons. Brooks negotiated a provision in the contract with the Fox network that prevented Fox from interfering with the show's content.[33] According to writer Jon Vitti, Brooks contributed more to the episode "Lisa's Substitute" than to any other in the show's history.[34] Groening drew Brooks a nine panel Life in Hell cartoon entitled "The Los Angeles Way of Death" which hangs outside Brooks' Grace Films office.[8] The Simpsons garnered critical and commercial acclaim, winning numerous awards and is still running after 20 years.[35] In a 1998 issue celebrating the 20th century's greatest achievements in arts and entertainment, Time magazine named The Simpsons the century's best television series.[36]

In 1995, Brooks and Groening were involved in a public dispute over the episode "A Star is Burns". Groening felt that the episode was a thirty-minute advertisement for Brooks' show The Critic, (which had moved to Fox from ABC for its second season) and was created by former The Simpsons show runners Al Jean and Mike Reiss, and whose lead character Jay Sherman appears in the episode. He hoped Brooks would pull the episode because "articles began to appear in several newspapers around the country saying that [Groening] created The Critic," and removed his names from the credits.[37] In response, Brooks said "I am furious with Matt, he's been going to everybody who wears a suit at Fox and complaining about this. When he voiced his concerns about how to draw The Critic into the Simpsons' universe he was right and we agreed to his changes. Certainly he's allowed his opinion, but airing this publicly in the press is going too far. [...] He is a gifted, adorable, cuddly ingrate. But his behavior right now is rotten."[37]

The Critic was short-lived, broadcasting ten episodes on Fox before its cancellation. A total of only 23 episodes were produced, and it returned briefly in 2000 with a series of ten internet broadcast webisodes. The series has since developed a cult following thanks to reruns on Comedy Central and its complete series release on DVD.[38] His 1993 show Phenom and 2001 show What About Joan were also short lived.[8][39][40]

Brooks co-produced and wrote the 2007 feature-length film adaptation of The Simpsons, The Simpsons Movie.[41] He directed the voice cast for the first time since the television show's early seasons. Dan Castellaneta found the recording sessions "more intense" than recording the television series, and "more emotionally dramatic".[42] Some scenes, such as Marge's video message to Homer, were recorded over one hundred times, leaving the voice cast exhausted.[43]

Personal life

He was married to Holly Beth Holmberg from 1978 to 1999; the two had three children together.[44] He was married to Marianne Catherine Morrissey and has one child with her.[2][9] Brooks has donated over $175,000 to Democratic Party candidates.[45]



Year Film Position Notes
1979 Starting Over Producer
Real Life Actor Appears as Driving evaluator
1981 Modern Romance Actor Appears as David
1983 Terms of Endearment Director
1987 Broadcast News Director
1988 Big Producer
1989 Say Anything... Executive producer
The War of the Roses Co-producer
1994 I'll Do Anything Director
1996 Bottle Rocket Executive producer
Jerry Maguire Co-producer
1997 As Good as It Gets Director
2001 Riding in Cars with Boys Co-producer
2004 Spanglish Director
2007 The Simpsons Movie Producer
2009 TBA Director
In production[46]


Year Series Position Notes
1965 Men in Crisis Producer
Two episodes
October Madness: The World Series Writer TV special
1965–1966 Time-Life Specials: The March of Time Writer Three episodes
1966 My Mother the Car Writer Two episodes
1966–1967 That Girl Writer Three episodes
1967–1968 Accidental Family Writer
Story editor
1968 The Andy Griffith Show Writer Two episodes
My Three Sons Writer One episode
The Doris Day Show Writer One episode
1969 My Friend Tony Writer
Story editor
1969–1970 Room 222 Creator
1970–1977 The Mary Tyler Moore Show Creator
Executive producer
Script consultant
1973 Going Places Writer TV film
1974 Thursday's Game Producer
TV film
Paul Sand in Friends and Lovers Creator
1974–1978 Rhoda Actor
Executive producer
Appears uncredited as "Subway Passenger" in Episode 1.9: "Rhoda's Wedding: Part 2"
1976 Saturday Night Live Actor Appears as Paul Reynold in Episode 1.9
1977–1982 Lou Grant Creator
Executive consultant
Executive producer
1978 Cindy Creative consultant
TV film
1978–1983 Taxi Creator
Executive creative consultant
Executive producer
1979 The Associates Executive producer
1980 Carlton Your Doorman Created character
1987–1990 The Tracey Ullman Show Executive producer
1989- The Simpsons Actor
Creative consultant
Executive producer
Appears as himself in Episode 14.13: "A Star Is Born-Again"
1991–1992 Sibs Executive producer
1993 Phenom Executive producer
1994–1995 The Critic Executive creative consultant
Executive producer
2001 What About Joan Producer


  1. ^ a b "Primetime Emmy Awards Advanced Search". Retrieved 2009-02-10. 
  2. ^ a b c d e f g Horace Newcomb. "Brooks, James L.". The Museum of Broadcast Communications. Retrieved 2009-07-12. 
  3. ^ Virginia Mann (1994-02-04). "How James Brooks Faced The Music: He Cut Most Of It". The Record: p. 3. 
  4. ^ a b c d e f g h i j k l Brooks, James L.. Interview with Karen Herman. James L. Brooks - Archive of American Television Interview. Archive of American Television. 2003-01-17 & 2003-02-12. Retrieved on 2009-07-18. Recorded by Archive of American Television and uploaded to by the Archive.
  5. ^ a b c d e Jamie Diamond (1994-01-30). "Film; Bringing You a Musical ... With No Music". The New York Times. Retrieved 2009-07-12. 
  6. ^ a b c d e f g h i Peter Keough (1987-12-20). "The 'Broadcast News' report - James L. Brooks comes to terms with his doubts". Chicago Sun-Times: p. Show 1. 
  7. ^ a b c d e f g h i j k l m n o p q r s Alex Simon (December 1997/January 1998). "James L. Brooks: Laughter That Stings In Your Throat". Venice Magazine. 
  8. ^ a b c d e f g h Steve Daly (2004-11-12). "What, Him Worry?". Entertainment Weekly.,,767672,00.html. Retrieved 2009-07-16. 
  9. ^ a b c Jamie Diamond (1994-02-04). "Brooks Didn't Want to Direct Same Old Song". The Orlando Sentinel: p. 17. 
  10. ^ "The New South has risen in the post-industrial North". The News Sun: p. A6. 2006-03-31. 
  11. ^ a b c Hammill, Geoff. "The Mary Tyler Moore Show". The Museum of Broadcast Communications. Retrieved 2009-07-12. 
  12. ^ "Building a better sitcom". USA Today. Retrieved 2007-10-30. 
  13. ^ "Mary Tyler Moore: TV Guide News". TV Guide. Retrieved 2007-09-05. 
  14. ^ "The Top 100 Moments In Television". Entertainment Weekly. 1999-02-19.,,274575,00.html. 
  15. ^ Phil Rosenthal (2001-02-20). "Name That Show, Part II". Chicago Sun-Times: p. 39. 
  16. ^ Michael H. Kleinschrodt (2009-04-17). "One Her Own - Second banana rises to the top as 'Rhoda' gives Harper a post-'Mary Tyler Moore' hit". The Times-Picayune: p. 09. 
  17. ^ James Brown. "Lou Grant". The Museum of Broadcast Communications. Retrieved 2009-07-18. 
  18. ^ a b Jason Mittel. "Taxi". The Museum of Broadcast Communications. Retrieved 2009-07-18. 
  19. ^ Jeff Sorensen (1987). The Taxi Book. St. Martin's Press. p. 3. ISBN 0312006918. 
  20. ^ Tom Shales (1985-04-26). "Martin Short: Madly Manic, I must Say". The Washington Post: p. F1. 
  21. ^ a b c Jackson Burke (2000-05-29). "James L. Brooks Talks to The D". The Dartmouth Online. 
  22. ^ Gary Arnold (1979-10-05). "Sweet, Sour & Sorry". The Washington Post: p. B1. 
  23. ^ Michael Blowen (1984-02-03). "Without Them, There Wouldn't Have Been a Movie". The Boston Globe. 
  24. ^ a b c Robert W. Butler (1994-02-03). "Anything to save the movie James L. Brooks dumped the music, rewrote the scenes and did more filming for `I'll Do Anything'". The Kansas City Star: p. E1. 
  25. ^ James Sterngold (1997-12-08). "A Happily Baffled Director Lets His Cast Find Its Own Way". New York Times. Retrieved 2009-07-15. 
  26. ^ "Academy Awards Database". Academy of Motion Picture Arts and Sciences. Retrieved 2009-07-16. 
  27. ^ Jonathan Rosenbaum. "As Good as It Gets". Chicago Reader. Retrieved 2009-07-16. 
  28. ^ "The 500 Greatest Movies of All Time". Empire. September 2008. Retrieved 2009-07-16. 
  29. ^ John Young (2009-06-02). "Jack Nicholson to reteam with director James L. Brooks?". Entertainment Weekly. Retrieved 2009-07-12. 
  30. ^ Los Angeles Daily News (1996-03-08). "James L. Brooks Lent A Hand To Young Texas Filmmakers". The Orlando Sentinel: p. 21. 
  31. ^ Jay A. Fernandez (2007-07-18). "Scriptland - Producers, writers face huge chasm - Compensation for digital media and residuals for reuse of content are major issues as contract talks begin.". Los Angeles Times. 
  32. ^ Groening, Matt. Interview with David Bianculli. Fresh Air. National Public Radio. WHYY Philadelphia. 2003-02-14. Retrieved on 2007-08-08.
  33. ^ Kuipers, Dean (2004-04-15). "'3rd Degree: Harry Shearer'". Los Angeles: City Beat. Retrieved 2006-09-01. 
  34. ^ Vitti, Jon. (2002). The Simpsons season 2 DVD commentary for the episode "Lisa's Substitute". [DVD]. 20th Century Fox. 
  35. ^ Bill Keveney (2008-09-28). "'The Simpsons' Hits a Landmark". ABC. Retrieved 2008-10-02. 
  36. ^ "The Best Of The Century". TIME. 1999-12-31.,9171,993039,00.html. Retrieved 2007-06-03. 
  37. ^ a b Brennan, Judy (1995-03-03). "Matt Groening's Reaction to The Critic's First Appearance on The Simpsons". Los Angeles Times (The Times Mirror Company). 
  38. ^ Uhlich, Keith (2004-02-03). "The Critic: The Complete Series". Slant Magazine. Retrieved 2008-11-24. 
  39. ^ Gary Susman (2001-10-12). "'Joan' Jettisoned". Entertainment Weekly.,,179295,00.html. Retrieved 2009-10-05. 
  40. ^ Lynette Rice (2000-02-09). "James' Gang". Entertainment Weekly.,,84981,00.html. Retrieved 2009-10-05. 
  41. ^ "About the DVD". The Simpsons 20th Century Fox. Retrieved 2007-11-29.  On the main page, click on "About the DVD" then on "Production Notes".
  42. ^ Scott Weinberg (2007-02-01). "Castellaneta Does Double Duty on "Simpsons Movie"". Rotten Tomatoes. Retrieved 2007-07-07. 
  43. ^ Sheila Roberts. "The Simpsons Movie Interviews". Movies Online. Retrieved 2007-08-01. 
  44. ^ "David Carradine sues Time Warner, James L. Brooks asks for a permanant separation...". The Orange County Register: p. A2. 1999-04-28. 
  45. ^ "James L Brooks's Federal Campaign Contribution Report". Newsmeat. Retrieved 2009-07-12. 
  46. ^ Michael Fleming (2009-06-02). "Nicholson in talks for Brooks pic". Variety. Retrieved 2009-07-12. 

External links


Up to date as of January 14, 2010

From Wikiquote

James L. Brooks is a three-time Academy Award, nineteen-time Emmy and Golden Globe-winning producer, writer, and director for film and television.


  • I had a screenplay once where I was 90 pages in and I knew it was all over. I knew it was a disaster. And it was driving me crazy because the studio had gone down a path with me, so there was no getting out and I didn’t know how to go past these 90 pages. And then it all worked out—and the change which made it from absolute despair that there was no way to save it to it all working out was minute. But, but key. INTERVIEWER: Which screenplay was that? JAMES L. BROOKS: Uh, it was Terms of Endearment.
  • There was a great director who directed a picture that I wrote who barred me from the set—quite appropriately—and said, “I’m sorry, Jim. When you’re directing, you don’t need to know everything. You need the illusion that you do.” And, you know, and I WOULD be there—behind him trying to signal the actors in, you know, in a way I wasn’t even aware of.

Simple English

James L. Brooks
Born May 9, 1940 (1940-05-09) (age 70)
Brooklyn, New York
Spouse Marianne Catherine Morrissey (1964 – ?)
Holly Beth Holmberg (1978 – )
Gracie Films

James L. Brooks (born May 9, 1940) is a three-time Academy Award, nineteen-time Emmy and Golden Globe-winning American producer, writer, and film director.

He is best known for creating American television programs such as The Mary Tyler Moore Show, The Simpsons, Rhoda and Taxi. His best-known film is Terms of Endearment, for which he received three Academy Awards in 1984.


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