Route Resolved ✅
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"plainText": "Alex Proyas has moved effortlessly between helming TV commercials and music videos to feature films. Born to Greek parents in Egypt, Proyas relocated to Australia with his family when he was three years old. He began making films at age ten and went on to attend the Australian Film Television and Radio School along with Jane Campion and Jocelyn Moorhouse. Proyas collaborated with Campion on two of her shorts, A Girl's Own Story (1984), for which he wrote and performed a song, and Passionless Moments (1983), which he photographed. Proyas' own short, Groping (1980), had earned him some attention at festival screenings in Sydney and London. Also while still a student, the enterprising novice formed Meaningful Eye Contact, a production company. Spirits of the Air: Gremlins of the Clouds (1987) marked Proyas' feature debut as director and screenwriter. Set in a post-apocalyptic world, the film, with its stylized production design and aural texture, was atypical of standard Australian fare, more closely resembling a longform music video. Critics admired the director's vision, but felt the overall result was lacking. Proyas continued to hone his craft helming TV advertisements for products like Nike, Nissan and Swatch (earning kudos from advertising associations in both Australia and England) and directing videos for such artists as Sting, INXS and Crowded House. In 1993 Proyas was tapped to helm the screen adaptation of James O'Barr's comic strip The Crow (1994). During production, star Brandon Lee died of an accidental gunshot wound (ironically, the film's story revolves around his character's resurrection). His death cast a pall over the remainder of the filming and its subsequent theatrical release, although reviews were generally favorably, most singling out the production values which created a colorless rain-soaked wasteland that invoked comparisons with Ridley Scott's seminal Blade Runner (1982) and Tim Burton's Batman (1989). Made for about $14 million, it grossed close to $50 million domestically. Proyas seemed set to move on to other projects and was announced as the director of Casper (1995), but left the project and was replaced by Brad Silberling. After a four-year absence he returned with another thriller, Dark City (1998), about an amnesiac who may or may not have been a serial killer. Garage Days (2002) marked Proyas' return to his homeland, Australia: the movie tells the story of a young Sydney garage band desperately trying to make it big in the competitive world of rock 'n' roll. In 2004 Proyas returned to Hollywood: he directed I, Robot (2004), a science-fiction film suggested by the 'Isaac Asimov' short story compilation of the same name that starred Will Smith. It was a box office success, but met with mixed reactions by readers and fans of the Asimov stories."
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"bioHtml": "Alex Proyas has moved\neffortlessly between helming TV commercials and music videos to feature\nfilms. Born to Greek parents in Egypt, Proyas\nrelocated to Australia with his family when he was three years old. He\nbegan making films at age ten and went on to attend the Australian Film\nTelevision and Radio School along with\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001005/\">Jane Campion</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0602104/\">Jocelyn Moorhouse</a>. Proyas collaborated\nwith Campion on two of her shorts,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0087335/\">A Girl's Own Story (1984)</a>, for\nwhich he wrote and performed a song, and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0086084/\">Passionless Moments (1983)</a>,\nwhich he photographed. Proyas' own short,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0322458/\">Groping (1980)</a>, had earned him some\nattention at festival screenings in Sydney and London. Also while still\na student, the enterprising novice formed Meaningful Eye Contact, a\nproduction company.\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0098373/\">Spirits of the Air: Gremlins of the Clouds (1987)</a>\nmarked Proyas' feature debut as director and screenwriter. Set in a\npost-apocalyptic world, the film, with its stylized production design\nand aural texture, was atypical of standard Australian fare, more\nclosely resembling a longform music video. Critics admired the\ndirector's vision, but felt the overall result was lacking. Proyas\ncontinued to hone his craft helming TV advertisements for products like\nNike, Nissan and Swatch (earning kudos from advertising associations in\nboth Australia and England) and directing videos for such artists as\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001776/\">Sting</a>, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0409482/\">INXS</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm2832972/\">Crowded House</a>. In 1993 Proyas was tapped\nto helm the screen adaptation of\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0639335/\">James O'Barr</a>'s comic strip\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0109506/\">The Crow (1994)</a>. During production, star\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000488/\">Brandon Lee</a> died of an accidental\ngunshot wound (ironically, the film's story revolves around his\ncharacter's resurrection). His death cast a pall over the remainder of\nthe filming and its subsequent theatrical release, although reviews\nwere generally favorably, most singling out the production values which\ncreated a colorless rain-soaked wasteland that invoked comparisons with\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000631/\">Ridley Scott</a>'s seminal\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0083658/\">Blade Runner (1982)</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000318/\">Tim Burton</a>'s\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0096895/\">Batman (1989)</a>. Made for about $14 million,\nit grossed close to $50 million domestically. Proyas seemed set to move\non to other projects and was announced as the director of\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0112642/\">Casper (1995)</a>, but left the project and\nwas replaced by <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0797869/\">Brad Silberling</a>. After a\nfour-year absence he returned with another thriller,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0118929/\">Dark City (1998)</a>, about an amnesiac who\nmay or may not have been a serial killer.\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0280696/\">Garage Days (2002)</a> marked Proyas'\nreturn to his homeland, Australia: the movie tells the story of a young\nSydney garage band desperately trying to make it big in the competitive\nworld of rock 'n' roll. In 2004 Proyas returned to Hollywood: he\ndirected <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0343818/\">I, Robot (2004)</a>, a\nscience-fiction film suggested by the\n'Isaac\nAsimov' short story compilation of the\nsame name that starred <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000226/\">Will Smith</a>. It\nwas a box office success, but met with mixed reactions by readers and\nfans of the Asimov stories.",
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