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This son of Hollywood screenwriter Arthur Ross initially wrote fiction but
eventually followed in his father's footsteps, scoring a mega-hit with his
first produced feature script. "Big" (1988), co-written and co-produced with
Anne Spielberg, recounted the story of a young boy who wakes up one morning--BIG--and
must navigate the world in a man's body. The writers shared an Oscar
nomination for Best Original Screenplay and Ross netted a second nod for his
first solo effort, "Dave" (1993), about a look-alike who steps in after the
US President has a heart attack.
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Gary Ross has proven his ability to tap the zeitgeist and create gentle,
somewhat exaggerated scripts which revolve around mistaken identities and
subversion of the status quo by an outsider who often is pretending to be
something other than his or her true self.
The apotheosis of this scenario was his feature directorial debut "Pleasantville"
(1998), a Capraesque fable in which two 90s teens find themselves
transported into the homogenized, black-and-white world of 50s television.
Like the main characters in his previous efforts, the pair both upset and
embellish the society in which they find themselves, bringing much-needed
change that comes at a price. When Ross naively hit upon the concept of
making a movie that began in black-and-white and gradually turned to color
(a metaphor for coming alive), he had no idea of the technical expertise
required to make it work. 1,700 special effects and $40 million later and
after a post-production period spanning more than a year, the finished film
opened to generally praiseworthy reviews. For his part, though, the director
said, "I'm dying to do a movie that doesn't have any special effects in it.
That would be a walk in the park."
It would be five years before Ross would step behind the camera again--although
he kept busy with uncredited rewriting chores on films such as "Inspector
Gadget" (1999), "Kangaroo Jack" (2003) and "Just Married" (2003)--this time
in an attempt to film writer Laura Hillenbrand's bestselling nonfiction book
"Seabiscuit" (2003), about the real-life 1920s-era racehorse who became an
unlikely champion and an American folk hero of his day. Reteaming with past
collaborators Tobey Maguire and William H. Macy as well as top-line
performers Jeff Bridges and Chris Cooper, Ross assembled an inspirational,
often moving and beautifully photographed version of the historical events,
although his desire to capture as much of the book's historical information
led to intentionally shorthanded and brisk scenes that often avoided
plumbing the characters' genuine emotional depths. The film, however, was
rewarded with an Academy Awards nomination as Best Picture as well as a
nomination as best Adapted Screenplay for Ross. |
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