BIOGRAPHY

Born on February 17th, 1965, Michael Benjamin Bay has achieved success in every story-telling genre he has explored so far. He has brought a characteristic energy and visual dynamism to four big budgeted features; has directed some of television's most imaginative commericals, winning more awards than any other American director of music videos. By age 15, Bay was working for Lucasfilm, where he watched Steven Spielberg transform seemingly mundane effects and sets into the magical experience of Raiders of the Lost Ark. It was a metamorphosis Bay would never forget -- one that would continually inspire his own interest in creating seamless visual worlds behind fascinating characters. Eventually, Bay wound up in the influential film program at Wesleyan -- where his talent was ecognized with the Frank Capra Award for Best Student Film -- and he went on to study at Pasadena's Art Center College of Design.      After graduating, he made the decision to direct music videos, the quickest way to get immediate, hands-on shooting experience. Bay soon was drawing accolades on his very first video for the direction of Donny Osmond's surprise come-back video. He was recruited to continue directing videos for Propaganda Films, the commercial production house that has given genesis to some of Hollywood's most promising young visual artist. At Propaganda,

where he now is a partner, he continued directing popular videos for such artists as Aerosmith, Tina Turner, Lionel Richie, Meatloaf, and the DiVinyls. His first move into television advertising, an ad for the American Red Cross, won a Clio, an auspicious beginning that would start a career-long trend. He went on to direct some of the most widely seen and remembered 60-second stories in recent television history -- including spots for Nike, Budweiser, Bugle Boy, Coca-Cola, Levi's, Isuzu, Miller and Mercedes. But even as he attained success in commericals, Bay knew he eventually wanted to direct a feature.      He turned down dozens of projects before meeting with producers Don Simpson and Jerry Bruckheimer, who immediately recognized Bay as a filmmaker and let him direct Bad Boys (1995). The result? More than $160 million worldwide in the bank and an offer to direct another Simpson-Bruckheimer film -- The Rock (1996), a big budget action epic. Also a critical and financial success, this lead Bay to head into further costly projects, including the blockbusters Armageddon (1998) and Pearl Harbor (2001), the most expensive film ever green-lit into production at the time. Bay's future looks bright indeed. (The majority of this biography was taken from Michael Bay's home page. Click here to view it.)

FILMOGRAPHY

TRIVIA

TEXAS CHAINSAW MASSACRE PREQUEL (2006) AMITYVILLE HORROR (2005) TEXAS CHAINSAW MASSACRE (2003) BAD BOYS II (2003) PEARL HARBOR (2001) COYOTE UGLY (2000) ARMAGEDDON (1998) THE ROCK (1996) BAD BOYS (1995)

- Aside from calling the shots behind the cameras, Bay has also appeared in front as well. He appeared as himself in Playboy: The Party Continues (2000), Zigs (2000) and Franky Goes to Hollywood, and turned up in Mystery Men and the 1986 TV movie Vengeance: The Story of Tony Cimo. He also worked on the 1993 film Indecent Proposal as a second unit photographer.   - Dated Playboy centerfold Jaime Bergman (45th Anniversary Playmate). - Bay is adopted and has said in interviews that he knows who his biological father is. Although he won't say who his biological father is, Bay says that the father is famous in Hollywood in some capacity. - Educated at Pasadena's Art Center College of Design, CA. - Owns masitff hounds named Mason and Grace, after characters from his 1996 and 1998 films. - In 2001, "Movieline" magazine revealed that his father is John Frankenheimer, director of Ronin and Reindeer Games. - Shot over 1 million feet of film for Pearl Harbor (2001). Used only about 2,0000 feet for the final, 9 reel cut. - Was rejected by USC's film school. - In Bad Boys (1995), Bay payed $25,000 (one quarter of his fee), for the climax explosion scene -- the initial shot was made impossible by a rainstorm, and the production company refused to pay for another try. - With the exception of Bad Boys, Bay has always worked with cinematographer Johnathan Schwartzman on his feature films. - Member of Propaganda Films.

TRADEMARKS

- Chuch scenes during closing credits and death scenes. - Intense slow motion shots of characters. - Films often feature a US President giving a major speech before a major action is to be committed. - Has the camera moving during most scenes. Very rarely uses static shots. - In 2001, his last three films all share: a) two male leads at odds with another; b) a cataclysmic event as the narrative's fulcrumic point; c) the film's lead female character has i) been a long-haired brunette, and ii) watched the film's climax from a control room. - Actors/characters in his films are almost uniformly shot in tight, emphatic close ups, framed under the hairline and above the chin. - Often uses lightflashes (i.e. lightbulbs and cameraflashes) to enhance scenes. - Often has over-the-top visuals (i.e. key events taking place at sunset or dramatic events taking place behind actors doing routine activities).