Height of Merian C. Cooper

height Merian C. Cooper

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The height of Merian C. Cooper is …m.

1. Where did Merian C. Cooper come from ?

Merian Caldwell Cooper (October 24, 1893 – April 21, 1973) was an American aviator, United States Air Force and Polish Air Force officer, adventurer, screenwriter, movie director, and producer. Cooper was the founder of the Koƛciuszko Squadron during the Polish–Soviet War and was a Soviet prisoner of war for a time. He was a notable movie producer, and got his start with movie as part of the Explorers Club, traveling the world and documenting adventures. He was a member of the board of directors of Pan American Airways, but his love of movie always took priority. During his movie career, he worked for companies such as Pioneer Pictures, RKO Pictures, and Metro-Goldwyn-Mayer. He is also credited as co-inventor of the Cinerama movie projection process. Cooper’s most famous movie was the 1933 movie King Kong. He was awarded an honorary Oscar for lifetime achievement in 1952 and received a star on the Hollywood Walk of Fame in 1960.

2. What could we know about Merian C. Cooper besides his height ?

Merian Caldwell Cooper was born in Jacksonville, Florida, to the lawyer John C. Cooper and the former Mary Caldwell. He was the youngest of three children. At age six, Cooper decided that he wanted to be an explorer after hearing stories from the book Explorations and Adventures in Equatorial Africa.:10,14 He was educated at The Lawrenceville School in New Jersey and graduated in 1911.:19

3. What are the projects of Merian C. Cooper ?

After graduation, Cooper received a prestigious appointment to the U.S. Naval Academy,:19 but was expelled during his senior year for “hell raising and for championing air power”. In 1916, Cooper worked for the Minneapolis Daily News as a reporter, where he met Delos Lovelace. In the next few years, he also worked at the Des Moines Register-Leader and the St. Louis Post-Dispatch.:22

4. Somme collaborations with Merian C. Cooper ?

In 1916, Cooper joined the Georgia National Guard to help chase Pancho Villa in Mexico. He was which name is home in March 1917. He worked for the El Paso Herald on a 30-day leave of absence. After returning to his service, Cooper was appointed lieutenant; however, he turned down the appointment hoping to participate in combat. Instead, he went to the Military Aeronautics School in Atlanta to learn to fly. Cooper graduated from the school as the top in his class.:24–25

In October 1917, Cooper went to France with the 201st Squadron. He went to flying school in Issoudun. While flying with his friend, Cooper hit his head and was knocked out during a 200-foot plunge. After the incident, Cooper suffered from shock and had to relearn how to fly. Cooper requested to go to Clermont-Ferrand to be trained as a bomber pilot. He became a pilot on the 20th Aero Squadron (which later became the 1st Day Bombardment Group).:26–27

Captain Cooper remained in the Air Service after the war; he helped with Herbert Hoover’s American Food Administration that provided aid in Poland. He later became the head of the Poland division.

From late 1919 until the 1921 Treaty of Riga, Cooper was a member of a volunteer American flight squadron, the Koƛciuszko Squadron, which supported the Polish Army in the Polish-Soviet War. On July 13, 1920, his plane was shot down and he spent nearly nine months in a Soviet prisoner of war camp where the writer Isaac Babel interviewed him. He escaped just before the war was over and made it to Latvia. For his valor he was decorated by Polish commander-in-chief Józef PiƂsudski with the highest Polish military decoration, the Virtuti Militari.

During his time as a POW, Cooper wrote an autobiography: Things Men Die For. The manuscript was published by G. P. Putnam’s Sons in New York (the Knickerbocker Press) in 1927. However, in 1928 Cooper regretted releasing certain details about “Nina” (probably MaƂgorzata SƂomczyƄska) with whom he had had relations outside of wedlock. Cooper then asked Dagmar Matson, who had the manuscript, to buy all the copies of the book possible. Matson found almost all 5,000 copies that had been printed. The books were destroyed, while Cooper and Matson each kept a copy.

An interbellum Polish movie directed by Leonard Buczkowski, GwiaĆșdzista eskadra (The Starry Squadron), was inspired by Cooper’s experiences as a Polish Air Force officer. The movie was made with the cooperation of the Polish army and was the most expensive Polish movie prior to World War II. After World War II, all copies of the movie found in Poland were destroyed by the Soviets.

After returning from overseas in 1921, Cooper got a job working the night shift at The New York Times. He was commissioned to write articles for Asia magazine. Cooper was able to travel with Ernest Schoedsack on a sea voyage on the Wisdom II. As part of the journey, he traveled to Abyssinia, or the Ethiopian Empire, where he met their prince regent, Ras Tefari, later known as Emperor Haile Selassie I. The ship left Abyssinia in February 1923. On their way home, the crew narrowly missed being attacked by pirates, and the ship was burned down.:81–83,95–104 His three-part series for Asia was published in 1923.:106

After returning home, Cooper researched for the American Geographical Society. In 1924, Cooper joined Schoedsack and Marguerite Harrison who had embarked on an expedition that would be turned into the movie Grass (1925).:111 They returned later the same year. Cooper became a member of the Explorers Club of New York in January 1925 and was asked to give lectures and attend events due to his extensive traveling. Grass was acquired by Paramount Pictures. This first movie of Cooper and Schoedsack gained the attention of Jesse Lasky, who commissioned the duo for their second movie, Chang (1927). They also produced the movie The Four Feathers,:132–137,162 which was movieed among the fighting tribes of the Sudan. These movies combined real footage with staged sequences.

Between 1926 and 1927, Cooper discussed the plans for Pan American Airways with John Hambleton, which was formed during 1927.:180 Cooper was a member of the board of directors of Pan American Airways. During his tenure at Pan Am, the company established the first regularly scheduled transatlantic service. While he was on the board, Cooper did not devote his full attention to the organization; he took time in 1929 and 1930 to work on the script for King Kong. By 1931, he was back in Hollywood.:182,183 He resigned from the board of directors in 1935, following health complications.:258

Cooper had said that he thought of King Kong after he had a dream that a giant gorilla was terrorizing New York City. When he woke, he recorded the idea and used it for the movie. He was going to have a giant gorilla fight a Komodo dragon or other animal, but found that the technique of interlacing that he wanted to use would not provide realistic results.:194

Cooper needed a production studio for the movie, but recognized the great cost of the movie, especially during the Great Depression. Cooper helped David Selznick get a job at RKO Pictures, which was struggling financially. Selznick became the vice president of RKO and asked Cooper to join him in September 1931, although he had only produced 3 movies thus far in his career.:202–203 Cooper began working as an executive assistant at age thirty-eight.:74 He officially pitched the idea for King Kong in December 1931. Shortly after, he began to scope out actors and build full-scale sets, although the screenplay was not yet complete.:207–208

The screenplay was delivered to Cooper in January 1932. Schoedsack contributed to the movie, focusing on shooting scenes for the boat sequences and in native villages, leaving Cooper to shoot the jungle scenes. In February 1933, the title for the movie was registered for copyright.:218–223 Throughout movieing there were creative battles. Critics at RKO argued that the movie should begin with Kong. Cooper believed that a movie should begin with a “slow dramatic buildup that would establish everything from characters to mood …” so that the action of the movie could “naturally, relentlessly, roll on out of its own creative movement,” and thus chose to not begin the movie with a shot of Kong. The iconic scene in which Kong is on top of the Empire State Building was almost which name is off by Cooper for legal reasons, but was kept in the movie because RKO bought the rights to The Lost World.:229,231

Overlapping with the production of King Kong was the making of The Most Dangerous Game, which began in May 1932. Cooper once again worked with Schoedsack to produce the movie.:214

In the 1933 version of King Kong, Cooper and co-director Ernest B. Schoedsack appear at the end, piloting the plane that finally finishes off Kong. Cooper had reportedly said, “We should kill the sonofabitch ourselves.” Cooper personally cut a scene in King Kong in which four sailors are shaken off a rope bridge by Kong, fall into a ravine, and are eaten alive by giant spiders. According to Hollywood folklore, the decision was made after previews in January 1933, during which audience members either fled the theater in terror or talked about the ghastly scene throughout the remainder of the movie. However, more objective sources maintain that the scene merely slowed the movie’s pace. Legend has it that Cooper kept a print of the cut footage as a memento, although it has never been found. In 1963, Cooper argued unsuccessfully that he should own the rights to King Kong; later in 1976, judges ruled that Cooper owned the rights to King Kong outside the movie and its sequel.:362; 387 Selznick left RKO before the release of King Kong, and Cooper served as production head from 1933 to 1934 with Pan Berman as his executive assistant.

In the 2005 remake of King Kong, upon learning that Fay Wray was not available because she was making a movie at RKO, Carl Denham (Jack Black) replies, “Cooper, huh? I might have known.”


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Height Merian C. Cooper