Samuel Alexander Mendes CBE (born 1 August 1965) is an English stage and film director. As a stage director, he is probably best known for his 1998 production of Cabaret, starring Alan Cumming. As a film director, he is best known for his debut film, American Beauty, for which he won an Academy Award for Directing. In 2000, Mendes was made a Commander of the Order of the British Empire. Mendes was born in Reading, Berkshire, England. He is the son of a Trinidadian Portuguese Protestant father and an English Jewish mother. His father, Peter, is the son of the Trinidadian writer Alfred Mendes, author of the novels Black Fauns and Pitch Lake, and part of the group around CLR James and Albert Gomes which produced the Beacon literary magazine in the early 1930s. His secondary education was at Magdalen College School, Oxford, and he later attended Peterhouse at the University of Cambridge, gaining a first class degree in English.
Mendes first attracted attention for his assured production of Chekhov's The Cherry Orchard in the West End starring Judi Dench. He was under 25. Soon he was directing plays for the Royal Shakespeare Company where his productions, many of them featuring Simon Russell Beale, included Troilus and Cressida, Richard III and The Tempest. These productions were praised for their clarity, intelligence and stylishness.
He has also worked at the Royal National Theatre, directing Edward Bond's The Sea, Jim Cartwright's The Rise and Fall of Little Voice, Harold Pinter's The Birthday Party, and Othello with Simon Russell Beale as Iago.
In 1992 he was appointed artistic director of the Donmar Warehouse, an intimate studio space in London's West End which he quickly transformed into one of the most exciting venues in the city. His opening production was Stephen Sondheim's Assassins which revelled in the show's dark, comic brilliance and rescued it from the critical opprobrium it had suffered on its American opening. He followed this with a series of excellent classic revivals, many of which attracted some of the finest actors and biggest stars of the decade. Among Mendes's best productions were John Kander and Fred Ebb's Cabaret, Tennessee Williams's The Glass Menagerie, Stephen Sondheim's Company, Alan Bennett's Habeas Corpus and his farewell duo of Chekhov's Uncle Vanya and Twelfth Night, which transferred to the Brooklyn Academy of Music. As artistic director Mendes also gave some of the country's finest younger directors the opportunity to do some of their best work: Matthew Warchus's production of Sam Shepard's True West, Katie Mitchell's of Beckett's Endgame, David Leveaux's of Sophocles's Elektra and Tom Stoppard's The Real Thing were amongst the most critically acclaimed of the decade. The Donmar's present artistic diretor Michael Grandage directed some of the key productions of the later part of Mendes's tenure, including Peter Nichols's Passion Play and Privates on Parade and Sondheim's Merrily We Roll Along.
He has also worked at the Royal National Theatre, directing Edward Bond's The Sea, Jim Cartwright's The Rise and Fall of Little Voice, Harold Pinter's The Birthday Party, and Othello with Simon Russell Beale as Iago.
In 1992 he was appointed artistic director of the Donmar Warehouse, an intimate studio space in London's West End which he quickly transformed into one of the most exciting venues in the city. His opening production was Stephen Sondheim's Assassins which revelled in the show's dark, comic brilliance and rescued it from the critical opprobrium it had suffered on its American opening. He followed this with a series of excellent classic revivals, many of which attracted some of the finest actors and biggest stars of the decade. Among Mendes's best productions were John Kander and Fred Ebb's Cabaret, Tennessee Williams's The Glass Menagerie, Stephen Sondheim's Company, Alan Bennett's Habeas Corpus and his farewell duo of Chekhov's Uncle Vanya and Twelfth Night, which transferred to the Brooklyn Academy of Music. As artistic director Mendes also gave some of the country's finest younger directors the opportunity to do some of their best work: Matthew Warchus's production of Sam Shepard's True West, Katie Mitchell's of Beckett's Endgame, David Leveaux's of Sophocles's Elektra and Tom Stoppard's The Real Thing were amongst the most critically acclaimed of the decade. The Donmar's present artistic diretor Michael Grandage directed some of the key productions of the later part of Mendes's tenure, including Peter Nichols's Passion Play and Privates on Parade and Sondheim's Merrily We Roll Along.
Sam Mendes alapította és vezette 1992 és 2002 között a londoni Donmar Warehouse produkciós céget. A Donmar produkciók között találjuk: Orrgyilkosok (Assassins), Fordítások (Translations), Kabaré (Cabaret), Glengarry Glen Ross (Glengarry Glen Ross), Üvegfigurák (The Glass Menagerie), Company, Habeas Corpus, The Front Page, The Blue Room, To the Green Fields Beyond, Uncle Vanya és Twelfth Night. Ezen kívül ő producerelt – társával, Caro Newling-gel együtt – több mint 60 filmet. Ezek között szerepel: Electra (Electra), True West, Juno and the Paycock és a Tony-díj nyertes The Real Thing és Take Me Out.1999-ben Mendes debütáló rendezése az Amerikai szépség (American Beauty) című film volt, amelyért Arany Glóbusz-díjat és a kiemelkedő rendezésért járó DGA-díjat is elnyerte. A film öt Oscar-díjat gyűjtött be, köztük a legjobb filmnek járót, és Mendes elnyerte a legjobb rendezőnek járó díjat. 2002-ben Mendes életre keltette Max Allan Collins regényét, A Kárhozat útját (Road to Perdition). A filmet hét Oscar-díjra jelölték.
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