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Mary Lambert (director)
Mary Lambert Gary (born October 13, 1951) is an American director. She has directed music videos, television episodes and feature films, mainly in the horror genre.[1] Life and careerLambert was born in Helena, Arkansas, the daughter of Martha Kelly and Jordan Bennett Lambert III, a rice and cotton farmer.[2] Her younger sister is former U.S. Senator Blanche Lincoln of Arkansas. Lambert graduated from the Rhode Island School of Design with a B.F.A. Music VideosChris Isaak Music Video & MTV Award NominationsLambert directed Chris Isaak‘s first music video, “Dancin’,” which earned two nominations at the 1985 MTV Music Video Awards for Most Experimental Video and Best Direction. That same year, she received a third nomination for directing Lone Justice‘s “Ways to Be Wicked,” also in the Most Experimental Video category. Lambert was the only woman nominated at the ceremony and accounted for half of the nominations in that category. Music Videos for MadonnaMary Lambert directed several of Madonna's most iconic music videos during the 1980s, contributing significantly to the singer's visual identity and artistic evolution. Lambert's collaboration with Madonna began by directing the video for "Borderline" (1984), which depicted Madonna torn between love and ambition in Los Angeles. "Borderline," filmed on location in Los Angeles, California, from January 30 to February 2, 1984.[3] The video, which juxtaposed colorful scenes in the barrio with black-and-white shots in a photography studio, tells the story of a young woman torn between her Hispanic boyfriend and a British photographer.[4] Lambert described the process as highly improvisational, stating there was "no formula" and that they were "inventing it as we went along”. In describing the video's narrative, Lambert told Rolling Stone: "[A] boy and [a] girl enjoy simple pleasures of barrio love; girl is tempted by fame, boy gets huffy, girl gets famous, but her new beau's out-of-line reaction to a behavioral trifle (all she did was spray-paint his expensive sports car) drives her back to her true love".[5] "Borderline" premiered on MTV in March 1984 and became one of the videos that helped establish Madonna's early image. Years later, it was included in Madonna's video compilations The Immaculate Collection (1990) and Celebration: The Video Collection (2009).[6][7] Lambert went on to direct "Like a Virgin" (1984), filmed in Venice, Italy, and New York. The video, featuring Madonna in a gondola and wearing a wedding dress, incorporated symbolic imagery such as a lion, reflecting Lambert's vision of combining fantasy and reality. In 1985, Lambert directed the "Material Girl" video, paying homage to Marilyn Monroe's performance of "Diamonds Are a Girl's Best Friend" from *Gentlemen Prefer Blondes*. The video blended commentary on fame and materialism, becoming one of Madonna's most recognizable works. Lambert's direction of "La Isla Bonita" (1987) featured Madonna portraying both a devout Catholic woman and a vibrant Flamenco dancer, exploring Latin influences and religious symbolism. In 1989, Lambert directed "Like a Prayer," which became one of Madonna's most controversial videos due to its use of religious imagery, including burning crosses and references to stigmata. Lambert aimed to explore themes of sexual and religious ecstasy, sparking widespread debate and cementing Madonna's reputation as a provocative artist. Through these videos, Lambert played a key role in shaping the visual narratives during a time that Madonna was being propelled to global stardom. Music Videos for Janet JacksonMary Lambert directed Janet Jackson‘s iconic music videos for “Nasty” and “Control.” The “Control” video, known for its storyline of Jackson asserting independence from her parents, was filmed at the Grand Olympic Auditorium in Los Angeles – but behind the scenes, the production was fraught with challenges.[8] Both Lambert and producer Sharon Oreck recall it as a difficult and trying experience; Oreck said in 2011 that it was her "worst nightmare" of the many videos she had produced. The crowd, which had been told that they would see Janet Jackson perform, had expected a free concert. The audience, expecting a free Janet Jackson concert, instead endured 50 takes of Jackson lip-syncing “Control.”[8] At the time, Jackson was in the process of firing her father, Joe Jackson, as her manager. His presence loomed over the set, with Lambert and Oreck recalling how he angrily demanded $1 million in liability insurance before allowing Janet to sit on a trapeze used in the video. When Lambert and Oreck threatened to walk off the project unless the issue was addressed, the record label reluctantly stepped in, telling them, “We don't say no to Joe Jackson.”[8] Tensions escalated further when the label requested more white audience members to be visible on camera. Lambert quietly rearranged the crowd, but when they realized what was happening, the crowd grew angry. Lambert told the record company representative that she absolutely could not go on due to the potential for violence, and he went out and explained things to the crowd, which calmed down enough to complete the video.[8] Despite the difficulties, Lambert successfully directed the video to completion. In 1988, the song won a Soul Train Music Award for Best R&B/Soul or Rap Music Video, beating out her brother Michael, Whitney Houston, and Jody Watley. Additional CollaborationsAnnie Lennox: Mary Lambert directed the music video for "Walking on Broken Glass," showcasing Lennox in a period setting inspired by the film Dangerous Liaisons.[9] Mick Jagger: Lambert directed the video for "Just Another Night," featuring Jagger performing in a nightclub setting, reflecting the song's energetic rock style.[10] The Go-Go's: She directed the video for "Turn to You," which presents a 1960s prom scenario, aligning with the band's upbeat pop-rock sound.[11] Whitney Houston: Lambert directed the video for "So Emotional," capturing Houston's dynamic stage performance and behind-the-scenes moments, highlighting her vocal prowess.[12] Alison Krauss: She directed the video for "When You Say Nothing at All," emphasizing Krauss's emotive performance in a simple, elegant setting.[13] Live: Lambert directed the video for "I Alone," featuring the band's intense performance, mirroring the song's passionate lyrics.[14] Mötley Crüe: She directed the video for "Smokin' in the Boys Room," depicting a rebellious high school scenario, aligning with the band's hard rock image.[15] Queensrÿche: Lambert directed the video for "The Lady Wore Black," featuring the band's performance interspersed with thematic imagery, complementing the song's dark tones.[16] Sting: She directed the video for "Russians," utilizing stark imagery to underscore the song's commentary on Cold War tensions.[17] Debbie Harry: Lambert directed the video for "I Want That Man," showcasing Harry in a stylized, futuristic setting, reflecting the song's pop sensibilities.[18] Tom Tom Club: She directed the video for "Genius of Love," featuring vibrant, animated sequences that match the song's eclectic style.[19] FilmsIn 1987, she released her first feature film, the stylish and controversial Siesta, starring Ellen Barkin and Jodie Foster. It was nominated for the IFP Spirit Award for Best First Feature, losing to Dirty Dancing. She is known to horror fans for directing the 1989 adaptation of Stephen King's novel Pet Sematary and its sequel, Pet Sematary Two.[20] More recently, Lambert directed 2005's Urban Legends: Bloody Mary and the 2011 Syfy horror film Mega Python vs. Gatoroid.[21] She also directed the 1993 Digital Pictures FMV video game Double Switch. Pet Sematary (1989)In 1989, Mary Lambert directed Pet Sematary, a supernatural horror film based on Stephen King's 1983 novel of the same name. The project marked the first film adaptation of King's work, with King himself penning the screenplay. Starring Dale Midkiff, Denise Crosby, Blaze Berdahl, Fred Gwynne, and Miko Hughes as Gage Creed, the film's title uses a sensational spelling of "pet cemetery".[3] The film premiered on April 21, 1989, and achieved significant box office success, grossing $57.5 million on an $11.5 million budget. The popularity of the film led to a sequel, Pet Sematary Two, which was released in 1992 with Lambert returning as director.[22] Development for the film began in 1984 when the rights were initially sold to George A. Romero for $10,000. However, Romero was unable to proceed with the project due to scheduling conflicts with Monkey Shines.[23] The project languished until the 1988 Writers Guild of America strike, when Paramount Pictures faced a potential shortage of films for 1989. King's screenplay for Pet Sematary was complete, prompting Paramount to greenlight the project.[24] When it came to selecting a director, King retained creative control and personally chose Mary Lambert. She won him over with her passion for his work and her dedication to staying true to the novel's tone and themes.[25] Filming took place on location in Maine, honoring King's stipulation that the film be shot in the same state where the novel is set. Locations included Ellsworth, Bangor, and Mount Hope Cemetery, with King actively involved throughout production. He regularly consulted with Lambert, offering input and collaborating on key decisions to ensure the adaptation preserved the essence of his novel.[24] During the casting process, Lambert faced resistance from studio executives. She insisted on casting two-year-old Miko Hughes as Gage Creed, despite the studio's preference for using twins, which was the standard cost-effective practice for child roles. Lambert felt Hughes had a natural talent that could not be duplicated.[26] She also fought to cast Fred Gwynne as Jud Crandall, despite concerns that his previous role as Herman Munster would prevent audiences from taking him seriously.[24] Another creative decision by Lambert involved the character of Zelda, Rachel Creed's sister. Initially, young actresses auditioned for the role, but Lambert ultimately cast Andrew Hubatsek in order to heighten the unsettling nature of the character.[27] The film's conclusion was changed at Paramount's request. Lambert originally filmed a more ambiguous ending, in which Rachel Creed returns as an undead figure, leaving her husband's fate uncertain. However, the studio wanted a more graphic climax, resulting in reshoots to depict Rachel attacking Louis Creed.[28] The film's soundtrack included music by the Ramones, one of King's favorite bands. Lambert, having a personal friendship with the band through her work directing music videos, requested they write and perform the track "Pet Sematary," which plays over the closing credits.[27] Personal lifeShe is married to Jerome Gary and has a son named Jordan.[29] FilmographyShort film
Film
Television
TV movie
TV special
Documentary works
Short films
Film
TV series appearances
TV movies
Music videos
Video gameDirector
References
Sources
External links
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