In Kazan's autobiography, Kazan writes of the " lasting impact on him of the Group ," noting in particular, Lee Strasberg and Harold Clurman as " father figures ", along with his close friendship with playwright Clifford Odets.

Kazan, in his autobiography, also describes Strasberg as a vital leader of the group:

Marlon Brando, in his autobiography, goes into detail about the influence Kazan had on his acting:

Kazan would later write in his autobiography of the " warrior pleasure at withstanding his ' enemies.

Although the film's title card says " Tennessee Williams ' Baby Doll ", and the film is based on Williams ' one-act play 27 Wagons Full of Cotton, in his autobiography director Elia Kazan claimed that Williams was only " half-heartedly " involved in writing the screenplay, of which Kazan himself actually wrote the majority.

In his autobiography, Kazan recalls incidents of Odets being accosted in the street and snubbed in Hollywood restaurants after his HUAC appearance.

Williams wrote the screenplay specifically for Kazan to direct during the 1950s.

At the ceremony, screenwriter Budd Schulberg, who wrote On the Waterfront, thanks his lifelong friend saying, “ Elia Kazan has touched us all with his capacity to honor not only the heroic man, but the hero in every man .” In an interview with the American Film Institute in 1976, Kazan spoke of his love of the cinema: " I think it's the most wonderful art in the world.

" Director Elia Kazan later wrote in his memoirs that he had misinterpreted the play by infusing it with excessive naturalism.

Glazer wrote the musical score for Elia Kazan film A Face in the Crowd ( 1957 ).

Publishers Weekly wrote " The Group Theatre ... ith its self-defined mission to reconnect theater to the world of ideas and actions, staged plays that confronted social and moral issues ... ith members Harold Clurman, Lee Strasberg, Stella and Luther Adler, Clifford Odets, Elia Kazan and an ill-assorted band of idealistic actors living hand to mouth are seen welded in a collective of creativity that was also a tangle of jealousies, love affairs and explosive feuds.

Lobachevsky wrote a paper about it called A concise outline of the foundations of geometry that was published by the Kazan Messenger but was rejected when it was submitted to the St. Petersburg Academy of Sciences for publication.

He wrote and published a book about this journey, A Missionary Journey to Japan ( published in Kazan, Russia in 1899 ).

In 1771-79 he wrote the Rossiad (, Rossiada ), the first Russian epic in the tradition of Homer and Virgil, about Ivan the Terrible's taking of Kazan in 1552.

Merchants carried on a transit trade between Muscovy, Kazan, Crimea Central Asia, and the Transcaucasus region.

He participated in some diplomatic missions on behalf of Kazan khans to Muscovy and there carried out negotiations for the khanate's independence.

One of the most famous was The Apu Trilogy ( 1955 – 1959 ) from critically acclaimed Bengali film director Satyajit Ray, whose films had a profound influence on world cinema, with directors such as Akira Kurosawa, Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Steven Spielberg ,< ref name = unmaderay >

For the famous I coulda ' been a contender scene, he convinced Kazan that the scripted scene was unrealistic, and, with Rod Steiger, improvised the final product.

Her irreverent and often bawdy sense of humour allowed her to establish a rapport with her co-star Marlon Brando ; but she had difficulty with director Elia Kazan, who did not hold her in high regard as an actress.

Kazan writes, " I don't move unless I have some empathy with the basic theme.

Kazan influenced the films of the 1950s and ' 60s with his provocative, issue-driven subjects.

Kazan, during an interview with Michel Ciment, describes the Group:

Along with Kazan were numerous other artists: Harry Morgan, John Garfield, Luise Rainer, Frances Farmer, Will Geer, Howard Da Silva, Clifford Odets, Lee J. Cobb and Irwin Shaw.

In that film, Kazan experimented with a documentary style of cinematography, which succeeded in " energizing " the action scenes.

Despite the plaudits, the film was considered a step back cinematically with the feel of filmed theater, however Kazan did at first use a more open setting but then felt compelled to revert to the stage atmosphere to remain true to the script.

Saint recalls that Kazan selected her for the role after he had her do an improvisational skit with Brando playing the other character.

She had no idea that he was looking to fill any particular film part, however, but remembers that Kazan set up the scenario with Brando which brought out surprising emotions:

In 1947, he co-starred in the stage play " All My Sons ," written by Arthur Miller, with Kazan directing, and began being recognized as a serious actor.

Malden remained friends with Kazan despite his unpopular appearance at the House Un-American Activities Committee in 1952.

Kazan had seen Dean on stage in New York and after an audition gave him the starring role along with an exclusive contract with Warner Bros. Dean flew back to Los Angeles with Kazan in 1954, the first time he had ever flown in a plane, bringing his clothes in a brown paper bag.

Kazan had invited director Nicholas Ray to a private showing, with Dean, as Ray was looking for someone to play the lead in Rebel Without a Cause.

Kazan was armed with the confidence born of age and success, while Beatty was virtually aflame with the arrogance of youth.

Kazan would play a " prominent role in Malden's stage and film career ", including convincing him to change his name from Mladen Sekulovich.

Kazan next directed him in On the Waterfront ( 1954 ), where he was also nominated as Best Supporting Actor for his role as a sympathetic priest.

In 1956, Kazan directed him in a starring role in Baby Doll, alongside Carroll Baker and Eli Wallach, a controversial story written by Tennessee Williams, and he was nominated for a Golden Globe Award for Best Actor.

Beatty himself recalled the episode: " In some patricidal attempt to stand up to the great Kazan, I arrogantly and stupidly challenged him on it.

" Beatty, years later, during a Kennedy Center tribute to Kazan, stated to the audience that Kazan " had given him the most important break in his career.

Kazan strove for " cinematic realism ," a quality he often achieved by discovering and working with unknown actors, many of whom treated him as their mentor, which gave him the flexibility to depict " social reality with both accuracy and vivid intensity.

" Kazan himself states that " unless the character is somewhere in the actor himself, you shouldn't cast him.

Joanna Rapf adds that Kazan was most admired for his close work with actors, noting that director Nicholas Ray considered him " the best actor's director the United States has ever produced.

In later interviews, Kazan explained some of the early events that made him decide to become a friendly witness, most notably in relation to the Group Theater, which he called his first " family ," and the " best thing professionally " that ever happened to him:

In 1901 a group of wealthy benefactors provided a scholarship for him to attend an industrial school at Kazan.

With the climactic image of the Statue of Liberty as the boatload of immigrants docks in New York Harbor, Stavros puts his tribulations behind him, starting out as a shoeshine boy and gathering the pennies and dollars that will eventually bring his family to the land where their descendants, including Elia Kazan, will have the chance to fulfill their potential.

Kazan, in his pre-production notes, described the Stahr character as he saw him:

According to Kazan, Williams did not stay long while the film was shooting in Benoit, because of the way people looked at him.

A grand statue of him was erected in front of the Kazan Cathedral in St Petersburg on behest of Emperor Nicholas I.

Memorials have been erected to him there, at the Poklonnaya Hill in Moscow and in front of the Kazan Cathedral, Saint Petersburg, where he is buried, by Boris Orlovsky.

He also joined the Group Theatre, where he began acting in many plays and was introduced to a young Elia Kazan, who would later work with him on A Streetcar Named Desire ( 1951 ) and On the Waterfront ( 1954 ).

It was in New York that he met Elia Kazan ( director of Salesman ), who brought him to Hollywood in the ' 50s.

Peter stripped him of nearly all his powers until Catherine I appointed him governor of Kazan.