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John Christopher "Johnny" Depp II was born on June 9, 1963 in Owensboro, Kentucky, to Betty Sue Palmer (née Wells), a waitress, and John Christopher Depp, a civil engineer. He was raised in Florida. He dropped out of school when he was 15, and fronted a series of music-garage bands, including one named 'The Kids'. When he married Lori A. Depp, he took a job as a ballpoint-pen salesman to support himself and his wife. A visit to Los Angeles, California, with his wife, however, happened to be a blessing in disguise, when he met up with actor Nicolas Cage, who advised him to turn to acting, which culminated in Depp's film debut in the low-budget horror film, A Nightmare on Elm Street (1984), where he played a teenager who falls prey to dream-stalking demon Freddy Krueger.
In 1987 he shot to stardom when he replaced Jeff Yagher in the role of undercover cop Tommy Hanson in the popular TV series 21 Jump Street (1987). In 1990, after numerous roles in teen-oriented films, his first of a handful of great collaborations with director Tim Burton came about when Depp played the title role in Edward Scissorhands (1990). Following the film's success, Depp carved a niche for himself as a serious, somewhat dark, idiosyncratic performer, consistently selecting roles that surprised critics and audiences alike. He continued to gain critical acclaim and increasing popularity by appearing in many features before re-joining with Burton in the lead role of Ed Wood (1994). In 1997 he played an undercover FBI agent in the fact-based film Donnie Brasco (1997), opposite Al Pacino; in 1998 he appeared in Fear and Loathing in Las Vegas (1998), directed by Terry Gilliam; and then, in 1999, he appeared in the sci-fi/horror film The Astronaut's Wife (1999). The same year he teamed up again with Burton in Sleepy Hollow (1999), brilliantly portraying Ichabod Crane.
Depp has played many characters in his career, including another fact-based one, Insp. Fred Abberline in From Hell (2001). He stole the show from screen greats such as Antonio Banderas in the finale to Robert Rodriguez's "mariachi" trilogy, Once Upon a Time in Mexico (2003). In that same year he starred in the marvelous family blockbuster Pirates of the Caribbean: The Curse of the Black Pearl (2003), playing a character that only the likes of Depp could pull off: the charming, conniving and roguish Capt. Jack Sparrow. The film's enormous success has opened several doors for his career and included an Oscar nomination. He appeared as the central character in the Stephen King-based movie, Secret Window (2004); as the kind-hearted novelist James Barrie in the factually-based Finding Neverland (2004), where he co-starred with Kate Winslet; and Rochester in the British film, The Libertine (2004). Depp collaborated again with Burton in a screen adaptation of Roald Dahl's novel, Charlie and the Chocolate Factory (2005), and later in Alice in Wonderland (2010) and Dark Shadows (2012).
Off-screen, Depp has dated several female celebrities, and has been engaged to Sherilyn Fenn, Jennifer Grey, Winona Ryder and Kate Moss. He was married to Lori Anne Allison in 1983, but divorced her in 1985. Depp has two children with his former long-time partner, French singer/actress Vanessa Paradis: Lily-Rose Melody, born in 1999 and John Christopher "Jack" III, born in 2002. He married actress/producer Amber Heard in 2015, divorcing a few years later.- Actor
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American actor, filmmaker and activist Edward Harrison Norton was born on August 18, 1969, in Boston, Massachusetts, and was raised in Columbia, Maryland.
His mother, Lydia Robinson "Robin" (Rouse), was a foundation executive and teacher of English, and a daughter of famed real estate developer James Rouse, who developed Columbia, MD; she passed away of brain cancer on March 6, 1997. His father, Edward Mower Norton, was an environmental lawyer and conservationist, who works for the National Trust for Historic Preservation. Edward has two younger siblings, James and Molly.
From the age of five onward, the Yale graduate (majoring in history) was interested in acting. At the age of eight, he would ask his drama teacher what his motivation in a scene was. He attended theater schools throughout his life, and eventually managed to find work on stage in New York as a member of the Signature players, who produced the works of playwright and director Edward Albee. Around the time when he was appearing in Albee's Fragments, in Hollywood, they were looking for a young actor to star opposite Richard Gere in a new courtroom thriller, Primal Fear (1996). The role was offered to Leonardo DiCaprio but he turned it down. Gere was on the verge of walking away from the project, fed up with the wait for a young star to be found, when Edward auditioned and won the role over 2000 other hopefuls. Before the film was even released, his test screenings for the part were causing a Hollywood sensation, and he was soon offered roles in Woody Allen's Everyone Says I Love You (1996) and The People vs. Larry Flynt (1996). Edward won the Golden Globe for Best Actor in a Supporting Role and received an Oscar nomination for Best Supporting Actor for his performance in Primal Fear (1996). In 1998, Norton gained 30 pounds of muscle and transformed his look into that of a monstrous skinhead for his role as a violent white supremacist in American History X (1998). This performance earned him his second Oscar nomination, this time for Best Actor.
He received his third Oscar nomination, for Best Supporting Actor, for his work in Birdman or (The Unexpected Virtue of Ignorance) (2014). His most prominent roles also include the critically acclaimed Everyone Says I Love You (1996), The People vs. Larry Flynt (1996), Fight Club (1999), Red Dragon (2002), 25th Hour (2002), Kingdom of Heaven (2005), The Illusionist (2006), Moonrise Kingdom (2012), and The Grand Budapest Hotel (2014). He has also directed and co-written films, including his directorial debut, Keeping the Faith (2000). He has done uncredited work on the scripts for The Score (2001), Frida (2002), and The Incredible Hulk (2008).
Alongside his work in cinema, Norton is an environmental and social activist, and is a member of the board of trustees of Enterprise Community Partners, a non-profit organization for developing affordable housing founded by his grandfather James Rouse.- Actor
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Born Ryan Thomas Gosling on November 12, 1980, in London, Ontario, Canada, he is the son of Donna (Wilson), a secretary, and Thomas Ray Gosling, a traveling salesman. Ryan was the second of their two children, with an older sister, Mandi. His ancestry is French-Canadian, as well as English, Scottish, and Irish. The Gosling family moved to Cornwall, Ontario, where Ryan grew up and was home-schooled by his mother. He also attended Gladstone Public School and Cornwall Collegiate & Vocational School, where he excelled in Drama and Fine Arts. The family then relocated to Burlington, Ontario, where Ryan attended Lester B. Pearson High School.
Ryan first performed as a singer at talent contests with Mandi. He attended an open audition in Montreal for the TV series "The Mickey Mouse Club" (The All New Mickey Mouse Club (1989)) in January 1993 and beat out 17,000 other aspiring actors for a a spot on the show. While appearing on "MMC" for two years, he lived with co-star Justin Timberlake's family.
Though he received no formal acting training, after "MMC," Gosling segued into an acting career, appearing on the TV series Young Hercules (1998) and Breaker High (1997), as well as the films The Slaughter Rule (2002), Murder by Numbers (2002), and Remember the Titans (2000). He first attracted serious critical attention with his performance as the Jewish neo-Nazi in the controversial film The Believer (2001), which won the Grand Jury Prize at the 2001 Sundance Film Festival. He was cast in the part by writer-director Henry Bean, who believed that Gosling's strict upbringing gave him the insight to understand the character Danny, whose obsessiveness with the Judaism he was born into turns to hatred. He was nominated for an Independent Spirit Award as Best Male Lead in 2002 for the role and won the Golden Aries award from the Russian Guild of Film Critics.
After appearing in the sleeper The Notebook (2004) in 2004, Gosling won the dubious honor of being named one of the 50 Hottest Bachelors by People Magazine. More significantly, he was named the Male Star of Tomorrow at the 2004 Show West convention of movie exhibitors.
Gosling reached a summit of his profession with his performance in Half Nelson (2006), which garnered him an Academy Award nomination as Best Actor. In a short time, he has established himself as one of the finest actors of his generation. Throughout the subsequent decade, he has become all three of an internet fixation, a box office star, and a critical darling, having headlined Blue Valentine (2010), Crazy, Stupid, Love. (2011), Drive (2011), The Ides of March (2011), The Place Beyond the Pines (2012), The Nice Guys (2016), and La La Land (2016). In 2017, he starred in the long-awaited science fiction sequel Blade Runner 2049 (2017), with Harrison Ford.
Ryan has two children with his partner, actress Eva Mendes.- Actor
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River Phoenix was born River Jude Bottom in Madras, Oregon. His mother, Arlyn (Dunetz), a Bronx-born secretary, and his father, John Bottom, a carpenter, met in California in 1968. They worked as itinerant fruit pickers, and later joined the Children of God religious group (John was originally Catholic, while Arlyn was born Jewish). By the time River was two, they were living in South America, where John was the sect's Archbishop of Venezuela. They later left the group and, in 1977, moved back to the United States, changing their last name to "Phoenix". They lived with River's maternal grandparents in Florida, and later moved to Los Angeles. His parents encouraged all of their children to get into movies and, by age ten, River was acting professionally on TV. His film debut was in Explorers (1985), followed rapidly by box-office successes with Stand by Me (1986) and The Mosquito Coast (1986), and as young Indiana in Indiana Jones and the Last Crusade (1989). His role as Danny Pope in Running on Empty (1988) earned him an Academy Award nomination as Best Supporting Actor. His best role was probably Mike, the hustler in My Own Private Idaho (1991).
A dedicated animal-rights activist and environmentalist, River was a strict vegetarian and a member of PeTA (People for the Ethical Treatment of Animals). River was a talented musician as well as an actor, and he played guitar, sang, and wrote songs for his band, Aleka's Attic, which also included his sister Rain Phoenix, while living in Gainsville, Florida. Although the band never released its own album, their song "Across the Way" can be found on PeTA's "Tame Yourself" album, used to fight animal abuse. River was in the middle of filming Dark Blood (2012), playing the character Boy when he died. The film couldn't be finished due to too many unfilmed crucial scenes. His mother was later sued.
River died of acute multiple drug intoxication involving lethal levels of cocaine and morphine at age 23 outside the Viper Room, Johnny Depp's Los Angeles club.- Actor
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One of the greatest actors of all time, Robert De Niro was born on August 17, 1943 in Manhattan, New York City, to artists Virginia (Admiral) and Robert De Niro Sr. His paternal grandfather was of Italian descent, and his other ancestry is Irish, English, Dutch, German, and French. He was trained at the Stella Adler Conservatory and the American Workshop. De Niro first gained fame for his role in Bang the Drum Slowly (1973), but he gained his reputation as a volatile actor in Mean Streets (1973), which was his first film with director Martin Scorsese. He received an Academy Award for Best Supporting Actor for his role in The Godfather Part II (1974) and received Academy Award nominations for best actor in Taxi Driver (1976), The Deer Hunter (1978) and Cape Fear (1991). He received the Academy Award for Best Actor for his role as Jake LaMotta in Raging Bull (1980).
De Niro has earned four Golden Globe Award nominations for Best Actor - Motion Picture Musical or Comedy, for his work in New York, New York (1977), opposite Liza Minnelli, Midnight Run (1988), Analyze This (1999) and Meet the Parents (2000). Other notable performances include Brazil (1985), The Untouchables (1987), Backdraft (1991), Frankenstein (1994), Heat (1995), Casino (1995) and Jackie Brown (1997). At the same time, he also directed and starred in such films as A Bronx Tale (1993) and The Good Shepherd (2006). De Niro has also received the AFI Lifetime Achievement Award in 2003 and the Golden Globe Cecil B. DeMille Award in 2010.
As of 2022, De Niro is 79-years-old. He has never retired from acting, and continues to work regularly in mostly film.- Actor
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One of Hollywood's preeminent male stars of all time, James Cagney was also an accomplished dancer and easily played light comedy. James Francis Cagney was born on the Lower East Side of Manhattan in New York City, to Carolyn (Nelson) and James Francis Cagney, Sr., who was a bartender and amateur boxer. Cagney was of Norwegian (from his maternal grandfather) and Irish descent. Ending three decades on the screen, he retired to his farm in Stanfordville, New York (some 77 miles/124 km. north of his New York City birthplace), after starring in Billy Wilder's One, Two, Three (1961). He emerged from retirement to star in the 1981 screen adaptation of E.L. Doctorow's novel "Ragtime" (Ragtime (1981)), in which he was reunited with his frequent co-star of the 1930s, Pat O'Brien, and which was his last theatrical film and O'Brien's as well). Cagney's final performance came in the title role of the made-for-TV movie Terrible Joe Moran (1984), in which he played opposite Art Carney.- Actor
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Kevin Spacey Fowler, better known by his stage name Kevin Spacey, is an American actor of screen and stage, film director, producer, screenwriter and singer. He began his career as a stage actor during the 1980s before obtaining supporting roles in film and television. He gained critical acclaim in the early 1990s that culminated in his first Academy Award for Best Supporting Actor for the neo-noir crime thriller The Usual Suspects (1995), and an Academy Award for Best Actor for midlife crisis-themed drama American Beauty (1999).
His other starring roles have included the comedy-drama film Swimming with Sharks (1994), psychological thriller Seven (1995), the neo-noir crime film L.A. Confidential (1997), the drama Pay It Forward (2000), the science fiction-mystery film K-PAX (2001)
In Broadway theatre, Spacey won a Tony Award for his role in Lost in Yonkers. He was the artistic director of the Old Vic theatre in London from 2004 until stepping down in mid-2015. Since 2013, Spacey has played Frank Underwood in the Netflix political drama series House of Cards. His work in House of Cards earned him Golden Globe Award and Emmy Award nominations for Best Actor.
As enigmatic as he is talented, Kevin Spacey for years kept the details of his private life closely guarded. As he explained in a 1998 interview with the London Evening Standard, "the less you know about me, the easier it is to convince you that I am that character on screen. It allows an audience to come into a movie theatre and believe I am that person". In October 2017, he ended many years of media speculation about his personal life by confirming that he had had sexual relations with both men and women but now identified as gay.
There are, however, certain biographical facts to be had - for starters, Kevin Spacey Fowler was the youngest of three children born to Kathleen Ann (Knutson) and Thomas Geoffrey Fowler, in South Orange, New Jersey. His ancestry includes Swedish (from his maternal grandfather) and English. His middle name, "Spacey," which he uses as his stage name, is from his paternal grandmother. His mother was a personal secretary, his father a technical writer whose irregular job prospects led the family all over the country. The family eventually settled in southern California, where young Kevin developed into quite a little hellion - after he set his sister's tree house on fire, he was shipped off to the Northridge Military Academy, only to be thrown out a few months later for pinging a classmate on the head with a tire. Spacey then found his way to Chatsworth High School in the San Fernando Valley, where he managed to channel his dramatic tendencies into a successful amateur acting career. In his senior year, he played "Captain von Trapp" opposite classmate Mare Winningham's "Maria" in "The Sound of Music" (the pair later graduated as co-valedictorians). Spacey claims that his interest in acting - and his nearly encyclopedic accumulation of film knowledge - began at an early age, when he would sneak downstairs to watch the late late show on TV. Later, in high school, he and his friends cut class to catch revival films at the NuArt Theater. The adolescent Spacey worked up celebrity impersonations (James Stewart and Johnny Carson were two of his favorites) to try out on the amateur comedy club circuit.
He briefly attended Los Angeles Valley College, then left (on the advice of another Chatsworth classmate, Val Kilmer) to join the drama program at Juilliard. After two years of training he was anxious to work, so he quit Juilliard sans diploma and signed up with the New York Shakespeare Festival. His first professional stage appearance was as a messenger in the 1981 production of "Henry VI".
Festival head Joseph Papp ushered the young actor out into the "real world" of theater, and the next year Spacey made his Broadway debut in Henrik Ibsen's "Ghosts". He quickly proved himself as an energetic and versatile performer (at one point, he rotated through all the parts in David Rabe's "Hurlyburly"). In 1986, he had the chance to work with his idol and future mentor, Jack Lemmon, on a production of Eugene O'Neill's "Long Day's Journey Into Night". While his interest soon turned to film, Spacey would remain active in the theater community - in 1991, he won a Tony Award for his turn as "Uncle Louie" in Neil Simon's Broadway hit "Lost in Yonkers" and, in 1999, he returned to the boards for a revival of O'Neill's "The Iceman Cometh".
Spacey's film career began modestly, with a small part as a subway thief in Heartburn (1986). Deemed more of a "character actor" than a "leading man", he stayed on the periphery in his next few films, but attracted attention for his turn as beady-eyed villain "Mel Profitt" on the TV series Wiseguy (1987). Profitt was the first in a long line of dark, manipulative characters that would eventually make Kevin Spacey a household name: he went on to play a sinister office manager in Glengarry Glen Ross (1992), a sadistic Hollywood exec in Swimming with Sharks (1994), and, most famously, creepy, smooth-talking eyewitness Verbal Kint in The Usual Suspects (1995).
The "Suspects" role earned Spacey an Oscar for Best Supporting Actor and catapulted him into the limelight. That same year, he turned in another complex, eerie performance in David Fincher's thriller Se7en (1995) (Spacey refused billing on the film, fearing that it might compromise the ending if audiences were waiting for him to appear). By now, the scripts were pouring in. After appearing in Al Pacino's Looking for Richard (1996), Spacey made his own directorial debut with Albino Alligator (1996), a low-key but well received hostage drama. He then jumped back into acting, winning critical accolades for his turns as flashy detective Jack Vincennes in L.A. Confidential (1997) and genteel, closeted murder suspect Jim Williams in Midnight in the Garden of Good and Evil (1997). In October 1999, just four days after the dark suburban comedy American Beauty (1999) opened in US theaters, Spacey received a star on the Hollywood Walk of Fame. Little did organizers know that his role in Beauty would turn out to be his biggest success yet - as Lester Burnham, a middle-aged corporate cog on the brink of psychological meltdown, he tapped into a funny, savage character that captured audiences' imaginations and earned him a Best Actor Oscar.
No longer relegated to offbeat supporting parts, Spacey seems poised to redefine himself as a Hollywood headliner. He says he's finished exploring the dark side - but, given his attraction to complex characters, that mischievous twinkle will never be too far from his eyes.
In February 2003 Spacey made a major move back to the theatre. He was appointed Artistic Director of the new company set up to save the famous Old Vic theatre, The Old Vic Theatre Company. Although he did not undertake to stop appearing in movies altogether, he undertook to remain in this leading post for ten years, and to act in as well as to direct plays during that time. His first production, of which he was the director, was the September 2004 British premiere of the play Cloaca by Maria Goos (made into a film, Cloaca (2003)). Spacey made his UK Shakespearean debut in the title role in Richard II in 2005. In 2006 he got movie director Robert Altman to direct for the stage the little-known Arthur Miller play Resurrection Blues, but that was a dismal failure. However Spacey remained optimistic, and insisted that a few mistakes are part of the learning process. He starred thereafter with great success in Eugene O'Neill's A Moon for the Misbegotten along with Colm Meaney and Eve Best, and in 2007 that show transferred to Broadway. In February 2008 Spacey put on a revival of the David Mamet 1988 play Speed-the-Plow in which he took one of the three roles, the others being taken by Jeff Goldblum and Laura Michelle Kelly.
In 2013, Spacey took on the lead role in an original Netflix series, House of Cards (2013). Based upon a British show of the same name, House of Cards is an American political drama. The show's first season received a Primetime Emmy Award nomination to include Outstanding lead actor in a drama series. In 2017, he played a memorable role as a villain in the action thriller Baby Driver (2017).- Producer
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Thomas Jeffrey Hanks was born in Concord, California, to Janet Marylyn (Frager), a hospital worker, and Amos Mefford Hanks, an itinerant cook. His mother's family, originally surnamed "Fraga", was entirely Portuguese, while his father was of mostly English ancestry. Tom grew up in what he has called a "fractured" family. He moved around a great deal after his parents' divorce, living with a succession of step-families. No problems, no alcoholism - just a confused childhood. He has no acting experience in college and credits the fact that he could not get cast in a college play with actually starting his career. He went downtown, and auditioned for a community theater play, was invited by the director of that play to go to Cleveland, and there his acting career started.
Ron Howard was working on Splash (1983), a fantasy-comedy about a mermaid who falls in love with a business executive. Howard considered Hanks for the role of the main character's wisecracking brother, which eventually went to John Candy. Instead, Hanks landed the lead role and the film went on to become a surprise box office success, grossing more than $69 million. After several flops and a moderate success with the comedy Dragnet (1987), Hanks' stature in the film industry rose. The broad success with the fantasy-comedy Big (1988) established him as a major Hollywood talent, both as a box office draw and within the film industry as an actor. For his performance in the film, Hanks earned his first Academy Award nomination as Best Actor.
Hanks climbed back to the top again with his portrayal of a washed-up baseball legend turned manager in A League of Their Own (1992). Hanks has stated that his acting in earlier roles was not great, but that he subsequently improved. In an interview with Vanity Fair, Hanks noted his "modern era of movie making ... because enough self-discovery has gone on ... My work has become less pretentiously fake and over the top". This "modern era" began for Hanks, first with Sleepless in Seattle (1993) and then with Philadelphia (1993). The former was a blockbuster success about a widower who finds true love over the radio airwaves. Richard Schickel of Time magazine called his performance "charming", and most critics agreed that Hanks' portrayal ensured him a place among the premier romantic-comedy stars of his generation.
In Philadelphia, he played a gay lawyer with AIDS who sues his firm for discrimination. Hanks lost 35 pounds and thinned his hair in order to appear sickly for the role. In a review for People, Leah Rozen stated, "Above all, credit for Philadelphia's success belongs to Hanks, who makes sure that he plays a character, not a saint. He is flat-out terrific, giving a deeply felt, carefully nuanced performance that deserves an Oscar." Hanks won the 1993 Academy Award for Best Actor for his role in Philadelphia. During his acceptance speech, he revealed that his high school drama teacher Rawley Farnsworth and former classmate John Gilkerson, two people with whom he was close, were gay.
Hanks followed Philadelphia with the blockbuster Forrest Gump (1994) which grossed a worldwide total of over $600 million at the box office. Hanks remarked: "When I read the script for Gump, I saw it as one of those kind of grand, hopeful movies that the audience can go to and feel ... some hope for their lot and their position in life ... I got that from the movies a hundred million times when I was a kid. I still do." Hanks won his second Best Actor Academy Award for his role in Forrest Gump, becoming only the second actor to have accomplished the feat of winning consecutive Best Actor Oscars.
Hanks' next role - astronaut and commander Jim Lovell, in the docudrama Apollo 13 (1995) - reunited him with Ron Howard. Critics generally applauded the film and the performances of the entire cast, which included actors Kevin Bacon, Bill Paxton, Gary Sinise, Ed Harris, and Kathleen Quinlan. The movie also earned nine Academy Award nominations, winning two. Later that year, Hanks starred in Disney/Pixar's computer-animated film Toy Story (1995), as the voice of Sheriff Woody. A year later, he made his directing debut with the musical comedy That Thing You Do! (1996) about the rise and fall of a 1960s pop group, also playing the role of a music producer.
As of 2022, Hanks is 66-years-old. He has never retired from acting, and has remained active in the film industry for more than four decades.- Actor
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Blue-eyed Vincent Cassel was born in Paris to a leading actor father, Jean-Pierre Cassel, and a journalist mother, Sabine Litique. Often labeled as a tough guy because of his roles, eclectic choices and talent have made of him a star of European cinema. First in La haine (1995), the young actor, actually coming from upper classes, succeeded to express the despair of a social class living in the suburbs of towns. This veracity in his play comes from the fact that he was in fact since years in connection with many hip-hop artists from the rising generation, (his own brother was leader of a legendary french rap group). Then the success of The Crimson Rivers (2000), where he plays a young French cop alongside Jean Reno, made of him "the man to count on." He never hid his taste for rap music, break dance, Capoeira, Brasil and his endless energy, but Vincent is also a family man, married to Monica Bellucci, his Italian co-star from The Apartment (1996) (aka The Apartment); and recently a father.- Actor
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Guy Edward Pearce was born October 5, 1967 in Cambridgeshire, England, UK to Margaret Anne and Stuart Graham Pearce. His father was born in Auckland, New Zealand, to English and Scottish parents, while Guy's mother is English. Pearce and his family initially traveled to Australia for two years, after his father was offered the position of Chief test pilot for the Australian Government. Guy was just 3-years-old. After deciding to stay in Australia and settling in the Victorian city of Geelong, Guy's father was killed 5 years later in an aircraft test flight, leaving Guy's mother, a schoolteacher, to care for him and his older sister, Tracy.
Having little interest in subjects at school like math or science, Guy favored art, drama and music. He joined local theatre groups at a young age and appeared in such productions as "The King and I," "Fiddler on the Roof," and "The Wizard of Oz." In 1985, just two days after his final high school exam, Guy started a four-year stint as "Mike Young" on the popular Aussie soap Neighbours (1985). At age 20, Guy appeared in his first film, Heaven Tonight (1989), then, after a string of appearances in film, television and on the stage, he won the role of an outrageous drag queen in The Adventures of Priscilla, Queen of the Desert (1994).
Most recently, he has amazed film critics and audiences, alike, with his magnificent performances in L.A. Confidential (1997), Memento (2000), The Proposition (2005), Factory Girl (2006), The Hurt Locker (2008), The King's Speech (2010) and the HBO mini-series, Mildred Pierce (2011). Next to acting, Guy has had a life-long passion for music and songwriting.
Guy likes to keep his private life very private. He lives in Melbourne, Australia, which is also where he married his childhood sweetheart, Kate Mestitz in March 1997.- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actor
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Born in London, England, Daniel Michael Blake Day-Lewis is the second child of Cecil Day-Lewis, Poet Laureate of the U.K., and his second wife, actress Jill Balcon. His maternal grandfather was Sir Michael Balcon, an important figure in the history of British cinema and head of the famous Ealing Studios. His older sister, Tamasin Day-Lewis, is a documentarian. His father was of Northern Irish and English descent, and his mother was Jewish (from a family from Latvia and Poland). Daniel was educated at Sevenoaks School in Kent, which he despised, and the more progressive Bedales in Petersfield, which he adored. He studied acting at the Bristol Old Vic School. Daniel made his film debut in Sunday Bloody Sunday (1971), but then acted on stage with the Bristol Old Vic and Royal Shakespeare Companies and did not appear on screen again until 1982, when he landed his first adult role, a bit part in Gandhi (1982). He also appeared on British television that year in Frost in May (1982) and How Many Miles to Babylon? (1982). Notable theatrical performances include Another Country (1982-83), Dracula (1984) and The Futurists (1986).
His first major supporting role in a feature film was in The Bounty (1984), quickly followed by My Beautiful Laundrette (1985) and A Room with a View (1985). The latter two films opened in New York on the same day, offering audiences and critics evidence of his remarkable range and establishing him as a major talent. The New York Film Critics named him Best Supporting Actor for those performances. In 1986, he appeared on stage in Richard Eyre's "The Futurists" and on television in Eyre's production of The Insurance Man (1986). He also had a small role in a British/French film, Nanou (1986). In 1987, he assumed leading-man status in Philip Kaufman's The Unbearable Lightness of Being (1988), followed by a comedic role in the unsuccessful Stars and Bars (1988). His brilliant performance as Christy Brown in Jim Sheridan's My Left Foot (1989) won him numerous awards, including the Academy Award for Best Actor.
He returned to the stage to work again with Eyre, as Hamlet at the National Theater, but was forced to leave the production close to the end of its run because of exhaustion, and has not appeared on stage since. He took a hiatus from film as well until 1992, when he starred in The Last of the Mohicans (1992), a film that met with mixed reviews but was a great success at the box office. He worked with American director Martin Scorsese in The Age of Innocence (1993), based on Edith Wharton's novel. Subsequently, he teamed again with Jim Sheridan to star in In the Name of the Father (1993), a critically acclaimed performance that earned him another Academy Award nomination. His next project was in the role of John Proctor in father-in-law Arthur Miller's play The Crucible (1996), directed by Nicholas Hytner. He worked with Scorsese again to star in Gangs of New York (2002), another critically acclaimed performance that earned him another Academy Award nomination for Best Actor.
Day-Lewis's wife, Rebecca Miller, offered him the lead role in her film The Ballad of Jack and Rose (2005), in which he played a dying man with regrets over how his wife had evolved and over how he had brought up his teenage daughter. During filming, he arranged to live separate from his wife to achieve the "isolation" needed to focus on his own character's reality. The film received mixed reviews. In 2007, he starred in director Paul Thomas Anderson's loose adaptation of Upton Sinclair's novel "Oil!", titled There Will Be Blood (2007). Day-Lewis received the Academy Award for Best Actor, BAFTA Award for Best Actor in a Leading Role, Golden Globe Award for Best Actor - Motion Picture Drama, Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role, and a variety of film critics' circle awards for the role. In 2009, Day-Lewis starred in Rob Marshall's musical adaptation Nine (2009) as film director Guido Contini. He was nominated for the Golden Globe Award for Best Actor - Motion Picture Musical or Comedy and the Satellite Award for Best Actor - Motion Picture Musical or Comedy.- Actor
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Gael García Bernal was born in Guadalajara to Patricia Bernal, an actress/model & José Ángel García, an actor/director. His stepfather's cinematographer Sergio Yazbek. He began his acting career as a child, working w/ his parents in a variety of plays. At 14, he starred in a soap opera called El abuelo y yo (1992). He appeared in film school exercises and short films, including De tripas, corazón (1996), which was directed by Antonio Urrutia & nominated for an Academy Award for Best Short Film. He also starred in El ojo en la nuca (2001), a short film directed by Rodrigo Plá. He studied acting at the Central School of Speech & Drama in London. Amores Perros (2000) was his first major feature film, followed by And Your Mother Too (2001), directed by Alfonso Cuarón & filmed by Emmanuel Lubezki.- Actor
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Tony Leung Chiu Wai was born in Hong Kong on 27 June 1962. He and his younger sister were raised by their mother after his father left them. In 1982, after passing the training courses of TVB, Tony became a TV actor and became famous for his comedy style in such TV shows as Tales of a Eunuch (1983) or The Proud Twins (1979). However, he didn't limit himself to television and began showing his versatility in films like My Heart Is That Eternal Rose (1989) and A City of Sadness (1989). After he starred in several movies directed by 'Kar wai Wong'; such as Chungking Express (1994) and Happy Together (1997), he gained more respect as an actor and finally received the Best Actor Award at the Cannes International Film Festival for his outstanding performance in In the Mood for Love (2000). In addition to his acting career, he is also known as a singer.- Actor
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With his breakthrough performance as Eames in Christopher Nolan's sci-fi thriller Inception (2010), English actor Tom Hardy has been brought to the attention of mainstream audiences worldwide. However, the versatile actor has been steadily working on both stage and screen since his television debut in the miniseries Band of Brothers (2001). After being cast in the World War II drama, Hardy left his studies at the prestigious Drama Centre in London and was subsequently cast as Twombly in Ridley Scott's Black Hawk Down (2001) and as the villain Shinzon in Star Trek: Nemesis (2002).
Edward Thomas Hardy was born on September 15, 1977 in Hammersmith, London; his mother, Elizabeth Anne (Barrett), is an artist and painter, and his father, Chips Hardy, is a writer. He is of English and Irish descent. Hardy was brought up in East Sheen, London, and first studied at Reed's School. His education continued at Tower House School, then at Richmond Drama School, and subsequently at the Drama Centre London, along with fellow Oscar nominee Michael Fassbender. After winning a modeling competition at age 21, he had a brief contract with the agency Models One.
Tom spent his teens and early twenties battling delinquency, alcoholism and drug addiction; after completing his work on Star Trek: Nemesis (2002), he sought treatment and has also admitted that his battles with addiction ended his five-year marriage to Sarah Ward. Returning to work in 2003, Hardy was awarded the Evening Standard Most Promising Newcomer Award for his theatre performances in the productions of "In Arabia, We'd All Be Kings" and "Blood". In 2003, Tom also co-starred in the play "The Modernists" with Paul Popplewell, Jesse Spencer and Orlando Wells.
During the next five years, Hardy worked consistently in film, television and theatre, playing roles as varied as Robert Dudley in the BBC's The Virgin Queen (2005), Bill Sikes in Oliver Twist (2007) and starring in "The Man of Mode" at the National Theatre. On the silver screen, he appeared in the crime thriller Layer Cake (2004) with Daniel Craig, Sofia Coppola's Marie Antoinette (2006), and the romp Scenes of a Sexual Nature (2006).
In 2006, Hardy created "Shotgun", an underground theatre company along with director Robert Delamere, and directed a play, penned by his father for the company, called "Blue on Blue". In 2007, Hardy received a best actor BAFTA nomination for his touching performance as Stuart Shorter in the BBC adaptation of Alexander Masters' bestselling biography Stuart: A Life Backwards (2007). Hailed for his transformative character acting, Hardy was lauded for his emotionally and physically convincing portrayal in the ill-fated and warmhearted tale of Shorter, a homeless and occasionally violent man suffering from addiction and muscular dystrophy.
The following year, he appeared as gay hoodlum Handsome Bob in the Guy Ritchie film RocknRolla (2008), but this would be his next transformation that would prove his extensive range and stun critics. In the film Bronson (2008), Hardy played the notorious Charles Bronson (given name, Michael Peterson), the "most violent prisoner in Britain". Bald, pumped-up, and outfitted with Bronson's signature strongman mustache, Hardy is unrecognizable and gives a harrowing performance that is physically fearless and psychologically unsettling. Director Nicolas Winding Refn breaks the fourth wall with Hardy retelling his tales directly to viewers as well as performing them outright before an audience of his own imagining. The performance mixes terrifying brutality, vaudevillian showmanship, wry humor, and an alarming amount of commitment, and won Hardy a British Independent Film Award for Best Actor. The performance got Hollywood's attention, and in 2009, Hardy was named one of Variety's "10 Actors to Watch". That year, he continued to garner praise for his starring role in The Take (2009), a four-part adaptation of Martina Cole's bestselling crime novel, as well as for his performance as Heathcliff in a version of Wuthering Heights (2009).
Recent work includes the aforementioned breakthrough appearance in Inception (2010) alongside Leonardo DiCaprio, Joseph Gordon-Levitt, Cillian Murphy, Tom Berenger, Ken Watanabe, Michael Caine, Marion Cotillard and Elliot Page. The movie was released in July 2010 and became one of top 25 highest grossing films of all time, collecting eight Oscar nominations (including Best Picture) and winning four.
Other films include Warrior (2011), opposite Joel Edgerton, the story of two estranged brothers facing the fight of a lifetime from director Gavin O'Connor, and This Means War (2012), directed by McG and co-starring Reese Witherspoon and Chris Pine. Tom also starred in the heralded Cold War thriller, Tinker Tailor Soldier Spy (2011) with Colin Firth and Gary Oldman. Hardy rejoined Christopher Nolan for The Dark Knight Rises (2012); he played the villain role of Bane opposite Christian Bale, Anne Hathaway, Joseph Gordon-Levitt and Gary Oldman. Hardy's menacing physique and his character's scrambled, hard-to-distinguish voice became a major discussion point as the film was released.
Outside of performing, Hardy is the patron for the charity "Flack", which is an organization to aid the recovery of the homeless in Cambridge. And in 2010, Hardy was named an Ambassador for The Prince's Trust, which helps disadvantaged youth. On the recent stage, he starred in the Brett C. Leonard play "The Long Red Road" in early 2010. Written for Hardy and directed by Philip Seymour Hoffman, the play was staged at Chicago's Goodman Theater.
In 2015, Hardy starred as the iconic Mad Max in George Miller's reboot of his franchise, Mad Max: Fury Road (2015). He also collected a British Independent Film Award for his portrayal of both the Kray twins, Ronnie and Reggie, in Legend (2015), and an Oscar nomination for Best Supporting Actor for his role as John Fitzgerald in The Revenant (2015). Hardy also starred on the BBC series Peaky Blinders (2013), alongside Cillian Murphy, and on the television series Taboo (2017), both created by Steven Knight.
He has an outlaw biker story among other projects in development. In 2010, Hardy became engaged to fellow English actress Charlotte Riley, whom he starred with in The Take (2009) and Wuthering Heights (2009), and is raising a young son, Louis Thomas Hardy, with ex-girlfriend Rachael Speed. He was appointed Commander of the Order of the British Empire at the 2018 Queen's Birthday Honours for his services to drama.- Actor
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Mads Mikkelsen's great successes parallel those achieved by the Danish film industry since the mid-1990s. He was born in Østerbro, Copenhagen, to Bente Christiansen, a nurse, and Henning Mikkelsen, a banker.
Starting out as a low-life pusher/junkie in the 1996 success Pusher (1996), he slowly grew to become one of Denmark's biggest movie actors. The success in his home country includes Flickering Lights (2000), En kort en lang (2001) and the Emmy-winning police series Unit One (2000).
His success has taken him abroad where he has played alongside Gérard Depardieu in I Am Dina (2002) as well as in the Spanish comedy Torremolinos 73 (2003) and the American blockbuster King Arthur (2004).
He played the role of Dr. Hannibal Lecter in the critically acclaimed NBC series Hannibal (2013), from 2013 to 2015, with great success.- Actor
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Academy Award-nominated and Emmy Award-winning actor Woodrow Tracy Harrelson was born on July 23, 1961 in Midland, Texas, to Diane Lou (Oswald) and Charles Harrelson. He grew up in Lebanon, Ohio, where his mother was from. After receiving degrees in theater arts and English from Hanover College, he had a brief stint in New York theater. He was soon cast as Woody on TV series Cheers (1982), which wound up being one of the most-popular TV shows ever and also earned Harrelson an Emmy for his performance in 1989.
While he dabbled in film during his time on Cheers (1982), that area of his career didn't fully take off until towards the end of the show's run. In 1991, Doc Hollywood (1991) gave him his first widely-seen movie role, and he followed that up with White Men Can't Jump (1992), Indecent Proposal (1993) and Natural Born Killers (1994). More recently, Harrelson was seen in No Country for Old Men (2007), Zombieland (2009), 2012 (2009), and Friends with Benefits (2011), along with the acclaimed HBO movie Game Change (2012).
In 2011, Harrelson snagged the coveted role of fan-favorite drunk Haymitch Abernathy in the big-screen adaptation of The Hunger Games (2012), which ended up being one of the highest-grossing movies ever at the domestic box office. Harrelson is set to reprise that role for the sequels, which are scheduled for release in November 2013, 2014 and 2015. Harrelson has received two Academy Award nominations, first for his role as controversial Hustler founder Larry Flynt in The People vs. Larry Flynt (1996) and then for a role in The Messenger (2009). He also received Golden Globe nominations for both of these parts. In 2016, he had a stand-out role as a wise teacher in the teen drama The Edge of Seventeen (2016).
Harrelson was briefly married to Nancy Simon in the 80s, and later married his former assistant, Laura Louie, with whom he has three daughters.- Actor
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Tod Slaughter took to the stage in 1905 and made a name for himself as the star villain of numerous Victorian melodramas which he toured around England. Many of these were filmed cheaply in the 30s and 40s by quota-quickie tzar George King. His ham performances are perfectly suited to the material and the best of his films give the impression that if the Victorians could have made features they would have looked like this.- Actor
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Sir Christopher Frank Carandini Lee was perhaps the only actor of his generation to have starred in so many films and cult saga. Although most notable for personifying bloodsucking vampire, Dracula, on screen, he portrayed other varied characters on screen, most of which were villains, whether it be Francisco Scaramanga in the James Bond film, The Man with the Golden Gun (1974), or Count Dooku in Star Wars: Episode II - Attack of the Clones (2002), or as the title monster in the Hammer Horror film, The Mummy (1959).
Lee was born in 1922 in London, England, where he and his older sister Xandra were raised by their parents, Contessa Estelle Marie (Carandini di Sarzano) and Geoffrey Trollope Lee, a professional soldier, until their divorce in 1926. Later, while Lee was still a child, his mother married (and later divorced) Harcourt George St.-Croix (nicknamed Ingle), who was a banker. Lee's maternal great-grandfather was an Italian political refugee, while Lee's great-grandmother was English opera singer Marie (Burgess) Carandini.
After attending Wellington College from age 14 to 17, Lee worked as an office clerk in a couple of London shipping companies until 1941 when he enlisted in the Royal Air Force during World War II. Following his release from military service, Lee joined the Rank Organisation in 1947, training as an actor in their "Charm School" and playing a number of bit parts in such films as Corridor of Mirrors (1948). He made a brief appearance in Laurence Olivier's Hamlet (1948), in which his future partner-in-horror Peter Cushing also appeared. Both actors also appeared later in Moulin Rouge (1952) but did not meet until their horror films together.
Lee had numerous parts in film and television throughout the 1950s. He struggled initially in his new career because he was discriminated as being taller than the leading male actors of his time and being too foreign-looking. However, playing the monster in the Hammer film The Curse of Frankenstein (1957) proved to be a blessing in disguise, since the was successful, leading to him being signed on for future roles in Hammer Film Productions.
Lee's association with Hammer Film Productions brought him into contact with Peter Cushing, and they became good friends. Lee and Cushing often than not played contrasting roles in Hammer films, where Cushing was the protagonist and Lee the villain, whether it be Van Helsing and Dracula respectively in Horror of Dracula (1958), or John Banning and Kharis the Mummy respectively in The Mummy (1959).
Lee continued his role as "Dracula" in a number of Hammer sequels throughout the 1960s and into the early 1970s. During this time, he co-starred in The Hound of the Baskervilles (1959), and made numerous appearances as Fu Manchu, most notably in the first of the series The Face of Fu Manchu (1965), and also appeared in a number of films in Europe. With his own production company, Charlemagne Productions, Ltd., Lee made Nothing But the Night (1973) and To the Devil a Daughter (1976).
By the mid-1970s, Lee was tiring of his horror image and tried to widen his appeal by participating in several mainstream films, such as The Private Life of Sherlock Holmes (1970), The Three Musketeers (1973), The Four Musketeers: Milady's Revenge (1974), and the James Bond film The Man with the Golden Gun (1974).
The success of these films prompted him in the late 1970s to move to Hollywood, where he remained a busy actor but made mostly unremarkable film and television appearances, and eventually moved back to England. The beginning of the new millennium relaunched his career to some degree, during which he has played Count Dooku in Star Wars: Episode II - Attack of the Clones (2002) and as Saruman the White in the Lord of the Rings trilogy. Lee played Count Dooku again in Star Wars: Episode III - Revenge of the Sith (2005), and portrayed the father of Willy Wonka, played by Johnny Depp, in the Tim Burton film, Charlie and the Chocolate Factory (2005).
On 16 June 2001, he was created a Commander of the Order of the British Empire in recognition of his services to drama. He was created a Knight Bachelor on 13 June 2009 in the Queen's Birthday Honours List for his services to drama and charity. In addition he was made a Commander of the Order of St John on 16 January 1997.
Lee died at the Chelsea and Westminster Hospital on 7 June 2015 at 8:30 am after being admitted for respiratory problems and heart failure, shortly after celebrating his 93rd birthday there. His wife delayed the public announcement until 11 June, in order to break the news to their family.- Actor
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Widely regarded as one of greatest stage and screen actors both in his native Great Britain and internationally, twice nominated for the Oscar and recipient of every major theatrical award in the UK and US, Ian Murray McKellen was born on May 25, 1939 in Burnley, Lancashire, England, to Margery Lois (Sutcliffe) and Denis Murray McKellen, a civil engineer and lay preacher. He is of Scottish, Northern Irish, and English descent. During his early childhood, his parents moved with Ian and his older sister, Jean, to the mill town of Wigan. It was in this small town that young Ian rode out World War II. He soon developed a fascination with acting and the theatre, which was encouraged by his parents. They would take him to plays, those by William Shakespeare, in particular. The amateur school productions fostered Ian's growing passion for theatre.
When Ian was of age to begin attending school, he made sure to get roles in all of the productions. At Bolton School in particular, he developed his skills early on. Indeed, his first role in a Shakespearian play was at Bolton, as Malvolio in "Twelfth Night". Ian soon began attending Stratford-upon-Avon theatre festivals, where he saw the greats perform: Laurence Olivier, Wendy Hiller, John Gielgud, Ralph Richardson and Paul Robeson. He continued his education in English Drama, but soon it fell by the wayside as he concentrated more and more on performing. He eventually obtained his Bachelor of Arts in 1961, and began his career in earnest.
McKellen began working in theatre over the next few years. Very few people knew of Ian's homosexuality; he saw no reason to go public, nor had he told his family. They did not seem interested in the subject and so he saw no reason to bring it up. In 1988, Ian publicly came out of the closet on the BBC Radio 4 program, while discussing Margaret Thatcher's "Section 28" legislation, which made the promotion of homosexuality as a family relationship by local authorities an offense. It was reason enough for McKellen to take a stand. He has been active in the gay rights movement ever since.
Ian resides in Limehouse, where he has also lived with his former long-time partner Sean Mathias. The two men have also worked together on the film Bent (1997) as well as in exquisite stage productions. To this day, McKellen works mostly in theatre, and was knighted by Queen Elizabeth II in 1990 for his efforts in the arts. However, he has managed to make several quite successful forays into film. He has appeared in several productions of Shakespeare's works including his well received Richard III (1995), and in a variety of other movies. However, it has only been recently that his star has finally begun to shine in the eyes of North American audiences. Roles in various films, Cold Comfort Farm (1995), Apt Pupil (1998) and Gods and Monsters (1998), riveted audiences. The latter, in particular, created a sensation in Hollywood, and McKellen's role garnered him several of awards and nominations, including a Golden Globe and an Oscar nod. McKellen, as he continues to work extensively on stage, he always keeps in 'solidifying' his 'role' as Laurence Olivier's worthy 'successor' in the best sense too, such as King Lear (2008) / King Lear (2008) directed by Trevor Nunn and in a range of other staggering performances full of generously euphoric delight that have included "Peter Pan" and Noël Coward's "Present Laughter", as well as Samuel Beckett's "Waiting for Godot" and Harold Pinter's "No Man's Land" (National Theatre Live: No Man's Land (2016)), both in acclaimed productions brilliantly directed by Sean Mathias.
McKellen found mainstream success with his performance as Magneto in X-Men (2000) and its sequels. His largest mark on the big screen may be as Gandalf in "The Lord of the Rings" film trilogy directed by Peter Jackson, which he reprised in "The Hobbit" trilogy. He also reprised the role of 'King Lear' with new artistic perspectives in National Theatre Live: King Lear (2018) offering an invaluable mesmerizing experience as a natural force of stage - and screen - of infinite generosity through his unsurpassable interpretation of the titanically vulnerable king.- Actor
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McAvoy was born on 21 April 1979 in Glasgow, Scotland, to James, a bus driver, and Elizabeth (née Johnstone), a nurse. He was raised on a housing estate in Drumchapel, Glasgow by his maternal grandparents (James, a butcher, and Mary), after his parents divorced when James was 11. He went to St Thomas Aquinas Secondary in Jordanhill, Glasgow, where he did well enough and started 'a little school band with a couple of mates'.
McAvoy toyed with the idea of the Catholic priesthood as a child but, when he was 16, a visit to the school by actor David Hayman sparked an interest in acting. Hayman offered him a part in his film The Near Room (1995) but despite enjoying the experience McAvoy didn't seriously consider acting as a career, although he did continue to act as a member of PACE Youth Theatre. He applied instead to the Royal Navy and had already been accepted when he was also offered a place at the Royal Scottish Academy of Music and Drama (RSAMD).
He took the place at the RSAMD (now the Royal Conservatoire of Scotland) and, when he graduated in 2000, he moved to London. He had already made a couple of TV appearances by this time and continued to get a steady stream of TV and movie work until he came to attention of the British public in 2004 playing car thief Steve McBride in the successful UK TV series Shameless (2004) and then to the rest of the world in 2005 as Mr Tumnus, the faun, in Disney's adaptation of C. S. Lewis's The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005). In The Last King of Scotland (2006) McAvoy portrayed a Scottish doctor who becomes the personal physician to dictator Idi Amin, played by Forest Whitaker. McAvoy's career breakthrough came in Atonement (2007), Joe Wright's 2007 adaption of Ian McEwan's novel.
Since then, McAvoy has taken on theatre roles, starring in Shakespeare's 'Macbeth' (directed by Jamie Lloyd), which launched the first Trafalgar Transformed season in London's West End and earned him an Olivier award nomination for Best Actor. In January 2015, McAvoy returned to the Trafalgar Studios stage to play Jack Gurney, the delusional 14th Earl of Gurney who believes he is Jesus, in the first revival of Peter Barnes's satire 'The Ruling Class', a role for which he was subsequently awarded the London Evening Standard Theatre Award's Best Actor.
On screen, McAvoy has appeared as corrupt cop Bruce Robertson in Filth (2013), a part for which he received a Scottish BAFTA for Best Actor, a British Independent Film Award for Best Actor, a London Critics Circle Film Award for British Actor of the Year and an Empire Award for Best Actor. More recently, he reprised his role as Professor Charles Xavier in X-Men: Days of Future Past (2014), X-Men: Apocalypse (2016) and X-Men: Dark Phoenix (2019). He began his depiction of Kevin Wendell Crumb, also known as The Horde, a man with an extreme case of dissociative identity disorder in M. Night Shyamalan's thriller Split (2016) and continued it in the sequel, Glass (2019). Also in 2019, he played Bill Denbrough in It Chapter Two (2019), the horror sequel to It (2017).
McAvoy and Jamie Lloyd look set to continue their collaboration in December 2019, with a production of 'Cyrano de Bergerac' at the Playhouse Theatre in the West End, London. The project has been on the cards as long ago as 2017, when McAvoy posted a picture of him reading the script and wearing a false nose.- Choi Min-shik first made a name for himself in theater before breaking into the film world with a role in Park Chong-won's acclaimed film 'Our Twisted Hero' (1992). In the mid-nineties he continued to act in theater productions as well as in several TV dramas, including Moon Over Seoul with Han Seok-gyu. 1997 marked his return to motion pictures, with a role as a tough-talking police investigator in Song Neung-han's No. 3 (1997). His biggest role came in 1999, when he was cast in Korea's most successful film ever, Shiri (1999). His portrayal of a North Korean agent garnered him much praise and a Best Actor Award from the 1999 domestic Grand Bell Awards.
After starring in a theater production of Hamlet in spring of 1999, Choi took on the role of a husband who discovers his wife's infidelity in Happy End (1999), and in early 2001 starred as a third-rate gangster opposite Hong Kong actress Cecilia Cheung in the acclaimed Failan (2001). In 2003 he starred in the now classic Oldboy (2003). - An extremely versatile character actor and originator of several memorable characterizations in the horror film genre, Dwight Frye had a notable theatrical career in the 1920s, moving from juvenile parts to leads before entering film. A favorite actor of Broadway theatrical producer-director Brock Pemberton, he originated the part of "the Son" in his hit 1922 production of Luigi Pirandello's "Six Characters in Search of an Author". Pemberton would continue to employ Frye in Broadway productions throughout the decade. Cast with Bela Lugosi in a 1926 production of "The Devil and the Cheese", he ultimately appeared in at least two Lugosi films.
Despite (or perhaps because of) his memorable, impassioned portrayals of real estate agent-cum-madman Renfield in Tod Browning's Dracula (1931) and Fritz the sadistic hunchbacked lab-assistant in James Whale's Frankenstein (1931), the industry seemed determined to typecast Frye, and his film career would be marked with frustration. The Crime of Doctor Crespi (1935) offered him billing second only to that of villain Erich von Stroheim, but all too soon, he was consigned to playing a lackluster array of crazies, spies, red herrings, grasping heirs and bit parts. He occasionally returned to the stage in comedies, musicals, and thrillers such as "Night Must Fall" and a stage version of "Dracula".
Frye was perplexed to find that his versatility in the theatre went unnoticed in Hollywood, where he was relegated to lunatic roles and often had his parts severely cut. Indeed, in Son of Frankenstein (1939) his role was deemed as unnecessary when an abrupt switch was made from Technicolor to black-and-white after his scenes were shot.
Dwight Frye, a devout Christian Scientist, had concealed a heart-condition from his friends and family. After the outbreak of WWII, unable to enlist, he worked nights (between films and local theatre-productions) as a draftsman for the Lockheed Aircraft Co. An uncanny physical resemblance to then-Secretary of War Newton Baker led his to being signed to a substantial role in Wilson (1944), directed by Henry King, based on the life of U.S. President Woodrow Wilson, but Frye succumbed to a heart-attack on a crowded bus a few days after being cast while returning home from a movie with his son. He was buried at Forest Lawn Cemetery in Glendale, California.