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Of Greek descent on both sides, the son of immigrants, Savalas was a soldier during World War II, although most of his enlistment records were destroyed in a fire at the National Personnel Records Center in St. Louis, Missouri, in 1973. He later studied psychology at Columbia University under the GI Bill.
Iconically bald, he often played character roles, sometimes as sadists or psychotics. He became famous in the 1970s when his role as Det. Theo Kojak in the TV movie The Marcus-Nelson Murders (1973) was expanded into the gritty Kojak (1973) TV series (1973-78).テリー・サバラス(January 21, 1922 – January 22, 1994)(満72歳没)
1961 機関銃を捨てろ Mag Dog Coll
1961 明日なき十代 The Young Savages
1962 恐怖の岬 Cape Fair
1962 終身犯 Birdman of Alcatraz
1963 現金お断り The Man from the Dinner's Club
1963 プレイガール陥落す Love Is a Ball
1963 ひとりぼっちのギャング Johnny Cool
1965 偉大な生涯の物語 The Greatest Story Ever Told
1965 ジンギス・カン Genghis Khan
1965 バルジ大作戦 Battle of the Bulge
1965 いのちの紐 The Slender Thread
1966 ボー・ジェスト Beau Geste
1967 特攻大作戦 The Dirty Dozen
1967 FBIの敵No.1 Cosa Nostra an Arch Enemy of the FBI
1968 追いつめて殺せ! Sol Madrid
1968 インディアン狩り The Scalphunters
1969 女王陛下の007 On Her Majesty's Secret Service
1969 世界殺人公社 The Assassination Bureau
1969 マッケンナの黄金 Mackenna's Gold
1970 戦略大作戦 Kerry's Heroes
1970 狼の挽歌 Citta Violenta
1971 課外授業 Pretty Maids All in a Row Sam Surcher
1971 荒野のライフル A Town Called Basterd
1971 皆殺しL.A.コネクション Cray Pigeon
1972 シシリアン・マフィア I Fammliari Delle Vittime Non Saranno Avvertiti
1972 J&S/さすらいの逃亡者 La Banda J&S: Cronaca Criminale Del Far-West
1972 ゾンビ特急地獄行き Horror Express
1972 ダーティ・セブン Una Ragion per Vivera e Una per Morire
1973 マーク・レスター/可愛い冒険者 Senza ragione
1974 新エクソシスト 死肉のダンス Lisa e il diavolo
1975 怪盗軍団 Inside Out
1975 ダイヤモンドの犬たち Killer Force
1977 テリー・サバラスの犯罪病棟Beyond Reason
1975 カプリコン・1 Capricorn One
1979 オフサイド7 Escape to Athena
1979 ポセイドン・アドベンチャー2 Beyond the Poseidon Adventure
1979 マペットの夢見るハリウッド The Muppet Movie
1980 怒りのボーダー The Border
1982 テリー・サバラスのフェイク・アウト Fake Out
1984 キャノンボール2 Cannonball Run II
1985 新・刑事コジャック/ベラリス・ファイル
1995 バック・ファイヤー! Back Fire!- 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.マーロン・ブランド(April 3, 1924 – July 1, 2004)(aged 80)
1950 男たち The Men
1951 欲望という名の電車 A Streetcar Named Desire
1952 革命児サパタ Viva Zapata!
1953 ジュリアス・シーザー Julias Caesar
1954 乱暴者 The Wild One
1954 波止場 On the Waterfront
1954 デジレ Désirée
1955 野郎どもと女たち Guys and Dolls
1956 八月十五夜の茶屋 The Teahouse of the August Moon
1957 サヨナラ Sayonara
1958 若き獅子たち The Young Lions
1959 蛇皮の服を着た男 The Fugitive Kind
1960 片目のジャック One-Eyed Jacks
1962 戦艦バウンティ Munity on the Bounty
1964 寝室ものがたり Bedtime Story
1965 モリツリ/南太平洋爆破作戦 Morituri
1966 逃亡地帯 The Chase
1966 シェラマドレの決斗 The Appaloosa
1967 伯爵夫人 A Countess from Hong Kong
1967 禁じられた情事の森 Reflections in a Golden Eye
1968 キャンディ Candy
1968 私は誘拐されたい The Night of the Following Day
1969 ケマダの戦い Burn!
1971 妖精たちの森 The Nightcomers
1972 ゴッドファーザー The Godfather
1972 ラストタンゴ・イン・パリ Last Tango in Paris
1976 ミズーリ・ブレイク The Missouri Breaks
1978 スーパーマン Superman
1979 地獄の黙示録 Apocalypse Now
1980 ジェネシスを追え! The Formula
1989 白く乾いた季節 A Dry White Season
1990 ドン・サバティーニ The Freshman
1992 コロンブス Christopher Columbus: The Discovery
1995 ドンファン Don Juan DeMarco
1996 D.N.A./ドクター・モローの島 The Island of Dr. Moreau
1997 ブレイブ The Brave
1998 フリーマネー Free Money
2001 スコア The Score- Actor
- Producer
- Director
Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.カーク・ダグラス(December 9, 1916) (age 98)
1946 呪いの血 The Strange Love of Martha Ivers
1947 過去を逃れて Out of the Past
1948 暗黒街の復讐 I Walk Alone
1949 三人の妻への手紙 A Letter to Three Wives
1949 チャンピオン Champion
1949 情熱の狂想曲 Young Man with a Horn
1950 ガラスの動物園 The Glass Menagerie
1951 死の砂塵 Along the Great Divide
1951 地獄の英雄 Ace in the Hole
1951 探偵物語 Detective Story
1952 ザ・ビッグ・ツリー The Big Trees
1952 果てしなき蒼空 The Big Sky
1952 悪人と美女 The Bad and the Beautiful
1953 三つの恋の物語 The Story of Three Loves
1953 想い出 Un acte d'amour
1954 ユリシーズ Ulisse
1954 海底二万哩 20000 Leagues Under the Sea
1954 スピードに命を賭ける男 The Racers
1955 星のない男 Man Without a Star
1955 赤い砦 The Indian Fighter
1956 炎の人ゴッホ Lust for Life
--ゴールデングローブ賞 主演男優賞 (ドラマ部門) 受賞
1957 将軍ベッドに死す Top Secret Affair メルヴィル・A・グッドウィン
1957 OK牧場の決斗 Gunfight at the O.K. Corral ドク・ホリデイ
1957 突撃 Paths of Glory ダックス大佐 兼製作総指揮
1957 バイキング The Vikings Einar
1959 ガンヒルの決斗 Last Train from Gun Hill マット・モーガン
1959 悪魔の弟子 The Devil's Disciple リチャード
1960 逢う時はいつも他人 Strangers When We Meet (film)|Strangers When We Meet
1960 スパルタカス Spartacus スパルタカス
1961 非情の町 Town Without Pity
1961 ガン・ファイター The Last Sunset
1962 脱獄 Lonely Are the Brave
1962 明日になれば他人 Two Weeks in Another Town
1963 零(ゼロ)下の敵 The Hook
1963 秘密殺人計画書 The List of Adrian Messenger
1963 恋のクレジット For Love or Money
1963 五月の七日間 Seven Days in May
1965 危険な道
1965 In Harm's Way
1965 テレマークの要塞
1965 The Heroes of Telemark
1965 巨大なる戦場 Cast a Giant Shadow
1966 パリは燃えているか Paris brule-t-il?
1967 大西部への道 The Way West
1967 戦う幌馬車 The War Wagon
1968 ボディガード A Lovely Way to Die
1968 暗殺 The Brotherhood
1969 アレンジメント/愛の旋律 The Arrangement
1970 大脱獄 There Was a Crooked Man...
1971 カーク・ダグラスとユル・ブリンナーの 世界の果ての大冒険 The Light at the Edge of the World
1971 雨のパスポート To Catch a Spy
1972 ザ・ビッグマン Un Uomo da rispettare
1974 (TV)悪魔の生物教師 Mousey
1975 明日なき追撃 Posse
1975 いくたびか美しく燃え Once Is Not Enough
1976 マネー・チェンジャース/銀行王国 Arthur Hailey's the Moneychangers
1976 (TV)エンテベの勝利 Victory at Entebbe
1977 悪魔が最後にやってくる Holocaust 2000
1978 フューリー The Fury
1980 スペース・サタン Saturn 3
1980 悪夢のファミリー Home Movies
1980 ファイナル・カウントダウン The Final Countdown
1982 スノーリバー/輝く大地の果てに The Man from Snowy River
1983 愛に向って走れ Eddie Macon's Run
1984 (TV)ザ・グレート・ファイター Draw!
1986 タフガイ Tough Guys
1987 (TV)クィニー Queenie
1991 オスカー Oscar
1994 遺産相続は命がけ!? Greedy
1996 ザ・シンプソンズ The Simpsons
2003 グロムバーグ家の人々 It Runs in the Family- Actor
- Writer
- Producer
Robin McLaurin Williams was born on Saturday, July 21st, 1951, in Chicago, Illinois, a great-great-grandson of Mississippi Governor and Senator, Anselm J. McLaurin. His mother, Laurie McLaurin (née Janin), was a former model from Mississippi, and his father, Robert Fitzgerald Williams, was a Ford Motor Company executive from Indiana. Williams had English, German, French, Welsh, Irish, and Scottish ancestry.
Robin briefly studied political science at Claremont Men's College and theater at College of Marin before enrolling at The Juilliard School to focus on theater. After leaving Juilliard, he performed in nightclubs where he was discovered for the role of "Mork, from Ork", in an episode of Happy Days (1974). The episode, My Favorite Orkan (1978), led to his famous spin-off weekly TV series, Mork & Mindy (1978). He made his feature starring debut playing the title role in Popeye (1980), directed by Robert Altman.
Williams' continuous comedies and wild comic talents involved a great deal of improvisation, following in the footsteps of his idol Jonathan Winters. Williams also proved to be an effective dramatic actor, receiving Academy Award nominations for Best Actor in a Leading Role in Good Morning, Vietnam (1987), Dead Poets Society (1989), and The Fisher King (1991), before winning the Academy Award for Best Actor in a Supporting Role in Good Will Hunting (1997).
During the 1990s, Williams became a beloved hero to children the world over for his roles in a string of hit family-oriented films, including Hook (1991), FernGully: The Last Rainforest (1992), Aladdin (1992), Mrs. Doubtfire (1993), Jumanji (1995), Flubber (1997), and Bicentennial Man (1999). He continued entertaining children and families into the 21st century with his work in Robots (2005), Happy Feet (2006), Night at the Museum (2006), Night at the Museum: Battle of the Smithsonian (2009), Happy Feet Two (2011), and Night at the Museum: Secret of the Tomb (2014). Other more adult-oriented films for which Williams received acclaim include The World According to Garp (1982), Moscow on the Hudson (1984), Awakenings (1990), The Birdcage (1996), Insomnia (2002), One Hour Photo (2002), World's Greatest Dad (2009), and Boulevard (2014).
On Monday, August 11th, 2014, Robin Williams was found dead at his home in Tiburon, California USA, the victim of an apparent suicide, according to the Marin County Sheriff's Office. A 911 call was received at 11:55 a.m. PDT, firefighters and paramedics arrived at his home at 12:00 p.m. PDT, and he was pronounced dead at 12:02 p.m. PDT.ロビン・ウィリアムズ(July 21, 1951 – August 11, 2014)(aged 63)
1980 ポパイ Popeye
1982 ガープの世界 The World According to Garp
1983 ロビン・ウィリアムズの 大混戦サバイバル特訓 The Survivors
1984 ハドソン河のモスコー Moscow on the Hudson
1986 明日へのタッチダウン The Best of Times
1986 クラブ・パラダイス Club Paradise
1986 ミッドナイト・ニューヨーカー Seize the Day
1987 グッドモーニング, ベトナム Good Morning, Vietnam
---ゴールデングローブ賞 主演男優賞 (ミュージカル・コメディ部門) 受賞
1988 バロン The Adventures of Baron Munchausen 月の王
1989 いまを生きる Dead Poets Society
1990 キャデラック・マン Cadillac Man
1990 レナードの朝 Awakenings
1991 愛と死の間で Dead Again
1991 殺人ピエロ狂騒曲 Shakes the Clown
1991 フィッシャー・キング The Fisher King
---ゴールデングローブ賞 主演男優賞 (ミュージカル・コメディ部門) 受賞
1991 フック Hook
1992 アラジン Aladdin 声の出演
1992 トイズ Toys
1993 ミセス・ダウト Mrs. Doubtfire
---ゴールデングローブ賞 主演男優賞 (ミュージカル・コメディ部門) 受賞
1995 9か月 Nine Months
1995 ジュマンジ Jumanji
1996 バードケージ The Birdcage
1996 ジャック Jack
1996 シークレット・エージェント The Secret Agent
1996 ハムレット Hamlet
1997 ファーザーズ・デイ Fathers' Day
1997 地球は女で回ってる Deconstructing Harry
1997 フラバー Flubber
1997 グッド・ウィル・ハンティング/旅立ち Good Will Hunting
---アカデミー助演男優賞 受賞
1998 パッチ・アダムス トゥルー・ストーリー Patch Adams
1998 奇蹟の輝き What Dreams May Come クリス
1999 聖なる嘘つき/その名はジェイコブ Jakob the Liar
1999 アンドリューNDR114 Bicentennial Man
2001 A.I. Artificial Intelligence: AI ドクター・ノウ 声の出演
2002 ストーカー One Hour Photo
2002 デス・トゥ・スムーチー Death to Smoochy
2002 インソムニア Insomnia
2004 ファイナル・カット The Final Cut
2004 最高のともだち House of D
2004 NOEL ノエル Noel
2005 ロボッツ Robots
2005 ビッグホワイト The Big White
2006 RV RV
2006 ロビン・ウィリアムズのもしも私が大統領だったら… Man of the Year
2006 ハッピー フィート Happy Feet 声の出演
2007 ナイト ミュージアム Night at the Museum
2007 ライセンス・トゥ・ウェディング License to Wed
2007 奇跡のシンフォニー August Rush
2009 精神科医ヘンリー・カーターの憂欝
2009 ディア・ダディ 嘘つき父さんの秘密 World's Greatest Dad
2009 ナイト ミュージアム2 Night at the Museum: Battle of the Smithsonian
2009 オールド・ドッグ Old Dogs
2011 ハッピー フィート2 踊るペンギンレスキュー隊 Happy Feet Two 声の出演
2013 グリフィン家のウエディングノート The Big Wedding
2013 大統領の執事の涙 Lee Daniels' The Butler
2014 余命90分の男 The Angriest Man in Brooklyn
2014 ナイト ミュージアム/エジプト王の秘密 Night at the Museum: Secret of the Tomb- Actor
- Director
- Writer
Multi-talented and unconventional actor/director regarded by many as one of the true "enfant terribles" of Hollywood who led an amazing cinematic career for more than five decades, Dennis Hopper was born on May 17, 1936, in Dodge City, Kansas. The young Hopper expressed interest in acting from a young age and first appeared in a slew of 1950s television shows, including Medic (1954), Cheyenne (1955) and Sugarfoot (1957). His first film role was in Rebel Without a Cause (1955), quickly followed by Giant (1956) and Gunfight at the O.K. Corral (1957). Hopper actually became good friends with James Dean and was shattered when Dean was killed in a car crash in September 1955.
Hopper portrayed a young Napoléon Bonaparte (!) in the star-spangled The Story of Mankind (1957) and regularly appeared on screen throughout the 1960s, often in rather undemanding parts, usually as a villain in westerns such as True Grit (1969) and Hang 'Em High (1968). However, in early 1969, Hopper, fellow actor Peter Fonda and writer Terry Southern, wrote a counterculture road movie script and managed to scrape together $400,000 in financial backing. Hopper directed the low-budget film, titled Easy Rider (1969), starring Fonda, Hopper and a young Jack Nicholson. The film was a phenomenal box-office success, appealing to the anti-establishment youth culture of the times. It changed the Hollywood landscape almost overnight and major studios all jumped onto the anti-establishment bandwagon, pumping out low-budget films about rebellious hippies, bikers, draft dodgers and pot smokers. However, Hopper's next directorial effort, The Last Movie (1971), was a critical and financial failure, and he has admitted that during the 1970s he was seriously abusing various substances, both legal and illegal, which led to a downturn in the quality of his work. He appeared in a sparse collection of European-produced films over the next eight years, before cropping up in a memorable performance as a pot-smoking photographer alongside Marlon Brando and Martin Sheen in Francis Ford Coppola's Vietnam War epic Apocalypse Now (1979). He also received acclaim for his work in both acting and direction for Out of the Blue (1980).
With these two notable efforts, the beginning of the 1980s saw a renaissance of interest by Hollywood in the talents of Dennis Hopper and exorcising the demons of drugs and alcohol via a rehabilitation program meant a return to invigorating and provoking performances. He was superb in Rumble Fish (1983), co-starred in the tepid spy thriller The Osterman Weekend (1983), played a groovy school teacher in My Science Project (1985), was a despicable and deranged drug dealer in River's Edge (1986) and, most memorably, electrified audiences as foul-mouthed Frank Booth in the eerie and erotic David Lynch film Blue Velvet (1986). Interestingly, the offbeat Hopper was selected in the early 1980s to provide the voice of "The StoryTeller" in the animated series of "Rabbit Ears" children's films based upon the works of Hans Christian Andersen!
Hopper returned to film direction in the late 1980s and was at the helm of the controversial gang film Colors (1988), which was well received by both critics and audiences. He was back in front of the cameras for roles in Super Mario Bros. (1993), got on the wrong side of gangster Christopher Walken in True Romance (1993), led police officer Keanu Reeves and bus passenger Sandra Bullock on a deadly ride in Speed (1994) and challenged gill-man Kevin Costner for world supremacy in Waterworld (1995). The enigmatic Hopper continued to remain busy through the 1990s and into the new century with performances in All the Way (2003), The Keeper (2004) and Land of the Dead (2005).
As well as his acting/directing talents, Hopper was a skilled photographer and painter, having had his works displayed in galleries in both the United States and overseas. He was additionally a dedicated and knowledgeable collector of modern art and had one of the most extensive collections in the United States. Dennis died of prostate cancer on May 29, 2010, less than two weeks after his 74th birthday.デニス・ホッパー(May 17, 1936 – May 29, 2010) (aged 74)
1955 理由なき反抗 Rebel Without a Cause
1956 ジャイアンツ Giant
1957 OK牧場の決斗 Gunfight at the O.K. Corral
1965 エルダー兄弟 The Sons of Katie Elder
1967 暴力脱獄 Cool Hand Luke
1967 白昼の幻想 The Trip
1968 奴らを高く吊るせ! Hang 'Em High
1969 勇気ある追跡 True Grit
1969 イージー・ライダー Easy Rider
1971 ラストムービー The Last Movie
1977 アメリカの友人 Der Amerikanische Freund
1979 地獄の黙示録 Apocalypse Now
1983 バイオレント・サタデー The Osterman Weekend
1983 ランブルフィッシュ Rumble Fish
1984 謀殺の標的 The Inside Man(1984)
1985 マイ・サイエンス・プロジェクト My Science Project
1986 リバース・エッジ River's Edge
1986 悪魔のいけにえ2 The Texas Chainsaw Massacre 2
1986 ブルーベルベット Blue Velvet
1986 勝利への旅立ち Hoosiers
---アカデミー賞助演男優賞ノミネート
1986 アメリカン・ウェイ The American Way
1987 ピックアップ・アーチスト The Pick-up Artist
1987 ストレート・トゥ・ヘル Straight to Hell
1989 ハートに火をつけて Catchfire
1990 パリス・トラウト/静かなる狂気 PARIS TROUT
1991 インディアン・ランナー The Indian Runner
1992 レッドロック/裏切りの銃弾 Red Rock West
1992 ハート・オブ・ジャスティス The Heart of Justice
1992 ミッドナイトヒート Sunset Heat
1993 スーパーマリオ 魔界帝国の女神 Super Mario Bros
1993 トゥルー・ロマンス True Romance
1994 逃げる天使 Chasers
1994 スピード Speed
1995 サーチ&デストロイ Search and Destroy
1995 ウォーターワールド Waterworld
---ゴールデンラズベリー賞最低助演男優賞
1996 バスキア Basquiat
1997 スペース・トラッカー Space Truckers
1998 エドtv Edtv
1999 ビートニク - The Source
2001 沈黙のテロリスト - Ticker
2002 ザ・ターゲット The Piano Player
2002 レオポルド・ブルームへの手紙 Leo
2002 ノックアラウンド・ガイズ Knockaround Guys
2004 ザ・キーパー 監禁 The Keeper
2005 ランド・オブ・ザ・デッド Land of the Dead
2005 スケッチ・オブ・フランク・ゲーリー Sketches of Frank Gehry
2005 アメリカーノAMERICANO
2006 狼の街 10TH & WOLF
2008 エレジー Elegy
2008 ヘルライド Hell Ride
2008 パレルモ・シューティング Palermo Shooting
2008 ケビン・コスナー チョイス! Swing Vote- Actor
- Producer
- Director
Film and stage actor and theater director Philip Seymour Hoffman was born in the Rochester, New York, suburb of Fairport to Marilyn (Loucks), a lawyer and judge, and Gordon Stowell Hoffman, a Xerox employee, and was mostly of German, Irish, English and Dutch ancestry. After becoming involved in high school theatrics, he attended New York University's Tisch School of the Arts, graduating with a B.F.A. degree in Drama in 1989.
He made his feature film debut in the indie production Triple Bogey on a Par Five Hole (1991) as Phil Hoffman, and his first role in a major release came the next year in My New Gun (1992). While he had supporting roles in some other major productions like Scent of a Woman (1992) and Twister (1996), his breakthrough role came in Paul Thomas Anderson's Boogie Nights (1997).
He quickly became an icon of indie cinema, establishing a reputation as one of the screen's finest actors, in a variety of supporting and second leads in indie and major features, including Todd Solondz's Happiness (1998), Flawless (1999), The Talented Mr. Ripley (1999), Paul Thomas Anderson's Magnolia (1999), Almost Famous (2000) and State and Main (2000). He also appeared in supporting roles in such mainstream, big-budget features as Red Dragon (2002), Cold Mountain (2003) and Mission: Impossible III (2006).
Hoffman was also quite active on the stage. On Broadway, he has earned two Tony nominations, as Best Actor (Play) in 2000 for a revival of Sam Shepard's "True West" and as Best Actor (Featured Role - Play) in 2003 for a revival of Eugene O'Neill (I)'s "Long Day's Journey into Night". His other acting credits in the New York theater include "The Seagull" (directed by Mike Nichols for The New York Shakespeare Festival), "Defying Gravity", "The Merchant of Venice" (directed by Peter Sellars), "Shopping and F*@%ing" and "The Author's Voice" (Drama Desk nomination).
He was the Co-Artistic Director of the LAByrinth Theater Company in New York, for which he directed "Our Lady of 121st Street" by Stephen Adly Guirgis. He also directed "In Arabia, We'd All Be Kings" and "Jesus Hopped the A Train" by Guirgis for LAByrinth, and "The Glory of Living" by Rebecca Gilman at the Manhattan Class Company.
Hoffman consolidated his reputation as one of the finest actors under the age of 40 with his turn in the title role of Capote (2005), for which he won the Los Angeles Film Critics Award as Best Actor. In 2006, he was awarded the Best Actor Oscar for the same role.
On February 2, 2014, Philip Seymour Hoffman was found dead in an apartment in Greenwich village, New York. Investigators found Hoffman with a syringe in his arm and two open envelopes of heroin next to him. Mr. Hoffman was long known to struggle with addiction. In 2006, he said in an interview with "60 Minutes" that he had given up drugs and alcohol many years earlier, when he was age 22. In 2013, he checked into a rehabilitation program for about 10 days after a reliance on prescription pills resulted in his briefly turning again to heroin.フィリップ・シーモア・ホフマン(July 23, 1967 – February 2, 2014) (aged 46)
1992 セント・オブ・ウーマン/夢の香り Scent of a Woman
1992 マイ・ニュー・ガン/あぶない若妻'
1993 ビッグ・マネー・ブルース Money for Nothing
1994 ゲッタウェイ The Getaway
1994 男が女を愛する時 When a Man Loves a Woman
1994 ノーバディーズ・フール Nobody's Fool
1996 ハードエイト Hard Eight
1996 ツイスター Twister
1997 ブギーナイツ Boogie Nights
1998 ワンダーランド駅で Next Stop Wonderland
1998 ビッグ・リボウスキ The Big Lebowski
1998 ハピネス Happiness
1998 パッチ・アダムス トゥルー・ストーリー Patch Adams
1999 フローレス Flawless
1999 マグノリア Magnolia
1999 リプリー The Talented Mr. Ripley
2000 あの頃ペニー・レインと Almost Famous
2002 パンチドランク・ラブ Punch-Drunk Love
2002 レッド・ドラゴン Red Dragon
2002 25時 25th Hour
2003 コールド マウンテン Cold Mountain
2004 ポリーmy love Along Came Polly
2004 カポーティ Capote
2006 ミッション:インポッシブル3 Mission: Impossible III
2007 その土曜日、7時58分 Before the Devil Knows You're Dead
2007 マイ・ライフ、マイ・ファミリー The Savages
2007 チャーリー・ウィルソンズ・ウォー Charlie Wilson's War
2008 脳内ニューヨーク Synecdoche, New York
2008 ダウト〜あるカトリック学校で〜 Doubt
2009 メアリー & マックス Mary and Max
2009 パイレーツ・ロック The Boat That Rocked
2009 ウソから始まる恋と仕事の成功術 The Invention of Lying
2010 ジャック、船に乗る Jack Goes Boating
2011 マネーボール Moneyball
2011 スーパー・チューズデー 〜正義を売った日〜 The Ides Of March
2012 25年目の弦楽四重奏 A Late Quartet
2012 ザ・マスター The Master
2013 ハンガー・ゲーム2 The Hunger Games: Catching Fire ”- Actor
- Writer
- Music Department
Candy was one of Canada's greatest and funniest character actors. His well-known role as the big hearted buffoon earned him classics in Uncle Buck (1989) and Planes, Trains & Automobiles (1987). His career has handed him some dry spells but Candy always rebounded.
Born in Newmarket, Ontario, in the year 1950, Candy was the son of Evangeline (Aker) and Sidney James Candy. His mother was of Ukrainian and Polish ancestry. Candy found his passion for drama while attending a community college. In 1971 Candy made his TV debut in an episode of Police Surgeon (1971) co-starring Sharon Farrell, John Hamelin, and Nick Mancuso. Candy then found a number of bit parts in other Canadian television shows and also in such small films as Tunnel Vision (1976) and Find the Lady (1976). However, his big success came at the age of twenty-seven, when he became part of the comedy group "Second City" in Toronto. Alongside such soon-to-be Canadian stars as Catherine O'Hara (one of Candy's lifelong friends), Eugene Levy, Rick Moranis, and Harold Ramis, Candy was also part of the television show the group inspired. SCTV (1976) earned Candy a reputation for his quirky humor and his uncanny imitations of others.
After the television series, Candy appeared alongside fellow Canadian Dan Aykroyd in the Steven Spielberg flop 1941 (1979). However, other jobs followed and Candy landed a role, once again with Aykroyd, in the successful classic The Blues Brothers (1980). Candy played a parole officer who is part of the chase after Jake and Elwood Blues. The film was a hit and Candy followed up accordingly.
Candy acted in the smash hit Stripes (1981) where he played a dopey, overweight recruit affectionately nicknamed 'Ox'. After the success of Stripes (1981), Candy returned to the Second City with the other former stars, in SCTV Network (1981). Candy also hosted "Saturday Night Live" before landing himself a role in the Ron Howard film Splash (1983), a romantic comedy about a mermaid who washes ashore and learns to live like a human. Candy played a sleazy womanizing brother to the character played by Tom Hanks. The film was a bigger success than even Stripes (1981) and a number of people have said that Splash (1983) was his breakout role.
He took a second billing in the comedic film Brewster's Millions (1985) where a man must spend thirty million in order to inherit three hundred million from his deceased relative. Candy played the man's best friend, who accidentally gets in the way as much as helping out. Candy continued making films tirelessly, including the film Armed and Dangerous (1986) where he and Eugene Levy play characters who become security guards.
1987 was an especially good year to Candy, giving him two classic roles: Barf the Mawg in the Mel Brooks comedy Spaceballs (1987) and the bumbling salesman Del Griffith alongside Steve Martin's uptight character in the John Hughes film Planes, Trains & Automobiles (1987). The latter film is a golden classic and is one of Candy's greatest films. He followed up immediately with The Great Outdoors (1988), once again alongside Dan Aykroyd. Candy landed another classic role in the film Uncle Buck (1989) which was about a bumbling uncle who must look after his brother's three children.
Although he was in the smash hit Home Alone (1990), Candy's career fell into a slump, turning out unsuccessful films in the early nineties. This caused him to change his strategy by taking more serious roles. The first of these serious roles was the corrupt lawyer Dean Andrews in the 'Oliver Stone' film JFK (1991). The film was a big success, and Candy moved on from this victory to make the film Cool Runnings (1993) about the first Jamaican bobsled team.
Candy was well known for his size, six feet two and weighing around 300 pounds. However, he was very sensitive about the subject and in the nineties tried to lose weight and quit smoking. He was aware that heart attacks were in his family: both his father and his grandfather died of heart attacks and Candy wanted to prevent that happening to him as best he could.
In the mid-nineties Candy filmed the Michael Moore comedy Canadian Bacon (1995) then went to Mexico to film the western spoof Wagons East (1994). It was in Mexico that Candy had a heart attack and passed away in March 1994. Canadian Bacon (1995) was released a year after his death and is his last film.
Candy was loved by thousands of people who loved his classic antics in Splash (1983) and The Great Outdoors (1988). He was well-known for his roles in Stripes (1981) and Uncle Buck (1989) and he himself never forgot his Canadian background.ジョン・キャンディ(October 31, 1950 – March 4, 1994)(aged 43)
1978 サイレント・パートナー The Silent Partner
1979 1941 1941
1980 第三の標的 Double Negative
1980 ブルースブラザース The Blues Brothers
1981 パラダイス・アーミー Stripes
1983 大脱線 Going Berserk
1984 スプラッシュ Splash
1985 マイナー・ブラザース/史上最大の賭け Brewster's Millions
1985 セサミストリート ザ・ムービー/おうちに帰ろうビッグバード! Sesame Street Presents: Follow that Bird
1985 クレイジー・ファミリー 太陽がめいっぱい Summer Rental
1985 ピース・フォース Volunteers
1988 私立ガードマン 全員無責任 Armed and Dangerous
1988 リトル・ショップ・オブ・ホラーズ Little Shop of Horrors
1987 スペースボール Spaceballs
1987 大災難P.T.A. Planes, Trains & Automobiles
1988 大混乱 The Great Outdoors
1989 ジョン・キャンディの迷探偵ハリーにまかせろ!? Who's Harry Crumb?
1989 キャノンボール3 新しき挑戦者たち Speed Zone!
1989 おじさんに気をつけろ! Uncle Buck
1990 ダン・エイクロイドとジム・ベルーシのハーレーダビッドソン&クレイジーライダー Masters of Menace
1990 ホーム・アローン Home Alone
1991 絶叫屋敷へいらっしゃい Nothing But Trouble
1991 恋の時給は4ドル44セント Career Opportunities
1991 オンリー・ザ・ロンリー Only The Lonely
1991 夢におまかせ/シナリオライター危機一筆 Delirious
1991 JFK JFK
1992 モンテカルロ殺人事件 Once Upon a Crime
1993 がんばれ!ルーキー Rookie of the Year
1993 クール・ランニング Cool Runnings
1994 ビッグ・ランニング Wagons East!
1995 ジョン・キャンディの大進撃 Canadian Bacon- Actor
- Director
- Cinematographer
When hunky, twenty-year-old heart-throb Heath Ledger first came to the attention of the public in 1999, it was all too easy to tag him as a "pretty boy" and an actor of little depth. He spent several years trying desperately to sway this image, but this was a double-edged sword. His work comprised nineteen films, including 10 Things I Hate About You (1999), The Patriot (2000), A Knight's Tale (2001), Monster's Ball (2001), Ned Kelly (2003), The Brothers Grimm (2005), Lords of Dogtown (2005), Brokeback Mountain (2005), Casanova (2005), Candy (2006), I'm Not There (2007), The Dark Knight (2008) and The Imaginarium of Doctor Parnassus (2009). He also produced and directed music videos and aspired to be a film director.
Heath Ledger was born on the fourth of April 1979, in Perth, Western Australia, to Sally (Ramshaw), a teacher of French, and Kim Ledger, a mining engineer who also raced cars. His ancestry was Scottish, English, Irish, and Sephardi Jewish. As the story goes, in junior high school it was compulsory to take one of two electives, either cooking or drama. As Heath could not see himself in a cooking class he tried his hand at drama. Heath was talented, however the rest of the class did not acknowledge his talent. When he was seventeen he and a friend decided to pack up, leave school, take a car and rough it to Sydney. Heath believed Sydney to be the place where dreams were made or, at least, where actors could possibly get their big break. Upon arriving in Sydney with a purported sixty-nine cents to his name, Heath tried everything to get a break.
His first real acting job came in a low-budget movie called Blackrock (1997), a largely unimpressive cliché; an adolescent angst film about one boy's struggle when he learns his best mate raped a girl. He only had a very small role in the film. After that small role Heath auditioned for a role in a T.V. show called Sweat (1996) about a group of young Olympic hopefuls. He was offered one of two roles, one as a swimmer, another as a gay cyclist. Heath accepted the latter because he felt to really stand out as an actor one had to accept unique roles that stood out from the bunch. It got him small notice, but unfortunately the show was quickly axed, forcing him to look for other roles. He was in Home and Away (1988) for a very short period, in which he played a surfer who falls in love with one of the girls of Summer Bay. Then came his very brief role in Paws (1997), a film which existed solely to cash in on guitar prodigy Nathan Cavaleri's brief moment of fame, where he was the hottest thing in Australia. Heath played a student in the film, involved in a stage production of a Shakespeare play, in which he played "Oberon". A very brief role, this offered him a small paycheck but did nothing to advance his career. Then came Two Hands (1999). He went to the U.S. trying to audition for film roles, showcasing his brief role in Roar (1997) opposite then unknown Vera Farmiga.
Then Australian director Gregor Jordan auditioned him for the lead in Two Hands (1999), which he got. An in your face Aussie crime thriller, Two Hands (1999) was outstanding and helped him secure a role in 10 Things I Hate About You (1999). After that, it seemed Heath was being typecast as a young hunk, which he did not like, so he accepted a role in a very serious war drama The Patriot (2000).
What followed was a stark inconsistency of roles, Ledger accepting virtually every single character role, anything to avoid being typecast. Some met with praise, like his short role in Monster's Ball (2001), but his version of Ned Kelly (2003) was an absolute flop, which led distributors hesitant to even release it outside Australia. Heath finally had deserved success with his role in Brokeback Mountain (2005). For his portrayal of Ennis Del Mar in in the film, Ledger won the New York Film Critics Circle Award for Best Actor and Best International Actor from the Australian Film Institute, and was nominated for the BAFTA Award for Best Actor in a Leading Role and for the Academy Award for Best Actor.
Ledger was found dead on January 22, 2008 in his apartment in the Manhattan neighborhood of SoHo, with a bottle of prescription sleeping pills near-by. It was concluded weeks later that he died of an accidental overdose of prescription drugs that included pain-killers, sleeping pills and anti-anxiety medication. His death occurred during editing of The Dark Knight (2008) and in the midst of filming his last role as Tony in The Imaginarium of Doctor Parnassus (2009).
Posthumously, he shared the 2007 Independent Spirit Robert Altman Award with the rest of the ensemble cast, the director, and the casting director for the film I'm Not There (2007), which was inspired by the life and songs of American singer-songwriter Bob Dylan. In the film, Ledger portrayed a fictional actor named Robbie Clark, one of six characters embodying aspects of Dylan's life and persona.
A few months before his death, Ledger had finished filming his performance as the Joker in 'The Dark Knight (2008). His untimely death cast a somber shadow over the subsequent promotion of the $185 million Batman production. Ledger received more than thirty posthumous accolades for his critically acclaimed performance as the Joker, the psychopathic clown prince of crime, in the film, including the Academy Award for Best Supporting Actor, a Best Actor International Award at the 2008 Australian Film Institute Awards (for which he is the second actor to win an acting award posthumously after Peter Finch who won an Oscar for Network (Best Actor 1977)), the 2008 Los Angeles Film Critics Association Award for Best Supporting Actor, the 2009 Golden Globe Award for Best Supporting Actor - Motion Picture, and the 2009 BAFTA Award for Best Supporting Actor.ヒース・レジャー(4 April 1979 – 22 January 2008)(aged 28)
1992 Clowning Around
1997 ブラックロック Blackrock
1997 ポーズ! おしゃべりパソコン犬危機一髪! Paws
1999 トゥー・ハンズ 銃弾のY字路 Two Hands
---オーストラリア映画協会賞主演男優賞ノミネート
1999 恋のからさわぎ 10 Things I Hate About You
2000 パトリオット The Patriot
2001 チョコレート Monster's Ball
2001 ROCK YOU! A Knight's Tale
2002 サハラに舞う羽根 The Four Feathers
2003 悪霊喰 The Order
2003 ケリー・ザ・ギャング Ned Kelly
---オーストラリア映画協会賞主演男優賞ノミネート
2005 ブラザーズ・グリム The Brothers Grimm ジェイコブ (ヤーコプ・グリム)
2005 ロード・オブ・ドッグタウン Lords of Dogtown スキップ・イングロム
2005 ブロークバック・マウンテン Brokeback Mountain
---MTVムービー・アワード・ベストキス賞(ジェイク・ジレンホールと共同受賞)
---オーストラリア映画協会賞主演男優賞受賞
---オーストラリア映画協会賞 Reader's Choice Award for Best Actor 受賞
---サンタバーバラ国際映画祭 Performance of the Year Award 受賞
---サンフランシスコ映画批評協会賞主演男優賞受賞
---ニューヨーク映画批評家協会賞主演男優賞受賞
---フェニックス映画批評家協会主演男優賞受賞
---ラスベガス映画批評家協会主演男優賞受賞
---アカデミー主演男優賞ノミネート
---英国アカデミー賞 主演男優賞ノミネート
---ゴールデングローブ賞 主演男優賞(ドラマ部門)ノミネート
2005 カサノバ Casanova ジャコモ・カサノヴァ
2006 キャンディ Candy ダン オーストラリア映画協会賞主演男優賞ノミネート
2007 アイム・ノット・ゼア I'm Not There ロビー・クラーク (ボブ・ディラン)
2008 ダークナイト The Dark Knight
---アカデミー助演男優賞受賞
---オーストラリア映画協会賞主演男優賞受賞
---ゴールデングローブ賞 助演男優賞受賞
---英国アカデミー賞 助演男優賞受賞
2009 Dr.パルナサスの鏡 The Imaginarium of Doctor Parnassus 遺作- Actor
- Producer
- Additional Crew
Paul William Walker IV was born in Glendale, California. He grew up together with his brothers, Caleb and Cody, and sisters, Ashlie and Amie. Their parents, Paul William Walker III, a sewer contractor, and Cheryl (Crabtree) Walker, a model, separated around September 2004. His grandfather, William Walker, was a Pearl Harbor survivor and a Navy middleweight boxing champion, while his maternal grandfather commanded a tank battalion in Italy under General Patton during World War II. Paul grew up active in sports like soccer and surfing. He had English and German ancestry.
Paul was cast for the first season of the family sitcom, Throb (1986) and began modeling until he received a script for the 1994 movie, Tammy and the T-Rex (1994). He attended high school at Village Christian High School in Sun Valley, California, graduating in 1991. With encouragement from friends and an old casting agent who remembered him as a child, he decided to try his luck again with acting shortly after returning from College.
He starred in Meet the Deedles (1998), a campy, silly but surprisingly fun film which failed to garner much attention. However, lack of attention would not be a problem for Paul Walker for long. With Pleasantville (1998), he appeared in his first hit. As the town stud (a la 1950s) who more than meets his match in modern day Reese Witherspoon, he was one of the most memorable characters of the film. That same year, Paul and his then-girlfriend Rebecca had a baby girl named Meadow Walker (Meadow Rain Walker). Even though Paul publicly admitted that Meadow was not planned, he said that she is his number one priority. Paul and Rebecca separated and Meadow lives with her mother in Hawaii. She often visited with Paul as his homes in Santa Barbara and Huntington Beach, California.
Roles in the teen hits Varsity Blues (1999), She's All That (1999) and The Skulls (2000) cemented Walker's continued rise to celebrity. He was chosen to be one of the young stars featured on the cover of Vanity Fair's annual Hollywood issue in April 2000. While the other stars on the cover, brooded and tried their best to look sexy and serious, Paul smiled brightly and showed why he is not part of the norm. This is one young actor who certainly stood apart from the rest of the crowd, not only with his talent but with his attitude. The Dallas Morning News commented in March of 2000 that, "Paul is one of the rarest birds in Hollywood- a pretension free movie star." The latest blockbuster hit, The Fast and the Furious (2001), had raised his stardom to an even higher level.
His fighting scenes in movies lead to a passion for martial arts. He has studied various forms of Jujitsu, Taekwondo, Jeet Kune Do and Eskrima. Paul mentioned in a magazine interview that he had hoped enroll in the Keysi Fighting Method when it comes to the United States. Other than practicing martial arts, Paul enjoyed relaxing at home with his daughter, Meadow Rain, surfing near his Huntington Beach abode, walking his dogs and just driving.
When Paul seriously did get a break from the entertainment business, he said he loved traveling. Paul had traveled to India, Fiji, Costa Rica, Sarawak, Brunei, Borneo and other parts of the Asian continent. Tragically, Paul Walker died in a car crash on Saturday November 30, 2013, after attending a charity event for "Reach Out Worldwide".
Several of Paul's films were released after his death, include Hours (2013), Brick Mansions (2014), and his final starring role in The Fast and the Furious series, Furious 7 (2015), part of which was completed after his death. The film's closing scenes paid tribute to Walker, whose character met with a happy ending, and rode off into the sunset. He appeared archival footage in Fast X (2023).ポール・ウォーカー(September 12, 1973 – November 30, 2013) (aged 40)
1987 殺人サイボーグ リタリエーター Programmed to Kill
1998 ディードル・ブラザーズ/悪ノリ双子の大作戦 Meet the Deedles
1998 カラー・オブ・ハート Pleasantville
1999 バーシティ・ブルース Varsity Blues
1999 シーズ・オール・ザット She's All That
1999 ブロークダウン・パレス Brokedown Palace
2000 ザ・スカルズ/髑髏の誓い The Skulls
2001 ワイルド・スピード The Fast and the Furious
2001 ロードキラー Joy Ride
2003 ワイルド・スピードX2 2 Fast 2 Furious
2003 タイムライン Timeline
2004 NOEL ノエル Noel
2005 イントゥ・ザ・ブルー Into the Blue
2006 ワイルド・バレット Running Scard
2006 南極物語 Eight Below
2006 父親たちの星条旗 Flags of Our Fathers
2007 ボビーZ The Death and Life of Bobby Z
2008 Lプロジェクト The Lazarus Project
2009 ワイルド・スピード MAX Fast & Furious
2010 テイカーズ Takers
2011 ワイルド・スピード MEGA MAX Fast Five
2013 逃走車 Vehicle 19
2013 ワイルド・スピード EURO MISSION Fast & Furious 6
2013 スティーラーズ Pawn Shop Chronicles
2013 ハリケーンアワー Hours
2014 フルスロットル Brick Mansions
2015 ワイルド・スピード SKY MISSION Fast & Furious 7