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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.- Actress
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Jaime King is an American actress and model from Omaha, Nebraska. She is known for acting in Hart of Dixie, the Sin City film series, White Chicks, Barely Lethal, Bulletproof Monk, Star Wars: The Clone Wars and Pearl Harbor. She is married to Kyle Newman since 2007 and had two children with him. Jessica Alba and Taylor Swift are her children's godmothers.- Actor
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Jorge Garcia (born April 28, 1973) is an American actor and comedian. He first came to public attention with his performance as Hector Lopez on the television show Becker (1998), but probably more known later for his portrayal of Hugo "Hurley" Reyes in the television series Lost (2004) from 2004 to 2010. Garcia also performs as a stand-up comedian. He more recently starred in the FOX television series Alcatraz (2012), as well as playing a minor character on ABC's Once Upon a Time (2011). He stars as Jerry Ortega on Hawaii Five-0 (2010). Most recently Jorge Garcia can be seen in the Netflix original movie The Ridiculous 6 (2015).- Actor
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Nick Nolte was born in Omaha, Nebraska and began his career on stage at the Pasadena Playhouse and in regional theatre productions. His breakthrough role was in the TV miniseries Rich Man, Poor Man (1976), playing the role of "Tom/Tommy Jordache". Nick Nolte said that when he played a young man in the early scenes of the project, he weighed about 160 pounds. When he played a middle-aged man in the later scenes, he weighed over 180 pounds.- Actor
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Matthew Scott Porter is an American actor and occasional singer known for his role as Jason Street in the NBC television drama Friday Night Lights. His character was injured during a football game in the pilot episode and became disabled. The character was inspired by high school football player David Edwards.
Porter was paired with Alyson Michalka and Vanessa Hudgens in the 2009 film Bandslam. He performed the song "Pretend", which is featured on the Bandslam soundtrack. In 2010, he played the role of law firm investigator Blake Calamar in CBS' legal drama The Good Wife.
He starred as George Tucker in The CW comedy-drama series Hart of Dixie.- Actress
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- Soundtrack
Gabrielle Union was born on October 29, 1972, in Omaha, Nebraska, to Theresa (Glass), who managed a phone company, and Sylvester E. Union, a military sergeant and business executive. When she was eight, her family moved to Pleasanton, California, where she grew up and attended high school. There, Union was an all-star point guard and a year-round athlete participating in soccer, basketball, and track. She graduated from Foothill High School (Class of 1991).
After high school, Gabrielle attended college at University of Nebraska, where she played on the soccer team; and then later transferred to Cuesta College. Eventually, she ended up at UCLA. On her way to law school, just planning on being a working stiff, things started to happen during her senior year. Gabrielle had a college internship at a L.A. modeling agency, she thought it would be an easy way to pick up some extra credits. Little did she know that clients were eyeing the help. Upon the completion of the internship, she was asked to become a client with the agency. Gabby thought of it as a great way to pay off a stack of college loans, and modeled until her agent found that she could actually act. Her first audition/job was landed without any headshots, on Saved by the Bell (1989). Since then, she has gone on to have many small but substantial film roles and has guest-starred on several hit TV shows, all before landing the role of "Dr. Courtney Ellis", on CBS' short-lived medical drama City of Angels (2000).
Although she plays parts that are opinionated and strong, Gabrielle believes that, "Hollywood needs to recognize all shades of African-American beauty." Gabrielle is a 1996 graduate of UCLA with honors in sociology.- Actor
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Bryan Greenberg born in Omaha Nebraska and raised in St Louis Missouri. Graduated from the acting program at NYU Tisch school Of The Arts. He recently wrapped the film JUNCTION. Which he acted, directed, wrote, and produced. He can also be seen in the upcoming film YOU PEOPLE opposite Jonah Hill, Eddie Murphy and Julia Louis-Dreyfus. Bryan has also starred in the HBO biopic BESSIE, opposite Queen Latifah, and directed by Mudbound's Dee Rees. Bryan produced and starred as the lead in the independent feature IT'S ALREADY TOMORROW IN HONG KONG alongside his wife Jamie Chung. Most notably, Bryan starred in the HBO series HOW TO MAKE IT IN AMERICA. He also starred in ABC's OCTOBER ROAD, and HBO's UNSCRIPTED created by George Clooney, Grant Heslov, and Steven Soderbergh. He has also had recurring roles on THE MINDY PROJECT (Hulu) and THE TICK (Amazon) On the big screen, Bryan is best known for his role in PRIME opposite Meryl Streep, and Uma Thurman. And he can be seen in the Screen Gems movie FRIENDS WITH BENEFITS alongside Mila Kunis and Justin Timberlake. As well as BRIDE WARS opposite Kate Hudson and Anne Hathaway. His other varied film and television works include THE KITCHEN, A SHORT HISTORY OF DECAY, A CIVIL ACTION, THE PERFECT SCORE, NOBEL SON, THE GOOD GUY, and ONE TREE HILL.- Actor
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Nicholas D'Agosto was born and raised in Omaha, Nebraska. He is the son of Alan and Deanna D'Agosto, and the middle of five children (two older brothers, two younger sisters). He began acting when he was eleven years old, and was a senior at Creighton Preparatory School when he was cast in Election (1999), which filmed in Omaha in 1997. He later moved to Milwaukee, Wisconsin to attend college at Marquette University, graduating cum laude with degrees in History and Theatre. He is an active member at Antaeus Company in Los Angeles, and supports the charity "The Life You Can Save". He lives in Los Angeles, CA with his wife and young son.- Actress
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Born in 1987 at Offut Air Force Base of military parents, Hallee started acting professionally at age 3 while her parents were stationed in Pensacola Fla. She had her first stage role at age 3, was discovered by agents, and immediately began booking commercials first in Florida and, soon after, in New York. She landed dozens of national TV and radio spots for such companies as Disney Cruise Lines, Jiff, Tyco, Burger King, Kraft, Hardees, Kellogs, and a one-on-one with Bill Cosby for Jello. Soon after arriving in NYC when she was 4-years-old, she landed a recurring role on the ABC soap, Loving (1983). TV and feature films followed with several Hallmark Hall of Fame TV movies before she landed One True Thing (1998), portraying a young Renée Zellweger and working opposite Meryl Streep and William Hurt. Next up was Tom Hanks's 8-year-old aunt in You've Got Mail (1998).
At age 11, she was nominated for her first Young Artist's Award for her chilling turn as a would-be child serial killer in the Law & Order (1990) episode, Killerz (1999). Showing dramatic range, that role was followed by a turn as a future nun in the independent feature, Manna from Heaven (2002). By age 12, she had moved with her family to Los Angeles where she immediately became a main go-to young actress for significant guest starring roles on network series while also landing leading roles in TV series pilots and made-for-TV movies. One of the finalists for Lizzie McGuire (2001), she was subsequently selected for the starring role in the Disney Channel TV Christmas Classic, The Ultimate Christmas Present. By age 14, she had landed a major recurring role on ER (1994), portraying Mark Greene's wayward daughter, Rachel. She continued with that series until its final episode in 2009, where her character was redeemed as a medical student following in her father's footsteps.
After ER (1994), she landed another major recurring role on JAG (1995), playing Harm's ward, "Mattie Grace Johnson". That was soon followed by a series regular role, playing "Daley" in the award-winning Discovery Kids, Flight 29 Down. During her teen years, she received several more Young Artist Awards nominations and two best actress awards. Other noteworthy film roles during her teens included playing Kristen Stewart's best friend, "Rachel" in Speak (2004), and a starring role opposite Richard Thomas, in Wild Hearts (2006), a Hallmark Movie Channel favorite. At age 19, she fought for and won the starring role in the independent feature, 16 to Life, garnering two best actress awards on the film festival circuit. This film was released on TV in February, 2011. In April, 2011, she starred in the independent feature, Right Next Door, opposite Linda Hamilton. While continuing with her award-winning acting career, she also made time to attend to her education and graduated in June, 2011 from UCLA with honors, Magna Cum Laude with a BA in Anthropology. She has lived in Beijing, China as part of her studies with UCLA and is fluent in Chinese.- Actress
- Producer
- Director
Stephanie Kurtzuba is a NYC based actress. Her career has spanned the mediums of film, television and live theatre. She was born and raised in Omaha, Nebraska and later graduated from New York University's Tisch School of the Arts with a degree and honors in Acting. She is married with 2 children and is represented by Tony Cloer of Blue Ridge Entertainment in NYC.- Producer
- Director
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Director, producer and screenwriter Alexander Payne was born in Omaha, Nebraska. His parents, Peggy (Constantine) and George Payne, ran a Greek restaurant. His father is of Greek and German ancestry, and his mother is of Greek descent; the family name was originally Papadopoulos. He is the youngest of three brothers.
Alexander attended Stanford University, where he majored in Spanish and History. He then went on to study film at UCLA Film School. His university thesis film was screened at the Sundance film festival, which led to him being backed by Miramax to write and direct Citizen Ruth (1996). Payne prefers to have control over his movies, from scripts to cast.- Actress
- Soundtrack
Swoosie is the only child of author Margo and Frank Kurtz. As her father was a colonel in the U.S. Air Force, she moved often during her school years, living in eight different states. At the University of Southern California she majored in drama; later she attended the London Academy of Music and Dramatic Art, collected Broadway's "triple crown" (the Tony, Drama Desk and Outer Critics Circle awards) for her portrayal of Gwen in Lanford Wilson's "The Fifth of July". Since then she has appeared in many TV shows and movies, and received several Emmy and Golden Globe nominations and an Emmy for her guest-starring performance on Carol Burnett's comedy series Carol & Company (1990).- Actor
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Andrew Rannells was born on 23 August 1978 in Omaha, Nebraska, USA. He is an actor and producer, known for A Simple Favor (2018), The Prom (2020) and The Intern (2015).- Actor
- Director
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Excellent, prolific and dependable character actor Terry Kiser was born in Omaha, Nebraska. Terry attended the University of Kansas on both football and dramatic scholarships. He graduated with a degree in Industrial Engineering and worked for three years in this profession in his hometown of Omaha. Kiser also acted in some 50 plays around this same time. Terry then moved to New York and studied his craft at the Actors Studio, where he was mentored by legendary Method acting teacher Lee Strasberg. Following several gigs in television commercials, he made his film debut as a preacher in the film Rachel, Rachel (1968). Although often cast as sleazy and unlikable scoundrels, Terry has shown on occasion that he can portray more sympathetic parts with equal skill and conviction.
Kiser gave an especially strong and engaging performance in a rare substantial starring role in the little seen drama Lapin 360 (1972). Best known as the deceased, but still active Bernie Lomax in the hilarious "Weekend at Bernie's" films, Terry's other memorable roles include Chuck Norris' ill-fated cop partner Dave Pierce in the exciting An Eye for an Eye (1981), shady businessman Freddy Barrett in the entertaining science fiction disaster film Starflight: The Plane That Couldn't Land (1983), petty worthless hoodlum Jesse Hardwick in the superior horror anthology opus From a Whisper to a Scream (1987), sneaky psychiatrist Dr. Crews in Friday the 13th: The New Blood (1988), and the evil Count Gunther Spretzle in Mannequin: On the Move (1991). Kiser had a recurring part on the daytime soap opera The Doctors (1963).
Among the many television series Terry has done guest spots on are Will & Grace (1998), Walker, Texas Ranger (1993), Baywatch Nights (1995), Dream On (1990), The Golden Girls (1985), L.A. Law (1986), Hunter (1984), Murder, She Wrote (1984), Riptide (1984), Knight Rider (1982), The Fall Guy (1981), Magnum, P.I. (1980), Hill Street Blues (1981), CHiPs (1977), Diff'rent Strokes (1978), All in the Family (1971), Maude (1972), Hawaii Five-O (1968), The Bionic Woman (1976), The Six Million Dollar Man (1974), and Baretta (1975). In addition to his film and television work, Kiser has acted on stage in the Broadway plays "God's Favorite" (Terry received a Tony Award nomination for his performance in this Neil Simon comedy), "Shelter", "The Castro Complex", and "Paris Is Out!". Terry won both an Obie and a Theater World Award for his exemplary acting in the dramatic play "Fortune and Men's Eyes".
Terry currently resides in Colorado and co-founded the premiere acting school The Actors Arena in Austin Texas with Joy Leigh.- American character actress Anne Ramsey was born Anne Mobley in Omaha, Nebraska to Eleanor (Smith), a national treasurer of the Girl Scouts, and Nathan Mobley, an insurance executive. Her uncle was U.S. Ambassador David S. Smith. An ancestor was Mayflower Pilgrim William Brewster. She attended Rosemary Hall (then an elite girls' school in Greenwich, Connecticut) and Bennington College, and was active in numerous on- and off-Broadway productions. After she married actor Logan Ramsey, the couple founded Philadelphia's Theatre of the Living Arts. In the early 1970s she began her lengthy film career. In 1971 she starred opposite her husband in The Sporting Club (1971), then settled into bit parts.
Eventually, she was noticed for her trademark brusque, gruff, usually comedic roles, after which she received more film offers, notably Goin' South (1978), Any Which Way You Can (1980), The Goonies (1985), and Deadly Friend (1986). Unfortunately, in the mid-1980s she discovered she was suffering from throat cancer and was forced to have parts of both her tongue and jawbone removed, which obviously affected how she spoke and the effects of which are evident in Throw Momma from the Train (1987). She received an Academy Award nomination in 1987 for Best Supporting Actress for her role as Danny DeVito's inimitably nightmarish mother in Throw Momma from the Train (1987) which she managed to finish by bravely soldiering on even as her cancer remorselessly worsened. She died in 1988, aged 59, just weeks after Throw Momma from the Train (1987) was released. - Actor
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Fred Astaire was born in Omaha, Nebraska, to Johanna (Geilus) and Fritz Austerlitz, a brewer. Fred entered show business at age 5. He was successful both in vaudeville and on Broadway in partnership with his sister, Adele Astaire. After Adele retired to marry in 1932, Astaire headed to Hollywood. Signed to RKO, he was loaned to MGM to appear in Dancing Lady (1933) before starting work on RKO's Flying Down to Rio (1933). In the latter film, he began his highly successful partnership with Ginger Rogers, with whom he danced in 9 RKO pictures. During these years, he was also active in recording and radio. On film, Astaire later appeared opposite a number of partners through various studios. After a temporary retirement in 1945-7, during which he opened Fred Astaire Dance Studios, Astaire returned to film to star in more musicals through 1957. He subsequently performed a number of straight dramatic roles in film and TV.- Actor
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Edward Montgomery Clift (nicknamed 'Monty' his entire life) was born on October 17, 1920 in Omaha, Nebraska, just after his twin sister Roberta (1920-2014) and eighteen months after his brother Brooks Clift. He was the son of Ethel "Sunny" Anderson (Fogg; 1888-1988) and William Brooks Clift (1886-1964). His father made a lot of money in banking but was quite poor during the depression. His mother was born out of wedlock and spent much of her life and the family fortune finding her illustrious southern lineage and raising her children as aristocrats.
At age 13, Monty appeared on Broadway ("Fly Away Home"), and chose to remain in the New York theater for over ten years before finally succumbing to Hollywood. He gained excellent theatrical notices and soon piqued the interests of numerous lovelorn actresses; their advances met with awkward conflict. While working in New York in the early 1940s, he met wealthy former Broadway star Libby Holman. She developed an intense decade-plus obsession over the young actor, even financing an experimental play, "Mexican Mural" for him. It was ironic his relationship with the bisexual middle-aged Holman would be the principal (and likely the last) heterosexual relationship of his life and only cause him further anguish over his sexuality. She would wield considerable influence over the early part of his film career, advising him in decisions to decline lead roles in Sunset Boulevard (1950), (originally written specifically for him; the story perhaps hitting a little too close to home) and High Noon (1952).
His long apprenticeship on stage made him a thoroughly accomplished actor, notable for the intensity with which he researched and approached his roles. By the early 1950s he was exclusively homosexual, though he continued to hide his homosexuality and maintained a number of close friendships with theater women (heavily promoted by studio publicists).
His film debut was Red River (1948) with John Wayne quickly followed by his early personal success The Search (1948) (Oscar nominations for this, A Place in the Sun (1951), From Here to Eternity (1953) and Judgment at Nuremberg (1961)). By 1950, he was troubled with allergies and colitis (the U.S. Army had rejected him for military service in World War II for chronic diarrhea) and, along with pill problems, he was alcoholic. He spent a great deal of time and money on psychiatry.
In 1956, during filming of Raintree County (1957), he ran his Chevrolet into a tree after leaving a party at Elizabeth Taylor's; it was she who saved him from choking by pulling out two teeth lodged in his throat. His smashed face was rebuilt, he reconciled with his estranged father, but he continued bedeviled by dependency on drugs and his unrelenting guilt over his homosexuality.
With his Hollywood career in an irreversible slide despite giving an occasional riveting performance, such as in Stanley Kramer's Judgment at Nuremberg (1961), Monty returned to New York and tried to slowly develop a somewhat more sensible lifestyle in his brownstone row house on East 61st Street in Manhattan. He was set to play in Taylor's Reflections in a Golden Eye (1967), when he died in the early morning hours of July 23, 1966, at his home at age 45. His body was found by his live-in personal secretary/companion Lorenzo James, who found Clift lying nude on top of his bed, dead from what the autopsy called "occlusive coronary artery disease." Clift's last 10 years prior to his death from his 1956 car accident were called the "longest suicide in history" by famed acting teacher Robert Lewis.- Writer
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Amber Ruffin is a writer, executive producer, and host of the Emmy and WGA Award-nominated series The Amber Ruffin Show on Peacock. She is also an Emmy and WGA Award-nominated writer and performer for NBC's "Late Night with Seth Meyers." Ruffin was the first African American female to write for a late-night network talk show in the U.S. She wrote and performed on Comedy Central's "Detroiters" and was a regular narrator on the cabler's "Drunk History." Ruffin was previously a performer at Boom Chicago in Amsterdam, the iO Theater, and the Second City in Chicago. In addition, she was a writer/performer for the 2018 and 2019 Golden Globe Awards and has written for the series "A Black Lady Sketch Show." Ruffin is a New York Times bestselling author, along with her sister Lacey Lamar, of "You'll Never Believe What Happened to Lacey: Crazy Stories of Racism," published by Grand Central Publishing. She is also co-writing the Broadway musical "Some Like it Hot," which will begin performances in 2022. In 2021, Ruffin was named to the 2021 TIME100 Next List, TIME's list of the next 100 most influential people in the world.- Actor
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Small in stature at only 2' 11", but big in demand onscreen, the diminutive Angelo Rossitto was one of Hollywood's busiest "small" actors and appeared in over 70 feature films between 1927 until 1987.
Born in Omaha, Nebraska in February 1908, Rossitto first appeared in silent films alongside stars such as Lon Chaney and John Barrymore. In subsequent years Rossitto also regularly popped up alongside Bela Lugosi in villainous roles, and was a stunt double for Shirley Temple.
Angelo portrayed dwarfs, midgets, gnomes and pygmies as well as aliens and monsters in film productions ranging from woeful to wonderful. Probably best remembered as one of the circus members in the highly controversial Tod Browning film Freaks (1932), as shoeshine man / street informer, "Little Moe", the friend of Robert Blake in the police drama TV series Baretta (1975), and then at age 77 and nearly blind, Rossitto co-starred as the megalomaniacal scientist "Master Blaster" in Mad Max Beyond Thunderdome (1985).
He died in September 1991 from complications during surgery.- Actress
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Joelle Joanie "JoJo" Siwa was born on May 19, 2003 in Omaha, Nebraska. JoJo Siwa is a YouTube sensation, pop star, dancer, entrepreneur, social media influencer and The New York Times bestselling author. Siwa connects with her fans through many channels: via social media she has over 10 million subscribers with over 2.4 billion views on YouTube, she has over 8.6 million followers on Instagram, over 436,000 Twitter followers, over 17.3 million followers on TikTok (formerly Musical.ly), and over 566,000 followers on Facebook; through her SIWANATORZ club, which stands against negativity and bullying; through her global reach of consumer products including her signature bows, accessories, apparel, arts and crafts, cosmetics, home goods and party supplies; and with her hugely popular singles, "Boomerang," which has been viewed over 732 million times and RIAA certified platinum, "Kid in a Candy Store," which is RIAA certified gold, "Hold The Drama", and D.R.E.A.M.
Siwa is currently in the middle of her first-ever live concert tour, Nickelodeon's Jojo Siwa D.R.E.A.M. The Tour. Produced by Nickelodeon and AEG Presents and presented by Party City, the 80 city North American tour kicked off on May 17th in Phoenix, AZ and will continue thru October. Siwa will also take the tour to the UK and Ireland this fall. Visit JoJoDREAMTour.com for tickets, the full tour schedule and more information.
Siwa recently took the stage at this year's Nickelodeon SlimeFest - a two-day family-friendly music festival held in Chicago, Ill., at Huntington Bank Pavilion at Northerly Island on June 8 and 9 - along with Pitbull, Bebe Rexha and T-Pain. Siwa helped kick off Nickelodeon's inaugural U.S. SlimeFest last year, where she performed in front of over 24,000 fans. She also performed at Nickelodeon's second inaugural SlimeFest UK.
Siwa recently won her third Nickelodeon Kids' Choice Award for "Favorite Social Music Star." Her previous Choice Awards include "Favorite Viral Music Artist" in 2017 and "Favorite Musical YouTube Creator" in 2018. She also performed a medley of hits at 2018 Kids' Choice Awards and 2018 Kids' Choice Mexico.
In November, Siwa released her first EP, D.R.E.A.M. The Music, featuring four new songs: "D.R.E.A.M," "My Story," "Everyday Popstars" and "Only Getting Better." The music video for "D.R.E.A.M." was released on Siwa's YouTube channel and to date has garnered over 61 million views. Due to the success of D.R.E.A.M. The Music, Siwa released a second EP, Celebrate, in April featuring an additional four new songs: "It's Time To Celebrate," "#1U," "Worldwide Party," and "Bop!" The accompanying music videos for "Bop!" and "Worldwide Party" have accumulated over 10 million views and 2.2 million views respectively on her YouTube channel.
In 2016, Nickelodeon and Siwa entered an exclusive licensing partnership to develop a line of consumer products inspired by Siwa. Categories span toys, apparel, accessories, consumer electronics, Halloween costumes and more. To date, over 50 million JoJo Bows have been sold. Siwa's consumer products are available internationally, including the UK, Canada, Australia and Mexico.
Siwa launched her first animated shorts series, The JoJo & BowBow Show Show starring Siwa and her furry best friend BowBow. She also worked alongside Nick Cannon in Nickelodeon's hit competition series Lip Sync Battle Shorties. She has appeared on various Nickelodeon live-action series including School of Rock and The Thundermans.- Jay Karnes was born in Omaha, NE and attended the University of Kansas, where he studied theatre, history, and political science. He has performed extensively in the regional theater, including in The Tempest, Two Noble Kinsman, Richard II, Macbeth, Coriolanus, Love's Labor's Lost, and Tom Stoppard's Arcadia, as a company member at The Oregon Shakespeare Festival; Dealing with Claire, The Birthday Party, The Seagull, Dangerous Corner, and The Tavern, with the Matrix Theater Company in Los Angeles; Richard III, A Midsummer Night's Dream, Jekyll, and The Tempest, at the Missouri Repertory Theatre; Neil LaBute's Filthy Talk for Troubled Times, directed by the author at the Westside dance project in New York; as well as roles at the Milwaukee Repertory Theater, South Coast Repertory Theater, Nebraska Shakespeare Festival, and the California Shakespeare Festival, among others.
In the late 1990s, Jay began working in television and film, and is perhaps best known for his portrayal of detective Holland "Dutch" Wagenbach in the Golden Globe winning drama "The Shield."
Jay is married to actress Julia Campbell and the couple have twins, a boy and a girl. - Actress
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A genuine model of sincerity, practicality and dignity in most of the roles she inhabited, actress Dorothy McGuire offered Tinseltown more talent than it probably knew what to do with. A quiet, passive beauty, she had a soothing quality to her open-faced looks and voice. She was a natural when he came to tearjerkers and she certainly had a knack for opening up her film-goer's tear ducts with her arresting performances in sentimental drama. She preferred to rest on her acting laurels than engage in publicity-mongering to win roles. As a result, Dorothy was surprisingly ill-served in the awards department during her over five-decade film career, yet left a major imprint on celluloid. Touching, complex, immaculate in poise and style, she is now and forever etched in Hollywood's "Golden Age" annals and in the minds of film lovers everywhere.
Dorothy began inconspicuously enough in Omaha, Nebraska on Wednesday, June 14th, 1916. Her parents encouraged her early interest in acting and she made her debut as a teenager in "A Kiss for Cinderella" at the Omaha Community Playhouse which starred visiting alumni member Henry Fonda. She received her education at Omaha Junior College, Ladywood Convent in Indianapolis, and Pine Manor Junior College in Wellesley, Massachusetts before setting her sites on an acting career. Following summer stock she appeared in such 1938 stage productions as "Bachelor Born" and "Stopover" before understudying the role of Emily Gibb in Thornton Wilder's "Our Town" on Broadway, which at the time showcased young Martha Scott. Dorothy eventually replaced Scott in the role.
Other experiences came her way on stage with "My Dear Children" starring John Barrymore, "Swingin' the Dream", "Medicine Show", "The Time of Your Life" and "Kind Lady" before she was handed the titular role of "Claudia" in 1941. This gentle comedy became a certifiable Broadway hit and Dorothy simply incandescent as the child-like bride forced to wake up to reality after her sudden marriage. David O. Selznick subsequently signed her to a film contract. Fortunately, 20th Century-Fox, untrue to form, took a chance on the film unknown and allowed her to recreate her stage triumph opposite Robert Young. Claudia (1943) was so beautifully done and warmly received that McGuire and Young went on to recreate their roles three years later with Claudia and David (1946).
Unbelievably, Dorothy topped herself in only her second film role. After a pregnant Gene Tierney became unavailable for the role of Katie Nolan in A Tree Grows in Brooklyn (1945), the part fell to Dorothy. It's now hard to believe anyone else in the role. As the impoverished wife of a charming Irish ne'er-do-well and inebriate, Dorothy showed amazing complexity as the detached wife and mother whose painful but necessary decision-making alienates many around her, especially her daughter who is the apple of her daddy's eye. Directed by Elia Kazan, Dorothy was shamefully overlooked at awards time. Young Peggy Ann Garner was given a "special juvenile Oscar" and errant husband James Dunn picked up the Supporting Actor trophy for his work. Dorothy was not of the mind of tooting her own horn and it may have cost her an Oscar nomination -- better yet, the Oscar -- for she was hands down the better performer than eventual winner Joan Crawford, a popular choice for Mildred Pierce (1945).
Dorothy made it four film hits in a row with the success of both the sentimental fantasy The Enchanted Cottage (1945), in which she reunited with Robert Young to play two of society's castoffs who fall in love, and the expert Hitchcockian thriller The Spiral Staircase (1946) as the mute servant who is terrorized by a serial killer. Preferring rich characterizations over glamour, audiences saw Dorothy dolled up a bit more than usual in Till the End of Time (1946) as a war widow who falls for a younger hunk (Guy Madison). Her 40s filming was capped by a Best Actress nomination in Gentleman's Agreement (1947), an-anti-Semitic tale that boasted a topnotch ensemble cast including Gregory Peck, John Garfield and Celeste Holm, who won a supporting Oscar for this.
With nary a weak film yet on her resume, an unpretentious Dorothy still hadn't achieved top cinematic stardom. Preferring to return to her theater roots, she abandoned films for a couple of years and performed in such vehicles as "Tonight at 8:30" (1947) and "Summer and Smoke" (1950). When she did return it was to a different Hollywood and things would not be the same. Instead forgettable fluff such as Mother Didn't Tell Me (1950) and Callaway Went Thataway (1951) were the slim pickings offered. Although she found a popular hit with Three Coins in the Fountain (1954), the film was more notable for its title song and sumptuous settings than for the quality of acting of the three distaff stars -- McGuire, Maggie McNamara and Jean Peters.
Dorothy graciously moved into pillar-of-strength mother roles as she approached her 40s, making fine impressions as a Quaker matriarch in Friendly Persuasion (1956) and as the resourceful mom in three of Disney's endearing classics, Old Yeller (1957), Swiss Family Robinson (1960) and Summer Magic (1963). Her more flawed marital and parenting skills were displayed in the Inge film adaptation of The Dark at the Top of the Stairs (1960), and the huge, sudsy teen hit A Summer Place (1959) with Sandra Dee and Troy Donahue as young, star-crossed lovers. McGuire acted as Donahue's mother who rekindles an old love affair with Dee's father (Richard Egan). The 49-year-old McGuire then played the mother of all mothers, the Virgin Mary, in the misguided biblical epic The Greatest Story Ever Told (1965), marred by its overlong narrative and bizarre miscasting, including John Wayne as a Roman centurion. Her last film, the British-made Flight of the Doves (1971) as an Irish granny, had little impact.
In later years Dorothy found rich, rewarding work on TV and received an Emmy nomination for the well-received mini-series Rich Man, Poor Man (1976). She also played Marmee in a TV re-visitation of Part I (1978), and ended her career in good company with (what else?) a sentimental tearjerker in the mini-movie The Last Best Year (1990) co-starring Bernadette Peters and Mary Tyler Moore.
Dorothy's longtime husband was photographer John Swope who died in 1979. Her children by him are Mark Swope, an artist and photographer, and former actress Topo Swope. Dorothy's health declined severely after she fell and broke her leg in 2001. She died of heart failure not long after in a Santa Monica hospital on Thursday, September 13th at the age of 85.- Director
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Cherien Dabis is a critically acclaimed and award winning Palestinian American film and television director, writer, and actress. Born in the U.S. and raised in Ohio and Jordan, Dabis studied film at Columbia University's School of the Arts.
Most recently, Dabis was Emmy nominated for Outstanding Directing in a Comedy Series for the critically acclaimed and groundbreaking episode "The Boy From 6B" on Hulu's "Only Murders in the Building", starring comedy legends Steve Martin and Martin Short alongside Selena Gomez. Told from the perspective of a deaf character and with only one line of spoken dialogue, Dabis relied on ASL, compelling visuals, and the soundtrack to tell the story. In addition to her directing work on season 1, Dabis directed two episodes of season 2.
Dabis got her start with her debut feature Amreeka, which she wrote and directed. The film premiered at Sundance in 2009 and went on to win the coveted FIPRESCI International Critics Prize in the Director's Fortnight at Cannes. It won a dozen more international awards and was nominated for a Best Picture Gotham Award, 3 Independent Spirit Awards, including Best Picture, and named one of the Top Ten Independent Films of the Year by the National Board of Review. It landed Dabis on Variety's "Ten Directors to Watch" list that same year. Dabis made history when the film broke records in its theatrical release by becoming the most-screened Arab-directed film in US-cinema history.
Dabis forged new ground with her second feature May in the Summer, in which she also stars opposite Bill Pullman, Hiam Abbass and Alia Shawkat. The film opened the 2013 Sundance Film Festival and had its international premiere at the Venice Film Festival before being released worldwide. It's available to stream on Amazon.
A true multi-hyphenate, Dabis is known for standout episodic directing work on Emmy award-winning television shows such as Hulu's "Ramy" and Netflix's "Ozark," as well as her writing and acting for television. Past writing credits include "Empire," "Quantico," and "The L Word" and in the world of acting, she just wrapped on Scott Z. Burns' upcoming Apple TV+ anthology series "Extrapolations.'' Next, she will appear as a recurring guest star on "Mo," comedian Mo Amer's new half hour comedy for Netflix.- Writer
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Nicholas Sparks was born on December 31, 1965 in Omaha, Nebraska. He graduated from the University of Notre Dame in 1988 and is one of the more critically-acclaimed authors of the past 5 years. He is the author of 5 best-selling books, including "The Notebook" and "The Rescue". Eleven of his books, Message in a Bottle (1999), A Walk to Remember (2002), The Notebook (2004), Nights in Rodanthe (2008), The Last Song [2010] , Dear John [2010] , The Lucky One [2012], Safe Haven [2013] , The Best of Me [2014] , The Longest Ride (2015) and The Choice (2016)
have been adapted into blockbuster movies. Sparks lives in North Carolina with his wife, 3 sons, and twin daughters.- Actress
- Soundtrack
Blonde Pamela Austin was born Pamela Joan Akert in Omaha, daughter of Chester William Akert (1918-90) and his wife Virginia May (née Moon). She spent her pre-teens in Europe, where her father was stationed with the Air Force. Pamela studied singing and ballet in Hungary and Germany. Once her family returned to the United States, she continued to attend further dance classes at Sacramento State College. As a 17-year old, Pamela made her stage debut in the Broadway musical revue La Plume de Ma Tante (billed as a 'light soprano'). In 1961, she got her first gig in Hollywood in a nightclub act with Tony Martin. This expanded into a six months-long nationwide tour.
That same year, she began acting in films and is perhaps best remembered in that medium for her two appearances opposite Elvis Presley (both as girls named Selena, in Blue Hawaii (1961) and Kissin' Cousins (1964)). Her career gained momentum thanks to a series of TV and newspaper commercials for the automobile manufacturer Dodge. Dubbed the "Dodge Rebellion Girl", she featured in some twenty ads until her replacement by a 23 year-old in 1967. During the remainder of the 60s and 70s, Pamela made guest appearances in TV shows of diverse genres. She was featured several times in comedy skits, as well as song-and-dance routines on Rowan & Martin's Laugh-In (1967). The peak of her career was a starring role as the perennial damsel-in-distress in the zany slapstick comedy The Perils of Pauline (1967). It was based on the classic 1914 cliffhanger serial with Pearl White and inspired by the over-the-top antics of the 1960s Batman (1966) series. Intended as a TV pilot, it failed to gain traction, either commercially or with critics. Pamela had another lead, as amiable schoolmarm Betsy Potter in the cultish comedy western Evil Roy Slade (1972).
Pamela was briefly married (1963-64) to NFL defensive player Charley Britt of the Los Angeles Rams. Her second, also short-lived (1965-67), husband was Hollywood press agent Guy McElwaine. From 1974 until his death in 2019, she was married to the aeronautical engineer, MIT graduate and founder of Tre Corporation Leopold S. Wyler.