Actors Who Are Difficult To Work With
Which of the following actors who have a notorious reputation in the industry would you least like to work with?
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Val Kilmer was born in Los Angeles, California, to Gladys Swanette (Ekstadt) and Eugene Dorris Kilmer, who was a real estate developer and aerospace equipment distributor. His mother, born in Indiana, was from a Swedish family, and his father was from Texas. Val studied at Hollywood's Professional's School and, in his teens, entered Juilliard's drama program. His professional acting career began on stage, and he still participates in theater; he played Hamlet at the 1988 Colorado Shakespeare Festival. His film debut was in the 1984 spoof Top Secret! (1984), wherein he starred as blond rock idol Nick Rivers. He was in a number of films throughout the 1980s, including the 1986 smash Top Gun (1986). Despite his obvious talent and range, it wasn't until his astonishingly believable performance as Jim Morrison in Oliver Stone's The Doors (1991) that the world sat up and took notice. Kilmer again put his good baritone to use in the movie, performing all of the concert pieces. Since then, he has played two more American legends, Elvis Presley in True Romance (1993) and Doc Holliday in Tombstone (1993). In July 1994, it was announced that Kilmer would be taking over the role of Batman/Bruce Wayne from Michael Keaton.Often described as self-centered and unwilling to co-operate. Refused to speak to Joel Schumacher for two weeks after being told off.
"He was being irrational and ballistic with the first assistant director, the cameraman, the costume people. He was rude and inappropriate. He was childish and impossible. I was forced to tell him that this would not be tolerated for one more second. Then we had two weeks where he did not speak to me but it was bliss!"
- Joel Schumacher- Actor
- Director
- Writer
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.His method acting style had proven to be difficult for his co-actors to handle. He was also noted for having a lax attitude (sometimes even failing to show up on set) and playing pranks on members of production.
"He was like a bad boy and did what he wanted."
- Francis Ford Coppola- Actor
- Producer
- Director
Dustin Lee Hoffman was born in Los Angeles, California, to Lillian (Gold) and Harry Hoffman, who was a furniture salesman and prop supervisor for Columbia Pictures. He was raised in a Jewish family (from Ukraine, Russia-Poland, and Romania). Hoffman graduated from Los Angeles High School in 1955, and went to Santa Monica City College, where he dropped out after a year due to bad grades. But before he did, he took an acting course because he was told that "nobody flunks acting." Also received some training at Los Angeles Conservatory of Music. Decided to go into acting because he did not want to work or go into the service. Trained at The Pasadena Playhouse for two years.His dedication to his craft has angered and irritated his co-stars. He also famously clashed with Sydney Pollack on the set of Tootsie due to wanting more creative control.
“Difficult (reputation)? Or meticulous? Maybe they are one in the same.”
- Dustin Hoffman- Actor
- Producer
- Writer
American actor, filmmaker and activist Edward Harrison Norton was born on August 18, 1969, in Boston, Massachusetts, and was raised in Columbia, Maryland.
His mother, Lydia Robinson "Robin" (Rouse), was a foundation executive and teacher of English, and a daughter of famed real estate developer James Rouse, who developed Columbia, MD; she passed away of brain cancer on March 6, 1997. His father, Edward Mower Norton, was an environmental lawyer and conservationist, who works for the National Trust for Historic Preservation. Edward has two younger siblings, James and Molly.
From the age of five onward, the Yale graduate (majoring in history) was interested in acting. At the age of eight, he would ask his drama teacher what his motivation in a scene was. He attended theater schools throughout his life, and eventually managed to find work on stage in New York as a member of the Signature players, who produced the works of playwright and director Edward Albee. Around the time when he was appearing in Albee's Fragments, in Hollywood, they were looking for a young actor to star opposite Richard Gere in a new courtroom thriller, Primal Fear (1996). The role was offered to Leonardo DiCaprio but he turned it down. Gere was on the verge of walking away from the project, fed up with the wait for a young star to be found, when Edward auditioned and won the role over 2000 other hopefuls. Before the film was even released, his test screenings for the part were causing a Hollywood sensation, and he was soon offered roles in Woody Allen's Everyone Says I Love You (1996) and The People vs. Larry Flynt (1996). Edward won the Golden Globe for Best Actor in a Supporting Role and received an Oscar nomination for Best Supporting Actor for his performance in Primal Fear (1996). In 1998, Norton gained 30 pounds of muscle and transformed his look into that of a monstrous skinhead for his role as a violent white supremacist in American History X (1998). This performance earned him his second Oscar nomination, this time for Best Actor.
He received his third Oscar nomination, for Best Supporting Actor, for his work in Birdman or (The Unexpected Virtue of Ignorance) (2014). His most prominent roles also include the critically acclaimed Everyone Says I Love You (1996), The People vs. Larry Flynt (1996), Fight Club (1999), Red Dragon (2002), 25th Hour (2002), Kingdom of Heaven (2005), The Illusionist (2006), Moonrise Kingdom (2012), and The Grand Budapest Hotel (2014). He has also directed and co-written films, including his directorial debut, Keeping the Faith (2000). He has done uncredited work on the scripts for The Score (2001), Frida (2002), and The Incredible Hulk (2008).
Alongside his work in cinema, Norton is an environmental and social activist, and is a member of the board of trustees of Enterprise Community Partners, a non-profit organization for developing affordable housing founded by his grandfather James Rouse.Frequently clashes with filmmakers over their vision of the movie. He snuck into the editing room and make his own cut of American History X, which is the version we know today.- Actor
- Writer
- Producer
Michael John Myers was born in 1963 in Scarborough, Ontario, to Alice E. (Hind), an officer supervisor, and Eric Myers, an insurance agent. His parents were both English, and had served in the Royal Air Force and British Army, respectively.
Myers' television career really started in 1988, when he joined Saturday Night Live (1975), where he spent six seasons. He brought to life many memorable characters, such as Dieter and Wayne Cambell. His major movies include Wayne's World (1992), Wayne's World 2 (1993), So I Married an Axe Murderer (1993), the Austin Powers movies and The Cat in the Hat (2003).He once reportedly fired someone for looking at him in the eye. He is often regarded as "moody, temperamental control freak.”- Actress
- Producer
- Director
Gwyneth Kate Paltrow was born in Los Angeles, the daughter of noted producer and director Bruce Paltrow and Tony Award-winning actress Blythe Danner. Her father was from a Jewish family, while her mother is of mostly German descent. When Gwyneth was eleven, the family moved to Massachusetts, where her father began working in summer stock productions in the Berkshires. It was here that she received her early acting training under the tutelage of her parents. She graduated from the all-girls Spence School in New York City and moved to California where she attended the UC Santa Barbara, majoring in Art History. She soon quit, realizing it was not her passion. She made her film debut with a small part in Shout (1991) and for the next five years had featured roles in a mixed bag of film fare that included Flesh and Bone (1993); Mrs. Parker and the Vicious Circle (1994); Se7en (1995); Jefferson in Paris (1995); Moonlight and Valentino (1995); and The Pallbearer (1996). It was her performance in the title role of Emma Woodhouse in Emma (1996) that led to her being offered the role of Viola in Shakespeare in Love (1998), for which she was awarded the Golden Globe, Screen Actors Guild and Academy Awards for Best Actress in a Leading Role. Her roles have also included The Talented Mr. Ripley (1999), The Royal Tenenbaums (2001), Shallow Hal (2001), Sky Captain and the World of Tomorrow (2004), Proof (2005), Iron Man (2008), Two Lovers (2008), and Country Strong (2010). She has two children with her former husband, English musician Chris Martin.- Actor
- Producer
- Director
Russell Ira Crowe was born in Wellington, New Zealand, to Jocelyn Yvonne (Wemyss) and John Alexander Crowe, both of whom catered movie sets. His maternal grandfather, Stanley Wemyss, was a cinematographer. Crowe's recent ancestry includes Welsh (where his paternal grandfather was born, in Wrexham), English, Irish, Scottish, Norwegian, Swedish, Italian, and Maori (one of Crowe's maternal great-grandmothers, Erana Putiputi Hayes Heihi, was Maori).
Crowe's family moved to Australia when he was a small child, settling in Sydney, and Russell got the acting bug early in life. Beginning as a child star on a local Australian TV show, Russell's first big break came with two films ... the first, Romper Stomper (1992), gained him a name throughout the film community in Australia and the neighboring countries. The second, The Sum of Us (1994), helped put him on the American map, so to speak. Sharon Stone heard of him from Romper Stomper (1992) and wanted him for her film, The Quick and the Dead (1995). But filming on The Sum of Us (1994) had already begun. Sharon is reported to have held up shooting until she had her gunslinger-Crowe, for her film. With The Quick and the Dead (1995) under his belt as his first American film, the second was offered to him soon after. Virtuosity (1995), starring Denzel Washington, put Russell in the body of a Virtual Serial Killer, Sid6.7 ... a role unlike any he had played so far. Virtuosity (1995), a Sci-Fi extravaganza, was a fun film and, again, opened the door to even more American offers. L.A. Confidential (1997), Russell's third American film, brought him the US fame and attention that his fans have felt he deserved all along. Missing the Oscar nod this time around, he didn't seem deterred and signed to do his first film with The Walt Disney Company, Mystery, Alaska (1999). He achieved even more success and awards for his performances in Gladiator (2000), for which he won the Academy Award for Best Actor, and A Beautiful Mind (2001).He is known for having a violent temper and getting into drunken brawls. He once threw a phone at a hotel staff member after not being able to make a phone call to his wife.
“I have that attitude.”
- Russel Crowe- Actor
- Producer
- Writer
Steven Frederic Seagal was born in Lansing, Michigan, to Patricia Anne (Fisher), a medical technician, and Samuel Seagal, a high school math teacher. His paternal grandparents were Russian Jewish immigrants, and his mother had English, German, and distant Irish and Dutch, ancestry. The enigmatic Seagal commenced his martial arts training at the age of seven under the tutelage of well-known karate instructor and author Fumio Demura, and in the 1960s commenced his aikido training in Orange County, CA, under the instruction of Harry Ishisaka. Seagal received his first dan accreditation in 1974, after he had moved to Japan to further his martial arts training. After spending many years there honing his skills, he achieved the ranking of a 7th dan in the Japanese martial art "aikido" and was instructing wealthy clients in Los Angeles when he came to the attention of Hollywood power broker Michael Ovitz.
Ovitz saw star value in the imposing-looking Seagal. The high-octane action movie genre was in full swing in the late 1980s, and Seagal's debut movie, "Above the Law", was wildly received by action fans and actually received some complimentary critical reviews. He followed up "Above the Law" with another slam-bang thriller, Hard to Kill (1990), as a cop shot in an ambush by the mob who revives from a coma to take his revenge. The movie also starred Seagal's wife at the time, leggy Kelly LeBrock, who was married to him from 1987 to 1996 and is the mother of three of his children. His next outing was battling voodoo-using Jamaican drug "posses" in the hyper-violent Marked for Death (1990), before returning to fight psychotic mob gangster William Forsythe in the even more punishing Out for Justice (1991). Seagal was by now enormously popular, and his next movie, the big-budgeted Under Siege (1992), set aboard the battleship USS Missouri and also starring Tommy Lee Jones and Gary Busey, was arguably his best film to date, impressing both fans and critics alike.
Seagal's fighting style was rather different from that of other on-screen martial arts dynamos such as Bruce Lee, Chuck Norris and Jean-Claude Van Damme, who were predominantly fighters from striking arts background such as karate or tang soo do. However, aikido is built around using an opponent's inertia and body weight to employ various locks, chokes and holds that incapacitate him. Seagal carries himself differently, too, and often appears wearing Italian designer clothes and usually favors an all-black outfit, generally with a three-quarter-length coat with an elaborate trim. Additionally, Seagal's on-screen characters were often seemingly benign or timid individuals; however, when the going gets rough they reveal themselves to be deadly ex-CIA operatives, or retired Special Forces soldiers capable of enormous destruction!
As his box-office drawing power grew, Seagal began to infuse his film projects with his personal and spiritual beliefs, especially concerning the abuse of the environment. He appeared as an oil fire expert who turns against his corrupt CEO (played by Michael Caine) in On Deadly Ground (1994) to save the Eskimo population from an oil disaster; in Fire Down Below (1997) he plays an environmental agency troubleshooter investigating the dumping of toxic waste in Kentucky coal mines, and in the slow-moving The Patriot (1998) he plays a medical specialist trying to stop a lethal virus unleashed by an extremist group.
Action fans struggled to come to terms with social messaging being built into bone-crunching fight films; however, Seagal's box-office clout remained fairly strong, and more traditional chopsocky projects followed with the "buddy cop" film The Glimmer Man (1996), then almost a cameo role as a Navy SEAL alongside CIA analyst Kurt Russell before Seagal is sucked out of a jet at 35,000 feet in Executive Decision (1996).
In 1999 Seagal took a different turn in his film projects with the surprising genteel Prince of Central Park (2000), about a child living inside NYC's most famous park. He returned to more familiar territory with further high-voltage, guns-blazing action in Exit Wounds (2001), Half Past Dead (2002), Out for a Kill (2003) and Belly of the Beast (2003).
Unbeknownst to many, in 1997 Seagal publicly announced that one of his Buddhist teachers, His Holiness Penor Rinpoche, had accorded Seagal as a tulku, the reincarnation of a Buddhist Lama. This initial announcement was met with some disbelief until Penor Rinpoche himself gave a confirmation statement on Seagal's new title. Seagal has repeatedly discussed his involvement in Buddhism and how he devotes many hours studying and meditating this ancient Eastern religion.
While his box-office appeal has somewhat declined from his halcyon blockbusters of the mid-'90s, Seagal still has a very loyal fan base in the action movie genre and continues to remain a highly bankable star.He is known for him temperamental outbursts. He broke Sean Connery's wrist after the actor annoyed him whilst providing martial arts training for the Scottish actor for a James Bond movie. He is thought to be a set bully and has often been outed for lying or exaggerating about his sparetime activities...such as training CIA operatives, fighting the Yakuza and being a student of the founder of Akido, who died in 1968.
“He bullied and coerced several members of the cast and crew on my film set,held up production continually and treated a particular co-star in a very disrespectful way.”
- Alexander Gruszynski- Actress
- Producer
- Additional Crew
Sharon Stone was born and raised in Meadville, a small town in Pennsylvania. Her strict father was a factory worker, and her mother was a homemaker. She was the second of four children. At the age of 15, she studied in Saegertown High School, Pennsylvania, and at that same age, entered Edinboro State University of Pennsylvania, and graduated with a degree in creative writing and fine arts. She was a very smart girl (with an IQ of 154), became a bookworm, and once was told that a suitable job for her (and her brains) was to become a lawyer. However, her first love was still the black-and-white movies, especially those featuring Fred Astaire and Ginger Rogers. So, the 17-year-old Sharon got herself into the Miss Crawford County and won the beauty contest.
From working part-time as a McDonald's counter girl, she worked her way up to become a successful Ford model, both in TV commercials and print ads. In 1980, she made her acting debut in Woody Allen's Stardust Memories (1980) as "pretty girl in train". Her first speaking part, though, was in Wes Craven's horror movie, Deadly Blessing (1981). She struggled through many parts in B-movies, notably King Solomon's Mines (1985) and Action Jackson (1988). She was also married in 1984 to Michael Greenburg, the producer of MacGyver (1985), but they divorced two years later.
She finally got her big break with Arnold Schwarzenegger in Total Recall (1990) and also posed nude for Playboy, a daring move for a 32-year-old actress. But it worked; she landed the breakthrough role as a sociopath novelist, "Catherine Tramell", in Basic Instinct (1992). Her interrogation scene has become a classic in film history and her performance captivated everyone, from MTV viewers, who honored her with Most Desirable Female and Best Female Performance Awards, to a Golden Globe nomination for Best Actress. After she got famous, she didn't want to be typecast, so she played a victim in Sliver (1993), and, in Intersection (1994), she was the aloof, estranged wife of Richard Gere. These movies didn't "work," so she got herself again into more aggressive roles , such as The Specialist (1994) with Sylvester Stallone and The Quick and the Dead (1995) with Gene Hackman.
But it wasn't until she played a beautiful but drug-crazy wife of Robert De Niro in Casino (1995) that she got far more than just fame and fortune--she also received the acknowledgment of the movie industry for her acting ability. She received her first Golden Globe and an Oscar nomination. She did a couple of films afterwards, teaming up with Isabelle Adjani in Diabolique (1996), and as a woman waiting for her death penalty in Last Dance (1996). In 1998, she married a newspaper editor,Phil Bronstein but they divorced later in 2004. She received her third Golden Globe nomination for The Mighty (1998), a film that her company, "Chaos", also co-executive produced. The next year, she played the title role in Gloria (1999) and entered her first comedic role in The Muse (1999), which gave her another Golden Globe nomination.
Sharon Stone, a diva who thoroughly enjoys her hard-won stardom, is now a mother of three children: Roan, Laird and Quinn.Her status ad a diva is legendary. She is rumored to have handed a fan a $5 bill in order to avoid signing an autograph. She went shopping at filming hours on the set of The Golden Boy on the producer's credit card.
“She was going shopping for her character with the production’s credit card. She had a production runner following her, at a distance, to tell Antonio which shops she was going into. When the runner called to say that she was going into Bulgari, Antonio almost fainted.”
- Cristiana Capotondi- Actor
- Producer
- Writer
Charlie Sheen was born Carlos Irwin Estévez on September 3, 1965, in New York City. His father, actor Martin Sheen (born Ramon Antonio Gerard Estevez), was at the time just breaking into the business, with performances on Broadway. His mother, Janet Sheen (née Templeton), was a former New York art student who had met Charlie's father right after he had moved to Manhattan. Martin and Janet had three other children, Emilio Estevez, Renée Estevez, and Ramon Estevez, all of whom became actors. His father is of half Spanish and half Irish descent, and his mother, whose family is from Kentucky, has English and Scottish ancestry.
At a young age, Charlie took an interest in his father's acting career. When he was nine, he was given a small part in his dad's movie The Execution of Private Slovik (1974). In 1977, he was in the Philippines where his dad suffered a near-fatal heart attack on the set of Apocalypse Now (1979).
While at Santa Monica High School, Charlie had two major interests: acting and baseball. Along with his friends, which included Rob Lowe and Sean Penn, he produced and starred in several amateur Super-8 films. On the Vikings baseball team, he was a star shortstop and pitcher. His lifetime record as a pitcher was 40-15. His interest and skill in baseball would later influence some of his movie roles. Unfortunately, his success on the baseball field did not translate to success in the classroom, as he struggled to keep his grades up. Just a few weeks before his scheduled graduation date, Charlie was expelled due to poor attendance and bad grades.
After high school, Charlie aggressively pursued many acting roles. His first major role was as a high school student in the teen war film Red Dawn (1984). He followed this up with relatively small roles in TV movies and low-profile releases. His big break came in 1986 when he starred in Oliver Stone's Oscar winning epic Platoon (1986). He drew rave reviews for his portrayal of a young soldier who is caught in the center of a moral crisis in Vietnam.
The success of Platoon (1986) prompted Oliver Stone to cast Charlie in his next movie Wall Street (1987) alongside his father and veteran actor Martin Sheen. The movie with its "Greed is Good" theme became an instant hit with viewers.
Shortly after, Stone approached Charlie about the starring role in his next movie, Born on the Fourth of July (1989). When Tom Cruise eventually got the part, Sheen ended up hearing the news from his brother Emilio Estevez and not even getting as much as a call from Stone. This led to a fallout, and the two have not worked together since.
The fallout with Stone, however, did nothing to hurt Charlie's career in the late 1980s and early '90s, as he continued to establish himself as one of the top box office draws with a string of hits that included Young Guns (1988), Major League (1989), and Hot Shots! (1991). However, as the mid-'90s neared, his good fortune both personally and professionally, soon came to an end.
Around this time, Charlie, who had already been to drug rehab, was beginning to develop a reputation as a hard-partying, womanizer. In 1995, the same year he was briefly married to model Donna Peele, he was called to testify at the trial of Hollywood madam Heidi Fleiss. At the trial, while under oath he admitted to spending nearly $50,000 on 27 of Fleiss' $2,500-a-night prostitutes.
His downward spiral continued the following year when his ex-girlfriend Brittany Ashland filed charges claiming that he physically abused her. He was later charged with misdemeanor battery to which he pleaded no contest and was given a year's suspended sentence, two years' probation and a $2,800 fine. He finally hit rock bottom in May 1998 when he was hospitalized in Thousand Oaks, California, following a near-fatal drug overdose. Later that month, he was ordered back to the drug rehab center, which he had previously left after one day.
During this stretch, Charlie's film career began to suffer as well. He starred in a series of box office flops that included The Arrival (1996) and Shadow Conspiracy (1997). However as the 1990s came to end, so did Charlie's string of bad luck.
In 2000, Charlie, now clean and sober, was chosen to replace Michael J. Fox on the ABC hit sitcom Spin City (1996). Though his stint lasted only two seasons, Charlie's performance caught the eye of CBS executives who in 2003 were looking for an established star to help carry their Monday night lineup of sitcoms that included Everybody Loves Raymond (1996). The sitcom Two and a Half Men (2003) starred Charlie as a swinging, irresponsible womanizer whose life changes when his nephew suddenly appears on his doorstep. The show became a huge hit, breathing much needed life into Charlie's fading career.
Charlie's personal life also appeared to be improving. In 2002, he married actress Denise Richards, whom he first met while shooting the movie Good Advice (2001). In March 2004, they had a daughter, Sam, and it was announced shortly after that Denise was pregnant with the couple's second child. By all reports, the couple seemed to be very happy together. However, like all of Charlie's previous relationships, the stability did not last long. In March of 2005, Denise, who was six-months pregnant, filed for divorce, citing irreconcilable differences. She gave birth to a second daughter, Lola, in June of that same year. Their divorce became final in late 2006.He is known for his bizarre rants and disrespectful behavior on set. His antics on Two and a Half Men famously led to him being fired by its creator Chuck Lorre which led to Sheen then publicly insulting his former boss, calling him a "contaminated little maggot" among other things. His constant drug use also painted him with a bad public image.- Actress
- Producer
- Music Department
Lindsay Dee Lohan was born in New York City, on 2 July 1986, to Dina Lohan and Michael Lohan. She began her career at age three as a Ford model, and also made appearances in over sixty television commercials, including spots for The Gap, Pizza Hut, Wendy's, and Jell-O (opposite Bill Cosby). Lohan made her acting debut in 1996 as the third actress to play Ali Fowler in the television drama Another World (1964). Shortly afterward she was hand-picked by Oscar-nominated writer Nancy Meyers as estranged twin sisters in an adaptation by Walt Disney Pictures of a novel by Erich Kästner, which marked Meyers' directorial debut. Lohan's first feature film, The Parent Trap (1998), a remake of The Parent Trap (1961), was a modest commercial success, earning her widespread critical acclaim and a Young Artist award for Best Leading Young Actress in a Feature Film, as well as Blockbuster Entertainment and YoungStar award nominations.
After signing a three-movie contract with Disney, she returned to the small screen to star in the made-for-TV movies Life-Size (2000) (opposite Tyra Banks) and Get a Clue (2002) (opposite Bug Hall). She also appeared as Rose in the pilot episode of the short-lived comedy series Bette (2000), which starred Bette Midler.
In June 2001 Lohan took a brief hiatus from acting. Her music career was launched over a year later, when Estefan Enterprises made a five-album production deal with her in September 2002, and she signed a recording contract with the reactivated Casablanca Records.
However, Lohan was not turning her back on her blossoming acting career. Just over a month previously she had been cast opposite Jamie Lee Curtis for another Disney adaptation of a novel, this time a fantasy comedy by Mary Rodgers. Freaky Friday (2003), a remake of Freaky Friday (1976), was a huge hit (generating over $160 million in worldwide box office receipts) and critics were spellbound by delightful performances from Lohan and Curtis (who went on to receive a Golden Globe nomination for her work). In addition, Lohan won the 2004 MTV Movie Award for Best Breakthrough Female, as well as a Saturn award nomination and another Young Artist award nomination.
Lohan relocated permanently to Los Angeles between projects and moved into an apartment with fellow actress Raven-Symoné. She also dated pop star Aaron Carter for a short time.
Her next acting role was the title character in the comedy Confessions of a Teenage Drama Queen (2004), a Disney adaptation of the novel by Dyan Sheldon. The film received scathing reviews upon its release and died a quick death at the box office, but even the harshest of critics were impressed by Lohan's charming turn as aspiring actress Lola.
Lohan's next project, Mean Girls (2004), saw her reunite with Freaky Friday (2003) director Mark Waters. Inspired by a non-fiction book by Rosalind Wiseman and written by Saturday Night Live (1975) scribe Tina Fey, the high-school comedy-drama opened to glowing reviews and grossed $86 million in the US. This earned her status as a bankable actress, and a salary of $7.5 million for the Donald Petrie romantic comedy Just My Luck (2006).
One of the most sought-after young actresses in the industry, she starred in Bobby (2006) (opposite Demi Moore and Sharon Stone), the Disney fantasy adventure Herbie Fully Loaded (2005) (a pseudo-sequel to The Love Bug (1969)) and the critically acclaimed A Prairie Home Companion (2006). On top of a thriving film career Lohan also launched a music career, releasing her debut album, "Speak," which hit shelves in December 2004.
In 2009 Lohan launched her own fashion line titled 6126, mainly focusing on the production of women's leggings. By spring she launched a self-tanning spray line titled "Sevin Nyne" and by the end of the year she became an artistic designer for fashion house Ungaro.
Lindsay continues her career in acting, having played a supporting role in the action film Machete (2010).She is known for her diva-like antics. Her alcoholism and melodramatic character make her irratable to work with.
“Tardiness, tantrums, absences, neediness and psychodrama: Lindsay feels she must be experiencing an emotion in order to play it. This leads to all sorts of emotional turmoil, not to mention on-set delays and melodrama.”
- Paul Schrader- Actor
- Producer
- Editorial Department
Christian Charles Philip Bale was born in Pembrokeshire, Wales, UK on January 30, 1974, to English parents Jennifer "Jenny" (James) and David Bale. His mother was a circus performer and his father, who was born in South Africa, was a commercial pilot. The family lived in different countries throughout Bale's childhood, including England, Portugal, and the United States. Bale acknowledges the constant change was one of the influences on his career choice.
His first acting job was a cereal commercial in 1983; amazingly, the next year, he debuted on the West End stage in "The Nerd". A role in the 1986 NBC mini-series Anastasia: The Mystery of Anna (1986) caught Steven Spielberg's eye, leading to Bale's well-documented role in Empire of the Sun (1987). For the range of emotions he displayed as the star of the war epic, he earned a special award by the National Board of Review for Best Performance by a Juvenile Actor.
Adjusting to fame and his difficulties with attention (he thought about quitting acting early on), Bale appeared in Kenneth Branagh's 1989 adaptation of Shakespeare's Henry V (1989) and starred as Jim Hawkins in a TV movie version of Treasure Island (1990). Bale worked consistently through the 1990s, acting and singing in Newsies (1992), Swing Kids (1993), Little Women (1994), The Portrait of a Lady (1996), The Secret Agent (1996), Metroland (1997), Velvet Goldmine (1998), All the Little Animals (1998), and A Midsummer Night's Dream (1999). Toward the end of the decade, with the rise of the Internet, Bale found himself becoming one of the most popular online celebrities around, though he, with a couple notable exceptions, maintained a private, tabloid-free mystique.
Bale roared into the next decade with a lead role in American Psycho (2000), director Mary Harron's adaptation of the controversial Bret Easton Ellis novel. In the film, Bale played a murderous Wall Street executive obsessed with his own physicality - a trait for which Bale would become a specialist. Subsequently, the 10th Anniversary issue for "Entertainment Weekly" crowned Bale one of the "Top 8 Most Powerful Cult Figures" of the past decade, citing his cult status on the Internet. EW also called Bale one of the "Most Creative People in Entertainment", and "Premiere" lauded him as one of the "Hottest Leading Men Under 30".
Bale was truly on the Hollywood radar at this time, and he turned in a range of performances in the remake Shaft (2000), Captain Corelli's Mandolin (2001), the balmy Laurel Canyon (2002), and Reign of Fire (2002), a dragons-and-magic commercial misfire that has its share of defenders.
Two more cult films followed: Equilibrium (2002) and The Machinist (2004), the latter of which gained attention mainly due to Bale's physical transformation - he dropped a reported 60+ pounds for the role of a lathe operator with a secret that causes him to suffer from insomnia for over a year.
Bale's abilities to transform his body and to disappear into a character influenced the decision to cast him in Batman Begins (2005), the first chapter in Christopher Nolan's definitive trilogy that proved a dark-themed narrative could resonate with audiences worldwide. The film also resurrected a character that had been shelved by Warner Bros. after a series of demising returns, capped off by the commercial and critical failure of Batman & Robin (1997). A quiet, personal victory for Bale: he accepted the role after the passing of his father in late 2003, an event that caused him to question whether he would continue performing.
Bale segued into two indie features in the wake of Batman's phenomenal success: The New World (2005) and Harsh Times (2005). He continued working with respected independent directors in 2006's Rescue Dawn (2006), Werner Herzog's feature version of his earlier, Emmy-nominated documentary, Little Dieter Needs to Fly (1997). Leading up to the second Batman film, Bale starred in The Prestige (2006), the remake of 3:10 to Yuma (2007), and a reunion with director Todd Haynes in the experimental Bob Dylan biography, I'm Not There (2007).
Anticipation for The Dark Knight (2008) was spun into unexpected heights with the tragic passing of Heath Ledger, whose performance as The Joker became the highlight of the sequel. Bale's graceful statements to the press reminded us of the days of the refined Hollywood star as the second installment exceeded the box-office performance of its predecessor.
Bale's next role was the eyebrow-raising decision to take over the role of John Connor in the Schwarzenegger-less Terminator Salvation (2009), followed by a turn as federal agent Melvin Purvis in Michael Mann's Public Enemies (2009). Both films were hits but not the blockbusters they were expected to be.
For all his acclaim and box-office triumphs, Bale would earn his first Oscar in 2011 in the wake of The Fighter (2010)'s critical and commercial success. Bale earned the Best Supporting Actor award for his portrayal of Dicky Eklund, brother to and trainer of boxer "Irish" Micky Ward, played by Mark Wahlberg. Bale again showed his ability to reshape his body with another gaunt, skeletal transformation.
Bale then turned to another auteur, Yimou Zhang, for the epic The Flowers of War (2011), in which Bale portrayed a priest trapped in the midst of the Rape of Nanking. Bale earned headlines for his attempt to visit with Chinese civil-rights activist Chen Guangcheng, which was blocked by the Chinese government.
Bale capped his role as Bruce Wayne/Batman in The Dark Knight Rises (2012); in the wake of the Aurora, Colorado tragedy, Bale made a quiet pilgrimage to the state to visit with survivors of the attack that left theatergoers dead and injured. He also starred in the thriller Out of the Furnace (2013) with Crazy Heart (2009) writer/director Scott Cooper, and the drama-comedy American Hustle (2013), reuniting with David O. Russell.
Bale will re-team with The New World (2005) director Terrence Malick for two upcoming projects: Knight of Cups (2015) and an as-yet-untitled drama.
In his personal life, he devotes time to charities including Greenpeace and the World Wildlife Foundation. He lives with his wife, Sibi Blazic, and their two children.He is well known for having a fiery temper, and directed an infamous rant at a co-worker on the set of Terminator Salvation .- Actor
- Writer
Shia LaBeouf's natural talent and raw energy have secured his place as one of Hollywood's leading men.
Most recently, LaBeouf starred alongside Vanessa Kirby and Ellen Burstyn in Kornel Mundruczo's Oscar® nominated Pieces of a Woman. In the critically acclaimed film, a grieving couple (Kirby/LaBeouf) embarks on an emotional journey after the loss of their baby. Previously, Shia was also seen in the crime drama, The Tax Collector, which was written and directed by David Ayer. He most recently wrapped production on Abel Ferrarra's Padre Pio which follows the life of the now saint during his time as a monk in Puglia, Italy.
LaBeouf received rave reviews for his performance in Honey Boy, which premiered at the 2019 Sundance Film Festival. The film also marks Shia's first feature length film as a screenwriter. LaBeouf portrays a law breaking, alcohol-abusing father who tries to mend his tumultuous relationship with his son (Lucas Hedges & Noah Jupe) over the course of a decade. The film received a Special Jury Award for Vision and Craft at the festival. In 2019, Shia starred in The Peanut Butter Falcon, the highest grossing indie film of the year with $20,500,000 domestic box office receipts. The film, also starring Dakota Johnson, Bruce Dern and Zachary Gottsagen, won the Audience Award at the SXSW Film Festival.
Other credits include drama, Borg vs. McEnroe (critics heralded LaBeouf's performance as "perfection," "flawless" and "explosive"); the critically acclaimed independent film American Honey , directed by Andrea Arnold, (his performance earned him a British Independent Film Award nomination for "Best Actor," a London Critics' Circle Film Award nomination for "Supporting Actor of the Year," and an Independent Spirit Award nomination for "Best Supporting Male"); the post-apocalyptic thriller, Man Down alongside Gary Oldman and Kate Mara; the war drama Fury, directed by David Ayer, opposite Brad Pitt; Lars von Trier's drama, Nymphomaniac: Vol. 1; Lars von Trier's Nymphomaniac: Vol. 2; and the suspense drama Charlie Countryman, opposite Evan Rachel Wood, Mads Mikkelsen and Melissa Leo.
LaBeouf starred in Transformers: Dark of the Moon (grossing over $1 billion worldwide), which marked his third and final turn as the enterprising and heroic Sam Witwicky. From the original Transformers released in 2007 (which earned over $700 million around the world in theatrical release and became the highest grossing DVD of the year) to the second installment in 2009, Transformers: Revenge of the Fallen, (which garnered global receipts upwards of $836 million,) Sam continued to find himself in the middle of a life and death struggle between warring robot legions on earth. Additional film credits include Robert Redford's The Company You Keep, Lawless alongside Tom Hardy, Gary Oldman and Guy Pearce, Oliver Stone's Wall Street: Money Never Sleeps opposite Michael Douglas, the fourth installment of Steven Spielberg's "Indiana Jones" series, Indiana Jones and the Kingdom of the Crystal Skull, alongside Harrison Ford, D.J. Caruso's Eagle Eye, the Anthony Minghella-scripted segment of New York, I Love You, a romantic anthology also starring Julie Christie and John Hurt, the popular thriller Disturbia, the Oscar® nominated animated film Surf's Up alongside Jeff Bridges, A Guide to Recognizing Your Saints, which won "Best Ensemble Cast" at the Sundance Film Festival, Emilio Estevez's acclaimed drama Bobby, Disney's The Greatest Game Ever Played which follows the true story of a 19-year-old amateur athlete's journey to winning the U.S. Open, I, Robot, Constantine, Charlie's Angels: Full Throttle, HBO's "Project Greenlight" featuring The Battle of Shaker Heights produced by Matt Damon and Ben Affleck and in 2003 he made his feature film debut in the comedy Holes, based on the best-selling book by Louis Sacher.
On television, LaBeouf garnered much praise from critics everywhere for his portrayal of "Louis Stevens" on the Disney Channel's original series "Even Stevens." In 2003, he earned a Daytime Emmy award for "Outstanding Performer in a Children's Series" for his work on the highly-rated family show.He has a reputation for being a bit weird. He refused to bathe whilst filming Fury and pulled his own tooth out. He angered his co-stars by coming to set late. He reportedly punched Brad Pitt on the set of Fury and fought with Tom Hardy on the set of Lawless- Actor
- Producer
- Writer
Actor and musician Bruce Willis is well known for playing wisecracking or hard-edged characters, often in spectacular action films. Collectively, he has appeared in films that have grossed in excess of $2.5 billion USD.
Walter Bruce Willis was born on March 19, 1955, in Idar-Oberstein, West Germany, to a German mother, Marlene Kassel, and an American father, David Andrew Willis (from Carneys Point, New Jersey), who were then living on a United States military base. His family moved to the U.S. shortly after he was born, and he was raised in Penns Grove, New Jersey, where his mother worked at a bank and his father was a welder and factory worker. Willis picked up an interest for the dramatic arts in high school, and was allegedly "discovered" whilst working in a café in New York City and then appeared in a couple of off-Broadway productions. While bartending one night, he was seen by a casting director who liked his personality and needed a bartender for a small movie role.
After countless auditions, Willis contributed minor film appearances, usually uncredited, before landing the role of private eye "David Addison" alongside sultry Cybill Shepherd in the hit romantic comedy television series Moonlighting (1985). His sarcastic and wisecracking P.I. is seen by some as a dry run for the role of hard-boiled NYC detective "John McClane" in the monster hit Die Hard (1988), in which Willis' character single-handedly battled a gang of ruthless international thieves in a Los Angeles skyscraper. He reprised the role of McClane in the sequel, Die Hard 2 (1990), set at a snowbound Washington's Dulles International Airport as a group of renegade Special Forces soldiers seek to repatriate a corrupt South American general. Excellent box office returns demanded a further sequel Die Hard with a Vengeance (1995), this time co-starring Samuel L. Jackson as a cynical Harlem shop owner unwittingly thrust into assisting McClane during a terrorist bombing campaign on a sweltering day in New York.
Willis found time out from all the action mayhem to provide the voice of "Mikey" the baby in the very popular family comedies Look Who's Talking (1989), and its sequel Look Who's Talking Too (1990) also starring John Travolta and Kirstie Alley. Over the next decade, Willis starred in some very successful films, some very offbeat films and some unfortunate box office flops. The Bonfire of the Vanities (1990) and Hudson Hawk (1991) were both large scale financial disasters that were savaged by the critics, and both are arguably best left off the CVs of all the actors involved, however Willis was still popular with movie audiences and selling plenty of theatre tickets with the hyper-violent The Last Boy Scout (1991), the darkly humored Death Becomes Her (1992) and the mediocre police thriller Striking Distance (1993).
During the 1990s, Willis also appeared in several independent and low budget productions that won him new fans and praise from the critics for his intriguing performances working with some very diverse film directors. He appeared in the oddly appealing North (1994), as a cagey prizefighter in the Quentin Tarantino directed mega-hit Pulp Fiction (1994), the Terry Gilliam directed apocalyptic thriller 12 Monkeys (1995), the Luc Besson directed sci-fi opus The Fifth Element (1997) and the M. Night Shyamalan directed spine-tingling epic The Sixth Sense (1999).
Willis next starred in the gangster comedy The Whole Nine Yards (2000), worked again with "hot" director M. Night Shyamalan in the less than gripping Unbreakable (2000), and in two military dramas, Hart's War (2002) and Tears of the Sun (2003) that both failed to really fire with movie audiences or critics alike. However, Willis bounced back into the spotlight in the critically applauded Frank Miller graphic novel turned movie Sin City (2005), the voice of "RJ" the scheming raccoon in the animated hit Over the Hedge (2006) and "Die Hard" fans rejoiced to see "John McClane" return to the big screen in the high tech Live Free or Die Hard (2007) aka "Die Hard 4.0".
Willis was married to actress Demi Moore for approximately thirteen years and they share custody to their three daughters.He has been accused of shadow directing and is often described as grumpy and miserable on set
“Soul crushing to work with.”
- Kevin Smith- Actress
- Producer
- Writer
Megan Denise Fox was born on May 16, 1986 in Oak Ridge, Tennessee and raised in Rockwood, Tennessee to Gloria Darlene Tonachio (née Cisson), a real estate manager and Franklin Thomas Fox, a parole officer. She began her drama and dance training at age 5 and at age 10, she moved to Port St. Lucie, Florida where she continued her training and finished school. Megan began acting and modeling at age 13 after winning several awards at the 1999 American Modeling and Talent Convention in Hilton Head, South Carolina. At age 17, she tested out of school using correspondence and eventually moved to Los Angeles, California. Megan made her film debut as Brianna Wallace in the Mary-Kate Olsen and Ashley Olsen film, Holiday in the Sun (2001). Her best-known roles are as Sam Witwicky's love interest, Mikaela Banes in Transformers (2007) and Transformers: Revenge of the Fallen (2009), as April O'Neil in the remake Teenage Mutant Ninja Turtles (2014) and its sequel Teenage Mutant Ninja Turtles: Out of the Shadows (2016), and as Jennifer Check in the horror comedy Jennifer's Body (2009).She is outspoken and has been disrespectful of her Transformers director Michael Bay, likening him to Adolf Hitler, causing Steven Spielberg to have her sacked. She said "he wants to be like Hitler on his sets, and he is. So he's a nightmare to work for but when you get him away from set, and he's not in director mode, I kind of really enjoy his personality because he's so awkward, so hopelessly awkward. He has no social skills at all. And it's endearing to watch him. He's vulnerable and fragile in real life and then on set he's a tyrant. Shia [Labeouf] and I almost die when we make a Transformers movie. He has you do some really insane things that insurance would never let you do."
“She's no Angelina [Jolie]. You see, Angelina is a professional. We know this quite intimately because we've had the tedious experience of working with the dumb-as-a-rock Megan Fox on both Transformers movies.”
- Open letter by Transformers crew member- Actress
- Producer
- Soundtrack
Julia Fiona Roberts never dreamed she would become the most popular actress in America. She was born in Smyrna, Georgia, to Betty Lou (Bredemus) and Walter Grady Roberts, one-time actors and playwrights, and is of English, Irish, Scottish, Welsh, German, and Swedish descent. As a child, due to her love of animals, Julia originally wanted to be a veterinarian, but later studied journalism. When her brother, Eric Roberts, achieved some success in Hollywood, Julia decided to try acting. Her first break came in 1988 when she appeared in two youth-oriented movies Mystic Pizza (1988) and Satisfaction (1988). The movies introduced her to a new audience who instantly fell in love with this pretty woman. Julia's biggest success was in the signature movie Pretty Woman (1990), for which Julia got an Oscar nomination, and also won the People's Choice award for Favorite Actress. Even though Julia would spend the next few years either starring in serious movies, or playing fantasy roles like Tinkerbell, the movie audiences would always love Julia best in romantic comedies. With My Best Friend's Wedding (1997) Julia gave the genre fresh life that had been lacking in Hollywood for some time. Offscreen, after a brief marriage, Julia has been romantically linked with several actors, and married cinematographer Daniel Moder in 2002; the couple has three children together.
Julia has also become involved with UNICEF charities and has made visits to many different countries, including Haiti and India, in order to promote goodwill. Julia Robert remains one of the most popular and sought-after talents in Hollywood.She has been called out for her inability to work with other women and was nicknamed "Tinkerhead" on the set of Steven Spielberg's Hook for her diva-like tantrums.- Actor
- Producer
- Stunts
Wesley Trent Snipes was born in Orlando, Florida, to Marian (Long), a teacher's assistant, and SMSGT Wesley Rudolph Snipes, an aircraft engineer. He grew up on the streets of the South Bronx in New York City, where he very early decided that dance and the theatre were to be his career. He attended the High School for the Performing Arts (popularized in Fame (1980)). But dreams of the musical theater (and maybe a few commercials) faded when his mother moved to Orlando, Florida before he could graduate. Fortune would have it that he along with two friends and his "Drama class" teachers Mr. S Porro and K. Rugerio, would start a bus-n-truck theatre company (Struttin Street Stuff) be instrumental in his high schools (Jones High) induction into the International Thespian Society, Orlando Chapter and help lay the foundation for what would become Dr. Phillips High Schools theatre arts program. Musical theatre rooted Snipes performed song-n-dance, puppetry, and acrobatics in city parks, dinner clubs, and performing arts centers around central Florida. As a recipient of a Victor Borge Scholarship, Snipes left Orlando and entered the world-renowned professional theatre arts program at SUNY Purchase in New York, now Purchase College, where he honed his theatrical performance and martial arts skills. Graduating with a BFA, he went on to co-star in a few soap operas and nighttime dramas, peppered in between critical acclaim performances Broadway. It was there in a Broadway theater An agent saw him on stage and invited him to audition for his first feature film role.
Goldie Hawn Wildcats (1986). Athletic roles such as that gave way to dramatic roles such as that gave way to tough guy roles as in New Jack City (1991), and to the action hero in Passenger 57 (1992). Wesley feels that at least with the Hollywood heavyweights he must be doing something right - Sylvester Stallone, Robert De Niro, Dennis Hopper and Sean Connery all had veto power over casting and all approved his role. Wesley also founded Amen Ra Films Production Company, and is a Multi System Combat Arts Black Belt Holder IT Technologist & VC.He notably "smoked weed all day" on the set of Blade III.
"He comes on and goes, 'There's only one other black guy in the movie, and you make him wear a shirt that says 'Garbage'? You racist *beep* And he tried to strangle the director, David Goyer."
- Patton Oswalt- Actor
- Producer
- Stunts
Eugene Allen Hackman was born in San Bernardino, California, the son of Ann Lydia Elizabeth (Gray) and Eugene Ezra Hackman, who operated a newspaper printing press. He is of Pennsylvania Dutch (German), English, and Scottish ancestry, partly by way of Canada, where his mother was born. After several moves, his family settled in Danville, Illinois. Gene grew up in a broken home, which he left at the age of sixteen for a hitch with the US Marines.
Moving to New York after being discharged, he worked in a number of menial jobs before studying journalism and television production on the G.I. Bill at the University of Illinois. Hackman would be over 30 years old when he finally decided to take his chance at acting by enrolling at the Pasadena Playhouse. Legend says that Hackman and friend Dustin Hoffman were voted "least likely to succeed."
Hackman next moved back to New York, where he worked in summer stock and off-Broadway. In 1964 he was cast as the young suitor in the Broadway play "Any Wednesday." This role would lead to him being cast in the small role of Norman in Lilith (1964), starring Warren Beatty. When Beatty was casting for Bonnie and Clyde (1967), he cast Hackman as Buck Barrow, Clyde Barrow's brother. That role earned Hackman a nomination for the Academy Award for Best Supporting Actor, an award for which he would again be nominated in I Never Sang for My Father (1970). In 1972 he won the Oscar for his role as Detective Jimmy "Popeye" Doyle in The French Connection (1971). At 40 years old Hackman was a Hollywood star whose work would rise to new heights with Night Moves (1975) and Bite the Bullet (1975), or fall to new depths with The Poseidon Adventure (1972) and Eureka (1983). Hackman is a versatile actor who can play comedy (the blind man in Young Frankenstein (1974)) or villainy (the evil Lex Luthor in Superman (1978)). He is the doctor who puts his work above people in Extreme Measures (1996) and the captain on the edge of nuclear destruction in Crimson Tide (1995). After initially turning down the role of Little Bill Daggett in Clint Eastwood's Unforgiven (1992), Hackman finally accepted it, as its different slant on the western interested him. For his performance he won the Oscar and Golden Globe and decided that he wasn't tired of westerns after all. He has since appeared in Geronimo: An American Legend (1993), Wyatt Earp (1994), and The Quick and the Dead (1995).He bullied the cast and director on the set of The Royal Tenenbaums. This included telling Wes Anderson to “pull up your pants and act like a man” and calling him a *beep*
“I was a lot scared but I was more concerned with protecting Wes. [He told Wes to] “pull up your pants and act like a man.””
- Anjelica Huston- Actress
- Additional Crew
- Director
Mary Sean Young was born on November 20, 1959 in Louisville, Kentucky. She is the daughter of Lee Guthrie (née Mary Lee Kane), an Emmy-nominated producer, screenwriter, public relations executive, and journalist, and Donald Young, Jr., an Emmy award winning television news producer and journalist. She has Irish, English, and Swiss-German ancestry. She grew up with an older brother Donald Young III and a sister Cathleen Young in Cleveland, Ohio. She attended Cleveland Heights High School, and then transferred to and graduated from Interlochen Arts Academy. A trained dancer, she studied at the School of American Ballet in New York City, and did some modeling. Sean Young began a promising film career by acting in a Merchant-Ivory film Jane Austen in Manhattan (1980) for Academy Award winning director James Ivory, She followed that up in the comedy hit film Stripes (1981) for Academy Award nominated producer-director Ivan Reitman. Soon, important directors were casting her in their films, such as Garry Marshall in Young Doctors in Love (1982), Academy Award nominee David Lynch in Dune (1984), and Academy Award nominee Ridley Scott in Blade Runner (1982) in what is her most respected film. 1987 was a big year for her, since she appeared in two big movies. Academy Award winner Oliver Stone cast her in the hit film Wall Street (1987). However, her other hit film No Way Out (1987), which involved a famous steamy scene in the backseat of a limousine with Kevin Costner, gave her star status. She was at the height of her fame, which led to her being cast as Vicky Vale in Batman (1989). She had an accident while she was training for the film. As a result, she lost the role to Kim Basinger for what turned out to be the biggest hit of 1989. Young put on a brave face and gamely moved on to do comedies Fatal Instinct (1993) for director Carl Reiner, and Ace Ventura: Pet Detective (1994), the latter's box office success made Jim Carrey a star, who immediately landed the role of the Riddler in the Batman sequel. Mary Sean Young is living in Austin, Texas. She created a new business venture called Austin Film Tours. It is Austin's first and only film location tour.She likes to exert “creative control” over co-workers. Famously tried to break up a meeting between Michael Keaton and a studio executive (reportedly dressed as Cat Woman) after having missed out on a part in Batman Returns. She also is known for “always getting drunk during inappropriate occasions”