Robert Loggia Poster


Jump to: Overview (4)  | Mini Bio (1)  | Spouse (2)  | Trade Mark (1)  | Trivia (17)  | Personal Quotes (13)

Overview (4)

Born in Staten Island, New York, USA
Died in Los Angeles, California, USA  (Alzheimer's disease)
Birth NameSalvatore Loggia
Height 5' 11" (1.8 m)

Mini Bio (1)

Born and raised in New York City, Robert Loggia studied journalism at the University of Missouri before moving back to New York to pursue acting. He trained at the Actors Studio while doing stage work. From the late 1950s he was a familiar face on TV, usually as authoritative figures. Loggia also found work in movies such as The Greatest Story Ever Told (1965), Scarface (1983) and Big (1988). Always in demand, Loggia worked until his death, at 85, from complications of Alzheimer's.

- IMDb Mini Biography By: J. M. Rice

Spouse (2)

Audrey Loggia (27 December 1982 - 4 December 2015) ( his death)
Della Marjorie Sloan (28 March 1954 - 1981) ( divorced) ( 3 children)

Trade Mark (1)

Distinctive raspy voice

Trivia (17)

Last name is pronounced Loh-jha.
His hair and eyebrows are more than often dyed a brown-like color in his movies, so often that his naturally white hair comes as a surprise when seen in real life and in films without that.
In an interview on Pat Sajak Weekend (2003), he talked about when he first expressed an interest in acting while in his early twenties. Initially, he was reluctant to tell his father what he wanted to do with his life and, when he finally confessed, his father was less than happy with his son's career choice. But the man had blessed his son by simply telling Robert he had to go with how he felt and follow his passion.
Father of Kristina Loggia, John Loggia and Tracey Loggia with ex-wife, Marjorie Sloan.
Received his Bachelor's degree in Journalism from the University of Missouri (1951). He later received an honorary degree from the university on December 17, 2011.
Attended and graduated from New Dorp High School in Staten Island, New York (1947).
Began his acting career on Broadway in the play "The Man with the Golden Arm" (1955).
Served in the United States Army.
Close friends with Merv Griffin.
Has mentioned in interviews that he meditates often while working on films to keep himself calm and centered.
Has made guest appearances on both Hawaii Five-O (1968) and Hawaii Five-0 (2010).
Diagnosed with Alzheimer's disease in 2010.
Steve Sohmer, the creator of Mancuso, FBI (1989) starring Robert Loggia, joined NBC in 1982 working directly with Stephen J. Cannell who created the series Stingray (1985) starring Nick Mancuso. Partially inspired by the work of Stephen J. Cannell and Nick Mancuso's work on "Stingray", Steve Sohmer created the character FBI agent Nick Mancuso for his novel "Favorite Son.".
The name of Robert Loggia's character, FBI agent Nick Mancuso, is also the name of the real life actor, best known for his title role in the NBC TV series Stingray (1985). This initially caused Nick Mancuso to protest the title character's name to his former network, without success. However, Nick Mancuso later learned that the name choice and character were partially inspired by his work on Stingray with Stephen J. Cannell. Through this connection Robert Loggia and Nick Mancuso became mutual admirers of each other's work and went on to work together in Wild Palms (1993), Real Gangsters (2013) and The Big Fat Stone (2014).
When he visited Nashville in 1966 to promote his television series T.H.E. Cat (1966), Loggia "flirted outrageously" with a pre-fame Sondra Locke who at that time worked for WSM-TV.
In his later years, looked exactly like Ben Gazzara, to the point they were often confused. Incidentally, they were born the same year, and died 3 years apart.

Personal Quotes (13)

(2011) We rehearsed our Scarface (1983) to the nines. Long period of rehearsal, so that by the time we started to shoot, it was almost like doing a play. We all had a grand time doing it. It was a wonderful cast. We all got along well together, and that's it...The acting talent, the cinematography, we were propelled into a real class action film. Long after I kick the bucket it'll be played.
(2011, on Prizzi's Honor (1985)) What stands out for me in that shoot is John Huston's daughter [Anjelica]. I don't know what adjective to use. He wasn't uncomfortable with her, but he felt that it would be better if I worked with his daughter more than he did. That I would shield Anjelica from any problems. So I became her off-screen mentor at the behest of John Huston. He wanted me to work with his daughter. He felt, I guess, uncomfortable doing it himself.
(2011, on Big (1988)) Well, when we came to the set, which was... what's the store? F.A.O. Schwartz. We went up there, Tom [Hanks] and I, we see two guys dressed like we were, and they were going to shoot [the piano dance scene] with just the feet. We thought that was ridiculous. We told the guys who were dressed like we were to take a hike. So we were full-figure, which made it much more of a classic scene. Tom and I did all the dance. Full-figured view...It didn't take long at all, really. Just about one take.
(2011, on A Woman Called Golda (1982)) I worked with Ingrid [Bergman]. Ingrid and I became very close during filming. She became Golda Meir. She had a problem with her circulation in her left arm. So the whole time it was swollen. She was in pain. Ingrid and I became very, very close in the film. I think it became a real classic.
(2011, on playing a lot of different ethnicities in your career) I'd have to thank Stella Adler for that. She didn't want her actors to be a one-trick pony. An actor is an impersonator; he plays many different roles. If you played the same role all the time, God that'd be a boring career. When you take on different roles and become a different person, that's called acting ... It's a challenge. When you read a script, you don't want to be the same guy all the time, you want to change, you're a different person. That's why acting is a wonderful career. You're not the same guy all the time.
(2011, on Independence Day (1996)) It was a thrill to do that movie. For all the actors. It was challenging, and you stepped to the plate and try to hit it out of the park, I guess...You're dealing with aliens and all of that. It's an obvious challenge. Scripts like that don't come your way that often. It's nice to have it in my acting agenda. Nice to take it on.
(2011, on Mancuso, FBI (1989)) Well, I liked playing the cop. It should have gone on longer. I don't know why it was canceled, but Mancuso, FBI, it should have had a good long run, but it wasn't picked up. Maybe there was a problem with me. I have no idea.
(2011, on making Lost Highway (1997)) It's certainly in my memory book as a thrill. Working with David Lynch was like taking a bullet. A gun at you. Lost Highway (1997) is, I think, one of the best films I've ever been in. It'll endure a long, long time.
I thought my career was over as an actor at one point and I decided if I was going to be trapped in episodic television, I would direct in episodic television.
[on The Believers (1987)] It isn't what Schlesinger [director John Schlesinger] intended; he wanted to make a serious picture about the aberration of power, but the picture fell through the cracks. The audience didn't know whether they were being served a horror film, or a movie of a different nature. It was like going into a restaurant and not knowing what the menu is.
[on Psycho II (1983)] Meg Tilly was wonderful and went on to do very well after that. They did that movie for spit -- if they spent $5 million on it, that was a lot. But it was the only picture I was in from which I was actually paid a bonus.
[on being typecast in Mafioso roles and the acting process in general] It's like eating steak every day. It's not that I'm tired of eating steak, it's that I'd like some lamb or chicken, a change of pace. No two tennis balls are the same. You can hit thousands and thousands of tennis balls, and it seems like the same stroke, but no two are the same. It's the same with acting, one take to the other. There's always a variance, so you try to play it fresh each time.
[on being 100% natural in every film to the point where he's always himself] Which is boring to the audience and boring to me. In the old days, I used to prepare, run around the block, do push-ups, psych it up, all that. When I say conceptual, I mean that I read the script, and it's ingested. There was a book, by Arthur Koestler, called "The Art of Creation". One of his examples was that Handel [George Frideric Handel] dreamed "The Messiah"; when he awakened, he set it right down on paper. There's a certain truth for me in that as an actor. I do dream it, I do conceive it, and it's there.

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