70-444: The Nickel Ride is a 1974 American neo-noir crime film directed and produced by Robert Mulligan and starring Jason Miller , Linda Haynes , Victor French , Bo Hopkins , and John Hillerman . It is the debut film of screenwriter Eric Roth . It was entered into the 1974 Cannes Film Festival , where it was nominated for the Palme d'Or . On December 13, 2011, Shout! Factory released
140-416: A campaign commercial for moderate Republican U.S. Senator Lowell Weicker of Connecticut . Like Weicker, Scott was, at that time, a resident of Greenwich, Connecticut . Scott identified politically as a moderate conservative and supported the death penalty . Scott suffered a series of heart attacks in the 1980s. He died on September 22, 1999, aged 71, of a ruptured abdominal aortic aneurysm . He
210-667: A Murder (1959). Later that year he appeared on Broadway in The Andersonville Trial by Saul Levitt directed by Jose Ferrer , winning critical acclaim for his portrayal of the prosecutor. This was based on the military trial of the commandant of the infamous Civil War prison camp in Andersonville, Georgia . It ran for 179 performances from December 1959 to June 1960. Scott received good reviews for The Wall (1960–61) which ran for 167 performances. He guest-starred on episodes of Sunday Showcase , Playhouse 90 , Play of
280-463: A New York City social worker , along with co-stars Cicely Tyson and Elizabeth Wilson . Scott was a major creative influence on the show, resulting in conflicts with James T. Aubrey , the head of CBS . The Emmy Award -winning program had a series of guest stars, including James Earl Jones . The portrayal of challenging urban issues made attracting advertisers difficult, not helped by the limited distribution. Not all CBS network affiliates broadcast
350-463: A TV version of The Andersonville Trial (1970). Scott then returned his focus to feature films. He appeared in They Might Be Giants (1971) with Joanne Woodward , and The Last Run (1971) for director Richard Fleischer , with his wife Colleen Dewhurst and also with Trish Van Devere , who would become his fourth and last wife. Scott had a big hit with The Hospital (1971) based on
420-469: A carnival barker, but Cooper does not answer and goes outside just as Carl drives up. Carl authorizes the extra $ 10,000 for the warehouse, but warns Cooper that he better have a "yes" by Saturday. He chastises Cooper for beating Bobby, stating that Cooper is the syndicate's "computer" and they cannot afford for him to break down. Hoping to relax, Cooper and his girlfriend travel to a cabin in the woods. Things seem fine, until Sarah notices wet footprints inside
490-575: A compromise, Kubrick had Scott go over the top in rehearsal, assuring Scott that the cameras were off, which was untrue. Somehow, Scott was unable to hear the very loud motor on the 35mm film cameras of the time. Kubrick proceeded to use this version in the final cut, which Scott supposedly resented. Scott was one of many stars in The Yellow Rolls-Royce (1964). Scott was cast, under the direction of John Huston in Dino de Laurentiis 's The Bible: In
560-597: A difficult situation and making choices out of desperation or nihilistic moral systems . Visual elements included low-key lighting , striking use of light and shadow , and unusual camera placement. Sound effects helped create the noir mood of paranoia and nostalgia. Few major films in the classic film noir genre have been made since the early 1960s. These films usually incorporated both thematic and visual elements reminiscent of film noir . Both classic and neo-noir films are often produced as independent features . After 1970, film critics took note of "neo-noir" films as
630-502: A director, and gave him credit for the handling of the climactic strangulation sequence, although Hopkins also admitted that it was tough scene to shoot and that the whole film was difficult to work on. The film premiered at Cannes to positive reception, being nominated for the Palme d'Or. It then was previewed in France, but poor box office there and in other European markets led to concerns about
700-457: A dive, Paulie will be hurt. Tonozzi reluctantly agrees. After a surprise birthday party, Cooper is taken by Carl and his bodyguard Bobby to one of the prospective warehouses, where he is ordered to finish the deal by Saturday. Carl introduces Cooper to Turner, a young punk dressed like a cowboy who is to be his protege in the underworld. A disgruntled Cooper returns to his birthday party, but is interrupted by Paulie's arrival, announcing Tonozzi won
770-534: A prominent stage career even as his film stardom waned, and by the end of his career he had accrued five Tony nominations for his performances in Comes a Day (1959), The Andersonville Trial (1960), Uncle Vanya (1974), Death of a Salesman (1975), and Inherit the Wind . He directed several of his own films and plays and often collaborated with his wives Colleen Dewhurst and Trish Van Devere . George Campbell Scott
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#1733105536880840-521: A revival of Inherit the Wind (1996). In the latter play, he had to miss many performances due to illness, with his role being taken over by National Actors Theatre artistic director Tony Randall . In 1996, he received an honorary Drama Desk Award for a lifetime devotion to theatre. On the small screen, Scott appeared in Country Justice (1996), Titanic (1996) (as the ship's captain), and The Searchers (1996). Scott portrayed Juror No. 3 in
910-761: A script by Paddy Chayefksy ; and The New Centurions (1972) directed by Flesicher based on a book by Joseph Wambaugh . Scott then appeared in a series of box office flops , beginning with Rage (1972), which he both directed and starred in. He then appeared in Oklahoma Crude (1973) directed by Stanley Kramer ; The Day of the Dolphin (1973) directed by Mike Nichols , in which Scott appeared with Van Devere; Bank Shot (1974), directed by Gower Champion ; and The Savage Is Loose (1974), which co-starred Van Devere and which Scott himself directed. Scott returned to television with Fear on Trial (1975); and starred in
980-458: A sense of surprise. She sets you up like a great boxer and BAM! she gives you something else. She does have a certain consistent style, but when you examine her work you find enormous variety of color and intelligence. Scott reprised his role as Patton in a made-for-television sequel, The Last Days of Patton (1986). Based on the final weeks of Patton's life after being mortally injured in a car accident, it contains flashbacks of Patton's life. At
1050-606: A separate genre. Noir and post-noir terminology (such as " hard-boiled ", "neo-classic" and the like) are often rejected by both critics and practitioners. Robert Arnett stated, "Neo-noir has become so amorphous as a genre/movement, any film featuring a detective or crime qualifies." Screenwriter and director Larry Gross identifies Jean-Luc Godard 's Alphaville , alongside John Boorman 's Point Blank (1967) and Robert Altman 's The Long Goodbye (1973), based on Raymond Chandler 's 1953 novel, as neo-noir films. Gross believes that they deviate from classic noir in having more of
1120-471: A shadowy cinematographic style. Neo-noir has a similar style but with updated themes, content, style, and visual elements. The neologism neo-noir, using the Greek prefix for the word new , is defined by Mark Conard as "any film coming after the classic noir period that contains noir themes and noir sensibility". Another definition describes it as later noir that often synthesizes diverse genres while foregrounding
1190-475: A short run. He directed and played Willy Loman in a 1975 revival of Death of a Salesman , for which he garnered another Tony nomination. Scott received a Tony Award nomination for his performance as Astrov in a 1973 revival of Uncle Vanya , directed by Nichols, which ran for 64 performances. Scott starred in a well-received production of Larry Gelbart 's Sly Fox (1976; based on Ben Jonson 's Volpone ), which ran 495 performances. Scott appeared in
1260-461: A sociological than a psychological focus. Neo noir features characters who commit violent crimes, but without the motivations and narrative patterns found in film noir . Neo noir assumed global character and impact when filmmakers began drawing elements from films in the global market. For instance, Quentin Tarantino 's works have been influenced by Ringo Lam 's 1987 classic City on Fire . This
1330-651: A television adaptation of A Christmas Carol . He directed the 1984 Broadway revival of Noël Coward's Design for Living , which ran for 245 performances. In 1986, on Broadway, Scott did The Boys in Autumn in 1986. In 1993, he appeared off-Broadway successfully with Wrong Turn at Lungfish . He was nominated for an Emmy Award for the role. Scott played the title role in the television film Mussolini: The Untold Story (1985). I think I learned to act from people like James Cagney and Paul Muni . And I'm sure I learned more from Bette Davis than anyone. She has enormous presence,
1400-927: A television production of Beauty and the Beast (1976), with Trish Van Devere. He later starred as an Ernest Hemingway -based artist in Islands in the Stream (1977) directed by Schaffner and based on Hemingway's posthumously published novel. He had a cameo in Crossed Swords (1977) directed by Fleischer, then had the lead in Movie Movie (1978) directed by Stanley Donen , costarring with Van Devere, and Hardcore (1979) written and directed by Paul Schrader . Scott starred in The Changeling (1980), with Melvyn Douglas , John Colicos , Jean Marsh , and Van Devere, for which he received
1470-472: A television version of The Crucible (1967). Scott returned to Broadway in 1967 to direct Dr. Cook's Garden by Ira Levin but quit during tryouts. As an actor, he appeared in a revival of The Little Foxes (1967–1968) directed by Mike Nichols , which ran for 100 performances. Scott starred in The Flim-Flam Man (1967) and Petulia (1968). He appeared in the television film Mirror, Mirror Off
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#17331055368801540-420: A week with an implicit threat of violent retaliation should he fail. Cooper is ordered by his boss Carl to fix a boxing match, after their resident fixer Paulie failed to get the fighters to take a dive. Carl meets with Paulie, who tells the former that he's lost his touch and wants out of the criminal underworld. Cooper volunteers to fix the fight on his behalf, and informs the boxer Tonozzi that if he doesn't take
1610-483: Is attacked by Turner with a gun. Cooper is shot multiple times, but manages to charge Turner, then beats him and strangles him to death. He collapses to the floor in exhaustion, and dies of his wounds. The project began with a screenplay written by Eric Roth called Fifty-Fifty which concerned a low-level crime boss who grows paranoid on the verge of his fiftieth birthday. The script was purchased by Chartoff-Winkler Productions with George C. Scott originally attached as
1680-409: Is considered to be one of the defining authors of hard-boiled fiction. Both novels were adapted as crime films, the former more than once. Cain is quoted as saying, "I belong to no school, hard-boiled or otherwise, and I believe these so-called schools exist mainly in the imagination of critics, and have little correspondence in reality anywhere else." Neo-noir film directors refer to 'classic noir' in
1750-417: Is going on, but Cooper will only say it is "business." Enraged, Sarah slaps Cooper, who then punches her in the face. Embarrassed, Cooper puts her on the bed, explaining that there are new people that want to take his job away, and without his work he is nothing. As there is no telephone in the cabin, Cooper goes to a nearby bait shop and calls the hotel. Upon learning Elias never arrived, Cooper drives back to
1820-549: Is on display there. Scott accepted the New York Film Critics Award . His then-wife Colleen Dewhurst said, "George thinks this is the only film award worth having". During the early 1970s, Scott appeared in the made-for-television films Jane Eyre (1970) as Mr. Rochester and The Price (1971), a version of the Arthur Miller play. For the latter role, he won an Emmy Award , which he accepted. He also directed
1890-621: The Dupont Show of the Month directed by Robert Mulligan . He also appeared in a televised version of The Outcasts of Poker Flat (1958) plus episodes of Kraft Theatre , and Omnibus . Scott's feature film debut was in The Hanging Tree (1959), starring Gary Cooper and Maria Schell . Scott earned his first Academy Award nomination for his performance in Otto Preminger 's Anatomy of
1960-696: The Academy Award for Best Actor for playing General George S. Patton in Patton (1970), he became the first actor to decline the award, having warned the Academy of Motion Picture Arts and Sciences months in advance that he would do so on the basis of his belief that performances cannot be compared to others. His other Oscar-nominated roles include Anatomy of a Murder (1959), The Hustler (1961), and The Hospital (1971). Scott's other notable films include Dr. Strangelove (1964), Petulia (1968), The Day of
2030-635: The Academy Award, Scott famously said elsewhere, "The whole thing is a goddamn meat parade. I don't want any part of it." The Best Picture Oscar for Patton was given to the George C. Marshall Foundation Library at the Virginia Military Institute in Lexington, Virginia , the same institution that generations of Pattons attended, by producer Frank McCarthy a few weeks after the awards ceremony, and
2100-665: The Beginning , which was released by 20th Century Fox in 1966. Also in 1966, Scott appeared as Jud Barker in the NBC western The Road West (also known as This Savage Land ), starring Barry Sullivan , Kathryn Hays , Andrew Prine , and Glenn Corbett . He also guest starred in Bob Hope Presents the Chrysler Theatre . He co-starred with Tony Curtis in the comedy film Not with My Wife, You Don't! (also 1966) and as John Proctor in
2170-577: The Canadian Genie Award for Best Foreign Film Actor for his performance. He followed this with The Formula (1980) co-starring Marlon Brando , which was a flop. With one exception, it was the last time he had the lead in a major studio feature film. Scott returned to Broadway for Tricks of the Trade in 1980 with Van Devere, but it ran for a single performance. Scott appeared alongside Timothy Hutton and rising stars Sean Penn and Tom Cruise in
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2240-523: The Dolphin (1973), Movie Movie (1978), Hardcore (1979), and The Exorcist III (1990). Scott gained fame for his roles on television earning two Primetime Emmy Awards for his performances in Hallmark Hall of Fame (1971), and 12 Angry Men (1997). He also played leading roles in Jane Eyre (1970), Beauty and the Beast (1976), and A Christmas Carol (1984). Scott continued to maintain
2310-659: The Wall (1969). Scott played George S. Patton in the film Patton (1970) and researched extensively for the role, studying films of the general and talking to those who knew him. Scott declined the Oscar nomination for Patton , just as he had done for his nomination in 1962 for The Hustler , but won the award anyway. In a letter to the Motion Picture Academy , he stated that he did not feel himself to be in competition with other actors. However, regarding this second rejection of
2380-707: The Way Home (1991). On Broadway, he directed and appeared in a revival of On Borrowed Time (1991–92). He had a supporting role in Curacao (1993) and Malice (1993). Scott had a starring role in Traps (1994) but the series only ran for five episodes. He also had a semi-regular role on another short-lived series New York News (1995). Around this time, Scott appeared in such feature films as The Whipping Boy (1994), Tyson (1995), and Angus (1995). Scott received another Tony nomination for his performance as Henry Drummond in
2450-607: The Week (doing " Don Juan in Hell "), Dow Hour of Great Mysteries , and a Hallmark Hall of Fame production of Winterset , originally written for the stage. Scott received superb notices for his performance in The Hustler (1961). He returned to Broadway to direct General Seeger (1962) by Ira Levin but it only lasted two performances. The play Great Day in the Morning (1962), in which he
2520-423: The best of '70s cinema will never fully be quarried out...The atmosphere is one of musty hallways, sour stomach, and looming late middle age with no retirement plan in sight." Despite its elusiveness and initially mixed reaction, the film has attained a following, and it sometimes is compared favorably to The Friends of Eddie Coyle . Among its more prominent fans is director Quentin Tarantino , who included it in
2590-496: The cabin and Cooper discovers his gun missing from a drawer. After searching the cabin and finding no one, Cooper buys new locks and a shotgun. That afternoon, Cooper drives to Elias's hotel, only to find he is not registered there. He telephones Elias, but gets no answer. Returning to the cabin, Cooper finds Turner waiting for the warehouse answer. Cooper responds that when he gets the answer, he will call Carl himself, and sends Turner away. After Turner leaves, Sarah demands to know what
2660-417: The cabin and falls asleep holding his shotgun. He dreams Turner is there, holding a rifle; Cooper aims his shotgun, causing Turner to drop the rifle, and scream that he only wants the "message." Cooper slugs him with the gun and, just as he is about to pull the trigger, Sarah appears, distracting Cooper long enough for Turner to grab the rifle and shoot Sarah. Cooper awakens and tells Sarah they have to return to
2730-434: The city. After dropping Sarah off, Cooper goes to Elias' house and learns that the deal has fallen through and that Carl already knows. Cooper puts Sarah on a train for Las Vegas, promising to join her later. He then finds Carl at a restaurant and threatens to kill him if he doesn't take the contract off his head. Carl insists that the mob cannot lose their "key man" and that they will find other warehouses. At his home, Cooper
2800-559: The coming-of-age film Taps (1981), and was cast as Fagin in the CBS made-for-TV adaptation of Charles Dickens 's Oliver Twist (1982). On Broadway, he starred in and directed a successful revival of Noël Coward's Present Laughter which ran during 1982–83. He starred in China Rose (1983) on television, and in 1984, had a supporting role in Firestarter and portrayed Ebenezer Scrooge in
2870-496: The delayed and staggered release, the film did not arrive in some markets for a full year or more – Los Angeles received the film at the end of 1975, and one Seattle critic noted in a review published in January 1976 that the film was presented in his city as a "first-run second feature" in a double-bill with Robert Aldrich ’s Hustle . The film ultimately grossed less than $ 2 million domestically. Nora Sayre of The New York Times
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2940-451: The disaster film The Hindenburg (1975) for director Robert Wise . Scott had a big Broadway hit with Neil Simon 's Plaza Suite (1968), directed by Mike Nichols. The show was composed of three separate one-act plays all using the same set, with Scott portraying a different lead character in each act; it ran for 1,097 performances. Scott directed a production of All God's Chillun Got Wings (1975) which starred Van Devere and only had
3010-428: The elevator to leave, Bobby joins him and brags that he killed Paulie. Angered, he brutally beats Bobby and breaks two of his ribs in the process. Cooper is driven to Carl's office by Turner, who is now Carl's driver following Bobby's hospitalization. At the office, Turner goes to the bathroom, allowing Cooper to slide a gun from his desk and hide it under his coat. Turner returns and asks questions about Cooper's days as
3080-624: The episode "I Don't Belong in a White-Painted House". He appeared opposite Laurence Olivier and Julie Harris in Graham Greene 's The Power and the Glory in a 1961 television production and also performed in The Merchant of Venice (1962) off-Broadway. Scott's first leading role in a feature was The List of Adrian Messenger released in 1963. That year, Scott starred in the hour-long television drama series East Side/West Side . He portrayed
3150-430: The fight. Begging Cooper to help him, Paulie is advised to leave town until Cooper can smooth things over with Carl. Cooper visits Elias at a barbershop to close the warehouse deal, but Elias demands another $ 15,000 for bribes. Cooper agrees to pay out another $ 10,000, but Elias questions his authority to do so as he heard rumors that Cooper is on the way out. Cooper meets Carl and gives him the weekly pay offs. As he gets in
3220-468: The film on DVD as part of a double feature with 99 and 44/100% Dead . In Los Angeles , Cooper is a "key-man" (fence) for a local crime boss , operating a series of warehouses used as storage facilities for stolen and illicit goods. Cooper hopes to close a deal for a new block of storage units, bribing local realtor Elias O'Neil to broker a deal with city officials to sell him the warehouses. Elias tells Cooper that he needs more time, so Cooper gives him
3290-420: The film. Despite his excision, Burns’ name still appears in some credits listings. In January 1975, the film debuted domestically on the east coast, where it performed poorly despite the efforts to tighten the picture. In response, the marketing campaign was retooled before the film's gradual release to the rest of the U.S., but The Nickel Ride ultimately disappeared without finding a sizable audience. Due to
3360-503: The first of many appearances opposite his future wife, actress Colleen Dewhurst ), for As You Like It (1958), and for playing the title character in William Shakespeare 's Richard III (1957–58) (a performance one critic said was the "angriest" Richard III of all time). Scott's Broadway debut was in Comes a Day (1958) which had a short run. Scott's television debut was in a 1958 adaptation of A Tale of Two Cities for
3430-399: The lead. The project then changed hands to producer/director Robert Mulligan , with 20th Century Fox committed as distributor. Mulligan selected the project as his follow-up to The Other after he had briefly been considered to direct Taxi Driver with Jeff Bridges in the starring role of Travis Bickle . At the last minute, Scott dropped out of the project, and the role of Cooper
3500-669: The line-up of his first annual QT Fest in 1997. Neo-noir Neo-noir is a film genre that adapts the visual style and themes of 1940s and 1950s American film noir for contemporary audiences, often with more graphic depictions of violence and sexuality. During the late 1970s and the early 1980s, the term "neo-noir" surged in popularity, fueled by movies such as Sydney Pollack 's Absence of Malice , Brian De Palma 's Blow Out , and Martin Scorsese 's After Hours . The French term film noir translates literally to English as "black film", indicating sinister stories often presented in
3570-476: The phone, in his office and out of doors. All in all, he seems more vulnerable to an anxiety attack than to an assailant's bullet... The Nickel Ride is handsomely filmed in bleak pastels, but the numerous close-ups manage to stress the slowness of the action, and quick cuts can't dispel the tedium. Nick Pinkerton of The Village Voice was slightly more forgiving: " The Nickel Ride is a seldom-seen drama of white-collar workaday criminal drudgery to make you believe
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#17331055368803640-400: The project's commercial viability. Director Robert Mulligan cut the movie down, eliminating in the process the character of Cooper's younger brother Larry, played by Brendan Burns. (The actor's father, Bart Burns, played the role of Elias in the film.) According to Eric Roth, Burns attended the domestic premiere with surrounding family having not been informed that his character was cut out of
3710-598: The scaffolding of film noir . " Film noir " was coined by critic Nino Frank in 1946 and popularized by French critics Raymond Borde and Etienne Chaumeton in 1955. The term revived in general use beginning in the 1980s, with a revival of the style. The classic film noir era is usually dated from the early 1940s to the late 1950s. The films were often adaptations of American crime novels, which were also described as " hardboiled ". Some authors resisted these terms. For example, James M. Cain , author of The Postman Always Rings Twice (1934) and Double Indemnity (1944),
3780-601: The show, and it was canceled after one season. Scott had a success during 1963 in an off-Broadway production of Desire Under the Elms . Scott's highest-profile early role was in the Stanley Kubrick –directed Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (1964), in which he played General "Buck" Turgidson. In later interviews with Kubrick, Scott was revealed to have initially refused to camp it up on camera. As
3850-571: The television film 12 Angry Men (1997), the role played by Lee J. Cobb in the 1957 film , for which he would win another Emmy Award. He hosted Weapons at War on A&E TV , but was replaced after one season by Gerald McRaney . Weapons at War moved to The History Channel with Scott still credited as host for the first season. Scott was replaced by Robert Conrad after his death in 1999. He had support roles in Gloria (1999) for Sidney Lumet and Rocky Marciano (1999). Scott made his last film,
3920-429: The television film Inherit the Wind (1999), portraying Matthew Harrison Brady (ironically opposite the role he had played on stage) with Jack Lemmon as Henry Drummond, with whom he had also worked in 12 Angry Men . Scott had a reputation for being moody and mercurial while on the set. "There is no question you get pumped up by the recognition ... Then a self-loathing sets in when you realize you're enjoying it", he
3990-615: The television film The Ryan White Story (1989) as Charles Vaughan, the lawyer defending Ryan White . In 1990, he voiced two villainous roles: Smoke in the television special Cartoon All-Stars to the Rescue and Percival McLeach in the Disney film The Rescuers Down Under . He was featured in The Exorcist III (1990). For TV, he starred in Descending Angel (also 1990) and Finding
4060-739: The time the sequel was aired, Scott mentioned in a TV Guide interview that he told the academy to donate his Oscar to the Patton Museum , but since the instructions were never put in writing, it was never delivered. On television, Scott appeared in The Murders in the Rue Morgue (1986) and Pals (1987; with Don Ameche ). He also played the lead role in the TV series Mr. President (1987–88), and appeared on The Johnny Carson Show in March 1987. Scott starred in
4130-431: The use of Dutch angles , interplay of light and shadows, unbalanced framing ; blurring of the lines between good and bad and right and wrong , and thematic motifs including revenge , paranoia , and alienation . Typically American crime dramas or psychological thrillers , films noir had common themes and plot devices, and many distinctive visual elements. Characters were often conflicted antiheroes , trapped in
4200-717: Was as the barrister in a university production of Terence Rattigan 's The Winslow Boy , directed by H. Donovan Rhynsburger. During rehearsals for that show, he made his first stage appearance—in a student production of Noël Coward 's Hands Across the Sea , directed by Jerry V. Tobias. He graduated from the university in 1953 with degrees in English and theater. Scott first rose to prominence for his work with Joseph Papp 's New York Shakespeare Festival . In 1958, he won an Obie Award for his performances in Children of Darkness (in which he made
4270-594: Was assigned to 8th and I Barracks in Washington, D.C. , and his primary duty was serving as honor guard at military funerals at Arlington National Cemetery . He later said that during his duty at Arlington, "[I] pick[ed] up a solid drinking habit that stayed with me from then on." Following military service, Scott enrolled at the University of Missouri on the G.I. Bill where he majored in journalism and then became interested in drama. His first public appearance on stage
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#17331055368804340-418: Was born on a kitchen table October 18, 1927—the younger of two siblings—in the modest Wise, Virginia , home of his parents, George Dewey Scott (1902–1988) and Helena Agnes (née Slemp; 1904–1935). His mother was the first cousin, once removed, of Republican Congressman C. Bascom Slemp . His maternal grandfather was a local jurist, Judge Campbell Slemp. Scott's mother died just before his eighth birthday, and he
4410-446: Was directed by José Quintero , also had only a brief run. Scott was in much demand for guest shots on TV shows, appearing in episodes of Ben Casey and Naked City . In 1962, Scott appeared as school teacher Arthur Lilly on NBC 's The Virginian , in the episode "The Brazen Bell", in which he recites Oscar Wilde 's poem " The Ballad of Reading Gaol ". That same year, he appeared in NBC's medical drama The Eleventh Hour , in
4480-542: Was filled by Jason Miller, fresh off his acclaim for The Exorcist . Although considerably younger than the envisioned character, Miller's casting pleased Roth, who considered the actor "the new John Garfield ." Linda Haynes recalled being intrigued by the prospect of getting to work with Mulligan, whom she considered to be among the "crème de la crème" of Hollywood directors. Mulligan regulars Victor French and Lou Frizzell were cast in supporting roles. Filming took place from September 17 to November 13, 1973. The film
4550-555: Was interred in the Westwood Village Memorial Park Cemetery in Westwood, California . Over his career Scott has received numerous accolades including an Academy Award , two Golden Globes and two Primetime Emmy Awards . He also received nominations for two BAFTA Awards , two Screen Actors Guild Awards , and five Tony Awards . Scott has been recognized by the Academy of Motion Picture Arts and Sciences for
4620-481: Was not impressed: The movie appears to be a drama of real estate. Jason Miller plays a neighborhood fixer who is attempting to lease a warehouse for the storage of stolen goods; however, the deal is delayed, and he's threatened by the minor hoods who are his clients. His role is a study in worry: the angst rarely leaves his deep-set lemur's eyes. We watch him worrying in profile, in full and three-quarter face, standing or sitting or lying down, in daylight and darkness, on
4690-761: Was particularly the case for the noir-inflected Reservoir Dogs , which was instrumental in establishing Tarantino in October 1992. George C. Scott George Campbell Scott (October 18, 1927 – September 22, 1999) was an American actor, director and producer. He had a celebrated career on both stage and screen. With a gruff demeanor and commanding presence, Scott became known for his portrayal of stern but complex authority figures. Described by The Guardian as "a battler and an actor of rare courage", his roles earned him numerous accolades including two Golden Globes , and two Primetime Emmys as well as nominations for two BAFTA Awards and five Tony Awards . Though he won
4760-460: Was predominantly shot on location in downtown Los Angeles , with Big Bear used for the scenes set at the lakeside cabin and the Rosslyn Hotel used as Cooper's office and apartment. Bo Hopkins recalled the difficulties of filming a driving scene with Jason Miller because the scene had been rewritten the night beforehand, giving him little time to memorize his lines. He "loved" Robert Mulligan as
4830-407: Was quoted as saying. One anecdote relates that one of his stage co-stars, Maureen Stapleton , told the director of Neil Simon's Plaza Suite, "I don't know what to do – I'm scared of him." The director, Mike Nichols , replied, "My dear, everyone is scared of George C. Scott." Scott was married five times: He had a daughter, Michelle (b. 1954), with Karen Truesdell. In 1982, Scott appeared in
4900-571: Was raised by his father, an executive at Buick . Scott's original ambition was to be a writer like his favorite author, F. Scott Fitzgerald . While attending Redford High School in Detroit , he wrote many short stories, none of which were published. He tried on many occasions to write a novel, but never completed one to his own satisfaction. After high school, Scott enlisted in the United States Marine Corps , serving from 1945 to 1949. He
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