Biography for
Morgan Freeman (I)

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Mini Biography

With an authoritative voice, and calm demeanour, this ever popular African American actor has grown into one of the most respected figures in modern US cinema. Born in June 1937 in Memphis, Tennessee, the young Freeman attended Los Angeles Community College before serving several years in the US Air Force as a mechanic between 1955 and 1959. His first dramatic arts exposure was on the stage and he appeared in an off Broadway production of "The Nigger Lovers" and also in an all-African American production of the exuberant musical Hello, Dolly! (1969).

Freeman first appeared on TV screens as several characters including Easy Reader, Mel Mounds, and Count Dracula on the Children's Television Workshop (now Sesame Workshop) show "The Electric Company" (1971). He then moved into feature film with another children's adventure, _Who Says I Can't Ride a Rainbow? (1971)_. Next there was a small role in the thriller Blade (1973); then he played Casca in _Julius Caesar (1979/II) (V)_ and the title role in Coriolanus (1979) (V). Regular work was coming in for the talented Freeman and he appeared in the prison dramas Attica (1980) (TV) and Brubaker (1980), the slow-moving Eyewitness (1981), and portrayed the final 24 hours of slain Malcolm X in _Death of a Prophet (1981)_.

For most of the 1980s, Freeman continued to contribute decent enough performances in films that fluctuated in their quality. However, he really stood out, scoring an Oscar nomination as a merciless hoodlum in _Street Smart (1987/I)_, and then he dazzled audiences and pulled a second Oscar nomination as the patient and dignified chauffeur assisting moody pensioner Jessica Tandy in the delightful Driving Miss Daisy (1989). The same year, Freeman teamed up with youthful Matthew Broderick and fiery Denzel Washington in the epic Civil War drama Glory (1989) about freed slaves being recruited to form the first all-African American fighting brigade.

His star continued to rise, and the 1990s kicked off strongly with roles in Robin Hood: Prince of Thieves (1991) and The Power of One (1992). Freeman's next role was as gunman Ned Logan, wooed out of retirement by friend William Munny to avenge several prostitutes in the wild west town of Big Whiskey in Clint Eastwood's de-mythologized western Unforgiven (1992). The film was a critical and box-office smash and scored an acting Oscar for Gene Hackman, a directing Oscar for Eastwood, and the Oscar for best picture.

Freeman's work did not go unnoticed, more strong scripts came in, and he was back behind bars depicting a knowledgeable inmate (and obtaining his third Oscar nomination), befriending falsely accused banker Tim Robbins in the uplifting The Shawshank Redemption (1994). He was then back out hunting a religious serial killer in Se7en (1995), starred alongside Keanu Reeves in Chain Reaction (1996), and was pursuing another serial murderer in Kiss the Girls (1997).

Further praise followed for his role in the slave tale of Amistad (1997), he was a worried US President facing Armageddon from above in Deep Impact (1998), appeared in the loopy Neil LaBute black comedy Nurse Betty (2000), and reprised his role as "Alex Cross" in Along Came a Spider (2001). Now highly popular, he was much in demand with cinema audiences, and he co-starred in the terrorist drama The Sum of All Fears (2002), was a military officer in the Stephen King-inspired Dreamcatcher (2003), gave divine guidance as God to Jim Carrey in the very funny Bruce Almighty (2003), and played a minor role in the uneven comedy The Big Bounce (2004).

However, 2005 was finally to be Morgan Freeman's year, when again he teamed up with good friend Clint Eastwood to appear in the heart-wrenching drama, Million Dollar Baby (2004). Freeman's on-screen performance is simply world-class as ex-prize fighter Eddie "Scrap Iron" Dupris, who works in a run-down boxing gym alongside grizzled trainer Frankie Dunn, as the two work together to hone the skills of never-say-die female boxer Hilary Swank. Freeman received his fourth Oscar nomination and, finally, impressed the Academy's judges enough to win the Best Supporting Actor Oscar for his performance.

In addition to his film work, his commanding yet mellifluous voice has also led Freeman to be cast to narrate or host dozens of first-rate television specials covering topics from the American Civil War, the American Film Institute, blues music, the White House, and many commemorative events involving the US film industry, most recently as the narrator of the American version of Marche de l'empereur, La (2005).

Spouse

Trade Mark

Frequently plays characters with calm demeanor.

Narration: Often provides narration for his films, as either himself or the character he is playing.

Trivia

Played "Easy Reader" in the children's TV show "The Electric Company" (1971), which was produced by The Children's Television Workshop.

Ranked #31 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list. [October 1997]

Obie for Coriolanus (1979) (V) and "Mother Courage". [1980]

Obie for The Gospel at Colonus (1985) (TV). [1986]

Obie for Driving Miss Daisy (1989). [1988]

Father of Alfonso Freeman from a previous relationship and Saifoulaye Freeman from another previous relationship.

Father of Deena Freeman (adopted) and Morgana Freeman with Jeanette Adair Bradshaw.

Received "Hollywood Outstanding Achievement in Acting" Award on 7 August 2000.

He was (along with director/actress Billie Allen, director/ playwright Garland Thompson, and journalist Clayton Riley') a founding member of The Frank Silvera Writers' Workshop, named after noted Black actor Frank Silvera.

Has only reprised the same character twice. He played Dr. Alex Cross in Kiss the Girls (1997) and then reprised the role in Along Came a Spider (2001), and has also played God in Bruce Almighty and then reprised that role in Evan Almighty. Currently (2007) working on his third reprised role, this time as Lucius Fox in the newest Batman franchise.

Considered joining the Air Force to become a fighter pilot but opted to stay with acting instead.

Worked as a mechanic in the US Air Force.

Has recorded a new radio public service announcement about the national parks.

Recently earned a Private Pilot license.

May 2001 - Opened the Ground Zero Blues Club in Clarksdale, Mississippi.

Broadway debut in the musical "Hello, Dolly!" with Pearl Bailey and Cab Calloway.

Has his own production company, Revelation Entertainment.

Has starred in two movies based on Stephen King books: Dreamcatcher (2003) and The Shawshank Redemption (1994).

Has appeared in two films opposite a main character named Jack Ryan: The Sum of All Fears (2002) and The Big Bounce (2004).

Owns a boat which is berthed in the Caribbean. His busy schedule, however, only allows him to go sailing on it once a year.

During an interview with Charlie Rose regarding the 10th year anniversary of The Shawshank Redemption (1994), Freeman said he regarded that film, Glory (1989), Driving Miss Daisy (1989), and Unforgiven (1992) as the highlights of his career.

He is often called the greatest living actor in film, a title he humbly waves off and says he is just "lucky."

Was nominated for Broadway's 1978 Tony Award as Best Actor (Feature Role - Play) for 'The Mighty Gents.'

Said in an issue of Life Magazine (February 2005) that he can be seen as an extra in The Pawnbroker (1964).

Arrived in Los Angeles in 1959 and his first job was as a clerk typist.

Speaks fluent French. He gave an introductory speech in French to the crowd of extras gathered in Montreal's Olympic Stadium to portray the Baltimore Super Bowl audience in The Sum of All Fears (2002).

In May 2005, he won the right to the Internet domain name www.morganfreeman.com from the company Mighty LLC, of Charlestown, Saint Kitts and Nevis in a UN panel.

Applied in 2004 to the U.S. Patent and Trademark Office to trademark his name. The trademark application is still pending as of May 2005.

Most of the characters he has played aren't written specifically for an African-American actor.

In 1980 he won a Village Voice Obie award for his performances in "Mother Courage" and "Coriolanus".

Won a second Village Voice Obie Award in 1984 for his performance in Gospel at Colonus.

Won a third Village Voice Obie for his performance in Driving Miss Daisy in 1987

Keeps his Oscar statuette inside a cabinet which resides in his office. The cabinet was built by a good friend of his in 1998 especially for the Oscar that his good friend predicted he would win. It even came with a plaque that read: "No Parking. Reserved for Oscar."

Member of the jury at the Berlin International Film Festival 1994

He has played three men who teach someone to box in three separate films. First, he played "Geel Piet" in The Power of One (1992), he then played "Alex Cross" in _Kiss the Girls (1997) where, at the beginning of the film, he was teaching a group of young boys how to box, and he also played "Eddie 'Scrap Iron' Dupree" in Million Dollar Baby (2004).

The only African-American actor/actress to appear in three Best Picture Oscar Winners: Driving Miss Daisy (1989), Unforgiven (1992) and Million Dollar Baby (2004).

His performance as "Fast Black" in Street Smart (1987) is ranked #77 on Premiere Magazine's 100 Greatest Performances of All Time (2006).

In January 2001, opened Madidi, a fine-dining restaurant in Clarksdale, MS, with local attorney and businessman, Bill Lucket. They also co-own Ground Zero Blues Club, a blues bar and grill that opened in May 2001.

Three films of his are on the American Film Institute's 100 Most Inspiring Movies of All Time. They are: "Driving Miss Daisy" (1989) at #77, "Glory" (1989) at #31, and "The Shawshank Redemption" (1994) at #23.

Father of Alfonso Freeman.

Narrated 2 Academy Award-winning feature length documentaries: "The Long Way Home" (1997) and "March of the Penguins" (2005).

Founded a new internet start-up allowing customers to download movies while they are still in the theaters (www.cstar.com).

Attended the 2004 and 2005 Dubai International Film Festival in the United Arab Emirates.

Played God in Bruce Almighty (2003) and reprised the role in Evan Almighty (2007).

Is a member of Phi Beta Sigma Fraternity, Inc.

Works closely with screenwriter Grant Boucher.

Has said that watching Gary Cooper's films in his youth inspired him to become an actor.

He's Left Handed.

Personal Quotes

I gravitate towards gravitas.

"I had a philosophic aversion to it. I didn't want to do the same thing twice. Then, I realized that my philosophical aversion was bullshit. I realized I liked Alex Cross. And the fact that he's black is totally incidental. That's a rare thing for a black actor to find." - on his hesitation to do Along Came a Spider (2001)

"It was a wonderful experience. Steve Bing was the producer and was very generous. But the movie didn't turn out very well. The director [George Armitage] fell ill and we shut down production for a few weeks while he recuperated. And I think when he came back he just didn't pick up the ball and run with it the way he should have, and the movie suffered greatly for that." - on the failure of The Big Bounce (2004)

"I've been living with myself all of my life, so I know all of me. So when I watch me, all I see is me. It's boring." - on why he dislikes watching his own films

I'm not intimidated by lead roles. I'm better in them. I don't feel pressure - I feel released at times like that. That's what I'm born to do.

I was in Africa when I got the call for Unforgiven (1992). Clint called my agency and made an offer for a western. I was like, 'He called for me?' It was jaw-dropping.

"It took a long time for word of mouth to kick in because no one could say it. It was 'The Shimshunk Reduction', 'The Hudsucker Redemption'; I mean people just couldn't say it, which really made me angry because I knew that at the time! The movie we made was called 'Rita Hayworth and the Shawshank Redemption'. Isn't that a great title? But they were like, 'That won't fit on the marquee.' So it took a year or two for people to say it. Some people still can't say it." - on the box-office failure of The Shawshank Redemption (1994)

"If you don't show the actual violence and the audience provides their own violence, it's much more gruesome. This is a guy who spent a lot time planning and preparing, and what was he doing? He was punishing people for their sins. He had a moral agenda. A twisted moral agenda, but do you know how many people do? People in high places." - on the violence in Se7en (1995)

"People thought it was a picture about slavery. But it wasn't about slavery at all. It was about American jurisprudence. The point of the film ultimately was that the President in not the king. But I think people were like, 'Jesus, not another movie about slavery!' We really do have a negative response to negative history. Which is a shame" - on the box-office failure of Amistad (1997)

"I knew that movie wasn't going to work. I don't think Brian De Palma had a clue. It struck me that he didn't read the book -- or that he didn't like the book. Originally, they hired Alan Arkin to play the judge. Perfect. But it was not politically correct. They only had one black character in the film and he was not a positive character. So, they fired Alan and hired me. I was kind of a suck ass for not turning it down, but they weren't going to give it back to Alan anyway. I never did get around to seeing the movie." - On the failure of The Bonfire of the Vanities (1990).

"It's a tricky character, right on the edge of Uncle Remus. But, I knew how to play him right away. I knew when I read it. I just saw him -- the dignity in the character. The only time I ever worried about it was when I was doing the show Off-Broadway, and all these Southerners would come back wiping their eyes and talking about how nostalgic it made them feel. How their grandmother had a chauffeur just like that. I was like, 'God damn it! I made these people nostalgic for the good ol' days!' But, then, I had some black friends see it, and they said, 'Oh, my grandfather was exactly like that.' So that made me feel okay." - On the character of Hoke in Driving Miss Daisy (1989).

"That was a strange production. There were moments of extreme tension on the set. Between the producers and actors, between the director and actors, between everybody. Just this personality stuff between different groups. Very strange. Let's stop talking about that one." - on working on The Shawshank Redemption (1994)

I saw Fight Club (1999) and I didn't like it much. It's a great movie, well made, fabulous acting, but it just made me feel so bad. But David Fincher is an extraordinarily good director.

When I was doing press for Deep Impact (1998), reporters would always ask me how it felt to play the first black president, and I'd tell them, 'I'm not playing the first black president. I'm playing a president who happens to be black.' Or they'd ask me what sort of research I did for the role. Research? What kind of research do you need to play the president? He's a guy. Besides, we all know what presidents are like standing up there in a press conference. Hell, you don't have to do any research to play a president.

"I saw Neil LaBute's first movie, In the Company of Men (1997), and I thought it sucked deeply. I mean, talk about a couple of scuzzy guys. Man, they were turds. But I was intrigued by the mind that would think this up and film it. Then, I saw LaBute's second movie, Your Friends & Neighbors (1998). Not any better, but still intriguing. So then I got the script for Nurse Betty (2000), and I loved it and I went and met him. And it turns out he's married, has these lovely kids. He's just this big bear of a man. Cuddly, even. It didn't take any persuading to convince me to do the film".

When I got nominated for the Oscar [for Street Smart (1987)], it put rocket boosters in my career. Since childhood, all I wanted to do was make movies. I love the stage, but I wanted to be a movie actor.

Is there a movie I think I should have won the Oscar for? Yeah. All of them.

"I don't know what my favorite film of mine is...But I think the most important film I was in was Glory (1989)".

"It was my idea to just do "The Electric Company" (1971) for a couple of years and go on. But, you get trapped by that money thing. It's golden handcuffs. It gets a lot of people, including soap opera actors and commercial actors. Then, they don't want to see you in serious work. That was going to be me, having people come up to me saying 'My kids love you!'. I was there three years too long".

I find it difficult to watch myself...I find it boring.

I was talking to Bob Hoskins when we were making Unleashed together. We were talking about the joy of doing bad guys. And he confirmed exactly what I was thinking. With bad guys you get to let it all out. All those dark places in your psyche? You can let 'em go. When you play good guys, it's kind of boring. It's one note.

Once you've gotten the job, there's nothing to it. If you're an actor, you're an actor. Doing it is not the hard part. The hard part is getting to do it.

[Accepting his UCLA Tracy award]: "To be included among this group of highly accomplished actors is just magical."

I'm very worried about what's going on in the world at the moment because we have this Napoleonic president; by Napoleonic I mean he's a man who just seems to need to search himself. It doesn't make sense. I don't have any love lost on Saddam Hussein. If he needs to be removed from office, fine. You have to find the right way to do it, but going to war, nah, with the people. To do what. What is the real reason? Because he's harboring weapons of mass destruction? So it is with North Korea. Why are we acting to acquiesce to this? We do not need the Iraqi oil. We have Kuwait oil. It's the same pool. That's why Kuwait's there. That's why Kuwait was set up. You think that country could exist there without somebody backing it? We're talking about a piece of Iraq. So, we keep this. That's my noise. I am terribly upset about the whole thing.

You know, I was hanging out with Sidney Poitier and we were trying to decide if he or I were the better actor. We decided it was me as I convinced the world I could sing. (Freeman debuted on Broadway in 1968 in "Hello, Dolly!")

Stop talking about it. I'm going to stop calling you a white man. And I'm going to ask you to stop calling me a black man. - when asked how to get rid of racism in an interview with Mike Wallace on "60 Minutes" (1968)

Ridiculous... I don't want a Black History Month. Black history is American history. - when asked what he thinks of Black History Month on "60 Minutes" (1968)

The American Indians have this saying. 'Look at the day, look at the sunlight, the grass and the trees! It's a good day to die!'

You couldn't possibly try to entertain all of the people who seem to be offering you entertainment. Because most of them want some compensation for it.

Upon waking up face down in a door way and not knowing how he got there: "I recognised that it had become a problem, so I just quit. I do have self-control. Once I realise that I've got to change something I just do it."

If you wake up and the snow is knee-deep outside, you are not filled with rage. It's just something that you've got to cope with. If you're living in a situation it's the only situation that you know, and you've got to deal with it.

I don't have to work. I could stop and never have to worry about paying the rent. I'm working for the joy of doing it.

Sometimes you want to upset an audience so you can engage them. I've done so-called Hollywood films, and I know that it's all about wanting the audience to feel upbeat, give them a happy ending. But they also like complete stories. If your story's complete it doesn't have to have a happy ending.

They say there's no fool like an old fool. But blessings be upon my wife because I think without her, I'd be somebody's fool by now.

If you live a life of make-believe, your life isn't worth anything until you do something that does challenge your reality. And to me, sailing the open ocean is a real challenge, because it's life or death.

Upon getting work as an off-Broadway actor in 1967: I made $70 a week as an actor and I'd been making $60 in LA. Making more than that as an actor was just unbelievable to me. I never went back to typing but had some real lean times in-between. But I didn't have to go to work for anybody else. I didn't have to wash dishes, I didn't have to wait tables, I didn't have to drive a cab or wash cars. I deliberately left myself nothing to fall back on. If you've got a cushion, where you land, you stay. You can't climb a mountain with a net. If you've got the net, you'll let go.

I work about half the year. I'm just a guy who enjoys his work and enjoys working with people who enjoy their work. When that happens you get a bonding situation and if it come out with a good product, then that ties you even closer together. It's almost like a great love affair.

I've never been a mechanic. Throughout my life, what I have been is an actor, a pretender. I do have the wife and the family and the stuff like that but on the other hand, I'm - knock on wood - outstandingly healthy.

I think we all have a private bucket list. It may not be written down, but I'm constantly checking them off. I just checked off Jack Nicholson. Every day was a holiday because I've been praying at the temple of Jack ever since Five Easy Pieces. I had a chance to ride with him on the Warner Brothers plane with Clint [Eastwood]. I got to jawing what a fan I was, and as actors will do, he expressed how he liked my work. Then we started talking about how we could make a sequel to [the 1973 Nicholson film] The Last Detail. But that didn't pan out.

Salary

Where Are They Now

(June 2004) Has purchased the film rights to Orange Crushed, a mystery novel by an African-American writer, Pamela Thomas-Graham. (Thomas-Graham is also the CEO of cable news channel CNBC.) Orange Crushed features an African-American heroine, Professor Nikki Chase.

(February 2005) Lives in Charleston, Mississippi, USA.

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