Matthew Lillard Poster


Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trade Mark (2) | Trivia (13) | Personal Quotes (28)

Overview (3)

Born in Lansing, Michigan, USA
Birth NameMatthew Lyn Lillard
Height 6' 4" (1.93 m)

Mini Bio (1)

Matthew Lillard was born in Lansing, Michigan, to Paula and Jeffrey Lillard. He lived with his family in Tustin, California, from first grade to high school graduation. The summer after high school, he was hired as an extra for Ghoulies Go to College (1991). Matthew was the MC of the Nickelodeon program SK8 TV (1990) in 1989. He attended the American Academy of Dramatic Arts in Pasedena, California. Along with a friend, Matthew started the Mean Street Ensemble theater company that functioned until 1991, when Matthew moved to New York to attend the theater school Circle in the Square.

Manager Bill Treusch got Matthew auditions for Serial Mom (1994). Matthew was cast as Chip and began another theater company called the Summoners.

- IMDb Mini Biography By: <cslater@west.net>

Spouse (1)

Heather Helm (August 2000 - present) (3 children)

Trade Mark (2)

Towering height
Often plays comedic characters

Trivia (13)

One younger sister, Amy Lillard.
Daughter Addison Grace was born June 13, 2002 in Los Angeles.
Scooby-Doo (2002) was his 4th movie with Freddie Prinze Jr..
Essentially started his career playing the son of a sadistic killer (Kathleen Turner in Serial Mom (1994)), and then played a sadistic killer himself in Scream (1996).
Was classmates with Paul Rudd at American Academy of Dramatic Arts.
Attended Fullerton College in Fullerton, California, for a brief time with the theater department.
As of 2004, Matthew has worked (co-starred) with actor Freddie Prinze Jr. five times: Wing Commander (1999), Summer Catch (2001), She's All That (1999), Scooby-Doo (2002) and Scooby-Doo 2: Monsters Unleashed (2004).
Second daughter, Macey Lyn, was born October 19, 2004 in Los Angeles.
Attended Foothill High School in Tustin, California.
Third child: son Liam born in April 2008.
Christopher McDonald played Matthew Lillard's father in two movies...Spooner (2009) and SLC Punk! (1998).
Enjoys playing video games. Especially FIFA.
Lillard became the official voice of Shaggy Rogers after Casey Kasem retired from the role in 2009. He and Kasem collaborated for the first time on the series Scooby-Doo! Mystery Incorporated (2010), wherein Lillard portrayed Shaggy and Kasem portrayed Shaggy's father, Colton.

Personal Quotes (28)

I was like, what the hell is my life coming to? I'm a trained actor! I've done Shakespeare and here I am having farting contests with an imaginary dog!
[on directing versus acting and directing his first film] - I think that that's [directing] a way more exciting way to live your life... Being an actor, you have to memorize a page of dialogue, and you hit a mark and you say the line with honesty and energy and hopefully it works. Being a director is so much more fulfilling. You just have so much more input, you have more avenues to tell a story, and the experience overall to me was such a life-changing event. If it was up to me, I would never act again and direct for the rest of my life to be honest.
[2012, on SLC Punk! (1998)] It's the only time in my life that I've ever been given the opportunity to really carry a film. I mean, you could argue I carried Scooby-Doo (2002) to some extent, too, but... Oh, I guess I've done it on other movies, too, like _Spooner_. But for me, the proudest piece of acting I have is when I'm doing what I do in most of that film. I mean, that's one of those movies that I remember doing and being super-proud of it even as I was doing it. You mention that movie, and "pride" is definitely the first word that comes to mind.
[2012, on filming Wing Commander (1999)] We shot that in Luxembourg, and all I remember is that my hair was so bleached and short that I had open wounds on my scalp. Oh, the price you pay for fame.
[2012, on Ghoulies Go to College (1991)] I was a non-union extra for 19 days. And on the last day, I told them they were going to give me my Screen Actors Guild card or they were going to have to reshoot the scene without me, but I was going to get it. And the first assistant director told me I was never going to work again. But look at me now!
[2012, on making Thir13en Ghosts (2001)] The only time in my life a director's said to me, "Do it again, but do it better." Look, I loved the movie. Tony Shalhoub is one of the great actors of our generation. All I really remember about Thir13en Ghosts (2001), though, is that it was really hot and filled with people who were doused in blood. 'Cause there's nothing that conducts heat like glass and movie lights. It's a terrible combination. It was glass, movie lights, and the smell of burning latex, 'cause all the rubber on the people-all the ghosts were covered in latex, and the whole thing just stunk to high hell. Also, I'll never forget F. Murray Abraham at 4 o'clock in the morning, in a junkyard in the middle of winter in Vancouver, British Columbia, standing on top of 16 stacked cars with a fan blowing directly in his face, screaming down, "This movie isn't about special effects, it's about acting!" I was, like, "I think you're wrong, bro." I mean, he was screaming it in this really snide, pompous voice, "It isn't about special effects, it's about acting!" Eh, maybe not.
[2012, on Hackers (1995)] One of my favourite jobs ever. I'm one of the few people in the world who can say they knew Angelina Jolie before she had tattoos. It was her first movie, and... You know how some people are meant for greatness and some people are meant to be fourth on the call sheet? It was obvious on that movie which of us was which... I think that's the most amazing thing about that movie: It's perceived as cooler now than it ever was when it originally came out.
[2012, on Nash Bridges (1996)] I'll never forget Don Johnson looking at me and saying, "You know what? I used to be good, too, until I started doing this shit." And I thought to myself, "Oh, my God, what have I gotten myself into? You call this a career...? I'm going to be miserable."
[2012, on Scream (1996)] Yeah, you know, that was one of the greatest experiences of my life, and it ended up being one of the biggest hits of my life, so it's nice when that culmination hits on both sides. And with that said, I really wish the world would ask me about things other than Stuart in Scream (1996). For every three Twitter followers I have, one of them asks me three times a day, "What was it like to play Stuart in Scream (1996)?" Dude, that's like asking a 6-year-old, "What was it like going potty for the first time by yourself?" You know the impact it had, but you don't really dwell on it.
[2012, on landing The Descendants (2011)] No one has ever called me up (with an offer) for a film in the entire history of mankind. The only time I ever get called up is to validate whether I'm dead or not. Look, my career has never been about somebody needing me. It's always me needing them much more. So, yeah, I auditioned, and trust me when I say that I thought I was the last guy to ever get the role of the guy who gets George Clooney's wife. I almost went in as a dare more than anything else, because you're definitely kind of transcending reality at that point.
[on Casey Kasem] Casey is a legend. There's something dignified and noble and wonderful about him. I grew up listening to him - he was the original Shaggy. He's a dear, dear man.
Charlie Brown's good. I always had a little crush on that Lucy. I thought she was kind of a hot little brunette.
I direct with energy. I believe in energy. I think energy is an electric thing in actors. I try to inspire, encourage, and make choices with lots of energy. And truth. I'm big fan of truth and being funny. I like leading 50 people into battle every day.
Now, more then ever, we have the ability to make films for almost nothing and that's broken down all barriers of entry. I think it's a new golden age of film-making. With that, there needs to be the ability to recoup investment dollars, people need to make money.
Something like Without a Paddle (2004) does really well at the box office and I'm like, 'Oh, here we go.' In Without a Paddle (2004) I'm the romantic lead - great! A comedy and that's what America wants. Then it did nothing for me and I went into kind-of a work abyss. I just didn't get another shot.
When you're making an independent film what you don't have in time and money you have to make up with creativity and diligence.
Being onstage is like being rock star. Whereas if you're doing a movie, it's such a confined space. You know, you do a comedy, it's so hard, too, 'cause with a comedy, there's no vocal reaction, there's no energy that you get back that spurs you on to be funnier because everyone has to be quiet.
There are several times when I walked into a room and just felt like such a sham. That's the problem with auditioning.
I got into a bad jag of movies that helped pay the rent and I thought would help further me along.
Character actors are becoming a thing of the past. They're just going by the wayside. They're just cutting through that caliber of acting.
Hollywood used to be run by artists and people who loved artists... people who wanted to make movies for all the right reasons. For the love. The Art. To tell stories. Yes to make money as well, but it was about both. Now I feel, it's mostly about bottom line and making money.
I always think that I'm the best thing in a lot of bad movies. Personally, I have to. I think that I like me as an actor.
You just realize that at the beginning of Scooby you're just going to start at level ten and stay at ten the entire time. It's hard. It physically beats you up. It's definitely one of the hardest movies you can do.
How much do you have to pay someone to be in a George Clooney/ Alexander Payne film? Nothing! Because everyone in the world wants to be a part of it. Therefore you pay nothing. And that continues until you become something they need... I'm not that kind of actor. I'm blue collar and very replaceable.
I like doing family films.
So much of Hollywood is about who the people you work with are.
I think one of the main reason's Rick Rosenthal and Whitewater Pictures decided to 'get in bed with me' on Fat Kid was because I came in with a strong business plan as well as a creative vision on how to make the film.
Somehow, someway, you get kind of labeled this guy who was in a Freddie Prinze Jr.. movie too many. And Freddie Prinze Jr.. - it's not his fault, either - it's just these are the things that happen. I'm not a George Clooney; I don't have a ton of opportunities.

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