John C. McGinley Poster


Jump to: Overview (4) | Mini Bio (1) | Spouse (2) | Trade Mark (2) | Trivia (21) | Personal Quotes (8)

Overview (4)

Date of Birth 3 August 1959New York City, New York, USA
Birth NameJohn Christopher McGinley
Nickname Johnny C
Height 6' 2" (1.88 m)

Mini Bio (1)

John's path to stardom is a story that reads like a classic Hollywood script. While an understudy in New York in the Circle-In-The-Square production of John Patrick Shanley's "Danny and the Deep Blue Sea," he was spotted by director Oliver Stone and soon after was cast in Platoon (1986), the first of a long list of collaborations between Stone and McGinley which includes Wall Street (1987), Talk Radio (1988), Born on the Fourth of July (1989), Nixon (1995) and Any Given Sunday (1999).

He has received rave reviews for his work in NBC's Emmy-nominated medical comedy series, Scrubs (2001) - now in production on its seventh and final season. TV Guide proclaimed, "The young cast is appealing, but McGinley steals the show as the mercurial doctor who deep down actually gives a damn. So will you." And the San Francisco Chronicle glowed, "If [McGinley] doesn't win the Emmy for Best Supporting Actor in a Comedy, I'm going to bring the smack-down to the Emmy voters."

John C. relishes the chance to portray the gruff, worldly 'Dr. Perry Cox' on Scrubs (2001). "As an actor, it's great to play a strong leader with a heart of gold," he offers. "Dr. Cox mentors the rookie doctors with a spoonful of dirt and then a cup of sugar. I see him as an archetypal descendant of two of my favourite curmudgeonly characters: Lou Grant and Louie De Palma."

Most recently, John C. starred opposite Ice Cube in Sony/Revolution Studios' feature, Are We Done Yet? (2007), the sequel to the hit comedy Are We There Yet? (2005), Are We Done Yet? (2007) picks up as the family moves from the big city to the suburbs for an idyllic life. A house renovation leads to chaos, particularly when the enthusiastic and larger-than-life real estate agent/neighbour/contractor 'Chuck Mitchell, Jr.' (John C.) who is hired to work on the home, clashes with Ice Cube's character but bonds with his wife and kids. Of John C.'s performance, The New York Times proclaimed, "....a marvellous John C. McGinley, playing a dodgy jack-of-all-trades with the kind of energy that forces other actors to step up their game. He is so good. He redeems his character through acting skill alone."

John C. voiced the main character in Dead Head Fred (2007), an original PSP (PlayStation) game featuring dark humour and a violent portrayal of revenge and redemption. John C. will bring to life 'Fred Neuman,' a private detective savagely murdered and then resurrected in a bizarre scientific experiment without his memory or his head.

John C.'s impressive career in film spans a diverse range of characters in over sixty features to date. He has also appeared in such features as Wild Hogs (2007), Identity (2003), The Animal (2001), The Rock (1996), Nothing to Lose (1997), Set It Off (1996), Se7en (1995), Office Space (1999), _Mother_, Wagons East (1994), Surviving the Game (1994), On Deadly Ground (1994), Point Break (1991), Highlander II: The Quickening (1991), A Midnight Clear (1992) and Fat Man and Little Boy (1989).

John C. has a solid commitment to the independent film community as well as the studio system. He appeared in director Eriq La Salle's Crazy as Hell (2002) and director Scott Silver's Johns (1996). He also worked on Truth or Consequences, N.M. (1997), Kiefer Sutherland's feature directorial debut; and on _Colin Fitz Lives (1997)_ qv), a film John C. co-produced which premiered in competition at the 1997 Sundance Film Festival. He recently starred in director D.B. Sweeney's independent feature, Two Tickets to Paradise (2006), which is currently receiving raves on the festival circuit. For his performance in the later film, John C. was awarded Method Fest's Festival Director's Award, which is awarded for special recognition/excellence in film.

He is a partner at McGinley Entertainment Inc., an independent film production company with several projects currently in development. John C. first worked both sides of the camera, serving double duty as actor and producer for the romantic comedy Watch It (1993) (with Peter Gallagher and Lili Taylor).

For television, he received stunning reviews for his starring role in Dean R. Koontz's gripping and highly rated 1997 suspense drama, Intensity (1997), a four-hour original film for FOX-TV. Of his performance, the New York Times stated, "John C. McGinley plays 'Vess' with effective cold-blooded menace. It is McGinley, in a strong, low-key performance, who emerges as the film's secret weapon. His face is familiar from many movie roles where his guy-next-door looks have made him a natural sidekick. As the murderer with the unlikely name 'Edgler Vess,' he uses that regular-guy demeanour to make the character especially chilling."

- IMDb Mini Biography By: NIPR

Spouse (2)

Nichole Kessler (7 April 2007 - present) (2 children)
Lauren Lambert (1 February 1997 - 10 December 2001) (divorced) (1 child)

Trade Mark (2)

Curly hair
Towering height

Trivia (21)

Was a Syracuse undergraduate before transferring to NYU, where he received a Bachelor of Arts degree and a Masters of Fine Arts degree in 1984.
His son with ex-wife Lauren Lambert, Max McGinley (born August 5, 1997), has Down's Syndrome. John took his TV role in Scrubs (2001) so he could stay close to home to be with him.
Understudied John Turturro in the off-Broadway play "Danny and The Deep Blue Sea" early in his career.
Raised in Millburn, NJ, and attended Millburn Senior High School, the alma mater of The Princess Diaries (2001) star Anne Hathaway. Millburn is also adjacent to the town of Maplewood, where Scrubs (2001) co-star Zach Braff was raised.
Co-owned a restaurant with fellow Platoon (1986) star, Willem Dafoe called "Match", in New York City.
He was on a celebrity version of American Gladiators (1989).
Had to audition five times for his role in Scrubs (2001).
Lives in a four-bedroom beachside home in Malibu, California.
He is a good friend of John Cusack.
Describes Dr. Cox, his character on Scrubs (2001), as "a hard-ass with a heart of gold" in the tradition of Danny DeVito's Louie DiPalma on Taxi (1978) and Edward Asner's Lou Grant on Mary Tyler Moore (1970). Many of his co-stars say the same of him, that while he may seem intimidating at first he is very talented and great to work with.
On the special edition DVD of Office Space (1999), writer/director Mike Judge and the cast reveal that McGinley improvised much of his character's praise of Michael Bolton. Several outtakes are shown. They also said that McGinley was intimidating to work with, which contributed to the character he played.
On Scrubs (2001), his character Dr. Cox's habit of referring to J.D. ( Zach Braff) by girls' names was put in the show after the writers noticed McGinley doing it to Braff. He claims to do this to all of his friends.
Became engaged to yoga teacher, Nichole Kessler, on August 19, 2006.
Is a good friend of NHL defense-man Chris Chelios and can often be seen on Scrubs (2001) wearing a Chelios hockey jersey or T-shirt of Chelios' chain of restaurants, "Cheli's Chili".
Calls Oliver Stone his favorite director to work with, and has accordingly been cast in his films six times, more than any actor except Sean Stone, the director's son.
Was listed as a potential nominee on the 2008 Razzie Award nominating ballot. He was suggested in the Worst Supporting Actor category for his performances in the films Are We Done Yet? (2007) and Wild Hogs (2007), he failed to receive a nomination however.
Daughter, Billie Grace McGinley, born 2 February 2008, weighing 8 lbs and 21 inches long.
MFA in Acting - New York University, Tisch School of the Arts (1984).
His wife, Nichole Kessler, gave birth to their second child together, daughter Kate Aleena McGinley, on June 24, 2010.
He is of Celtic ancestry.

Personal Quotes (8)

[on how he memorizes his lines and prepares for his roles] I go downstairs and don't come up from there until I get that stuff hammered in my skull, until I can do it water skiing or jumping out of a plane. It's all about the text, flushing it out, to excavate, to really get in there and see what falls through your fingers.
[on why he feels he never landed a role as a TV series regular until Scrubs (2001)] With my dorky head, I guess I just wasn't handsome enough. I'd do the audition but never hear back. TV tends to look for the living equivalents of squeaky-clean Kens and Barbies, but with my dial I'm more like Ken's dirty old uncle.
[on talking to his Any Given Sunday (1999) costar, Al Pacino] When Johnny [John Cusack] and I were shooting The Jack Bull (1999) in Calgary, he told me just to go up and knock on Al's trailer door. That's the secret of talking to him. If no one knocks on his door, he stays closeted up by himself. It really worked. I spent a lot of time talking to Al.
The [Scrubs (2001)] pilot script's notes described the character as a John C. McGinley-type. Now, I don't know what that type is, but I said, "Well, you've got him." I still had to audition five times for the network.
I did Highlander II: The Quickening (1991), with Sean Connery and Christopher Lambert down in Buenos Aires, and I stunk. I was infatuated with Orson Welles' filmography at the time, so I wanted to see if I could make my voice as low as his, and I succeeded. Nothing in the text supported that choice, though, so in the film, I look like a jackass. I don't look like a tough guy, I look like an idiot actor trying to toy around with his vocal apparatus.
[on his road to stardom] I dug tungsten. I was a successful waiter in New York. I worked at a shrink-wrap factory. I wrote tickets on the New York Stock Exchange. I was an assistant to a broker. I caddied the U.S. Open, and I was a camp counselor.
I have mixed feelings about Car 54, Where Are You? (1994) Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of The Wizard of Oz (1939); it wouldn't be that interesting. So the film, to me, doesn't make sense without the musical numbers in it. They kept in one of Buster [Poindexter's] musical numbers. And then maybe there's one other, but the film doesn't make sense. I wouldn't pretend to know what happened, what the decision-making process was, but we busted our humps on those numbers, and then the film came out and I didn't understand what I was watching.

Because Orion was also producing a film in Kansas City called Article 99 (1992), I was doing them simultaneously. I would do Car 54, Where Are You? (1994) Monday through Wednesday, and they'd fly me last flight out from Toronto to Kansas City to shoot Thursday and Friday in Kansas City. And that happened for about four weeks. I love grinding like that.
(2013, on landing Office Space (1999)) When you came in, everybody auditioned for the role Gary Cole played. That was the audition piece, since the two Bobs weren't really on the page. So before you came in, you were issued illustrations and sent a file on your computer of an animated version of the role that Gary played. Everybody came in and auditioned for that. Then Gary got that, and Mike said, "You want to play one of the Bobs?" And I'm like, "Dude, I just want to be in this movie. It's the funniest thing I've ever read. But who are the Bobs?" And he goes, "We'll invent them down in Austin."

Everybody says that to you, and it never happens. What we're going to invent when you get there on the day is that the 10k light just went out, and that's what we're going to address, not the Bobs doing the interviews. But he was true to his word, and I was only down there for three days, which is fantastic because we just stayed in. I'm only in two or three different interiors, that interview room and out in the office and then at the stapler guy's desk. That's it. So for three days, we just immersed into that and shot tons and tons of stuff for those people coming in when we're going to fire them or downsize. We just started to roll camera and do stuff.

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