Mike Nichols Poster


Jump to: Overview (3) | Mini Bio (1) | Spouse (4) | Trade Mark (1) | Trivia (39) | Personal Quotes (16) | Salary (7)

Overview (3)

Date of Birth 6 November 1931Berlin, Germany
Birth NameMichael Igor Peschkowsky
Height 5' 11" (1.8 m)

Mini Bio (1)

He, along with the other members of the "Compass Players" including Elaine May, Paul Sills, Byrne Piven, Joyce Hiller Piven and Edward Asner helped start the famed "Second City Improv" company. They used the games taught to them by fellow cast mate, Paul Sills 's mother, Viola Spolin. He later worked in legitimate theater as an actor before entering into a very successful comedy duo with Elaine May. The two were known as "the world's fastest humans".

- IMDb Mini Biography By: <goldstein@mpipf-muenchen.mpg.de>

Spouse (4)

Diane Sawyer (29 April 1988 - present)
Annabel Davis-Goff (1975 - 1986) (divorced) (2 children)
Margo Callas (1963 - 1974) (divorced) (1 child)
Patricia Scott (8 June 1957 - 1960) (divorced)

Trade Mark (1)

Often includes extremely long starting and/or ending shots taken from high in the air, for example Working Girl (1988) and Angels in America (2003).

Trivia (39)

Back in Berlin, Mike's father was part of a young intellectual circle that included Russian immigrants such as Vladimir Nabokov's sister and Boris Pasternak's parents.
Fled from Berlin with his family in 1939.
One of Directors Guild of America annual Honorees, 2000.
Is one of the only 12 people who are an EGOT, which means that he won at least one of all of the four major entertainment awards: Emmy, Grammy, Oscar and Tony. The other ones in chronological order are Richard Rodgers, Barbra Streisand, Helen Hayes, Rita Moreno, Liza Minnelli, John Gielgud, Audrey Hepburn, Marvin Hamlisch, Jonathan Tunick, Mel Brooks and Whoopi Goldberg. Barbra Streisand, however, won a Special Tony Award, not a competitive one, and Liza Minnelli won a Special Grammy.
One of 5 recipients of the 2003 Kennedy Center Honors; other recipients were James Brown, Carol Burnett, Loretta Lynn and Itzhak Perlman.
Lost much of his body hair in early childhood due to a bad batch of whooping cough vaccine.
Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 704-710. New York: The H.W. Wilson Company, 1988.
Directed Postcards from the Edge (1990), which was written by Carrie Fisher and based on her relationship with her real-life mother, Debbie Reynolds. He later directed Closer (2004), with featured Fisher's on-screen Star Wars mother, Natalie Portman.
According to Jack Nicholson's April 1972 Playboy Magazine interview, Nichols asked Nicholson and other cast members not to smoke marijuana while filming Carnal Knowledge (1971) on location in Vancouver, British Columbia, where cannabis was easily available. Nichols thought that it dulled an actor's performance.
Worked at the Howard Johnson's restaurant in New York's Times Square when he was 17 years old.
Father of Daisy Nichols (born in 1964), Max Nichols (born in 1974) and Jenny Nichols (born in 1977).
Since the early 1960s, he has been a well-renowned figure among Arabian Horse fans - breeder of over 400 registered Arabians and has bred and owned many US National Champion horses.
Received the first $1,000,000 director salary for Catch-22 (1970). When percentages were figured in, Nichols became the first director to earn $1,000,000 from a single film with "The Graduate.".
He was awarded the American National Medal of the Arts in 2001 by the National Endowment of the Arts in Washington D.C.
Two of his films are on the American Film Institute's 100 Most Inspiring Movies of All time. They are Working Girl (1988) at #87 and Silkwood (1983) at #66.
Was interested to direct First Blood (1982) with Dustin Hoffman as John Rambo.
Attended the University of Chicago where he became close friends with fellow student Susan Sontag (then Susan Rosenblatt).
Became a naturalized US citizen in 1944.
Formed a comedy team with Elaine May, appearing in nightclubs, on radio and television and most notably at President Jimmy Carter's inauguration gala.
Teaches occasionally at The New Actor's Workship in New York City.
Son, Max Nichols, is married to ESPN reporter Rachel Nichols.
When he won his Oscar as Best Director for The Graduate (1967), the statuette was presented to him by actress Leslie Caron.
Recovering from heart bypass surgery in New York hospital [July 17, 2008].
Is the only person who won a best director Oscar prior to 1972 still living (January, 2009).
In April 2009, Nichols told The New York Times that when he came to the U.S. from Germany (in 1939, at age 7), he could speak only two English sentences, which were, "I do not speak English" and "Please, do not kiss me.".
He is one of 7 directors to win the Golden Globe, Director's Guild, BAFTA, and Oscar for the same movie. He won for The Graduate (1967). The other directors to have achieved this are Milos Forman for One Flew Over the Cuckoo's Nest (1975), Richard Attenborough for Gandhi (1982), Oliver Stone for Platoon (1986), Steven Spielberg for Schindler's List (1993), Ang Lee for Brokeback Mountain (2005), and Danny Boyle for Slumdog Millionaire (2008).
Through the television series Faces of America with Henry Louis Gates Jr. (2010), learned that he is a distant relative of actor Meryl Streep.
Mike Nichols was the original choice to direct the 1976 film The Last Tycoon. He left the project because of creative differences with actor Robert De Niro.
Is a member of the Democratic Party.
Was at one point going to direct The Public Eye (1972). See the trivia page for the film for more information.
Recipient of the Producers Guild of America's Visionary Award.
While paying tribute to Nichols during his 2003 Kennedy Center Honors, Meryl Streep and Candace Bergen read Nichols' "Five Rules for Filmmaking": 1: The careful application of terror is an important form of communication. 2: Anything worth fighting for is worth fighting dirty for. 3: There's absolutely no substitute for genuine lack of preparation. 4: If you think there's good in everybody, you haven't met everybody. 5: Friends may come and go, but enemies will certainly become studio heads.
Won more Tony Awards for Best Direction of a Play than any other individual. His won for Barefoot in the Park (1964), Luv and The Odd Couple (1965), Plaza Suite (1968), The Prisoner of Second Avenue (1972), The Real Thing (1984) and Arthur Miller's Death of a Salesman (2012). He has also won for directing the musical Monty Python's Spamalot (2005), and as producer for Annie (1977) and The Real Thing (1984).
Like Steve Martin, Paul Simon, and Lorne Michaels, Nichols has had his portrait painted by Eric Fischl.
Director of hit Broadway musical 'Monty Python's Spamalot' ("lovingly ripped off from Monty Python and the Holy Grail (1975).") [February 2005]
Won a Tony Award for directing. [June 2005]
Was told as a child that he was a cousin of Albert Einsteins and though he never quite believed it told it to friends as he was growing up. While doing Finding Your Roots with Henry Louis Gates Jr he found out that it was true. They would be 3rd or 4th cousins several times removed.
6 of his 9 Tony Awards are for Best Direction of a Play (a record). He won for Barefoot in the Park (1964), Luv and The Odd Couple (1965), Plaza Suite (1968), The Prisoner of Second Avenue (1972), The Real Thing (1984) and Death of a Salesman (2012). He has also for directing the musical Monty Python's Spamalot (2005), and for producing Annie (1977) and The Real Thing (1984). He was also nominated 7 times for directing: 1967's musical The Apple Tree (1967), 1974's Uncle Vanya, 1977's Comedians, 1977's Streamers, 1978's The Gin Game (also as producer), and as producer of 2003's The Play What I Wrote and 2005's Whoopi the 20th Anniversary Show (Special Theatrical Events).

Personal Quotes (16)

A movie is like a person. Either you trust it or you don't.
It's not a film-maker's job to explain his technique, but to tell his story the best way he can.
I've never understood that aspect of DVDs, where you suddenly put back the things you took out that could go. Why ruin your movie? With material that you've taken out? I never get that. I don't have that impulse... To put them back seems very unpleasant to me. And pointless. It's like when you've written something, when you cut a paragraph, doesn't it seem dead to you? Doesn't it look like something you'd never want to include, because the point is, it could go? You'll never see anything in my pictures, the stuff that came out, stays out.
If everybody's adorable, you can't go anywhere, you can't have any events.
I love to take actors to a place where they open a vein. That's the job. The key is that I make it safe for them to open the vein.
When I was 17, for my first job, I worked at the midtown Howard Johnson's. A customer asked me what our ice-cream flavor of the week was, which was a dumb question, because there was a huge banner showing that it was maple. So I told him that it was chicken. The customer laughed, but the manager fired me immediately. They were bastards there.
[Part of 2005 Tony Award acceptance speech] "God, my head is totally empty. I had a thing I was going to say, and I have forgot it, because I had given up so long ago. But the first thing to say is thank you. To the other members of my category, my friends Jack and James and Bartlett, I guess you are thinking age before beauty, me too! My congratulations to the winners. My love to those who have not won tonight. I just want to remind you of my motto: Cheer up, life isn't everything. It always stands me in good stead."
[on working with Orson Welles on Catch-22 (1970)] We were talking about Jean Renoir one day on the set and Orson said, very touchingly, that Renoir was a great man but that unfortunately Renoir didn't like his pictures. And then he said, "Of course, if I were Renoir I wouldn't like my pictures either".
[on Jack Nicholson] Jack is the sort of guy who takes parts others have turned down, might turn down, and explodes them into something nobody could have conceived of. All his brilliance of character and gesture is consumed and made invisible by the expanse of his nature.
[on Elizabeth Taylor] There are three things I never saw Elizabeth Taylor do: Tell a lie; be unkind to anyone; and be on time.
[on Stanley Kubrick] In the end, I think he began to have trouble, because if you can't leave home, you lose track of reality, and I think that happened to him. Still, he made great movies and he was a completely gifted director. If you look at 2001: A Space Odyssey (1968), you suddenly realize: My God, there's nobody in this movie!
[on his experience judging a limerick contest] It was easy. We just threw out the dirty limericks and gave the prize to the one that was left.
[on developing an act with Elaine May] We were winging it, making up as it went along, It never crossed our minds that it had any value beyond the moment. We were stunned when we got to New York. Never for a moment did we consider that we would do this for living. It was just a handy way to make some money until we grew up.
Do you know my theory about '[Who's Afraid of] Virginia Woolf' which I think I only developed lately? It may be the only play - certainly the only play I can think of, including Shakespeare - in which every single thing that happens is in the present. Even the beautiful reminiscences of the past are traps being set in the present, sprung in the present, having violent effect in the present. It's why you can't hurt it. It's now. It's the one thing plays have the hardest time with.
[on coming to New York as a child] American society to me and my brother was thrilling because, first of all, the food made noise. We were so excited about Rice Krispies and Coca-Cola. We had only silent food in our country, and we loved listening to our lunch and breakfast.
[on firing Mandy Patinkin during making of Heartburn (1986)] I loved Mandy then, and I love him now. It was awful to have to replace him, but on film I couldn't see the chemistry I wanted. I don't know how many days it was, but to save the damn thing, I had to move fast to get Jack [Nicholson]. Mandy was, of course, devastated, and I've felt awful about it all my life.

Salary (7)

Who's Afraid of Virginia Woolf? (1966) $250,000
Who's Afraid of Virginia Woolf? (1966) $400,000
The Graduate (1967) $500,000
The Graduate (1967) $150,000 + 17% of profits
Teach Me! (1968) $1,000,000 + 10% of profits
Catch-22 (1970) $1,000,000
Regarding Henry (1991) $3,000,000

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