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Tom Everett Poster

Biography

Jump to: Overview (2) | Mini Bio (1) | Spouse (2) | Trivia (16) | Personal Quotes (2)

Overview (2)

Date of Birth 21 October 1948Portland, Oregon, USA
Height 5' 9" (1.75 m)

Mini Bio (1)

Graduate of The London Academy of Music and Dramatic Arts on an ITT International Fellowship in the Fulbright Competition, Tom is an accomplished country singer-songwriter (RCA album - "Porchlight on in Oregon" and the independently released "Still Waters - (A collection of Years)), a Lifetime Member of The Actors Studio, and a first-rate chameleon character actor playing everything from white collar professionals to starring as Brian David Mitchell in the CBS television movie "The Elizabeth Smart Story," to receiving glowing notices for his comedic work as a dweeb/nerd/gofer in "Winning Isn't Everything" at New York's Hudson Guild Theatre directed by legendary comedic director George Abbot, to playing southern white trash Alfredo in "Leatherface: Texas Chainsaw Massacre 3." High profile roles include, but are not limited to, the scruffy 'George 'Gabby' Hayes'-like Sgt. Pepper in Dances with Wolves (1990), the straight-laced National Security Officer Jack Doherty in Air Force One (1997), and the black stovepipe-hatted Mosley Baker in The Alamo (2004). Everett has also created a whole host of other memorable, idiosyncratic characterizations, albeit in, perhaps, lesser known films: Assistant Coach to James Earl Jones in Best of the Best (1989), Rabbitt in Prison (1987) starring Viggo Mortensen, etc.. He's had the pleasure of working with directors and producers more than once including three films with Michael Bay ("Pearl Harbor, "Transformers," and "The Island"), three films with John Lee Hancock (including John Lee's first film "Hard Time Romance," starring alongside Tom's friend Leon Rippy), several projects with Alex Graves, Kevin Falls, Jeff Burr, Michael Pressman, Kevin Costner, Frank Von Zerneck & Bob Sertner, Ian Sander, Jeff Morton, Renny Harlin, Peter Segal & Michael Ewing. Television audiences have seen him in many projects doing a variety of roles including as Rory Carmichael, the condemned Alabama death row inmate in the pilot episode of _"The Beast" (2001) directed by Mimi Leder, as the recurring character Charles Frost on "West Wing"_, and most recently as the recurring character Dr. Elliot Langley on "Journeyman." He's also a cellist, guitarist and little-known humorist; in that last vein, and as a closet comedian, he recently had the pleasure of working with Judd Apatow and Paul Rudd in "This Is Forty." He received scholarships to Jacob's Pillow Dance Festival, NYU School of the Arts where he received an MFA, Perry-Mansfield School of Drama and Dance, and is a native of Oregon, and the son of Viennese parents. Tom spent 12 years in New York honing his craft and acting in five Broadway plays, many off-Broadway & off-off Broadway & regional theatre ones too (including his being a Resident Member of The American Shakespeare Theatre in Stratford, Connecticut.

- IMDb Mini Biography By: qe

Spouse (2)

Anna (1993 - ?) (divorced) (1 child)
Kate (1973 - ?) (divorced)

Trivia (16)

First Chair Cellist in the Walla Walla Symphony Orchestra while attending his first two years at Whitman College in Walla Walla, Washington.
Acting teachers include Mira Rostova, Wynn Handman, Peter Kass, Martin Landau, Olympia Dukakis, John Fernald (former Director of RADA) & Norman Ayrton (LAMDA).
Acted in two films about the iconic Texas fort, The Alamo: Thirteen Days to Glory (1987) and The Alamo (2004).
A great and dear friend of actor Irwin Keyes whom he met in NYC in l976.
When he was awarded the ITT International Fellowship in the Fulbright Competition, one of the judges, actress Beatrice Straight became Tom's biggest champion; she contacted her friend Laurence Olivier and asked him his opinion as to where Tom should study in London; Olivier told Ms. Straight that he recommended The London Academy of Music and Dramatic Arts which is where Tom ended up studying and graduating from.
After his sophomore year at Whitman College and before transferring back east for his junior year at Adelphi University, which he hadn't seen except in a catalog, he hitchhiked from a summer theatre he was working in in Colorado to Mazatlan, Mexico and then back up to Oregon. The longest time between rides was his getting a lift two miles from his home in Oregon. Maybe all the dirty pillow-cased type-luggage in which his clothes etc. were put off a lot of Oregonians.
He worked with James Keach in the play "Tom Paine" directed by Tom O'Horgan (director of Hair (1979)) and later worked with Stacy Keach in a beautiful scene in a cemetery in The Return of Mickey Spillane's Mike Hammer (1986) directed by Ray Danton (who gave him the job without auditioning him). "What a blessed thing to be given work by someone who just happens to appreciate the work that they have seen".
When he first came to NYC, his first hotel (in which he stayed for one night only) was the old Mills House, then known as The Greenwich, a flop house with urine smell and little cubicles with chicken wire mesh at the top of the walls and a lot of drunken drugged men - a fine introduction to New York and a long way from Oregon.
When his "Porchlight on in Oregon" album (LSP4562) first came out on RCA in l97l, before playing a gig in Winnepeg, Canada to promote the album, he first did a job at the Ohio State Fair, lip-synching and dancing to an industrial sponsored by the phone company.
First cousin once removed of Aliza Sommer-Herz, the subject of the Best Documentary Short of 2014 - "The Lady in Number 6: Music Saved My Life.".
As a resident member of the acting company at the American Shakespeare Theatre (Stratford, Connecticut), he shared a house with other members of the company including Powers Boothe and Kate Mulgrew.
After receiving great reviews for his performance as a nebbishy joke writer in the comedy "Winning Isn't Everything" at the Hudson Guild Theatre in NYC directed by the legendary comedic director George Abbott, he got a call from a casting office that he was going to be tested in Los Angeles for a sitcom pilot and that he needed to immediately get on a plane. When he got the call he was cleaning the floors at the Actors Studio, where, at the time he was an "Observer," i.e. before he became a Lifetime Member. He told casting he didn't have enough money on him to get to the airport. Somehow or other casting got him the money and he got on the plane. The plane's departure was delayed 4 hours, and by the time he got to Los Angeles he was a wet noodle. He tested 5 hours later and ended up not getting the part. But life had lots of other good things in store for him.
In l971 when Tom"s "Porchlight on in Oregon" album on RCA came out, (Eric Weissberg and David Bromberg having been sidemen on that record), Tom's first major concert playing and singing his songs was at The Gaslight Cafe in Greenwich Village; Mississippi Fred McDowell was the opening act. Later Tom opened for the legendary country vocalist Gene Watson, and another time for Kinky Freedman and the Jewboys, at the famous Lone Star Cafe on 5th Ave. in NYC.
While working on a TV project in Houston, Tom befriended a lady from Tyler, Texas and asked her to send him some cassettes of her just speaking; from that tape he developed the east Texas accent he employed in films such as Dances with Wolves (1990) and _Leatherface_.
Two movies, both comedic southern/western films in which Tom had a leading role (Hard Time Romance (1991) (John Lee Hancock's first film, also starring Leon Rippy and Mariska Hargitay) and Mi amigo (2002) (also starring Burton Gilliam and Josh Holloway, directed by Milton Brown) never saw much of the light of day: Mi amigo (2002) had a tiny DVD release; Hard Time Romance (1991) has never been seen in theaters, on TV, or DVD.

Personal Quotes (2)

Many, many, many American teachers of the fine art of acting are, in my opinion, "generalists," regurgitating the Method in various guises, and fancy reputations of particular teachers and/or schools can be very misleading and a waste of time and money. If an individual or a school either doesn't encourage you or shine such a bright light of wisdom to guide your path, you really are wasting your time. To the young actor I say either hitch your wagon to a nourisher OR a person who is so bright you just have to keep staying on your toes to catch even the slightest whiff of his/her brilliance; the brilliant teachers are very far and few between! My teacher Mira Rostova (Montgomery Clift's teacher) was one of the "brilliants" and Norman Ayrton at LAMDA was another. My nourishers have included Stanley Gould (I)', Marie Donet, and Jacques Burdick (all at Adelphi University back in l966-67 when the theatre itself was in an old dilapidated but cozy quonset hut, but the whole department had energy and love) - also Martin Landau at The Actors Studio. Bottomline, it all depends how you get along with your teachers and how much they believe in you; on the other hand, if you happen to be under the tutelage of a far-and-few- between-genius, that is a thing of total beauty as long as you don't expect much coddling. Finally, it's better to be in a Kia Rio with gas than in a Mercedes on empty; so don't be enamored of the fancy reputation of a school or an individual, and should you wake up and find you're with neither a nourisher or a "brilliant," leave immediately and keep looking.
I truly believe that MFA and BFA programs should have their version of the Dale Carnegie Course for actors in their programs. Talent is talent and business is business, and many actors don't necessarily have the most well developed social skills. Thank God that a number of drama programs are now incorporating "the business of acting" into their curriculum.

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