Damon Charles: 1st List of Gay/Lesbian/Bi Actors and Industry People, Both in Front and Behind the Camera
The list below is NOT in random order. Marlon Brando is first then all names after are in alphabetical order by last name. If you are looking for a particular person then you need to search for the page that has the correct last name.
In no way is this list meant to "OUT" anyone.
I have purposely NOT listed anyone of "speculation" like other sites may have ... only those where confirmation by either personal accounts, or public records prove the source of information on their sexuality.
Some are people I personally know and allowed me to put their name on this list, or have been publicly outed (with proof) by other sources, or have personally come out as gay, lesbian, or bisexual themselves. While gay, lesbian, and bi, "gender impersonators" are on here, transsexuals are not.
Some of the people on this list may have lived or are living a heterosexual lifestyle. But at one time or another they have either admitted to being gay, lesbian, or bisexual, and all have either outed themselves or have already been outed.
There are countless other people in the industry that we know are gay, lesbian, or bisexual. For whatever reason, they are "open" only to those working in THE INDUSTRY and choose to keep it a secret to the general public.
Sadly not everyone on this list is or was happy with their sexuality. Even when (true) rumors of people I personally knew and worked with surrounded them, like Merv Griffin, Rock Hudson, and Liberace (plus many others of today and the past), their self-loathing for who they were, made them feel the need to hide their sexuality, and in some instances bring legal actions to those who tried to out them.
You may not know some of the names or recognize the photos of the people on my list who worked in the past, but it is important to know the past in order to live in the present, and look forward to a happier future within ourselves. You need to know that you are in good company.
Hopefully someday, probably not in my lifetime (but I was wrong about same sex marriages, so hope I'm wrong here too), people will just be people, and lists like this will not be needed. Until that day comes, this list is dedicated to the closeted, possibly tormented talented youth that may need to see that there IS a good future (and happy life) ahead of them if they can accept themselves for who they are.
Some of the performers and behind-the-scene people are or were my friends, and I kept their secret until their deaths or they decided to come out themselves. Rock Hudson once told me that if anyone really knew or believed he was gay, he would die. When it was announced that he had AIDS he said, "Now everyone knows I'm gay, and I'm dying."
Those already in the entertainment industry know that it can still harbor homophobia, even though the industry claims otherwise. For any of these people on this list to have "come out on their own" was not so much an act of bravery, but more of being comfortable in their own skin. I thank each and every person that has personally allowed me to add them to this list, and I appreciate the positive responses I've received in person and on the Internet. I truly believe that every person on this list has or had the ability to save the life of at least one person who is or was struggling with their true identity.
Andrew Levinson, my spouse, has been a big help in making this list grow quicker and bigger. We celebrate our 50th year together July 24, 2021, continuing to work together on this list, trying to be a positive model for others.
It used to be that if you wanted to write me or make comments, you could do it on the IMDb Message Board at the bottom of the Damon Charles webpage. Unfortunately on February 17, 2017, IMDb discontinued this feature on all pages. Sadly, contacting me now is impossible as I am not on Facebook or any other social networks. I here give you full permission to feel free and put a link to this list on YOUR Facebook or other social media pages. Let's make this "List" soar with viewers. I do appreciate all the responses I did get in the past, and more than appreciate all the positive feedback I had been getting for having it up.
Thanks, Damon Charles
In no way is this list meant to "OUT" anyone.
I have purposely NOT listed anyone of "speculation" like other sites may have ... only those where confirmation by either personal accounts, or public records prove the source of information on their sexuality.
Some are people I personally know and allowed me to put their name on this list, or have been publicly outed (with proof) by other sources, or have personally come out as gay, lesbian, or bisexual themselves. While gay, lesbian, and bi, "gender impersonators" are on here, transsexuals are not.
Some of the people on this list may have lived or are living a heterosexual lifestyle. But at one time or another they have either admitted to being gay, lesbian, or bisexual, and all have either outed themselves or have already been outed.
There are countless other people in the industry that we know are gay, lesbian, or bisexual. For whatever reason, they are "open" only to those working in THE INDUSTRY and choose to keep it a secret to the general public.
Sadly not everyone on this list is or was happy with their sexuality. Even when (true) rumors of people I personally knew and worked with surrounded them, like Merv Griffin, Rock Hudson, and Liberace (plus many others of today and the past), their self-loathing for who they were, made them feel the need to hide their sexuality, and in some instances bring legal actions to those who tried to out them.
You may not know some of the names or recognize the photos of the people on my list who worked in the past, but it is important to know the past in order to live in the present, and look forward to a happier future within ourselves. You need to know that you are in good company.
Hopefully someday, probably not in my lifetime (but I was wrong about same sex marriages, so hope I'm wrong here too), people will just be people, and lists like this will not be needed. Until that day comes, this list is dedicated to the closeted, possibly tormented talented youth that may need to see that there IS a good future (and happy life) ahead of them if they can accept themselves for who they are.
Some of the performers and behind-the-scene people are or were my friends, and I kept their secret until their deaths or they decided to come out themselves. Rock Hudson once told me that if anyone really knew or believed he was gay, he would die. When it was announced that he had AIDS he said, "Now everyone knows I'm gay, and I'm dying."
Those already in the entertainment industry know that it can still harbor homophobia, even though the industry claims otherwise. For any of these people on this list to have "come out on their own" was not so much an act of bravery, but more of being comfortable in their own skin. I thank each and every person that has personally allowed me to add them to this list, and I appreciate the positive responses I've received in person and on the Internet. I truly believe that every person on this list has or had the ability to save the life of at least one person who is or was struggling with their true identity.
Andrew Levinson, my spouse, has been a big help in making this list grow quicker and bigger. We celebrate our 50th year together July 24, 2021, continuing to work together on this list, trying to be a positive model for others.
It used to be that if you wanted to write me or make comments, you could do it on the IMDb Message Board at the bottom of the Damon Charles webpage. Unfortunately on February 17, 2017, IMDb discontinued this feature on all pages. Sadly, contacting me now is impossible as I am not on Facebook or any other social networks. I here give you full permission to feel free and put a link to this list on YOUR Facebook or other social media pages. Let's make this "List" soar with viewers. I do appreciate all the responses I did get in the past, and more than appreciate all the positive feedback I had been getting for having it up.
Thanks, Damon Charles
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.Actor,
In his 1976 biography, THE ONLY CONTENDER, Brando, who was married three times, openly admitted his homosexuality. He was quoted as saying, "Like a large number of men, I, too, have had homosexual experiences, and I am not ashamed."- Actress
- Cinematographer
- Camera and Electrical Department
Saara Aalto was born on 2 May 1987 in Oulunsalo, Finland. She is an actress and cinematographer, known for Rölli and the Golden Key (2013), Saara Aalto: You Had My Heart (2013) and Angry Birds Seasons (2010). She has been married to Meri Sopanen since 2020.Wikipedia
https://en.wikipedia.org/wiki/Saara_Aalto
Aalto later began a relationship with a female fan, Meri Sopanen, who worked as a personal trainer and life coach. They became engaged on their two-year anniversary in August 2016. Aalto now identifies as a lesbian. Aalto and Sopanen moved to London in January 2017. The couple married in April 2020.- Actress
- Writer
Actress,
New York Post, Page Six: “Saturday Night Live” star Kate McKinnon celebrated her Emmy win with her new girlfriend, Jackie Abbott.
http://pagesix.com/2017/09/18/kate-mckinnon-debuts-new-girlfriend-at-the-emmys/- Actor
- Soundtrack
John was a commercial artist when he substituted for a sick friend in an amateur production which was seen by the actress Sybil Thorndike who recognized his potential. After repertory work at Watford and Crewe he was invited to join London's Old Vic in 1936 by Tyrone Guthrie and appeared in 'Love's Labours Lost' and 'Twelfth Night'. In 1937 He was in the production of 'Hamlet' that was performed at Elsinore with Laurence Olivier and Vivien Leigh. He made his film debut in 1937 in The Conquest of the Air (1931) and in a early BBC television production of 'The Harmfulness of Tobacco'. At the outbreak of war he was attached to the British Embassy in Stockholm where he was in coding and decoding. In 1941 he was in California and about to return to England when he was offered a role in The Shanghai Gesture (1941) which was the prelude to a long film career that included Mrs. Miniver (1942), Jane Eyre (1943), Madame Bovary (1949), Gigi (1958), and Gambit (1966). In 1946 he made his Broadway debut in 'He Who Gets Slapped' which was followed by 'Montsarrat' (1948) and 'The Waltz of the Toreadors' (1957) among others. He was also prolific in television work appearing in episodes such as Alfred Hitchcock Presents (1955) ("First Class Honeymoon", 1962), The Man from U.N.C.L.E. (1964) ("The Birds and the Bees Affair", 1966), and Bewitched (1964) (as Leonardo da Vinci in "Samantha's da Vinci Dilemma", 1967).Actor- Actress
Jean Acker was born in 1893 on a farm in Trenton, NJ, and was named Harriet. Her father was part Cherokee and her mother was Irish, and they had separated when she was young. Jean attended school at St. Mary's Seminary in Springfield, NJ. Her acting career began in vaudeville and stock-company drama before she moved in front of the cameras.
In 1919 she came to California and negotiated a $200-a-week contract with a movie studio based on the strength of her relationship with her lover, the famed star Alla Nazimova. Within a few months she started another relationship with a younger, less established actress, Grace Darmond. In the midst of this love triangle she met the struggling actor Rudolph Valentino at a party, and they became friends. After a two-month courtship, he asked her to marry him and she accepted. On November 6, 1919, they married, and on their wedding night she locked him out. She wept, claiming she made a mistake and later departed to Grace Darmond's apartment. Valentino tried to reconcile with her but to no avail, and the marriage ended in divorce two years later when Valentino was a major star and Acker's star was waning.
Newspapers had a field day when Valentino was charged with bigamy, as he hadn't waited long enough to marry his second wife, talented set and costume designer Natacha Rambova. Acker sued for the legal right to call herself "Mrs. Rudolph Valentino," and Valentino remained angry at her for several years. However, they rekindled their friendship a few months before his death in 1926. She was one of the last people who saw him alive, and she attended his funeral with her mother. Soon after he died, she wrote and published a popular song about him, "We Will Meet at the End of the Trail."
She played bit parts in films, usually uncredited, until the early 1950s. She and her companion Chloe Carter owned a Beverly Hills building where Patricia Neal lived for several years. She died in 1978 at the age of 85. She and her companion Carter are now buried side by side in Holy Cross Cemetery, Los Angeles, California.Actress,
Brewster's Millions
IMDB Bio: In 1919, she came to California and negotiated a two-hundred-dollar-a-week contract with a movie studio based on the strength of her relationship with her lover, the famed star Alla Nazimova. Within a few months, she started another relationship with a younger, less established actress Grace Darmond. In the midst of this love triangle, she met the struggling actor Rudolph Valentino at a party, and they became friends. After a two-month courtship, he asked her to marry him and she accepted. On November 6, 1919, they married, and on their wedding night, she locked him out. She wept claiming she made a mistake and later departed to Grace Darmond's apartment.
Part of The Sewing Circle; Wikipedia for Alla Nazimova: It was Alla Nazimova who coined the phrase "sewing circle" as code to refer to lesbian or bisexual actresses of her day who concealed their true sexuality.
http://en.wikipedia.org/wiki/Alla_Nazimova- Writer
- Actor
Peter Ackroyd was born on 5 October 1949 in London, England, UK. He is a writer and actor, known for The Limehouse Golem (2016), The Casebook of Victor Frankenstein and The Mystery of Charles Dickens (2000).IMDb Trivia
In the Independent of Sunday 2006 Pink List - a list of the most influential gay men and women - he came no. 11, up from no. 13.
Wikipedia
https://en.wikipedia.org/wiki/Peter_Ackroyd
Ackroyd had a long-term relationship with Brian Kuhn, an American dancer he met while at Yale. However, Kuhn was then diagnosed with AIDS, and died in 1994, after which Ackroyd moved back to London. In 1999, he suffered a heart attack and was placed in a medically induced coma for a week.- Actor
- Writer
- Producer
Leon was born in Kokomo, Indiana on May 23, 1963, and grew up on several different farms in the area. Moving frequently led Leon to develop a fantasy life at an early age, and he acted in high-school and community-theatre productions throughout Indiana.
He attended Indiana University at Kokomo. He landed his first paying show-biz gig during this time - an amateur-night appearance at The Club Showbar in Indianapolis led to a six-month nightclub act. A couple years shy of legal drinking age, Leon hid out in the dressing room between sets.
Leon moved to San Francisco in the late 1980s, studying his craft in earnest with Jean Shelton's Actors Lab, Cliff Osmond, Mark Monroe Studios, and Inner-life Acting Workshop. He appeared in several black-box theatre productions, and was cast in several features, such as "Housebound," "Metalman," "Orange Field" and "Roommates & Cafe" (a.k.a. "Coffee Mates"), and short films, including Christos Dimas' "Breath," which won "Best Short" honors at festivals around the globe, and "about dominance and submission," which won the Robert Bell Outstanding Achievement Award from SF State University.
His first break was playing "Devon" in "Some Prefer Cake," the comedy feature which was distributed theatrically in Great Britain, screened at over 25 film festivals worldwide, and is available on DVD from Wolfe Video.
Leon wrote, produced and starred in his one-man show "Last Sunday in June" at Theatre Rhinoceros. He also originated the lead role of "Chris" in Lou Reda's comedy smash "Happy Anniversary," which enjoyed an extended three-month run at Theatre Rhino before moving to Off-Broadway.
Leon continued to play a variety of roles in both film and theatre while in the Bay Area. He starred in the award-winning film thriller "Foucault WHO?," the feature "Birds of Lightning," the horror thriller feature "Final Remains" (a.k.a. "Mortuary"), and the shorts "The Currycomb" and "A Quiet Place."
On stage, he won raves and delighted audiences in 2002 with his portrayal of British raconteur Quentin Crisp in Jeffrey Hartgraves' hit comedy "Carved in Stone" at Eureka Theatre (which Leon also co-produced).
He enjoyed a long, successful association with New Conservatory Theatre Center, starring as "Brad" in the West Coast premiere of Jonathan Tollins' "The Last Sunday in June;" as the title character in "Message to Michael," as the Narrator in "Dream Boy," based on the novel by Jim Grimsley, and as half of the star-crossed couple of "Thief River." He played the villain in the comedy smash "Worse than Chocolate" at Theatre Rhinoceros, and worked with stage notables John Fisher & Ronnie Larsen in "A Few Gay Men."
In 2004, Leon moved to Los Angeles. That year, he made his LA stage debut as the down-and-out yet over-the-top poet "Harlequin" in "The Scheme of Things." The following year, he was invited to join Company of Angels Theatre, Los Angeles' longest-running repertory theatre, and made his debut in the Company's collection of short plays "Fresh Meat" in the one-act "Victims."
He continues to perform in independent and short films, as well as many USC student shorts, most recently starring as "Morton" in Arvin Bautista's thesis film "Deer Season" which screened in USC's 2007 "First Look" festival.
In 2006, he portrayed bumbling ex-boyfriend "Simon" in the world premiere of Rose Martula's stage comedy "Salsa Saved the Girls" at the Eclectic Co. Theatre.
In 2009 he co-produced and recreated his role of Quentin Crisp in an LA production of "Carved in Stone" that ran over 12 weeks and garnered rave reviews.
In 2011, Leon began the web TV series 'Old Dogs & New Tricks,' an ensemble comedy which he also created, wrote and co-executive produced. The series completed its first season and is in preproduction on Season 2.
In 2012, Leon was named #3 on web-series journal Placevine's "Top 10 Emerging Web Series Stars of 2012" for his web series 'Old Dogs & New Tricks'Actor- Director
- Cinematographer
- Camera and Electrical Department
Peter Adair was born on 25 November 1943 in Los Angeles County, California, USA. He was a director and cinematographer, known for The AIDS Show (1986), Absolutely Positive (1991) and In the 1st Degree. He died on 27 June 1996 in San Francisco, California, USA.Producer/Director/Cinematographer/Writer,
New York Times: Mr. Adair said. "When I wondered about religion, I made a film about it. When I realized I was gay, I made a film about it."
http://www.nytimes.com/1996/06/30/us/peter-adair-53-director-dies-made-films-with-gay-themes.html- Erick Adame is known for Kaleidoscope (2023) and NY1: Mornings on 1 - A New Chapter (2021).Daily Mail
https://www.dailymail.co.uk/news/article-12789641/Erick-Adame-adult-webcam-leaked.html
'For years, dating all the way back to my teenage years, I had low self-esteem and was ashamed of who I am because I’m gay. - Dallas Adams was born on 17 February 1947. He was an actor, known for The Fortunes of Nigel (1974), Doctor Who (1963) and Frankenstein: The True Story (1973). He died on 29 August 1991.Wikipedia:
https://en.wikipedia.org/wiki/Dallas_Adams
According to the audio memoirs of John Nathan-Turner, in the early 1980s, Adams was the largest gay palimony lawsuit winner in English legal history, and his casting in Doctor Who had been criticised by homophobic elements in the British tabloid press. - Evan Adams is from Tla'amin Nation, near the town of Powell River, BC, Canada. He stars in the Emmy-winning TV-movie "Lost in the Barrens" (1990) and its nominated sequel "Curse of the Viking Grave" (1993). Besides numerous episodics like "The Beachcombers" and "Black Stallion", he also appears in the feature film "Toby McTeague" (1986) and his on-stage highlights include the role of Edmund in Women in View's "Lear", Creature Nataways in the Arts Club Theatre's "Dry Lips Oughta Move to Kapuskasing", and Jamie in Headlines Theatre's "Mamu." Evan stars as Thomas Builds-The-Fire in "Smoke Signals" (1998), written by Sherman Alexie and directed by Chris Eyre. "Smoke Signals" won the coveted Audience Award for best film and the Filmmakers Trophy at the Sundance Film Festival in 1998. He also won Best Actor awards from the American Indian Film Festival, and from First Americans in the Arts, and a 1999 Independent Spirit Award for 'Best Debut Performance'. He continues to work on intermittent, high-profile projects, but is also a medical doctor in Vancouver, Canada.Actor,
NNDB: Born: 15-Nov-1966
Birthplace: Sliammon Reserve, British Columbia, Canada
Gender: Male
Race or Ethnicity: American Aborigine
Sexual orientation: Gay
Occupation: Actor
Nationality: Canada
Executive summary: Smoke Signals
Presently a practicing obstetrician.
http://www.nndb.com/people/077/000355009/ - Maude Adams was born Maude Ewing Kiskadden on November 11, 1872 in Salt Lake City, Utah. She performed on stage from the age of an infant until her retirement from the stage at age 60. Maude Adams starred in over twenty-five plays on Broadway between 1888 and 1916. Her most famous role was "Peter" in J.M Barrie's "Peter Pan" in 1905. Her final appearances on stage were in summer stock theater in 1931, and 1935. Unlike other actors of her day, Maude Adams did not make the move to the silent screen and her only appearance on film is a screen test she made in 1938 for Hollywood director, David O. Selznick. The screen test, in its entirety, After her stage career, Maude Adams patented several stage lighting devices and taught drama in the 1930's and 1940's at Stephens College in Columbia, Missouri. Maude Adams passed away on July 17, 1953 at Tannersville, New YorkActress,
After Ellen: Spring Byington Romanced: Marjorie "Ma Kettle" Main, Maude Adams. http://www.afterellen.com/the-gay-women-of-old-hollywood/08/2010/
Part of The Sewing Circle; Wikipedia for Alla Nazimova: It was Alla Nazimova who coined the phrase "sewing circle" as code to refer to lesbian or bisexual actresses of her day who concealed their true sexuality.
http://en.wikipedia.org/wiki/Alla_Nazimova - Actor
- Writer
- Producer
Nick Adams, best known to audiences as Johnny Yuma of the TV series The Rebel (1959), played leads and supporting parts in many films of the 1950s, often cast in the same "troubled young man" mold as his good friend, James Dean. He was nominated for an Oscar for his performance in Twilight of Honor (1963). He died in 1968 due to an overdose of drugs he was taking for a nervous disorder.Actor,
The Rebel
Wikipedia: According to American Film (1986), "Nick Adams, who was ... gay, was the butt of anti-gay humor in Pillow Talk. In a recent book, William Dakota, who worked as Adams's fan-mail secretary for some time, confirms that Adams was homosexual.
http://en.wikipedia.org/wiki/Nick_Adams_%28actor%29- Nick Adams is best known for Fire Island, The Other Two, and An Englishman in New York. He is an accomplished veteran of the Broadway stage and has starred as Felicia in the Tony winning original cast of Priscilla Queen of the Desert, Whizzer in Lincoln Center Theatre's national company of Falsettos, and Fiyero in Wicked.Actor,
It Could Be Worse
Wikipedia: In 2010, Adams, who is gay, was a part of a PSA for the It Gets Better campaign with cast members from Priscilla, Queen of the Desert.
http://en.wikipedia.org/wiki/Nick_Adams_%28theatre_actor%29 - Actor
- Writer
- Director
Ross Adams was born on 5 May 1984 in England. He is an actor and writer, known for Hollyoaks (1995), Emmerdale Farm (1972) and Queer Lives Today (2022).Wikipedia
https://en.wikipedia.org/wiki/Ross_Adams
In April 2018, Adams married his boyfriend Phil Crusham.- Actor
- Director
- Writer
Ryland Adams is known for #SketchTrending (2015), 3 Times a Charm (2011) and Utubular (2013). He has been married to Shane Dawson since 3 January 2023.Game Rant
https://gamerant.com/shane-dawson-ryland-adams-married/
American YouTuber Shane Lee Yaw, better known as Shane Dawson, revealed to the world that he recently got married to his long-time boyfriend, Ryland Adams. The gay couple has been dating since 2016 and got engaged in March 2019 after Dawson proposed to Adams.- Composer
- Music Department
- Soundtrack
English composer Richard Addinsell was born in 1904. After finishing his law studies at Oxford, he took a short course in music at the Royal College of Music in London and studied from 1929 to 1932 in Berlin and Vienna. From 1933 to 1935 he lived in the USA writing scores for the Hollywood studios.Composer,
Wikipedia: Addinsell retired from public life in the 1960s, gradually becoming estranged from his close friends. He was, for many years, the companion of the fashion designer Victor Stiebel, who died in 1976. In 1999 it was revealed that the royalties for Warsaw Concerto had belonged to the parents of author Jilly Cooper, whose brother advanced the theory that Addinsell – for many years their neighbor – gave it to them as thanks for being discreet about his relationship with Stiebel.
https://en.wikipedia.org/wiki/Richard_Addinsell- Director
- Additional Crew
Justus Addiss was born on 23 June 1917 in New York City, New York, USA. He was a director, known for From Here to Eternity (1953), The Twilight Zone (1959) and Voyage to the Bottom of the Sea (1964). He died on 26 October 1979 in Hollywood, California, USA.Director,
The Odyssey of Flight 33- Actress
- Additional Crew
Mojisola Adebayo was born on 16 March 1968 in South London, England, UK. She is an actress, known for Silent Witness (1996), Fair City (1989) and The Bill (1984).Research Online
https://research.gold.ac.uk/id/eprint/5854/
Mojisola Adebayo and Valerie Mason-John are two distinctive voices in contemporary writing and performance - representing Afro-Queer diasporic heritage through the specific experience of being black, British and lesbian.- Producer
- Writer
- Additional Crew
Ali Adler was born on 30 May 1967 in California, USA. She is a producer and writer, known for Supergirl (2015), No Ordinary Family (2010) and Chuck (2007).Wikipedia
https://en.wikipedia.org/wiki/Ali_Adler
From 2001 to 2011, Adler was in a relationship with actress Sara Gilbert.
In 2013, Adler began dating producer and writer Liz Brixius. The couple got engaged in November 2014. They broke up in May 2017.- Jonathan Adler was born in 1966 in the USA. He has been married to Simon Doonan since 18 September 2008.IMDb Bio:
He has been married to Simon Doonan since September 18, 2008. - Actor
- Writer
- Costume Designer
Joop Admiraal was born on 26 September 1937 in Ophemert, Gelderland, Netherlands. He was an actor and writer, known for Pride and Prejudice (1961), Rikkel Nikkel de avonturen van een robot (1961) and U bent mijn moeder (1984). He died on 25 March 2006 in Amsterdam, Noord-Holland, Netherlands.Actor,
Wikipedia for Ramses Shaffy: In the 1960s, Shaffy had a relationship with Dutch actor Joop Admiraal.
http://en.wikipedia.org/wiki/Ramses_Shaffy- Etel Adnan was born on 24 February 1925 in Beirut, French Mandate for Syria and Lebanon [now Lebanon]. She was a writer, known for Etel Adnan: Exoristes lexeis (2008), P.S. Beirut, Chapter One (2008) and Axis of Light (2011). She died on 14 November 2021 in Paris, France.Wikipedia
https://en.wikipedia.org/wiki/Etel_Adnan
In her later years, Adnan began to openly identify as lesbian. - Actor
- Writer
- Producer
James Adomian was born on 31 January 1980 in Omaha, Nebraska, USA. He is an actor and writer, known for Harold & Kumar Escape from Guantanamo Bay (2008), Trunk'd (2014) and California's Lost Gold (2012).Actor,
Harold & Kumar Escape from Guantanamo Bay- Costume Designer
- Costume and Wardrobe Department
- Additional Crew
Adrian Adolph Greenburg, born in Naugatuck, Connecticut, March 3, 1903, to Gilbert and Helena (Pollack) Greenburg. He began his professional career while still attending the New York School for Fine and Applied Arts by contributing to the costumes for "George White's Scandals" in 1921. He is credited for that production by his created name of Gilbert Adrian, a combination of his father's first name and his own. He transferred to NYSFAA's Paris campus in 1922 and while there was hired by Irving Berlin. In the fall of 1922 he returned to New York and began work on Berlin's 1922-1923 edition of "The Music Box Revue". Adrian continued to work on the Berlin reviews as well as other theatrical and film projects.
His big film break was designing costumes for Mae Murray in her first M.G.M. film, The Merry Widow (1925). He was then hired by Natacha Rambova to design for the independent films of her husband, Rudolph Valentino. In mid-1925, after designing costumes for the prologue of "The Gold Rush" at Grauman's Egyptian Theatre in Hollywood, Adrian was hired by Cecil B. DeMille to become head of the wardrobe department at his new studio. When DeMille moved to M.G.M. in 1928, Adrian moved there also. When his DeMille contract expired, Adrian signed with M.G.M. and remained with that studio until 1942.
He opened his own very successful couture business and continued to do some films until such time as his business expanded, with a salon in New York as well as Beverly Hills. His fashions were sold in department stores around the U.S. and he was the recipient of the 1944 Coty Award for Fashion. He also received a Lord & Taylor award for his work on Marie Antoinette (1938) in 1938 and a special award from Parsons, the successor to NYSFAA. His last film was Lovely to Look At (1952). He retired from the fashion industry in 1952 after a heart attack. He relocated to Brazil with his wife (since 1938) actress Janet Gaynor and their son, Robin. He returned to the U.S. to do "Grand Hotel", a musical with Viveca Lindfors and Paul Muni and his last career credit was the costume design for the Broadway musical "Camelot". He was working on this production when he died of a heart attack on September 13, 1959. Adrian never received an Oscar.Costume Designer,
The Wizard Of Oz