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Robert Redford Poster

Biography

Jump to: Overview (4)  | Mini Bio (1)  | Spouse (2)  | Trade Mark (2)  | Trivia (69)  | Personal Quotes (41)  | Salary (8)

Overview (4)

Born in Santa Monica, California, USA
Birth NameCharles Robert Redford Jr.
Nickname Bob
Height 5' 9" (1.75 m)

Mini Bio (1)

Born on August 18, 1936, in Santa Monica, California, to Charles Robert Redford, an accountant for Standard Oil, and Martha Redford, who died in 1955, the year he graduated high school, Charles Robert Redford Jr. was a scrappy kid who stole hubcaps in high school and lost his college baseball scholarship at the University of Colorado because of drunkenness. After studying at the Pratt Institute of Art and living the painter's life in Europe, he studied acting in New York at the American Academy of Dramatic Arts. Lola Van Wagenen (consumer activist) dropped out of college to marry Redford on August 9, 1958; they divorced in 1985 after having four children, one of which died of sudden infant death syndrome. Daughter Shauna Redford, born November 15, 1960, is a painter who married Eric Schlosser on October 5, 1985, in Provo, Utah; her first child, born in January 1991, made Redford a grandfather. Son James Redford, a screenwriter, was born May 5, 1962. Daughter Amy Redford, an actress, was born October 22, 1970. Redford has a brother named William.

TV and stage experience coupled with all-American good looks led to movies and a breakthrough role in Butch Cassidy and the Sundance Kid (1969), when the actor was 33. The Way We Were (1973) and The Sting (1973), both in 1973, made Redford No. 1 at the box office for the next three years. Redford used his clout to advance environmental causes and his riches to acquire Utah property, which he transformed into a ranch and the Sundance ski resort. In 1980, he established the Sundance Institute for aspiring filmmakers. Its annual film festival has become one of the world's most influential. Redford's directorial debut, Ordinary People (1980), won him the Academy Award for Best Director in 1981. He waited eight years before getting behind the camera again, this time for the screen version of John Nichols' acclaimed novel of the Southwest, The Milagro Beanfield War (1988). He scored with critics and fans in 1992 with the Brad Pitt film A River Runs Through It (1992), and again, in 1994, with Quiz Show (1994), which earned him yet another Best Director nomination.

- IMDb Mini Biography By: Gustaf Molin <gumo@hem2.passagen.se>

Spouse (2)

Sibylle Szaggars (11 July 2009 - present)
Lola Van Wagenen (9 August 1958 - 12 November 1985) ( divorced) ( 4 children)

Trade Mark (2)

Films often reflect his liberal political views
Often worked with Sydney Pollack

Trivia (69)

10/97: Ranked #29 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list.
1995: Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#4).
Father of Shauna Redford (born on 15 November 1960), James Redford (born on 15 May 1962) and Amy Redford (born on 22 October 1970). His oldest son Scott was born in 1959 and died shortly after from Sudden Infant Death Syndrome.
German painter Sibylle Szaggars has been his longtime companion since 1996.
Was considered for the role of Michael Corleone in The Godfather (1972).
He received a chevalier of the French Ordre des Arts et des Lettres (knight) for his work through the Sundance Institute, promoting independent film.
Mentioned in the theme song of the 1980s TV hit The Fall Guy (1981).
Lost out on the role of Ben Braddock in The Graduate (1967) because director Mike Nichols didn't think anyone would believe Redford would have trouble getting "the girl".
In the early 1970s Paramount had plans to remake Double Indemnity (1944) with Redford in the Fred MacMurray role. The project never got off the ground.
He is a national member of Kappa Sigma, the fraternity he was member of while attending the University of Colorado.
He was pitcher on the University of Colorado baseball team, before losing his scholarship due to drinking.
Has done 11 period pieces, including Butch Cassidy and the Sundance Kid (1969), The Sting (1973), The Natural (1984) and Out of Africa (1985).
He is the founder of the Sundance Film Festival, which he named after his character from the movie Butch Cassidy and the Sundance Kid (1969).
He and famed Brooklyn Dodgers pitcher Don Drysdale were in the same high school graduating class (Van Nuys High School, Class of 1954).
Has appeared in seven movies dealing with adultery in some form or another: The Way We Were (1973), The Great Gatsby (1974), Out of Africa (1985), Havana (1990), Indecent Proposal (1993), The Horse Whisperer (1998), and The Clearing (2004).
2004: In addition to being the graduation speaker for Bard College's 144th Commencement, he also received an honorary Doctor of Humane Letters degree from the college.
Was given a fishing rod in lieu of the agreed $75 payment for his first professional acting appearance, on a TV game show.
He was voted the 30th Greatest Movie Star of all time by Entertainment Weekly.
Alumnus of the American Academy of Dramatic Arts (AADA), Class of 1959.
Is of Cornish, Irish, Scottish, and English descent. His patrilineal Redford line originates in Manchester, Lancashire, England.
Was originally attached to The Verdict (1982), but dropped out prior to production because he didn't want the character to be "such a loser". Director Sidney Lumet was dismayed by Redford's demands to change the script. The role of Frank Galvin was taken over by his friend Paul Newman, who won an Oscar nomination.
After his suggestions of Warren Beatty, Alain Delon and Burt Reynolds to play the role of Michael Corleone in The Godfather (1972) were rejected by Francis Ford Coppola, Paramount production chief Robert Evans suggested Redford. When Coppola demurred, preferring his first choice of Tony Award-winning Broadway actor Al Pacino, Evans explained that Redford could fit the role as he could be perceived as "northern Italian." Evans lost the struggle, Pacino was cast and a star was born.
Dislikes watching his own films. The only film in which he was completely satisfied with his own performance was The Sting (1973).
2005: Premiere Magazine ranked him as #17 on a list of the Greatest Movie Stars of All Time in their Stars in Our Constellation feature.
He is an environmental conservationist and often advocates and supports natural causes.
Along with Warren Beatty, Clint Eastwood, Mel Gibson, Richard Attenborough and Kevin Costner one of six people to win and Academy Award for Best Director, though they are mainly known as actors.
During his senior year at Van Nuys High School, he met 15-year old sophomore Natalie Wood, who was already a star. They later worked together in Inside Daisy Clover (1965) and This Property Is Condemned (1966) and became good friends. She also played herself in a cameo in his film The Candidate (1972). Eventually they lost touch, and Redford did not attend Wood's funeral after she died in a suspicious boating accident, at 43, in 1981.
2005: Recipient of the Kennedy Center Honors. Other recipients were Tina Turner, Tony Bennett, Suzanne Farrell and Julie Harris.
1996: Awarded the American National Medal of the Arts by the National Endowment of the Arts in Washington, DC.
His performance as the Sundance Kid in Butch Cassidy and the Sundance Kid (1969) is ranked #20 on the American Film Institute's 100 Heroes & Villains. This is a ranking he shares with Paul Newman, who portrayed Butch Cassidy.
His performance as Bob Woodward in All the President's Men (1976) is ranked #27 on the American Film Institute's 100 Heroes & Villains. This is a ranking he shares with Dustin Hoffman, who portrayed Carl Bernstein.
In Germany he shares his dubbing voice with Patrick Stewart and Sir Anthony Hopkins.
1970s: Considered running for the U.S. Senate seat in his home state of Utah.
He often did his own stunts in action sequences but made sure the stunt men who were hired for it were paid, so as not to put anyone out of work.
Turned down the leading roles in Who's Afraid of Virginia Woolf? (1966), The Graduate (1967), Rosemary's Baby (1968), Love Story (1970) and The Day of the Jackal (1973).
He set up the Sundance Film Institute in Utah for independent filmmakers and in 1997 announced the creation of Sundance Cinemas, a venture with a major distributer to set up a chain of theaters for the screening of independent films. As of 2011, at least two are open.
2002: Awarded an honorary Academy Award for lifetime achievement as the creator of Sundance, an inspiration to independent and innovative filmmakers everywhere.
Lifelong friends with Sydney Pollack both men having made their feature film acting debuts in War Hunt (1962). Redford's very first acting job, however, was a bit part in the Perry Mason series Perry Mason: The Case of the Treacherous Toupee (1960), as revealed to interviewer Lee Cowan on "Celebrating 40 Years of CBS Sunday Morning" (Sep 2018).
1960: He spent his last $500 on two acres of land in Utah, an investment that would ultimately grow to 5,000 acres becoming home to his Sundance Institute. Redford purchase Timp Haven (ski resort) in 1969 and changed the name to Sundance Ski Resort which began operating under Redford's environmentally friendly policies. Sundance is located at the base of Utah's picturesque Mt. Timpanogos and in 1981 Redford formed the Sundance Institute and later the Sundance Film Festival which became too large for Sundance Ski Resort and was moved primarily to Park City, Utah.
Turned down a part in Bob & Carol & Ted & Alice (1969).
Born to Charles Robert Redford Sr., an accountant, and his wife Martha W. Hart.
Ranked #53 in Empire Magazines 100 Sexiest Movie Stars of all time.
Appeared in 7 movies that were directed by Sydney Pollack: This Property Is Condemned (1966), Jeremiah Johnson (1972), The Way We Were (1973), Three Days of the Condor (1975), The Electric Horseman (1979), Out of Africa (1985) and Havana (1990). They also both appeared in War Hunt (1962).
Directed 4 actors in Oscar nominated performances: Mary Tyler Moore, Judd Hirsch and Timothy Hutton in Ordinary People, and Paul Scofield in Quiz Show. Hutton won for his performance in Ordinary People (1980).
Lyrics to Mel Tillis' song "Coca Cola Cowboy" refer to "an Eastwood smile and Robert Redford hair".
Married his longtime girlfriend, 51-year-old Sibylle Szaggars in Germany on July 11, 2009 at Louis C. Jacob hotel.
Father-in-law of Eric Schlosser.
As a guest on Inside the Actors Studio (1994) (30 Jan. 2005), Redford confessed to host James Lipton that his favorite and least favorite words were, respectively, "Possible" and "Whatever".
Robert Young, who was a star at MGM in the 1930s and starred in the TV series "Father Knows Best" and "Marcus Welby MD", was a cousin of his mother.
Like his dear friend Paul Newman, both men had firstborn sons named Scott who predeceased their fathers.
Grandfather of Anna Michaela Schlosser (born 1991) and Conor James Schlosser (born July 29, 1992) (children of daughter Shauna Redford and Eric Schlosser), Dylan Larson Redford (born 1991) and Lena Redford (born 1996) (children of son James Redford and Kyle Smith) and Eden Hart August (born 2008) (daughter of daughter Amy Redford and Matt August).
As of 2014, has appeared in four films that were nominated for the Best Picture Oscar Butch Cassidy and the Sundance Kid (1969), The Sting (1973), All the President's Men (1976) and Out of Africa (1985). Of those, The Sting (1973) and Out of Africa (1985) are winners in the category. And in addition, directed two more films that were nominated for the Best Picture Oscar: Quiz Show (1994) and the winner Ordinary People (1980).
One of Time Magazine's 100 Most Influential People in the World. [April 2014].
He appeared in two Best Picture Academy Award winners, The Sting (1973) and Out of Africa (1985), and directed another, Ordinary People (1980).
His daughter, Shauna, was in a relationship with Sid Wells for three years until he was murdered on August 1, 1983. The suspect, roommate Thayne Smika, has been on the run since 1986 over theft charges. The first grand jury did not issue an indictment for murder believed to be a result of misconduct by the district attorney. After a cold case investigation in December 2010 an arrest warrant for the murder was issued. This was featured on The Hunt With John Walsh, which aired on August 10, 2014.
The Treasure of the Sierra Madre (1948) is his favorite film.
He and his A Bridge Too Far (1977) co-star Laurence Olivier are the only people to act in and direct different Academy Award for Best Picture winners: (1) Olivier played Maximilian de Winter in Rebecca (1940) and directed Hamlet (1948), in which he also played the title role and (2) Redford played Johnny Hooker in The Sting (1973) and Denys Finch Hatton in Out of Africa (1985) and directed Ordinary People (1980).
Along with Delbert Mann, Jerome Robbins, James L. Brooks, Kevin Costner and Sam Mendes, he is one of only six people to win the Academy Award for Best Director for their directorial debut: Mann for Marty (1955), Robbins for West Side Story (1961) (which he co-directed with Robert Wise), Redford for Ordinary People (1980), Brooks for Terms of Endearment (1983), Costner for Dances with Wolves (1990) and Mendes for American Beauty (1999).
Redford and his films were spoofed in "Cracked" magazine as "Rollicking with Redford," which was reproduced in the mass-market paperback "Half-Crackd" by Dell in 1974.
He appeared in five films written by William Goldman: Butch Cassidy and the Sundance Kid (1969), The Hot Rock (1972), The Great Waldo Pepper (1975), All the President's Men (1976) and A Bridge Too Far (1977).
He was awarded the Presidential Medal of Freedom, the nation's highest civilian award, by President Barack Obama, in a live televised ceremony held in the East Room of the White House, on November 22, 2016, along with twenty other recipients, the the largest, and final Medal of Freedom ceremony of Obama's presidency. At this ceremony, the twenty-one recipients, in alphabetical order, included: Kareem Abdul-Jabbar, Elouise Cobell (posthumous award given to her son), Ellen DeGeneres, Robert De Niro, Richard Garwin, Bill Gates, Melinda Gates, Frank Gehry, Margaret Hamilton (as Margaret H. Hamilton), Tom Hanks, Rear Admiral Grace Hopper (posthumous award given to her niece), Michael Jordan, Maya Lin, Lorne Michaels, Newton Minow, Eduardo Padron (as Eduardo Padrón), Robert Redford, Diana Ross, Vin Scully, Bruce Springsteen, and Cicely Tyson.
Stanley Kubrick offered him the titular role in Barry Lyndon (1975). Redford declined, and Kubrick gave the role to Ryan O'Neal.
He is mentioned in Blessid Union Of Souls "Hey Leonardo (She Likes Me For Me.)".
During the filming of All Is Lost (2013), Redford was so repeatedly soaked by a huge water hose, he suffered an infection in his left ear that ultimately cost him 60% of his hearing.
Nominated for the 2019 Golden Globe Award in the Best Performance by an Actor in a Motion Picture - Musical or Comedy category for his role as Forrest Tucker in The Old Man & the Gun (2018), but lost to Christian Bale for Vice (2018).
The # 1 seat of the Henri Langlois cinema of the Cinémathèque française in Paris bears a plaque of his name since 23 February 2019.
He has appeared in three films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Butch Cassidy and the Sundance Kid (1969), The Sting (1973) and All the President's Men (1976). Despite this, none of the films he has directed are in the registry.
Worked for two summers at Yosemite National Park.
Born at 8:02pm-PST.

Personal Quotes (41)

[on his appearance in Havana (1990)] All everyone talked about was aging. It took me by surprise because I have not thought of myself that way. I assumed I would age naturally, as time went on.
As a director, I wouldn't like me as an actor. As an actor, I wouldn't like me as a director.
I am perhaps the best-looking grandfather around, apart from Marlon Brando, of course!
Some people have analysis. I have Utah.
[on refusing the role of Benjamin Braddock in The Graduate (1967), the role that made Dustin Hoffman a star seven years before Redford obtained super-star status himself] I never did look like a 21-year-old just out of college who'd never been laid.
by Robert Osborne, "Academy Awards 1974 Oscar Annual"] I used to feel competitive about a career, but now the only things I'm really passionate about are my family, the environment and Indians.
I learned early that you'd better know what you're talking about. You'd better realize that certain issues are going to be so hot - no matter what reason, what logic you apply to it - you're going to be met with an opposition just because their viewpoint is different, and there's no way they're going to accept your reasoning. Furthermore, they're going to attack you because you will be portrayed as not being credible: "You're an actor. What do you know?"
You should prepare when you go to a public event to be public. That's when I will sign autographs. But not when you're going about your normal business.
I have to be human, of course, to be flattered by attention from the public. How could you not be? But it gets pretty intense when people are going after your clothes, and mobbing you in the streets, and you have to hide. That's kind of amusing, and kind of mind-boggling when it happens - you kind of go with it and have fun with it. Then it gets tiring, and then it gets worse when you realize you're being robbed of a vital part of your life, which is your privacy. And you also know what's coming your way is artificial, because those people are reacting to something they saw on the screen, not you as a person.
[on his relationship with Paul Newman] When we made the movies nobody used the word "chemistry". Nobody used the word "bonding". It was just: "Get up there and do your job!"
[on his friendship with Paul Newman] There are certain friendships that are sometimes too good and too strong to talk about.
I got a review when I was starting in live television. This guy Jack O'Brian called me "hammy and overwrought". Now I'm looking back on it, I'd like to hold on to those reviews. It keeps you in perspective. It really does. Part of you says, "You know, I never ever really got over that." And what I think you learn very early on is not to believe your own press clippings, one way or another, just do your work. Because you're your own tough critic. If you focus on doing the work, you'll get to a place of refinement where those reviews which are often hyped up too much to the negative or the positive fall away.
I've bought hundreds of acres around my home. That's why I moved here from the coast. There's plenty of room to roam and be alone with nature. That's living. The city life is merely existing.
I often feel I'll just opt out of this rat race and buy another hunk of Utah.
A lot of what acting is, is paying attention.
All my life I've been dogged by guilt because I feel there is this difference between the way I look and the way I feel inside.
[during his opening-night address at the Sundance Film Festival, claiming U.S. politicians exploited public support of invasions] We put all our concerns on hold to let the leaders lead. I think we're owed a big, massive apology.
[1972 comment on Paul Newman] Paul is the most generous man with whom I've ever worked. We had a fantastic rapport shooting [Butch Cassidy and the Sundance Kid (1969)]. It was one of the happiest experiences of my life.
[on working with Dustin Hoffman on All the President's Men (1976)] One of the joys of the movie was working with Dustin; he has one of the most wonderful acting minds I've ever worked with.
They throw that word "star" at you loosely, and they take it away equally loosely. You take the responsibility for their crappy movie, that's what that means.
[on the death of longtime friend Paul Newman] I have lost a real friend. My life--and this country--is better for his being in it.
[on the Sundance Film Festival] Political activism has been a part of my life and part of the films I try to make. But we don't focus on any one theme or another. We don't take any ideological stance. I'm anti-ideology. Our work tries to transcend politics. Whatever side you're on, we try to show stories from every part of the country, and so 'red state, blue state' doesn't mean a whole lot to us.
I am passionate. I am political about my country, about what it is, how strong it is, how strong it remains. Lions for Lambs (2007) got rough treatment, and I think it was because--and I don't want to sound defensive--but I think it was misperceived. I am not a left-wing person. I'm just a person interested in the sustainability of my country.
Storytellers broaden our minds: engage, provoke, inspire, and ultimately, connect us.
[US President Barack Obama] has just rejected a permit for the Keystone XL tar sands pipeline--a project that promised riches for the oil giants and an environmental disaster for the rest of us. His decision represents a victory of historic proportions for people from throughout the pipeline path and all across America.
I believe history has a habit of repeating itself, that's for sure, but one of things I'm critical of my country on is that we don't seem to take note of the lessons that history teaches us. My country is pretty prone to everything wanting to be black and white, or red, white and blue. And in my experience of life, nothing was ever that simple. No one was dealing with the grey areas. So I decided to become a filmmaker so I could deal with that.
[on choosing Jackie Evancho to play his daughter in The Company You Keep (2012)] I have a big thing about child actors who "act" as opposed to child actors who can be natural, who can be real. Scarlett Johansson was a kid when we did The Horse Whisperer (1998), and I was concerned if a child looked like they were acting it would be like fingernails on a blackboard. So I'm depressed and I go back to my room and I do something I don't usually do and that's surf. And suddenly I'm skipping across these channels and there's this angelic face..singing. And there's a close-up and I think: 'Who's that?' and she was singing Puccini's opera.
[on filming All Is Lost (2013)] It was a bold and pure cinematic experience. It was stripped to the bone and I found that very appealing.. Being wet all day was the hardest thing. You get depressed being wet all the time.
[on Michelle Pfeiffer] She has a great sense of humor. There's a scene after the first time we have a tryst in Up Close & Personal (1996); she says goodbye to me and hands me a gift. I was just supposed to look at it and smile. I unwrapped it and inside was a picture frame, and Michelle had slipped in a photo of herself in a bathing suit winning the Miss Orange County beauty contest. I still have the photo.
[parallels between Forrest Tucker and his life] I cared about the money. I think that if you want to find a parallel it was that whether you're robbing banks or making film, you're either struggling, you go in and out of depression or you're continuously happy. And I've always been making films; it's made me very happy to be able to have the chance to make a film. And particularly if it's the story you want to tell. So for me I've been blessed that way so that makes me happy.
[on the directors who have had the most impact on him] Sydney Pollack and George Roy Hill. It makes me sad when I see certain directors getting a lot of attention, in some cases too much attention, when Roy was one of those who should have got that attention and didn't. If you read his biography he rises to the top, when you think about Butch Cassidy and the Sundance Kid (1969) and The Sting (1973) he never got enough credit for those films.
If a character is involved in a conflict that turns out to be a human conflict, having to do with forces that might overwhelm his rights -- their right to be an individual, any clash of capitalism and ethics, which Quiz Show (1994) is certainly about, which is an eternal struggle, ethics usually loses. And those systems -- any system that has the power to overwhelm either our rights or us as individuals interests me dramatically.
With so many wonderful stories to tell and so much to do creatively, it seems like a tremendous waste of time to make a sequel. But that's my own view. So I would never -- and for me the film, whatever you think of it, it was what it was and it said it, did it, and it's done.
[on how it is difficult to be a celebrity] There is a Faustian side to all this, that you, for whatever glamour, whatever wonderful things there are that can benefit your life, there is also a downside, which is the loss of privacy, the beginning to be treated like an object and worried that you are going to start feeling like one and then maybe become one, the inability to be private.
[on All the President's Men (1976) ] We had so much resistance to getting it made, much of it from the press itself. Just being able to get that to the screen, it took three years and a lot of hard work, and we had to suffer some early paranoia on the media, a lot of it at The Washington Post. We were getting both cooperation and heads butting at the same time, so that was tough, it was hurdle after hurdle. We finally got past it, and it was a moment of great -- it was very gratifying to finally show the film here in Washington and not be eaten alive and have it come out our eyes. There was satisfaction in that.
[on his partnership with Sydney Pollack] We had a wonderful relationship for many, many years. Probably starting in 1960, going clear to 1990 we made several films together. It was a collaborative experience, because Sydney was the director, I was the actor, but behind the scenes we worked together on the script, and it was very collaborative and very giving both ways. And we raised families together. We were personal friends. It was a wonderful time.

And we would very often take on projects that were completely uphill projects. But because of that, it was exciting. I'd say, "Well, let's go for it. Let's do it anyway." So, that was one of them. And Sydney was a very fine filmmaker. He was a wonderful manager of the elements of film. And it was good for me as an actor because it freed me up as an actor, and I trusted Sydney to manage me as an actor. So there was comfort and confidence and loyalty on both sides. It was a terrific relationship.
There have been films that I've done in the past where I had a naive hope that things might be changed. I am not sure that it did or was. I remember when we made The Candidate (1972), the intention behind that film was the hope -- since the 18-year-old vote was in that year -- that it might indeed affect how people looked at the political system, at least how we elect people in this country, which the point the film was trying to make is that we do that essentially through cosmetics and not substance. So that was the hope, and by delivering a somewhat black comedy on the subject, the hope was that people may become aware and maybe do something about it. And the 18-year-old voter turnout was very, very low that year.
Today there is a tendency to lump three areas together in terms of information: there's news, there's documentaries, and then there's historical fiction. And it seems that the responsibilities are clear: news -- facts as known, presentation of the facts as known by the journalists; documentary -- facts as presented on film; and film itself as a dramatic rendering of historical event. Now, many over time have taken it beyond. I've just seen the example of that through the years. But the results are usually always the same: it's about characters, and the choices made, and the consequences, and results of those choices. So there is probably a good question that comes out of it: What is the relationship of historical fact to historical film? (13 September 1994)
All the President's Men (1976) was made with the hope that we would take a hard look at how close we came in this country to losing our First Amendment rights, and that we would take a hard enough look to maybe not make that mistake again. And yet we can see by the repeat that occurs in history, maybe all too quickly, that, who knows, with what kind of an impact that that has. I really don't know. That's not up for me to decide. So I decided some time ago the only thing I can really do is to take an issue that I find interesting, hope to get a story behind it, and dramatize that story to the point where it could be looked at, focused upon, and then possibly debated by the people more qualified than myself to do it. Those were the reasons for the film.
I delude myself as to how much power liberty carries in terms of substantial remarks. Years ago I was making The Candidate (1972), and we were in Monterey, California, at the fisherman's wharf. I was playing a man running for the Senate, and we had the actors with us -- we were doing it in a semi-documentary way, where -- what we call guerilla filmmaking. I was trying to go from booth to booth on the wharf and talk to people about their lives -- food costs and inflation, and so on and so forth. It was feeling pretty convincing. These were all actors, of course, but I had this staff around me, an advance man and so forth, and they kept going on ahead and passing out pamphlets for Bill McKay, running for the U.S. Senate. I felt we were really doing great. I went by one booth, and the woman was standing there with her little 10-year-old son, and she says to the advance guy, "Hey, what's the Sundance Kid doing down here in fisherman's wharf?" The guy, forever the actor, said, "Oh, no, no, no, that's not the Sundance Kid, that's Bill McKay, and he's running for the U.S. Senate." So she turns to her son and says, "You hear that, Tim? Old Sundance is running for the U.S. Senate." So I learned early on what reality is in that regard.
My first film [to watch] was a Walt Disney film. I was a little kid during the Second World War and there was no television, only radio, and the dream was on the weekend to walk to the neighborhood theater and see a movie. To me that was such a joy. You couldn't wait till the weekend to see something on the big screen. What I miss with all the advanced technology making viewing easier, the streaming services, the multiple channels, is the time when you could walk into a theater and sit in the dark with other people. The lights would go off and you could feel some magic happening on the big screen and feel the energy of the people around you. Now that's pretty much gone.

Salary (8)

War Hunt (1962) $500 .00
The Sting (1973) $500,000
A Bridge Too Far (1977) $2,000,000
The Electric Horseman (1979) $3,500,000
Out of Africa (1985) $6,000,000
Legal Eagles (1986) $8,000,000
Indecent Proposal (1993) $5,000,000 + 15% of first dollar gross
The Last Castle (2001) $11,000,000

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