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Terence Stamp Poster

Biography

Jump to: Overview (3)  | Mini Bio (1)  | Spouse (1)  | Trade Mark (3)  | Trivia (12)  | Personal Quotes (39)

Overview (3)

Born in Stepney, London, England, UK
Birth NameTerence Henry Stamp
Height 6' (1.83 m)

Mini Bio (1)

Terence Henry Stamp was born and lived in Canal Road, Bow, until German bombers forced his family to move to Plaistow. An icon of the 1960s, he dated the likes of Julie Christie, Brigitte Bardot and Jean Shrimpton. After an extremely successful early career, starring in Modesty Blaise (1966), Poor Cow (1967) and Far from the Madding Crowd (1967), Stamp withdrew from mainstream films after his girlfriend, supermodel Jean Shrimpton, left him, and he and went on a 10-year sabbatical in India. He returned home in the late 1970s to star as the evil General Zod in Superman II (1980), and in 1984, delivered what many consider his finest performance as the supergrass in Stephen Frears' The Hit (1984). A few minor but colourful roles, topped by his performance as the transsexual Bernadette in The Adventures of Priscilla, Queen of the Desert (1994), have put Stamp back in the British consciousness. His role of a vengeful gangster in The Limey (1999) was created especially for him by its director.

- IMDb Mini Biography By: The Madcap Laughs and Tonto

Spouse (1)

Elizabeth O'Rourke (31 December 2002 - 29 April 2008) ( divorced)

Trade Mark (3)

Rich smooth voice
Often plays sinister villains
Calm reserved performances

Trivia (12)

Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#59) (1995).
Stamp has been wheat and dairy intolerant since the 1960s and launched "The Stamp Collection" range of organic wheat and dairy free products in 1994.
A publicity shot from The Collector (1965) showing Stamp holding a chloroform pad was used for the cover of The Smiths single "What Difference Does It Make." After some copies were printed, Stamp decided he did not want his photo to be used, and the rest of the copies appeared with Morrissey in the exact same pose, looking very much like him but holding a glass of milk instead. Later, Stamp relented and his photo was reinstated on the 12-inch single cover.
Older brother of Christopher Stamp.
Went from playing Superman's adversary (General Zod in Superman II (1980)) to playing Superman's most loving parent (the voice of Jor-El on Smallville (2001)).
Trained at the Webber Douglas Academy of Dramatic Arts in London, whose alumni include Elizabeth Knowelden, Hugh Bonneville, Julia Ormond, Rupert Friend, Angela Lansbury, Matthew Goode, Sue Johnston, Minnie Driver and Julian Fellowes.
Was originally considered for the role of John Ryder in The Hitcher (1986), which went to Rutger Hauer.
Was listed as a potential nominee on the 2006 Razzie Award nominating ballot. He was listed as a suggestion in the Worst Supporting Actor category for his performance in the film Elektra (2005). However, he failed to receive a nomination.
Turned down the title role in Alfie (1966) and suggested that they cast his roommate Michael Caine. Caine got the part, for which he received his first Oscar nomination. (Source: Robert Osborne on TCM 1/31/10).
Both he and his The Company of Wolves (1984) co-star David Warner have played Jor-El, the biological Kryptonian father of Superman. He provided the character's voice in Smallville (2001) whereas Warner played the role in Lois & Clark: The New Adventures of Superman: Foundling (1994).
Has provided the voice of God in "The Word of Promise", an audio dramatization of the New King James Version of the Bible.
Celebrity spokesperson for Foster Grant sunglasses during the 1960s.

Personal Quotes (39)

I would have liked to be James Bond.
[on death] Few people understand it and live when it comes.
[on declining to appear in Star Wars: Episode II - Attack of the Clones (2002) and Star Wars: Episode III - Revenge of the Sith (2005)] Actors prefer to work with actors.
A lot of newspapers say Terence Stamp is playing himself and we're as bored as he is.
A lot of people only see me as a villain.
All actors are incredibly insecure.
As a boy, I believed I could make myself invisible. I'm not sure I ever could, but I certainly had the ability to pass unnoticed.
My favorite film is Gene Tierney and Tyrone Power in The Razor's Edge (1946).
[on Man of Steel (2013)] When I heard they were remaking it, or they were doing a version of it, I was kind of sad in a way. Superman (1978) was the benchmark for all of these comic book movies. There's never been anything quite as good as those Dick Donner [Richard Donner] movies. Since then, big movies have become computer generated. They've become unemotional, and so I was sad. I thought it would be diluted, in other words.
[on Star Wars: Episode I - The Phantom Menace (1999)] He may be a great visionary, Lucas [George Lucas], and he may be great with toys and effects and stuff, but he doesn't really strike me as someone who was really interested in acting.
[on his former flatmate Michael Caine] Caine gave me all my early values, like making sure you were doing good stuff, waiting for the right things - then as soon as he got away he did exactly the opposite. Went from one movie to another.
[on being directed by John Schlesinger in Far from the Madding Crowd (1967)] He didn't strike me as a guy who was particularly interested in film. Plus I wasn't his first choice: he really wanted Jon Voight. He wasn't exactly hostile, but he really didn't help me. I was working on my own, really.

"I'll say this for Schlesinger, when he got in the cutting room and realized he had all this extra footage, he used it. He understood it then. But I didn't have a lot of time for him."
When the 1960s ended, I just ended with it. I remember my agent telling me: 'They are all looking for a young Terence Stamp.' And I thought: 'I am young.' I was 31, 32. I couldn't believe it. It was tough to wake up in the morning, and the phone not ringing. I thought: this can't be happening now, it's only just started. The day-to-day thing was awful, and I couldn't live with it. So I bought a round-the-world ticket and left.
A lot of people only see me as villains.
(On Superman (1978)) This was my comeback movie. I couldn't find work and I couldn't bear waking up every day and the phone not ringing, or if it did, it was my agent telling me they were looking for a 'young Terence Stamp.' (I was 27). So I decided to travel instead of waiting around, and months became years. I didn't do anything of any significance between '69 and '77, I was a swami in an ashram, with long hair and a beard, and I was in orange learning all these metaphysical techniques and breathing and tantra and finally I got to an ashram in Pune and it seemed like the most beautiful women from every country in the world were there, and they were all totally empowered. I was learning to separate orgasm from ejaculation. I was rechanneling the lifeforce I thought no, I won't go back to showbiz, this is my life now. Then I went back to this hotel for a weekend, and I must have sent my agent a postcard from there a year before, and as I come in the concierge hands me a telegram, and it's addressed to "Clarence Stamp" and it's dogeared and I don't know how old it was. And he puts it in my hand and the psychic weight of this telegram! I knew my life was about to change. It was from my long-suffering agent: "Would you consider coming to London to meet with Richard Donner about Superman I and II,' you'll have scenes with Marlon Brando. And on the way would you stop in Paris and meet with Peter Brook about a film of Gurdjieff's book Meetings with Remarkable Men?" And it was like the universe was saying 'You're back in the market, son.' So I was totally confident because I just didn't care. I had let go of all of it. On the Monday I was General Zod and on the Tuesday I was Prince Lubodevsky - it was in the same studio! When I walked on the set, it seemed like everyone was asleep, but I was so, so ready. The only guy who was really up for it was Brando - he totally understood where I was coming from.
A lot of young directors, they're not confident; they're not open to the emotional level of the scene.
A lot of newspapers say, Terence Stamp is playing himself and we're as bored as he is.
I have always had this energy, which I think of as overdrive.
He's Soderbergh, we're working for him. It doesn't matter what he's doing; we'll see it at the premiere.
Although you have some films that are a real bummer, there's always a film that comes up where it's just heaven.
As a boy I believed I could make myself invisible. I'm not sure that I ever could, but I certainly had the ability to pass unnoticed.
At this point, it's either for fun or it's for money. I don't take movies that I don't really like.
I was very disappointed that so much of the work I did on The Haunted Mansion (2003) didn't arrive in the final cut.
I have to be stretched in some way. There's not enough things that come my way that I fancy.
I wasn't at all sure I could make that sort of leap into that sort of comic book reality.
In my youth I dreamed of being an illustrator.
I've been doing Tai Chi on and off for 20 years. The fundamentals of all martial arts are the same.
When I tested for Billy Budd (1962), I had that kind of confidence that comes with the certainty that you're not going to get something. I was very rough around the edges.
My star was kind of fading towards the end of the '60s and suddenly I got this call from Fellini, who just appeared to kind of love me!
What I wanted more than anything was a long career.
Unless I try, I'm never really going to be at ease with myself.
It wasn't until I saw James Dean that I began to think that maybe I could actually do this. Movies didn't have to be just this fantasy with this impossibly handsome guy.
I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.
I've never wanted to become a politician, an interior decorator, I've never wanted to speculate and make a load of money. I just wanted this.
It's such a performance to bring stuff into America. It's a great luxury when I am in England.
With Fellini, the fear dropped out of my work because it was such a happy experience... hanging out with Fellini, having pasta on the set with Fellini, and going out with Fellini!
From the very first movie I ever made to the current time, there have been times between action and cut when I've sensed some kind of new dimension that I haven't been familiar with before.
In the case of Elektra (2005) I really wasn't sure I could pull it off. There were so many intellectual leaps. My character, Stick, is blind, but he can see better than most people. So I had trouble kind of finding the logic.
Peter Ustinov was the first really positive influence in my career. He was real and he bore witness to it. The things he said to you, he lived them.

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