- Born
- DiedJune 21, 2001 · Culver City, California, USA (heart attack brought on by complications from diabetes)
- Birth nameJohn Carroll O'Connor
- Nickname
- Matt Harris
- Height5′ 10½″ (1.79 m)
- Carroll was born in Manhattan and raised in Forest Hills, a heavily-Jewish community in New York City's borough of Queens. After graduating from high school in 1942, he joined the Merchant Marines and worked on ships in the Atlantic. In 1946, he enrolled at the University of Montana to study English; while there he became interested in theater. During one of the amateur productions, he met Nancy Fields; they married in 1951. He moved to Ireland where he continued his theatrical studies at the National University of Ireland. He was discovered during one of his college productions and was signed to appear at the Dublin Gate Theater. He worked in theater in Europe until 1954, when he returned to New York City. His attempts to land on Broadway failed, and he taught high school until 1958, when he finally landed an Off-Broadway production, "Ulysses in Nighttown". He followed that with a Broadway production that was directed by [[Burgess Meredith]], "God and Kate Murphy", in which he was both an understudy and an assistant stage manager. At the same time, he was getting attention on TV. He worked in a great many character roles throughout the 1960s. A pilot for "Those Were The Days", based on the English hit "Till Death Us Do Part", was first shot in 1968 but was rejected by the networks. In 1971 it was re-cast and re-shot at All in the Family (1971) and the rest is history.- IMDb mini biography by: John Sacksteder <jsack@ka.net>
- SpouseNancy O'Connor(July 28, 1951 - June 21, 2001) (his death, 1 child)
- Children
- ParentsEdward Joseph O'ConnorElizabeth Patricia Catherine O'Connor
- RelativesHugh C. O'Connor(Sibling)Robert E. O'Connor(Sibling)
- On All in the Family (1971), he always smoked his cigars in his favorite woven Wingback Chair.
- Often played the roles that reflected upon liberalism or aggressiveness.
- His characters often clashed with the younger generation over topical social issues.
- Gruff voice with New York City accent.
- He adopted his only child, Hugh O'Connor, while in Rome filming Cleopatra (1963). He named him after his own brother, who had been killed years earlier in a motorcycle accident.
- In his later years, he still received mail from fans, and he answered every single piece of mail personally. When asked by friends why he didn't hire an assistant to answer the mail for him, he simply said that it was the least he could do.
- Auditioned for the role of Skipper Jonah Grumby on Gilligan's Island (1964), but the producers found him to be too unsympathetic in the role, which went to Alan Hale Jr..
- Was so displeased that CBS axed Archie Bunker's Place (1979) in 1983, without a chance to film an actual series finale, that he vowed to never work for the network again. Nonetheless, his late-1980s NBC series In the Heat of the Night (1988) moved to CBS in 1992.
- Encouraged his All in the Family (1971) co-star, Rob Reiner, to write several episodes in his early career.
- People see Archie Bunker everywhere. Particularly girls--poor girls, rich girls, all kinds of girls are always coming up to me and telling me that Archie is just like their dad.
- Get between your kids and drugs any way you can if you want to save the kid's life.
- Nothing will give me any peace. I've lost a son. And I'll go to my grave without any peace over that.
- [asked to explain his criticism of critics] I think you all have been in a position where you all have said something out of pure emotion that is not all true. There are semi-literates. They write bad grammar. A lot of them copy what other people write and add a little twist of their own so that it appears the local boy has the inside track.
- [In 1976, on how he was going to play Frank Skeffington in The Last Hurrah (1977)] I'm going to keep the bigotry Edwin O'Connor had in the novel, but I'm going to play it as an undertone rather than as the main theme.
- All in the Family (1971) - $200,000 per episode
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