|Born||in Fayetteville, Arkansas, USA|
|Birth Name||Joshua Lucas Easy Dent Maurer|
|Height||5' 11½" (1.82 m)|
Mini Bio (1)
Josh Lucas was born in Little Rock, Arkansas, to Michele (LeFevre), a nurse midwife, and Don Maurer, an ER doctor.
Lucas' film career began by accident in 1979 when a small Canadian film production shot on the tiny coastal South Carolina Island, Sullivan's Island, where Lucas and his family lived. Unbeknownst to the filmmakers, 8 year old Lucas was hiding in the sand dunes watching filming during the climatic scene where teenage lovers engage in a lovesick fight. It was during this experience that Lucas decided to pursue a career in film which he has now done for nearly 3 decades. Born to young radical politically active parents in Arkansas in 1971, Lucas spent his early childhood nomadically moving around the southern U.S. The family finally settled in Gig Harbor, Washington, where Lucas attended high school. The school had an award winning drama/debate program and Lucas won the State Championship in Dramatic Interpretation and competed at the 1989 National Championship. Brief stints in professional theater in Seattle followed before Lucas moved to Los Angeles. After receiving breaks playing a young George Armstrong Custer in the Steven Spielberg produced Class of '61 (1993) and Frank Marshall's film Alive (1993), Lucas' career toiled in minor TV appearances. Frustrated, he decided to start over and relocated to New York City.
In NYC, Lucas studied acting for years under Suzanne Shepherd and worked in smaller theater productions like Shakespeare in the Parking Lot before receiving another break in 1997 when he was cast as Judas in Terrence McNally's controversial off-Broadway production Corpus Christi. The play led to his being cast in the films You Can Count on Me (2000) and American Psycho (2000). These films were followed by interesting performances in the Oscar-winning A Beautiful Mind (2001) and the box office hit Sweet Home Alabama (2002).
Lucas has since worked with many of the film community's greatest talents. He starred alongside Jon Voight in Jerry Bruckheimer's Glory Road (2006), for which Lucas added 40 pounds to transform himself into legendary basketball coach Don Haskins. Lucas also starred with Kurt Russell and Richard Dreyfuss in Wolfgang Petersen's Poseidon (2006). He starred with Morgan Freeman and Robert Redford in Lasse Hallström's An Unfinished Life (2005). He also starred opposite Jamie Bell in David Gordon Green's Undertow (2004), which was also produced by Terrence Malick. Additionally, Lucas worked alongside Christopher Walken in Around the Bend (2004).
He performed with Jennifer Connelly and Eric Bana in Ang Lee's Hulk (2003). Other credits include Wonderland (2003), The Deep End (2001), American Psycho (2000), Session 9 (2001) and You Can Count on Me (2000).
Lucas' theater credits include the off-Broadway run of "Spalding Gray: Stories Left to Tell"; Tennessee Williams' "The Glass Menagerie", which appeared on Broadway in 2005; Terrence McNally's "Corpus Christi" at the Manhattan Theater Club; Christopher Shinn's "What Didn't Happen"; and "The Picture of Dorian Gray".
Lucas has always been fascinated by documentaries and performed voice work with film legend Ken Burns on the documentary The War (2007), and also provided voice-over work for Operation Homecoming: Writing the Wartime Experience (2007), Trumbo (2007) and Resolved (2007). Lucas' first venture into production was Stolen (2009), in which he played the single father of a mentally challenged boy. The film was the first project to be produced through Lucas' production company, "Two Bridges".
In the past few years, Lucas' films include The Lincoln Lawyer (2011), Daydream Nation (2010), Peacock (2010), as Charles Lindbergh in Clint Eastwood's film J. Edgar (2011), and the massive Australian box office and critical success Red Dog (2011), for which Lucas won Australia's best actor award (The I.F. Award). He also played Beat generation legend Neal Cassady in Big Sur (2013). He can be seen in Kevin Connolly's Dear Eleanor (2016), the upcoming Sundance festival film Little Accidents and the NY indie film The Mend.
- IMDb Mini Biography By: Josh Lucas
|Jessica Ciencin Henriquez||(17 March 2012 - 24 October 2014) ( divorced) ( 1 child)|
Trade Mark (1)
Personal Quotes (9)
Then, the best publicity tour of my life was these guys on Jerry Bruckheimer's private airplane, going from one town to the other showing the movie. Every single night that movie would get a standing ovation. Then we would have this crazy party and we'd get back on Jerry's airplane with this group of basketball actors and go to the next party. And they would find girls.
There was a weird moment where we showed the movie in El Paso, Texas, to the real basketball players in the original story. And they did not like it at all. They felt like I completely missed how badass Don Haskins really was... I was really upset and sad about it. Then Don Haskins came to me and said, "Fuck those guys. You did exactly what I wanted you to do. You did the version that I wanted for the kids." And then all those guys really came around to the movie, and they felt like the movie existed on its own.
The movie was a very dark spot in my career, and I think the movie is actually pretty damn good, but it didn't perform well in the U.S. That movie, combined with the lack of performance of Stealth, was a real one-two punch to my career. It really shut my career down, from a Hollywood standpoint. It kicked my ass and took me out of the game for awhile, which after something like Glory Road, was extraordinarily heartbreaking to me.
Honestly, from a box office or commercial filmmaking standpoint, I've never recovered from it. And I'm totally okay with that... It took me awhile, though. That level of movie stardom and movie pressure was overwhelming me. I wasn't very happy in that period of my life, and I was working too much on projects were maybe rushed. I know why I did Poseidon... because Das Boot is one of the great action movies of all time and Wolfgang [Petersen, Poseidon's director] said to me, "I'm going to remake Das Boot." And to an extent, he did, although a somewhat Hollywood version of that. But we just didn't have a script.
And has it shifted? Not necessarily, I'm still here fighting for The Mend, because I think it's a very worthy movie and I know that some people will love it. I think my performance is raw and borderline dangerous. I'm hoping that some people find it. Then you start making bigger life decisions, man. I had a kid. I went through a tough divorce and I went through a period of time where I was really tested. My career wasn't going well; my life wasn't going well. And I was having to really look at myself in the mirror to figure out what I'm going to do to get through this.
Honestly, I probably chose a very commercial TV project, and to be number two, so I could spend more time with my son and take care of him in the early years of his life. I was making choices that were very specific: Make a living, take care of your family, and if you can, find some movies that you can sink your teeth into. And just not worry about whether anyone sees them or not. Have the goal be the experience of making it. If I could walk away from it and feel I had learned something, that had to become enough, because otherwise I would've kept waiting for validation from commercial or critical successes.
There's nothing abnormal about my experience. And look, you know who said the best thing to me? Alec Baldwin. I was sitting at a sushi restaurant, and I knew him vaguely. He said, "Hey man, whatever happens, don't let them make you believe that when you fall from the movie star tree that you're rotted fruit." He put it so beautifully, because he said, "Everyone falls." And it's true. Everyone falls. What happens to so many actors, when they fall, is that they get really fucked up and broken and usually are gone. Those weird eccentric talents like Christopher Walken or Mickey Rourke-who fall from that tree-and they're just so whacked-out interesting that they come back and have these resurrections. But a lot of people just disappear. It's incredibly rare for someone to live in an incredibly exalted way for huge periods of time. The Meryl Streeps of the world are total anomalies.