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|Also Known As:||Albert Lawrence Einstein, A Brooks||Died:|
|Born:||July 22, 1947||Cause of Death:|
|Birth Place:||Los Angeles, California, USA||Profession:||actor, screenwriter, director, comedian, sportswriter, musician|
Biography CLOSE THE FULL BIOGRAPHY
figure out why he has problems with women. Though earning only $19 million at the box office, "Mother" became the highest-grossing film directed by Brooks to date. Following a turn as a 65-year-old alcoholic surgeon in Sidney Lumet's medical satire "Critical Care" (1997) and a voiceover role as the suicidal tiger in "Dr. Dolittle" (1997), he had a small, but memorable supporting role in "Out of Sight" (1998) as a billionaire and convicted felon, whose loose lips inside prison attract a motley crew â¿¿ including a charming ex-con (George Clooney) and a violent thug (Don Cheadle) â¿¿ to his home in suburban Detroit in order to steal a fortune in uncut diamonds.Three years after "Mother," Brooks helmed, co-wrote again with Johnson, and starred as a Hollywood screenwriter struggling for inspiration in "The Muse" (1999), which also starred Sharon Stone as the titular source of creativity. Also featuring Jeff Bridges and Andie MacDowell, plus a slew of celebrity cameos, including Martin Scorsese, Rob Reiner and James Cameron, Brooksâ¿¿ show business satire was the first of his own films that perhaps demonstrated he had begun losing his edge. Stepping outside of his own image, Brooks received an abundance...
figure out why he has problems with women. Though earning only $19 million at the box office, "Mother" became the highest-grossing film directed by Brooks to date. Following a turn as a 65-year-old alcoholic surgeon in Sidney Lumet's medical satire "Critical Care" (1997) and a voiceover role as the suicidal tiger in "Dr. Dolittle" (1997), he had a small, but memorable supporting role in "Out of Sight" (1998) as a billionaire and convicted felon, whose loose lips inside prison attract a motley crew â¿¿ including a charming ex-con (George Clooney) and a violent thug (Don Cheadle) â¿¿ to his home in suburban Detroit in order to steal a fortune in uncut diamonds.
Three years after "Mother," Brooks helmed, co-wrote again with Johnson, and starred as a Hollywood screenwriter struggling for inspiration in "The Muse" (1999), which also starred Sharon Stone as the titular source of creativity. Also featuring Jeff Bridges and Andie MacDowell, plus a slew of celebrity cameos, including Martin Scorsese, Rob Reiner and James Cameron, Brooksâ¿¿ show business satire was the first of his own films that perhaps demonstrated he had begun losing his edge. Stepping outside of his own image, Brooks received an abundance of critical praise for his turn in director Christine Lahti's unassuming indie debut, "My First Mister" (2001), playing a finicky clothing store owner who embarks on a relationship with a Goth-like, tattooed 17-year-old employee (Leelee Sobieski). After voicing Marlin the Clownfish who searches for his lost son in Pixarâ¿¿s animated phenomenon, "Finding Nemo" (2003), Brooks teamed with Michael Douglas for the rather flaccid remake of "The In-Laws" (2003), playing a neurotic dentist opposite Douglas' die-hard CIA agent. He returned to stand-up â¿¿ sort of â¿¿ for "Looking for Comedy in the Muslim World" (2005), in which he played a fictional version of himself as he travels India and Pakistan with two State Department officials (John Carroll Lynch and Jon Tenney) trying to figure out what makes Muslims laugh. He next voiced Russ Cargill, the villain in "The Simpsons Movie" (2007), before appearing as the estranged father of Nancy Botwin (Mary-Louise Parker) for six episodes of the critically acclaimed series, "Weeds" (Showtime, 2005- ) in 2008. Brooks went against type to play the smiling but brutal mobster Bernie Rose opposite Ryan Goslingâ¿¿s unnamed antihero in the indie neo-noir, "Drive" (2011), which earned him an Independent Spirit Award nomination for Best Supporting Actor.s and return to his hometown in order to become an actor. But work was hard to come by, which led to stand-up comedy by way of a ventriloquist act called Danny and Dave, in which he was the worldâ¿¿s worst ventriloquist â¿¿ his lips moved every time the dummy spoke.
The act was a hit and led to numerous television appearances, including on "The Steve Allen Westinghouse Show" (1962-68), "The Dean Martin Show" (NBC, 1965-1974) and most notably, "The Tonight Show Starring Johnny Carson" (NBC, 1962-1992). Brooks also began opening for several musical acts from the day, like Neil Diamond, Richie Havens, and Sly and the Family Stone. But by this time he was getting further and further away from his desired goal of becoming an actor, despite assurances from his agent that traveling the comedy circuit would lead to such a career. Brooks graduated to touring clubs as a headliner following his first album, Comedy Minus One (1974), which led to performing two or three shows a night â¿¿ a stressful schedule that began taking its toll on him. His success led to another comedy album, A Star Is Bought (1975), which earned a Grammy Award nomination. Eventually, however, he had a panic attack and nervous breakdown before stepping onstage to perform in Boston. After managing to collect himself in his hotel room, Brooks went on to deliver his routine, but soon left stand-up comedy altogether and started seeing a shrink.
Despite his stand-up comedy career being over, Brooks was offered a permanent hosting gig on "Saturday Night Live" (NBC, 1975- ) by producer Lorne Michaels, only to turn the job offer down. Instead, he made six short comedy films â¿¿ including one where he performed open heart surgery â¿¿ and left the show amidst disgruntlement with the regular cast. Brooks finally made some headway in his acting career with a supporting role as an annoying campaign worker who senses something wrong with the man (Robert De Niro) his co-worker (Cybill Shepherd) has agreed to date in Martin Scorseseâ¿¿s gritty classic, "Taxi Driver" (1976). Two years later, he took his first shot at directing a feature with "Real Life" (1978), a satirical take on the PBS series "An American Family," in which he starred as a documentarian who films for the typical American family, only to find them incredibly boring and so alters real events to make them more cinematic. Striking a clear balance between humor and social criticism â¿¿ which remained a hallmark of his later work â¿¿ Brooks built off his "SNL" shorts to become one of the better mocumentary filmmakers.
Having gained a greater degree of autonomy with his entre as a director, Brooks maintained a steady onscreen presence. Following a small turn as the newly wed husband who dies following an orgasm after sex with Goldie Hawn in "Private Benjamin" (1980), Brooks returned to the directorâ¿¿s chair with "Modern Romance" (1981), an extremely funny look at a neurotic man (Brooks) attempting to find love in Hollywood with a bank executive, played by his real-life companion, Kathryn Harrold. After a supporting turn opposite Dudley Moore and Nastassja Kinski in "Unfaithfully Yours" (1984), he directed then-companion Julie Hagerty in his road comedy, "Lost in America" (1985), which brought him an increased legion of fans atop a bevy of critical kudos. The filmâ¿¿s meticulous observation of two disillusioned yuppies (Brooks and Hagerty) who liquidate their assets and buy a Winnebago, struck a chord with people who secretly longed to act on the youthful, irresponsible fantasy of dropping out of society. Full of pointed commentary on 1980s materialism, "Lost in America" stood as one of Brooksâ¿¿ finest directorial achievements.
Brooks followed with one of his best acting performances when he played the talented, but luckless television journalist who sweats a lot on screen in "Broadcast News" (1987), directed by friend James L. Brooks. The directorâ¿¿s satirical look at the inner workings of a Washington D.C. television news bureau allowed Brooks the opportunity to play a sympathetic character, which earned him an Oscar nomination for Best Supporting Actor and a significantly higher public profile. Returning to directing his own material, he helmed his fourth feature, "Defending Your Life" (1991), a speculative comedy with Brooks as a self-obsessed, recently deceased executive who, after being unable to learn from his mistakes in life, must face his past in order to continue in the afterlife. Along the way, he falls in love with a brave, deceased woman (Meryl Streep), whose advancement to the next stage is all but certain. Boasting enjoyably broad performances by Brooks, Streep and Rip Torn, the one-joke script eventually wore thin, though in the end the film was enjoyable overall.
After portraying a strident Hollywood producer of slick action films in "I'll Do Anything" (1994), Brooks stared as "The Scout" (1994), a baseball fantasy based on an old Andrew Bergman baseball script which he and longtime collaborator Monica Johnson rewrote for director Michael Ritchie. Unfortunately, that yearâ¿¿s Major League Baseball strike, which canceled the World Series for the first time in 90 years, sank the slim commercial chances of a comedy that never quite recovered from its detour to drama. Brooks went back to directing for "Mother" (1996), a midlife-crisis comedy about a twice-divorced sci-fi author (Brooks), who moves back home with his mother (Debbie Reynolds) and brother (Rob Morrow) in order to
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CAST: (feature film)
Milestones close milestones
About why he came aboard as star and script doctor for "The Scout": "I like to write, but I wanted to take a job. In Hollywood, people thought I would work only for myself or Jim Brooks. I wanted to say, 'That's not true.'
"I came across this script which had been around a long time and was inspired by Roger Angell's The New Yorker article on Fernando Valenzuala.
"Most Hollywood comedies are miserable. There are 80 laughs in this--and not one from fart jokes. In this day and age, that's something." --Albert Brooks, to Stephen Schaefer from New York Post, September 26, 1994.
On turning down Lorne Michaels' offer to be the sole host of the original "Saturday Night Live": "Fame isn't the goal. It's better to be known by six people for something you're proud of than by 60 million for something you're not." --Brooks quoted in People, January 27, 1997.
About his feature acting debut in Martin Scorsese's "Taxi Driver": "My role was only indicated in the script, so I had to write it. Paul Scharader [the film's screenwriter] once said the funniest thing to me. He said, 'Thank you, I didn't understand that character.' And I thought, That's the character you don't understand? You understand Harvey Keitel and Travis Bickle perfectly, but the guy who works at the campaign office you're not sure of?" --Brooks to Premiere, January 1997.
"I've always felt like I work in a small little area that doesn't represent ANYTHING like the rest of society." --Brooks quoted in Entertainment Weekly, April 30, 1999.
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