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Black performer-director-writer whose work ranges from primetime TV and film to theater and literature. Duke began his film acting career in Michael Schultz's boisterous comedy "Car Wash" (1976), shortly after he started writing for the TV series "Good Times". A prolific TV director with scores of primetime episodes to his credit, including "Knots Landing", "Falcon Crest," "Hill Street Blues", "Spenser: For Hire," "A Man Called Hawk," "City of Angels," "New York Undercover" and the miniseries "Miracle's Boys," he won acclaim for his award-winning PBS film "The Killing Floor" (1984), about WWI stockyard workers, and "The Meeting" (1989), about a hypothetical encounter between Martin Luther King Jr. and Malcolm X.Duke's first theatrical feature, "A Rage in Harlem" (1991), based on a Chester Himes crime novel, was selected as an official entry in competition at the 1991 Cannes Film Festival. As an actor, he has turned in memorable performances as the villainous gay pimp in "American Gigolo" (1980), Arnold Schwarzenegger's comrade in "Commando" (1985) and "Predator" (1987), and the heavy in "Bird on a Wire" (1990). As his film credits--when not playing bad guys Duke specialized in menacing law...
Black performer-director-writer whose work ranges from primetime TV and film to theater and literature. Duke began his film acting career in Michael Schultz's boisterous comedy "Car Wash" (1976), shortly after he started writing for the TV series "Good Times". A prolific TV director with scores of primetime episodes to his credit, including "Knots Landing", "Falcon Crest," "Hill Street Blues", "Spenser: For Hire," "A Man Called Hawk," "City of Angels," "New York Undercover" and the miniseries "Miracle's Boys," he won acclaim for his award-winning PBS film "The Killing Floor" (1984), about WWI stockyard workers, and "The Meeting" (1989), about a hypothetical encounter between Martin Luther King Jr. and Malcolm X.
Duke's first theatrical feature, "A Rage in Harlem" (1991), based on a Chester Himes crime novel, was selected as an official entry in competition at the 1991 Cannes Film Festival. As an actor, he has turned in memorable performances as the villainous gay pimp in "American Gigolo" (1980), Arnold Schwarzenegger's comrade in "Commando" (1985) and "Predator" (1987), and the heavy in "Bird on a Wire" (1990). As his film credits--when not playing bad guys Duke specialized in menacing law enforcement agents--seemed to multiply exponentially, some of the more memorable films on his resume included "Menace II Society" (1993), "Payback" (1999), "The Limey" (1999), "Exit Wounds" (2001) and "Red Dragon" (2002). Duke also began reappearing on the small screen, playing Carla Gugino's colleague Amos Andrews in the critically beloved but short-lived ABC series "Karen Sisco" (2004) based on the Elmore Leonard character from the 1998 film "Out of Sight," and a recurring role as Capt. Bob Parish on the slick MTV-style NBC cop drama "Fastlane" (2002-2003), a series which he also directed. Duke got one of his larger roles as the drug kingpin Levar in director Jim Sheridan's urban drama "Get Rich Or Die Tryin'" (2005) based on the real life of star Curtis "50 Cent" Johnson.
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"If anybody has the potential to have a big-time crossover audience, it's the black artist. He has insight into the black community, but also into America. Because we've had to face so much racism and prejudice, we've always had to have a greater understanding of America than America had of us--just to survive."--Bill Duke ("US" magazine, October 1991)
Duke has directed over 70 episodes of prime-time TV.
"A lot of the younger black directors are auteurists whose work is built around personal experiences. We needed someone who was older and secure enough to collaborate and make a picture that we could distribute widely, but who still had a passion for the material. Bill's "Hill Street Blues" experience was very important to us because of the way that series mixed humor and violence."--Stephen Woolley, producer of "A Rage in Harlem" ("Premiere" Magazine, April, 1991)
"I'm always going to be 'a good "black" actor'. At most, I'll be 'the best of the black actors'. I'm big, my lips are big, my nose is big, my eyes are big. That means I'm a villain. A person who's my skin color and 6 feet 3 1/2 inches tall can't love children. After "American Gigolo" I went into the office of a producer to audition, and he was very uptight. He finally said: 'I'm afraid of you. You were such a bad guy.' It was maddening. I was "acting" in "American Gigolo." I'm an actor! A white actor would never have been so attached to the role in the producer's mind."--Bill Duke discussing typecasting as an actor ("New York Times", April 10, 1980)
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