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|Also Known As:||Andrs Arturo Garca Menndez||Died:|
|Born:||April 12, 1956||Cause of Death:|
|Birth Place:||Cuba||Profession:||actor, producer, director, songwriter, banquet waiter|
Biography CLOSE THE FULL BIOGRAPHY
niche in the system when, in 2001, he was tapped for the ensemble cast of "Ocean's Eleven" (2001). Draped within a cold, cocky veneer, Garcia chewed the scenery playing Terry Benedict, a Las Vegas casino owner on the receiving end of an elaborate heist. Danny Ocean himself, George Clooney, roped in a motley crew of actors, with Garcia fitting in perfectly among the crowd of unconventional, self-effacing matinee hunks including Clooney himself, Brad Pitt and Matt Damon. The film was a success with audiences and critics alike.By 2002, Garcia was also riding high with the birth of a son, Andres Antonio. An "Ocean's" sequel was inevitable as well, with too much profit and fun to be had on the line. Garcia had several films in the can in 2004, but made his biggest splash in that summer's "Ocean's Twelve," in which Benedict vowed to get his stolen money back even tracking the Ocean's gang internationally. As impressive as the franchise had become, Garcia personally eclipsed that milestone for himself with a second project of his own. Recruiting a diverse mix of Latin actors and Hollywood heavyweights like Bill Murray and Dustin Hoffman, he directed and executive produced "The Lost City" (2005), a romantic...
niche in the system when, in 2001, he was tapped for the ensemble cast of "Ocean's Eleven" (2001). Draped within a cold, cocky veneer, Garcia chewed the scenery playing Terry Benedict, a Las Vegas casino owner on the receiving end of an elaborate heist. Danny Ocean himself, George Clooney, roped in a motley crew of actors, with Garcia fitting in perfectly among the crowd of unconventional, self-effacing matinee hunks including Clooney himself, Brad Pitt and Matt Damon. The film was a success with audiences and critics alike.
By 2002, Garcia was also riding high with the birth of a son, Andres Antonio. An "Ocean's" sequel was inevitable as well, with too much profit and fun to be had on the line. Garcia had several films in the can in 2004, but made his biggest splash in that summer's "Ocean's Twelve," in which Benedict vowed to get his stolen money back even tracking the Ocean's gang internationally. As impressive as the franchise had become, Garcia personally eclipsed that milestone for himself with a second project of his own. Recruiting a diverse mix of Latin actors and Hollywood heavyweights like Bill Murray and Dustin Hoffman, he directed and executive produced "The Lost City" (2005), a romantic love letter to Havana, Cuba's vibrancy in the 1950s, and co-written with Cuban author, Guillermo Cabrera Infante. Garcia played Fico Fellove, a member of a middle-class nightclub-owning family forced into exile following the societal changes of the Castro regime. After years of gestation, the film started production in the summer of 2004. Infante had died by then, but Garcia used his 300-page script as a guide. Long an accomplished conga, guitar and piano player, Garcia - who won a Grammy for producing Cachao's 2004 album, Ahora Si! - even wrote its mambo-flavored score. Despite mixed reviews upon the movie's release, Garcia's deep feelings for Cuba remained clear.
By 2007, Garcia had solidified his inroads into major studio projects, but seemed content to step back and act alongside other great talents, rather than carry films on his own. A commanding presence, nonetheless, he was the F.B.I. director overseeing the protection of magician informant Buddy "Aces" Israel in "Smoking Aces," a slick ensemble action film - not unlike the "Ocean's" franchise - which kicked off the year. After a lengthy absence, "Ocean's Thirteen" (2007) was prepped for the summer. Enough time had passed, even allowing for Garcia's character to make peace with his former nemesis (Clooney) and ante up into the caper himself.ses. Garcia and Marivi Larido were married in the fall of 1982, but his early appearances in film and television were frustrating, as he was repeatedly typecast in bit parts. Things began to change when he managed to appear several times as a menacing gang presence on NBC's popular drama "Hill Street Blues" (1981-87) through 1984. That same year, the couple had their first daughter, Dominik, and his onscreen visibility received a huge boost when he was cast as Miami homicide detective Ray Martinez in the big screen serial killer drama, "The Burning Season" (1985). His cool, edgy appearance turned some heads in casting circles and Garcia soon adopted a long-haired look, taking up with the other side of the law as the drug dealing Angel Maldonado of "8 Million Ways to Die" (1986).
With a solid one-two big screen punch for Garcia, "8 Million ," prompted Brian De Palma to court him for the true-life role of Al Capone's heavy Frank Nitti in his big screen version of "The Untouchables" (1987). Garcia wanted to offer a less harsh perception of himself and avoid cultural stereotypes, opting to appeal for the role of the nobler Italian-American rookie cop, Giuseppe Petri, who helped bring Capone to justice. The violent movie starring Kevin Costner and Sean Connery was a huge success, and the nature of Garcia's police role set a tone for his next projects. He next picked up the badge again to play Michael Douglas' benevolent police partner in Ridley Scott's Japan-set thriller, "Black Rain" (1989). Garcia also saw the birth of second daughter Daniella in 1989, before appearing as a dogged young IA agent pursuing Richard Gere's suave, shady cop in "Internal Affairs" (1990). Several of the films were made for Paramount Pictures, who had become a most ardent supporter of the Latin actor.
As Paramount was releasing "Internal Affairs" at the start of 1990, it was in the midst of overseeing production on Francis Ford Coppola's controversial return to the fabled "Godfather" series. Garcia was handpicked by the studio over some of Hollywood's most established young guns to play Vincent Mancini, the wily, charming protégé and illegitimate nephew of mafia don Michael Corleone. Coppola balked at the suggested casting at first, but came to understand Paramount's passion for Garcia and hired him. Released that Christmas, "The Godfather III" (1990) severely polarized audiences, who either cheered or jeered at its conclusion. But there was no debate about his acting chops. The first phase of Garcia's career had culminated with both Academy Award and Golden Globe nominations in 1991.
The 1990s proved to be anything but predictable for Garcia's career trajectory. His family expanded with a third daughter, Alessandra, in 1992 and they chose to split their time between Los Angeles and Miami's Key Biscayne region, where they had bought a home the year before. With similarities in presence to his "Godfather" co-star Al Pacino, Hollywood and its audiences expected Garcia's career to have the same resonance, but to their surprise, he seemed to have other ideas. Working again with Paramount, Garcia took on the role of a lovelorn reporter opposite Kenneth Branagh and Emma Thompson in the thriller "Dead Again" (1991), about murdered reincarnated lovers, as well as headlined "Jennifer 8" (1992), a minor small-town crime thriller which saw him playing yet another police officer. In between, he tried his hand at a big budget satire, as a man faking his role in a plane crash rescue in Columbia Pictures' "Hero" (1992).
In 1993, Garcia, who had vigorously maintained his strong roots in Cuban culture, produced, directed and appeared in his own project, "Cachao Como su ritmo no hay dos!" ("Like His Rhythm There Is No Other") - a documentary about his longtime musical hero, Cachao. Returning to Hollywood films by starring opposite Meg Ryan, winning kudos for his sensitive portrayal of a husband and father patiently dealing with his wife's crippling descent into alcoholism in "When a Man Loves a Woman" (1994). He followed up this sentimental film with the cult favorite "Things to in Denver Do When You're Dead" (1995), a post-Tarantino comedy in which Garcia's reformed gangster Jimmy "The Saint" is roped by debts back into crime. He picked parts with his intuition, seeking out the avocado farmer role in "Steal Little, Steal Big" (1995) simply for the joy of emulating his farmer father.
After segueing back into prestige projects with Sidney Lumet's "Night Falls on Manhattan" (1995), in which he was on familiar terrain as an earnest D.A. attempting to do right, Garcia was eager to step into the sh s of more real-life historical figures. These included the famed p t of the Spanish Civil War, Federico Garcia Lorca, in "The Disappearance of Garcia Lorca" (1997), and an equally-impressive turn in MGM's "Hoodlum" (1997) as mob syndicate Lucky Luciano - big screen misfires that underserved their performer's charisma. By the end of 2000, Garcia's ability to play biographical figures and his obsession with music brought him back to television as legendary trumpeter Arturo Sandoval in HBO's "For Love or Country: The Arturo Sandoval Story" (2000). For his work, he netted two 2001 Emmy nominations - one as its lead; the other as its producer.
It seemed as though Garcia's onscreen brand of passionate sincerity would not return him to the studio blockbuster fold anytime soon, but he found his
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CAST: (feature film)
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When asked about how he prepared to play a district attorney in "Night Falls on Manhattan", Garcia told www.roughcut.com: "There are obligations to the text and then there's the homework of knowing the legal system and how it works. But the real challenge comes in how to fill the emotional life of this character in an organic way. You have to start diggin inside your baggage and start pulling out that stuff that sometimes is painful to pull out. And you learn about yourself in the process 'cause the character or different characters will force you to pull differenc things out of that closet."---From "Light Falls on Garcia", May 16, 1997.
"I like for my guys, my characters, to make some tyoe of choice that shows responsibility. That's all. They don't have to be saints, by any means. I just want, I suppose, for them to make sense."---Garcia to Chicago Tribune, May 23, 1997.
"Commercial success, or the lack of it, means nothing to me. The audience's enjoyment of a film does not affect me as an actor. Artistic mishandling does."---Andy Garcia to Bazaar, January 1996.
"I'm not interested in self-promotion."---Garcia quoted in GQ, July 1995.
"I was born with a cyst on my shoulder. My mother told me this story, and she has this tendency to exaggerate, but she said it had little arms and legs and hair and everything. Now this could be medically untrue, but she told me it was a twin that never developed. I always envisioned that if he lived, we would have been attached, like that movie 'How to Get Ahead in Advertising', where he just got an extra head. My mother said it was quite large, the size of a softball. They just snipped it off."---Garcia responding to Martha Frankel's query about playing twins and her recollection that someone had told her Garcia was a twin, from Movieline, September 1995.
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