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|Also Known As:||Paul Edward Valentine Giamatti||Died:|
|Born:||June 6, 1967||Cause of Death:|
|Birth Place:||Connecticut, USA||Profession:||actor|
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ard not just in Hollywood, but from moviegoers around the world.Meanwhile, Giamatti provided the voice of Tim the Gate Guard in the well-reviewed animated feature "Robots" (2005), which depicted a world similar to earth but inhabited entirely by mechanical beings. His next big screen role â¿¿ lensed before the phenomenal success of "Sideways" â¿¿ was in director Ron Howard's uplifting "Cinderella Man" (2005), playing Joe Gould, the loyal manager of Depression era boxer and folk hero James Braddock (Russell Crowe). The role earned him the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role and a long overdue Oscar nomination for Best Supporting Actor. Giamatti next nabbed an opportunity to work with M. Night Shyamalan on "Lady in the Water" (2006), a child-like fantasy that focuses on Cleveland Heep (Giamatti), an apartment superintendent who discovers a wistful water nymph (Bryce Dallas Howard) living in a strange world beneath the building's swimming pool. The nymph is in danger of being destroyed by demonic creatures from her secret world, as Heep and his building's motley tenants band together to help her get back to her world. Though "Lady in the Water" was...
ard not just in Hollywood, but from moviegoers around the world.
Meanwhile, Giamatti provided the voice of Tim the Gate Guard in the well-reviewed animated feature "Robots" (2005), which depicted a world similar to earth but inhabited entirely by mechanical beings. His next big screen role â¿¿ lensed before the phenomenal success of "Sideways" â¿¿ was in director Ron Howard's uplifting "Cinderella Man" (2005), playing Joe Gould, the loyal manager of Depression era boxer and folk hero James Braddock (Russell Crowe). The role earned him the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role and a long overdue Oscar nomination for Best Supporting Actor. Giamatti next nabbed an opportunity to work with M. Night Shyamalan on "Lady in the Water" (2006), a child-like fantasy that focuses on Cleveland Heep (Giamatti), an apartment superintendent who discovers a wistful water nymph (Bryce Dallas Howard) living in a strange world beneath the building's swimming pool. The nymph is in danger of being destroyed by demonic creatures from her secret world, as Heep and his building's motley tenants band together to help her get back to her world. Though "Lady in the Water" was both a critical and financial disaster, Giamatti did receive kudos for his affecting and wounded performance.
In the much more critically lauded period drama "The Illusionist" (2006), Giamatti played the shrewd Chief Inspector Uhl, a law-and-order man charged by the Crown Prince of Vienna (Rufus Sewell) to expose a gifted illusionist (Edward Norton) after the prince's fiancÃ©e (Jessica Biel) starts working on stage with him. After voicing the bug exterminator in "The Ant Bully" (2006), Giamatti returned to the low budget indie world to play an emotionally stunted man who finds a connection with a red-tailed hawk in "The Hawk Is Dying" (2007). He continued to be productive through 2007, playing the leader of a team of shadowy assassins trying to kill a baby protected by the hardboiled Mr. Smith (Clive Owen) in the ridiculously hyper-violent "Shoot 'Em Up." In "The Nanny Diaries," Giamatti portrayed the domineering Mr. X, who, along with his snooty wife (Laura Linney), hires a working-class nanny (Scarlett Johansson) and forces her to cater to the family's ever upper class need. But it was his portrayal as the dedicated, but irascible Founding Father in the seven-part miniseries "John Adams" (HBO, 2008), that earned Giamatti his greatest acclaim to date, winning the actor a slew of awards, including an Emmy, a Golden Globe for Best Actor in a television movie or miniseries and a Screen Actors Guild award for outstanding performance.
Giamatti kicked off the following year with a turn as a corrupt corporate CEO caught up in a high-stakes double-cross of his own making in the romantic thriller "Duplicity" (2009). Co-starring fan-favorite Julia Roberts and leading man Clive Owen, the smart and sexy film proved to be a moderately disappointing vehicle for its leads, but allowed him to shine at his vehement best. Once again jumping from mainstream fare to experimental indie projects, Giamatti next appeared as an alternate version of himself a la "Being John Malkovich" (1999) in the quirky comedy "Cold Souls" (2009), in which the depressed actor literally has his soul removed and placed in storage, only to later discover it missing. He capped off the year with "The Last Station" (2009), as the foil to the wife (Helen Mirren) of literary giant Leo Tolstoy. As Tolstoyâ¿¿s trusted confidant and disciple, Vladmir Chertkov (Giamatti) lobbies to convince the author to rewrite his will and leave all his worldly possessions to the people of Russia, much to the dismay of Mrs. Tolstoy. What followed was considered by many to be the most nuanced performance of Giamattiâ¿¿s already-impressive career. Over the course of decades, "Barneyâ¿¿s Version" (2010) looks back at the life of the irascible Barney Panofsky: serial husband, TV producer and possible murderer. Giamattiâ¿¿s brilliant portrayal of the foul-mouthed, cigar-chomping, at times surprisingly endearing cretin earned him a much-deserved Golden Globe for Best Performance by an Actor in a Musical or Comedy. Back on the small screen, Giamatti joined an all-star cast for the cable movie "Too Big to Fail" (HBO, 2011), which chronicled the 2008 financial meltdown as seen from the eyes of its major players. Giamatti portrayed Federal Reserve Chairman Ben Bernanke, an academic who helped orchestrate a series of government bailouts of the banking industry that he felt were vital to saving the global economy. The role placed Giamatti back into Emmy Award contention after earning a nod for Outstanding Supporting Actor in a Miniseries or Movie.
After starring in the endearing indie "Win Win" (2011) as a lawyer and part-time wrestling coach, Giamatti popped up in the raucous sequel "The Hangover Part II" (2011) and George Clooney's political drama "The Ides of March" (2011), which also featured his equally formidable character-actor peer Philip Seymour Hoffman. The following year, he took on quirkier fare, with a small but notable part in David Cronenberg's coolly detached "Cosmopolis" and a supporting turn in the gleefully strange low-budget horror comedy "John Dies at the End," a passion project that Giamatti executive produced. Remaining as busy as ever, he lent his voice to the animated snail-centric dud "Turbo" (2013), was featured as Friar Laurence in a major movie adaptation of "Romeo & Juliet" (2013) and appeared briefly in the lauded historical drama "12 Years a Slave" (2013).performance as duplicitous Hollywood executive Marty Wolf, who steals a young boy's (Frankie Muniz) movie idea in the family-oriented "Big Fat Liar" (2002).
Following a standard supporting turn in the noirish "Confidence" (2003), Giamatti wowed audiences with his performance as the angry and embittered indie comic book auteur Harvey Pekar in the independent biopic, "American Splendor" (2003). Peppered with documentary-style interviews with the real Harvey Pekar, as well as the artist's grittily unusual artwork, the film followed the curmudgeonly misanthrope's rise from a file clerk at a VA hospital to a comic book writer whose depictions of working-class life turned him into a cult celebrity. Giamatti managed to capture Pekar's essence so perfectly, that the sporadic interviews with the real man seemed at times to be out of place. While he was honored for his performance by the National Board of Review for Best Breakthrough Performance by an Actor and nominated for an Independent Spirit Award for Best Male Lead, Giamatti was wrongly snubbed at both the Academy Awards and Golden Globes.
After follow-up turns in the above-average telepic, "The Pentagon Papers" (2003) and the disappointing John Woo thriller "Paycheck" (2003), Giamatti delivered a tremendous performance in Alexander Payne's wildly praised, seriocomic "Sideways" (2004). As Miles Raymond, the failing writer and wine connoisseur who embarks on a revelatory wine country road trip with his soon-to-be-married college roommate (Thomas Hayden Church), he discovers both the darkest and most promising elements of his nature. Giamatti's poignant and affecting performance was both heartbreaking and hysterical (often both at once), and was hailed as one of the best of the year. Although many were shocked when Giamatti was overlooked for an Oscar nomination â¿¿ though his co-stars Hayden Church and Virginia Madsen both received nods â¿¿ the actor reveled in his share of accolades, including the Best Male Actor trophy at the Independent Spirit Awards, the New York Film Critics Circle Awards and other regional critics' honors, as well asnominations for Golden Globe and Screen Actors Guild awards. He also did share a SAG ensemble award with his cast mates. Truth be told, he received more ink than he had in his entire career for not being nominated. That Giamatti "was robbed" was a common refrain â¿¿ he
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CAST: (feature film)
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His two middle names are for each of his grandfathers, Valentine Giamatti and Edward Smith.
"Paul is this little best-kept secret, and we've discovered him. If you could meet the real Pig Vomit, you'd see Paul sounds like him. He looks like him. You get that same sort of annoying feeling talking to him, that same stomach-turning feeling just as much as the real guy."---Howard Stern to The New York Times, March 9, 1997.
"I play abused people all the time. The guy in 'Three Sisters' is just horribly abused, too, but the 'Private Parts' character is also abusive in a way that I hadn't gotten to play that much. It was fun to play a guy who was a real psychotic lunatic, who depends so much on pathetic hysteria, who was releasing that much rage all the time."---Paul Giamatti in The New York Times, March 9, 1997.
"I'm kind of drawn to socially and psychologically marginal characters, and even characters marginal to the story. I always wondered who the hell those guys were. They were so great and so vivid, and yet you only got little bits of them. [Many] were kind of bizarre and grotesque, and that always interested me. They were physically strange. They had funny voices. There just aren't guys like that anymore."---Paul Giamatti in The New York Times Magazine, July 29, 2001.
"When I did 'American Splendor,' he says, Harvey Pekar's wife compiled a list of every word used to describe me and him, and it was, like, ten pages long. It was like, 'frog-eyed... pasty... ' People just go to fucking town on me. I'm like, 'C'mon! I'm not that bad-looking. I got a wife!'"---Giamatti to Premiere, February 2005.
"I was the old man actor," Giamatti says of his days at the Yale School of Drama. "If there had to be somebody in a Chekhov play in a wheelchair with a blanket over his legs and a Panama hat on, that was me."---Giamatti quoted in GQ, June, 2005.
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