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Actor Roy Scheider Dies at 75


Actor Roy Scheider, a two-time Oscar nominee best known for his leading role as the water-phobic police chief in the smash blockbuster Jaws, died Sunday in Little Rock, Arkansas, at the University of Arkansas Medical Sciences hospital; he was 75. Though an official cause of death was not released at press time, a hospital spokeswoman stated that the actor had been treated for multiple myeloma at the hospital's research center for the past two years. Born in New Jersey, Scheider pursued a career in boxing before turning to acting, and won an Obie award for his work with the New York Shakespeare Festival in the late '60s. His first major film appearances also began in the late '60s in such movies as Star! and Paper Lion, and it was in 1971 that he truly gained fame for his roles two popular thrillers, Klute and The French Connection; the latter earned him an Oscar nomination for Best Supporting Actor. However, it was his role four years later in the Steven Spielberg thriller Jaws for which he became most well-known, playing a local lawman in a tourist beach town who must contend with the sudden appearance of a great white shark; his line, "You're gonna need a bigger boat," became one of the most well-known lines in contemporary film. Scheider also appeared in the ill-fated sequel Jaws 2 (after dropping out of the lead role in The Deer Hunter and in order to be let out of his Universal Studios contract) and the thriller Marathon Man before embarking on his most acclaimed performance, that of Broadway director and choreographer Joe Gideon in Bob Fosse's All That Jazz. The role, closely based on Fosse's life, brought Scheider his second Academy Award nomination in 1979, this time for Best Actor. Though none of Scheider's later films would reach the heights of his movies from the '70s, he continued to work steadily in both film and television, with diverse roles in such films as Still Of The Night, Blue Thunder, 2010, The Russia House, Naked Lunch, The Peacekeeper, The Myth Of Fingerprints (for which he received an Independent Spirit Award nomination) and the TV series SeaQuest DSV and Third Watch. Scheider is survived by his three children and his second wife, actress Brenda King.

veoma me je rastuzila ova vest...

bio je velika faca!

RIP

   

Beše igrao i u Odiseji 2010.
RIP

Bas me je jutros potresla vest. Bio mi je jedan od najdrazih glumaca.

"Plavi grom" mi je bio prvi film koji sam odgledao četiri puta. Osećaj da na belosvetsku politiku (i moj život) podosta utiču otuđeni centri moći potiče iz ovog filma.

Roj je bio faca.

kao što već rekoh ovde http://znaksagite.com/diskusije/viewtopic.php?t=4522&start=50  veliki glumac koji će zauvek živeti u remek delima kakva su THE FRENCH CONNECTION, SORCERER i NAKED LUNCH, a nisu za bacanje ni JAWS, i tolika druga...

R.I.P.

Bas sam malopre popio u njegovo ime. Ne pamtim da me je ikada smrt nekog glumca toliko rastuzila. Steta sto mu u poslednjih desetak godina nisu bile nudjene uloge koje zasluzuje.

Pogledacu veceras Seven-ups.

R.i.p. ... pocivaj u miru Roy...

Jedno vreme smo znali, kad vidimo njegovo ime u najavi, da to ne može biti smor film. Ako ništa drugo, ono bude zabavan.

 

William Friedkin on Roy Scheider
The director shares his memories of working with the late actor on ''The French Connection'' and ''Sorcerer'' more than 30 years ago

When Roy Scheider died on Feb. 10, EW called up William Friedkin, who worked with the actor on two movies. In 1971's Best Picture, The French Connection (for which Friedkin won the Best Director Oscar), Scheider played Gene Hackman's police-detective partner. The small role was his big-screen breakthrough and netted him a Best Supporting Actor nomination. Then, in Friedkin's 1977 thriller Sorcerer, Scheider moved up to leading man, portraying a guy who drives nitroglycerin across the mountains. Here, Friedkin reminisces about the sometimes strained but ultimately successful time he spent with the star more than three decades ago. — Gregory Kirschling

On The French Connection, the casting director was Bob Weiner, who knew every actor around. One day he brought me Roy Scheider, who was playing a cigar-smoking nun in an off-Broadway production of a Jean Genet play — I don't think Klute had come out yet. Bob Weiner brought him into my office and within five minutes I knew he was the guy. Roy said, ''Don't you want me to read?'' And I said, ''No, you're the guy. I can't imagine there's anyone more right than you.'' That's very rare, by the way.

With Sorcerer a couple of years later, I had tried to cast someone else: Steve McQueen. Steve wanted me to change the script and write in a role for Ali MacGraw, who he was going with at the time, and he didn't want to shoot in South America, he wanted to find some locations here and do it. I was very arrogant at the time, and I didn't realize then what I realize now: that a close-up of Steve McQueen's face is more powerful than the biggest landscape you could put on screen. So I told Steve to go f--- himself, and then I sent the script to Roy. It wasn't that I didn't think of Roy right away, but Steve McQueen was my idol, and I wanted to work with him. But that didn't work, so Roy got the script and he liked it, and we did it.

Roy was not easy to work with on Sorcerer. Now, that's no criterion of anything — do you want somebody who's easy to work with, or do you want somebody who's gonna throw it on the line for a performance? Roy was a creature of mood. He would often go into these dark moods, and it was tough to get him out. He wasn't like that on French Connection. But after French Connection, he did Jaws, he'd achieved some prominence. I really don't know how to put this, but he became difficult. The French Connection, he would've lied down in front of an elevated train for me. Sorcerer was like pulling teeth with him. He'd go into a sulk and he'd be almost impossible to talk to, and a lot of it related to personal things that are too small to go into. But I'd go over and explain what we were going to do and he'd turn me off. Wasn't even listening. Then we'd go do a take, and I'd have to keep correcting it and correcting it, and that would just sharpen the edge. It was a difficult picture to make, anyway, and people on the crew and in the cast were getting sick, gangrene, and having to go home. The thing was stretching out endlessly, and I think it finally got to Roy.

One of the other things that it might've related to was how he wanted to play Father Karras in [Friedkin's 1973 film] The Exorcist, the role that went to Jason Miller. I actually thought he could do it, and I suggested him to Bill Blatty, who wrote the novel and the screenplay and was a producer. And he said, ''Oh no, Roy's not right for that. If you want to do it, go ahead, but I can't support it.'' So I moved away from Roy, and I think he took that personally for a good many years.

But I don't blame him for anything in our relationship, and my memory of the two performances he gave couldn't be any better. I haven't seen him for 31 years; I never thought of him for anything else and then our lives just drifted apart. But he's underappreciated. He didn't get the kind of attention he should've gotten for French Connection — and [1979's] All That Jazz [for which Scheider got a Best Actor nomination] will stand the test of time. It really is one of the finest performances by an American actor in a movie.