“creative until you die”
Dick Van Dyke
In an industry rife with ageism, don't ask these luminaries — from Betty White to Don Rickles, Dick Van Dyke to Jerry Lewis, all of them still artistically active in the industry (and photographed here exclusively for THR) — if they want to stop working. Says Cloris Leachman, "F— you."
Produced byPeter Flax
Photography by Martin Schoeller
There are anomalies and outliers, and then there are beautiful freaks of nature like Dick Van Dyke and Norman Lloyd. When I arrived at Van Dyke's Malibu home, Dixieland jazz blared as the 91-year-old sashayed around his kitchen, hips swaying and teeth gleaming. Later that morning, he would recite his daily gym routine, his passion to code 3D animation and his preparations for a Mary Poppins sequel. Not to be outdone by such a fledgling, Lloyd, who turned 102 in November, gleefully shared his improv duels with Amy Schumer on the set of Trainwreck, his chats with Judd Apatow about doing another movie and his deconstructions of the Dodgers' pitching flaws — and that was before he sprung out of his chair to show me the exercise bike in his bedroom that he rides every day for 30 minutes. These entertainment-industry legends — and eight other nonagenarians that The Hollywood Reporter profiled and photographed, who collectively have won more than 30 Emmys and Oscars — know they're living, breathing lottery winners, and they're making the most of the spoils.
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How many major talents from Hollywood's Rat Pack era are still among us? "I don't know. Maybe go to the cemetery and check it out," Don Rickles offers with a sarcastic smile — a worthy retort from the insult-comedy legend.
At 90, his blunt brand of humor is as timely as ever. (Of Donald Trump, another celebrity who's found huge success in the art of the put-down, Rickles says: "That's his personality. He's that way. I can't tell him he's wrong.") The comic has a schedule packed with shows (he performed two dates in Las Vegas following this interview and photo shoot), late-show appearances (the two Jimmies are good friends), movie roles (he's gearing up to reprise Mr. Potato Head in Toy Story 4) and ad campaigns (he "roasts" a chestnut in a new Best Buy TV spot).
"What keeps me going is that young people still want to see me, which is flattering and great," says Rickles from the cozy study of the four-bedroom Century City home he shares with Barbara Sklar, his wife of 51 years. He's surrounded by photos of his numerous Hollywood-legend pals, two of whom, Frank Sinatra and Johnny Carson, he credits with giving him his big breaks. It was Sinatra who first spotted Rickles performing in Miami Beach and brought him to Las Vegas in the 1950s; and it was while performing 5 a.m. shows above a Sahara Hotel breakfast bar that an ailing Carson asked Rickles to fill in for him in the big room.
Rickles and Sinatra presented the award for best original screenplay at the 1969 Academy Awards.
He's been packing big rooms ever since — though these days, his improvised 90-minute sets are performed from a stool. (A 2013 leg infection has hampered his mobility, but his mind remains as sharp and hilarious as ever.) Like Mel Brooks and Carl Reiner, he also has a bosom buddy in the business: 87-year-old Bob Newhart. "We've traveled the world together," Rickles says of their four-decade friendship. "Our comedy is apples and oranges — but when we're alone we're the same. I adore him." As for any advice he might have for up-and-comers? "I'd tell them to get a gun and protection. You've got to be nuts to try to do what I do."
— SETH ABRAMOVITCH
Cloris Leachman just invited me into her bedroom. She asks me to sit on the bed — only there can one fully appreciate the hardware she has lined on a shelf: a Golden Globe and foreign statuettes hiding behind an Oscar and nine primetime Emmys — the most of any performer in Hollywood history. "Not bad, right?" asks Leachman.
The actress, who has nearly 250 acting credits and says she turned "nine f—king tee" in April, is still on a tear. Among the 11 projects she tackled this year are 10 episodes of the new Starz series American Gods, a part alongside Robert De Niro ("He's a wonderful, sweet good man") in The Comedian and a starring role opposite Ed Asner in the dark comedy The Gliksmans. When asked how she stays so busy, she shrugs. "They call me up and ask me to do these projects," she says, "and I say yes."
Later that afternoon, she offers a tour of her home in the Malibu hills, demonstrates her deft touch on the piano and recounts her unexpected detour from her studies at Northwestern to the 1946 Miss America pageant. "It seemed rather stupid," she says. "My mother told me to walk straight and sparkle plenty." But a top 16 finish earned her a $1,000 scholarship, which funded a move to New York, where she took voice lessons and studied acting under Elia Kazan alongside Marlon Brando.
Leachman (right) with Lisa Gerritsen in the 1975 pilot for Phyllis, which aired for two seasons.
In the following 70 years, Leachman landed meaty parts on TV — most notably her role as the acerbic Phyllis Lindstrom on The Mary Tyler Moore Show and the spinoff Phyllis. But when asked to name a career centerpiece, she points to her role in the 1971 drama The Last Picture Show, which earned her a supporting actress Oscar. "Ellen Burstyn and I never spoke a word of English — we just spoke with Texas accents the entire time and felt people's pain," says Leachman, who still has a visceral memory of attending the Academy Awards at the Dorothy Chandler Pavilion. "I didn't expect to win because Ellen had won the New York Film Critics Circle Award — I heard my name called out and thought, 'That isn't right.' I was thrilled. I'm still thrilled by it."
The oldest contestant in the history of Dancing With the Stars ("My memory of that is being close to the floor most of the time") says she's sure her creative passions have impacted her longevity. "I try to eat healthy food and do a few little somethings," says Leachman, taking pains to avoid the word exercise. "I always wanted to be healthy and look good. Working and being ready to work helps."
As the conversation wraps up, I ask her if she ever thinks about retiring. "Oh, I think about it, but pffffttt," she says. Meaning what? Cloris Leachman looks me in the eye: "It means 'f— you,' " she says with a smile.
— peter flax
Norman Lloyd has been around. He is sitting in his living room, wearing an ivy cap that once belonged to his friend Jean Renoir, regaling me with Hollywood stories that no other living human can tell — the joke-loving side of his pal Alfred Hitchcock, his stage work with Orson Welles, his thrice-weekly tennis matches with Charlie Chaplin. "I had to give up the game when I was 99," Lloyd says.
He turned 102 on Election Day in November. "I didn't really feel like celebrating that night," says Lloyd. "But we had a nice party a few days later."
In his long entertainment career, Lloyd has appeared in nearly 70 movies and television shows ("always a character actor — I never got the girl") and was director or producer on 60 more. His big break — and the start of a collaboration on both sides of the camera with Hitchcock — came in 1942 with his role as a Nazi agent in Saboteur. "I loved Hitch," says Lloyd. "He was a master — his head was like a camera."
Lloyd’s role in 1942’s spy thriller Saboteur was the first of his many collaborations with Hitchcock.
A younger generation came to know Lloyd's face and booming voice with his roles in Dead Poets Society ("That script was just OK, but [director] Peter Weir added such strong elements to it"), and his six-year run as Dr. Daniel Auschlander on St. Elsewhere. "The writing of that show was far superior to anything else I ever did on television," he says. "It dealt with subject matter that had not been dealt with before, and did it without fear, without compromise."
Last year, he appeared in Judd Apatow's Trainwreck as an assisted-living resident and had a ball. "Little Amy Schumer — oh God, what a mouth on her," says Lloyd with a laugh. "I have never done a film where every line was improvised. I was raised in Shakespearean decorum, and she's saying 'F— you'every time I turn around."
When asked how he's remained in such good shape, Lloyd shows off the vintage exercise bike he rides for 30 minutes every day. He's long been careful about what he eats, but he's starting to ease off. "I'm 102, so if I feel like a stuffed cabbage — you know, what am I waiting for?"
Lloyd has the acquired wisdom of a man who can acknowledge the sorrows of his age — namely outliving his wife and so many of his friends — and effortlessly segue into his gratitude for what life has given him: 75 years of marriage, two kids, a chance to witness Babe Ruth play ball in the 1926 World Series, a Hollywood career in its ninth decade. "I've been very lucky," says Lloyd. "The idea of retiring is impossible. I just want to keep going until I drop."
Carl Reiner sits in his living room, not far from his Donald Trump pinata, recalling the night Jerry Weintraub knocked on his door to offer him a role in Ocean's Eleven. "My first question was, 'Who fell out?' " laughs Reiner, 94 (noting that his guess was correct). "But I grabbed the job. For the first time in years, people recognized me and started asking for my autograph."
That's a pretty self-deprecating punchline for one of the most prolific comedy talents in Hollywood history, a man with about 150 acting, directing, producing and writing credits. Over the span of a 70-year career, Reiner — who recalls working on Broadway for a dollar a week — has won nine Emmys, written and directed several of Steve Martin's most successful movies (including The Jerk), and collaborated with such legends as Mel Brooks, Neil Simon and Sid Caesar. Reiner cites his work (as creator, producer, writer and actor) on The Dick Van Dyke Show as his creative highlight. "Hollywood people have come up to me in many different eras and told me they're a writer because of that show," says Reiner. "I'm proud of that."
Reiner, whose wife of 64 years, Estelle, died in 2008, loves to chat about the past (he says he watched An Affair to Remember right before our visit), but he also loves to talk about great comedy being made today. "There are so many things I watch on Hulu," he says. "I love Amy Schumer; she's brilliant. Fallon, Kimmel, Conan — they're all great. And James Corden, he's a freak of wonderful nature."
Martin and Reiner on the set of 1979’s The Jerk. They did four movies together.
Still, he thinks no one can top his "oldest and dearest" friend, Brooks. "I think he's the funniest human being who ever lived," says Reiner. "He comes here almost every night. We watch television — Jeopardy!, the news, anything that's intriguing. Sometimes he falls asleep and I push the pause button to wake him up."
While he's not averse to a nap, Reiner hardly is snoozing away his golden years, calling the idea of retiring "a joke." He did voice work this year for The Family Guy and is in the cast of Justice League Action, a new DC animated series that begins airing Dec. 16 on the Cartoon Network. And he has three book projects that will be coming out within a few months — one of them fittingly titled Too Busy to Die. "I'm very busy writing," says Reiner. "I don't want to have anything published posthumously."
Reiner doesn't exactly know how he's remained in such good shape, but he's not complaining. "I guess I have good genes," he offers before detailing the stretching exercises he does in bed every morning. "I'm no longer limber like I used to be — I used to be able to put both feet behind my head and walk around on my hands."
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Marcia Nasatir leans back into a couch in her Brentwood apartment, seated between pillows emblazoned with the words "Done" and "Next," terms that she says have defined her approach to life. Born in Texas, Nasatir, 90, grew up obsessed with movies, especially about women in the workplace, such as Kitty Foyle and His Girl Friday. She got married at 21, had two sons and moved to New York but soon got divorced and needed to find work. "The only thing I really knew how to do was read books," she says, and fortunately she landed work at publishing houses, where she oversaw novelizations — turning screenplays into novels. In 1969, the legendary Evarts Ziegler recruited her to become a literary agent in Hollywood, where she represented writers including William Goldman (Butch Cassidy and the Sundance Kid), Robert Towne (Chinatown) and Lorenzo Semple Jr., her future co-star in the YouTube film-review series ReelGeezers.
Five years later, United Artists' Mike Medavoy asked her to come work for UA, but she refused unless she got the title of vp. He got sign-off and she became the first female studio vp in history. At UA, she helped to guide to fruition Rocky, Carrie and Coming Home (Jane Fonda thanked her in her Oscar acceptance speech) and unsuccessfully lobbied her superiors to make a little movie then known as The Star Wars. Later, as an independent producer, she championed The Big Chill and Hamburger Hill. "What I really love about movies is that you can make a difference," says Nasatir, who as a member of the Academy and its foreign-language committee sees dozens of new films a year.
Nasatir and co-producer James Carabatsos chat in a Philippine jungle during production of Hamburger Hill in 1986.
She was disappointed with the results of the presidential election (she appeared in a Hillary Clinton campaign video at Lena Dunham's request) but remains optimistic about the future. She owns the film rights to Huckleberry Finn, which she has been developing for years ("It looks like we might have found a little Huck and a Jim, and an exciting director seems to be interested"), and says, "I would hope that by the time I'm 95, I'll see that movie on the big screen."
Nasatir — the subject of Anne Goursaud's recently released doc, A Classy Broad — is not one to sit around the house. "I believe that if you don't go out, nothing ever happens to you," she says. "I am so jealous of my two granddaughters because they go clubbing. I wish I could go clubbing, but I don't have any boyfriends who are contemporaries and want to go clubbing. They only want to sit home and watch a ballgame."
— scott feinberg
Norman Lear has been thinking about longevity since he was a teenager and a stranger caught him picking his nose. Lear was "embarrassed as hell" but then wondered if maybe nose-picking wasn't the secret to longevity. "I've had that thought about crazy things all my life," confesses the TV producer, 94. Before nose-picking, it was daily hair-washing. Now it's clowning in front of the mirror to Sinatra each morning. Underneath the superstitions, Lear suggests, is a clue. "Maybe having that attitude is a secret, is part of what keeps one longeved," he says, nominating a new term to the aging lexicon.
He's never considered retirement. In fact, Lear became a father again at 62 (to Ben, 28) and then again at 68 to college-senior twins Madeleine and Brianna, 22, all with third wife Lyn. "That's been a big help, dealing with them, answering them, watching them grow," he says. "It feels the same as working." He's intensely curious about their lives. "Young people are going in directions they didn't go in when I was a kid. I'm fascinated with all the stuff I'll never understand." Though his three older daughters say he was a good father, he thinks he's better now: more patient, more present.
Lear (center) in April 1976, speaking on the set of satirical soap opera Mary Hartman, Mary Hartman with actors Louise Lasser and Greg Mullavey.
Talking in the sun-dappled kitchen of his Bel Air home, those qualities are in evidence. He wants to talk about the election, chuckling at a story about the president-elect's ignorance. The famously liberal Lear, who started People for the American Way, isn't a fan. He's quick to gossip about other Hollywood nonagenarians, asking if Mel Brooks and Carl Reiner were photographed together, recalling working with Dick Van Dyke and warmly reminiscing about living in then-boss Jerry Lewis' guesthouse when he first arrived in Los Angeles in 1957.
In the six decades that have followed, Lear has produced more than 30 TV shows, including All in the Family (which netted Lear four Emmys), The Jeffersons, One Day at a Time and Good Times. At one point, he had six of the top 10-rated shows. He also has dozens of movies on his résumé — from 1967's Divorce American Style, for which he received an Oscar nomination, to 1987's The Princess Bride, just inducted into the National Film Registry (Lear famously also gave Carl's son Rob Reiner $2 million to make This Is Spinal Tap a reality after numerous studios passed on the project). But he is more eager to talk about his role as executive vp on Netflix's One Day at a Time reimagining, set to debut Jan. 6.
"I like getting up in the morning with something to do that's important to me," says Lear. "The more important it is to me, the more exciting getting up is."
— ANDY LEWIS
THR's Best of NORMAN LEAR
Dick Van Dyke is dancing and asking someone to turn up the volume. As Dixieland jazz fills the lower floor of his Malibu home, this nonagenarian (he turned 91 on Dec. 13) sings, sashays, jokes, mourns (his longtime friend Grant Tinker had died a few days earlier) and eventually shows his visitor how to flip a cane like a proper gentleman.
During the course of a few mind-bending hours, Van Dyke recounts the epic past and vital present of his entertainment career, his longtime hobby of 3D animation, the books he's rereading (most recently Huxley's Brave New World), and even his professional regrets. "Cary Grant asked me to do a comedy with him, and I didn't do it," says Van Dyke. "That was a bad decision."
Van Dyke, shown alongside Andrews in the 1964 classic Mary Poppins, will be joining the cast of a sequel featuring Emily Blunt and Lin-Manuel Miranda.
But such missteps are outliers, and the living room is full of family photos and awards that signify his staggering successes. Van Dyke has won five Emmys, a Grammy and a Tony — the last coming from his role in the original 1960 production of Bye Bye Birdie. ("That was the first time I really danced. I just fell in love with it; it was like flying.") He points out a handmade statuette that the crew of Mary Poppins made him after Julie Andrews won an Oscar. "There was a spirit about that thing from the very beginning," recalls Van Dyke. "Walt [Disney] had me in, and I heard the score and saw the scenes storyboarded on a wall, and I just knew."
He calls his collaboration with Carl Reiner on The Dick Van Dyke Show "a dream come true." The two are still friends and see each other often. "The man's a genius," says Van Dyke. "That show was the best five years of my life, from the creative standpoint and the fun. I'd still be doing it if they let me."
Though Van Dyke says he's "choosy" about his roles, he's remained active as a performer. The Night at the Museum series introduced him to a new generation of filmgoers. And now he's agreed to join a Poppins sequel. "This one supposedly takes place 20 years later and the kids are all grown up," he says. "It's a great cast — Meryl Streep, Angela Lansbury and that guy [Lin-Manuel Miranda] from Hamilton."
He has no intent of retiring. "I think it's the worst thing you can do," he says. "Certain people who do retire suddenly age. I think you have to stay active."
To that end, Van Dyke — who has four kids and is now married to a woman 46 years his junior — says he goes to the gym about five days a week. "I get up, have a cup of coffee and go before I talk myself out of it," he says. "I've always been active, but my motivations have changed. In my 30s, I exercised to look good. In my 50s, to stay fit. In my 70s, to stay ambulatory. In my 80s, to avoid assisted living. Now, in my 90s, I'm just doing it out of pure defiance."
"I never thought I'd live to 94 years old. It's almost obscene," says Stan Lee. The legend, who turns 94 on Dec. 28, is as folksy and ever-ready with a quip or anecdote as ever. He has been in the business since his late teens, but it was in the 1960s, when he was in his 40s, that, with the help of artists such as Jack Kirby and Steve Ditko, he ushered in a heroic comic book age with the creation of such superheroes as Spider-Man, The Hulk, Iron Man, Ant-Man and the X-Men.
Decades later, movies based on these characters are a multibillion-dollar industry, and Lee has not stopped creating. With his POW! Entertainment company, co-run by partner Gill Champion, Lee is in production on season two of Lucky Man, a live-action television show for the U.K.'s Sky 1; created Chakra the Invincible as an animated property for India's Cartoon Network and Toonami; and is busy with Stan Lee's Kids Universe, a multimedia publishing venture with 1821 Media.
Lee, who helped create Spider-Man, The Hulk, Iron Man and other legendary Marvel comic franchises, in 1988.
To Lee, the word "retire" has no meaning. "When you retire, you have a chance to do all the things you've always wanted to do," he says, holding court in his Beverly Hills office, flanked by a Spider-Man pinball machine and surrounded by photos of him with presidents, multiple generations of movie stars and (especially) his wife, Joan. "I've been doing the things I've been wanting to do. What could be more fun than coming up with stories and finding out later that people enjoy those stories? I enjoy going to comic book conventions and meeting the fans and talking and doing autographs and the photos. It's almost like being a rock star."
Lee still maintains an active work schedule. An assistant picks him up at about 9 a.m. (Lee doesn't drive because of failing eyesight) and drives him to his office, where he works until about 3 p.m. "See, a lot of men can't wait to get away from the office so they can play golf or do something of the sort," he says. "Now, if anybody forced me to play golf for a few hours a day, I'd shoot 'em. That doesn't seem like much fun. Coming up with an idea for a movie or a television series or a book or a magazine, that to me is fun."
Lee has a hard time seeing himself as an elder statesman of anything. "When I was at work, I was consistently the youngest. When I was in the Army, I was the youngest guy in the platoon. And because of that, everyone always called me Stan. 'Hi, Stan.' But now, it's always 'Mister Lee.' He pauses for moment, then adds, "I like, 'Hi, Stan' better."
— borys kit
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Jerry Lewis has zero f—s left to give. Presently, he doesn't give a f— about this interview. The multihyphenate legend, who turns 91 in March, isn't shy about expressing his unhappiness. He views this conversation, and an accompanying photo shoot, all taking place at his Las Vegas home (a two-level 1970s rococo cousin to Graceland and the Playboy mansion, which he shares with his second wife, Sam) with about the same enthusiasm he probably greeted partner Dean Martin after their legendary 1956 breakup. "Annie Leibovitz came in here with one camera and that turned into a 12-page spread in Esquire," he grumbles.
Though it feels like shtick — Lewis playing a crotchety old guy, Don Rickles-style — he plays the role convincingly. Lewis has a reputation for being difficult, but maybe that's a key part of his success. I can't say whether Lewis might agree with that assessment because he refuses to answer questions. In any case, he's living, breathing proof that there's more than one way to make it to 90. Unlike nonagenarians Norman Lear, Betty White or Dick Van Dyke, who exude benevolent gratitude, Lewis seems fueled by anger. His concerts — he still tours regularly — feature a question-and-answer session notable for the vitriol he directs at fans. Even if it's part of the act, it's not warm and fuzzy.
Lewis performed in 2006 during his 45-year run hosting the MDA telethon.
A tour of Lewis' home office offers a retrospective of a career and a life that explains why those fans still turn out. The walls are lined with pictures of his rubber face mugging for the camera, others with stars (snapshots of his famous 1976 Frank Sinatra-instigated reunion with Martin stand alone in the hallway), framed golf scores, a model of his beloved boat, leather-bound scripts, awards, sweet notes from his youngest of seven kids, Danielle, 24, and a memento of his son, Joe, who died in 2009. The man who hosted the Muscular Dystrophy Association telethon for 45 years clearly has extraordinary talent, deep passions and an empathetic side.
But when he sits down for the interview, he wants to talk about none of that. Every question —"Have you ever thought about retiring?" or "How has Vegas changed?" — results in a terse "no" or, "It's the same." Lewis gives me a hint of an impish "screw you" look that silently communicates that he's doing this on purpose.
After seven painfully awkward minutes, he hustles out of the room — for an old dude he moves quickly — muttering, "Get this stuff out of here" under his breath. His manager comes over, at once apologetic and defiant. "I told you guys Jerry wouldn't like it, but The Hollywood Reporter wants to do it its way," he says. "Now you guys are leaving and I'm stuck with angry Jerry all day."
"I'm the luckiest broad on two feet," says Betty White as a stylist toys with her hair in a dressing room at CBS Studio Center. White, 94, is no tourist on studio lots — this year she worked on SpongeBob SquarePants and Crowded episodes and reprised her role as a forensic anthropologist for a 2017 episode of Bones. "It's such a privilege at this age to still be invited to work, and don't think I ever take it for granted."
White's run began in the 1930s, when she was still toting books at Beverly Hills High School. "My first touch of show business was radio," she notes, "but that's only because I've been around longer than broadcast television." One of her big breaks came in the early 1950s, when she hosted Hollywood on Television, a talk show on KLAC. "I was on 5½ hours a day, six days a week," White recalls. "That was like going to television college." Next up was Life With Elizabeth, which made White the star, co-producer and co-owner of a nationally syndicated sitcom — while she was 28 and still living with her parents.
On The Mary Tyler Moore Show, White (center), shown with Moore and Gavin MacLeod, played the relentlessly cheery Sue Ann Nivens.
In the 75-year career that has followed, one that has so far netted seven Emmys, White shined brightest on The Mary Tyler Moore Show ("Mary has been a dear friend for a long time") and The Golden Girls. Regarding her success playing Rose Nylund on the surprising 1980s hit, "The young people dug it — they understood where we were coming from," she says. "Frankly, there were not that many shows that featured older ladies."
Sugar-sweet comedy still comes easy to White, who says she has no Hollywood regrets other than "a couple of bad choices in marriage." (Her second husband, game show host Allen Ludden, died in 1981, and they had no children together.) Still, she thinks the link between creativity and longevity is no joke. "I think when you're doing something you love to do, that's got to be a healthy thing," she says. "Anyway, I just can't imagine not working. I just love working. I always expect each job is going to be my last one — but then another one comes up."
As she walks across the CBS lot, people who normally don't bat an eye at A-list talent beg for selfies. After White happily obliges, she articulates her good fortune. "I'm strong and I'm healthy, my memory still works, so I can't complain about anything," she says, offering a stab at what she'd like her legacy to be. "I'd like to make people smile."
Respect: The Elders
Eight other Hollywood nonagenarians still in the game
MOST FAMOUS FOR Thoroughly Modern Millie (1967), Broadway’s Hello, Dolly! (1964)
AWARDS 3 Tonys, 1 Grammy, 1 Golden Globe
MOST RECENT JOB 2016 guest appearance on RuPaul’s Drag Race
MOST FAMOUS FOR The Producers, Blazing Saddles, Young Frankenstein
AWARDS 1 Oscar (best original screenplay, The Producers), 4 Emmys
MOST RECENT JOBS Voices in Hotel Transylvania 2 (2016) and the upcoming Blazing Samurai (2017)
MOST FAMOUS FOR Sounder (1972), The Autobiography of Miss Jane Pittman (1974), The Help (2011)
AWARDS 2 Emmys
MOST RECENT JOBS How to Get Away With Murder (2015), House of Cards (2016)
MOST FAMOUS FOR Primary (1960), Don’t Look Back (1967), Ziggy Stardust and the Spiders From Mars (1973)
AWARDS 2013 Honorary Academy Award
MOST RECENT JOB 2016’s animal rights doc Unlocking the Cage
MOST FAMOUS FOR “(I Left My Heart) in San Francisco” (1962), “For Once in My Life” (1967)
AWARDS 18 Grammys
MOST RECENT JOB 2015 album The Silver Lining: The Songs of Jerome Kern, 2014 No. 1 album of duets with Lady Gaga
MOST FAMOUS FOR Gaslight (1944), The Manchurian Candidate (1962), Murder, She Wrote (1984-96)
AWARDS 2014 Honorary Academy Award, 6 Golden Globes
MOST RECENT JOB PBS’ Driving Miss Daisy (2014)
MOST FAMOUS FOR Cool Hand Luke (1967), Alien (1979), Paris, Texas (1984), Escape From New York (1981)
MOST RECENT JOB Showtime’s Twin Peaks sequel (2017)
MOST FAMOUS FOR A Hole in the Head (1959), scores of TV guest roles on The Mary Tyler Moore Show, Kojak, The Rockford Files, Seinfeld and others
MOST RECENT JOB Two episodes of Ray Donovan in 2014
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