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Eric Roberts
One of Hollywood's edgier, more intriguing characters running
around and about for decades, Eric Anthony Roberts started life in
Biloxi, Mississippi, but grew up in Atlanta, Georgia...
He began his
acting career at age 5 in a local theater company called the "Actors and
Writers Workshop", founded by his late father, Walter Roberts. After
his schooling at Grady High, he studied drama at age 17 in London for
two years at the Royal Academy of Dramatic Arts, then returned to the
States and continued his studies at the American Academy in New York.
He
made his NY stage debut in "Rebel Women" in 1976 at age 20 and appeared
in regional productions, once playing the newspaper boy in a production
of "A Streetcar Named Desire" starring Shirley Knight and Glenn Close.
After appearing in such daytime soaps as Another World (1964) and How to Survive a Marriage (1974), his career began to shift fast forward when he copped a leading role in a major film. In Estirpe indomable (1978), based on Peter Maas'
best-seller about a fracturing dynasty of New York City gypsies, he
made his debut alongside an intimidating roster of stars including Judd Hirsch, Susan Sarandon, Shelley Winters and Sterling Hayden.
Young Eric held his own expertly (winning a Golden Globe nom) while his
burning intensity and brooding charm marked sure signs of star
potential. After this, he won the lead opposite Milo O'Shea
in the 1980 stage production of "Mass Appeal".
He suffered serious
injuries in a car accident during his nascent film career but lost no
fans by the time he returned to co-star with Sissy Spacek as a small-town stranger in El mendigo (1981). It was, however, his stark and frightening portrayal of two-bit hustler Paul Snider, the cast-off boyfriend who slays Playmate-turned-movie starlet Dorothy Stratten (played by Mariel Hemingway) in Star 80
(1983) that really put him on the movie map and earned him a second
Golden Globe nomination. A wide range of fascinating, whacked-out roles
were immediately offered to him on a silver plate. He played another
dangerous streetwise hustler type in Sed de poder (1984) opposite fellow rebel Mickey Rourke; a cocky soda pop sales exec in the Australian comedy Coca-Cola kid (1985); appeared with more charm and restraint opposite Rosanna Arquette in the offbeat romantic comedy La tonta de nadie (1986) and topped his prolific period off with an Academy Award nomination as a young prison escapee hiding out with Jon Voight aboard an out-of-control train in the ultra-violent, character-driven action adventure El tren del infierno
(1985). Good things continued to happen when he was a replacement lead
in the original run of "Burn This" and won a Theatre World Award for his
1988 Broadway debut.
A risky, no-holds-barred actor, he was
often guilty of overacting if given half the chance. His film career
began to slide in the late 1980s, appearing in more quantity than
quality pictures. A series of missteps led to unheralded appearances in
such bombs as the karate-themed Campeón de campeones (1989); the NY urban thriller The Ambulance (1990); the action western Sangre roja
(1989), which took three years to release and is now solely remembered
for being one of the two movies that Eric and superstar sister Julia Roberts appeared in together (the other being King of the Gypsies); and Rude Awakening (1989) when he filled in as a burned-out hippie opposite a Chong-less Cheech Marin.
More underappreciated "B" filming came with the 1990s (Freefall (1994), Sensation (1994), Sombra en la carretera
(1995), etc.), while also chewing the scenery with a number of mobster
types in TV-movies, including one as "Al Capone". He soon began
appearing as flashy secondary villains and creepies that showcased other
stars instead, such as Análisis final (1992) starring Richard Gere, Prisioneros del cielo (1996) toplining Alec Baldwin, and El caballero oscuro (2008), part of the "Batman" series with Christian Bale and the late Heath Ledger.
Eric's
undeniable, unconventional talent would occasionally mesh with the
perfect role. At the Sundance Film Festival in 1996, he received
critical applause for his starring role as a man dying of AIDS in the
uplifting and emotional film Fiesta de despedida (1996) and earned more honors as a writer marked for murder in the mob-themed story La cucaracha (1998). He was also perfectly cast as one of the cold-blooded killers in the Emmy-nominated TV adaptation of Truman Capote's chiller A sangre fría (1996). Eric continued to appear sporadically on TV in such dramatic series as Ley y orden: Acción criminal (2001), while sometimes showing a fun side as well in comedy (El rey de Queens (1998)). His own series work included Como la vida misma (2002) and, more recently, and in the cult program Héroes (2006) where promise for a longer participation ended with his character's death.
- IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net
Spouse
| Eliza Roberts | (16 August 1992 - present) |
Trade Mark
Frequently plays villains
Gravelly smoke burnished voice
Trivia
Older brother of Julia Roberts and Lisa Roberts Gillan.
Before he became a movie star, he appeared in at least two soap operas. Another World (1964) and How to Survive a Marriage (1974).
He was seriously injured in a car accident and spent three days in a coma.
Father of Emma Roberts, with Kelly Cunningham.
Brother-in-law of Tony Gillan and Daniel Moder.
Step-father of Keaton Simons and Morgan Simons
Appeared with actor Clarence Williams III in Ja Rule music video "Down ass chick".
Attended Grady High School in Atlanta, Georgia.
His left hand ring finger is permanently disfigured, as a result of a 1980s car accident.
In Doctor Who (1996), he became the sixth actor to portray the Master. The evil character had previously been played in the series Doctor Who (1963) by Roger Delgado from 1971 until 1973, Peter Pratt in 1976, Geoffrey Beevers in 1981 and Anthony Ainley
from 1981 until 1989. In the 1996 TV movie, the Master was played
briefly by Gordon Tipple, then by Eric Roberts while in a human body.
Was chosen to act in Royal Kill (2009) when the Wrestling Choreographer, Ranjan Chhibber,
a big "Doctor Who" fan, suggested to the director Roberts be hired
because he loved his performance as "The Master" in the "Doctor Who"
made-for-TV movie on Fox.
Has a niece named Hazel Moder (aka Hazel Patricia Moder) and nephews Phinnaeus Moder (aka Phinnaeus Walter Moder) and Henry Daniel Moder.
Some of Eric Roberts' boxing moves were once choreographed by actor Danny Trejo.
Was listed as a potential nominee on the 2008 Razzie Award
nominating ballot. He was suggested in the Worst Supporting Actor
category for his performance in the film DOA: Dead or Alive (2006), he failed to receive a nomination however.
Made just one movie - Sangre roja (1989) - with sister Julia Roberts.
After Roger Delgado, Peter Pratt, Geoffrey Beevers, Anthony Ainley and Gordon Tipple, he is the sixth actor to play the Master, the Doctor's greatest enemy. He played the role in Doctor Who (1996). He was succeeded in the role by Sir Derek Jacobi and John Simm.
As a child he was inspired to become an actor after watching Robert Donat's performance in Adiós, Mr. Chips (1939).
Was attached to co-star in Dolph Lundgren's Ataque terrorista (2009).
Was trained in Tae Kwon Do and Jujitsu for a short time.
To date he has filmed movies in over 17 countries (2010).
Good friends with Stone Cold Steve Austin.
Lives in Los Angeles, California.
Son-in-law of David Rayfiel and Lila Garrett.
Eric and his stepson Keaton Simons
have had no contact with each other since 1994. Keaton cited that the
reason why he never had any contact with Eric or his mother was because
of Eric's drug abuse problems.
He is the only non-British actor to play The Master, the Doctor's greatest enemy in ''Doctor Who''.
The only actor to play a villain in both the Batman and Doctor Who franchises.
Has worked with Mickey Rourke in three films: they co-starred in 1984's Sed de poder (1984), in 2002's Spun (2002), Roberts had a glorified cameo in Rourke's film and in 2010's Los mercenarios (2010), Rourke had more of a glorified cameo to Roberts' bad-guy role, but they had no scenes together in this one.
He played the villain in the music video for Mr. Brightside by The Killers.
Quit drinking alcohol in 1995.
Nominated for "Best Supporting Actor" in Abstraction (2013) at the 2013 Action On Film International Film Festival.
He is the only Oscar-nominated actor to play the role of The Master in 'Doctor Who'.
Personal Quotes
I do like the idea of putting something comical into an intense
drama, and being intense in absurd circumstances within a comedy.
My life is going to kill me. We all get angry when we realize that. But the anger is fear.
I've had people say to me, "It's such a shame what happened to
your career." I just smile and say I've had a blast. I really have.
I had a perfect track record up to Rude Awakening
(1989). Then the track record goes bumpy, then it goes bad and I'm
ruining myself with B movies. I've done a lot of shit. But I have
reinstated myself.
This past 15 years, I made 120 movies, and I probably haven't seen
60 of them. But I've had a great time. I also don't have to die for my
work anymore. I have never been more miserable or unhappy as when I shot
Star 80 (1983) - as a person, just because of where I had to go every day. [2008]
I'm not going to be the next thing. I don't have hope, I just have patience. [2008]
[on working with Sterling Hayden on Estirpe indomable
(1978)] It ended up being one of the best experiences of my life
because it became a relationship. We became very good friends, and we
stayed friends right up until his death. Sterling was just a winner as a
human being. He loved you if you were whatever you were. And if you
pretended to be whatever you were, he had nothing for you. I'd already
been shooting on the film for about three weeks, and we went into night
shoots in the fourth week.
My first night working with him was his first
day on the film. I'm in my trailer and I get a knock on the door and
the second assistant director says, "Mr Hayden would like to meet you
and talk to you about the scene tonight." I'm like, "Cool! I can't
wait!" So I go over to his trailer and knock on the door, and I hear him
say, "Come in, come in!" I open the door and - whoosh! - big cloud of
hashish! He says, "Have a seat, young man!" I have a seat. He asks me if
I want to get high. I say, "No, because I can't talk when I get high
and I have to act tonight." He goes, "Okay, okay. So let's talk about
what we're doing tonight! What are we shooting?" I said, "That would be
scene 87, sir." He goes, "Oh I know the number.
But what the fuck
happens?" And it's a very pivotal scene. I've run away, and he comes and
nabs me off the street and takes me home, blah, blah, blah. It's a
big-deal scene. So I told him that and he goes, "How are you at
improvisation, young man?" I said, "I'm okay with it." He said, "Okay,
'cause that's what we're doing tonight." So all our stuff together is
all improv, and it's all extraordinary, because he was extraordinary.
[on Star 80 (1983)] I discovered what I thought was the core of his (Paul Snider)
kind of energy, by my talking with people who liked, and also disliked,
him. Also, through photographs - how he stood, whether his shoulders
were up or down, and stuff like that. Small stuff, which I could see
through pictures of when he was at the Playboy Mansion. I realized that
he was wound very tightly, and he was very self-conscious, and he was
very....from another era, almost. Once I got that, that was the core of
his physicality, I just had to find his morality.
And once I had that, I
had this very pathetic man, and I popped him out there. I went to a
screening at a regular movie theatre and I was on my way out and, of
course, everybody knew who I was, because I didn't look that different
in the movie, and somebody said, "God, what an awful man!" It was such
an awful story that people got me confused with the character. It was a
bomb in movie theaters because it was so dark and so real. Bob Fosse
was one of the greatest filmmakers ever and he made everybody who
watched the movie have to go through that experience, and it was hard.
Obviously it was a big loss financially because it should've been a
mega-hit, but it was ahead of its time. It has since become a cult
classic so I am satisfied by that, but Bob Fosse never saw that. He
died. And I love him like I love my life. He became my second father,
and he was great to me. We had a great relationship, and we spent a lot
of time on the road together, doing press, and we bonded.
[on Sed de poder
(1984)] The greatest acting experience of my life, as far as character
work. I took every chance an actor could, and I think I made him work.
I'm very proud of that piece. Mickey Rourke
and I became lifelong friends. I love him. It was probably the most fun
I've ever had playing a character... Yeah, they offered me that part.
After Tennessee Williams
died, I was in Hartford doing a production of The Glass Menagerie,
playing Tom Wingfield, and I get this script called The Pope Of
Greenwich Village, based on the book. I read it, and... my character was
a tough guy. He's a not-too-smart, not-too-educated tough guy.
A
badass. You don't want to mess with him, because he wasn't very smart,
and he might hit you. And I realize, "Hmm, that character has been
portrayed like that in a thousand movies. I've done it five times
already myself! I have to approach it differently." Since I was up there
doing the play, I had lots of time to think about it, lots of time to
read and re-read it, and I finally realized, "Ah, here's what I'll do!
I'll play a mama's boy who wants to be a tough guy but isn't." So I used
all the same dialogue. I didn't change any of the dialogue.
I just
changed how he dressed, how he looked, how he talked, and how he walked.
And I permed my hair and lost 30 pounds, so I'd be a string-bean
walking spaz attack. And the result was one of the most satisfying
experiences of my career.
[on The Ambulance
(1990)] That was... I put myself in Larry Cohen's hands for that,
because I liked the script. It was kind of like The Whole Truth,
actually, because I said, "Since this is kind of an action-comedy, I
need you to guide me. And I'm gonna do what you tell me and how you tell
me to do it, so if there are any mistakes, they're gonna be yours." And
he goes, "Okay, here we go!" So he just told me what he wanted, where
he wanted it, and how he wanted it, and we had a great time making that
movie.
That movie was a huge hit in France. It made a lot of money in
France. It, uh, didn't do well in the U.S., though. Not until it had
been out on DVD for about five years, at which point it became kind of a
cult classic.
[on El especialista (1994)] That was just pure, unadulterated fun. I got to play a badass, I got to work with Rod Steiger as my father, I got to work with Sylvester Stallone,
and it was really cool. Sly says to me one day, "Hey, Eric, I realized
we don't have a scene together in this!" I say, "Yeah." He says, "Okay,
I'm gonna write a scene. How 'bout this? It's gonna be a scene about a
knife. You're gonna put a knife to my eye." I said, "Cool, dude!" He
wrote that scene overnight, and we shot it the next day, just out of the
blue. It was just... I mean, who wouldn't want to have a scene written
by Rocky with Rocky right there? And that's what happened. I was in
heaven.
[2013, on Best of the Best trilogy] That was maybe the most fun
physically I've ever had making movies. It was like boys' camp. I got to
go work out the body at the gym every morning, then you'd go do the
goju and get ready for the moves of the day, and then you'd go to the
set and shoot a karate movie. It ended up being a wonderful movie about
triumph. And I'm very proud of that first film, Campeón de campeones
(1989). It's a really good movie... The only thing I was really sad
about was Best Of The Best 3 and 4. They're like home movies. They're
really bad. We had a really good franchise going. I would've loved to
have stayed with the kind of quality we had on the first film... and a
little bit on the second film. I wish we could've stayed up there.
[2013, on Sharktopus
(2010)] I was offered that script, and from the title alone, I said,
"I'm not even gonna read it. Are you kidding?" And they said, "But you
said you always wanted to work for this man (Roger Corman)!"
And I said, "Yes, but I'm not gonna make something quite this bad!" And
then he called me, and he made me an offer I couldn't refuse and,
believe me, it was not money. He does not give money. Corman said to me,
"How many friends do you have?" I said, "I dunno, half a dozen." "How
many family members do you got?" "I don't know, 10." "Okay, they can all
bring a friend, and they can all stay in Puerto Vallarta while you make
this movie for a month. Everybody's free while you're down there
working." So I brought everybody I ever met, everybody I've ever been
related to, and we all had a great time in Puerto Vallarta while I made a
bad movie. That's the long and short of it.
[on Star 80 (1983)] That was the most difficult experience of my acting life. I went out for that part because Bob Fosse and Hal Ashby
were my idols, so I really went after that because I wanted to work
with Bob Fosse. And after half a dozen auditions, he says to me, "Will
you walk around the room for me?" So I walked around the room. I said,
"What's up with that?" He said, "I was told you were a cripple." I said,
"Who would've told you that?" He goes, "Well, I heard that's why you
dropped out of the Broadway production of Mass Appeal you were doing." I
said, "No, I dropped out because of artistic differences." He said,
"Oh, well, they're saying you're a cripple. Since you're not, though,
you wanna play this part?" "Yeah, dude!" So after six auditions and a
walk around the room to apparently prove I could walk, he gave me that
part. And it was probably the hardest, most intense, most emotional,
most strenuous, most satisfying experience of my life.
Prisioneros del cielo
(1996) was probably one of the best location shoots I've ever had
because it was down in New Orleans, and we were down there for probably
10 or 12 weeks, and it was just a blast. Oh, and one little story that
people might like: It was my first night there, I wasn't shooting but I
was on the set to say hello to Phil Joanou,
our director. Alec (Baldwin) had this scene where he had to jump into
the water-pond, really-and swim across it. They're getting ready,
they're all set up, Phil says, "Here we go! Alec, you ready?" "Yeah!"
And suddenly alligator eyes appear on the water. Everybody freezes.
"There's a gator! Oh, my God!" Alec says, "It's cool. I'm going in." The
stuntman goes, "You're not going in!" Alec says, "Roll the camera!"
They roll the camera, Alec jumps in, crosses the pond, gets out. "Okay,
we got the shot?" And we moved on. I couldn't believe it. He's got the
balls of a dinosaur, dude. It was wild. True story! He really did that.
It was cool!
[2013, on El séquito
(2004)] Well, you know, I played myself only by name. That's hardly me.
And I've never sold mushrooms. But how I got on Entourage is a great
story. I loved that show, and I watched that show, and after about the
fourth time I heard them say my name on the show, I called my lawyer,
who handles all those writers, and I said, "If they're gonna talk about
me all the time, have them write me in the show!" And he called back in
five minutes and said, "They want you on the show! But there's one
hitch." "What?" "Will you sell mushrooms?" "That's not a hitch! I'll
sell mushrooms!" So that's how it came about.
[on Fiesta de despedida
(1996)] The performance was heralded, which was certainly great, but
the movie wasn't a big-enough hit for my tastes. I thought It's My Party
was what Philadelphia
(1993) should've been. Now, that's not positive-sounding, I realize,
and I'm not knocking down Philadelphia. I am, however, saying that It's
My Party is better than Philadelphia, in that... it doesn't deal with
the issue in a drastic visual way, like with sores on my skin. It deals
with the issue emotionally, and it deals with it in a way that everyone
can relate to and everybody can understand. You know, we're only here
once, and we're only here for a minute, and if you have to go, you might
as well celebrate it. I was so proud to be in that movie because of all
the great actors in the cast. I mean, Lee Grant
playing my mother? Oh, my God, she was perfect.
As an actor, for me to
have her play my mother, that was an event. And for her to be brilliant
playing my mother, it was a gift. And I will love her 'til my last
breath.
[2013, on making Cecil B. Demente
(2000)] Well, that was just having fun as an actor. That's all that
was... You know, it was not weird, weirdly enough. It was very cut and
dried, very 9 to 5 and "let's go to work and knock it out." It was not
very odd or peculiar or even particularly unique. It was a day's work,
but it was a blast.
[2013, on Como la vida misma
(2002)] You know, I was not a big fan of my work in that. Don't get me
wrong, I'm not humble. I'm probably one of my three biggest fans on the
planet. But I didn't like me in that. I didn't think I was very good in
that kind of comedy. In fact, we had a read-through of the new scripts
on Monday mornings, and I walked in there one Monday morning after
having a thought. I said, "You know, I had a thought over the weekend: Patrick Warburton
should play my part." And they brought in Patrick the next week! And he
basically replaced me, so... I don't think anybody disagreed with me
that I was not up to my usual standards in my portrayal of that role.
But I've got to say, I met Sherri Shepherd, who I love dearly, and Andy
Dick is one of my true friends. I love him with all of my heart.
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