Rod Steiger

Rodney Stephen "Rod" Steiger (April 14, 1925  July 9, 2002) was an American actor, noted for his portrayal of offbeat, often volatile and crazed characters. Cited as "one of Hollywood's most charismatic and dynamic stars", he is closely associated with the art of method acting, embodying the characters he played, which at times led to clashes with directors and co-stars. He starred as Marlon Brando's mobster brother Charlie in On the Waterfront (1954), the titular character, Sol Nazerman, in The Pawnbroker (1964), and as police chief Bill Gillespie opposite Sidney Poitier in the film In the Heat of the Night (1967). His In the Heat of the Night performance won him the Academy Award for Best Actor.

Steiger was born in Westhampton, New York, the son of a vaudevillian. He had a difficult childhood, with an alcoholic mother from whom he ran away at the age of 16. After serving in the South Pacific Theater during World War II, he began his acting career with television roles in 1947, and went on to garner critical acclaim for his portrayal of the main character in the teleplay "Marty" (1953). He made his stage debut in 1946, in a production of Curse you, Jack Dalton! at the Civic Repertory Theatre of Newark, and subsequently appeared in productions such as An Enemy of the People (1950), Clifford Odets's Night Music (1951), Seagulls Over Sorrento (1952) and Rashomon (1959).

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Famous quotes by Rod Steiger:

"We come. We go. And in between we try to understand."
"[And despite the passage of time, the award has divided the industry.] With Kazan, ... I'm angry because this man was very well off in the theater financially. I could understand -- even though I wouldn't like it -- a man panicking because he doesn't have the money to educate or feed his kids and in a moment of animalistic fear said, 'Him, John or Bill.'"
"Waterfront"
"The first thing that your should do when you win an Oscar is thank God. The second thing you should do is forget it. The third thing you should do is call your agent and tell him you need a job."
"Is this a proposal? I'm married now, you know."
"Sometimes it's great, sometimes it's bad. I think the film could have been a lot better."
"I didn't ever think of it as a social thing at the time. I took it as a good story. Maybe because I've always been kind of progressive so I never thought of it, you know."
"We came around the corner, I kissed her and after I kissed her she relaxed. And then I grabbed her and kissed her again and she was shocked! And that was what we wanted."
"If you see the picture when things get exciting, he chews faster. When he really gets shocked, everything stops, including the chewing. So I worked it in for me."
"And I'm supposed to grab her and kiss her and she's supposed to react. Well, what happened was, Julie was very nervous at that time, given this incredible part which she did beautifully."
"Only after awhile. After it came out and people began to engage in discussions about the social reflections of the film that I realized it had an importance I hadn't thought of."
"And the reason I really appreciated this is because after the picture came out, I was invited by the American Psychiatric Association to give a lecture. I couldn't believe it!"
"Anyway, so what he did was, he spread sheets for 100 yards and underneath them he'd put things so there were bumps and different levels and on top he'd put little bushes and if you didn't look to close, it looked like snow!"
"He got up and there were both of us in our underwear and this kid goes through the whole thing again, all the closets, the bathroom, everything else and then he left."
"I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear."
"I was very pleased you know, and I was afraid that I might stick out, but I didn't. My happiest thing about that picture is that I proved that American actors can speak as well and also fit in with an ensemble like that."
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The Lewiston Tribune 13 Mar 2025
“BECOMING LED ZEPPELIN” (PG-13). Traces the four band members’ journeys through the music scene of the 1960s, their meeting in the summer of 1968 and into the 1970s ... 7 p.m. Friday and Saturday, $8 ... Stars Sidney Poitier, Rod Steiger and Warren Oates ... .
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