Steve Martin

史蒂夫1945年出生于美國(guó)德克薩斯州的瓦考，在他10歲時(shí)，他的家庭遷到了加利福尼亞的花園路。他在靠近迪斯尼樂(lè)園的一個(gè)地方工作，賣(mài)25美分的旅客小冊(cè)子，兼表演一些魔術(shù)技巧。史蒂夫·馬丁后來(lái)進(jìn)了長(zhǎng)灘州立學(xué)院學(xué)哲學(xué)，他出沒(méi)于當(dāng)?shù)叵矂【銟?lè)部，為斯馬塞兄弟電視表演寫(xiě)大喜劇的插科打諢小段子。史蒂夫還出現(xiàn)在好幾個(gè)電視秀中，包括“今晚秀”中的一個(gè)增加了50個(gè)人登臺(tái)的節(jié)目，以及“周六晚間生活”中的一個(gè)超過(guò)25個(gè)客人位置的節(jié)目。 　　1979年，史蒂夫在他的明星路上開(kāi)始嶄露頭角，這就是《愚笨的人》（The Jerk）。它是根據(jù)他自己的腳本拍攝的，它的收益給人深刻的印象，5百萬(wàn)投資獲益4千萬(wàn)。對(duì)史蒂夫來(lái)說(shuō)不幸的是，他選擇了音樂(lè)劇《來(lái)自天堂的分幣》作為他的下一個(gè)作品，這個(gè)片子是巨大的失敗，它僅僅賺到2千萬(wàn)投資的五分之一。正是他簽約的第二個(gè)角色，史蒂夫向觀眾展示了他的戲劇天賦。史蒂夫在下一個(gè)戲——《死人不穿格子呢》（Dead Men don't Were Plaid）中的角色，使他像拉娜·特納、查爾斯·勞頓和哈姆夫瑞·寶嘉那樣演出。1986年，史蒂夫與契夫·查斯、馬丁·紹特一起參加了一個(gè)喜劇西部片，《三朋友》。他們對(duì)彼此的看法相當(dāng)一致，都認(rèn)為對(duì)方妙趣橫生。同年，史蒂夫在《恐怖小店》中扮演了個(gè)小角色，一個(gè)精神錯(cuò)亂的唱歌牙醫(yī)。1987年，史蒂夫與約翰·坎迪相伴出現(xiàn)在一個(gè)快樂(lè)旅途電影中：《飛機(jī)、火車(chē)和汽車(chē)》。1987年也是史蒂夫在《羅克辛納》（Roxanne）中擔(dān)任主角的一年，該片是依據(jù)席里諾·德伯杰里克的古典故事改編。該片在贊揚(yáng)聲中上演，獲得拉美電影批評(píng)獎(jiǎng)的最佳演員獎(jiǎng)，高迪·奧諾爾獲最佳編劇。不過(guò)，該片受到了奧斯卡的冷落。《羅克辛納》是真正的好電影。該片是在納爾遜河區(qū)拍攝的，如果你有幸去納爾遜區(qū)，你真可以碰到一個(gè)羅克辛納與你一起散步。在該電影中，能看見(jiàn)籬笆、火房等。史蒂夫的早期生涯，在卡爾·雷諾執(zhí)導(dǎo)的四個(gè)影片中扮演角色，它們包括《愚笨的人》、《all of Me》、《死人不穿格子呢》、《雙腦人》等。1986年，史蒂夫·馬丁與女演員維多利亞·苔南特結(jié)婚。兩人是在1984年拍攝《all of Me》時(shí)相識(shí)的。 　　1980年代后期，史蒂夫的演藝生涯比以前更忙了，1988年他重拍了馬龍·白蘭度、戴衛(wèi)·尼文的喜劇《床上故事》。史蒂夫1988年在《骯臟的騙子》中扮演一位在里維拉法語(yǔ)區(qū)工作的美國(guó)騙子，他與米徹爾·凱恩主演。史蒂夫在1989年的《為人父母》中扮演一個(gè)核心家庭的成員，具有諷刺意味的是，史蒂夫演的是一個(gè)過(guò)于溺愛(ài)的爸爸，在現(xiàn)實(shí)中，他卻沒(méi)有自己的孩子。史蒂夫·馬?。核苓m合我，我很喜歡與我一起演出的孩子們，我們度過(guò)了一段愉快的時(shí)光，被他們環(huán)繞非常快樂(lè)，我們之間在喜劇的層面能很好交流。世界上有成千上萬(wàn)的人，他們?yōu)槿烁改福@樣，你就可以觀察和看到細(xì)節(jié)。1990年，馬丁再次與《為人父母》的投資者里奇·毛拉尼斯合作，出演《我的蘭色天堂》（my Blue Heaven）中的一個(gè)暴徒，他隱藏在一個(gè)小鎮(zhèn)，準(zhǔn)備背叛他的親密伙伴。之后，史蒂夫撰寫(xiě)和出演了《拉美故事》（LA Story）。這個(gè)電影中，他把他的明信片改寄洛山基，他與妻子維克多利亞·苔南特聯(lián)袂出演該片。在《大峽谷》中擔(dān)任一個(gè)小角色之后，史蒂夫重返喜劇，在《新娘的父親》（father of Bride）中扮演角色，此片因斯賓塞·特雷西的制作而出名。該片使史蒂夫與他在《三朋友》中的共演者，馬丁·邵特重聚。當(dāng)他1992年在《信仰的跳躍》中扮演一個(gè)偏激的傳播福音者時(shí)，史蒂夫再次變得嚴(yán)肅。盡管他的表演嚴(yán)肅，但史蒂夫仍感對(duì)他的影迷他須是一個(gè)粗獷的、狂熱的漢子。 　　史蒂夫·馬丁在1995年寫(xiě)《畢卡索在拉平阿杰爾》，這是他在編劇方面的初試鋒芒。1994年，史蒂夫主演了《命運(yùn)的簡(jiǎn)單扭曲》，它是喬治·愛(ài)略特的《西拉斯·馬理奈爾》的現(xiàn)代重述。馬丁放棄了他的精力充沛的戲劇一年，在《命運(yùn)的簡(jiǎn)單扭曲》中，他扮演一個(gè)孤獨(dú)者，此角色收養(yǎng)了一個(gè)年輕姑娘。馬丁的個(gè)人生活也一樣不幸，1994年他與妻子維克多利亞·特南特離婚，不得不忍受小報(bào)上關(guān)于他們破裂的流言。史蒂夫·馬?。毫餮哉f(shuō)，我的婚姻的破裂是因?yàn)槲矣幸环N整夜在鏡子前搔首弄姿的習(xí)慣，當(dāng)他們?nèi)淌懿涣说臅r(shí)候，我就會(huì)沖出去，大罵我的夫人。這比遠(yuǎn)離真相還要無(wú)聊。觀眾不得不忍受另一個(gè)節(jié)日喜劇的爆炸，這就是《雙料混蛋》。馬丁和雷塔·威爾森共同出演法律顧問(wèn)，他們被強(qiáng)迫與一群瘋子共度圣誕節(jié)，馬丁說(shuō)這像他的性格，他分擔(dān)了他的節(jié)日災(zāi)難。馬丁不費(fèi)勁的出演了他的下一部電影，即1991年的《新娘的父親》續(xù)集。這次是他的女兒和妻子都同時(shí)懷孕了，馬丁·邵特重新當(dāng)起了他的瘋狂口音聚會(huì)的張羅者。兩部《新娘的父親》賺了1億六千七百萬(wàn)的利潤(rùn)，給人深刻的印象。1998年，史蒂夫在《彎曲手指》中重出江湖，他還是該片的合作編劇。史蒂夫扮演一個(gè)謙卑的制片人企圖使艾迪·莫費(fèi)主演他的電影，當(dāng)艾迪拒絕時(shí)，馬丁雇傭了一個(gè)酷似者。就像該片一樣，史蒂夫見(jiàn)到了他參與熱切的制片人行列，試圖去體現(xiàn)他們的理念。史蒂夫不僅證明他是一為杰出的演員，而且是一個(gè)非凡的作家。他的喜劇從他粗獷的、狂熱的表演進(jìn)到了他的更為睿智的喜劇，就像《彎曲的手指》那樣。史蒂夫說(shuō)，事情就像塔特王的慣例，僅僅是一種記憶。 by Jason Ankeny During the 1970s, Steve Martin was the most successful stand-up comedian in America, earning the level of commercial success — sell-out arena performances, platinum records, hit singles and delirous fan adulatation — usually reserved for rock stars. Although his career went on to encompass stints as an acclaimed dramatic actor and playwright, for many supporters the Wild and Crazy Guy persona defined on his comedy records remains Martins true artistic legacy. Although born August 14, 1945 in Waco, Texas, Martin spent the majority of his childhood in California, eventually working a concession booth at Disneyland as a teen. There he learned a variety of performing skills ranging from magic and juggling to playing the banjo and sculpting balloon animals. After graduating college, Martin began writing, and occasionally performing, comic material for television programs including The Smothers Brothers Comedy Hour, The Glen Campbell Hour and The Sonny and Cher Show. At the tail end of the 1960s he moved to Canada, where, in addition to appearing as a semi-regular on the syndicated series Half the George Kirby Comedy Hour, he also began working as a stand-up. Soon, Martin graduated to opening for rock performers, where his long hair, scraggly beard and hippie wardrobe aligned him firmly with the counterculture movement of the era. However, while in his twenties his hair began to go white; gradually, Martin began adapting his onstage persona to fit the change, re-emerging as a clean-cut, immaculately dressed conservative. The contrast with his increasingly high-concept comic idenity was sharp: superficially silly and daft, Martins act contemptuously mocked the inherent stupidity of the stand-up form, mining catch-phrases, props and schtick to create a unique brand of scathing anti-comedy. After earning a following on the stand-up circuit, Martin rose to national prominence thanks to a series of guest appearances on the NBC networks sketch-comedy phenomenon Saturday Night Live, as well as a number of performances on The Tonight Show. With the release of his 1977 album debut Lets Get Small, Martins career exploded; the record reached the Top Ten, his concerts became immediate sell-outs, and one-liners like I am...one wild and crazy guy! and Well excuuuse me! became hip catch phrases. After a cameo in the musical Sgt. Peppers Lonely Hearts Club Band, he made his proper film debut with 1978s The Jerk, which he also scripted; additionally, he wrote a best-selling book, Cruel Shoes. 1978 also marked the release of A Wild and Crazy Guy, Martins most successful LP. Another platinum seller, it reached the number two slot on the charts on the strength of the hilarious hit single King Tut, a pseudo-disco record mocking the then-current national obsession with the legendary Egyptian ruler. Nonetheless, Martin was clearly losing interest in the narrow parameters of the stand-up form; after his final two albums, 1979s Comedy Is Not Pretty and the following years Steve Martin Brothers, he made the film musical Pennies From Heaven, a significant move away from his idiotic Jerk persona, and eventually retired from stand-up performance altogether. After several underappreciated comedies in tandem with director Carl Reiner (including the clever Dead Men Dont Wear Plaid), Martin won acclaim for his superb slapstick performance in 1984s All of Me. With his sweet performance and stellar screenplay for 1987s Roxanne, a delicate comic spin on Cyrano de Bergerac, he won the critical success which long eluded him, and soon graduated into dramatic roles in films like Lawrence Kasdans Grand Canyon and the Silas Marner update A Simple Twist of Fate. Still, by the 1990s Martin seemed largely disenchanted with Hollywood filmmaking, virtually sleepwalking through bland, mainstream comedies like Father of the Bride and Sgt. Bilko; instead, he focused his energies on the stage, writing the acclaimed theatrical production Picasso at the Lapin Agile. 更多>>