Dean Stockwell

North Hollywood, Los Angeles, California, USA

Biography

Robert Dean Stockwell (March 5, 1936 – November 7, 2021) was an American film, television and stage actor with a career spanning over 70 years. As a child actor under contract to Metro-Goldwyn-Mayer, he first came to the public's attention in films including Anchors Aweigh (1945), The Green Years (1946), Gentleman's Agreement (1947), The Boy with Green Hair (1948), and Kim (1950). As a young adult, he had a lead role in the 1957 Broadway and 1959 screen adaptation of Compulsion; and in 1962 he played Edmund Tyrone in the film version of Long Day's Journey into Night, for which he won two Best Actor Awards at the Cannes Film Festival. He was nominated for a Golden Globe Award for Best Actor – Motion Picture Drama for his starring role in the 1960 film version of D. H. Lawrence's Sons and Lovers. He appeared in supporting roles in such films as Dune (1984), Paris, Texas (1984), To Live and Die in L.A. (1985), Blue Velvet (1986), Beverly Hills Cop II (1987), and Tucker: The Man and His Dream (1988). He received further critical acclaim for his performance in Married to the Mob (1988), for which he was nominated for the Academy Award for Best Supporting Actor. He subsequently had roles in The Player (1992), Air Force One (1997), The Rainmaker (1997) and The Manchurian Candidate (2004). His television roles include Rear Admiral Albert "Al" Calavicci in Quantum Leap (1989–1993), Navy Secretary Edward Sheffield on JAG (2002–2004), and Brother Cavil on Battlestar Galactica (2004–2009). Following his roles on Quantum Leap and Battlestar Galactica, he appeared at numerous science fiction conventions. He retired from acting in 2015 following health issues and focused his later life on sculpture and other visual art. Description above from the Wikipedia article Dean Stockwell, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Movies

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

More info
Matinee Theater
1955

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

More info
Matinee Theater
1955