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Perry King’s biography
Perry King is an American actor who was born and raised as Perry Firestone King in Alliance, Ohio, United States. King received a Golden Globe nomination for his role in the 1983 TV movie The Hasty Heart, which is a remake of the 1949 film of the same name.
Perry King Age
King is 73 years old in 2021, he was born on April 13, 1948 in Alliance, Ohio, United States of America. He celebrates his birthday every year and his birth sign is Taurus.
Perry King Height
Perry stands at a height of 6 feet.
Perry King Weight
King weighs 75 kg.
Perry King Education
King went to Yale University, graduating with a degree in acting, and also studied at Juilliard University.
Perry King Parents
Perry was raised by his parents Dr. Robert King (father) was born and raised in Alliance, Ohio, United States. Our efforts to find out more about his mother and whether he has siblings have been unsuccessful as such information is not publicly available. We will update this section as soon as this information becomes available.
Perry King Wife
He is married to his lovely wife Karen Hryharrow. The couple married in the year 1967-1979 and together they are blessed with two children namely Louise King, Hannah King.
Perry King Salary
King earns an average annual salary of between $50,000 and $200,000. This corresponds to our average salary estimate for an actor in the United States. However, these numbers can vary significantly depending on the employee’s seniority. We don’t have an exact salary at the moment, but we will update this section as soon as the information becomes available.
Perry King Net Worth
He has an estimated net worth of $1 million to $12 million as of 2021. This includes his assets, money and income. His main source of income is his acting career. He has been able to amass a good fortune from his various sources of income, but prefers to lead a modest life.
Perry King measurements and facts
Here are some interesting facts and body measurements you should know about King.
Perry Wiki
Full Name: Perry Firestone KingPopular as: PerryGender: MaleProfession: ActressNationality: AmericanRace: WhiteReligion: UnknownSexual Orientation: Straight
Perry Birthday
Age: 73 years old as of 2021Zodiac Sign: TaurusDate of Birth: April 13, 1948Place of Birth: in Alliance, OhioBirthday: April 30
Perry Body Measurements
Body measurements: 46 inchesHeight: 1.83 mWeight: 75 kgEye color: BrownHair color: BlackShoe size: Not available
Perry Family and Relationship
father: dr Robert KingMother: Not knownSiblings: Not knownMarital status: MarriedWife: Married to Karen HryharrowDating: Not applicable
Perry Net Worth and Salary
Net worth: $1 million to $12 million as of 2020 Salary: $50000 and $200000 Source of income: Entertainment industry
Perry King’s career
King is an actor known for his role in the television series Ripte. He received a Golden Globe nomination for his role in the TV movie The Hasty Heart, which is a remake of the 1949 film of the same name.
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Perry King Movies
Slaughterhouse-FiveThe Possession of Joel DelaneyThe Lords of FlatbushThe Wild PartyMandingoLipstickAndy Warhol’s BadThe ChoirboysA Different StorySearch and DestroyClass of 1984The ClairvoyantSwitchThe Adventures of RagtimeHer Married LoverThe Day After TomorrowThe DiscontentsHatfields and McCoys: Bad BloodK’ina Kil: The Slaver’s SonDelusionalThe Dive
Perry King Tv Shows
Medical CenterCannonApple’s WayHawaii Five-OFoster and LaurieCaptains and the KingsAspenThe Cracker FactoryLove’s Savage FuryThe Last ConvertibleCity in FearInmates: A Love StoryGolden GateThe QuestThe Hasty HeartThe Miracle ContinuesRipteThe Greatest Adventure: Stories from the BibleStrandedI’ll Take ManhattanPerfect PeopleShakedown on Sunset StripDisaster at Silo 7The Man Who Lived at the RitzValvoline National Driving TestRoxanne: The Prize PulitzerThe HitchhikerThe Knife and Gun ClubKaleoscopeOnly One SurvivedSomething to Live for: The Alison Gertz StoryA Cry in the NightThe TorkelsonsCountry EstatesA Stranger in the MirrorTales from the CryptJericho FeverThe Trouble with LarrySWAT Kats: The Radical SquadronGood King WenceslasShe Led Two LivesBurke’s LawThe Outer LimitsMelrose PlaceHijacked: Flight 285Face of EvilTheir Second ChanceThe SentinelThe Cowboy and the Movie StarWill & GraceTitansThe Perfect WifeSpin CityAnother Pretty FaceStrangers at the DoorEveThe Perfect NeighborHo Me for the HolaysWithout a TraceCold CaseMurder FramedBrothers & SistersHappiness Isn’t EverythingBig LoveDrop Dead DivaThe MentalistNewsreadersEyewitness
Frequently asked questions about Perry King
Who is Perry Firestone King?
Perry Firestone King is a renowned actor who gained wespread recognition after starring in the television series Ripte.
How old is Perry Firestone King?
He is an American citizen, born April 13, 1948 in Alliance, Ohio.
How tall is Perry Firestone King?
King is 1.83 m tall.
Is Perry Firestone King married?
Yes, he is married to Karen Hryharrow. They married 1967-1979 and have two children together.
How much is Perry worth?
Perry has an approximate net worth of between $1 million and $12 million. This amount comes from his leading roles in the entertainment industry.
How much does Perry make?
He receives an annual salary between 50000 USD and 200000 USD.
Where does King live?
For personal reasons, he has not disclosed his exact place of resence. We will update this information when we get the location and pictures of his home.
Is Perry dead or alive?
He is alive and in good health. There were no reports that he was ill or had any health problems.
Where is Perry Now?
King is still an active participant in the creative entertainment industry, he is a cast member in the TV movie The Hasty Heart.
Perry Social Media Contacts
InstagramTwitterFacebookYoutubeTikTokWebsite
Who is Perry King married to?
How old is Perry King now?
What is Perry King doing now?
Perry King would return to the big screen occasionally with roles in films like Blake Edwards’ SWITCH (1991) and as the US President in THE DAY AFTER TOMORROW (2004). Perry keeps busy these days with his cattle ranch and his hobby of racing cars and motorcycles.
Who was Perry King’s father?
How much is the Fonz worth?
| Net Worth: | $40 Million |
|---|---|
| Date of Birth: | 1945-10-30 |
| Gender: | Male |
| Height: | 5 ft 6 in (1.68 m) |
| Profession: | Actor, Film Producer, Film director, Writer, Television Director, Television producer |
Where is the actor Perry King from?
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What TV show was Perry King in?
What movies did Perry King play in?
What was the movie Mandingo about?
When was the Lords of Flatbush made?
When was Perry King born?
Perry King was born on April 30, 1948 in Alliance, Ohio, USA. He is an actor and director, known for The Day After Tomorrow (2004), Class of 1984 (1982) and Mandingo (1975).
Susan Radder Wiki, Bio, Age, Height, Weight, Ethnicity, Nationality, Net Worth, Boyfriends, Family
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Net Worth: $1 Million To $12 Million as of 2020 · Salary: 50000 USD and 200000 USD · Source of Income: Entertainment Industry …
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Perry King – Wikipedia
Perry Firestone King (born April 30, 1948) is an American actor. He is best known for the range of his roles in the television and film. … Born. Perry Firestone King. (1948-04-30) April 30, 1948 (age 74).
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Date Published: 7/30/2021
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Perry King Bio, Wiki, Age, Height, Weight, Family ,Wife, Net Worth, Movies and TV Shows. By. Abi Akwei. Published. March 26, 2022.
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Perry King Bio, Wiki, Age, Height, Weight, Family ,Wife, Net Worth, Movies and TV Shows. 4.
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Star and Director of THE DIVIDE
Perry King has been a hard working actor for 50 years. He recently made his directorial debut with the feature film THE DIVIDE, in which he also stars. King always dreamed of directing his own film, and he directed THE DIVIDE with skill and honesty outside of the Hollywood system. His own California cattle ranch in El Dorado County served as the backdrop. THE DIVIDE, a good-natured neo-western, tells the story of Jack, a rancher suffering from dementia. Shot entirely in black and white, the feature film is reminiscent of Perry King’s favorite frontier dramas by his favorite Hollywood directors.
Perry King has been an acting legend since his film debut as Billy Pilgrim’s son Robert in George Roy Hill’s remarkable 1972 SLAUGHTERHOUSE-FIVE. Over the next decade, Perry starred in one memorable film after another: THE POSSESSION OF JOEL DELANEY (1972). , THE LORDS OF FLATBUSH (1974), MANDINGO (1974), THE WILD PARTY (1975), LIPSTICK, ANDY WARHOL’S BAD (1977), THE CHOIRBOYS (1977) and as “Mr. Norris” in the cult classic THE CLASS OF ’84 (1982). During the ’80s and ’90s, Perry had huge success on television, starring in made-for-TV movies, guest-appearing on dozens of shows, and starring in his own hit series Riptide from 1996-1999. Perry King has occasionally returned to the big screen with roles in films such as Blake Edwards’ SWITCH (1991) and as US President in THE DAY AFTER TOMORROW (2004). Perry is now busy with his cattle ranch and his hobby of racing cars and motorcycles. He has spent the last three years focusing on THE DIVIDE which he is now promoting.
Perry King took the time to talk to We Are Movie Geeks about his career, working with legends like James Mason and Andy Warhol and his dream project THE DIVIDE.
Interview conducted by Tom Stockman on April 12, 2021
Tom Stockman: I am very pleased to speak with you. You have been one of my favorite actors for many years.
Perry King: Wow! Many Thanks
TS: I want to talk about THE DIVIDE, the new movie that you directed and starred in, but first I want to tell you a story about how you made an impact on me as an actor when I very was young.
PK: Sure, let’s hear it.
Lou Gossett, Perry King, Clyde Kusatsu, Stephen Macht, Tim McIntire and Randy Quaid in THE CHOIRBOYS (1977)
TS: When I was 14 my father took me to the theater to see THE CHOIRBOYS in which you played a cop named Baxter. I was pretty naive about sexuality in the mid 70’s and had never really been exposed to S&M and you were wearing this weird black leather mask with a zip on and you were being whipped by Phyllis Davis.
PK: Yeah, it was pretty shocking for me too. I accepted that part without considering certain things about the script and it came as a surprise to me. Was your dad sorry he took you to see this?
TS: No. Dad has never regretted such things, but I doubt we discussed S&M on the drive home. In the film, when you take off that leather mask and are exposed to your fellow cops, there was that deep look and that feeling of fear on your face that stuck in my memory. I wondered at this young age what exactly is deviant sexuality? I couldn’t stop myself from wondering why Baxter was so humiliated that he would kill himself. This character really haunted me. I didn’t know what to think. You don’t see that kind of sexuality in movies like that anymore today. Today’s audience just takes things like that for granted. But you were as good as Baxter and at that point you became one of my favorite actors. I chose some of your older films and then always watched your new films. I’ve been a fan of yours for a long time.
P.K.: Thank you. I could tell you stories about THE CHOIROYS for an hour. I should tell you that this part changed the way I picked parts and said yes or no to scripts. At this point in my career, I thought of myself as a typical method actor. I thoroughly immersed myself in the character, but I didn’t have the skills at the time to just walk off a set and come back to it the next morning. Playing a role, as I’ve said many times, isn’t playing like a person, it’s being a roommate with that person. And would you want to be with someone who is suicidal? But I did. I lived with my character Baxter Slade for three months and by the end of this film it almost killed me. Living with him, thinking his thoughts, being himself as much as possible, so by the end of the shoot I felt lucky to have lived through that. After that, I was a lot more cautious before saying yes to a role. If I had known what I was going to go through with Baxter, I might not have done THE CHOIRBOYS.
Perry King and Phyllis Davis in The Choirboys.
TS: You were great at it and I’m definitely glad you did. My girlfriend was unfamiliar with your career outside of THE CLASS OF ’84, so I showed her two Perry King films over the weekend. Last night we saw THE CHOIRBOYS and the night before we saw ANDY WARHOL’S BAD which I have a few questions about. But first, let’s talk about THE DIVIDE for a while, because I know that’s the movie you’re promoting. Congratulations on THE DIVIDE, your directorial debut. I think you did a great job playing Jack, the old rancher who is beginning to suffer from the effects of dementia. I have watched my father suffer from dementia over the past few years and what you captured so well was the confusion of not being able to articulate your thoughts. It’s happened so many times that my dad just couldn’t think of a word, a word he’s used his whole life and it’s so frustrating for him. You simply summed that up in your performance.
P.K.: Thank you. I think so many of us in this country are going through this right now when we are with a loved one who is going through these issues. My best friend, who has had Alzheimer’s for the past 40 years, has deep dementia. When I’m with him, I can hardly catch a glimpse of the old friend I’ve been riding motorcycles with for so long. He’s a crazy old Scotsman, one of those one-off people you’ll never meet again. We raced cars together for 20 years. Now I can hardly see this guy. He asks the same questions over and over again.
Perry King in THE DIVIDE
TS: Tell me how you researched and prepared for this role.
PC: Gladly. The way I was taught acting at Juilliard and subsequent classes is that when you need to film it, you just pump yourself into something and then let it come out. I was lucky with THE DIVIDE in many ways, but among other things, we spent almost two years preparing the film. It was a personal project and the whole time I was working on this character of Sam. For the first time, more than any other role I’ve had in my life, I was able to prepare and really understand a character. When it came time to film, I was able to do what actors call “marrying.” This means that ideally you should be able to tell your character to leave to literally open the door in your head and the character, in this case Sam, could walk out. Sometimes my character Sam would do things on camera that I hadn’t thought of. It wasn’t a conscious decision on my part. The character just did things. This is because it was fully realized. THE DIVIDE was just so satisfying. It was such a pleasure. I’ve been a professional actor for 50 years and all this time I wanted to make my own film and finally I did it.
TS: Why did it take Perry 50 years?
PK: Many reasons, but I think the simplest explanation is that I’m a slow learner. It took me so long to feel like I could do it. All the lessons I’ve learned from watching directors I’ve worked with over the years have been carefully applied. THE DIVIDE has errors. I could list them for hours, but it’s the film that Jana Brown, the writer and my partner, and I wanted to make and I’m still stunned that we actually made it. I’ve never done anything remotely as satisfying as this in 50 years. The movie THE DIVIDE you saw was the movie we always had in mind. Nothing works like that. I made the film assuming we would fail honorably, but it’s not a failure for us. As much as I want people to like THE DIVIDE I don’t care because I like it and I can’t believe how lucky I am.
Michael Sacks and Perry King in SLAUGHTERHOUSE-FIVE (1972) directed by George Roy Hill
TS: You’ve certainly worked with some legendary directors in your career. Men like Richard Fleischer, George Roy Hill and Robert Aldrich, so I suppose some of those things just have to rub off when you pay attention to what they were doing.
PK: Yes, look closely. And to this day I can reiterate the advice these directors gave me. I remember George Roy Hill once speaking when we were stuck on set (from SLAUGHTERHOUSE-FIVE – 1972). He stayed with me and had no one else to talk to. I was only 22 years old then. He told me at the time that 50% of filmmaking is the casting. Wow what a lesson that was. Dick Fleischer, such an underrated director, once told me that a good script is made of promises. For example, if a character says, “If you’re not out of town by noon, I’m coming to kill you,” that’s a promise. You can take an audience through a lot of things and you don’t have to deliver on the promise, and it’s better if you do, but you have to have the promise. Another thing Fleischer said to me that applies so much to THE DIVIDE is that you write a script and you start working on it and you rewrite it several times and make changes. He said if you’ve gone through several rewrites and find yourself in a terrible dilemma that you can’t solve, go back to the first version of your script because you were probably right the first time.
TS: What were some of the unexpected challenges you faced as a first-time director on THE DIVIDE?
PK: The biggest mistake I made was checking. I didn’t examine some people thoroughly enough and I had some problems as a result. I just hired people and hoped for the best. That’s not a good plan. I won’t go into details, but there were several people I had to fire, which is never a good thing. Another lesson I’ve learned as an employer is to hire women! The women who worked on the film were great. Not just Jana Brown, who wrote the screenplay, but all the women who worked on this film. Jo Haskin, Jane Rayburn and so many more were wonderful. Still, I had a lot of issues with half a dozen men in the film. They wanted to tell me what to do but couldn’t because for once in my life I wanted to be the one making the decisions. The director is the captain. It turned out so good.
Perry King and Bryan Kaplan in THE DIVIDE
TS: You’ve been acting for 50 years and you’ve never been in a black and white film. But here you direct THE DIVIDE and it’s a black and white film. Explain the decision behind it.
PK: For me it could never have been anything other than black and white. In the end I had to pay for this decision. Funding became difficult. I had several sources who were willing to invest money but didn’t want to produce black and white film, just color. I didn’t want these investors to tell me what to do, although I can’t fault them for discouraging black and white, so I had trouble finding funding where I could be left alone. John Ford once said that black and white photography is real photography. I never knew Ford, but he’s right. When you watch a black and white film, pay closer attention to the people and everything else. Color tends to wash things out and make them amorphous. Maybe today nobody will agree with me if I say that because we are all so used to color. Black and white is so much better. Did you see a movie called IDA (2013) a few years ago?
TS: Yeah, I think that won the Oscar for Best Foreign Film.
PK: Yes, it has. And the director recently did another one called COLD WAR. Both were great films. The black and white photography alone in these films is incredible. Every frame of these films is like a beautiful photograph of Walker Evans
TS: You mentioned John Ford. Your film THE DIVIDE is a Western in the sense that it’s set in the American West. Did directors like Ford and Raoul Walsh and Howard Hawks influence your style?
PK: A lot. John Ford especially. Ford hated working in color. He resisted the color. Even after color became the standard, color was more expensive, allowing him to reduce his budget by continuing to shoot black and white films. When he shot silent films, people noticed how grandiose his framing was. It’s captivating. Watch the end of THE SEARCHERS. As good as this movie is, all you have to watch is the last 30 seconds to appreciate the whole thing.
Perry King in THE DIVIDE
TS: Aside from THE QUIET MAN and THE SEARCHERS, it’s Ford’s black and white films that everyone remembers.
PK: And black and white works so well for westerns. Westerns are inherently very black and white stories. Good and bad. Right and wrong. Most Americans think Hollywood invented movies, but we didn’t. The Russians invented films. What the Americans have contributed to movies is the western, just as the Japanese have contributed to the samurai movies. It’s our genre, and it’s a shame we don’t do it as often anymore. And I’ve always wondered about it. But a producer told me many years ago that the reason we don’t do many westerns anymore is because we don’t have the people out there to do them with. We don’t have John Wayne. Clint Eastwood is 90 years old. We don’t have these guys anymore. The only younger actor I’ve seen in recent years who I think would be at home in a western as a John Wayne guy is Josh Brolin. I mean that. What are you going to do about putting Tom Cruise in the western?
TS: Yes. You mentioned Clint Eastwood. He has a new movie coming out later this year.
PK: Does he really? He is great.
TS: He directed and starred and it’s called CRY MACHO. Isn’t that a great title for a movie directed by a 90 year old Clint Eastwood?
PK: That’s it. While trying to figure out how to be the best director, I read a quote from Clint that said, “When I’m directing, I’m trying to be like the director I want to be.” And I know who that is. It’s the guy who shuts up unless something’s wrong, just a guy who sits there and says, ‘Fine. print it. Go on”. That’s all you want. Directors always butt heads with you. You often want to tell them “You hired me for this, now leave me alone.”
TS: You hired yourself to direct THE DIVIDE. What was it like directing yourself? did you leave yourself alone
PC: Yes. I had previously directed an episode of Riptide. That was back when we were shooting on film. So I knew that directing can be very schizophrenic. Usually you only have a few weeks to prepare before you start shooting. I knew I wanted my character Sam to be clear enough that I could switch into that character as soon as I yelled “camera roll”. And that was crucial. I’ve had months to prepare, meet and research people with Alzheimer’s. I saw an episode of a morning show on NBC that showed how to go into the world of a loved one with dementia and see what it’s like. First, you take a pair of shoes and stuff them with things that make it very uncomfortable to wear. Then take a pair of gloves and tape the fingers together and make the gloves bulky so you really can’t use your hands well. Then put on headphones and turn to a radio station that is mostly static and too loud. Put on goggles with tape so you can’t see very well. Then proceed with all this to complete your tasks. Do your laundry, wash the dishes. I’ve spent hours and hours just doing these things. It’s terrible. You want to rip that stuff off you and that’s the point. The person who has this condition cannot. It’s terrible. I remember my father, who was a surgeon, once told me many years ago that the two things that kill people the most are heart problems and cancer. He said that even if we could solve those two things completely, there would be something else. He just didn’t know what it was then. And it turns out he was right and the thing is Alzheimer’s. We are now basically surviving in our physical brain. It’s like my friend who has dementia. A few years ago he had a heart attack and they were able to fix it, but they can’t do anything about his brain.
TS: Back to THE DIVIDE. As far as I know it was filmed on your own ranch.
PC: Yes. I got really lucky years ago and got ownership of a cattle ranch in Northern California. 500 hectares. I did a TV movie called THE COWBOY AND THE MOVIE STAR in 1998. It starred Sean Young. It was an okay TV movie, but there were two things that were great about it. One was Sean. She became one of my good friends. She is a wonderful actress and a great person. She was somewhat mistreated and slandered by the shop. The other great thing was that I played with this guy who ran a cattle station. His wife wanted to take his ranch away from him in a divorce and he was trying to find a way to keep it. In short, Sean plays a movie star stranded near his ranch. They end up falling in love and she buys the land and gives it back to him. When I finished this film, I realized how much I loved playing this character. I wanted so badly to play him again, but I knew I would never get that chance because it just doesn’t work that way, so I thought I could just be him. So that’s what I did. I bought this cattle ranch.
TS: Did you have to build sets at your ranch to make THE DIVIDE or was it just filmed as is?
THE DIVIDE screenwriter Jana Brown with Perry King
PK: No, one of the many things that I thought was wise was that while she was writing the script, I could let Jana Brown know when I thought things were done. This enabled her to write the screenplay to suit the location. I met Jana when she did an interview with me for a school she works at that I attended as a teenager. She wasn’t there then, I’m much older. She interviewed graduates of the school for the school magazine. She had contacted me, but I didn’t think anyone going to this school would find anything I had to say interesting. But that’s how I met Jana.
TS: Let’s talk about some of your older films. You mentioned that you enjoyed hiring women for THE DIVIDE. Some of my favorite glamor girls from the 70’s: Susan George, Raquel Welch, Susan Blakely, Meg Foster, Phyllis Davis. What all these women have in common is that you have to play along with them. I’ve always been jealous of guys like you and Jan Michael Vincent and John Phillip Law and Marjoe Gortner, guys who played studs in the 70’s because you had to interact and sometimes have love scenes with these actresses that I’ve adored since I was a kid .
PK: Yes, but it’s very uneven. For example, Susan Blakely is still one of my best friends and one of the most wonderful people I’ve ever known in my life. You and I have done four films together. On the other hand, there’s Raquel Welch. I don’t want to say anything about her because I don’t like it when people put others down.
Raquel Welch and Perry King in THE WILD PARTY (1975)
TS: Burt Reynolds starred twice with Raquel Welch and notoriously disliked her.
PK: Reynolds was mad at me because Loni Anderson and I were having a blast working on a TV movie together! He was jealous, although he was very unfaithful himself. He just assumed she was too. But there was nothing between me and Loni. We just enjoyed each other’s company. Actors can be very neurotic. When I hear a young person say they want to be an actor, I hear them say, “Hey, I’m just as fucked up as you”. Actors are very screwed up people. The one thing all the actors I know have in common is that if they perform in front of 100 people and 99 of them applaud and enjoy the work, they just won’t focus on or care about that one person . That’s the only thing that matters. That’s neurotic. That is unhealthy. But the world would be a worse place without the likes of Robert De Niro and Meryl Streep and Lawrence Olivier, who on record says acting is a ridiculous way for a grown man to make a living.
Perry King and Geraldine Smith in ANDY WARHOLY’S BAD (1977)
TS: When we were watching ANDY WARHOL’S BAD the other night, my girlfriend was pretty upset when the baby fell out the window.
PK: Us too! Carroll Baker and I told director Jed Johnson about halfway through filming that we were going to walk away and they wouldn’t let them finish the movie unless they promised us they would edit that scene and the baby wouldn’t fall out the window . We were assured the scene would be written out, but they kept it in. Warhol himself was only in control of the budget and funding.
TS: How was Warhol?
PK: He was fascinating. I loved hanging out with him. One time we had lunch together and he brought this tiny little 8mm camera and a tiny tape recorder. That was in the 70’s. Warhol was constantly filming and recording with this little recorder whoever he was having lunch with. I asked him why he was doing this. His response was, “I just want everyone to be as uncomfortable as I am.” The front of his hair was white, but the hair on the back of his head was black. I asked him why he didn’t bother bleaching the hair on the back of his head. He said: “I don’t care. When I look in the mirror I can’t see the back of my head.” He was amazing. I would enter The Factory in New York. I would just go out the back door. That was years ago when there was very little security and he was shot at as a result. Anyway, I’d go out the back door and inside, in this huge room, were stacks of Warhol paintings. Just stacks of them that he hadn’t had on shows, ones that he had done recently. He was such a smart businessman. He understood that dumping the paintings willy-nilly on the market would lower the price. He made his art available at the right time where he could make the highest dollar. Once I was there and Warhol was on his knees signing these paintings with his finger in the wet paint at the bottom of one of these silkscreened portraits. At that time he could be commissioned to make a portrait of you. It would cost a few hundred grand and all he would do was take a polaroid and send the picture in to have it screen printed onto a canvas. Then he had it shipped back to him while the paint was still wet and he signed it with his finger with his name in wet paint. I asked him why he was doing that with his finger. He said: “You always want to know that it was made by Andy Warhol”. When I was doing ANDY WARHOL’S BAD, I was so out of step with everything that was going on. That was Carroll Baker. And remember, Susan Tyrrell was in that movie too.
Susan Tyrrell ANDY WARHOLY’S BATH (1977)
TS: Oh I always liked her.
PK: She was crazy but also a great actress. I am not sure if she is still there.
TS: No, she died in 2012. She had lost both her legs to diabetes a few years earlier.
PK: Oh poor girl. She was wonderful and so caring. Carroll Baker and I thought everything was so crazy while we were making this movie, but Susan Tyrrell was wonderful. Carroll Baker and I just fell in love with her. Carroll and I both approached Susan one day and asked her to help us. We both thought we were terrible in the film and we asked her for advice because we felt a little lost with this strange script. Susan just laughed and told us that we made a terrible mistake even reading the script. Susan never read the script and had no idea what would happen in the story. She said that’s how you make an Andy Warhol film. And she was right. Carroll and I tried to do traditional characters with storylines and all that stuff that you normally do with a character. Finally, on the last day of shooting, director Jed Johnson, one of Andy’s protégés, didn’t like what I was doing, so I said, “This is a comedy we’re working on, isn’t it?” It was a rhetorical question. Jed looked at me and said, “This isn’t a comedy!” I realized that right then, on the last day of shooting, I finally understood that in the world of Andy Warhol, ugly is pretty, big is small and funny is sad. It’s like Alice is working through the looking-glass on a Warhol film. I realized I wasn’t in the same movie they were making. At all. I was on the other side of the looking glass in another movie. But it was too late. The movie was over.
TS: It’s definitely one of the meanest movies ever made. But in a good way.
PK: I asked Andy what the film was about and he said, “I wanted to make a film about mean women and incompetent men.” So that’s what he had in mind. To tell the truth, I think I’ve only seen this movie once in my life.
TS: Director Jed Johnson was killed in the infamous TWA Flight 800 explosion in 1996.
PK: Tragic.
JAMES MASON and PERRY KING in MANDINGO (1974)
TS: Let’s talk about another movie you’ve been in, MANDINGO. What was it like playing alongside the legendary James Mason?
PK: That’s something I’ve thought about for many years. I thought I should write a book. Not about myself, but about all these extraordinary people I’ve worked with. James Mason would be at the top of that list. Incredibly talented man, but also incredibly generous and kind. Others I would put on this list would be Shirley McClain and Katherine Hepburn and James Coco. Claude Raines was the first that was so wonderful to me. When I was a kid he would spend an afternoon with me because he knew I wanted to be an actor. He was very old and ill at the time and only had a few afternoons left, but he gave me one of them to help me. In the late afternoon my father dragged me out of his house. As I left, I asked Mr. Raines, “What’s the most important thing I need to remember? Claude Raines said to me, “(mimics Claude Raines’ voice) The most important thing is enthusiasm!” That advice was an incredible gift to me. It’s amazing how much enthusiasm you can go through life with. I sometimes help out at a very good acting school in LA. I’ve been acting for half a century and I’m happy to tell students how good my experience was with MANDINGO, directed by Richard Fleischer and starring James Mason. There are no problems with a project like this. All you have to do is recite the words. People like James Mason pull you to a level you could never reach on your own. Normalerweise ist das nicht so. Meistens haben Sie einen Direktor als Verkehrspolizisten. Sie kümmern sich nicht so sehr darum, was du tust, da sie verhindern, dass Menschen aufeinander stoßen. Aber wenn Sie Schauspieler haben, die egoistisch oder keine guten Schauspieler sind, und wenn Sie ein schreckliches Drehbuch haben, das mit Dingen gefüllt ist, die Sie im wirklichen Leben nie sehen würden, dann müssen Sie enthusiastisch sein. Ein weiterer Schauspieler, über den ich gerne schreiben würde, ist Natalie Wood. Sie tauchte um 6 Uhr morgens an einem Set auf, bevor irgendjemand wirklich wach war, und sie war so aufgeregt und sagte: „Oh, das wird großartig! Das ist so eine aufregende Szene, die wir heute filmen!“. Nun, wenn irgendjemand auf der Welt das Recht hatte, zynisch zu sein, dann war es Natalie Wood, jemand, der seit seiner Kindheit ein Star war, aber nein, was man bei ihr sah, war nur ihr roher Enthusiasmus.
TS: An welchem Projekt hast du mit Natalie Wood gearbeitet?
PC: Das wäre ein Fernsehfilm namens THE CRACKER FACTORY (1979) gewesen. Darin ist sie gut. Ich bin es nicht, aber sie ist es.
TS: Warum sind Sie nicht als Hammond Maxwell in DRUM, der Fortsetzung von MANDINGO, zurückgekehrt?
PC: Dino DeLaurentis wollte, dass ich DRUM mache und ich dachte einfach, ich würde lieber sterben. DeLaurentis bewarb MANDINGO, als wäre es ein Stück Müll. Er tat das nicht, weil er dachte, dass es so wäre, sondern weil er dachte, es wäre ein größerer Gewinn, wenn er es als Exploitation-Potboiler förderte. Und er hatte Recht, aber James Mason und der Regisseur Richard Fleischer und ich haben an diesen Film geglaubt. Wir fanden, dass es ein wirklich guter Film war. Hässlich in Teilen, aber wahr und genau. Ich denke immer noch, aber ich bin mir nicht sicher, ob jemand anderes damit einverstanden ist.
TS: Dem würde ich zustimmen.
PC: Die Fortsetzung sollte eher so werden, wie Dino bezahlt hatte. Garbage. Ich habe es vermieden. Ich hatte einen Vertrag mit Dino, damit er mich in jedem anderen Film einsetzen konnte, den er wollte, und er tat es. Dieser Film war LIPSTICK, in dem Margaux Hemingway mitspielte. Aber DRUM würde ich nicht machen.
Perry King und Ken Norton in MANDINGO (1974)
TS: Ich fand es immer lustig, dass Hammond Maxwell, der Charakter, den Sie in MANDINGO spielen, in der Fortsetzung aufwächst und von Warren Oates gespielt wird. Hier ist der große, gutaussehende Perry King, und dann bekommen Sie in der Fortsetzung den grauhaarigen alten Warren Oates.
PC: Ja, ich glaube, er war in dieser Rolle eine Fehlbesetzung, aber Warren Oates war ein weitaus besserer Filmschauspieler, als ich es je sein werde. Aber ja, ha! Ich weiß nicht, wie sie von mir zu ihm gelangt sind.
TS: Ich denke, DRUM ist ein exzellenter Film mit einer großartigen Besetzung. Kaphet Kotto und Pam Grier sind dabei.
PC: Ja. Es war wirklich das, was Dino MANDINGO wollte. Aber er engagierte den falschen Regisseur für MANDINGO. Er engagierte einen Regisseur, der am Ende einen guten Film daraus machte. Nicht, dass es so gesehen wurde. Die Wahrnehmung ist, dass es ein Stück Mist ist, aber wenn es dich interessiert, was die Leute denken, stirbst du schnell. Du wirst nur zu einer Fleischlache auf dem Boden. Sie können nicht in diesem Geschäft sein und sich Gedanken darüber machen, was die Leute denken.
Perry King in DIE KLASSE VON ’84 (1982)
TS: Reden wir über THE CLASS OF ’84. Bist du überrascht über die Tiefe des Kults, den THE CLASS OF ’84 heute hat. Eine jüngere Generation von Filmfans hat diesen Film angenommen.
PC: Ich glaube, das ist mir nicht wirklich bewusst. Ich war kürzlich mit THE DIVIDE in Cannes und traf Mark Lester, der bei THE CLASS OF ‘84 Regie geführt hatte. Es war lustig, weil er in einer Bar saß, in die alle gehen, und ich ging hinein. Wir sahen uns nur an und brachen in Gelächter aus. Da waren wir, über 35 Jahre später, und wir sahen beide 35 Jahre älter aus. Es war einfach nur lächerlich. Wir sahen aus, als wären wir beide von einem Lastwagen angefahren worden. Das macht das Leben mit dir. Ich kann nicht sagen, dass ich diesen Film jemals sehr gemocht habe, aber ich mochte Mark Lester sehr
TS: Ich liebe den Film und habe ihn viele Male gesehen.
PC: Das freut mich. Es ist alles persönlich. Ich hatte eine Idee für ein Ende dieses Films, von dem ich versuchte, Mark dazu zu überreden, es zu drehen, und ich dachte, es wäre ein großartiges Ende gewesen. I was the one who thought of having the 1812 Overture playing during the climax. I told Mark that at the end of the film he should really do it the way that Shakespeare’s tragedies are done, where everything comes around full circle. I told him that at the end of the film, they should have a scene where, just like in the beginning, you show all of the kids going into the school and there’s me walking into the school. Same look, same clothes, same way that I walk, but then when the camera gets a better look at me, it is another man. The same thing that’s going to happen all over again. That to me would’ve made the film better.
Tim Van Patten and Perry King in THE CLASS OF ’84
TS: I think one reason younger audiences have discovered and embraced that film is Tim Van Patten and some of his over-the-top lines as the villain.
PC: Tim Van Patten has become one of television’s busiest directors. Very successful. Just goes to show, you never know, because I would’ve never thought that in a million years after working with him on that film. Nice guy to work with, but if you told me he was going to become a very good and successful director , I would not have believed that was possible. Another person in the film was Michael J Fox. He and I spent a lot of time working together. We filmed that in Toronto. I remember hoping that Michael’s dad had a factory somewhere he could take over, because I didn’t think he knew how to act at all. Boy, was I wrong about that.
TS: I guess he honed his craft on television.
PC: Michael Fox was good then, I just couldn’t see it.
TS: Is it true that you auditioned for the role of Han Solo?
PC: Yes. The footage of that is somewhere out there. I think in one of the special edition Star Wars DVDs they added, as an extra, footage of some of the auditions of actors who weren’t cast in the film. I watched that footage recently and thought “Good God, no wonder I didn’t get the part!” I was so bad. Awful. But nobody could’ve ever played that part better than Harrison Ford. I was able to do Han Solo later. National public radio produced three Star Wars stories on radio. It’s really good. You wouldn’t think that Star Wars would work on radio. For some reason that I am unaware of, they came to me for that part. So I missed being in the movie but I got to do it on the radio. Radio is actually very fun acting.
TS: How often do you kick back on the couch at night and throw in an old Perry King movie?
PC: Never. I hate watching myself. The one exception is THE DIVIDE. I was involved in the editing of that so I spent a lot of time watching myself in that. But besides that I hate watching myself. I find it brutally painful. Early on in my career, I would go to dailies, where they would show the footage from the previous day in the evening. I wish I hadn’t because in some ways, it ruined whatever I was bringing to the film. All I could do was judge and criticize myself. There have been times where I have turned on the TV, and there I am. So I change it, flip to another channel, and there I am again! I just turn the TV off at that point. Spencer Tracy was famously like that. Katherine Hepburn told me that he hated to watch himself. She told me the story of how one night Spencer Tracy went to see a movie, then he thought that he had seen the movie, then, when he walked on the screen he realized it was one of his own films. He said “God dammit“, and he walked out. Have you ever heard the genesis of an actor’s life?
TS: Tell me.
PC: I will use myself, but this is an acting joke amongst actors. It starts “who is Perry King?” Then it’s “get me Perry King!“, then it’s “get me a young Perry King”, then it’s “get me a Perry King type!”, then finally it it’s “who is Perry King?” That’s an actor’s life. Today I can walk down any street and nobody knows who I am. And that’s fine by me.
Perry King in SLAUGHTERGOUSE-FIVE (1972)
TS: Well I think that a lot of movie buffs, especially those that grew up in the 70s and love films from that period, would certainly recognize you. I’ve always enjoyed your work so much. I’ve been with this site We Are Movie Geeks for 13 years and I have conducted over 200 interviews and I’ll tell you right now that this one will be amongst my top 10 favorite interviews.
PC: Oh, thank you very much . Do you have time to hear one more story about James Mason and Director Richard Fleischer on the set of MANDINGO?
TS: Sure.
PC: I’ve told a lot of young actors this story because young actors always want to know what’s the difference between stage acting and film acting. The real difference is that stage acting is hard, and film acting, by comparison, is easy. James Mason in MANDINGO what the subject of a single shot where it was just him on screen. They were filming him from the chest up. I was just off-screen by the camera, because Mason is talking to me. It’s the end of the shot, Dick Fleischer said “Cut. Print!“, and then the crew burst into applause. James Mason was very courteous because he was a wonderful man. He took a little bow and thanked everyone, then walked up to Dick Fleischer and very quietly asked him if they could do another take of that scene. Fleischer said “Why? You just got applause“. Mason said “Yes that’s why. If it’s big enough for the crew, it’s too big“. They did another take, this time with Mason toning down his delivery, and the crew did not applaud. That’s the point. The camera is so intimate that an expert at his craft like Mason thought that if he received applause from the crew, then he had given into his stage acting, and realized that he needed to pull it back. So many people have taught me things in my career but I learned more from James Mason than anyone else.
TS: Such great stories Perry. I’ve enjoyed the heck out of talking to you. Best of luck with THE DIVIDE and all your future projects.
PC: Thanks a lot. I have enjoyed talking to you too as well.
Here’s Perry King’s STAR WARS audition:
Perry King
US-American actor
Perry Firestone King (born April 30, 1948) is an American actor. He is best known for the breadth of his roles in television and film.
King received a Golden Globe nomination for his role in the TV movie The Hasty Heart (1983), which is a remake of the 1949 film of the same name.
Life and career[edit]
Early life[edit]
King was born in Alliance, Ohio; his father was a doctor. His maternal grandfather was Maxwell Perkins, a noted editor of Charles Scribner’s Sons. Through Perkins, King is the great-great-grandson of US Senator William M. Evarts and the great-great-grandson of Roger Sherman, a signer of the Declaration of Independence.[1] King received an acting degree from Yale University and also attended Juilliard University.[1]
Career [edit]
King made his film debut around age 23 in the 1972 film Slaughterhouse-Five. In 1975, he portrayed Hammond Maxwell in the blaxploitation film Mandingo.
He has acted in dozens of feature films, television series, and made-for-TV movies since the 1970s. He auditioned for the role of Han Solo in Star Wars, but the role eventually went to Harrison Ford. However, he played the character in the radio adaptations of Star Wars and its two sequels.[2]
In 1984, King was nominated for a Golden Globe Award for his role in the TV movie The Hasty Heart. In the same year he got the role of Cody Allen in the series Riptide.[3]
In 1993 he starred in the television adaptation of Sidney Sheldon’s novel A Stranger in the Mirror, a roman à clef about Groucho Marx. In 1995 he played Hayley Armstrong in Melrose Place. He also appeared as Richard Williams in the NBC TV series Titans with Yasmine Bleeth in 2000 and as President of the United States in the 2004 film The Day After Tomorrow.
King has had guest appearances on TV shows such as Spin City, Will & Grace, Eve and Cold Case.[3]
He has also worked as a voice actor, voicing for Samson in the 1985 animated film Samson & Delilah and the character of Randall in an episode of SWAT Kats: The Radical Squadron.
Personal life[edit]
Married and divorced twice, King has two daughters and one granddaughter.
A keen motorcyclist, King was featured in Huell Howser’s California’s Gold, where he spoke about his collection of motorcycles and sidecars. In December 2008, the American Motorcyclist Association (AMA) appointed King to its board of directors.[5]
Filmography [ edit ]
movie [edit]
Year Title Role Notes 1972 Slaughterhouse-Five Robert Pilgrim 1972 Joel Delaney 1974 David ‘Chico’ Tyrell 1975 Dale Sword 1975 Mandingo Hammond Maxwell 1976 Lipstick Steve Edison 1977 Andy Warhol’s Bad L.T. 1977 Baxter Slate 1978 Albert Walreavens 1979 Search and Destroy Kip Moore 1982 Class of 1984 Andrew Norris 1982 Paul ‘Mac’ McCormack 1991 Switch Steve Brooks 1998 Jerry Blue 1999 Her married lover Richard Mannhart 2004 President Blake 2004 John Walker 2012 Hatfields and McCoys: Bad Blood Ran’l McCoy 2014 K’ina Kil: The Slaver’s Son Nasi Short 2014 Delusional Daniel Gallagher 2018 Sam Kincaid
television [edit]
Nominations for awards[edit]
Golden Apple Award
Nominated: Male New Star of the Year (1975)
Golden Globe Awards
Nominated: Best Performance by an Actor in a Supporting Role in a Series, Miniseries or TV Movie, The Hasty Heart (1984)[6]
Perry King Net Worth, Age, Height, Weight, Wife, Wiki, Family 2022
Perry King is an American actor. He was born on December 31, 1948 in Alliance, Ohio, USA. He is known for his roles in the films The Lords of Flatbush (1974), Rage (1980), Street Smart (1987) and The Program (1993). He also starred in the television series Shelley Duvall’s Faerie Tale Theater (1982-1987), Stephen King’s The Stand (1994), and The District (2000-2004). Do you want to know more about him? In this article, we have covered Perry King Net Worth, Wiki, Biography, Career, Height, Weight, Pictures, Family, Affairs, Car, Salary, Age, Facts and other details in 2022. Without further ado, let’s learn more about Perry King.
Perry King’s biography
Perry King
Want to know Perry King’s full bio info? Perry King, also known as Perry Firestone King, is an American actor. He was born on April 30, 1948 in Alliance, Ohio, USA. He is 74 years old. See the table below for more information.
Name Perry King Nickname Perry Firestone King Gender Male Date of birth April 30, 1948 Age 2022 74 Place of birth Alliance, Ohio, USA Country United States Nationality American Height 6′ 0″ (1.83 m) Weight Weight Occupation American actor
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Perry King net worth and salary 2022
What is Perry King Net Worth? What is Perry King’s revenue stream? We all know that it’s almost impossible to tell how much wealth someone has and how much he or she makes each month. According to various sources, there is an approximate asset value that is a net worth. So what is Perry King’s current net worth? As of 2022, Perry King’s current net worth is $8 million.
Perry King age and birthday info 2022
How old is Perry King? In this section we will talk about Perry King’s age and birthday. Perry King is actually 74 years old and his birthday is April 30, 1948. When is Perry King’s next birthday? Perry King’s next birthday is April 30, 2023.
Birthday April 30, 1948 Name of the day Friday Next birthday April 30, 2023 Age 74 years Place of birth Alliance, Ohio, USA Country of birth USA
Perry King’s height, weight and physical condition
What is Perry King’s physical condition? Perry King’s physical condition is good. How tall is Perry King? Want to know Perry King’s weight in feet-inches or meters-centimeters? In this section, we have discussed his height and weight, as well as eye and hair colors. His height is 1.83 m (6 ft 0 in) and his weight is unknown.
Height of Perry King: 6 ft 0 in (1.83 m)
Weight of Perry King: Unknown
In the table below you can find Perry King’s height in meters, centimeters and feet inches and weight in kg and pounds.
Height in centimeters: 182.88 cm.
In meters: 1.8288 m.
In Feet Inches: 6′ 0″ Weight in KG: Not known
In Pounds: Unknown Eye Color Black Hair Color Black (approx.)
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Want to know if Perry King is married or single? Who is Perry King’s girlfriend? In this section we will talk about Perry King’s personal life and life story. Since you are curious about Perry King. We added the information below.
Marital status has yet to be updated
Educational Qualifications by Perry King
Want to know what Perry King’s Educational Qualifications are? In this table we have added Perry King’s educational information. As we don’t have all the data right now, we’re leaving some fields blank that we’ll be updating soon.
School needs to be updated College needs to be updated University needs to be updated
Perry King Facebook Instagram Twitter and YouTube
Visit Perry King’s official Facebook, Instagram, Twitter, Wikipedia and YouTube accounts. For those who don’t have an account on a specific platform, we’ve added the platform’s official website link.
Frequently asked questions about Perry King
Some FAQs (Frequently Asked Questions) about Perry King.
What is Perry King’s net worth?
Perry King net worth is $8 million.
How tall is Perry King?
Perry King’s height is 6 ft 0 in (1.83 m).
Where is Perry King’s birthplace?
Perry King’s birthplace is Alliance, Ohio, USA.
What is Perry King’s date of birth?
Perry King’s birthday is April 30, 1948.
Is Perry King Married?
Perry King’s marital status is: To be updated.
Conclusion
So that is all we have on Perry King Net Worth, Bio, Wiki, Biography, Height, Weight, Awards, Facts, Siblings, Awards and other info. We hope you get the information about Perry King. Share your thoughts in the comments section.
Descaler
The Perry King Net Worth, Wiki, Bio, Career, Height, Weight, Family, Affairs, Car, Salary, Age and other details info is based on Perry King’s Wikipedia, IMDb, Forbes, Instagram and Facebook. There may be incorrect or outdated information. If you find this, please let us know by leaving a comment below.
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