
Peter Cushing
Birthday:
26 May 1913, Kenley, Surrey [now in Croydon, London], England, UK
Birth Name:
Peter Wilton Cushing
Height:
182 cm
Peter Wilton Cushing was born on May 26, 1913 in Kenley, Surrey, England, to Nellie Maria (King) and George Edward Cushing, a quantity surveyor. He and his older brother David were raised first in Dulwich Village, a south London suburb, and then later back in Surrey. At an early age, Cushing was attracted to acting, inspired by his favorite aunt, w...
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Peter Wilton Cushing was born on May 26, 1913 in Kenley, Surrey, England, to Nellie Maria (King) and George Edward Cushing, a quantity surveyor. He and his older brother David were raised first in Dulwich Village, a south London suburb, and then later back in Surrey. At an early age, Cushing was attracted to acting, inspired by his favorite aunt, who was a stage actress. While at school, Cushing pursued his acting interest in acting and also drawing, a talent he put to good use later in his first job as a government surveyor's assistant in Surrey. At this time, he also dabbled in local amateur theater until moving to London to attend the Guildhall School of Music and Drama on scholarship. He then performed in repertory theater, deciding in 1939 to head for Hollywood, where he made his film debut in The Man in the Iron Mask (1939). Other Hollywood films included A Chump at Oxford (1940) with Stan Laurel and Oliver Hardy, Vigil in the Night (1940) and They Dare Not Love (1941). However, after a short stay, he returned to England by way of New York (making brief appearances on Broadway) and Canada. Back in his homeland, he contributed to the war effort during World War II by joining the Entertainment National Services Association.After the war, he performed in the West End and had his big break appearing with Laurence Olivier in Hamlet (1948), in which Cushing's future partner-in-horror Christopher Lee had a bit part. Both actors also appeared in Moulin Rouge (1952) but did not meet until their later horror films. During the 1950s, Cushing became a familiar face on British television, appearing in numerous teleplays, such as 1984 (1954) and Beau Brummell (1954), until the end of the decade when he began his legendary association with Hammer Film Productions in its remakes of the 1930s Universal horror classics. His first Hammer roles included Dr. Frankenstein in The Curse of Frankenstein (1957), Dr. Van Helsing in Dracula (1958), and Sherlock Holmes in The Hound of the Baskervilles (1959).Cushing continued playing the roles of Drs. Frankenstein and Van Helsing, as well as taking on other horror characters, in Hammer films over the next 20 years. He also appeared in films for the other major horror producer of the time, Amicus Productions, including Dr. Terror's House of Horrors (1965) and its later horror anthologies, a couple of Dr. Who films (1965, 1966), I, Monster (1971), and others. By the mid-1970s, these companies had stopped production, but Cushing, firmly established as a horror star, continued in the genre for some time thereafter.Perhaps his best-known appearance outside of horror films was as Grand Moff Tarkin in George Lucas' phenomenally successful science fiction film Star Wars (1977). Biggles (1986) was Cushing's last film before his retirement, during which he made a few television appearances, wrote two autobiographies and pursued his hobbies of bird watching and painting. In 1989, he was made an Officer of the Order of the British Empire in recognition of his contributions to the acting profession in Britain and worldwide. Peter Cushing died at age 81 of prostate cancer on August 11, 1994. Show less «
Who wants to see me as Hamlet? Very few. But millions want to see me as Frankenstein so that's the one I do.
Who wants to see me as Hamlet? Very few. But millions want to see me as Frankenstein so that's the one I do.
If I played Hamlet, they'd call it a horror film.
If I played Hamlet, they'd call it a horror film.
Teeth are a vitally important part of an actor's equipment. I have over 30 toothbrushes at home and always keep a good supply at the studio.
Teeth are a vitally important part of an actor's equipment. I have over 30 toothbrushes at home and always keep a good supply at the studio.
I hate the word 'hate'.
I hate the word 'hate'.
[on the wig he had to wear for Frankenstein and the Monster from Hell (1974)] It made me look like Helen Hayes.
[on the wig he had to wear for Frankenstein and the Monster from Hell (1974)] It made me look like Helen Hayes.
"You have to have a sense of humour, darling, to be alive. Even a bit mad. It helps to be mad." - (1991)
"You have to have a sense of humour, darling, to be alive. Even a bit mad. It helps to be mad." - (1991)
"People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a...Show more »
"People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I'm a gentle fellow. Never harmed a fly. I love animals, and when I'm in the country I'm a keen bird-watcher." - ABC Film Review (Nov 1964) Show less «
There is little chance for a person to exercise the imagination today in this complex, programmed society we have.
There is little chance for a person to exercise the imagination today in this complex, programmed society we have.
Since Helen passed on I can't find anything; the heart, quite simply, has gone out of everything. Time is interminable, the loneliness is al...Show more »
Since Helen passed on I can't find anything; the heart, quite simply, has gone out of everything. Time is interminable, the loneliness is almost unbearable and the only thing that keeps me going is the knowledge that my dear Helen and I will be united again some day. To join Helen is my only ambition. You have my permission to publish that... really, you know dear boy, it's all just killing time. Please say that. - Radio Times 1972 Show less «
"You cannot make a film like this without integrity. To make the audiences believe in you, you must believe utterly in what you are doing." ...Show more »
"You cannot make a film like this without integrity. To make the audiences believe in you, you must believe utterly in what you are doing." - (1972) Show less «
My criterion for accepting a role isn't based on what I would like to do. I try to consider what the audience would like to see me do and I ...Show more »
My criterion for accepting a role isn't based on what I would like to do. I try to consider what the audience would like to see me do and I thought kids would adore Star Wars (1977). Show less «
"Strangely enough, I don't like horror pictures at all. I love to make them because they give pleasure to people, but my favourite types of ...Show more »
"Strangely enough, I don't like horror pictures at all. I love to make them because they give pleasure to people, but my favourite types of films are much more subtle than horror. I like to watch films like The Bridge on the River Kwai (1957), The Apartment (1960) or lovely musicals." - (1980s) Show less «
As far back as I can remember, I had a passion for 'dressing up' and playing games of 'Let's Pretend', which are, of course, the basic princ...Show more »
As far back as I can remember, I had a passion for 'dressing up' and playing games of 'Let's Pretend', which are, of course, the basic principals of acting, and if you are lucky enough, you get paid for so doing, hard work though it may be. Show less «
When Helen passed on six years ago I lost the only joy in life that I ever wanted. She was my whole life and without her there is no meaning...Show more »
When Helen passed on six years ago I lost the only joy in life that I ever wanted. She was my whole life and without her there is no meaning. I am simply killing time, so to speak, until that wonderful day when we are together again. Show less «
Television is rather a frightening business. But I get all the relaxation I want from my collection of model soldiers.
Television is rather a frightening business. But I get all the relaxation I want from my collection of model soldiers.
There are all sorts of reasons why I don't do much work in the theater, the main one being that after two performances I feel I've given all...Show more »
There are all sorts of reasons why I don't do much work in the theater, the main one being that after two performances I feel I've given all I can. I hate repetition, I really do. It's like asking a painter to paint he same picture every day of his life. Show less «
In the early days I played a lot of comedy in the theater and on television. But once an actor becomes well known in any kind of part, he te...Show more »
In the early days I played a lot of comedy in the theater and on television. But once an actor becomes well known in any kind of part, he tends to get stereotyped. After I played Frankenstein, I was only thought of in that light. Of course, some actors are better at drama and some are better at comedy. But they can certainly have a stab at both. An actor should be able to do it all. Show less «
"It gives me the most wonderful feeling. These dear people love me so much and want to see me. The astonishing thing is that when I made the...Show more »
"It gives me the most wonderful feeling. These dear people love me so much and want to see me. The astonishing thing is that when I made the Frankenstein and Dracula movies almost 30 years ago the young audiences who see me now weren't even born yet. A new generation has grown up with my films. And the original audiences are still able to see me in new pictures. So, as long as these films are made I will have a life in this business -- for which I'm eternally grateful." (from a 1985 "Starlog" interview) Show less «
An actor's job is to entertain and I'm glad to say that my films succeeded in that respect.
An actor's job is to entertain and I'm glad to say that my films succeeded in that respect.
[on Vincent Price] A dear, charming man with a great sense of humor. Strictly a professional, who cares far more about his work than he allo...Show more »
[on Vincent Price] A dear, charming man with a great sense of humor. Strictly a professional, who cares far more about his work than he allows the public to know. I am extremely fond of him and bask in his gentle kindness and warmth. Show less «
Every part is approached in the same manner - gleaning all I can from what the author has written. When called for, I add reaction to any gi...Show more »
Every part is approached in the same manner - gleaning all I can from what the author has written. When called for, I add reaction to any given circumstance such as I've witnessed and observed in others through life, applying the emotion in terms of the character as opposed to the way I might react personally. Show less «
[advice to Simon Ward, who was delivering his lines at an urgent pace] Now you know, dear boy, that at the end of every line leave a very ti...Show more »
[advice to Simon Ward, who was delivering his lines at an urgent pace] Now you know, dear boy, that at the end of every line leave a very tiny gap so they can get the scissors in. Show less «
[on The Curse of Frankenstein (1957)] No-one had any idea it would be successful. It took the world by storm. The whole thing only cost 65,0...Show more »
[on The Curse of Frankenstein (1957)] No-one had any idea it would be successful. It took the world by storm. The whole thing only cost 65,000 pounds. You wouldn't be able to get a lead actor for that today. Show less «
If I feel I can't put out 100 percent, it's not really fair to anyone who's come to watch for me to go on creaking around. You need such ene...Show more »
If I feel I can't put out 100 percent, it's not really fair to anyone who's come to watch for me to go on creaking around. You need such energy. I love it, mind you. But you've got to be like athlete Zola Budd to work, which I'm not. Show less «
We had Dracula among the kung fu in Hong Kong. It was called The Something of the Seven Golden Dragons, Dracula and The Legend of the 7 Gold...Show more »
We had Dracula among the kung fu in Hong Kong. It was called The Something of the Seven Golden Dragons, Dracula and The Legend of the 7 Golden Vampires (1974). But I still had to drive a stake through Dracula's heart ... Once you've done Frankenstein, who creates the impossible, and Dracula, a man who drinks blood ... you've got to keep it on. It's awfully difficult to bring the changes up to date. They tried to keep it up to date with Steven Spielberg's Young Sherlock Holmes (1985), but it missed the atmosphere of the period. Show less «
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Van Helsing

Memnon

Dr. Victor Frankenstein

The Scarecrow

Grand Moff Tarkin

Sherlock Holmes

Dr. Alexandre Manette

Dr. John Rollason

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