Richard Dreyfuss
Birthday:
29 October 1947, Brooklyn, New York City, New York, USA
Birth Name:
Richard Stephen Dreyfus
Height:
165 cm
Richard Dreyfuss is an American leading man, who has played his fair share of irritating pests and brash, ambitious hustlers.He was born Richard Stephen Dreyfus in Brooklyn, New York, to Geraldine (Robbins), an activist, and Norman Dreyfus, a restaurateur and attorney. His paternal grandparents were Austro-Hungarian Jewish immigrants, and his mothe...
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Richard Dreyfuss is an American leading man, who has played his fair share of irritating pests and brash, ambitious hustlers.He was born Richard Stephen Dreyfus in Brooklyn, New York, to Geraldine (Robbins), an activist, and Norman Dreyfus, a restaurateur and attorney. His paternal grandparents were Austro-Hungarian Jewish immigrants, and his mother's family was Russian Jewish.Richard Dreyfuss worked his way up through bit parts (The Graduate (1967), for one) and TV before gaining attention with his portrayal of Baby Face Nelson in John Milius' Dillinger (1973). He gained prominence as a college-bound young man in American Graffiti (1973) and as a nervy Jewish kid with high hopes in The Apprenticeship of Duddy Kravitz (1974). By the latter part of the 1970s Dreyfuss was established as a major star, playing leads (and alter-egos) for Steven Spielberg in two of the top-grossing films of the that decade: Jaws (1975) and Close Encounters of the Third Kind (1977). He won a Best Actor Oscar in his first romantic lead as an out-of-work actor in The Goodbye Girl (1977). Dreyfuss also produced and starred in the entertaining private eye movie The Big Fix (1978). After a brief lull in the early 1980s, a well-publicized drug problem and a string of box-office disappointments (The Competition (1980), Whose Life Is It Anyway? (1981), The Buddy System (1984)), a clean and sober Dreyfuss re-established himself in the mid-'80s as one of Hollywood's more engaging leads. He co-starred with Bette Midler and Nick Nolte in Paul Mazursky's popular Down and Out in Beverly Hills (1986). That same year he provided the narration and appeared in the opening and closing "bookends" of Rob Reiner's nostalgic Stand by Me (1986). He quickly followed that with Nuts (1987) opposite Barbra Streisand, Barry Levinson's Tin Men (1987) in a memorable teaming with Danny DeVito and Stakeout (1987) with Emilio Estevez. Dreyfuss continued working steadily through the end of the 1980s and into the 1990s, most notably in Mazursky's farce Moon Over Parador (1988), Spielberg's Always (1989), Postcards from the Edge (1990) and Rosencrantz & Guildenstern Are Dead (1990). He appeared as a member of an ensemble that included Holly Hunter, Gena Rowlands and Danny Aiello in the romantic comedy Once Around (1991) and as a pop psychiatrist, the author of several successful self-help books, who is driven to the edge by nutcase Bill Murray in the popular comedy What About Bob? (1991). Dreyfuss has also remained active in the theater ("Death and Maiden", 1992) and on TV. He returned to features in the adaptation of Neil Simon's play Lost in Yonkers (1993) and followed with a supporting turn as the querulous political opponent in The American President (1995). Dreyfuss received some of the best notices of his career as a determined, inspiring music teacher coping with a deaf son and the demands of his career in Mr. Holland's Opus (1995). Show less «
[In 1976] People who commit adultery must die. Everyone knows that. Any movie tells you that!
[In 1976] People who commit adultery must die. Everyone knows that. Any movie tells you that!
I really think that living is the process of going from complete certainty to complete ignorance.
I really think that living is the process of going from complete certainty to complete ignorance.
Happiness has a bum rap. People say it shouldn't be your goal in life. Oh, yes it should.
Happiness has a bum rap. People say it shouldn't be your goal in life. Oh, yes it should.
Actually, when I was a kid I was really more aware of the star and the handprints in Grauman's Chinese more than I was aware of anything els...Show more »
Actually, when I was a kid I was really more aware of the star and the handprints in Grauman's Chinese more than I was aware of anything else, including the Oscar. I wanted to have a star. I wanted to be able to see, you know, old gum on my star. Show less «
I don't think film acting is necessarily a triumph of technique. Film stardom is a friendship that happens between an audience and a perform...Show more »
I don't think film acting is necessarily a triumph of technique. Film stardom is a friendship that happens between an audience and a performer. Its like you meet someone and you click with that person for whatever reason. Show less «
[on Bette Midler] I loved working with Bette. I rarely get to have a good leading lady and Bette and Marsha Mason are the best. I'd work wit...Show more »
[on Bette Midler] I loved working with Bette. I rarely get to have a good leading lady and Bette and Marsha Mason are the best. I'd work with them again anytime. Show less «
The motion picture business is run by corporate thieves.
The motion picture business is run by corporate thieves.
I enjoyed the journey to the top but then found myself disappointed.
I enjoyed the journey to the top but then found myself disappointed.
Behind all art is ego and I am an artist and I am unique.
Behind all art is ego and I am an artist and I am unique.
[on Steven Spielberg] Steven Spielberg is the only person I've come across who fits my criteria of genius. And I don't throw that word aroun...Show more »
[on Steven Spielberg] Steven Spielberg is the only person I've come across who fits my criteria of genius. And I don't throw that word around. Genius is imagination and attention to detail. The ability to achieve to the minutest detail what you perceive in your imagination. I don't think there's another person on earth who's as great a plot structuralist or better storyteller. Show less «
[on James Stewart] You personify for me part of this nation. You symbolize an America that is gentle, ironic, self-deprecating, tough, and e...Show more »
[on James Stewart] You personify for me part of this nation. You symbolize an America that is gentle, ironic, self-deprecating, tough, and emotional. Show less «
[2009, on The Day Reagan Was Shot (2001)] I thought I was miscast. He's a character I could empathize with. He's totally human. A physically...Show more »
[2009, on The Day Reagan Was Shot (2001)] I thought I was miscast. He's a character I could empathize with. He's totally human. A physically bigger person should have played him, but it was fun, and it was especially fun because it was true, and it was a really well-written script in that way. But playing him... You know, every actor wants to play the villain. The trick is not to wink at the audience and say, "I'm not him". Show less «
[2009, on What About Bob? (1991)] Funny movie. Terribly unpleasant experience. We didn't get along, me and Bill Murray. But I've got to give...Show more »
[2009, on What About Bob? (1991)] Funny movie. Terribly unpleasant experience. We didn't get along, me and Bill Murray. But I've got to give it to him: I don't like him, but he makes me laugh, even now. I'm also jealous that he's a better golfer than I am. Show less «
[2009] Jaws (1975), first time I saw it, I forgot I was in it. True. Totally forgot, and got as scared as everybody else, and it's a great m...Show more »
[2009] Jaws (1975), first time I saw it, I forgot I was in it. True. Totally forgot, and got as scared as everybody else, and it's a great movie. I learned a shitload about my whole life, and I watched Steven [Steven Spielberg] go from being a boy to being a man. He was under so much pressure you couldn't believe. And his shark never worked, so they had to re-conceive as they went, and it was because of that mind-fuck that he made a great film. Show less «
I always knew that I could be a star for this whole audience that didn't relate to John Wayne or Al Pacino. An urban, progressive, intellect...Show more »
I always knew that I could be a star for this whole audience that didn't relate to John Wayne or Al Pacino. An urban, progressive, intellectually-oriented audience, not too macho, people who read, people who listen to Paul Simon and Randy Newman. People like me. Show less «
[on The Apprenticeship of Duddy Kravitz (1974)] It was the first time I'd ever seen myself in a feature film as a lead, and all I could reme...Show more »
[on The Apprenticeship of Duddy Kravitz (1974)] It was the first time I'd ever seen myself in a feature film as a lead, and all I could remember was the bad moments that I didn't succeed at. I didn't really see the film and the performance as a whole until about ten years later. Show less «
It's really a mitzvah for the actor to know when you make people laugh, you are giving them a gift. You are, as Shakespeare said, giving sur...Show more »
It's really a mitzvah for the actor to know when you make people laugh, you are giving them a gift. You are, as Shakespeare said, giving surcease from sorrow. And that's an easy thing to fall in love with. Show less «
Acting is the only art form that is based entirely on pretense. The clothes you're wearing are not yours, the words you're saying are not yo...Show more »
Acting is the only art form that is based entirely on pretense. The clothes you're wearing are not yours, the words you're saying are not yours, you pretend that you don't see the stagehand and you pretend you don't see the audience - and the audience pretends you're not actors, that you're real life. And that house of pretense creates art and truth. And it is an amazing feeling to make people laugh or make people cry. Show less «
I always knew I was going to be an actor and that was that - no doubts, no uncertainties, no changing my mind. And that was when I was like,...Show more »
I always knew I was going to be an actor and that was that - no doubts, no uncertainties, no changing my mind. And that was when I was like, nine, ten. And it never changed. Show less «
I'd like to reinvent radio the way Orson Welles did. I'd like to do Hamlet or I'd like to do a master-class in Hamlet, or I'd like to do som...Show more »
I'd like to reinvent radio the way Orson Welles did. I'd like to do Hamlet or I'd like to do a master-class in Hamlet, or I'd like to do something with history. Show less «
I much prefer the stage. Much. But I also prefer being paid. I like being paid as a screen actor but working on the stage.
I much prefer the stage. Much. But I also prefer being paid. I like being paid as a screen actor but working on the stage.
When I saw Jaws (1975) for the first time, I forgot I was in it. It scared the crap out of me. That night, I heard something I'd never heard...Show more »
When I saw Jaws (1975) for the first time, I forgot I was in it. It scared the crap out of me. That night, I heard something I'd never heard before. They [the audience] went crazy, and then they silently watched the scroll and then they clapped again. Show less «
I wouldn't recommend to a young actor anymore to become an actor because I think the film industry has changed so terribly. The tools in the...Show more »
I wouldn't recommend to a young actor anymore to become an actor because I think the film industry has changed so terribly. The tools in the director's tool kit used to be story, dialogue, character... after that came cinematography and editing. Now it's special effects, editing and we [actors] are way down at the bottom part. Show less «
Film acting is about the hollowest experience you can have as an actor. When you do a film, it's out of order and sequence and everyone arou...Show more »
Film acting is about the hollowest experience you can have as an actor. When you do a film, it's out of order and sequence and everyone around you is working -- even directors now are behind the little video thing -- so you're alone. You're working for yourself. Show less «
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Centipede
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Glenn Holland
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The Player
Louis
Richard Dreyfuss
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George
Himself - Host, Roy Neary, Various
Yuri