Tom Everett

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Birthday:

21 October 1948, Portland, Oregon, USA

Height:

175 cm

Graduate of The London Academy of Music and Dramatic Arts on an ITT International Fellowship in the Fulbright Competition, Tom is an accomplished country singer-songwriter (RCA album - "Porchlight on in Oregon" and the independently released "Still Waters - (A collection of Years)), a Lifetime Member of The Actors Studio, and a first-rate chameleon character actor playing everything from white collar professionals to starring as Brian David Mitchell in the CBS television movie "The Elizabeth Smart Story," to receiving glowing notices for his comedic work as a dweeb/nerd/gofer in "Winning Isn't Everything" at New York's Hudson Guild Theatre directed by legendary comedic director George Abbot, to playing southern white trash Alfredo in "Leatherface: Texas Chainsaw Massacre 3." High profile roles include, but are not limited to, the scruffy 'George 'Gabby' Hayes'-like Sgt. Pepper in Dances with Wolves (1990), the straight-laced National Security Officer Jack Doherty in Air Force One (1997), and the black stovepipe-hatted Mosley Baker in The Alamo (2004). Everett has also created a whole host of other memorable, idiosyncratic characterizations, albeit in, perhaps, lesser known films: Assistant Coach to James Earl Jones in Best of the Best (1989), Rabbitt in Prison (1987) starring Viggo Mortensen, etc.. He's had the pleasure of working with directors and producers more than once including three films with Michael Bay ("Pearl Harbor, "Transformers," and "The Island"), three films with John Lee Hancock (including John Lee's first film "Hard Time Romance," starring alongside Tom's friend Leon Rippy), several projects with Alex Graves, Kevin Falls, Jeff Burr, Michael Pressman, Kevin Costner, Frank Von Zerneck & Bob Sertner, Ian Sander, Jeff Morton, Renny Harlin, Peter Segal & Michael Ewing. Television audiences have seen him in many projects doing a variety of roles including as Rory Carmichael, the condemned Alabama death row inmate in the pilot episode of _"The Beast" (2001) directed by Mimi Leder, as the recurring character Charles Frost on "West Wing"_, and most recently as the recurring character Dr. Elliot Langley on "Journeyman." He's also a cellist, guitarist and little-known humorist; in that last vein, and as a closet comedian, he recently had the pleasure of working with Judd Apatow and Paul Rudd in "This Is Forty." He received scholarships to Jacob's Pillow Dance Festival, NYU School of the Arts where he received an MFA, Perry-Mansfield School of Drama and Dance, and is a native of Oregon, and the son of Viennese parents. Tom spent 12 years in New York honing his craft and acting in five Broadway plays, many off-Broadway & off-off Broadway & regional theatre ones too (including his being a Resident Member of The American Shakespeare Theatre in Stratford, Connecticut. Show less «

Many, many, many American teachers of the fine art of acting are, in my opinion, "generalists," regurgitating the Method in various guises, ...Show more »

Many, many, many American teachers of the fine art of acting are, in my opinion, "generalists," regurgitating the Method in various guises, and fancy reputations of particular teachers and/or schools can be very misleading and a waste of time and money. If an individual or a school either doesn't encourage you or shine such a bright light of wisdom to guide your path, you really are wasting your time. To the young actor I say either hitch your wagon to a nourisher OR a person who is so bright you just have to keep staying on your toes to catch even the slightest whiff of his/her brilliance; the brilliant teachers are very far and few between! My teacher Mira Rostova (Montgomery Clift's teacher) was one of the "brilliants" and Norman Ayrton at LAMDA was another. My nourishers have included Stanley Gould (I)', Marie Donet, and Jacques Burdick (all at Adelphi University back in l966-67 when the theatre itself was in an old dilapidated but cozy quonset hut, but the whole department had energy and love) - also Martin Landau at The Actors Studio. Bottomline, it all depends how you get along with your teachers and how much they believe in you; on the other hand, if you happen to be under the tutelage of a far-and-few- between-genius, that is a thing of total beauty as long as you don't expect much coddling. Finally, it's better to be in a Kia Rio with gas than in a Mercedes on empty; so don't be enamored of the fancy reputation of a school or an individual, and should you wake up and find you're with neither a nourisher or a "brilliant," leave immediately and keep looking. Show less «

I truly believe that MFA and BFA programs should have their version of the Dale Carnegie Course for actors in their programs. Talent is tale...Show more »

I truly believe that MFA and BFA programs should have their version of the Dale Carnegie Course for actors in their programs. Talent is talent and business is business, and many actors don't necessarily have the most well developed social skills. Thank God that a number of drama programs are now incorporating "the business of acting" into their curriculum. Show less «