Philip Anthony Mair Heald net worth is $2 Million. Also know about Philip Anthony Mair Heald bio, salary, height, age weight, relationship and more …
Philip Anthony Mair Heald Wiki Biography
Philip Anthony Mair Heald, known professionally as Anthony Heald (born August 25, 1944), is an American actor known for portraying Hannibal Lecter’s jail nemesis, Dr. Frederick Chilton, in The Silence of the Lambs and Red Dragon, and for playing assistant principal Scott Guber in David E. Kelley’s Boston Public.Heald also had a recurring role as Judge Cooper on Kelley’s The Practice and Boston Legal. IMDB Wikipedia $2 million 1944 1944-8-25 5′ 7″ (1.7 m) 8MM (1999) Actor Anthony Heald Net Worth August 25 Boston Public (2000) New Rochelle New York Philip Anthony Mair Heald Red Dragon (2002) Robin Herskowitz The Silence of the Lambs (1991) U.S. Virgo
Obie Award for Ensemble Performance, Obie Award for Performance
Nominations
Tony Award for Best Featured Actor in a Play, Tony Award for Best Featured Actor in a Musical, Drama Desk Award for Outstanding Featured Actor in a Musical, Drama Desk Award for Outstanding Actor in a Play, Satellite Award for Best Supporting Actor – Drama Series
Movies
The Silence of the Lambs, Deep Rising, Red Dragon, X-Men: The Last Stand, 8mm, The Pelican Brief, The Client, Proof of Life, Kiss of Death, Searching for Bobby Fischer, Outrageous Fortune, A Time to Kill, Bushwhacked, The Ballad of Little Jo, Accepted, Whispers in the Dark, Happy New Year, The Stair…
TV Shows
Boston Public
Philip Anthony Mair Heald Quotes
You know, I became an actor because I love solving problems. I’m a big crossword puzzle person. I love doing research. One of the reasons I became Jewish is because I love text study. I love going into rehearsals day after day for three, four weeks, trying stuff, coming back the next day, building on that. So many times I’d drive home from the studio [after] shooting and I’d be thinking about a certain moment, and I’d think, “Oh, I know what to do!” And I never get a chance to visit that moment again. But in theater, I get to visit it every performance. You learn the vocabulary, you know what the parameters are, so then play with it. You can say, “I’m going to take this pause a little longer this time.” It’s thrilling! Live performance, there’s nothing like it.
(On Red Dragon) They recreated the ginal] set [of Silence Of The Lambs]. They had to make a whole wig for me. I had a buzz cut, because I was still doing Boston Public. We had our first meeting in Dino De Laurentiis’s office. When I walked in, Tony [Hopkins] saw me and he started dancing across the room, singing, “We get to do it again! We get to do it again!” He’s so silly. It was wonderful having the opportunity to work with Tony again. He actually had me come into the set while he was filming something of his and had me feed him the lines. He was very reassuring… But the movie was really problematic, I thought. Because Manhunter is such a good film of that book, and what made it a good film is the guy who played the FBI guy, William Petersen, brought the weight of the world: a man who had seen the underbelly of society and had been deeply affected by it and changed by it. Whereas in Red Dragon, you had Ed Norton, who looks like he just graduated from high school. He’s got this exuberant, youthful, optimistic kind of demeanor. So I didn’t buy his character’s dilemma.
(On Deep Rising) It’s a film that takes place in 24 hours, and like with any movie, you’re shooting out of sequence. You shoot what set you’re in. My very first day in Vancouver, we shot the scene in which my character dies. The very last day, 17 weeks later, we shot the scene that leads up to that. My character went through a very minutely detailed deconstruction as the movie went on. His hair started to get mussed, he lost his tie, his shirt got ripped, his glasses got broken. And I sat down with the continuity person and we worked out a chart, so we knew exactly how that deconstruction was going to happen, and then tried to stay with that so that it made sense. I developed a very serious infection, a staph infection in my foot that I got from my infant daughter, and so I was laid up for a good portion of time. I would have to have a nurse come to my apartment every eight hours, or to the set, and give me antibiotics intravenously. And I was not allowed to go out and socialize, and this was right at the key time when everybody in the cast was bonding. So I felt extremely isolated. I was inactive, so I was ballooning in weight. So it ended up not being a terrific experience. I was excited about doing it because it was more money than I’d ever been paid, before or since, for a single project. And then it ended up being a movie that just did not get seen. It was about a cruise ship disaster, and it opened a month after Titanic. Nobody cared.
(On Outrageous Fortune) It was a great object lesson, because Shelley Long was the kind of actress-and there are a lot of performers like this-who make decisions about how to play things at night, alone, in front of their mirror. Then they come in and do those things. Then there are other actors who make no decisions about how to play something until they’re in the moment, looking into their scene partner’s eyes. So they’re completely available for whatever happens. And those are actors who tend to avoid getting into patterns. Bette [Midler] totally personified that kind of acting. Arthur Hiller would do 15 takes of the same thing, and he would print all of them. So you’d watch the dailies the next day-he always encouraged the actors to come watch the dailies-and you’d see Shelley do take after take after take after take, exactly the same. Down to the millimeter. The hand movements, everything. Bette would do it angry, happy, sad, giggly. A million different adjustments. Every take was different… When you do that, you give the director and the editor huge resources with which to assemble a performance. Because our job as actors, especially in front of a camera, is almost like textile artists. We spend so much time getting the right texture of yarn, and working out the color scheme, and binding off the weave, and making it just right, and we do that and that’s our work that we’ve done and then they take it and they cut it up and stretch it and dye it and put it into a tapestry. And nothing bears any resemblance to what you thought it was going to be. Your performance is no longer yours.
(On The Client) The real joy of that situation was getting to work with J.T. Walsh. I had worked with him early in my career [in The Beniker Gang, 1985], and he was drinking at the time, and he was a terrible person to be around. By the time we did The Client, he’d achieved sobriety, and he was the most wonderful, gracious-just a true prince.
(On Silence of the Lambs) I was working at the Berkshire Theatre Festival, doing Betrayal, and I got a call from my agent that Jonathan Demme wanted to see me for Silence Of The Lambs. The agent said, “Read the book.” So I went to the drugstore and got a paperback of Silence Of The Lambs. Read it in one sitting. Sat up all night. Then I drove down to New York the next day, went into Jonathan’s office, and he greeted me like and old friend and he said, “You know, I’m a New Yorker and I see theater all the time. I’ve seen everything you’ve done, and I really love your work. I’m very anxious to work with you. I want you to be in this movie.” You never have an audition like that! He said, “What do you want to play? You know the book?” I said, “Yeah. I’d love to play Dr. Chilton.” He said, “Well, Chilton needs to be in his late 50s, so we’re going a good deal older than you. Is there anything else?” I said, “One of the Smithsonian bug guys, that’d be great fun.” So, a couple weeks later, I get news. We’re going to do a reading. Jodie Foster has been hired as Clarice, and Gene Hackman has been hired as Hannibal. The day before the reading, I get a call from Jonathan: “Gene Hackman has dropped out. His daughter doesn’t think it’s the right role for him. So we don’t have a Hannibal. But we still want to do the reading. Jodie is flying in. This is not an audition, I would not cast you in this role, but to help us out, would you, tomorrow, at the reading, read the part of Hannibal Lecter?” Sure! So the first time we read the script, I was sitting across the table from Jodie Foster and I was playing Hannibal. I just had a great time. After the reading Jonathan took me aside and said, “You can play Chilton. You convinced me.” A few weeks later, we’re going to do another reading. We now have the person who’s going to play Hannibal Lecter: Robert Duvall. Well, that fell through, and finally it’s going to be Tony Hopkins. And I thought, “Tony Hopkins?” Because his film career was in the toilet. Then we did a reading and I sat watching him doing it and I thought, “He’s terrible. He’s terrible! That’s not the way to do it!” Because he wasn’t doing it anything like the way I did it. Then during the shooting of it, I kept-I loved him. I found him a beautiful person to be around. But I just thought he was so wrong for the role. And I had a great time doing the movie, but when I saw the screening, I thought, “This is a disaster. They’re all so excited about this film, but it’s not scary to me, it’s not believable.” I still don’t like it as much as everybody else. It was the reactions of other people that made me realize that maybe it was better than I thought.
Philip Anthony Mair Heald Important Facts
He’s often confused with Nick Nolte by many audiences. He appeared with Nolte in Teachers (1984).
Appearing in Oregon Shakespeare Festival productions of Tartuffe and The Cherry Orchard [March 2007]
Filming Red Dragon with Brett Ratner
Oregon Shakespeare Festival in Ashland performing in Music Man and Henry VIII [August 2009]
Currently appearing again, at the Oregon Shakespeare Festival in The Further Adventures of Hedda Gabler and Our Town. [June 2008]
Summer 2010 – Once again performing in Oregon Shakespear Festival. Anthony appears in Merchant of Venice and Henry IV, Part One. [July 2010]
Has appeared in several TV shows written by David E. Kelley.
Was twice nominated for Broadway’s Tony Award: in 1988, as Best Actor (Featured Role – Musical), for a revival of “Anything Goes”; and in 1995, as Best Actor (Featured Role – Play), for Terrence McNally’s “Love! Valour! Compassion!”.
May 28, 1991: Starred in the first production of Terrence McNally’s play “Lips Together, Teeth Apart” with Nathan Lane, Christine Baranski, and Swoosie Kurtz.
Resided in Montclair, NJ. Now lives in Seattle.
Attended Michigan State University in the 1960s, where he worked with a street theater group.
Philip Anthony Mair Heald Filmography
Title
Year
Status
Character
Role
The Stairs
2016/II
Short
Alden
Actor
Sam & Cat
2014
TV Series
Dr. Slarm
Actor
Monday Mornings
2013
TV Series
Mitch Tompkins
Actor
Laid Off
2012
TV Series
Giacomo
Actor
Boston Legal
2005-2008
TV Series
Judge Harvey Cooper
Actor
Accepted
2006
Dean Richard Van Horne
Actor
The Closer
2006
TV Series
Howard Pierce
Actor
X-Men: The Last Stand
2006
FBI Mystique Interrogator
Actor
Crossing Jordan
2006
TV Series
Attorney McBride
Actor
According to Jim
2005
TV Series
Reverend Steven
Actor
NCIS
2005
TV Series
Guyman Purcell
Actor
Numb3rs
2005
TV Series
Walt Merrick
Actor
Revenge of the Middle-Aged Woman
2004
TV Movie
Simon (uncredited)
Actor
Boston Public
2000-2004
TV Series
Scott Guber
Actor
Red Dragon
2002
Dr. Frederick Chilton
Actor
Benjamin Franklin
2002
TV Mini-Series documentary
Jonathan Austin
Actor
The Ruby Princess Runs Away
2001
Short
King Regal
Actor
The Practice
2000-2001
TV Series
Judge Wallace Cooper
Scott Guber
Actor
Proof of Life
2000
Ted Fellner
Actor
Frasier
2000
TV Series
Corkmaster
Actor
The X-Files
2000
TV Series
Harold Piller
Actor
8MM
1999
Daniel Longdale
Actor
Deep Rising
1998
Simon Canton
Actor
Liberty! The American Revolution
1997
TV Mini-Series
Philip Vickers Fithian
Actor
Cosby
1997
TV Series
President’s Aide
Actor
A Time to Kill
1996
Dr. Wilbert Rodeheaver
Actor
Poltergeist: The Legacy
1996
TV Series
Damon Ballard
Actor
New York News
1995
TV Series
Actor
Bushwhacked
1995
Reinhart Bragdon
Actor
Kiss of Death
1995
Jack Gold
Actor
Law & Order
1991-1994
TV Series
Councilman Spencer Talbert / Ian O’Connell
Actor
Under Suspicion
1994
TV Series
Martin Fox
Actor
Murder, She Wrote
1994
TV Series
Bob Kendall
Actor
The Client
1994
Trumann
Actor
The Pelican Brief
1993
Marty Velmano
Actor
The Ballad of Little Jo
1993
Henry Grey
Actor
Searching for Bobby Fischer
1993
Fighting Parent
Actor
Cheers
1993
TV Series
Kevin
Actor
Class of ’96
1993
TV Series
Professor Davis
Actor
Whispers in the Dark
1992
Paul
Actor
The Super
1991
Ron Nessim
Actor
CBS Schoolbreak Special
1991
TV Series
Dr. Gil Morris
Actor
The Silence of the Lambs
1991
Dr. Frederick Chilton
Actor
Against the Law
1990
TV Series
Grainger
Actor
Postcards from the Edge
1990
George Lazan
Actor
Orphans
1987
Man in Park
Actor
Happy New Year
1987
Dinner Guest
Actor
Crime Story
1987
TV Series
Roger Jankowski
Actor
Outrageous Fortune
1987
Weldon
Actor
Fresno
1986
TV Mini-Series
Kevin Kensington
Actor
Kay O’Brien
1986
TV Series
Bert Hammond
Actor
A Case of Deadly Force
1986
TV Movie
Dave O’Brian
Actor
Tales from the Darkside
1986
TV Series
Englebert Ames
Actor
The Beniker Gang
1985
Mr. Uldrich
Actor
Miami Vice
1985
TV Series
Commander René
Actor
Spenser: For Hire
1985
TV Series
The Doorman
Actor
Teachers
1984
Narc
Actor
Silkwood
1983
2nd Doctor at Union Meeting
Actor
Judge Horton and the Scottsboro Boys
1976
TV Movie
Lawyer Crony
Actor
One Life to Live
1968
TV Series
Sidney Fox (1990)
Actor
Another World
1964
TV Series
Marvin Griff (1993)
Actor
Terrence McNally: Every Act of Life
2017
Documentary post-production
Himself
Self
Old?!
2014
Documentary
Self
The Broadway.com Show
2014
TV Series
Himself
Self
Meeting with Chekhov
2008
Documentary short
Himself
Self
Page to Screen
2002
TV Series documentary
Himself
Self
Inside the Labyrinth: The Making of ‘The Silence of the Lambs’
2001
Video documentary
Himself
Self
The 49th Annual Tony Awards
1995
TV Special
Himself – Nominee: Best Featured Actor in a Play
Self
The 42nd Annual Tony Awards
1988
TV Special
Himself – Nominee: Best Featured Actor in a Musical
Self
The X-Files
2002
TV Series
Harold Piller
Archive Footage
Philip Anthony Mair Heald Awards
Year
Award
Ceremony
Nomination
Movie
Category
2004
Golden Satellite Award
Satellite Awards
Best Actor in a Supporting Role in a Series, Drama
Boston Public (2000)
Won
2003
Golden Satellite Award
Satellite Awards
Best Actor in a Supporting Role in a Series, Drama
Boston Public (2000)
Won
2001
OFTA Television Award
Online Film & Television Association
Best Actor in a New Drama Series
Boston Public (2000)
Won
2004
Golden Satellite Award
Satellite Awards
Best Actor in a Supporting Role in a Series, Drama
Boston Public (2000)
Nominated
2003
Golden Satellite Award
Satellite Awards
Best Actor in a Supporting Role in a Series, Drama