
Lance Henriksen Lance Henriksen
Lance Henriksen ist ein US-amerikanischer Schauspieler. Lance Henriksen (* 5. Mai in New York City) ist ein US-amerikanischer Schauspieler. Inhaltsverzeichnis. 1 Leben und Werk. Privates. 2 Filmografie. Lance Henriksen gehörte einmal zu jenen, die in Dutzenden von Filmen auftreten, immer einen bleibenden Eindruck hinterlassen und dennoch namentlich. Lance Henriksen ist ein amerikanischer Schauspieler. Entdecke seine Biographie, Details seiner 45 Karriere-Jahre und alle News. Lance Henriksen. Schauspieler • Sprecher. Aus der Garde der Action-Men, Gangster, Androiden und Gun-Men ist der seit. Serien und Filme mit Lance Henriksen: Into the Badlands · The Blacklist · Criminal Minds · Grey's Anatomy · Legends of Tomorrow · The Night Shift · The . Lance Henriksen - Alle Bilder, Filme, TV Serien und Fakten finden Sie hier zum Star auf TV Spielfilm. Jetzt hier informieren!

Lance Henriksen BELIEBTE STARS
Um die Gesamtbewertung der Sterne und die prozentuale Aufschlüsselung nach Sternen zu berechnen, verwenden wir keinen einfachen Durchschnitt. Woody Harrelson. Verzweifelt versucht Reese die Studentin vor der Killermaschine zu warnen. Bruno Romy. Maze Runner — Die Auserwählten in der Brandwüste. Home Stars Lance Henriksen.
Was ist das Geheimnis der beruflichen Langlebigkeit dieses Achtzigjährigen, der von sich behauptet, dass er seit Jahrzehnten kein Casting mehr absolvieren müsse? Marie-Lou Sellem. The Untold - Unsichtbare Bedrohung. Henriksen, der in den Siebzigern in New York seine Actors-Studio-Ausbildung abschloss und erste Schritte auf der Theaterbühne vollzog, hatte das Glück, in dieser Aufbruchszeit von Tokyo Ghoul Hd an dabei zu sein. Alle Themen. Johannes Herrschmann. Supernova Tauschkonzert Wenn die Sonne explodiert. Ellen Pompeo. Lance Henriksen Contribute to This Page Video
Gunfighters Moon - FREE WESTERN MOVIE - Action - Full Length Film - ENGLISH
Tales from the Crypt. Everything was wood. It just went everywhere. Scars, Part 2 E The Judge S01E Hunter X Fifty S04E The Penitent Man. Savage Dawn. Maze Runner — Die Auserwählten in der Brandwüste. Bruno Romy. Eduardo Noriega. Richard Griffiths. Alle Meldungen. Lance Henriksen - Inhaltsverzeichnis
Henriksens latent beunruhigende Ausstrahlung macht ihn selbst in winzigen Rollen zum Hingucker. Ich wurde auf jede nur denkbare Weise getötet.Lance Henriksen Navigation menu Video
Mans Best Friend 1993 Horror (Ally Sheedy Lance + Henriksen) HDLance Henriksen ' + '词条锁定,暂时无法编辑 Video
Lance Henriksen with David Letterman in Late Show S04E154 He and Bill Paxton are the only two actors to Maria Fahl Vikander off against a Terminator, an Alien and a Predator. Medical Detectives Neue Folgen Wikipedia, la enciclopedia libre. Prince of the City. Transformers Animated: The Game. Celebs who've appeared in all the NCIS series! He was finally married to Jane Pollack from to If you can't lose it, use it.Lance Henriksen - Navigationsmenü
Suche Suche. Richard Armitage.In several cases, they have proven themselves without any help at all. My feeling is, I do a lot of low-budget films.
I don't do low-budget acting. I have no interest in just goofballing my way through, thinking, "Ah, no one's ever going to see this anyway".
And you know, most people don't set out to do a bad movie. There are a few exceptions-- what I call "alimony films," where the whole point is to pay some bills but mostly people are trying to do their best.
What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible, nobody's going to risk going off the page.
But when you're doing a very low-budget film, why not take some chances, intellectually, artistically? Baxley ] came in, I met with him in the lobby of the hotel, and I said, "Craig, if you notice in the script, every line that Chains says comes directly from the Bible.
They won't listen to a fucking thing I say after that, because it's ridiculous. I'll stay within the structure of the script, but I want to improvise every line.
That was a moment where I decided to stop being afraid of whatever was coming that I didn't know about yet. I just said [to myself], 'I have confidence now.
You've either got it or you don't. I have it. I have to rely on the unspoken things--the instincts that are in my body that only I know about.
That was the first time I ever said that to a director. I was really taking a chance--because I wasn't on film yet and I could have been fired--but he said, "Okay".
After that, I got so deep into the role that I'd just say whatever came into my mind. I asked them to dress me all in black and put the piping in such a way that the guy looks totally non-physical--because gamblers spend all their time at a table.
Then I got that little stupid-ass mustache. Walter Hill let me do whatever I wanted, because he understood that sometimes the smallest thing can help me find the character.
What happened on the "Crypt" set was that everyone would say, "Let's try this! She took me to a place to get my ear pierced. She said, "You need an earring, you need a big fucking earring.
We were the couple from hell. We were constantly berating each other--making scenes. We created the whole thing out of that. It was great.
She was probably the strongest actress I've ever worked with. And not only was she a great actress, but she was so sexy that she made me shy.
I said, "I can't do it. You were born to do this role. It is you. How am I supposed to respond to that? I said, "I'm not interested in your fucking movie.
Don't ever call me again. And we were hovering in the helicopter while they set the shot up. It took so long to set the shot that nobody noticed this big sailboat with a high mast coming into the harbor behind us.
And when we turned to go out, the mast was right there. I looked down and saw my feet only two feet away from it.
If we'd hooked it, we would have been dead. Luckily the pilot was a Jamaican Air Force pilot who had chased drug smugglers, and he reacted instinctively and put that thing straight up in the air.
He just yanked back on the stick and we went up until we lost air speed. Then the engine stalled. He flipped it around and dove straight into the ocean to re-gain air speed.
We just barely managed to fly out of there. It was a miracle we didn't hit the water. We went over to a nearby field and landed.
When we got out of the helicopter--it was just the pilot and me--we were shaking. It was a hell of a fucking ride.
I remember Jim James Cameron said afterwards, "I thought you were fucking dead. We had to send for a new camera.
He called me over and he goes, "Lance. Such power. To get that kind of compliment from him, of all people, was overwhelming.
I couldn't even answer. It's a distinct feeling of not having any identity at all. This has been the biggest problem of my life, especially in relationships with women.
Because when I go into that phase, where I don't know who the fuck I am, what have they got? They're standing there on the sidelines going, "What about us?
It's the price you have to pay for this kind of work. At least, it's the price I have to pay. You have to shed the role, you have to absolutely shed it, and then you need time to heal.
He was playing a cardinal, sent by the Pope. He was such a loose canon. When I met him, we said our hellos and then he said, "You want to see something?
The head was tattooed with what looked like an ace of spades--it was a quick glance. I said, "Put that ugly fucking thing away. That night we all sat down for a big welcoming dinner--the director, the producers and the cast.
There must have been 30 of us. And there were these bowls of apples on the table. And lots of wine! Oliver took an apple and he put it on the table in front of him.
Then he slammed his fist down and turned it into applesauce. It just went everywhere. That was exactly the kind of release I was looking for.
I just wanted to let [my character] go, because I felt so restrained. I felt like I had wound the watch too far, and the spring was so tight. So I grabbed an apple and I did it, too.
I slammed it and it went everywhere. Everyone at the table was appalled. And I thought, "Perfect". After that, I took Oliver's lead for the rest of the night.
We proceeded to drink all of the white wine on the table--about ten bottles of local wine-- - and then went into this evening of oblivion. I remember literally climbing the wall outside the castle--this foot-high, almost completely vertical wall.
We climbed all the way to the top and stood on the edge, screaming down at the town below. That's the last thing I remember. The next thing I remember was waking up in bed the next morning, and my clothes were hanging on the doorknob outside my room.
I don't know what the hell the story was there. He pushed people right to the point where they were ready to fight. Then he would get happy--because when everybody around him was operating at a certain adrenaline level, he felt normal.
That was my motivation for the character in Hard Target It was a crash course. I got one hour of sleep that night.
In the morning, I decided just to g for it. I thought, "This is the only opportunity I'll ever have to play this person.
You don't get to play a famous person twice. Just go for i". I got to shoot a Thompson submachine gun from back in the '30s.
It kinda ruined one of my ears. We were moving so fast that I forgot to put earplugs in, and that baby is loud. Yeah, I had fun with it. I got to push everybody around.
It's a happening thing. And then Tony and I would look at each other like, "What the fuck? I told you!
It's a happening thing, man! We just surrendered to it The producer was so cheap he wasn't even feeding the crew breakfast.
Tony called up a catering service and for a week he paid for the catering, to embarrass the producer into giving them breakfast.
And it worked. Tony Edwards impressed the shit out of me. Uma brought a Ouija board and we went up into the scariest part of the building.
Kennedy ]? He died there. We got so scared that we threw the Ouija board away. That was fun. Uma was great!
He was an L. Now he's getting close to retirement. He's got a wife that he loves. He goes fishing on the weekend. He was very at peace.
I don't normally get those kinds of roles. I usually get roles where the guy is carrying the angst of the world in his fucking soul.
Playing Freddy Ross was the happiest I've ever been on a movie set. On the second day of shooting, I was doing this scene on my boat.
I look up on the pier and I see Lance Henriksen standing with the producer. I immediately thought I was gonna get replaced.
I know Jon, so I should have said hello - but I couldn't because I thought he was there to replace me. It went through me like a cold breeze, and I thought, "Oh no, I really like this role".
In the end, it turned out that I was just being paranoid. And whenever you have a good laugh, your DNA is altered. Those things make you who you are.
For me, it's the same thing with acting. Every role alters my cell structure. Those films are in me. I am who I am in relation to the characters I've played.
There are times where I'm playing a role and I think: "I like this guy's life more than my own". And then I hear the director yell "Cut!
I was just getting somewhere". It's crazy, isn't it? I was hanging out with the scum of New Orleans - I'm talking about gangsters and killers.
I was so into that role, and I was looking at the world like I had night-vision or something. It was crazy. And for what? When I saw the movie, I thought, "Why did you do that?
Why did you put yourself through that dark place? It didn't even show in the movie. That guy [Fouchon] was all style.
I could have had much more fun with the role. I really could have. I didn't need to lick the lint off of the floor to prove that I was willing. Burroughs --were living there in this apartment building.
Everybody was always on the roof, smoking hashish and philosophizing. I didn't have enough education for it to be entertaining to me, so I watched it as a voyeur.
I thought I was wild, but these guys were bizarre. But they were good people, you know. They accepted each other. It was an era of connection.
I remember I had a buddy in New York whose name was Johnson, and he was a painter, too. He used to ride this little scooter around the city.
One day I went to McSorley's Ale House to find him, because we all used to meet there, to talk art and drink beer.
I went in and said, "Where's Johnson? He got killed--he was riding his scooter and he got hit by a truck. I walked out of McSorley's and I was weeping uncontrollably.
I was really upset, because Johnson was one of the few friends I had that I felt really close to. I ran into Allen Ginsberg , and he took the time and tried really hard to talk me down from the absolute devastation I was feeling.
That's the kind of guy he was. The artists of that era - - - the poets and the painters--they were good people. I played an American engineer who's done six months of contract work [in the Middle East] and he's getting ready to leave.
Everybody is going to the airport, but he stayed to have one more cup of tea. If he had gone with them, nothing would have happened, but he was enjoying his tea.
That was important to me because it showed this guy appreciating little things about the culture. I wanted that contrast between the beauty of the culture and the insanity of war.
I also used [ Saddam Hussein ]'s money to pay for the tea. I had been in Romania making a film, and I met these two soldiers who were on leave from battle.
They were staying in the same hotel I was staying at. And one of the soldiers gave me some Saddam money. I was very touched by it. He was trying to give me the only thing he had to offer.
And I felt really grateful that they were sitting there--alive, not dead. So we used that in the movie.
If you've done three, there are no more expressions you could possibly have left towards a Sasquatch that would be new, unless he steps on me.
Don't even mention Sasquatch to me. If I get another script that says "The Sasquatch looks around the tree," I'm going to go, "No way, leave me alone, man.
I know his disappointment. And I was revisiting an experience that I understood really well. That's why I crawled out of the theater when I saw those.
When the lights came up, they said, "Well, we have Lance. Where's Lance? That was fucking embarrassing. I mean, look at the situation: I'm a ghost of what was originally there.
Why would I want to get up and say, "I'll tell you what it feels like to be a ghost of the original. This is a piece of shit.
I'd rather get out and let them have their little party. When people bring up those "Pumpkinhead" sequels, it's like saying, "You know what you did when you were drunk last night?
When you get out on a board, all you have to deal with is the movement of the ocean. For the first 25 years of my life I never stopped moving.
As a kid, I was always either running from something or to something imaginary. When I was on the road, I always felt that I was arriving somewhere right after something happened, or right before something was going to happen.
And I connected this to surfing, because that's all about movement--and movement can be a reassuring thing when you're doing it in solitude. In pottery, it's the same thing.
I have solitude when I'm working. There are no limits, no boundaries. It's all created by me. When I'm making pottery, my boundaries belong to me.
And that's the great escape. I'm working with an actress, I get a sense of how she sees the world and where she is in life. I'm getting to know the person, not the character.
Once I do that, I start to realize that we all have much more in common than we think we do. A lot of people think of themselves as utterly different and utterly isolated, but the truth is that we're all going through the same things in life.
We're all trying to figure out how we fit into the world. It happens off-screen, and then hopefully it happens onscreen. That's what pottery is about for me.
I [see] ceramics as a recording device. It records everything you do, from the moment you pick up a ball of the clay to the moment you take the finished-fired piece out of the kiln.
Everything is recorded in it--every touch, everything it's been exposed to. When I look at a pot, that's what I see. I don't look at a finished pot and go, "That's a great pot.
I've thrown away more kiln-loads of pottery than any potter I know--thrown them away, taken them to the dump--but I didn't throw them away before I saw what was recorded there.
The finished pot records the whole adventure, and that's what I love about it. From the lump of clay to a bisque-fired piece to a glazed piece to a finish-fired piece, I like to prolong my involvement with a piece.
And I'm experimenting constantly, at each stage, because I want to surprise myself. It is meditation in a very broad sense.
You create your environment--you create your studio. You know where to find your tools. You know where you mix your clay. The environment is structured and so well-lived in that you come to depend on it.
You go there for comfort. You go there for escape. You go there for all the things you can't get anywhere else.
Acting doesn't offer the same security, because you're part of someone else's cosmos. In pottery, I create my own cosmos.
I'm in it as soon as I walk through the door of my studio. It's compulsive. I have a compulsive desire to pursue the things in life that make me feel like I own myself.
And I thought: It's a payday. It's an adventure. I never thought they'd be shown in America. I really didn't. I call them jet-lag movies, because I always got there feeling jet-lagged and then we'd start shooting the next day.
I wouldn't even get an eight-hour turnaround before I had to start reciting all this shit. They don't give you any time. It's just, "Get in there and do it.
You're physically there, but your soul is somewhere else. That's how I felt making those movies. Even the chairs were wood. Everything was wood.
The game's plot involves androids gaining sentience and free will, topics explored briefly with Henriksen's Bishop character in Aliens.
In October , Henriksen was signed for one of the two leads in Falling , the directorial debut of actor Viggo Mortensen , who also wrote, produced and co-starred.
Henriksen continues to produce art. He worked as a muralist before he became an actor, and he has worked with clay since In September , Henriksen set up a website to showcase and find homes for some of his most recent clay works.
He "still believes that there is nothing as simple and beautiful as raw clay And that Potters have the remaining soul of the nomads Henriksen has married three times.
He was first married to Louise Lunde. He was then married to Mary Jane Evans from to He was finally married to Jane Pollack from to Lawrence died in He has one grandson, Thiise Brok Henriksen.
Though uncredited, his daughter Alcamy appears in an episode of the TV series Millennium. From Wikipedia, the free encyclopedia.
American actor. Manhattan , New York , US. Mary Jane Evans. Jane Pollack. This article needs additional citations for verification.
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