Elias Koteas Star Datenbank
Elias Koteas ist ein kanadischer Schauspieler griechischer Herkunft. Elias Koteas (* März in Montréal, Québec) ist ein kanadischer Schauspieler griechischer Herkunft. Inhaltsverzeichnis. 1 Biografie; 2 Auszeichnungen. Elias Koteas. In Terrence Malicks Meilenstein des Kriegsfilms, dem mit dem "Goldenen Bären" der Berlinale ausgezeichneten "Der schmale Grat", war. Elias Koteas ist einem internationalen Publikum aus Filmen wie "Der schmale Grat" und "The Killer Inside Me" bekannt. Der kanadische Schauspieler spielte. Elias Koteas kennt man unter anderem aus den Serien The Killing und Chicago PD. News auf seo-services-uk.eu In David Cronenbergs seltsamen Erotik-Streifen "Crash" () spielt Elias Koteas den charismatischen Verführer Vaughan: "Es ist nicht einfach, diese Figur mit. Serien und Filme mit Elias Koteas: Chicago Med · Chicago P.D. · Chicago Fire · Chicago Justice · Conviction · Unforgettable · Combat Hospital · Traffic .
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Patrick Flueger, Elias Koteas \u0026 Archie Kao from Chicago PD @ NBC Red Carpet - AfterBuzz TV Interview Margherita Buy. Ohne aktives Javascript kann es zu Problemen bei der Darstellung kommen. Sand Castle Imdb Remar. My Days of Mercy 0 Sterne. Kuck mal, wer da spricht 2.Elias Koteas One Chicago Center Video
Chicago P.D.: ELIAS KOTEAS \ Online-Shopping mit großer Auswahl im DVD & Blu-ray Shop. Zum Inhalt des Films: Hilflos muss der Feuerwehrmann Gordon Brewer mitansehen, wie seine Frau und sein Sohn bei einem Bombenanschlag auf die. elias koteas shutter island. It didn't occur to me to call up my girlfriend and say, "Hey, babe, could you call me Wer Glaubt Wird Selig now? It's gritty. He keeps doing it, keeps honing it. Sometimes, for some actors, they Em Live Stream Hd it spiritually at a young age. First starring role. But I could also see the value of doing a couple of takes. I felt healthy, strong. Awesome hair. I don't know what happened. You just felt alive. My one attempt at being a hero, a vigilante in the park, looking for bad guys.
It was fun. Especially with Jim Henson and the puppets. It was cutting-edge technology at the time. It was a magical summer in Wilmington, North Carolina.
I get stopped by kids - not kids anymore; they're 25, 30 - saying, "There's Casey Jones! It brings a smile to my face. Angelina Jolie came in, she was years-old, just beautiful and so raw and open to anything and trying different things.
You never can tell where someone's gonna go, but she did have this energy around her which was pretty magical. Making that movie for me was six weeks of nights filming in San Pedro-shipping yards, where ships go to die.
It was grim. I hated it. But I thought Michael Schroeder had a great vision. It sometimes comes across as fully as you want it to, sometimes it doesn't.
But I thought he made a great, valiant effort at something. But again, I'm gonna knock myself on that, because I missed the boat emotionally No matter what it is, it takes a lot.
I live it, I breathe it, I sleep with it - it runs my life. And sometimes you connect to it and sometimes you don't, but the energy behind it is always the same, and you always want to give of yourself.
And if you don't, you feel blocked, and my life somehow suffers for it, because you don't get to let it go.
You don't get to leave it. And by leaving it, you're opening up for other experiences to fill your soul.
But if somehow you're blocked and you're not letting it all out, then you're all cramped up and you carry that, and it's a big knot that fills your soul.
So I do the best I can to get rid of it, but sometimes it doesn't come out. It sounds kind of weird, but it's the only way I know how.
First starring role. I had a blast! It was six weeks, a fast shoot, and Roger Cardinal , the director, trusted me, I knew exactly what I wanted to do with that part.
I met the real Victor Malarek - just single-mindedness again, passionate. Filming in my hometown of Montreal. I just saw a couple of scenes recently, and aside from spending some time tearing it up, there was a rawness, a fearlessness, a youthfulness.
It felt a little dated. After that movie was over, I remember walking down the street thinking, "Yeah, I could do this.
I can carry a film". I almost felt like I don't really know how to talk about that film. It seems like an out-of-body experience.
What people take from that is completely different than what I could possibly say about it. And it makes my heart smile when people respond to that film, because it's so quirky and odd.
Sometimes being so controlled as an actor and knowing everything you want to do can serve it. Sometimes not knowing on the day what you're going to do may be the best remedy for that part.
Sometimes the actor's confusion might translate into the character's confusion for the viewer. And Atom Egoyan , he said in passing, recently, that you probably can't make that kind of movie now.
It's just not possible. When you look at it, it's like a capsule of the potential of independent filmmaking at its rawest. And Atom has such a passionate view of how he looks at the world and how people relate to each other.
And any time he has a story that he thinks I can help him tell, I'll be there. I was a huge fan of Thunderbolt and Lightfoot It was a phenomenal movie.
I thought that Michael Michael Cimino was very passionate, too, about trying to make a film. He hadn't made a film in a while. Again, taking all that aside, I had no idea what I was doing when I went to do that movie.
I had no clue how to approach that character as far as what I should be playing and how I should play being Mickey Rourke 's brother, I was in over my head.
I had no idea. I didn't particularly care in any way what I did in that movie. It seemed light and irrelevant. The director, Andrew Davis , he was lovely.
He wanted me to be in the movie, and I was going to be in the movie. Who was I to say? I have no idea what any of this political stuff means.
I could sit here and tear it apart - tear myself apart mostly - but Andrew is a great filmmaker and he does great stuff. He shows great stories.
Sometimes, the journey could be fun and informative, other times it's over your head. You're playing roles that, emotionally, you may not be connecting with, but you do the best you can to tell the story.
It was very surreal. You're part of a big-budget film, traveling to Mexico, downtown Los Angeles. I mean, you pinch yourself. It's a blessing. But, do I relate personally to the politics of this kind of thing?
I probably don't. But if I had the chance to play it over again? I'm a little bit more informed by it. I've lived a little bit longer. I think I've grown a little bit.
I know how to work a little bit more deeply. I don't know. I know I first met Arnold Schwarzenegger during the rehearsal, and we were introduced each other and he's like [adopts accent], "Ahhh, the weasel.
All the energy in the world. I take my hat off to that guy. He was great, and he wanted you to be at your best, too.
He wanted to keep up. He was very humble. He knew what his strengths were, and he knew what everyone else's strengths were.
He tried to bring it on at the day, at the moment. You know what? I was in a movie with Arnold Schwarzenegger.
That kind of brings a smile to my face. James Gray is brilliant. If I could be in James Gray movies for the rest of my days, I'd be a lucky man. He shoots on location.
Everything is real. It's gritty. Eid also spoke of how Elias Koteas reacted to the news of his being written off the show, and how hard it was for them to say goodbye.
We will miss him dearly. The idea of Voight needing to pay a price for his battle with Woods is fine, and Olinsky was the most convenient victim, since Woods had gotten him put behind bars.
Woods put him in prison, but it was an old grudge from cartel player Carlos DeLeon that prompted his murder.
Let us know your thoughts on the rationale in the comments. Show all episodes. James Skinner. James Skinner credit only.
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Der ehemalige Scharfschütze einer Marines-Eliteeinheit, Bob Lee Swagger Unmöglichwird dazu gezwungen, einen Anschlag auf den Präsidenten zu vereiteln, doch das Unfassbare Ufo - Es Ist Hier Er wird reingelegt u…. Elias Koteas im TV. KG, Kopernikusstr. Zu seinen Credits gehören "Ist sie nicht wunderbar? Richard Armitage. Vox setzt am Sex Tape German auf das volle Serien-Programm: Um Der neue Weltbild-Katalog ist da! Chicago Justice Justizsystem in Chicago steht im Mittelpunkt 1xElias Koteas - Elias Koteas
News zu Elias Koteas. Margherita Buy. God's Army - Die letzte Schlacht.
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How much of Elias Koteas's work have you seen? User Polls Favorite "that guy" actor? Known For. The Thin Red Line Capt.
The Prophecy Thomas Dagget. Shooter Jack Payne. Crash Vaughan. Jump to: Actor Producer Self Archive footage.
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Show all 13 episodes. Clay Tarpin. William Drugh. Jack Mulanax. Jim voice. Jack Moriarty. I remember auditioning a couple of times, and each time felt more fun and improvisational.
They just let me improvise, and I felt so free and uninhibited. The character on the page was this huge, burly-type guy and they saw this little glint in the eye-this joie de vivre-and they let me play.
There was just so much joy in playing that part. I felt like there was no wrong way of playing it, as long as you were just committed and had fun with it.
The freedom that I felt doing that part, I long for that. If I could go back to that There was no fear involved.
There was just a complete unabashed, free, moment-to-moment joy. We shot that in Arlington [Virginia]. What I remember from that was tragedy.
It was painful. The way I got that part, unfortunately, was due to the tragedy that happened to Francis Ford Coppola losing his son [Gian-Carlo] in a boating accident.
My whole presence there was the replacement of that actor. I'm getting nauseous just thinking about it, how painful it must have been for Francis.
He was living in a Greek tragedy. So much support around him, and so much pain in his losing his eldest son. I couldn't help but feel that every time he saw me that the reason I was there were these horrible circumstances.
For me, it was a blessing-having a job, meeting all these different people. But obviously, I would totally erase the movie from my mind if I could take back the reason I was there He didn't really direct me.
I showed up, and from the bits that I've seen-and I try not to see too much-but what I saw was unbridled enthusiasm, again, for being in front of the camera, and acting, and doing what I love.
I don't know how much character development there was other than complete energy on my part. That's who I was at the time.
I remember shaving my head. I had shoulder-length hair at the time. It was very visceral. I had never been in a uniform or anything like that, so you'd try and pretend the best you can in the moment.
Francis put his arm around me. He made me feel welcome as best he could under the horrible circumstances. It was a couple of years later, I think.
I was playing "Alex Tremulis", who was a real guy, who designs the car. He was very nurturing. He wanted me to do the best I could, but I'm sure that because of where I was in my life at the time When I was off, when I wasn't working, I tended to want to get on a flight and go visit my girlfriend at the time.
Which caused a lot of problems, unfortunately, in retrospect. The petulance of youth and being in love at the time or, at least, deep in dysfunction.
But I cherished that time for a lot of things, and that he gave me another shot on a film with him. The next time I saw him was at the Cannes Film Festival for Crash and he was very sweet to me, but I haven't seen him since.
Jeff Bridges was great. He was 17 at the time and just reeked of potential. Nina Siemaszko , Frederic Forrest. All great. But it was just brilliant the way Greg [ Gregory Widen ] put it together - great actors all around, man.
I felt like I had a front-row seat at some great performances. Eric Stoltz came in, did his stuff. He was very focused. Great working alongside Christopher Walken ; he was very supportive.
Everyone was just great. It was just beautiful. But it was a tough ride, because it was one of my first opportunities as a major role, and it was a tough one.
You grow. I consider myself a late bloomer - and again, you don't really realize the enormity of the gift that sometimes is in front of you. Sometimes there are certain things that you gotta grow into.
Sometimes, for some actors, they know it spiritually at a young age. Others need to grow into it. The idea of that character having lost his faith, having to go through life without it, and what that crisis of faith means - and somehow being confronted with a war in heaven with angels, what does that do?
That's just a concept that boggles my mind. If it came around to me at this point in my life, it would have a different resonance. But you could say that about everything.
At the same time, I'm not the person to ask. I can't stand to watch anything that I'm in. I tear it apart.
The worst thing you can do is leave me alone and let me watch what I'm in. It's abusive. I felt healthy, strong.
Awesome hair. I don't know what happened. You just felt alive. My one attempt at being a hero, a vigilante in the park, looking for bad guys. It was fun.
Especially with Jim Henson and the puppets. It was cutting-edge technology at the time. It was a magical summer in Wilmington, North Carolina.
I get stopped by kids - not kids anymore; they're 25, 30 - saying, "There's Casey Jones! It brings a smile to my face.
Angelina Jolie came in, she was years-old, just beautiful and so raw and open to anything and trying different things.
You never can tell where someone's gonna go, but she did have this energy around her which was pretty magical. Making that movie for me was six weeks of nights filming in San Pedro-shipping yards, where ships go to die.
It was grim. I hated it. But I thought Michael Schroeder had a great vision. It sometimes comes across as fully as you want it to, sometimes it doesn't.
But I thought he made a great, valiant effort at something. But again, I'm gonna knock myself on that, because I missed the boat emotionally No matter what it is, it takes a lot.
I live it, I breathe it, I sleep with it - it runs my life. And sometimes you connect to it and sometimes you don't, but the energy behind it is always the same, and you always want to give of yourself.
And if you don't, you feel blocked, and my life somehow suffers for it, because you don't get to let it go. You don't get to leave it.
And by leaving it, you're opening up for other experiences to fill your soul. But if somehow you're blocked and you're not letting it all out, then you're all cramped up and you carry that, and it's a big knot that fills your soul.
So I do the best I can to get rid of it, but sometimes it doesn't come out. It sounds kind of weird, but it's the only way I know how.
First starring role. I had a blast! It was six weeks, a fast shoot, and Roger Cardinal , the director, trusted me, I knew exactly what I wanted to do with that part.
I met the real Victor Malarek - just single-mindedness again, passionate. Filming in my hometown of Montreal. I just saw a couple of scenes recently, and aside from spending some time tearing it up, there was a rawness, a fearlessness, a youthfulness.
It felt a little dated. After that movie was over, I remember walking down the street thinking, "Yeah, I could do this. I can carry a film". I almost felt like I don't really know how to talk about that film.
It seems like an out-of-body experience. What people take from that is completely different than what I could possibly say about it. And it makes my heart smile when people respond to that film, because it's so quirky and odd.
Sometimes being so controlled as an actor and knowing everything you want to do can serve it. Sometimes not knowing on the day what you're going to do may be the best remedy for that part.
Sometimes the actor's confusion might translate into the character's confusion for the viewer. And Atom Egoyan , he said in passing, recently, that you probably can't make that kind of movie now.
It's just not possible. When you look at it, it's like a capsule of the potential of independent filmmaking at its rawest. And Atom has such a passionate view of how he looks at the world and how people relate to each other.
And any time he has a story that he thinks I can help him tell, I'll be there. I was a huge fan of Thunderbolt and Lightfoot It was a phenomenal movie.
I thought that Michael Michael Cimino was very passionate, too, about trying to make a film. He hadn't made a film in a while. Again, taking all that aside, I had no idea what I was doing when I went to do that movie.
I had no clue how to approach that character as far as what I should be playing and how I should play being Mickey Rourke 's brother, I was in over my head.
I had no idea. I didn't particularly care in any way what I did in that movie. It seemed light and irrelevant. The director, Andrew Davis , he was lovely.
He wanted me to be in the movie, and I was going to be in the movie. Who was I to say? I have no idea what any of this political stuff means.
I could sit here and tear it apart - tear myself apart mostly - but Andrew is a great filmmaker and he does great stuff.
He shows great stories. Sometimes, the journey could be fun and informative, other times it's over your head. You're playing roles that, emotionally, you may not be connecting with, but you do the best you can to tell the story.
It was very surreal. You're part of a big-budget film, traveling to Mexico, downtown Los Angeles. I mean, you pinch yourself.
It's a blessing. But, do I relate personally to the politics of this kind of thing? I probably don't.
But if I had the chance to play it over again? I'm a little bit more informed by it. I've lived a little bit longer.
I think I've grown a little bit. I know how to work a little bit more deeply.
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