Michael York - Biography - IMDb
Michael York Poster


Jump to: Overview (3)  | Mini Bio (1)  | Spouse (1)  | Trade Mark (2)  | Trivia (23)  | Personal Quotes (8)

Overview (3)

Born in Fulmer, Buckinghamshire, England, UK
Birth NameMichael Hugh Johnson
Height 5' 10½" (1.79 m)

Mini Bio (1)

Michael York was born in Fulmer, England, 27 March 1942. He performed on stage with the National Youth Theatre in London's East End and on international tour. Other early acting experience came through the Oxford University Dramatic Society (he graduated Oxford 1964), the Dundee Repertory, and Laurence Olivier's National Theater Company - where he worked with Franco Zeffirelli, who gave him his film debut as Lucentio in The Taming of the Shrew (1967) and his breakthrough role as Tybalt in Romeo and Juliet (1968). He achieved early TV acclaim for his portrayal of Jolyon in The Forsyte Saga (1967). Other notable early movie roles include Brian Roberts in Cabaret (1972), Count Andrenyi in Murder on the Orient Express (1974) and D'Artagnan in several Musketeers films. He has starred in over 50 TV movies, continued stage work, starring on Broadway, made many spoken word recordings, written and lectured internationally. His autobiography (1993) was issued as "Accidentally on Purpose" in the U.S. and "Travelling Player" in Britain. He was in the hit The Omega Code (1999) with Catherine Oxenberg and Casper Van Dien. He had a great part in all of the "Austin Powers" films.

- IMDb Mini Biography By: Ed Stephan <stephan@cc.wwu.edu>

Spouse (1)

Patricia Frances Watson McCallum (27 March 1968 - present)

Trade Mark (2)

Deep, mellow voice
Intense blue eyes

Trivia (23)

Stepfather of producer Rick McCallum.
He was awarded the OBE (Officer of the Order of the British Empire) in the 1996 Queen's Birthday Honours List for his services to drama.
Good friend and mentor to actor Casper Van Dien. Lifelong friend to Casper's wife Catherine Oxenberg.
Was attached to Death on the Nile (1978) at one stage.
Appeared in Sword of Gideon (1986), based on the book Vengeance by George Jonas. In Austin Powers in Goldmember (2002), he appears with Steven Spielberg, who directed the remake, Munich (2005).
Co-wrote a book with Adrian Brine called 'A Shakesperean actor prepares.'
Member of the jury at the Venice Film Festival in 1987.
Was the original choice to play Sgt. Howie in The Wicker Man (1973) but was unavailable for the part. The part went to Edward Woodward.
At age three, he broke his nose when he jumped off the roof of a coal house while trying to fly.
His father was an army officer turned businessman and his mother a musician.
Joined the National Theatre in January of 1965.
Provides a voice-over for one of the apes in Spaceballs (1987), which spoofed several science fiction series, but mainly Star Wars: Episode IV - A New Hope (1977). His stepson, Rick McCallum, produced the Star Wars prequels.
Graduate of Oxford University.
Appears in Romeo and Juliet (1968) and The Three Musketeers (1973)/The Four Musketeers: Milady's Revenge (1974). Both of the literary works on which these were based were later satirized in the play Cyrano de Bergerac, which makes use of the balcony scene from the former and the character of d'Artagnan from the latter.
Claims his biggest career mistake was turning down the lead in Love Story. The producers offered him a scale rate to star together with 10% of the gross. York felt the movie would not make any money so passed. This decision cost him well over 10 million in 1970's dollars.
Has publicly given support for Michael Drosnin's idea that there is a "Bible Code".
He has three roles in common with Jeremy Brett: (1) Brett played d'Artagnan in The Three Musketeers (1966) while York played him in The Three Musketeers (1973), The Four Musketeers: Milady's Revenge (1974), The Return of the Musketeers (1989) and La Femme Musketeer (2004), (2) Brett played Sherlock Holmes in The Adventures of Sherlock Holmes (1984), The Return of Sherlock Holmes (1986), The Sign of Four (1987), The Hound of the Baskervilles (1988), The Case-Book of Sherlock Holmes (1991) and The Memoirs of Sherlock Holmes (1994) while York played in Tom and Jerry Meet Sherlock Holmes (2010) and (3) Brett played King Arthur in Morte d'Arthur (1984) while York played him in The Wonderful World of Disney: A Knight in Camelot (1998).
He has two roles in common with Joss Ackland: (1) Ackland played d'Artagnan in The Further Adventures of the Musketeers (1967) while York played him in The Three Musketeers (1973) (in which Ackland played his father), The Four Musketeers: Milady's Revenge (1974), The Return of the Musketeers (1989) and La Femme Musketeer (2004) and (2) Ackland played King Arthur in A Kid in King Arthur's Court (1995) while York played him in The Wonderful World of Disney: A Knight in Camelot (1998).
He has two roles in common with both Malcolm McDowell and John Gielgud: (1) McDowell played King Arthur in Arthur the King (1985), York played him in The Wonderful World of Disney: A Knight in Camelot (1998) and Gielgud played him in DragonHeart (1996) and (2) McDowell played Merlin in Kids of the Round Table (1995), York played him in A Young Connecticut Yankee in King Arthur's Court (1995) and Gielgud played him in Quest for Camelot (1998).
He played Merlin in A Young Connecticut Yankee in King Arthur's Court (1995) and King Arthur in The Wonderful World of Disney: A Knight in Camelot (1998) as well as David McIntyre, a man who believed himself to be King Arthur, in Babylon 5: A Late Delivery from Avalon (1996).
His wife, Pat, is an American photographer.
Is sometimes incorrectly thought to be related to fellow British actor Susannah York. In fact neither of them were born with the name York.
Some sources give his birth name as Michael York-Johnson, but this is incorrect. Birth records show he was originally named Michael Hugh Johnson. He is said to have taken the name York from a popular brand of English cigarette.

Personal Quotes (8)

Cinema, it has always seemed to me, is essentially a filmed thought.
[when told by Angelo Evangelatos that he wanted to be an actor, 2/5/05] If you want to do it, then forget about it. If you have to do it, then no one you talk to or seek advice from will make any difference.
Everyone wants to do "Hamlet" when you're young. And when you're old, you do "King Lear." And you hope to do "Hamlet" many times, because you never get it right in one go. It's so inexhaustibly fascinating. Shakespeare [William Shakespeare] is so brilliant, because you don't have to know what the author intended, because you don't quite know what the author did intend. He just wants you to use your imagination, he gives you some great words, and then you see where you end up.
[on director Michael Anderson] Michael is the kindest man. And it all comes from the top. He creates this benign atmosphere. The actors are not threatened, they're encouraged, and they're treated as human beings, and that's because he knows his stuff: Michael's been everything -- from the clapper boy, all the way up to editor and director. He knows what he wants.
I think all of the great directors are comfortable to make film a collaborative effort with actors.
[on Roy Kinnear] I loved Roy. We all loved Roy. He was lovable. And in the Musketeer movies, he was playing my servant, so we spent a lot of time together. He was a joy.
(On Oliver Reed) Oliver was a real character, but nobody mentions the fact that he would turn up fully prepared for work, knowing his lines. The tragedy was that everybody expected him to be this hellraiser, and he often obliged; the press wouldn't allow him to be this very serious actor. But he did have this larger than life side to him. He was brought up in good schools, with good manners; there's a residue of that as well. Oliver wasn't run of the mill. He was like an aristcractic ruffian, a complete contradiction in terms.
(On Richard Burton and Elizabeth Taylor) They were gods, Richard and Elizabeth. I think we've forgotten what a big deal they were. Their dressing rooms, I've never seen anything like it, luxurious white carpets, butlers, maids, the lot.

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