Freddie Prinze Jr.:
Tja eigenlijk is er nie zo veel over te
vertellen... gewoon kijken en genieten
:o)) Voorwat dient hij anders??? Een
grapke hoor... Hier volgt wa meer nieuws
over Freddie'ke :o))

Biografie:
Freddie Prinze, Jr. was born on March 8th, 1976 in
Albuquerque, New Mexico, USA. He attended three
different schools during his childhood, these were
Eldorado, Sandia and La Cueva.

focus on an acting career and immediately garnered
featured roles on several episodic series. One of
these was "Family Mat   After graduating in 1994,
Freddie moved to LA toters" in which Freddie had a
four-line part in the episode "The Gun". He played a
punk kid who brought a gun to school.

"That was my big break, and I thought it was huge,"
says Freddie. He then went on to appear in a few
after-school specials including "Too Soon For Jeff",
and "Detention: Siege At Johnson High" costarring
Rick Schroeder and Henry Winkler.

Films:
Head Over Heels (2000)

Wing Commander (1999) .... Christopher 'Maverick'
Blair

She's All That (1999) .... Zach Siler

Down to You (1999) .... Al Connelly

Vig (1998) (TV) .... Tony

I Still Know What You Did Last Summer (1998) ....
Ray Bronson

Sparkler (1998) .... Brad

I Know What You Did Last Summer (1997) .... Ray
Bronson

Detention: The Siege at Johnson High (1997) (TV) ....
Aaron Sullivan

House of Yes, The (1997) .... Anthony

To Gillian on Her 37th Birthday (1996) .... Joey Bost

Robert de Niro:
Ancien in het vak acteren. Ik heb er
altijd al bewondering voor gehad en
dat zal altijd zo blijven. De Niro is één
van de beste acteurs ooit... en ik hoop
dat jullie hiermee akkoord zijn. :o))

Bibliografie:
 "ARE you talkin' to me? You talkin' to me?" Robert De Niro taunts himself in a mirror. He is Travis Bickle in Taxi Driver. Travis Bickle is trying to become a tough guy, a somebody. De Niro is trying to become somebody too: a crazy person, Travis Bickle. De Niro has likely spent many hours in front of the mirror trying to become someone else—and his time hasn't been wasted. He totally inhabits each character he assumes, and, as a result, he is impenetrable to the media and even his co-stars. An anecdote: Michael Moriarty, De Niro's co-star in Bang the Drum Slowly, was watching a scene for Taxi Driver being shot. A production assistant offered to take Moriarty over to see De Niro. "Don't bother," Moriarty told him. "I don't know that guy at all. I knew Bruce Pearson [De Niro's character in Bang]. I don't know Travis Bickle or Bob De Niro." De Niro's intense immersion in his roles has won him a reputation as the greatest actor of his generation.

Robert De Niro Jr. was born to a family of artists. His mother, Virginia Admiral, was a painter, and father Robert was a painter, sculptor, and poet. De Niro's childhood was unique in its freedom, perhaps less so in its loneliness. He was known around his Little Italy neighborhood in New York as "Bobby Milk" because of his scrawniness and pallor. He was a shy child who preferred paperbacks to playmates. He was able to overcome his timidity at age ten for his first stage role—the cowardly lion in The Wizard of Oz. De Niro spent most of his early teen years on the streets, where he whiled away his time with a small-time gang. Acting called him back, and his first paycheck came at sixteen with a touring performance in Chekhov's The Bear. From there, De Niro embarked on a fifteen-year tour through dinner theatres and off-Broadway stages. Like most successful actors of the era, he studied with Stella Adler and Lee Strasberg, the chief proponents of Method acting. De Niro's first screen effort, The Wedding Party, is notable only because of his participation and that of director Brian De Palma. Shot in 1963, it was not released until 1969, and it went unnoticed. His next two films were also with De Palma: Greetings and Hi, Mom! were satires looking at sex, the draft, and the counterculture. But it wasn't until 1973 that De Niro really began turning heads in Hollywood. His portrayal of dying baseball player Bruce Pearson in Bang the Drum Slowly won him the New York Film Critcs award for Best Actor. The same year, De Niro appeared in Martin Scorsese's Mean Streets, beginning a longtime collaboration that has spawned a total of eight films, including Taxi Driver, Raging Bull, and GoodFellas. In 1974, Francis Ford Coppola's The Godfather, Part II turned De Niro into a superstar. His role as the young Vito Corleone won him the Best Supporting Actor Oscar—his portrayal of the young Godfather cemented his reputation as the next Marlon Brando. He demonstrated his dedication to his craft by gaining sixty pounds to play aging boxer Jake La Motta in Raging Bull, for which he won the Best Actor Oscar.
De Niro has fiercely protected his private life. At the beginning of his career, he gave interviews—then he abruptly
decided that his personal life had absolutely nothing to do with his film career. He married sometime actress Diahnne Abbott in 1976 and had a son, Raphael. They separated after several years; rumor was that they had an open marriage, but rumors are aplenty around De Niro. Another involves child support over twins he had with former girlfriend Toukie Smith (through a surrogate mother, no less). Smith claims De Niro was merely a sperm donor, but . . . well, why bother? De Niro's life is a favorite grist for gossip columnists because he's not prone to correcting them or answering their calls. In 1997, the actor wed his longtime girlfriend, former flight attendant Grace Hightower, in a top-secret wedding ceremony. Some of De Niro's mid-'90s films put a series of chinks in his iron method. Roles in films like We're No Angels and Mary Shelley's Frankenstein made critics question his motivation, and a popular theory promulgated was that De Niro was trying to raise funds for his Tribeca Film Center, a company dedicated to promoting New York film production. These critics needed no further proof after seeing The Fan, a terrible piece of work in which De Niro seemed to be channeling bits of every cocksure psycho he has played. Such failures have been overshadowed to some degree by more recent successes: Heat and Casino (both 1995) confirmed that De Niro can still climb into the skin of assorted unsavories better than anyone; Sleepers and Marvin's Room (both 1996) illustrated his equal facility at playing kinder, gentler characters; and Jackie Brown and Wag the Dog (both 1997) gave full reign to his quirkier side. Though his 1998 vehicles — the off-target literary update Great Expectations and the turgid John Frankenheimer thriller Ronin — proved unsatisfactory, De Niro got off to a good start the 1999 year with the Harold Ramis mobster-meets-analyst comedy Analyze This.