Actor, article writer, and movie director of such comedies seeing that Modern Love (1981), Lost in the us (1985) and Mom (1996). He gained an Academy Award nomination for Greatest Supporting Professional for his function in the 1987 film Broadcast Information and he received compliment for his function alongside Ryan Gosling in the 2011 film Drive. He fell out of Carnegie Mellon to go after humor. He voiced the type Marlin in the Disney feature Selecting Nemo and he provides voiced several individuals in the animated Television series The Simpsons. He wedded musician Kimberly Shlain in 1997. He includes a little girl called Claire and a kid called Jacob. He and Holly Hunter both received Academy Prize nominations because of their assignments in Broadcast Information.
Full Name Albert Brooks
Date Of Birth July 22, 1947
Place Of Birth Beverly Hills, CA
Height 1.78 m
Profession Movie Actor
Education Carnegie Mellon University, Beverly Hills High School
Spouse Kimberly Shlain
Children Jacob Eli Einstein, Claire Elizabeth Einstein
Parents Harry Parke, Thelma Leeds
Siblings Bob Einstein, Charles Einstein, Cliff Einstein
Awards New York Film Critics Circle Award for Best Supporting Actor, Satellite Award for Best Supporting Actor – Motion Picture, National Society of Film Critics Award for Best Supporting Actor, National Society of Film Critics Award for Best Screenplay, Kids’ Choice Award for Favorite #Squad
Nominations Academy Award for Best Actor in a Supporting Role, Golden Globe Award for Best Supporting Actor – Motion Picture, Independent Spirit Award for Best Supporting Male, Critics' Choice Movie Award for Best Supporting Actor, National Society of Film Critics Award for Best Actor, Goodreads Choice Awards Best Humor, Shorty Award for Best Comedian
Movies Finding Dory, Finding Nemo, Defending Your Life, Modern Romance, Lost in America, Looking for Comedy in the Muslim World, The Muse, The Secret Life of Pets, Broadcast News, Taxi Driver, Drive, Concussion, This Is 40, Mother, A Most Violent Year, Out of Sight, The Simpsons Movie, Real Life, Twilight Zone: The Movie, Private Benjamin, The In-Laws, The Scout, Unfaithfully Yours, The Little Prince, My First Mister, I'll Do Anything, Dr. Dolittle, Terms of Endearment, Critical Care, Exploring the Reef, Bad Day on the Block
TV Shows Hot Wheels, Finding Nemo: Extras
Star Sign Cancer
His paternal grandfather, Chaskel (Charles) Einstein, was an Austrian Jewish immigrant, and his paternal grandmother, Sarah Klayman, was a Russian Jewish immigrant. His maternal grandparents, Joseph Goodman and Katie Leventhal, were also Russian Jewish immigrants.
Changed his last name from "Einstein" because there was already an extremely well-known theoretical physicist named "Albert Einstein.".
Albert's father, vaudeville/radio/film comedian Harry Parke (aka Parkyakarkus) died of a heart attack when Albert was 11 in 1958. Parke collapsed next to Milton Berle during a Friar's roast gathering honoring Lucille Ball and Desi Arnaz in Los Angeles.
His mother, singer/actress Thelma Leeds had a brief career before marrying Albert's father and settling down to raise a family. She returned occasionally to film in son Albert's movies.
Brooks attended Carnegie Tech in Pittsburgh, but dropped out after one year to focus on comedy.
Brooks has been honored by the American Film Institute with a retrospective of his work at the first U.S. Comedy Arts Festival in Aspen Colorado.
Once performed a humorless, five-minute stand up comedy routine on The Tonight Show Starring Johnny Carson (1962) that didn't produce a single laugh until the punchline - when he explained to the audience that he had been working as a stand up comic for five years and had run out of material. Johnny Carson swore the hilarity which followed this set-up lasted a full minute.
Has starred in two movies where the song "Beyond the Sea" has played over the end credits. My First Mister (2001) and Finding Nemo (2003).
Has made six guest appearances on The Simpsons (1989). With one exception, he has played a different character each time, and each time he has been credited as "A. Brooks."
In 1972, I did a bit about the word shit, how a comic pulls it out of his arsenal...and nothing has changed. What makes money is a very specific kind of comedy, aimed at a young male audience, that has a huge amount of shit jokes. The Waterboy makes $150 million; it's like another language to me. I'm convinced that when the aliens finally land, that's what they'll laugh at, too. That's how we'll communicate with the future.....shit jokes.
The relationship between the artist and the audience is rather like a courtship.
When Rex Reed wrote that I had a face like an open sandwich, that was the best moment so far. It's just a thing of mine - I've always wanted to be compared to deli food.
[on his favorite hero in fiction] The second of the three little pigs. In normal usage, his stick house should have been sufficient. He just happened to come across a once-in-a-lifetime event. The first pig was stupid. The third pig had obsessive-compulsive disorder.
[on the talent he would most like to have] Parting the Red Sea would be cool.
[on his greatest fear] That three days before I die I'll find out what happiness means.
This getting old is something. I think I envy my dog, because my dog is sixteen and she's limping and she's still living, but she doesn't look at me like she knows. She's not thinking what I'm thinking. It's a cruel trick that we all know the ending.
People ask me all the time about improv, and I tell them that improv is just the final icing. You need a structure. It's like, if you're going to commit suicide, you need the building to jump out of.
[on auditioning for Drive (2011) director Nicolas Winding Refn] He asked why I thought I was right for the part, and I said, "Because you could cast me, or you could cast somebody who does this all the time, and as soon as he comes on the screen everybody will know who he is."
[on choosing to play Bernie Rose, a non-comedic, vicious killer, in Drive (2011)] The villains of the world don't walk around like villains. That's how they suck people in. They're charming. If you buy the movie and you've invested in the movie, the character can go anywhere you want.
I made my living in comedy but I'm not a silly person. I've got all these sides to me. Even in my movies that I've written myself, the characters sometimes border on great anger or nutsiness or other kinds of behavior. I'm not just doing fart jokes for two hours.
Normally movies have the same people they use over and over for everything. It's called typecasting. They don't like to take chances. They'll go with the guy they had before.
[on why he changed his name from Einstein to Brooks] Do I even have to answer?
[on being called "neurotic"] I have feelings about that. It's an interesting world we live in when Arnold Schwarzenegger can kill 115 people in a movie and he's fine. I drive around a woman's house twice, and I'm neurotic. Go figure.
[on his father's death onstage] The interesting thing to me was that he finished. He could have died in the middle. He could have done it on the way over there. But he didn't. He finished. And he was as good as he'd ever been in his life.
[on casting Mother (1996)] It took me four months to get Doris Day to see me. She lives up in Monterey, so I had to take one of those little planes where everyone has to weigh themselves. When I got there, before I sat down, she says to me, "I'm not going to do this movie, but I just so much wanted to meet you". But it was a pleasant afternoon. I remember she had, like, 30 dogs. She took me in back of her house where there was this graveyard, and she said very seriously, "This is where the dogs go". I tried to make her laugh. I said, " . . . to the bathroom?" She got upset.
[on Stanley Kubrick] He asked to see the script [for Lost in America (1985)], so I sent him a copy. He called back and said he liked it but had some suggestions. He thought the couple should split up and not get back together until the end--as a sort of surprise. I immediately said, "Oh, no, that's a terrible idea". That was the last conversation we had.
[on the failure of Modern Romance (1981)] The [studio heads] were angry. It was like I had shot a child . . . I was depressed, but then one day I was sitting at home and the phone rings. It's Stanley Kubrick. He had seen the movie and wanted to know how I did it. That's the first thing he said: "How did you make this movie? I've always wanted to make a movie about jealousy". I said to him, "The guy who did '2001' [2001: A Space Odyssey (1968)] is asking me how I did something?"
[on Taxi Driver (1976)] After we finished the movie, Schrader [Paul Schrader] came up to me at the cast party and said, "I want to thank you. That was the only guy in the script I didn't know". I said to him, "That's the guy you didn't know? You knew every pimp and murderer, but the guy who gets up and goes to work every day--him you didn't know?"
There was a time when I was probably too cautious about my career. Maybe I could have taken more chances. But, you know, when Garry Marshall came to me with Pretty Woman (1990) there was no Julia Roberts. It was just this silly script about a prostitute. And at the time I was offered Big (1988), I wanted to dig my teeth into a grown-up character. I didn't want to play little kids. But I'm getting better at this sort of thing. I'm taking more chances.
When I die, if the word "thong" appears in the first or second sentence of my obituary, I've screwed up.
Bullfights are hugely popular because you can sit comfortably with a hot dog and possibly watch a man die. It won't be me, but I can sit comfortably and watch it.
We export films that are full of sleazy [penis] jokes and toilet humor
that's why we've earned the affectionate nickname of the Great Satan.
What's seemingly benign, by our standards, is doing more damage to us around the world than anything I could ever do.
[on Looking for Comedy in the Muslim World (2005)] For so long afterward [9/11], whenever I heard anyone talk about Muslims, it was in association with terrorism. But I thought, "What could I do in a teeny way - and believe me, it's a teeny way - to defuse this?" There had to be some way to separate the 1.5 billion people who don't want to kill us from the 100,000 or so who do. I thought if I could get five Muslims and six Hindus and maybe 3 Jews to laugh for 90 minutes, then I've accomplished something.
I've always felt like I work in a small little area that doesn't represent anything like the rest of society.
Being a screenwriter in Hollywood is like being a eunuch at an orgy. Worse, actually, at least the eunuch is allowed to watch.
Often compared to Woody Allen or called "The West Coast Woody Allen"
His characters are usually nervous and ill-tempered
Always casts himself in the lead role of his films as a nebbish weisenheimer.
[Satire] Frequently satirizes different facets of Hollywood (Reality TV/Filmmaking in Real Life (1979), Screenwriting in The Muse (1999)