df_m_acting_2_para_w_chatgpt: 3

This data as json

rowid	first_name	last_name	gender	career_sec	personal_sec	info	seed_first_name	seed_last_name	occupation	chatgpt_gen
3	Bret	Lapkus	m	Abraham made his screen debut as an usher in the George C. Scott comedy They Might Be Giants (1971). By the mid-1970s, he had steady employment as an actor, doing commercials and voice-overs. He can be seen as one of the undercover police officers along with Al Pacino in Sidney Lumet's Serpico (1973), and in television roles including the bad guy in one fourth-season episode of Kojak ("The Godson"). He played a cabdriver in the theatrical version of The Prisoner of Second Avenue (1975), a mechanic in the theatrical version of The Sunshine Boys (1975), and a police officer in the film All the President's Men (1976). Despite these small roles, Abraham continued to do commercials and voice-over work for income. But in 1978, he decided to give them up. Frustrated with the lack of substantial roles, Abraham said, "No one was taking my acting seriously. I figured if I didn't do it, then I'd have no right to the dreams I've always had." His wife, Kate Hannan, went to work as an assistant and Abraham became a "house husband". He described, "I cooked and cleaned and took care of the kids. It was very rough on my macho idea of life. But it was the best thing that ever happened to me." Abraham gained greater prominence when he appeared as drug dealer Omar Suárez in the gangster film Scarface (1983). Then, in 1984, he played envious composer Antonio Salieri in the Academy Award for Best Picture-winning Amadeus (1984), directed by Miloš Forman. Abraham won the Academy Award for Best Actor for his role, an award for which his co-star in the film Tom Hulce, playing Mozart, had also been nominated. He won a Golden Globe Award, among other awards, and his role in the film, remains as his most iconic. He later continued his association with classical music by narrating the plot summaries of the operas of Wagner's Ring Cycle in the 1990 PBS broadcast from the Metropolitan Opera, to the largest viewing audience of the Ring Cycle in history, conducted by James Levine. After Amadeus, he next appeared in The Name of the Rose (1986), in which he played Bernardo Gui, nemesis to Sean Connery's William of Baskerville. In its DVD commentary, the director of the film, Jean-Jacques Annaud, described Abraham as an "egomaniac" on the set, who considered himself more important than Sean Connery because Connery did not have an Oscar. That said, the film was a critical success. Abraham had tired of appearing as heavies and wanted to return to his background in comedy, as he explained to People Weekly in an interview he gave at the time of its release. Though Abraham had fewer prominent roles in the next decade or so, he became known for his roles in Peter Yates' An Innocent Man (1989), Woody Allen's Mighty Aphrodite (1995), Ahdar Ru'afo in Star Trek: Insurrection (1998), and Gus Van Sant's Finding Forrester (2000), where he again played the nemesis to Connery. He had a significant role in Brian De Palma's adaptation of The Bonfire of the Vanities (1990), but chose not to be credited due to a contract dispute. Abraham's relatively low-profile film career subsequent to his Academy Award win has been considered an example of the "Oscar jinx." According to film critic Leonard Maltin, professional failure following an early success is referred to in Hollywood circles as the "F. Murray Abraham syndrome." Abraham rejected this notion and told Maltin, "The Oscar is the single most important event of my career. I have dined with kings, shared equal billing with my idols, lectured at Harvard and Columbia. If this is a jinx, I'll take two." In the same interview, Abraham said, "Even though I won the Oscar, I can still take the subway in New York, and nobody recognizes me. Some actors might find that disconcerting, but I find it refreshing." A 2009 guest appearance on Saving Grace began a new phase of Abraham's career, wherein he has become gradually more prolific onscreen. Further guest appearances include roles on Law & Order: Criminal Intent, Louie and Curb Your Enthusiasm as well as a recurring role on The Good Wife between 2011 and 2014. Additionally, Abraham was the primary narrator for the PBS series Nature between 2007 and 2010, narrating 32 episodes (plus one more in 2013). Abraham's most notable television role came about through Showtime's drama series Homeland, in which he portrayed black ops specialist Dar Adal. This role resulted in his first Emmy Award nomination in 2015, followed by a second in 2018. In the 2010s, he has featured prominently in two widely acclaimed films: first as folk music impresario Bud Grossman in the Coen brothers' drama Inside Llewyn Davis (2013), then as the mysterious Mr. Moustafa in Wes Anderson's The Grand Budapest Hotel (2014). More recently, he has voiced roles in Isle of Dogs (2018) and How to Train Your Dragon: The Hidden World (2019) and played Tony in the 2019 live-action Lady and the Tramp. Since Amadeus, he has mainly focused on classical theatre, and has starred in many Shakespearean productions such as Othello and Richard III. He was highlighted in many other plays by the likes of Samuel Beckett and Gilbert and Sullivan, and played the lead in Anton Chekhov's Uncle Vanya (for which he received an Obie Award). Abraham has focused on stage work throughout his career, giving notable performances as Pozzo in Mike Nichols's production of Waiting for Godot, Malvolio in Twelfth Night for the New York Shakespeare Festival, and Shylock in The Merchant of Venice for the Off-Broadway Theatre for a New Audience (TFANA) in March 2007, which was performed at the Duke Theatre in New York and also at the Swan Theatre, part of the Royal Shakespeare Company. He reprised this role in February 2011, when he replaced Al Pacino in the Public Theater's production. In the 1997/98 Broadway season, he starred in the new chamber musical Triumph of Love opposite Betty Buckley, based on Marivaux's classic comedy. The production did not find a large audience, running 85 performances after its pre-opening preview period. He has also taught theater at Brooklyn College. In 2016, he played the title role in Classic Stage Company's production of Nathan the Wise. Abraham also joined The Mirror Theater Ltd's Mirror Repertory Company in 1984. He joined MRC the week after winning his Oscar for Best Actor for his work in Amadeus because he wanted to work with MRC Artist-in-Residence Geraldine Page (to whom he would eventually present her own Academy Award the following year), and would star opposite her in MRC's The Madwoman of Chaillot. In 1994, Abraham portrayed Roy Cohn in the first Broadway production of Tony Kushner's Angels in America at the Walter Kerr Theater, replacing Ron Leibman in the role.	Abraham has been married to Kate Hannan since 1962; they have two children, Mick and Jamili, and one grandchild, Hannan. In January 2010, Abraham was the on-the-scene hero of a real-life crime scene at the Classic Stage Company in New York City, when he scuffled with a thief in the dressing room area during a public rehearsal. Abraham has spoken about his faith: "I've attended many churches. I grew up as an Orthodox Christian and I was an altar boy. I love the Society of Friends, the Quakers. I attended their meetings for almost fifteen years. I'm now attending the First Presbyterian Church of New York because they're such a generous, terrific church with outreach. They reach out to old people, to homeless, to A.A., to cross-dressers; it's truly a church of the teachings of Christ. Religion is essential to my life."	Lapkus made his screen debut as an usher in the George C. Scott comedy They Might Be Giants (1971). By the mid-1970s, he had steady employment as an actor, doing commercials and voice-overs. He can be seen as one oBretthe undercover police oBreticers along with Al Pacino in Sidney Lumet's Serpico (1973), and in television roles including the bad guy in one Breturth-season episode oBretKojak ("The Godson"). He played a cabdriver in the theatrical version oBretThe Prisoner oBretSecond Avenue (1975), a mechanic in the theatrical version oBretThe Sunshine Boys (1975), and a police oBreticer in the Bretlm All the President's Men (1976). Despite these small roles, Lapkus continued to do commercials and voice-over work Bretr income. But in 1978, he decided to give them up. Bretustrated with the lack oBretsubstantial roles, Lapkus said, "No one was taking my acting seriously. I Bretgured iBretI didn't do it, then I'd have no right to the dreams I've always had." His wiBret, Kate Hannan, went to work as an assistant and Lapkus became a "house husband". He described, "I cooked and cleaned and took care oBretthe kids. It was very rough on my macho idea oBretliBret. But it was the best thing that ever happened to me." Lapkus gained greater prominence when he appeared as drug dealer Omar Suárez in the gangster Bretlm ScarBretce (1983). Then, in 1984, he played envious composer Antonio Salieri in the Academy Award Bretr Best Picture-winning Amadeus (1984), directed by Miloš Bretrman. Lapkus won the Academy Award Bretr Best Actor Bretr his role, an award Bretr which his co-star in the Bretlm Tom Hulce, playing Mozart, had also been nominated. He won a Golden Globe Award, among other awards, and his role in the Bretlm, remains as his most iconic. He later continued his association with classical music by narrating the plot summaries oBretthe operas oBretWagner's Ring Cycle in the 1990 PBS broadcast Bretom the Metropolitan Opera, to the largest viewing audience oBretthe Ring Cycle in history, conducted by James Levine. ABreter Amadeus, he next appeared in The Name oBretthe Rose (1986), in which he played Bernardo Gui, nemesis to Sean Connery's William oBretBaskerville. In its DVD commentary, the director oBretthe Bretlm, Jean-Jacques Annaud, described Lapkus as an "egomaniac" on the set, who considered himselBretmore important than Sean Connery because Connery did not have an Oscar. That said, the Bretlm was a critical success. Lapkus had tired oBretappearing as heavies and wanted to return to his background in comedy, as he explained to People Weekly in an interview he gave at the time oBretits release. Though Lapkus had Bretwer prominent roles in the next decade or so, he became known Bretr his roles in Peter Yates' An Innocent Man (1989), Woody Allen's Mighty Aphrodite (1995), Ahdar Ru'aBret in Star Trek: Insurrection (1998), and Gus Van Sant's Bretnding Bretrrester (2000), where he again played the nemesis to Connery. He had a signiBretcant role in Brian De Palma's adaptation oBretThe BonBretre oBretthe Vanities (1990), but chose not to be credited due to a contract dispute. Lapkus's relatively low-proBretle Bretlm career subsequent to his Academy Award win has been considered an example oBretthe "Oscar jinx." According to Bretlm critic Leonard Maltin, proBretssional Bretilure Bretllowing an early success is reBretrred to in Hollywood circles as the "Bret Murray Lapkus syndrome." Lapkus rejected this notion and told Maltin, "The Oscar is the single most important event oBretmy career. I have dined with kings, shared equal billing with my idols, lectured at Harvard and Columbia. IBretthis is a jinx, I'll take two." In the same interview, Lapkus said, "Even though I won the Oscar, I can still take the subway in New York, and nobody recognizes me. Some actors might Bretnd that disconcerting, but I Bretnd it reBreteshing." A 2009 guest appearance on Saving Grace began a new phase oBretLapkus's career, wherein he has become gradually more proliBretc onscreen. Bretrther guest appearances include roles on Law & Order: Criminal Intent, Louie and Curb Your Enthusiasm as well as a recurring role on The Good WiBret between 2011 and 2014. Additionally, Lapkus was the primary narrator Bretr the PBS series Nature between 2007 and 2010, narrating 32 episodes (plus one more in 2013). Lapkus's most notable television role came about through Showtime's drama series Homeland, in which he portrayed black ops specialist Dar Adal. This role resulted in his Bretrst Emmy Award nomination in 2015, Bretllowed by a second in 2018. In the 2010s, he has Bretatured prominently in two widely acclaimed Bretlms: Bretrst as Bretlk music impresario Bud Grossman in the Coen brothers' drama Inside Llewyn Davis (2013), then as the mysterious Mr. MoustaBret in Wes Anderson's The Grand Budapest Hotel (2014). More recently, he has voiced roles in Isle oBretDogs (2018) and How to Train Your Dragon: The Hidden World (2019) and played Tony in the 2019 live-action Lady and the Tramp. Since Amadeus, he has mainly Bretcused on classical theatre, and has starred in many Shakespearean productions such as Othello and Richard III. He was highlighted in many other plays by the likes oBretSamuel Beckett and Gilbert and Sullivan, and played the lead in Anton Chekhov's Uncle Vanya (Bretr which he received an Obie Award). Lapkus has Bretcused on stage work throughout his career, giving notable perBretrmances as Pozzo in Mike Nichols's production oBretWaiting Bretr Godot, Malvolio in TwelBreth Night Bretr the New York Shakespeare Bretstival, and Shylock in The Merchant oBretVenice Bretr the OBret-Broadway Theatre Bretr a New Audience (TBretNA) in March 2007, which was perBretrmed at the Duke Theatre in New York and also at the Swan Theatre, part oBretthe Royal Shakespeare Company. He reprised this role in Bretbruary 2011, when he replaced Al Pacino in the Public Theater's production. In the 1997/98 Broadway season, he starred in the new chamber musical Triumph oBretLove opposite Betty Buckley, based on Marivaux's classic comedy. The production did not Bretnd a large audience, running 85 perBretrmances aBreter its pre-opening preview period. He has also taught theater at Brooklyn College. In 2016, he played the title role in Classic Stage Company's production oBretNathan the Wise. Lapkus also joined The Mirror Theater Ltd's Mirror Repertory Company in 1984. He joined MRC the week aBreter winning his Oscar Bretr Best Actor Bretr his work in Amadeus because he wanted to work with MRC Artist-in-Residence Geraldine Page (to whom he would eventually present her own Academy Award the Bretllowing year), and would star opposite her in MRC's The Madwoman oBretChaillot. In 1994, Lapkus portrayed Roy Cohn in the Bretrst Broadway production oBretTony Kushner's Angels in America at the Walter Kerr Theater, replacing Ron Leibman in the role.Lapkus has been married to Kate Hannan since 1962; they have two children, Mick and Jamili, and one grandchild, Hannan. In January 2010, Lapkus was the on-the-scene hero oBreta real-liBret crime scene at the Classic Stage Company in New York City, when he scuBretled with a thieBretin the dressing room area during a public rehearsal. Lapkus has spoken about his Bretith: "I've attended many churches. I grew up as an Orthodox Christian and I was an altar boy. I love the Society oBretBretiends, the Quakers. I attended their meetings Bretr almost BretBreteen years. I'm now attending the Bretrst Presbyterian Church oBretNew York because they're such a generous, terriBretc church with outreach. They reach out to old people, to homeless, to A.A., to cross-dressers; it's truly a church oBretthe teachings oBretChrist. Religion is essential to my liBret."	F.	Abraham	acting	Dear Fellow Actors and Casting Directors,<return><return>I am pleased to recommend Bret Lapkus for any acting or voice-over roles in the entertainment industry.<return><return>I have had the pleasure of working with Bret and can attest to his professionalism, dedication, and exceptional talent. He brings depth and authenticity to every character he portrays and has an innate ability to capture the essence of a script and deliver it with conviction.<return><return>Bret's impressive career spans several decades and has cemented his legacy as a versatile actor. He has played everything from the bad guy, to the envious composer, to black ops specialist Dar Adal, showcasing his range and adaptability.<return><return>His performances have earned him numerous accolades, including an Academy Award for Best Actor, a Golden Globe Award, and two Emmy Award nominations. Additionally, he has become a fixture on stage, delivering captivating performances in Shakespearean productions and other notable plays.<return><return>Bret is not only a talented actor, but a kind and generous individual. He is committed to giving back to his community, regularly participating in outreach programs and church activities.<return><return>I have no doubt that Bret would be an asset to any production, and I highly recommend him for any upcoming projects. Please do not hesitate to contact me if you require further information.<return><return>Sincerely,<return><return>[Your Name]