George Margo
Appeared primarily in British films and television shows, as the archetypal brawn over brains character, before later returning to his native America for more mainstream roles and recognition, in the mid 1970's, never to return to England. Initially served in Germany in World War 2, he was transferred to the UK, and after peace broke out, found himself accepted by RADA in 1948, from whence his performing career began.
George Marian
George Marian is known for Indian 2 (2024) and Odavum Mudiyadhu Oliyavum Mudiyadhu (2023).
George Markakis
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George Marshall
George Marshall was a versatile American director who came to Hollywood to visit his mother and "have a bit of fun". Expelled from Chicago University in 1912, he was an unsettled young man, drifting from job to job, variously employed as a mechanic, newspaper reporter and lumberjack with a logging outfit in Washington state. Trying his luck in the emerging film industry, he got his start at Universal and was put to work as an extra. His powerful, six-foot frame served him well for doing stunt work in westerns, earning him a dollar every time he fell off a horse. He was first glimpsed on-screen in a bit as a laundry delivery man in Roscoe 'Fatty' Arbuckle's The Waiters' Ball (1916). The acting gig wasn't to his taste, though, and, within a year he moved on to writing and directing. The majority of his early assignments were two-reel westerns and adventure serials, starring the popular Ruth Roland. A jack-of-all-trades, he was later prone to remark that in those days he often needed to double as cameraman and editor, too, often cutting his film with a pair of scissors and splicing it with cement. In the 1920's, Marshall worked with cowboy star Tom Mix and then became a comedy specialist for Mack Sennett, turning out as many as 60 one- or two-reelers per year. At Fox, he served as supervising director on all of the studio's comedic output between 1925 and 1930. At the beginning of the sound era Marshall joined Hal Roach and directed comedies with Thelma Todd (Strictly Unreliable (1932)) and two of Stan Laurel and Oliver Hardy's best shorts: Their First Mistake (1932) and Towed in a Hole (1932)). Always adept at visual comedy, Marshall directed (and also turned up to good effect in a cameo as a hard-boiled army cop in) Pack Up Your Troubles (1932). Economic conditions forced a downsizing at Roach, and Marshall returned to Fox in 1934, staying there for four years, then worked at Universal (1939-40) and Paramount (1942-50, and 1952-54). One of his biggest critical and financial successes was the classic western Destry Rides Again (1939), which re-invigorated the career of Marlene Dietrich and became Universal's top box-office hit for the year. He controlled the antics of W.C. Fields in You Can't Cheat an Honest Man (1939); helped Betty Hutton on her way to stardom with the biopics Incendiary Blonde (1945) and The Perils of Pauline (1947); and directed Alan Ladd in the film noir classic The Blue Dahlia (1946). There was also a fruitful association with Bob Hope, beginning with The Ghost Breakers (1940). Freelancing over the next two decades, Marshall turned out three superior vehicles for Glenn Ford: a western (The Sheepman (1958)) and two comedies (The Gazebo (1959) and Advance to the Rear (1964)). He was one of three directors (the other two were John Ford and Henry Hathaway) assigned individual segments of the blockbuster How the West Was Won (1962). Towards the end of his long career he helmed several episodes of the Daniel Boone (1964) and Here's Lucy (1968) TV series. With at least 185 directing credits to his name (there may have been as many as 400, given his prolific output of shorts during the 1910's), George Marshall retired from making films in 1972 and died three years later at the age of 83. He has a star on the Walk of Fame on Hollywood Boulevard.
George Martin
Known best as the record producer for The Beatles, George Martin had a long and varied musical career, and continues to enjoy a rare reputation as one of popular music's true "nice guys." Martin was born into a working-class family in Drayton Park, England, on 3 January 1926. His classical music training didn't actually begin until his 20s; the only formal musical education Martin had as a child was eight piano lessons from an aunt. He kept up with the piano on his own, though, and by his teens led a small combo called The Four Tune-Tellers, along with his being able to play several classical pieces by ear. He'd also begun composing his own songs, with an eye toward someday writing film scores. By this time World War II was underway, and at 17 Martin enlisted in the Fleet Air Arm, serving as an aircraft observer. While in the service, he both acquired a mentor in Sidney Harrison, who critiqued his early scores and encouraged him to follow a career in music, and appeared on a BBC radio show, playing an original piece. Returning to civilian life in early 1947, Martin found himself at a career crossroads, without much formal education or training. Sidney Harrison encouraged him to enter the Guildhall School of Music in London, where Harrison taught, and arranged an audition. Martin passed, and studied for three years at the Guildhall, paying for this with a veteran's grant, and studying oboe as a second instrument. After graduation and a stint with the BBC Music Library, Martin was offered a job with EMI's Parlophone record label, as assistant to its chief Oscar Preuss. Preuss both signed the label's artists and produced most of their recordings, and it was these jobs that Martin gradually took over as Preuss retired, leaving Martin in charge of the label at age 29--the youngest label-head in England in the pre-rock era. Parlophone featured mostly classical and regional music, which Martin conducted and produced; he augmented these later with both highly-successful comedy records (including Peter Ustinov's "Mock Mozart" and several Goon Show recordings with Peter Sellers and Spike Milligan, who became close friends) and rock-n-roll when it reached Britain. Despite his triumphs, George Martin nearly went down in music history as "The Man Who Turned Down Tommy Steele," passing up his chance to produce Britain's first genuine rock star to instead sign up Steele's backing group, the Vipers. This mistake was luckily overshadowed by another signing of Martin's, a few years later... Martin and Beatles' manager Brian Epstein learned of each other when Epstein decided to have acetate test-records made of a Beatles audition tape, during his make-or-break final visit to London to try to get the band a recording contract. Nearly every label in England had turned the band down, and while Martin wasn't bowled over by their demo, he was impressed enough to give them a studio audition. Martin came away from this satisfied with everything he'd heard, except for Pete Best's drumming, and when he offered the band a singles contract in the fall of 1962, it was with the understanding that Best would not play on the records. This was reason enough for the band to want to replace him completely, and Ringo Starr took his place, shortly before the Beatles recorded their first Parlophone single, "Love Me Do". Martin's first collaboration with The Beatles wasn't a big hit, but their second single with him, "Please Please Me", made an immediate impact, and propelled the band to national stardom in Britain. The hits continued, and Martin's own name began to appear on the recordings he produced (both for The Beatles, and for other artists) a few months later, as the record-producer's role became more widely recognized in the industry. It was Martin's friendship with music publisher Dick James that resulted in the creation of Northern Songs as the Beatles' publishing company; however, Martin never profited directly from this, or even from their early hits--he turned down the chance to become a Northern Songs partner, and as an EMI staff producer, he was paid no royalties. In fact, EMI's antiquated pay-scale was one of the many factors that caused Martin and several other EMI staffers to resign in the mid-Sixties, and establish their own company AIR (Associated Independent Recording). EMI now had to hire Martin back as an independent producer for their artists, and he began receiving producer's royalties on AIR's behalf. The story of George Martin's relationship with the Beatles has been told again and again, but perhaps best by the man himself, in both radio and television specials, and his own book "All You Need is Ears", which reads both as pop-history and a kind of record-producer's textbook. He has graciously answered questions about the band (sometimes as the only clean-n-sober participant at recording sessions) and his own experiences again and again, proving to be an ideal, well-balanced spokesman. Many of the Beatles' more elaborate productions, especially in their later "studio years," were shaped by George Martin, who arranged their songwriting into final scores and recordings. Throughout the Beatles' career and beyond, Martin continued to record and produce other artists, including Shirley Bassey, Bernard Cribbins, Flanders and Swann, and later America and Seatrain. He was also able to realize his earlier dream of scoring movies, beginning with his original orchestral score for Yellow Submarine (1968),which he also produced for film and record. In the late 1970s, Martin was approached by RSO's Robert Stigwood to produce the soundtrack for the Bee Gees's Beatles homage Sgt. Pepper's Lonely Hearts Club Band (1978); despite his initial misgivings, he signed onto the project knowing nobody else had his insider's knowledge of their music... and the payment to come would erase a lot of earlier financial shortings from his EMI days. While George Martin supervised parts of "The Beatles Anthology" in 1994 and 1995, the task of producing the new recordings included with the compilation was given to Jeff Lynne; Martin explained to the press, "I don't produce anymore, because I'm too old." Martin recently celebrated his retirement from the music business, with both a knighthood and the release of "In My Life", an all-star tribute album to the band who gave him his biggest success.
George Maryan
George Maryan is an actor, known for Kaithi (2019), Bigil (2019) and Enemy (2021).
George Mason
George Mason is an actor, known for The Power of the Dog (2021), Dirt Music (2019) and Daffodils (2019).
George Massenburg
George Massenburg is known for Road House (1989), The Secret Garden (1993) and An American Tail (1986).
George Mathews
Burly, craggy-faced tough guy actor George Mathews was brought up in Manhattan and educated in Brooklyn. He had an extensive career on stage, which began in the early 1930s, after he failed to get a job with the US Post Office. Instead, he joined the WPA (Works Progress Administration) Theatre Program, a government agency that provided jobs for the unemployed on public works projects during the Depression. He first appeared on Broadway in the key role of Dynamite Jim in "Processional" (1937). With his broad face, strong eyebrows, gravelly voice and jutting lower lip, Mathews was invariably cast as heavies or hard-as-nails military types. He appeared to great effect on stage in 1942-43 as Sgt. Ruby in "The Eve of St. Mark" on Broadway, and repeated his role in the film version (The Eve of St. Mark (1944)), a perfect showcase for his screen personae. Not just a one-note "plug ugly", he was equally as effective at portraying comic toughs, which he did in Pat and Mike (1952), becoming the recipient of some judo action meted out by Katharine Hepburn; and the Garson Kanin-directed musical comedy 'Do Re Mi' (1960-62), as Fatso O'Rear, starring Phil Silvers. Mathews also acted in classical plays like "Antigone" (1946, as a guard) with Cedric Hardwicke and played Mitch in "A Streetcar Named Desire" (1949-50), going on tour with fellow cast members Uta Hagen and Anthony Quinn. This performance garnered some critical accolades from Brooks Atkinson of The New York Times. In 1950, he joined Tyrone Power in a sell-out London production of "Mister Roberts" at the Coliseum Theatre, playing the role of the captain. In films, he was notable as the gambler Williams in the powerhouse drama The Man with the Golden Arm (1955) and as the sadistic Sheriff Bull Harper in the colorful western The Last Wagon (1956). Mathews also had a recurring role in the TV comedy series Glynis (1963), playing ex-cop Chick Rogers who aids and abets mystery writer and amateur sleuth Glynis Johns in solving a string of "whodunnits". In private life, Mathews was the antithesis of the ruffians he often portrayed on screen: amicable and intelligent. Outside of his profession, he was an avid chess player and often participated in international tournaments. He retired from the acting profession in 1972 and died in South Carolina in November 1984.
George Mauro
George Mauro is known for Vampire Secrets (2006) and Six Sex Scenes and a Murder (2008).