Showing posts with label Died. Show all posts
Showing posts with label Died. Show all posts

August 18, 2019

Peter Fonda Dead at 79

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Peter Fonda, whose counterculture classic Easy Rider helped usher in the New Hollywood movement of the 1970s that paved the way for filmmakers from Martin Scorsese to Quentin Tarantino, has died after suffering respiratory failure due to lung cancer. Fonda, the son of screen legend Henry Fonda, younger brother of Jane Fonda and father of actress Bridget Fonda, was 79.
The family confirmed the news of his death Friday in a statement to Yahoo Entertainment.
“It is with deep sorrow that we share the news that Peter Fonda has passed away,” the family said, adding Fonda “passed away peacefully on Friday morning, Aug. 16 at 11:05am at his home in Los Angeles surrounded by family. The official cause of death was respiratory failure due to lung cancer.
“In one of the saddest moments of our lives, we are not able to find the appropriate words to express the pain in our hearts. As we grieve, we ask that you respect our privacy.
“And, while we mourn the loss of this sweet and gracious man, we also wish for all to celebrate his indomitable spirit and love of life,” the statement concluded. “In honor of Peter, please raise a glass to freedom.”
According to Jane Fonda, her brother “went out laughing.”
“I am very sad,” she said in a statement. “He was my sweet-hearted baby brother. The talker of the family. I have had beautiful alone time with him these last days. He went out laughing.”
Fonda was best known for his starring role 1969’s Easy Rider, which he co-wrote and produced, and which celebrated its 50th anniversary on July 14. The film, co-starring the late Dennis Hopper and Jack Nicholson, earned Fonda his first Oscar nomination for Best Original Screenplay. In 1997, he was nominated for Best Actor for starring in Ulee's Gold.
Born in New York City, Fonda began acting in the early '60s. He started to make a name for himself with 1966's The Wild Angels alongside Nancy Sinatra and Bruce Dern, but his big break came three years later with Easy Rider. He was inspired to write the film in 1967 in response to a speech by Jack Valenti, then the newly appointed head of the Motion Picture Association of America who was advocating for more family-friendly films.  

"And like a TV evangelist [Valenti] says, 'It's time we stopped making movies about sex, drugs, and rock 'n' roll and more movies like Doctor Dolittle,' but he's looking right at me," said Fonda in a 2013 Role Recall interview with Yahoo Entertainment. Soon after the ever-rebellious Fonda began writing the story of two drug-fueled motorcyclists on an ultimately tragic cross-country odyssey.
Fonda shared the screen only once with his famous father, in the 1979 western Wanda Nevada, which he also directed.
"A fairy tale. A perfectly written fairy tale," he told Yahoo. "I was fortunate enough to cast my dad. And he came and played for one day with us. And it was really an amazing moment for me, to be able to work with my father, to direct him and act in a scene with him. Up until that moment, no matter the success of Easy Rider, and the tremendous success of Dirty Mary, Crazy Larry, these were not films that my father would understand."
"In 1978, I'm shooting in the Grand Canyon with my father, who's basically dying," Fonda continued. (Henry Fonda passed away in 1982 from heart disease at age 77.) "Any rate, it was fabulous. We had such a good time. He just did one day's work. And I was warning him he had to chew tobacco, so I had all this licorice ready for him to spit instead. I said 'I don't chew tobacco, and I don't want you chewing tobacco.' He said, 'Nope, I'm gonna do it!' You know, stubborn. And so he passed out at lunch!"
Fonda added, "I got a letter, the fifth one I ever got from him, this fabulous letter. Basically it said, 'In my 41 years of making motion pictures, I have never seen a crew so devoted to a director, and you're a very good director, Son. And I love you very much.' The first time it had been put in writing, and there it was. Signed, 'Love, your dad.' It was just amazing."

August 15, 2019

Henri Bololo Died }} "The Village People"

Foto di Michael Putland/Getty Images

Henri Belolo recently died. Not familiar with the name; you most certainly will be familiar with his most famous creation – The Village People. According to his obituary in the New York Times (NYT), “Belolo had been a music producer and executive in Morocco and France in 1977 when one night he and the composer Jacques Morali, his business partner, were at the Anvil, an after-hours gay nightclub in the West Village of Manhattan. They noticed a bartender who doubled as a dancer wearing a headdress and loincloth. As they watched, the man, Felipe Rose — who was wearing that outfit to honor his Native American father — attracted the attention of a man dressed as a cowboy.”
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  Belolo and Morali immediately saw the connect as “the characters of America. The mix, you know, of the American man.” Out of a chance encounter and vision came the Village People, a police officer, an Indian, a construction worker, a leather-clad biker, a cowboy, a cop and a sailor all became a hugely successful group at the end of the Disco Era, largely through their signature hit Y.M.C.A. The Village People were far different from anything else in mainstream music from 1977 to the early 1980s.
The Village People inform today’s topic of how business ventures are different risks than third-parties. Business ventures, whether Joint Ventures (JVs), partnerships, franchises, team agreements, strategic alliances or one of the myriad types of business relationships a US company can form outside the US, are different than the usual risk presented by third-parties under compliance requirements such as those mandated by the Foreign Corrupt Practices Act (FCPA). The problems for companies is that they tend to treat business venture risk the same as third-party risk. They are different and must be managed differently.
These problems continue to exist in places, such as China and India, where there have been a number of FCPA enforcement actions involving US companies entering these markets via a JV. They have some sort of arms-length business relationship with a Chinese or Indian company; then they move to a JV relationship and, as the final step, end up buying out the foreign partner so that they bring theJVinto the company. By the time of the full merger into the US organization, the corruption is so established and ingrained that it continues. Then it is no longer themdoing bribery and corruption; it is nowyoudoing the bribery and corruption.
Consider the business risk for JVs. It begins with the business reason for setting up the JV. The US company wants a connected, well-placed partner who can gain them influence in the foreign market. That foreign partner may be a government official, employee of a state-owned enterprise, or a state-owned enterprise itself. Mike Volkov has said, “by definition the JV relationship you are creating has risks in terms of why you are even doing business with them or even bringing them to the joint venture”. The next problem is in JV governance.
The first problem was why the JV was created but the next is how it will be created? Will it be 50/50 ownership between the US and foreign partner or something else? If its 50/50 how will you split the Board or other governing body. How will you resolve final disputes? All of these questions should be considered from the compliance perspective.
Next, what are the incentives of all the parties and what were the roles that everybody was going to take on regarding the business operation. Volkov said, “if you have a 50/50 joint venture then you would have a situation where the joint venture itself retains third-parties or distributors.” Whose third-party risk management program will be followed? What if red flags arise, who and, more importantly, how will they clear them going forward.
Next is the JV going to use lobbyists and consultants to facilitate the JV operations? The foreign partner may want to hire third parties with no US partner input. The bottom line is that this is an incredibly high risk which requires more than just third-party risk management strategies because you need to get into the guts of the business; how it was created, how it operates and then how is it going to operate.
A different situation comes into play with franchisors and international franchising. Here the issue may be one of control and you must look at the nature of the relationship between the parties in a franchise relationship. Most franchise agreements raise significant FCPA risks. They are outside the classic agent/distributor situation a business needs to take a hard look at the nature of the business venture or how it is operating, why the people have gotten together, next look at the intricacies of the business and, finally, apply a risk analysis to the entire transaction.
In addition to the following the money issues present in every business relationship, the franchisee may also hire its own third-parties, have its own interactions with foreign government regulators, need to train on compliance programs and of course have its own compliance program in place. Yet how many international franchisors have thought through all of these compliance requirements? Regarding franchising, it is both structure and oversight that are required. A company must use its full compliance tool kit in managing the relationship. Sitting back, putting compliance requirements in a franchise agreement will simply not suffice. There must be active management of the compliance risk going forward on an ongoing basis.
The bottom line is that may compliance practitioners have not thought through the specific risks of business ventures such as JVs, franchises, strategic alliances, teaming partner or others as opposed to sales agents or representatives on the sales side of the business. I hope that this will help facilitate a discussion that maybe people will begin to think about more of the issues, more of the risk parameters and perhaps put a better risk management strategy in place.
While you are considering all this, my suggestion would check out the follow Village People set list, all from YouTube.

June 17, 2019

Millionaire and Mother of Anderson (CNN) Gloria Vanderbilt Dead at 95

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Gloria with her son Anderson Cooper and Carter Vanderbilt Cooper
 Gloria Vanderbilt, a woman famed from birth as the last of a Gilded Age clan of millionaires, as the subject of a toxic 1934 child custody trial, as an early inventor of designer jeans, and later as the mother of CNN's Anderson Cooper, has died.
She was 95, Cooper confirmed in an on-air first-person obituary Monday. Cooper said she died at home with friends and family at her side. She had been suffering from advanced stomach cancer, he noted.
"Gloria Vanderbilt was an extraordinary woman, who loved life, and lived it on her own terms," Cooper said in a statement. "She was a painter, a writer, and designer but also a remarkable mother, wife, and friend. She was 95 years old, but ask anyone close to her, and they'd tell you, she was the youngest person they knew, the coolest, and most modern."
Over nine decades, most of them in the public eye and sometimes not in a good way, Vanderbilt's storied name could have been followed by any number of epithets ranging from sad little Gloria to shy young beauty. She was, by turns and sometimes at the same time, an artist, author, actress, fashion model, designer, creative force, philanthropist, lover, and socialite. 
She was the mother of four sons and wife to four men, who suffered double tragedies when her fourth husband died suddenly and one of their sons died.
Her relationships included the late photographer and filmmaker Gordon Parks, movie star Marlon Brando and singer/actor Frank Sinatra, eccentric billionaire Howard Hughes, and writer Roald Dahl.
She was an heiress to Vanderbilt millions who made more millions decades later through her eponymous fashion brand, especially the jeans stamped on the derriere with her signature. 
Her name made headlines from the moment she was born Gloria Laura Vanderbilt in 1924, daughter of Reginald Claypoole Vanderbilt, a rich and idle equestrian and a great-grandson of a robber baron and railroad magnate Cornelius Vanderbilt. Only 18 months later she was fatherless after alcoholic Reggie died of cirrhosis of the liver at age 45.
She was left in the care of her 19-year-old mother, "Big Gloria" Morgan Vanderbilt, who with twin sister Thelma Morgan Furness preferred a life of constantly crossing the Atlantic on luxury liners, spending her daughter's trust fund money and partying in Europe's gathering spots for the rich and glamorous. Often she had her baby daughter in tow. 
By the age of 10, Vanderbilt was "Little Gloria" and dubbed the "poor little rich girl" by the press after her paternal aunt, artist Gertrude Vanderbilt Whitney, fought her mother for custody in a court case that was a tabloid sensation for months in 1934, thanks to its salacious overtones (was "Big Gloria" a lesbian?) and its family feud details (Big Gloria's own mother testified against her).
Poor little Gloria indeed. Once cold Aunt Gertrude had won, she stashed her niece in luxury at her Long Island estate in Old Westbury, and pretty much ignored her for years. Her mother remained elusive; she had only limited visitation rights, to prevent her allegedly scandalous lifestyle from influencing little Gloria.  
Gloria's relationship with her mother suffered irreparable damage, a victim of this first-ever tabloid scandal case. It wasn't helped by the nanny who largely raised her and despised her mother enough to testify against her, too. When Gloria came of age and took control of her multi-million-dollar trust fund, Mom was cut off, and it wasn't until much later that the two reconciled (she died in 1965).
In between, Vanderbilt began studying acting, started painting, appeared in theater productions (her first, in "The Swan," inspired the logo she later used as a fashion designer) and got married – four times.
She was 17 when she went to Hollywood in 1941 and married Pat DiCicco, an agent who also had a reputation as a mobster. They divorced in 1945. (He died in 1978.)
Within weeks, she married conductor Leopold Stokowski (he died in 1977). This marriage lasted 10 years and produced two sons (and three grandchildren): Leopold Stanislaus "Stan" Stokowski, 68, and Christopher Stokowski, 67, who was long estranged from his family.
Her third husband was the late director Sidney Lumet; they married in 1956 and divorced in 1963.
She married author Wyatt Emory Cooper a few months after her third divorce, in December 1963. Their 15-year union ended with his death in 1978 while he was undergoing open-heart surgery. Their elder son, Carter Vanderbilt Cooper, died by suicide at age 23.
"I love to talk about Carter, because for me, it brings him alive again," Vanderbilt said in an interview with USA TODAY in 2016. "People talk about 'bringing closure,' but in my opinion, there's never closure."
In the 1970s, Vanderbilt's name became synonymous with a lucrative fashion brand, starting with scarves and moving on to the signature tight-fitting jeans that made her even more famous than ever. Eventually, her swan logo appeared on apparel, perfume, linens, shoes, leather goods, and even liqueurs. All of this she promoted vigorously with public appearances, one of the first designers to do so. 
In more recent years, Vanderbilt has been best known for exhibits of her art and for her writing, which includes books on art and home decor, four volumes of memoirs and three novels, such as "Obsession: An Erotic Tale." 
She's also been the subject of numerous books, including the best-selling 1980 tale of the custody trial, "Little Gloria...Happy at Last," by Barbara Goldsmith, and a 2010 tome chronicling her life, "The World of Gloria Vanderbilt," by Wendy Goodman.
The Goldsmith book was the basis of a 1982 NBC TV movie by the same name that was nominated for six Emmy Awards and a Golden Globe Award.   
But the book that has gotten the most attention recently is the memoir Vanderbilt and Anderson Cooper wrote together, "The Rainbow Comes and Goes: A Mother and Son on Life, Loss and Love," which reached No. 4 on USA TODAY’s Best-Selling Books list in 2016.
The book is an exchange of correspondence between mother and son, between a survivor of an early press frenzy and a player in what has become a frenzy-a-day media mob. It was also a companion volume to the 2016 HBO documentary, "Nothing Left Unsaid: Gloria Vanderbilt and Anderson Cooper," which covers her storied life and their family history.
Together they made the rounds of TV shows to promote it, as well as a sit-down with USA TODAY. His mother, Cooper said, has had a “much more interesting life” than his
She “was dating Errol Flynn at 17, and (later) Marlon Brando and Howard Hughes and Frank Sinatra. Compared to my mom, I've led a pretty tame existence."
Plus, she approached life and loss in a different way from her son, who, since the death of his father when he was 10, became more concerned about "preparing for the next catastrophe, which I always think is right around the corner.
"My mom believes the next great opportunity is always around the corner." 

March 12, 2019

British Writer Gillian Freeman Writer of “Leather Boys” Who Chronicled Nazi Germany ‘Free Spirits’ Dead At 89

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 Movie "Leather Boys' 1964

Harrison Smith

Washington Post

Gillian Freeman, a British writer whose precise, richly detailed historical novels chronicled free spirits in Edwardian England and Nazi Germany, and who ventured outside the mainstream to write a pioneering study of pornography and a landmark work of gay literature, died Feb. 23 at a hospital in London. She was 89.
The cause was complications from dementia, said her husband, Edward Thorpe.
Ms. Freeman was working as a secretary for novelist Louis Golding when she began writing her first book, “The Liberty Man” (1955), about a middle-class schoolteacher and a cockney sailor whose love affair is stifled by the British class system.
She went on to write scripts for television, radio and an early Robert Altman film; scenarios for Royal Ballet choreographer Kenneth MacMillan; and about a dozen more novels, often featuring undercurrents of romance and mystery, with protagonists who are outcasts by virtue of their religion, class or sexuality. Raised in a liberal, middle-class London family, Ms. Freeman was no outsider. But she had a strong sympathy for those who were and an imagination that enabled her to craft fully realized characters such as Dick and Reggie, the gay, motorcycle-riding protagonists of “The Leather Boys” (1961).
The novel was commissioned by her literary agent turned publisher, Anthony Blond, who was bisexual. “Anthony said to her, ‘I would like a Romeo and Romeo story about simple young men, working-class young men,’ ” Thorpe said in a phone interview. “It was rather like the two guys in ‘Brokeback Mountain,’ which she preceded by about 40 years.”

Gillian Freeman wrote “The Leather Boys” before homosexuality was decriminalized in Britain. (ANL/REX/Shutterstock) 

“The Leather Boys” was published six years before homosexuality was decriminalized in England and was part of a wave of boundary-breaking gay novels that included works by Christopher Isherwood, Mary Renault and (posthumously) E.M. Forster.
It “played a vital part in liberalizing British attitudes to homosexuality,” novelist Michael Arditti wrote in the foreword to the 2014 reissue of “The Leather Boys.”
Ms. Freeman released the book under a pseudonym, Eliot George, inverting the nom de plum that Mary Ann Evans used to publish “Middlemarch.” She used her own name while serving as screenwriter for a 1964 film adaptation drawn from “the novel by Eliot George.”

Directed by Sidney J. Furie, the movie featured actress Rita Tushingham and tweaked the novel’s plot, keeping Reggie’s unhappy marriage but having him spurn the advances of a gay biker, now named Pete. “The playing is exceptionally real, lines overlapping, almost improvised,” wrote Washington Post film critic Richard L. Coe. “Understatement has made this story meaningful; overstatement would have made it merely sensational.” 

Ms. Freeman went on to survey the state of modern pornography in “The Undergrowth of Literature” (1967), which drew from magazines like Woman’s Own and Man’s Story to examine “the particular fantasies people need to get through life,” her husband said.
And she wrote two major novels set in Nazi Germany, including “The Alabaster Egg” (1970), about a Jewish woman’s tragic romance, and “Nazi Lady: The Diaries of Elisabeth von Stahlenberg, 1933-1948” (1978), which originally omitted Ms. Freeman’s name from the cover.
Appearing to be an authentic Nazi diary, the novel chronicled the daily life of a woman who marries an employee of propaganda minister Joseph Goebbels, meets Adolf Hitler and espouses the necessity of accepting “a certain amount of violence to achieve peaceful ends.” Ms. Freeman’s identity as author was soon revealed by the Evening Standard, but by then, the book had already fooled plenty of readers. 

According to the Telegraph, Blond wrote in a memoir that historian and conservative politician Alan Clark declared the novel “indisputably genuine . . . a contemporary document of the highest importance to social historians of the epoch.” American publishers, meanwhile, offered to double their advance if “von Stahlenberg” would agree to a book tour.
Gillian Freeman was born in London on Dec. 5, 1929. Her mother was a homemaker, and her father was a physician turned dentist, who encouraged 5-year-old Gillian’s writing efforts by clipping together her handwritten stories about dogs and fairies.
She received a bachelor’s degree in English and philosophy, with honors, from the University of Reading in 1951. After moving to London, she worked as a copywriter, East End schoolteacher and newspaper reporter before being hired by Golding, one of her father’s dental patients. 

Ms. Freeman married Thorpe, a ballet critic and novelist, in 1955. They later co-wrote “Ballet Genius” (1988), which featured profiles of 20 leading dancers. By then, Ms. Freeman had written scenarios for MacMillan’s ballets “Isadora” and “Mayerling,” which depicted a suicide pact between Crown Prince Rudolf of Austria and his mistress.
In addition to her husband, survivors include two daughters, actresses Harriet Thorpe and Matilda Thorpe; and five grandchildren.
Ms. Freeman’s other works included the screenplay for Altman’s “That Cold Day in the Park” (1969), based on a thriller by Richard Miles, and her novel “An Easter Egg Hunt” (1981), about a 17-year-old girl’s disappearance at a boarding school during World War I.
Her “Nazi Lady” continued to bedevil inattentive readers in recent years. When Canongate published “The Secret Annexe” (2004), an anthology of war diarists edited by Irene and Alan Taylor, the book included an excerpt from the diary of Elisabeth von Stahlenberg.

Harrison Smith
Harrison Smith is a reporter on The Washington Post's obituaries desk. Since joining the obituaries section in 2015, he has profiled big-game hunters, fallen dictators and Olympic champions. He sometimes covers the living as well, and previously co-founded the South Side Weekly, a community newspaper in Chicago. 

October 7, 2018

Scott Wilson Actor of The Walking Dead, Died Today at 76

Gilbert Carrasquillo/WireImage

His first film was 'In the Heat of the Night,' and he also stood out in 'The Ninth Configuration,' 'Dead Man Walking' and 'Monster.'

Scott Wilson, the Georgia-born actor admired for the intensity he demonstrated in such dark, disturbing projects as In Cold BloodThe Walking Dead and The Ninth Configuration, has died after a battle with cancer. He was 76.
Details were not immediately available, but the official Twitter account for The Walking Dead comic book, on which the popular AMC show of the same name is based, confirmed the news Saturday. "We are deeply saddened to report that Scott Wilson, the incredible actor who played Hershel on #TheWalkingDead, has passed away at the age of 76," the statement read. "Our thoughts are with his family and friends. Rest in paradise, Scott. We love you."
At New York Comic-Con 2018, Walking Dead showrunner Angela Kang announced that Wilson would reprise his role as Hershel in season nine — which premieres Sunday — though she offered no word on the timing of his appearance or how many episodes in which he was slated to appear. However, sources have confirmed that Wilson had filmed some scenes. The announcement was made a little more than an hour before news of Wilson's passing spread on social media.
In a statement to THR, a spokesperson for AMC said: "Scott will always be remembered as a great actor, and we all feel fortunate to have known him as an even better person. The character he embodied on The Walking Dead, Hershel, lived at the emotional core of the show. Like Scott in our lives, Hershel was a character whose actions continue to inform our characters’ choices to this day. Our hearts go out to his wife, family, friends and to the millions of fans who loved him. Scott will be missed."
CSI fans know Wilson as the crooked Las Vegas casino owner Sam Braun, the father of Marg Helgenberger's Catherine Willows, and he played the troubled neighbor Judd Travers in the three Shiloh family films released in 1996, 1999 and 2006.
Wilson also was memorable in The Great Gatsby (1974), where his character, the owner of a filling station, shoots and kills Jay Gatsby (Robert Redford) while he's lounging in his mansion swimming pool, then turns the gun on himself. He often brought anxiety and melancholy to his roles.
After portraying the murder suspect Harvey Oberst in his first feature, the Oscar best picture winner In the Heat of the Night (1967), Wilson was cast as real-life murderer Dick Hickock for In Cold Blood (1967). The chilling documentary-like drama was directed by Richard Brooks, who also adapted Truman Capote's sensational 1965 best-selling novel for the screenplay.
Hickock had met fellow drifter Perry Smith (played by Robert Blake in the film) in jail, and after they were paroled, they headed to a farm in Holcomb, Kansas, for a robbery. Finding little cash on hand, they killed four members of the Clutter family — the husband, wife and two of their teenage children — in 1959. (The pair spoke with Capote for the book before being executed in 1965).

Scott Wilson as Hershel Greene on 'The Walking Dead.'
Gene Page/AMC
Scott Wilson as Hershel Greene on 'The Walking Dead.'
Wilson, then 24, got the job in part because of his resemblance to Hickock.
"Every actor in the English-speaking world wanted those two roles, including [Paul] Newman and [Steve] McQueen," Wilson recalled in a 1996 interview with the Los Angeles Times. "Brooks hired two 'unknowns,' and he wanted to keep it that way. We were treated like two killers he had somehow run across."
Wilson, Blake and Capote posed on a dusty stretch of Kansas highway for the cover of Life magazine on May 12, 1967, with the headline "Nightmare Revisited," though the young actors went unidentified on the front. And for a billboard on Sunset Boulevard in Hollywood, Wilson noted, "Brooks had the poster with our eyes taken down and replaced with one of the real killers' eyes."
Murder scenes were filmed on location at the Clutter home.
Brooks set up a private screening for Wilson and Blake after the movie was finished, and "after seeing the film, I went to the restroom and threw up," he told Elvis Mitchell in a 2017 interview. "I realized what I had just seen. I was part of something that would stand up for a period of time, a classic."
The blue-eyed Wilson, now with a bushy white beard, saw his career revitalized in 2011 when he joined AMC's The Walking Dead in the second season as Hershel Greene, a stubborn farmer and veterinarian who loses a leg before eventually meeting his end — by decapitation — in season four. (Fans were very sorry to see him go.) He filmed the series in his home state of Georgia.
As Hershel, Wilson often provided the sage voice of wisdom in the ear of lead character Rick Grimes (Andrew Lincoln) and other survivors of the apocalypse. Wilson told THR he never auditioned for the role: "My rep called and said they were interested in me for two to three episodes," he said. "I asked what show it was about and they said zombies. I said, 'Give me some good news.'"
After watching the first season, Wilson was more encouraged about his future with The Walking Dead. "I hadn't done a lot of TV at the time," he said. "I did CSI and played Marg Helgenberger's father and got that after working with Danny Cannon on a film. I found it very interesting working on Walking Dead because I'd never really played the same character for that amount of time; it's different than doing a play or film."
Co-star Khary Payton, who portrays Ezekiel on the show, shared his condolences: "The first time I met Scott Wilson, he gave me a big hug and said that this thing I had become a part of … was a family. He said I had a responsibility to take care of it. I have tried very hard to do that, sir. & I will continue. I promise. See you on the other side, my friend." Fellow TWD actor Michael Cudlitz added, "Rest easy my friend." And Jesus actor Tom Payne said, "Goodbye Scott Wilson you absolute legend." Chandler Riggs, who played Carl through eight seasons, said that he will "never forget the things you told me and the time we spent together on set."
"Scott was one of the greats, both as an actor and a man," said Walking Dead executive producer Gale Anne Hurd. "We in #TheWalkingDeadFamily are truly grief stricken. He lived life to the fullest with his true love, his wife Heavenly. He is now a shining star in heaven spreading kindness and light forever."
In the psychological thriller The Ninth Configuration (1980), written and directed by William Peter Blatty of Exorcist fame, Wilson played Captain Billy Cutshaw, a former astronaut in an insane asylum for military personnel, receiving a Golden Globe supporting actor nomination for his work.
He also portrayed a prison chaplain in Sean Penn's Dead Man Walking (1995), and his character, a john, was slain by Charlize Theron's victim turned serial killer in Patty Jenkins' Monster (2003).
For a performer of his obvious ability, Wilson went lengthy stretches without working. He filled one slow period by painting drug stores.
"Not many people survive a long period of time as actors," Wilson told the Cleveland Plain Dealer in 2016. "I've been fortunate to have a long career and play a variety of roles. I've had my down periods. I went four years without work. You have stretches where it feels like starting over. But a lot of people never even get the first break. You're incredibly fortunate if you get that."
William Delano Wilson was born in Atlanta on March 29, 1942. After the death of his father, he graduated from Thomasville High School in 1960 and was awarded an athletic scholarship to Georgia's Southern Polytechnic State University. 
Wilson, though, didn't stay in school; instead, he spent three days hitchhiking to Los Angeles, arriving with $40 in his pocket. One night, he got drunk and wound up in an acting class. 
"At the end of the class, the teacher came up to me and said, 'I don't know what your problem is; don't come back to my class drunk,'" he recalled in a 2012 interview. "I went back the next week to apologize. He gave me a monologue to do from a Eugene O'Neill one-act play, The Long Voyage Home. I came back the next week and did it and said, 'This is it, this is what I want to do.'"
Wilson spent the next five-plus years participating in acting classes and workshops and appearing in local plays like Oscar Wilde's The Importance of Being Earnest.
His friend's stepfather was an agent who introduced Wilson to casting director Lynn Stalmaster, who recommended the untested actor to director Norman Jewison and producer Walter Mirisch for In the Heat of the Night.
"It was heaven," he told Mitchell. "Here I was parking cars and pumping gas and doing odd jobs to support myself, then all of a sudden I'm working with people that you talk about in acting class." His Southern accent, which he had been trying to lose, helped him get the job.
Wilson bonded with In the Heat of the Night star Sidney Poitier, who recommended him to Brooks for In Cold Blood. (Wilson was 6 when he met Blake the first time, getting an autograph from the actor who was then playing Little Beaver in a series of Westerns at Republic Pictures.)
Wilson appeared in Sydney Pollack's Castle Keep (1969), John Frankenheimer's The Gypsy Moths(1969) and Robert Aldrich's The Grissom Gang (1971), then played a disillusioned rookie in Richard Fleischer's The New Centurions (1972).
Wilson later starred as a private who falls in love in postwar Poland in Krzysztof Zanussi's A Year of the Quiet Sun (1984), which won the Golden Lion at the Venice Film Festival, and reteamed with the Polish director in Our God's Brother (1997), a film adaptation of a play written years earlier by Pope John Paul II.
He also appeared as test pilot Scott Crossfield in The Right Stuff (1983) and in other films like Johnny Handsome (1989), Geronimo: An American Legend (1993), Elvis and the Colonel: The Untold Story (1993), The Grass Harp (1995) — based on another Capote novel — Clay Pigeons (1998), The Way of the Gun (2000), Pearl Harbor (2001), Junebug (2005), The Heartbreak Kid (2007) and Hostiles (2017).
Wilson also recently had gigs on such TV shows as BoschThe OA and, from Walking Dead showrunner Glen Mazzara, Damien. His Bosch co-star Titus Welliver was one of the first to comment on Wilson's passing on Saturday night. "Scott Wilson has departed. I am heartbroken. We are fewer. Go easy into the light brother," he wrote on his Twitter account.
Survivors include his wife, Heavenly, an artist and attorney whom he married in 1977. His mother, Jewell, died in March 2017 at age 102.
All in all, Wilson told the Atlanta Journal-Constitution in 2011, he "accomplished more than I would have hoped to have accomplished. I don't want to be a big movie star. I can be someone who walks the streets and not get mobbed. Yet I want to be as fine an actor as I can be. I am still striving for that — to be as good as I can be."

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