Age: 77
male
Samuel Leroy Jackson (born December 21, 1948) is an American actor and producer. One of the most widely recognized actors of his generation, the films in which he has appeared have collectively grossed over $27 billion worldwide, making him the second highest-grossing actor of all time. The Academy of Motion Picture Arts and Sciences gave him an Academy Honorary Award in 2022 as "A cultural icon whose dynamic work has resonated across genres and generations and audiences worldwide". Jackson started his career on stage making his professional theatre debut in Mother Courage and her Children in 1980 at The Public Theatre. From 1981 to 1983 he originated the role of Private Louis Henderson in A Soldier's Play Off-Broadway. He also originated the role of Boy Willie in August Wilson's The Piano Lesson in 1987 at the Yale Repertory Theatre. He returned to the play in the 2022 Broadway revival playing Doaker Charles. Jackson early film roles include Coming to America (1988), Goodfellas (1990), Patriot Games (1992), Juice (1992), True Romance (1993), and Jurassic Park (1993), Menace II Society (1993), and Fresh (1994). His collaborations with Spike Lee led to greater prominence with films such as School Daze (1988), Do the Right Thing (1989), Mo' Better Blues (1990), Jungle Fever (1991), Oldboy (2013), and Chi-Raq (2015). Jackson's breakout role was in Quentin Tarantino's Pulp Fiction (1994) which earned him a BAFTA Award win and a nomination for the Academy Award for Best Supporting Actor. He further collaborated with Tarantino, acting in Jackie Brown (1997), Django Unchained (2012), and The Hateful Eight (2015). He's known for having appeared in a number of big-budget films, including Die Hard with a Vengeance (1995), A Time to Kill (1996), The Long Kiss Goodnight (1996), The Negotiator (1997), Deep Blue Sea (1999), Unbreakable (2000), Shaft (2000) and its reboot (2019), XXX (2002), S.W.A.T. (2003), Coach Carter (2005), Snakes on a Plane (2006), Kingsman: The Secret Service (2014), Kong: Skull Island (2017), and Glass (2019). He also gained widespread recognition as the Jedi Mace Windu in the Star Wars prequel trilogy (1999–2005), later voicing the role in the animated film Star Wars: The Clone Wars (2008) and the video game Lego Star Wars: The Clone Wars (2011). With his permission, his likeness was used for the Ultimate version of the Marvel Comics character Nick Fury; he subsequently played Fury in 11 Marvel Cinematic Universe films, beginning with a cameo appearance in Iron Man (2008), as well as guest-starring in the television series Agents of S.H.I.E.L.D. He will reprise this role in the upcoming Disney+ series Secret Invasion, which is set to premiere on June 21, 2023. Jackson has provided his voice for several animated films, documentaries, television series, and video games, including Lucius Best / Frozone in the Pixar films The Incredibles (2004) and Incredibles 2 (2018).
Coonskin is a 1975 American adult animated satirical crime film written and directed by Ralph Bakshi. The film references the Uncle Remus folk tales and satirizes the blaxploitation film genre as well as Disney's racially controversial film Song of the South, also adapted from the Uncle Remus folk tales. The film's narrative concerns three anthropomorphic Uncle Remus characters, Br'er Rabbit (referred to as Brother Rabbit), Br'er Fox (referred to as Preacher Fox), and Br'er Bear (referred to as Brother Bear). They rise to the top of the organized crime racket in Harlem, encountering corrupt law enforcement, con artists, and the Mafia, in a satire of both racism within the Hollywood film system, and America itself. Originally produced under the titles Harlem Nights and Coonskin No More... at Paramount Pictures, Coonskin encountered controversy before its original theatrical release when the Congress of Racial Equality accused the film of being racist. When the film was released, Bryanston gave it limited distribution and it initially received mixed reviews. Later re-released under the titles Bustin' Out and Street Fight, Coonskin has since been re-appraised, recontextualizing the film as the condemnation of racism that the director intended, rather than a product of a racist imagination, as its detractors had claimed.
