An idiosyncratic actor known for the sake of both his versatility and sinewy, dotty-kilter sexiness, Sam Rockwell is one of the point and gauge's most innovative and least predictable performers. Long ago dubbed "the male Parker Posey" for his voluminous work in independent films, Rockwell has also earned notify during his work in more mainstream fare, including Unabashed Darabont's The Amateurish Mile (1999). Born in Daly See, CA, on November 5, 1968, Rockwell enjoyed a steadfastly... bohemian upbringing.

The son of artists and actors, Rockwell moved to New York Borough with his parents when he was two. Three years later, his parents divorced, and he done in much of his youth traveling retreat from and forth between them. Raised by his forefather in San Francisco, he dead beat his summers in New York with his mother, whose unconventional lifestyle -- replete with gender, drugs, and flamboyant hippies -- introduced Rockwell to some perfect matured pastimes at an damned young adulthood. It was in the course his care for that he became involved in theater, making his exhibit debut at the length of existence of ten.

He later attended San Francisco's Sharp Imbue with of the Performing Arts, where, at the age of 18, he was chosen to star in Lummox House (1988), an ill-certain thriller revolving nearly three brothers' fight to the expiry with a group of mad circus entertainers. Following his screen launching, Rockwell moved to Trendy York and proceeded to indicate 20 more films, including Last Exit to Brooklyn (1990) and Tom Di Cillo's Box of Moonlight (1996). It was the actor's work in the latter skin that first won him notice: as The Kid, a coonskin cap-clad free will whose backwoods duration alters the mundane life of a burnt-out engineer (John Turturro), Rockwell gave an engaging effectuation that sparked activity prominence; unfortunately, the independent film disappeared at the box office. The actor next garnered acclaim for his vanguard role in John Duigan's Turf Dogs (1997), a tale yon the unconventional conviviality between a white balderdash greensward boy (Rockwell) and a ten year-old broad (Mischa Barton) with a heart problem.

Employing a heavy helping of magical realism to tell its black lie, the film earned equitably positive reviews, and Rockwell drew distinct compliment through despite his complex, low-key dispatch. The actor subsequently appeared in a series of comedies that made merit take advantage of of his quirky exterior, most markedly Appropriate Men (1998), which cast him and Steve Zahn as two singers of dubious quality who find themselves the unwitting targets of the Jewish mafia. In 1999, more mainstream audiences were introduced to Rockwell thanks to his historic work in three films: A Midsummer End of day's Delusion, which throw him as the cross-dressing Francis Flute; Galaxy Exploration, a comedy spoof in which Rockwell played a cast member of a failing circa-'70s sci-fi TV series; and The Callow Mile, in which the actor got to fully exhibit his twisted versatility as Silly Reckoning, a undoing-row occupant whom Rockwell himself characterized as "a disgusting, racist, pedophile freak." Switching gears almost as much as humanly possible, Rockwell's following role in Galaxy Track down (1999) base him a quirky cast associate of a Inimitable Trek- television sci-fi series.

The distinguish between Rockwell's ultra-lightweight Galaxy Quest characterization and his quondam role as a genuinely rancid criminal was a testament to his versatility, and though he would put to comedy with Charlie's Angels, a series of small roles would follow forward of Rockwell teamed with actor George Clooney towards Greet to Collinwood and Confessions of a Dangerous Mind (both 2002). Appearing as whilom act of the cult telly foreboding The Gong Show in the latter, Rockwell brought Chuck Barris' compellingly quirky (and partially fictionalized) biography to the screen under first-for the moment director George Clooney. In addition to his work onscreen, Rockwell has continued to play on the rostrum show business, appearing in such productions as a 1998 off-Broadway look over of Mike Leigh's Goosepimples.