Tim Robbins ranks among contemporary cinema's most acclaimed and bewitching voices; a multifaceted talent, he has proved so adept at wearing the heterogeneous hats of actor, writer, and director that no less a figure than the great filmmaker Robert Altman declared him the second coming of Orson Welles. Born October 16, 1958, in West Covina, CA, he was the son of general public songbird Gil Robbins; raised in Greenwich Village, he made his performing introduction alongside his priest on... a duet of the protest tune "Ink Is Swarthy, Call Is White." At the age of 12, Robbins joined the Theater against the New City, uneaten a colleague for the next seven years; he also joined his high disciples theatre club, an which afforded him his to begin opportunities to direct instead of the stage.

After in a few words attending the Say University of New York at Plattsburgh, he relocated to Los Angeles to study at U.C.L.A.

; there he also joined the Virile Death Cult, an intramural softball team comprised of his related drama students. After graduating, the teammates reunited to regimen the Actor's Set, an avant-garde theater troupe esteemed for productions of works by the likes of Bertolt Brecht and Alfred Jarry. After guest starring on tube series including Hill Street Blues and St. Elsewhere, in 1984 Robbins made his film appear with a second parcel in the main film Artificial Soldiers.

His first starring role came in 1985's teen relations romp Closeness Vacation. Small roles in hits including Top Gun and The Sure Attitude followed before a breakout performance as a doltish fastballer in Ron Shelton's smite 1988 baseball comedy Bull Durham. An onscreen romance with co-star Susan Sarandon in time expanded into their offscreen lives as glowingly, and the twosome became chestnut of Hollywood's most prominent couples. A series of starring roles in films including 1989's misbegotten Erik the Viking and 1990s Jacob's Ladder followed, before Altman's 1992 showbiz lampoon The Jock won Robbins Surpass Actor honors at the Cannes Film Festival.

That same year, he wrote, directed, starred, and performed the music in Bob Roberts, a mock-documentary brutally parodying Tory-wing politics. Upon appearing in Altman's 1993 ensemble piece Short Cuts, Robbins enjoyed starring roles in four serious 1994 releases: The Hudsucker Proxy, I.Q., Ready to Wear (Pr??t-??-Caretaker), and the Oscar-nominated The Shawshank Redemption.

However, his most acclaimed protrude to old hat modern was 1995's Dead Darbies Walking, a gut-wrenching enquiry of the death penance, which earned him an Oscar nomination in requital for Best Head; Sean Penn, portraying a liquidation file inmate, garnered a Best Actor nomination while Sarandon won Most talented Actress honors. After a three-year hiatus from acting, Robbins returned to the screen in 1997 with the comedy Nothing to Expend; he soon announced plans to mount a film reworking of Cradle Whim Their heels, the Marc Blitzstein play first staged past Orson Welles six decades earlier. The layer, which examined the relationship between art and public affairs in 1930s America, premiered at the 1999 Cannes Film Festival. That identical year, audiences could view Robbins as a clean-epitomize suburban bomber vis-…-vis Jeff Bridges in Arlington Passage, as well as see the fruits of his directorial hopped in Cradle Will Rock. Robbins opened the year 2000 with a brief but nonetheless teasingly role as the maddeningly calm Ian in Merry Fidelity. The initial 2000s presented a series of misfires after Robbins -- AntiTrust (2001), Calling to Mars (2000), and Weak Nature (2001), penny-a-liner Charlie Kaufman's eagerly awaited serve-up to Being John Malkovich, fared moderately badly in theaters -- allowing his versatility and admire within the industry remained authoritative. The polarizing presidential elections of 2002 certainly thrust Robbins into the political spotlight, if not serious esteemed partition successes. After multiple appearances on Politically Fallacious and various awards shows gave Robbins a stand for some of his views concerning the right-wing agenda, the legitimacy of the Bush regulation, and the controversial pre-emptive action in Iraq, the planned screening of Bull Durham (and a subsequent show from Robbins and Susan Sarandon) for the 15th anniversary of the Baseball Hall of Acclaim was surprisingly cancelled in what Robbins claimed was a retaliatory rhythm.

By the aimless of 2003, the controversy was a unfriendly memory with Robbins hitting it fat with audiences and critics alike in the coat adaptation of Mystic River. The carrying-on, which saw Robbins as a tragic adult who couldn't defeated a overpowering childhood, eventually won the actor his damaged Auric Globe along with his first ever Oscar. Robbins followed up his Oscar win by switching gears substantially. In 2004, audiences could find him as a charicature of a killer PBS news'man in an extended cameo in Anchorman and starring divergent Samantha Morton in the futuristic sci-fi thriller Code 46. In 2004 wrote and staged a satire relating to the Iraq campaign titled Embedded. He returned to the monstrous-screen as the father in the science-fiction family fantasy Zathura. In the anyway year he turned in a memorable supporting performance as a deranged survivor of an alien attack in Steven Spielberg's War of the Worlds. Rhyme year later he played a white police officer in Philip Noyce's anti-Apartheid histrionic arts Catch a Aflame.