John C. McGinley is an actor who has performed in a lot of movies and television shows. He has been cast in several of the largest movies and TV programs in the past few years which have gone on to become enormous commercial successes. Other than that, John can be an author and he is the spokesperson for the National Down Syndrome Society too.
John is a prolific actor mostly as a supporting character actor. First found by a casting scout, John has since then performed some of the very recognized and critically acclaimed movies such as “Wall Street”, “Platoon”, “Born on the Fourth of July”, “Highlander II: The Quickening”, “Se7en”, “The Rock”, “Intensity”, “Identity”, “Two Tickets to Paradise”, “Wild Hogs”, and many others. His television performances could be seen in “The Last Outlaw”, “The Practice”, “Scrubs”, “Alien Planet”, and “WordGirl” among others. For several of others he has been a voice artist, and in some he has been a producer or writer.
John C McGinley Net Worth $12 Million
His performance in Scrubs as Dr. Perry Cox was also widely appreciated. The abundance of John primarily comes because of his portrayals of these characters. McGinley got married to Lauren Lambert in 1997. Nevertheless the couple divorced only five years later. The characters have a son. He married again in 2007 to Nichole Kessler, a yoga instructor. They have two daughters.
His wife, Nichole Kessler, gave birth to their second child together, daughter Kate Aleena McGinley, on June 24, 2010.
MFA in Acting - New York University, Tisch School of the Arts (1984).
Daughter, Billie Grace McGinley, born 2 February 2008, weighing 8 lbs and 21 inches long.
Was listed as a potential nominee on the 2008 Razzie Award nominating ballot. He was suggested in the Worst Supporting Actor category for his performances in the films Are We Done Yet? (2007) and Wild Hogs (2007), he failed to receive a nomination however.
Calls Oliver Stone his favorite director to work with, and has accordingly been cast in his films six times, more than any actor except Sean Stone, the director's son.
Is a good friend of NHL defense-man Chris Chelios and can often be seen on Scrubs (2001) wearing a Chelios hockey jersey or T-shirt of Chelios' chain of restaurants, "Cheli's Chili".
Became engaged to yoga teacher, Nichole Kessler, on August 19, 2006.
On Scrubs (2001), his character Dr. Cox's habit of referring to J.D. ( Zach Braff) by girls' names was put in the show after the writers noticed McGinley doing it to Braff. He claims to do this to all of his friends.
On the special edition DVD of Office Space (1999), writer/director Mike Judge and the cast reveal that McGinley improvised much of his character's praise of Michael Bolton. Several outtakes are shown. They also said that McGinley was intimidating to work with, which contributed to the character he played.
Describes Dr. Cox, his character on Scrubs (2001), as "a hard-ass with a heart of gold" in the tradition of Danny DeVito's Louie DiPalma on Taxi (1978) and Edward Asner's Lou Grant on Mary Tyler Moore (1970). Many of his co-stars say the same of him, that while he may seem intimidating at first he is very talented and great to work with.
Understudied John Turturro in the off-Broadway play "Danny and The Deep Blue Sea" early in his career.
His son with ex-wife Lauren Lambert, Max McGinley (born August 5, 1997), has Down's Syndrome. John took his TV role in Scrubs (2001) so he could stay close to home to be with him.
Was a Syracuse undergraduate before transferring to NYU, where he received a Bachelor of Arts degree and a Masters of Fine Arts degree in 1984.
John Christopher McGinley Trademarks
John Christopher McGinley Quotes
(2013, on landing Office Space (1999)) When you came in, everybody auditioned for the role Gary Cole played. That was the audition piece, since the two Bobs weren't really on the page. So before you came in, you were issued illustrations and sent a file on your computer of an animated version of the role that Gary played. Everybody came in and auditioned for that. Then Gary got that, and Mike said, "You want to play one of the Bobs?" And I'm like, "Dude, I just want to be in this movie. It's the funniest thing I've ever read. But who are the Bobs?" And he goes, "We'll invent them down in Austin."Everybody says that to you, and it never happens. What we're going to invent when you get there on the day is that the 10k light just went out, and that's what we're going to address, not the Bobs doing the interviews. But he was true to his word, and I was only down there for three days, which is fantastic because we just stayed in. I'm only in two or three different interiors, that interview room and out in the office and then at the stapler guy's desk. That's it. So for three days, we just immersed into that and shot tons and tons of stuff for those people coming in when we're going to fire them or downsize. We just started to roll camera and do stuff.
I have mixed feelings about Car 54, Where Are You? (1994) Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of The Wizard of Oz (1939); it wouldn't be that interesting. So the film, to me, doesn't make sense without the musical numbers in it. They kept in one of Buster [Poindexter's] musical numbers. And then maybe there's one other, but the film doesn't make sense. I wouldn't pretend to know what happened, what the decision-making process was, but we busted our humps on those numbers, and then the film came out and I didn't understand what I was watching.Because Orion was also producing a film in Kansas City called Article 99 (1992), I was doing them simultaneously. I would do Car 54, Where Are You? (1994) Monday through Wednesday, and they'd fly me last flight out from Toronto to Kansas City to shoot Thursday and Friday in Kansas City. And that happened for about four weeks. I love grinding like that.
[on his road to stardom] I dug tungsten. I was a successful waiter in New York. I worked at a shrink-wrap factory. I wrote tickets on the New York Stock Exchange. I was an assistant to a broker. I caddied the U.S. Open, and I was a camp counselor.
I did Highlander II: The Quickening (1991), with Sean Connery and Christopher Lambert down in Buenos Aires, and I stunk. I was infatuated with Orson Welles' filmography at the time, so I wanted to see if I could make my voice as low as his, and I succeeded. Nothing in the text supported that choice, though, so in the film, I look like a jackass. I don't look like a tough guy, I look like an idiot actor trying to toy around with his vocal apparatus.
The [Scrubs (2001)] pilot script's notes described the character as a John C. McGinley-type. Now, I don't know what that type is, but I said, "Well, you've got him." I still had to audition five times for the network.
[on talking to his Any Given Sunday (1999) costar, Al Pacino] When Johnny [John Cusack] and I were shooting The Jack Bull (1999) in Calgary, he told me just to go up and knock on Al's trailer door. That's the secret of talking to him. If no one knocks on his door, he stays closeted up by himself. It really worked. I spent a lot of time talking to Al.
[on why he feels he never landed a role as a TV series regular until Scrubs (2001)] With my dorky head, I guess I just wasn't handsome enough. I'd do the audition but never hear back. TV tends to look for the living equivalents of squeaky-clean Kens and Barbies, but with my dial I'm more like Ken's dirty old uncle.
[on how he memorizes his lines and prepares for his roles] I go downstairs and don't come up from there until I get that stuff hammered in my skull, until I can do it water skiing or jumping out of a plane. It's all about the text, flushing it out, to excavate, to really get in there and see what falls through your fingers.