from NY Times:
Harry Dean Stanton, the gaunt, hollow-eyed, scene-stealing character actor who broke out of obscurity in his late 50s in two starring movie roles and capped his career with an acclaimed characterization as a corrupt polygamist on the HBO series “Big Love,” died on Friday in Los Angeles. He was 91.
His death, at Cedars-Sinai Medical Center, was confirmed by his agent, John S. Kelly.
Mr. Stanton spent two decades typecast in Hollywood as cowboys and villains before his unusual talents began to attract notice on the strength of his performances in the movies “Straight Time” (1978); “Alien,” “Wise Blood” and “The Rose” (all 1979); and “Escape From New York” (1981).
In those roles — as a former criminal bored in the law-abiding world, a 22nd-century space traveler, a street preacher pretending to be blind, a devastatingly cruel country-music star and a crazed demolitions expert — his look and his down-home voice were the same, but his characters were distinct and memorable.
Vincent Canby wrote in The New York Times in 1978 that Mr. Stanton’s “mysterious gift” was “to be able to make everything he does seem immediately authentic.” The critic Roger Ebert once wrote that Mr. Stanton was one of two character actors (the other was M. Emmet Walsh) whose presence in a movie guaranteed that it could not be “altogether bad.”
Stanton was great pals with actor Jack Nicholson, and they roomed together in a Laurel Canyon house on Skyline Drive in the early 1960s. (Nicholson moved in after sharing a place with screenwriter Robert Towne.) They first appeared together in Monte Hellman’s Ride in the Whirlwind (1966), which Nicholson also wrote, and Stanton always said he learned about “acting natural” from that experience.
from The Hollywood Reporter:
“Harry, I’ve got this part for you. His name is Blind Dick Reilly, and he’s the head of the gang. He’s got a patch over one eye and a derby hat,” Stanton, in a 2008 interview with Esquire, recalled Nicholson pitching him. “Then he says, ‘But I don’t want you to do anything. Let the wardrobe play the character.’ Which meant, just play yourself. That became my whole approach.”