Age: 79
male
Edward James Olmos (born February 24, 1947) is an Mexican-American actor, director, producer, and activist. He is best known for his roles as Lieutenant Martin "Marty" Castillo in Miami Vice (1984–1989), actor in and director of American Me (1992), William Adama in the re-imagined Battlestar Galactica (2004–2009), teacher Jaime Escalante in Stand and Deliver (1988), and Detective Gaff in Blade Runner (1982), and its sequel Blade Runner 2049 (2017). In 2018, he played the father of two members of an outlaw motorcycle club in the FX series Mayans MC. For his work in Miami Vice, Olmos won the 1985 Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series, as well as the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film. For his performance in Stand and Deliver, Olmos was nominated for a Golden Globe Award and the Academy Award for Best Actor in a Leading Role. He is also known for his roles as patriarch Abraham Quintanilla in the film Selena, narrator El Pachuco in both the stage and film versions of Zoot Suit, and the voice of Chicharrón in Coco. Over the course of his career, Olmos has been a pioneer for more diversified roles and images of Hispanics in the U.S. media. His notable direction, production, and starring roles for films, made-for-TV movies, and TV shows include Wolfen, Triumph of the Spirit, Talent for the Game, American Me, The Burning Season, My Family/Mi Familia, Caught, 12 Angry Men, The Disappearance of Garcia Lorca, Walkout, The Wonderful Ice Cream Suit, American Family, and Dexter. Description above from the Wikipedia article Edward James Olmos, licensed under CC-BY-SA, full list of contributors on Wikipedia.
She forged a masterpiece. The forgery was more honest than the original. The most formally ambitious of the five films, Vermillion is an art-world psychological drama about the nature of authenticity, authorship, and the specific dishonesty of the art market. Lola Vega, 27, is one of the most accomplished art forgers in the world — not for money, though the money is substantial, but because she is genuinely interested in the philosophical question of whether the copy is the work. Her specialty is a specific period: mid-20th century Mexican muralism, and her copies are so perfectly executed that three museums currently hold works they believe are originals that are hers. When a major retrospective of the painter whose work she has forged is organized — the first comprehensive scholarly examination of his catalog — Lola is contracted (under a false identity) as an authentication consultant. She is being asked to verify work that includes her own forgeries alongside genuine pieces, which she approaches with the specific pleasure of a chess problem. The film complicates when Lola encounters Rafael, the painter's elderly surviving son, who knows the catalog perfectly and who begins to suspect something that is both correct and not quite right. The film is about art and authenticity but more precisely about a woman who has hidden her genuine talent inside someone else's work for so long that she has stopped asking why.
