Albert David Hedison Jr. was born in Providence, Rhode Island, the elder son of Albert and Rose Hedison, naturalized United States citizens from Armenia. His father owned a jewelry enameling business and his son was expected to follow in his footsteps. Young Al had other ideas, having put his sights on an acting career after seeing Tyrone Power on the screen in Blood and Sand (1941).Following the completion of military service in the navy (as a Seaman 2nd Class, working on mothballing decommissioned warships), he enrolled at Brown University. Three years later, he joined the Neighborhood Playhouse School in Manhattan and studied acting under Sanford Meisner. He then underwent further training at the Actor’s Studio with the legendary Lee Strasberg.When he finally made his theatrical debut he was billed as ‘Al Hedison’. Voted most promising newcomer for his performance in the off-Broadway play “A Month in the Country””, he received a Theatre World Award. More importantly, this opened the doors to work in the film business, albeit slowly. One of a myriad of struggling actors, Hedison had taken a temporary job as a radio announcer for a local station in North Carolina to make ends meet. Upon his return to New York, the offers began to come in and he made his screen bow in 1954.His first significant role was as the unfortunate scientist André Delambre whose matter transmitter experiments end up with him being turned into The Fly (1958). It did not end well for the poor man. For the actor, however, it set the tone for other forays into the genres of fantasy and science fiction, notably as Ed Malone in The Lost World (1960) and as Captain Lee Crane in Voyage to the Bottom of the Sea (1964) (arguably his most famous role), both Irwin Allen productions. He later recalled really ‘hitting it off’ with co-star Richard Basehart, saying “”Richard and I had real chemistry. He taught me so much about being camera ready when I needed to be. Television filming is so very fast, we always had to keep moving on.””Under contract to 20th Century Fox from 1958, Hedison next starred in the Cold War spy series Five Fingers (1959) portraying the part of an American counterintelligence officer (the accompanying change of his stage moniker to ‘David Hedison’ came about at the insistence of NBC and Fox). By the early 60s, Hedison had become a much sought-after, robust lead for made-for-TV films and TV series. He had befriended the actor Roger Moore while filming an episode of The Saint (1962) and this paved the way for him to appear in two James Bond films — Live and Let Die (1973) and Licence to Kill (1989) — on both occasions as CIA operative Felix Leiter. Over the years followed numerous guest spots on crime dramas like The F.B.I. (1965), Cannon (1971), Ellery Queen (1975), Barnaby Jones (1973) and Murder, She Wrote (1984). In 2004, he joined the regular cast of the TV soap The Young and the Restless (1973) for some fifty episodes. Ultimately, however, he came to regard the stage as his favorite medium, saying “”When I go back to the theater, I feel good about myself. When I do films or TV, it’s to make a little bread to pay my mortgage…”””
David Hedison
Movies
Family
The trials and tribulations, joyous occasions and heartbreaking moments of the Lawrence family: lawyer father Doug, housewife Kate, married (and quickly divorced) daughter Nancy, teenage son Willie and just-hitting-puberty daughter Buddy. In this critically acclaimed series, we watched various Lawrences fight, fall in love, become ill, graduate school, begin new…
Fun Facts
First actor to portray 007's CIA friend Felix Leiter twice: Live and Let Die (1973) and Licence to Kill (1989). Still the only actor ever to play the role in two non consecutive Bond films.
Children are: Alexandra Hedison and Serena Rose Hedison. Father-in-law of Jodie Foster.
He was the son of Armenian parents, Rose (Boghosian) and Albert David Hedison/Heditisian, from Harpoot (now Elazig). Some publications listed David Hedison's birthname as "Ara Heditsian."" His Armenian grandfather
Quotes
When I go back to theater I feel good about myself. When I do films or TV, it's to make a little bread to pay my mortgage or whatever and when I've made the money I do theater again. And when I get a part I like, a part I can work on, that satisfies me. I feed good about myself. Most of the time I don't even watch what I do on TV. I go in, get the job done, and just know it's nothing. It's a job. Sometimes, I try something different and I'll watch out of curiosity. Generally, I don't watch too much of what I do. Movies are basically the same, except it's more money spent on sets.
Of course, there are pictures you never want to see again -- most of the films I've made like The Fly (1958), The Lost World (1960), Marines, Let's Go (1961). There's a whole slew of shit I avoid like the plague and when I know they'll be on TV I have a dinner party and invite my friends over so they can't see them.
[on why he turned down the lead in The Brady Bunch (1969)] I turned it down because after four years of subs and monsters, who needs kids and dogs?
In your career, you must be so careful, otherwise you get caught in a particular image and it's hard to break.