史蒂夫1945年出生于美国德克萨斯州的瓦考，在他10岁时，他的家庭迁到了加利福尼亚的花园路。他在靠近迪斯尼乐园的一个地方工作，卖25美分的旅客小册子，兼表演一些魔术技巧。史蒂夫·马丁后来进了长滩州立学院学哲学，他出没于当地喜剧俱乐部，为斯马塞兄弟电视表演写大喜剧的插科打诨小段子。史蒂夫还出现在好几个电视秀中，包括“今晚秀”中的一个增加了50个人登台的节目，以及“周六晚间生活”中的一个超过25个客人位置的节目。1979年，史蒂夫在他的明星路上开始崭露头角，这就是《愚笨的人》（The Jerk）。它是根据他自己的脚本拍摄的，它的收益给人深刻的印象，5百万投资获益4千万。对史蒂夫来说不幸的是，他选择了音乐剧《来自天堂的分币》作为他的下一个作品，这个片子是巨大的失败，它仅仅赚到2千万投资的五分之一。正是他签约的第二个角色，史蒂夫向观众展示了他的戏剧天赋。史蒂夫在下一个戏——《死人不穿格子呢》（Dead Men don't Were Plaid）中的角色，使他像拉娜·特纳、查尔斯·劳顿和哈姆夫瑞·宝嘉那样演出。1986年，史蒂夫与契夫·查斯、马丁·绍特一起参加了一个喜剧西部片，《三朋友》。他们对彼此的看法相当一致，都认为对方妙趣横生。同年，史蒂夫在《恐怖小店》中扮演了个小角色，一个精神错乱的唱歌牙医。1987年，史蒂夫与约翰·坎迪相伴出现在一个快乐旅途电影中：《飞机、火车和汽车》。1987年也是史蒂夫在《罗克辛纳》（Roxanne）中担任主角的一年，该片是依据席里诺·德伯杰里克的古典故事改编。该片在赞扬声中上演，获得拉美电影批评奖的最佳演员奖，高迪·奥诺尔获最佳编剧。不过，该片受到了奥斯卡的冷落。《罗克辛纳》是真正的好电影。该片是在纳尔逊河区拍摄的，如果你有幸去纳尔逊区，你真可以碰到一个罗克辛纳与你一起散步。在该电影中，能看见篱笆、火房等。史蒂夫的早期生涯，在卡尔·雷诺执导的四个影片中扮演角色，它们包括《愚笨的人》、《all of Me》、《死人不穿格子呢》、《双脑人》等。1986年，史蒂夫·马丁与女演员维多利亚·苔南特结婚。两人是在1984年拍摄《all of Me》时相识的。1980年代后期，史蒂夫的演艺生涯比以前更忙了，1988年他重拍了马龙·白兰度、戴卫·尼文的喜剧《床上故事》。史蒂夫1988年在《肮脏的骗子》中扮演一位在里维拉法语区工作的美国骗子，他与米彻尔·凯恩主演。史蒂夫在1989年的《为人父母》中扮演一个核心家庭的成员，具有讽刺意味的是，史蒂夫演的是一个过于溺爱的爸爸，在现实中，他却没有自己的孩子。史蒂夫·马丁：它很适合我，我很喜欢与我一起演出的孩子们，我们度过了一段愉快的时光，被他们环绕非常快乐，我们之间在喜剧的层面能很好交流。世界上有成千上万的人，他们为人父母，这样，你就可以观察和看到细节。1990年，马丁再次与《为人父母》的投资者里奇·毛拉尼斯合作，出演《我的兰色天堂》（my Blue Heaven）中的一个暴徒，他隐藏在一个小镇，准备背叛他的亲密伙伴。之后，史蒂夫撰写和出演了《拉美故事》（LA Story）。这个电影中，他把他的明信片改寄洛山基，他与妻子维克多利亚·苔南特联袂出演该片。在《大峡谷》中担任一个小角色之后，史蒂夫重返喜剧，在《新娘的父亲》（father of Bride）中扮演角色，此片因斯宾塞·特雷西的制作而出名。该片使史蒂夫与他在《三朋友》中的共演者，马丁·邵特重聚。当他1992年在《信仰的跳跃》中扮演一个偏激的传播福音者时，史蒂夫再次变得严肃。尽管他的表演严肃，但史蒂夫仍感对他的影迷他须是一个粗犷的、狂热的汉子。史蒂夫·马丁在1995年写《毕卡索在拉平阿杰尔》，这是他在编剧方面的初试锋芒。1994年，史蒂夫主演了《命运的简单扭曲》，它是乔治·爱略特的《西拉斯·马理奈尔》的现代重述。马丁放弃了他的精力充沛的戏剧一年，在《命运的简单扭曲》中，他扮演一个孤独者，此角色收养了一个年轻姑娘。马丁的个人生活也一样不幸，1994年他与妻子维克多利亚·特南特离婚，不得不忍受小报上关于他们破裂的流言。史蒂夫·马丁：流言说，我的婚姻的破裂是因为我有一种整夜在镜子前搔首弄姿的习惯，当他们忍受不了的时候，我就会冲出去，大骂我的夫人。这比远离真相还要无聊。观众不得不忍受另一个节日喜剧的爆炸，这就是《双料混蛋》。马丁和雷塔·威尔森共同出演法律顾问，他们被强迫与一群疯子共度圣诞节，马丁说这像他的性格，他分担了他的节日灾难。马丁不费劲的出演了他的下一部电影，即1991年的《新娘的父亲》续集。这次是他的女儿和妻子都同时怀孕了，马丁·邵特重新当起了他的疯狂口音聚会的张罗者。两部《新娘的父亲》赚了1亿六千七百万的利润，给人深刻的印象。1998年，史蒂夫在《弯曲手指》中重出江湖，他还是该片的合作编剧。史蒂夫扮演一个谦卑的制片人企图使艾迪·莫费主演他的电影，当艾迪拒绝时，马丁雇佣了一个酷似者。就像该片一样，史蒂夫见到了他参与热切的制片人行列，试图去体现他们的理念。史蒂夫不仅证明他是一为杰出的演员，而且是一个非凡的作家。他的喜剧从他粗犷的、狂热的表演进到了他的更为睿智的喜剧，就像《弯曲的手指》那样。史蒂夫说，事情就像塔特王的惯例，仅仅是一种记忆。by Jason AnkenyDuring the 1970s, Steve Martin was the most successful stand-up comedian in America, earning the level of commercial success — sell-out arena performances, platinum records, hit singles and delirous fan adulatation — usually reserved for rock stars. Although his career went on to encompass stints as an acclaimed dramatic actor and playwright, for many supporters the Wild and Crazy Guy persona defined on his comedy records remains Martins true artistic legacy.Although born August 14, 1945 in Waco, Texas, Martin spent the majority of his childhood in California, eventually working a concession booth at Disneyland as a teen. There he learned a variety of performing skills ranging from magic and juggling to playing the banjo and sculpting balloon animals. After graduating college, Martin began writing, and occasionally performing, comic material for television programs including The Smothers Brothers Comedy Hour, The Glen Campbell Hour and The Sonny and Cher Show. At the tail end of the 1960s he moved to Canada, where, in addition to appearing as a semi-regular on the syndicated series Half the George Kirby Comedy Hour, he also began working as a stand-up.Soon, Martin graduated to opening for rock performers, where his long hair, scraggly beard and hippie wardrobe aligned him firmly with the counterculture movement of the era. However, while in his twenties his hair began to go white; gradually, Martin began adapting his onstage persona to fit the change, re-emerging as a clean-cut, immaculately dressed conservative. The contrast with his increasingly high-concept comic idenity was sharp: superficially silly and daft, Martins act contemptuously mocked the inherent stupidity of the stand-up form, mining catch-phrases, props and schtick to create a unique brand of scathing anti-comedy. After earning a following on the stand-up circuit, Martin rose to national prominence thanks to a series of guest appearances on the NBC networks sketch-comedy phenomenon Saturday Night Live, as well as a number of performances on The Tonight Show. With the release of his 1977 album debut Lets Get Small, Martins career exploded; the record reached the Top Ten, his concerts became immediate sell-outs, and one-liners like I am...one wild and crazy guy! and Well excuuuse me! became hip catch phrases. After a cameo in the musical Sgt. Peppers Lonely Hearts Club Band, he made his proper film debut with 1978s The Jerk, which he also scripted; additionally, he wrote a best-selling book, Cruel Shoes.1978 also marked the release of A Wild and Crazy Guy, Martins most successful LP. Another platinum seller, it reached the number two slot on the charts on the strength of the hilarious hit single King Tut, a pseudo-disco record mocking the then-current national obsession with the legendary Egyptian ruler. Nonetheless, Martin was clearly losing interest in the narrow parameters of the stand-up form; after his final two albums, 1979s Comedy Is Not Pretty and the following years Steve Martin Brothers, he made the film musical Pennies From Heaven, a significant move away from his idiotic Jerk persona, and eventually retired from stand-up performance altogether. After several underappreciated comedies in tandem with director Carl Reiner (including the clever Dead Men Dont Wear Plaid), Martin won acclaim for his superb slapstick performance in 1984s All of Me. With his sweet performance and stellar screenplay for 1987s Roxanne, a delicate comic spin on Cyrano de Bergerac, he won the critical success which long eluded him, and soon graduated into dramatic roles in films like Lawrence Kasdans Grand Canyon and the Silas Marner update A Simple Twist of Fate. Still, by the 1990s Martin seemed largely disenchanted with Hollywood filmmaking, virtually sleepwalking through bland, mainstream comedies like Father of the Bride and Sgt. Bilko; instead, he focused his energies on the stage, writing the acclaimed theatrical production Picasso at the Lapin Agile.