“My only regrets,” the Oscar-nominated British actor Terence Stamp once said, “are the films that I passed on because I was fearful.”
Stamp, who was best known for starring as the villain General Zod in Superman (1978) and Superman II (1980), has often called turning down the lead role in the 1967 Oscar-winning movie adaptation of Broadway hit Camelot—because he wasn’t confident in his ability to sing—his biggest regret.
But the actor, who died Sunday at age 87, took on no shortage of fearless roles later in his career and even got the opportunity to overcome his trepidation about singing onscreen when he starred in the 2012 film Song for Marion, earning a Best Actor nomination at the British Independent Film Awards for his portrayal of a widower in a seniors’ choir.
Stamp’s family confirmed his death in a statement to Reuters, saying that he “leaves behind an extraordinary body of work, both as an actor and as a writer that will continue to touch and inspire people for years to come.”
Described by the Guardian as the “seductive dark prince of British cinema,” Stamp had a film career that spanned decades. He was also a prolific writer, authoring five memoirs as well as a fiction novel and co-authoring two cookbooks.
“Terence was kind, funny, and endlessly fascinating,” said Edgar Wright, who directed Stamp in the 2021 film Last Night in Soho, in an Instagram tribute to the late actor. “Terence was a true movie star: the camera loved him, and he loved it right back.”
Bill Duke, who acted alongside Stamp in Steven Soderbergh’s 1999 film The Limey, posted on Facebook that Stamp “brought a rare intensity to the screen” but “carried himself with warmth, grace, and generosity” off-screen. Stamp’s artistry, Duke said, “left an indelible mark on cinema, and his spirit will live on through the unforgettable characters he gave us.”
Billy Budd and (almost) James Bond
Stamp was born on July 22, 1938, in the Stepney area of London’s East End. He was one of five children. According to the British Film Institute (BFI), Stamp’s interest in acting began after his mother took him to a local cinema to watch the 1939 film Beau Geste, though his father, a merchant navy stoker, had encouraged him to pursue something more practical.
“When I asked for career guidance at school, they recommended bricklaying as a good, regular job, although someone did think I might make a good Woolworths manager,” Stamp told British newspaper the Independent in 2011.
After studying on scholarship at the Webber Douglas School of Dramatic Art, according to the BFI, Stamp would first tour in repertory theater. He appeared in a 1960 episode of the BBC series Spy-Catcher, according to his IMDb profile, but he first gained global prominence after portraying an 18th-century seaman in the film adaptation of Herman Melville’s novel Billy Budd in 1962. That drama directed by Peter Ustinov earned him an Academy Award nomination as well as a Golden Globe Award for “New Star Of The Year.”
Throughout the 1960s, Stamp worked with renowned British filmmakers like Ken Loach and John Schlesinger as well as Italians like Federico Fellini and Pier Paolo Pasolini. Stamp earned fame not only for his work, but also for his high-profile romances during that decade, including with supermodel Jean Shrimpton and actor Julie Christie.
At one point, Stamp was even considered to be the next James Bond after Sean Connery, though he said in a 2013 interview with the London Evening Standard that he scared the filmmakers behind the popular spy franchise with his ideas for how to make the role his own.
But just as Stamp felt he was entering his prime, work started to dry up. Stamp recalled to the Guardian in 2015 his agent telling him when he was only 31 or 32 that the movie studios were all “looking for a young Terence Stamp.”
“When the 60s ended, I almost did too,” he said. In 1969, Stamp moved to an ashram in India. “I thought I’m not going to stay around here facing this day-in-day-out rejection and the phone not ringing,” he told the BFI in 2013, looking back on that period in his life.
General Zod and The Adventures of Priscilla
Stamp was in India when he received a now-famous telegram addressed to “Clarence Stamp” that would lead to his most recognized role of his career. It was an invitation to meet with director Richard Donner to join the ensemble cast, including Christopher Reeve and Marlon Brando, of a blockbuster adaptation of DC comic Superman.
Stamp received widespread acclaim for his portrayal of the Kryptonian villain General Zod in the 1978 film and its 1980 sequel and said in 2013 that he “can’t go out on the street in London without somebody saying, ‘It’s Zod!’”
Sarah Douglas, who played fellow villain Ursa in the films, remembered the late Stamp on Instagram as “beyond gorgeous and talented,” adding: “What a start to my career to have spent so many months in his company.”
Stamp told BFI that the “great blessing” of this next phase of his career was that he’d been “transmuted from a leading man to a character actor.”
Throughout the decades that followed, he was praised by critics for his performances, particularly in crime thrillers The Hit (1984) and The Limey (1999).
But he appeared in a multitude of genres, and many consider his star turn in the 1994 Australian film The Adventures of Priscilla, Queen of the Desert, to be a standout example of his creativity and dedication to his craft. Departing from his traditionally hardman roles, Stamp portrayed transgender woman Bernadette alongside co-stars Hugo Weaving and Guy Pearce as drag queens. The endearing comedy became a cult classic, and Stamp earned his second BAFTA and Golden Globe nominations for his performance.
“You were a true inspiration, both in & out of heels,” Pearce posted on X after Stamp’s passing.
Stamp’s work would continue on in the 2000s and 2010s, with roles in films like The Adjustment Bureau, Valkyrie, Big Eyes, and the movie adaptation of Miss Peregrine’s Home for Peculiar Children.
Before Stamp’s passing, Priscilla director Stephan Elliott told the Guardian last year that Stamp was slated to return with Weaving and Pearce for a sequel, with a script already finished.
Elliott described Stamp to the Guardian as someone who had left a lasting impression on him since he first saw Stamp in 1965 thriller The Collector. “Terence’s greatest beauties were his eyes—in some of the early films you don’t see it, but in person, when they were shining, he could hold a room,” Elliott said. “He’d show up, use the eyes and turn everybody to jelly.”
Elliott also noted how Stamp became more discerning with his roles later in his career. “If he’d already seen something like it, he didn’t care. If something pressed his buttons and piqued his interest, he’d consider it,” Elliott said. Elliott remembered marveling at all the notable directors and actors Stamp got to work with throughout his career. “He said to me, ‘I just drifted from one to the other—if somebody had something interesting, I’d do it. That’s the way it’s always been.’”
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