You brought a distinguishing essence to every role you tackled, and the productions in which you starred were generally big, if not classic.
There's Alien, of course, and Roger Moore's first bond outing, Live and Let Die.
You also stole the scenery in the Puppet Masters; the Running Man; Whisper to a Scream; the Liberation of L.B. Jones; Shark's Treasure; the Star Chamber; Trip Wire; Bone; the Thomas Crown Affair '68; Raid on Entebbe; Blue Collar; Brubaker; Fighting Back; Terminal Entry; Extreme Justice; Across 110th Street; Drum; Friday Foster; the Monkey Hustle; Badge of the Assassin; Warning Sign; Man and Boy; Pretty Kill; Truck Turner; Midnight Run; Witness Protection; Chrome Soldiers; After the Shock; Eye of the Tiger; Two if By Sea; 4 for Texas; the Jigsaw Murders; Terror in the Aisles; and the Elm Street "finale" that really wasn't, Freddy's Dead: the Final Nightmare; plus such fine series as Homicide: Life on the Street (as ongoing character, Lt. Al Giardello); Alfred Hitchcock Presents; Seaquest DSV; Roots; the A-Team; Mannix; Murder She Wrote; Daniel Boone; the High Chaparral; the Big Valley, Gunsmoke; and Bonanza.
For me, however, your best performance (and this is saying a lot, considering your outstanding queue) is from Rod Serling's Night Gallery, in the scribe's celebrated, Edward G. Robinson-helmed episode, "The Messiah on Mott Street": a holiday entry that's worth watching any time of the year to renew one's conviction in magic, goodness and humanity.
I'll miss you, Mr. Kotto, but so will millions of others. You were a gold-standard performer and will always remain an icon to generations past, present and yet to come.
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