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January 2009 
Access: PublicJanuary 24 2008, Heath Ledger found dead in his home on the floor from uknown causes.
A massage therapist who discovered a lifeless Heath Ledger in his Manhattan apartment made her first call to actress Mary-Kate Olsen, according to an in-depth timeline police released Wednesday of the moments surrounding the Australian-born actor’s death.
According to The New York Times, New York City police officials said the massage therapist, Diana Wolozin, called Olsen, a friend of Ledger’s, twice before calling 911.
According to The New York Times, New York City police officials said the massage therapist, Diana Wolozin, called Olsen, a friend of Ledger’s, twice before calling 911.
Short Biography-
When a young, hunky 20 year old heart-throb Heath Ledger first came to the attention of the public in 1999, it was all too easy to tag him as a "pretty boy" and an actor of not much depth. He has spent the past five years trying desperately to sway this image away, but this has indeed been a double-edged sword. But that comes much later in his story. Heath Ledger was born on the fourth of April 1979, in Perth, Western Australia. As the story goes, in junior high it was compulsory to do one of two electives, either cooking or drama, and as Heath could honestly not see himself in a cooking class, he tried his hand at drama. Heath was talented, there was no denying that. However, the rest of the class did not acknowledge his talent, possibly out of jealousy. When he was 17, he and a friend, decided to pack up, leave school, take a car and rough it to Sydney. Heath believed Sydney to be the place where dreams are made, or at least, where actors can possibly get their big break. However, upon arriving in Sydney with a purported 69 cents to his name, Heath tried everything to get a break. His first real acting job came in a low budget movie called Blackrock (1997), a largely unimpressive cliché; a teen angst film about one boy's struggle when he learns his best mate raped a girl. He did not have a large part in this movie. In fact, it was a very small one. The only thing of notice in his role is you get to see him get his lights punched out. After that small role, Heath auditioned for a role in a TV show called "Sweat" (1996) about a group of young Olympic hopefuls. He got offered one of two roles, one as a swimmer, another as a gay cyclist. Heath accepted the latter because he felt to really stand out as an actor one had to accept unique roles that stood out from the bunch. It got him small notice, but unfortunately the show was quickly axed, which led him to look for other roles. He was in "Home and Away" (1988) for a very short period, in which he played a surfer who falls in love with one of the girls of Summer Bay. Then came his very brief role in Paws (1997). Paws was a film which existed solely to cash in on guitar prodigy Nathan Cavaleri's brief moment of fame, where he was the hottest thing in Australia. Heath played a student in the film, involved in a stage production of a Shakespeare play, in which he played "Oberon". A very brief role, this did nothing other than give him a small paycheck, but nothing to advance his career. Then came Two Hands (1999). He went to America trying to audition for film roles, showcasing his brief role in "Roar" (1997) opposite then unknown Vera Farmiga. He could not find any American roles but then Australian director Gregor Jordan auditioned him for the lead in Two Hands (1999), which he got. An in your face Aussie crime thriller, Two Hands (1999) was outstanding and helped him secure a role in 10 Things I Hate About You (1999). After that, it seemed Heath was being typecast as a teen hunk, which he did not like, so he accepted a role in a very serious war drama The Patriot (2000).What followed was a stark inconsistency of roles, Heath accepting virtually every single character role, anything to avoid being typecast. Some met with praise, like his short role in Monster's Ball (2001), but his version of Ned Kelly (2003) was an absolute flop, which led distributors hesitant to even release it outside Australia. Heath finally had deserved success with his role in Brokeback Mountain (2005), for which he was nominated for an Oscar and a BAFTA.
Public View-
Heath Ledger is best known for his haunting, Oscar-nominated performance as Ennis Del Mar, one of the gay cowboys in 2005 ' s "Brokeback Mountain," Ledger was a massive young talent on the cusp of greatness when he died last week in New York. The native Australian, who is survived by his 2-year-old daughter, Matilda, had recently finished work on this summer's "Batman" sequel, "The Dark Knight," in which he plays a villain, the Joker. Christopher Nolan, the film's director, shared these memories:
One night, as I'm standing on LaSalle Street in Chicago, trying to line up a shot for "The Dark Knight," a production assistant skateboards into my line of sight. Silently, I curse the moment that Heath first skated onto our set in full character makeup. I'd fretted about the reaction of Batman fans to a skateboarding Joker, but the actual result was a proliferation of skateboards among the younger crew members. If you'd asked those kids why they had chosen to bring their boards to work, they would have answered honestly that they didn't know. That's real charisma—as invisible and natural as gravity. That's what Heath had.
Heath was bursting with creativity. It was in his every gesture. He once told me that he liked to wait between jobs until he was creatively hungry. Until he needed it again. He brought that attitude to our set every day. There aren't many actors who can make you feel ashamed of how often you complain about doing the best job in the world. Heath was one of them.
One night, as I'm standing on LaSalle Street in Chicago, trying to line up a shot for "The Dark Knight," a production assistant skateboards into my line of sight. Silently, I curse the moment that Heath first skated onto our set in full character makeup. I'd fretted about the reaction of Batman fans to a skateboarding Joker, but the actual result was a proliferation of skateboards among the younger crew members. If you'd asked those kids why they had chosen to bring their boards to work, they would have answered honestly that they didn't know. That's real charisma—as invisible and natural as gravity. That's what Heath had.
Heath was bursting with creativity. It was in his every gesture. He once told me that he liked to wait between jobs until he was creatively hungry. Until he needed it again. He brought that attitude to our set every day. There aren't many actors who can make you feel ashamed of how often you complain about doing the best job in the world. Heath was one of them.
One time he and another actor were shooting a complex scene. We had two days to shoot it, and at the end of the first day, they'd really found something and Heath was worried that he might not have it if we stopped. He wanted to carry on and finish. It's tough to ask the crew to work late when we all know there's plenty of time to finish the next day. But everyone seemed to understand that Heath had something special and that we had to capture it before it disappeared. Months later, I learned that as Heath left the set that night, he quietly thanked each crew member for working late. Quietly. Not trying to make a point, just grateful for the chance to create that they'd given him.
Those nights on the streets of Chicago were filled with stunts. These can be boring times for an actor, but Heath was fascinated, eagerly accepting our invitation to ride in the camera car as we chased vehicles through movie traffic—not just for the thrill ride, but to be a part of it. Of everything. He'd brought his laptop along in the car, and we had a high-speed screening of two of his works-in-progress: short films he'd made that were exciting and haunting. Their exuberance made me feel jaded and leaden. I've never felt as old as I did watching Heath explore his talents. That night I made him an offer—knowing he wouldn't take me up on it—that he should feel free to come by the set when he had a night off so he could see what we were up to.
When you get into the edit suite after shooting a movie, you feel a responsibility to an actor who has trusted you, and Heath gave us everything. As we started my cut, I would wonder about each take we chose, each trim we made. I would visualize the screening where we'd have to show him the finished film—sitting three or four rows behind him, watching the movements of his head for clues to what he was thinking about what we'd done with all that he'd given us. Now that screening will never be real. I see him every day in my edit suite. I study his face, his voice. And I miss him terribly.Back on LaSalle Street, I turn to my assistant director and I tell him to clear the skateboarding kid out of my line of sight when I realize—it's Heath, woolly hat pulled low over his eyes, here on his night off to take me up on my offer. I can't help but smile.
When you get into the edit suite after shooting a movie, you feel a responsibility to an actor who has trusted you, and Heath gave us everything. As we started my cut, I would wonder about each take we chose, each trim we made. I would visualize the screening where we'd have to show him the finished film—sitting three or four rows behind him, watching the movements of his head for clues to what he was thinking about what we'd done with all that he'd given us. Now that screening will never be real. I see him every day in my edit suite. I study his face, his voice. And I miss him terribly.Back on LaSalle Street, I turn to my assistant director and I tell him to clear the skateboarding kid out of my line of sight when I realize—it's Heath, woolly hat pulled low over his eyes, here on his night off to take me up on my offer. I can't help but smile.
