Joel T. Schumacher net worth is $80 Million. Also know about Joel T. Schumacher bio, salary, height, age weight, relationship and more …

Joel T. Schumacher Wiki Biography

Joel T. Schumacher was born on the 29th August 1939, in New York City, USA, and is an award- winning director and screenwriter, best known to the world for such films as “St. Elmo’s Fire” (1985), “The Lost Boys” (1987), and “Batman” films “Batman Forever” (1995), and “Batman & Robin” (1997), among many other accomplishments.

Have you ever wondered how rich Joel Schumacher is, as of mid- 2017? According to authoritative sources, it has been estimated that Schumacher’s net worth is as high as $80 million, an amount earned through his successful career in the entertainment industry as a director, which began in the early ‘70s.

Joel is the son of Marian and Francis Schumacher, of Swedish and American ancestry. He went to Parsons The New School for Design, and then enrolled at The Fashion Institute of Technology. His early work belongs to the fashion industry, however, he eventually decided that his true call was filmmaking. As a result, he moved to Los Angeles and studied at UCLA, eventually obtaining an MFA degree. He then first worked as a costume designer, and one of his earliest works was designing for the films “Sleeper” (1973), directed by Woody Allen, and another of Allen’s film, “Interiors” in 1978. In between those two films, Joel also made his debut, credited as the screenwriter and director with the biopic drama entitled “Virginia Hill”. However, he came to prominence as director in 1981 when the comedy sci-fi film “The Incredible Shrinking Woman” came out, with Joel receiving positive critiques for the particular film, which encouraged him to continue with his career as a director. He enjoyed success throughout the ‘80s with such films as “St. Elmo’s Fire” (1985) starring Demi Moore, Rob Lowe and Andrew McCarthy, then “The Lost Boys” (1987) with Jason Patric, Corey Haim and Dianne Wiest, and “Cousins” (1989), which had Isabella Roesselini as its female lead, while Ted Danson and Sean Young assumed the male lead roles. His net worth was well established.

Joel continued successfully in the early ‘90s by directing the horror sci-fi “Flatliners” (1990), starring Kiefer Sutherland, Kevin Bacon and Julia Roberts, then the romantic drama “Dying Young” (1991), in which he again worked with Julia Roberts, while in 1994 he directed the crime-drama mystery “The Client”, based on the novel by John Grisham. He has also directed John Grisham’s “A Time To Kill”, which came out in 1996, but before that he took over the directing duties from Tim Burton for the Batman sequel from the series that started in 1992. He directed “Batman Forever” in 1995, and “Batman & Robin” in 1997, however the film received negative critiques from both public and critics, which had put Joel’s advancement on hold. However, he was back on track with the mystery thriller “8MM” (1999), with Nicolas Cage in the starring role, and crime-drama “Flawless” the same year, starring Robert De Niro, Philip Seymour Hoffman and Barry Miller. However, with the unsuccessful “Batman” films, Joel avoided directing blockbusters for quite some time, but then in 2002 returned to A-production films, when he directed the action adventure “Bad Company”, in which the lead roles were given to Anthony Hopkins, Chris Rock and Peter Stormare. Also in 2002 he directed the mystery action film “Phone Booth”, for which he selected Colin Farrell, Forest Whitaker and Kiefer Sutherland for the lead roles.

His next successful venture was the romantic drama “The Phantom of the Opera”, which was adapted from the stage musical from 1986, and starred Gerard Butler, Emmy Rossum and Patrick Wilson, and was nominated for several Academy Awards, plus winning several other awards and nominations, including the Golden Satellite Award- nomination in the category Best Screenplay, adapted, while it also grossed $154.6 million at the box office, increasing Schumacher’s net worth to a large degree.

After that success, Joel directed a couple more successful films, including the mystery thriller “The Number 23” (2007), with Jim Carrey and Virginia Madsen, which grossed over $35 million at box office, then the horror “Blood Creek” (2009), and crime thriller “Trespass” (2012). His last known work was a couple of episodes of the Golden Globe Award- winning TV drama series “House of Cards”, so his net worth is still growing

Throughout his career, Joel developed collaboration with such actors as Nicolas Cage, Kiefer Sutherland, Collin Farrell, John Fink and Kimberly Scott among others, as he cast them in more than three films.

Regarding his personal life, Joel is openly gay, however, there are no details regarding his romantic relationships. According to sources, he is currently single.

IMDB Wikipedia $80 Million 1939 1939-8-29 6′ 3″ (1.91 m) American Andrew McCarthy August 29 Barry Miller Batman Forever (1995) Collin Farrell Corey Haim Demi Moore Dianne Wiest Director Fashion Institute of Technology Francis Schumacher Jason Patric Joel Schumacher Net Worth Joel T. Schumacher John Fink John Grisham Julia Roberts Kiefer Sutherland Kimberly Scott Los Angeles Marian Schumacher New York New York City Nicholas Cage Parsons School of Design Philip Seymour Hoffman Phone Booth (2002) producer Rob Lowe Robert De Niro The Lost Boys (1987) The Phantom of the Opera (2004) U.S. University of California Virgo Writer

Joel T. Schumacher Quick Info

Joel T. Schumacher Trademarks

1. Often casts Colin Farrell
2. Often uses lots of sharp colors in his films
3. His movies will have scenes set at Halloween (St. Elmo’s Fire (1985), Flatliners (1990) and Batman Forever (1995)).
4. Frequently casts Kiefer Sutherland, Oliver Platt and Colin Farrell
5. His characters are often people who take matter into their own hands (Batman Forever (1995), 8MM (1999), Falling Down (1993), Flawless (1999)).
6. His movies will have scenes in a seedy grocery store (Flatliners (1990), Falling Down (1993), A Time to Kill (1996)).

Joel T. Schumacher Quotes

• (on meeting Julia Roberts in a 1993 interview for “Premiere”) When Julia walked into my house in these cut-off jeans, no make-up, barefoot, her hair piled up on her head, I did know one thing: I knew I had never met anyone like her. I thought, “How did I live without knowing this girl.”
• The question I always get is, ‘How do you know these young people are going to be stars?’ You don’t. You just know there is no one like them. If Julia Roberts walked into your office at 20 and you didn’t hire her, you shouldn’t be in the movie business.
• The basis of St. Elmo’s Fire (1985) is there’s a group of people. Everyone had their group and you always think you’re going to be best friends forever. But life comes in. So, can you be best friends forever? It touches on universal themes.
• 8MM (1999) would never get made today. I think it’s a really bold, really controversial film – as are a lot of my films.
• [on the young characters in St. Elmo’s Fire (1985) compared to today’s young people] In St. Elmo’s Fire (1985), they were expected to have huge careers and become very accomplished. It was the year of Reaganomics. I think many kids are still expected of that, but they grow up much sooner, and they’re bombarded by the Internet, the blogs, the Facebook, the media, the celebration of badly behaved famous figures – bad behavior has become expected. And these are kids with bad parenting.
• (on Batman & Robin (1997)) “If there’s anyone that let’s say loved Batman Forever and went into Batman & Robin with great anticipation, if I disappointed them in anyway, then I really want to apologize, cause it wasn’t my intention. My intention was just to entertain them”.
• Akiva Goldsman was blamed a lot for this sort of lightness and humor and fun and games of “Batman & Robin” but that’s not fair. I take full responsibility. I mean Akiva did write the script but I shot it and worked with Akiva, so you know, if you love a movie, there are hundreds of people who made it lovable for you. If you don’t like it, blame the director. That what our name’s there for.
• I think people always think success in show business gives them the right to be moral political arbiters. I’m not in that camp. I think you can privately do whatever you want, but I’m always suspicious of how much ego is involved. I think the government will survive no matter what Ed Norton thinks of it.
• Sometimes I’m asked if there’s homophobia in Hollywood. There’s homophobia everywhere on Planet Earth, just like there’s racism and sexism and anti-Semitism, and such stupidity isn’t checked at the gate at the movie studio. But the difference in show business is, if you can make money for people they don’t care what you do. They don’t care if you screw yaks in the middle of the street. They’ll even buy you a yak. They’ll give you their yaks.
• Probably no country has spent as much money as my country on drug wars and I’m not sure who’s winning except for the drug dealers.
• …it is show business and it’s more business now than it is show because all the studios now are owned by huge conglomerates and corporations, unlike the old Hollywood where everybody knew each other by their first names.
• Well, here’s the problem. If you accept a lot of money to do a film in Hollywood and you have a huge budget, they’re going to expect a lot of asses in seats, as you would if you had to write a cheque for a lot of money. You want your money back; it’s a business. If you work on a small budget with stars who are willing to cut prices and do interesting work with you, they’ll take a risk on a smaller budget because they figure, “Well, maybe with video and DVD we’ll make our money back.”
• The surreal images in some of my films have been blamed on my drug days, I’ve heard that from certain sources. I don’t know … it’s pretty far behind me now and that was quite a while ago. That was my path and when you come to terms with being a drug addict and an alcoholic, you realise that it’s all about you.
• Yes, but you’d be surprised how many people didn’t know who Philip Seymour Hoffman was. Only if you said, “the fat guy in Boogie Nights” would people know who you were talking about because they didn’t know his name then.
• On directing “8mm”: “It was fun to get it. No, nobody wanted to touch it. I don’t think they could get anyone stupid enough to direct it, other than me. A lot of people were afraid of it. A lot of people don’t want to go to a place like that as a director. They want everyone to love them.”
• The only good advice you can give anyone is the witness of what you have learned in your own life. If I were living with someone and confused about whether I should be staying with them, it usually means I should be leaving. Because when you’re really happy, you don’t sit around thinking, ‘Should I leave?’
• “Val did me two great favors. When I wanted him to be Batman, he said yes. Then he created a situation which allowed me not to have him play Batman again. They were both happy, happy instances, for which I will always be grateful.” — Premiere magazine (April 1997), in an article on Val Kilmer.
• I am one of Lars von Trier’s fans and like the Dogma movement
• (1997) “I felt I disappointed a lot of older fans by being too conscious of the family aspect…. Now, I owe the hardcore fans the Batman movie they would love me to give them.”

Joel T. Schumacher Important Facts

• Friends with David Fincher.
• He was the first and only choice to direct ‘The Phantom Of The Opera (2004)’ and had been since the project was first started. Andrew Lloyd Webber had chosen him after being impressed by his use of music in ‘The Lost Boys (1987)’.
• Well before she became famous Schumacher shared an apartment with writer/journalist Liz Smith.
• Schumaker has cited David Lean’s “Great Expectations” as having a tremendous influence on him.
• Stated in an interview with Variety magazine that ‘Great Expectations (1946)’ haunted him as a child and inspired him to be a director.
• Worked in the Fashion Industry before pursuing film as a career.
• He is a lifelong Batman fan and wanted to adapt Frank Miller’s famous ”Batman: Year One” comic but was forced by producers to make a lighter, more family friendly film.
• Did not decide to pursue a career in film making until he was in his early thirties.
• Directed one Oscar nominated performance: Susan Sarandon in The Client (1994).
• Was originally attached to direct Runaway Jury (2003), having previously filmed two other John Grisham adaptations, The Client (1994) and A Time to Kill (1996).
• On the interviews and audio commentary for the Batman & Robin (1997) 2-Disc Special Edition DVD released in 2005, he says that he was under pressure from toy companies and Warner Brothers management to deliver a family-friendly film and admits he went too far in that direction, but takes full responsibility for the end result and, at one point during the interviews, flat-out apologizes to fans that were disappointed.
• Shares a birthday with directors Lord Richard Attenborough and William Friedkin.
• Long ago, attended Parsons School of Design at New School University (New York), and in 2006, bought condo practically around the corner in Greenwich Village’s popular 25 Fifth Avenue apartment building.
• Worked as a store window dresser before getting into films.
• His mother is Swedish.
• Directed the music video “Devil Inside” performed by INXS.
• Directed the music video “The End is the Beginning is the End” performed by Smashing Pumpkins.

Joel T. Schumacher Filmography

Joel T. Schumacher Awards