Brian De Palma net worth is $65 Million. Also know about Brian De Palma bio, salary, height, age weight, relationship and more …

Brian De Palma Wiki Biography

Brian Russell De Palma was born on 11 September 1940, in Newark, New Jersey, USA of part-Italian descent, and is an acclaimed  film director, producer and screenwriter who has nevertheless been an occasional controversial figure throughout his career of more than 40 years, having been responsible for directing such cult classics as “Scarface”, “The Untouchables” and “Carlito’s Way”; part of a very an impressive roster that has certainly contributed to his ever-growing net worth.

So just how rich is Brian de Palma? Authoritative sources indicate that Brian’s net worth is estimated at $65 million, accumulated during his career in the film industry which began in the early 1960s.

Brian De Palma was educated at several protestant and Quaker schools in Philadelphia and New Hampshire, finally at Friends New School in the former. Brian was not to discover his passion for film-making until after he had entered the University of Columbia as a physics student.The director credits the films “Citizen Kane” and Alfred Hitchcock’s “Vertigo” as the deciding influences that led him to his current career, and he produced his first film – “The Wedding Party”, featuring a young and then still unknown Robert De Niro – in 1963. De Palma’s Hollywood debut, however, would have to wait until the very late 60s and early 70s, when his 1968 hit “Greetings” grossed in excess of $1 million at the box office, a considerable success at that time, and sealed his reputation as a capable director. In 1976, he produced his first true blockbuster in the psychic thriller “Carrie”, which netted an astonishing $33.8 million in box office revenue against a budget of only $1.8 million. Such successes paved the way for De Palma to begin working on more personal projects; it is then, ultimately, that – after a short detour with the relatively unremarkable release of another supernatural thriller, The Fury, in 1978 – he began working on the gangster films that would, in the eyes of countless film enthusiasts, go on to become some of his greatest work.

Released in 1983, “Scarface” – casting Al Pacino in the central role of Tony Montana – initially received mixed critical reception, with several reviews questioning the exaggeratedly violent nature of the film and on-screen depictions of drug abuse. It would be several years until the film became recognized as a cult classic and one of the great films of its day, but meantime raking in a whopping $65.8 million at the box office. Only four years later, in 1987, De Palma would outdo its financial success with the blockbuster crime drama “The Untouchables” with its box office gross of $106 million, and almost matched it with $63 million for the 1993 “Carlito’s Way”. Finally, in 1996, he trumped all his prior successes with the action spy film “Mission: Impossible”, which featured Tom Cruise and netted a grand total of $457 million. This string of profitable high-profile films certainly contributed greatly to setting Brian De Palma up for his current status as one of the world’s best-paid directors. Overall, Brian has been involved in over 30 full-length feature films, and more than a dozen short films and documentaries.

In recent years, De Palma has taken a step back from directing, though his legacy is still evident in the work of many of today’s best-known directors, including Quentin Tarantino. In 2012, he directed the erotic thriller “Passion”, which was one of the contenders for that year’s Golden Lion at the 69th Venice International Film Festival.

In his personal life, Brian de Palma has been married to actress Nancy Allen(1979-83), producer Gale Anne Hurd(1991-93) with whom he has a daughter, and Darnell Gregorio(1995-97) with whom he also has a daughter. Today, he divides his time between Los Angeles and New York.

IMDB Wikipedia $40 million 1940 5 ft 10 in (1.8 m) Actor Al Pacino Alfred Hitchcock American film directors Bart DePalma Bri Brian De Palma Brian De Palma Net Worth. Al Capone Brian DePalma Brian Russell De Palma Carlito’s Way Carrie Cinema of the United States Citizen Kane Darnell Gregorio-De Palma Darnell Gregorio-De Palma (m. 1995–1997) Directors Dressed to Kill Film Film director Film Editor Film producer Films Future Film Festival Digital Award Gale Anne Hurd Gale Anne Hurd (m. 1991–1993) Los Angeles Mission: Impossible Nancy Allen Nancy Allen (m. 1979–1984) New Jersey Newark Passion Quentin Tarantino Robert De Niro Scarface Screenwriter September 11 Silver Lion for Best Director The Fury The Untouchables The Wedding Party Tony Montana United States United States of America Venice International Film Festival Vertigo Writer Youth Jury Award

Brian De Palma Quick Info

Brian De Palma Trademarks

1. [Voyeurism] Films often feature a protagonist who is voyeuristic by nature (Dressed to Kill (1980)), profession (Blow Out (1981)) or circumstance (Body Double (1984)).
2. Safari Jacket
3. Often shoots “tense” moments without any widening lens or zoom. When coupled with his trademark extended shot, it creates a feeling the viewer is in the scene.
4. Dopplegangers (or evil twin), and femme fatales appear frequently in De Palma’s films.
5. The “LONG TAKE” which is usually complimented by a series of elaborate tracking shots or dolly movements
6. Frequently casts Robert De Niro, William Finley, John Lithgow, ‘Kevin Dunn’, Richard Belzer, Steven Bauer, Gregg Henry, Dennis Franz, Gary Sinise, Al Pacino, Sean Penn and ex-wife Nancy Allen.
7. [Alfred Hitchcock homage] Films frequently reference the work of Alfred Hitchcock, using similar locations, camera techniques/compositions, musical scores by Bernard Herrmann (a frequent Hitchcock collaborator), and blondes as leading ladies.
8. [Split screen] Often uses split screens (created optically or using a split diopter while shooting) to build suspense and/or convey story information. This allows the audience to choose what to look at and engages them further in the story (Phantom of the Paradise (1974), Carrie (1976), Dressed to Kill (1980), Blow Out (1981), The Bonfire of the Vanities (1990), Mission: Impossible (1996), Snake Eyes (1998), Femme Fatale (2002) and The Black Dahlia (2006)).

Brian De Palma Quotes

• What’s unique to cinema, unlike any other art form, is that you can show the audience and the character the same piece of information. They see what the character is seeing.
• [On Martin Scorsese] I think Marty gets these incredible performances from actors mainly because he spends a lot of time in developing kind of deep character relationships.
• [on acting for cinema] I don’t think anybody had to give Steve McQueen any acting concepts, he was just a presence. And a lot of that works in cinema, when you crowd material around a certain movie star. But you have to be very patient and loving with your actors, because they’re putting everything on the line, and you have to try to get everything out of the way to not hurt their performances or distract them. [2016]
• [on directing] Well you have to be incredibly prepared, because you have to have a plan when you go to shoot. But things happen: The weather, how the actor feels, what somebody ate the night before. You have to be aware and you have to be able to improvise, depending on what is happening in the moment. There’s nothing like preparation for dealing with situations like that, so that you can shift from one thing to another painlessly. (…) For The Fury (1978) there was a very complicated panning shot that Carrie [Carrie Snodgress] didn’t want to do, because she had to hit certain marks for it to work. She just couldn’t get her head around why she had to be at a certain place at a certain time, because it didn’t seem natural to her. So I had to sort of carefully adjust the shot to something that she understood in order to make it work, so that what I wanted to do and what she wanted to do was in harmony. And it all worked out fine. And she didn’t quite understand it until she saw the rushes. [2016]
• A movie is a work of art. It either exists and people keep looking at it, or it vanishes. So, I have very little to do with it, and a movie has basically got to find its own way. And many of my movies, people are still looking at 30 or 40 years later, so I guess there’s some value in it, because they’ve existed through the ages. [2016]
• You try to do the best you can under the circumstances it’s intended with. And if you’re fortunate, and if everything is clicking that day, you might come up with something remarkable. I can’t think of many instances where I left the playing field and not accomplishing what I set out to do. [2016]
• I go to film festivals and see movies, and I watch a lot of stuff on TCM, and I’m exploring an actor that I might think might be right for something I’m working on, I go and look at all their movies. [2016]
• Well, the bigger the budgets, the more meetings you have. And if you have a very small budget you have a lot of control, and you don’t have any meetings. So, it depends on the material and what you need in order to make the story effective. [2016]
• [on De Palma (2015)] I hope that, much like the book [‘The Devil’s Candy’] about The Bonfire of the Vanities (1990), you just have an honest portrayal of what the process is like, you don’t pull any punches, you say exactly what happened. That’s the only way to convey to young audiences or people interested in movies how the system works. As you know, film journalism is mostly spin. You talk to people, they say the experience was great, I love working with so and so, it’s the best experience I ever had. And not until you’re in the Hollywood old-age home do you have anybody tell you the truth. [2016]
• [on De Palma (2015)] Noah [Noah Baumbach] and Jake [Jake Paltrow’] were interested in this new digital camera, so Jake bought one. They wanted to make a record of all these stories that I’d told them over the years when we’d had dinner together, so they sat me down in Jake’s living room. Jake operated the camera, Noah did the sound, and they would just ask me questions. [2016]
• I am one of the rare directors to have had his negatives stolen.
• [on The Untouchables (1987)] I got the script from Paramount, the David Mamet script. And I liked it quite a lot.
• [on De Palma (2015)] I tend to be attracted to filmmakers who are not like me at all. I met Noah [Noah Baumbach] almost 20 years ago – I immediately liked him, he’s very bright. Because we approach cinema from different directions, we were fascinated by our different views on how to tell a story. They did their interview with me five years ago, in Jake Paltrow’s living room, shooting on this digital camera, with Noah doing the sound. It was like the old cinema school days – you had three people and that was your crew.[2015]
• A year ago, I saw Bruno Dumont’s Flandres (2006), and that really got me thinking about war movies. I find his stuff extremely inventive and very compelling. So I went back and looked at all his movies.[Nov.15 2007]
• [on whether he saw the film Hitchcock (2012)] Yes, I bought the book to see if it was actually real, what happened? I don’t remember Hitchcock having problems with his marriage during the making of Psycho (1960). So, I thought it was interesting, but is it true?
• My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it.
• Some of my films that have gotten the worst reviews are the ones they keep talking about today, so it’s hard for me to really assess the long-term effect of them. I can’t take it too seriously. Basically, you’re being judged against the fashion of the day and, of course, the fashion of the day changes all the time. So what endures is what’s important, I guess, and I’m just very fortunate that I’ve made movies that seem to have endured.
• [on filming Passion (2012), with Noomi Rapace and Rachel McAdams] We had a pretty easy time casting the Isabelle part [Noomi], but it was difficult to get people to want to play the heavy – to play Christine. Because, I don’t know, people don’t always like to play bad, manipulative characters, even though they are the most interesting characters there are sometimes. Fortunately they had just finished [Sherlock Holmes: A Game of Shadows (2011)] and liked working together, so were fortunate to get Rachel to play this part.
• [on why he made The Bonfire of the Vanities (1990)] Making movies is not some very organic development. You’re at a certain time in your life with twenty thousand reasons to make that decision. At a different time, you wouldn’t make that same decision. It’s where you are in your career, in your life. With The Bonfire of the Vanities, I read the book and loved it and wanted to try to adapt a book into a movie. I had made a particular sorrowful movie before, and I wanted to make something that was kind of cynical and sarcastic and not as emotional. There’s a whole swirl of emotions that go into that decision. A lot of times you make movies because you don’t want to think about what’s happening with the movie you just made. You don’t want to think about the reviews out there or about how you’re going to survive the pummeling that you’re getting. That’s how I made the decision to make ‘Bonfire’. It may not have been the right decision, but it still feels to me like it was the right decision.
• [on Al Pacino] One of the many things that makes Pacino such a fine actor is the way he moves. He’s an incredible mover. When we were making Carlito’s Way (1993) I couldn’t wait to get out and start shooting, just to see him walk around while shooting a scene.
• I don’t think I do referencing, I use ideas which I think are effective in this particular piece at the moment. If they’ve been used before, fine. I mean, who cares? To me, it’s all grammar. If I’ve got that word available and it was used before and if I can use it again more effectively for my piece – why not? It’s the history of art from the beginning of time. Why do you think painters still paint Chartres Cathedral? Do you think they should be painting some rock in a garden? But they have this incredible architectural thing in front of them! Are they copying, are they simulating it? Well, maybe they have a different interpretation of the piece of art that’s in front of them. I mean, how unusual…
• [on The Bonfire of the Vanities (1990)] The initial conception of it was incorrect. If you’re going to do The Bonfire of the Vanities you would have to make it a lot darker and a lot more cynical, but because it was such an expensive movie we tried to humanise the Sherman McCoy character – a very unlikeable character, much like the character in The Magnificent Ambersons (1942). We could have done that if we’d been making a low budget movie, but this was a studio movie with Tom Hanks in it. I think John Lithgow would have been a better choice for Sherman McCoy, because he would have got the blue-blood arrogance of the character. But I mean, nobody realised it was going wrong when we were making it. We were very enthusiastic about what we were doing. I thought we were going to get away with it, but we didn’t. I knew that the people who had read the book were going to be extremely unhappy. I think if you look at the movie now, and you don’t know anything about the book, and you get it out of the time that it was released, I think you can see it in a whole different way.
• I’m not interested in a lot of talk. Talk to me is very boring and a lot of people just put that up there all the time. You have many films with these long character scenes, with extremely in-depth analysis, and what you have is a lot of characters sitting around talking to each other. Which does little to excite me in terms of the possibilities of what you can do with cinema. So I have those sequences in when they’re necessary, but I certainly don’t structure my film around them. And most of cinema today is driven by television, which is all talk – I tend to be the counterprogramming director.
• Women are more sympathetic creatures in jeopardy, plus they’re more interesting to photograph. I’d rather photograph a woman walking around with a candelabra than a guy. It’s as simple as that. Somebody once said that the history of cinema was made photographing women, and I think one could truthfully say that.
• So much of shooting sex scenes in movies you a see are naked people sort of humping each other on a bed, shot in the most unflattering way just because they happen to be naked and mimicking making love. They don’t really dramatize their particular sexual attraction to each other. And it’s very difficult. You have to find a way, a visual way to approach scenes like that.
• [1987 comment on Robert De Niro] He’s very low-key and concentrated when he’s working. The thing that gets in the way of his work is people staring at him. So what you have to do on the set when he’s working is to get people who are just going to gawk out of his eyeline. With the other actors, he’s very tuned, very responsive.
• It’s hard to make movies where you put women in peril any more. You can’t really stalk women around anymore. It’s very difficult. It’s sort of unsettling to field a lot of hostile questions about why you keep doing this and why you dislike women so much. You say, “It’s a murder mystery, I’m running out of victims.” It’s all right to kill men, but women are out. No one complained when I killed a man in “Sisters.”
• [on Sissy Spacek] Sissy’s a phantom. She has this mysterious way of slipping into a part, letting it take over her. She’s got a wider range than any young actress I know.
• [on Alfred Hitchcock] He is the one who distilled the essence of film. He’s like Webster. It’s all there. I’ve used a lot of his grammar.
• I have a reputation as an action director because I know how to kill, how to shoot people, how to spill blood.
• I like stylization. I try to get away with as much as possible until people start laughing at it.
• My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it.
• I’ve never been accepted as that conventional artist. Whatever you say about David Lynch or Martin Scorsese, they are considered major film artists and nobody can argue with that. I’ve never had that. I’ve had people say it about me. And I’ve had people say that I’m a complete hack and, you know, derivative and all those catchphrases that people use for me. So I’ve always been controversial. People hate me or love me.
• I’m astounded there aren’t more American political films. I’m amazed, when you can make movies for nothing, there are not people out there making these incredibly angry anti-war movies. How come? [Sept.2006]
• [on why he would not add rap songs to the soundtrack of Scarface (1983)] They said it would help promotion, presenting the film in a different way, but Giorgio’s [composer Giorgio Moroder] music was true to the period, I argued – and no one changes the scores on movies by Martin Scorsese, John Ford, David Lean. If this is the “masterpiece” you say, leave it alone. I fought them tooth and nail and was the odd man out, not an unusual place for me. I have final cut, so that stopped them dead.
• The camera lies all the time; lies 24 times/second.

Brian De Palma Important Facts

• Brian De Palma was one of film critic Pauline Kael’s favorite directors, and she was also a fan of many of his films.
• Two of Brian De Palma’s films are based on television shows: The Untouchables (1987) and Mission Impossible (1996).
• Though it’s already known he assisted George Lucas several times while Lucas was making Star Wars: Episode IV – A New Hope (1977), he was a little skeptic and critical about the final product, after seeing for the first time, quoting “What is this crap about the force?”. Source: Easy Riders, Raging Bulls: How the Sex, Drugs and Rock ‘N’ Roll Generation Saved Hollywood (2003).
• Brian De Palma is the godfather of Steven Spielberg and Amy Irving’s son Max.
• Is a democrat.
• Has said that Scarface (1983) and Body Double (1984) are the two films of his that have been attacked the most. Dressed to Kill (1980) also received a lot of negative attention as well.
• Two of Brian De Palma’s films, Sisters (1973) and Blow Out (1981), are in the Criterion Collection.
• Holds the dubious distinction of being the director with the most nominations for Worst Director at the Razzie Awards. He was nominated for Dressed to Kill (1980), Scarface (1983), Body Double (1984), The Bonfire of the Vanities (1990) and Mission to Mars (2000), but failed to win for any of these films.
• In Bulgaria, looking for locations for his current project – The Black Dahlia (2006). [November 2004]
• Has directed 3 actors to Oscar nominations: Sissy Spacek (Best Actress, Carrie (1976)), Piper Laurie (Best Supporting Actress, Carrie (1976)), and Sean Connery (Best Supporting Actor, The Untouchables (1987)). Connery won an Oscar for his performance.
• Revealed in an interview with French TV that a dream project since he started making movies has been an adaptation of the Alfred Bester novel “The Demolished Man”. He said it’s still a dream project because of its incalculable cost to produce.
• His three favorite films are Lawrence of Arabia (1962), The Red Shoes (1948) and Vertigo (1958).
• Received a special thanks credit in Mean Streets (1973) for introducing Martin Scorsese and Robert De Niro to one another.
• Ex-stepfather of The O.C. (2003) actress Willa Holland and Brianna Holland.
• Has never contributed an audio commentary track to his DVDs.
• Wrote the role of the call girl in Dressed to Kill (1980) specifically with his then wife Nancy Allen in mind.
• Is a huge fan of Bruce Springsteen and directed him in the music video “Dancing in the Dark”.
• Italian-American.
• Younger brother of photographer Bart DePalma.
• Second daughter, Piper De Palma, born October 21 1996 in Palo Alto, California.
• First child with Gale Anne Hurd, Lolita, born September 19, 1991.
• In the 1970s, De Palma helped a close friend on a film project. He helped audition and interview actors. When the film was shot, DePalma did some uncredited writing on an opening “scrawl,” a device the friend thought of at the last minute to help explain events in the film, so the audience would not be confused. The friend was George Lucas and the film was Star Wars: Episode IV – A New Hope (1977).
• Uncle of actor Cameron De Palma.
• De Palma bases his most famous cinematic predilection, voyeurism, on a specific childhood incident. When he was a child, his parents split up, his mother accusing his father of infidelity. The young De Palma spent several days stalking his dad with recording equipment, hoping to find evidence to confirm his mother’s suspicions.
• De Palma graduated from Friends’ Central School, a small quaker school outside of Philadelphia
• Won top prize in regional Science Fair in high school. Project was “An Analog Computer to Solve Differential Equations.” Cf. computer nerd in Dressed to Kill (1980).

Brian De Palma Filmography

Brian De Palma Awards