Lesley Ann Warren net worth is $12 Million. Also know about Lesley Ann Warren bio, salary, height, age weight, relationship and more …

Lesley Ann Warren Wiki Biography

Lesley Ann Warren was born on the 16th August 1946, in New York City, USA of part-Russian ancestry, and is an actress, probably still best recognized for starring in the role of Marja Fludjicki in the TV mini-series “Harold Robbins’ 79 Park Avenue” (1977), playing Norma Cassady in the film “Victor Victoria” (1982), and as Barbara Walker in the TV mini-series “Family Of Spies” (1990). Her career has been active since 1962.

So, have you ever wondered how rich Lesley Ann Warren is, as of mid-2017? According to authoritative sources, it has been estimated that the size of Lesley’s net worth is over $12 million, accumulated through her involvement in the film industry as a professional actress.

Lesley Ann Warren was raised in a Jewish family by her father, William Warren, who worked as a real estate agent, and her mother, Margot Warren, who was a singer. She went to the Professional Children’s School as well as The High School of Music & Art, then began to pursue her career in the entertainment industry when still a teenager, initially as a ballet dancer at the School of American Ballet. At the age of 17, she was accepted at the Actors Studio and her acting career began.

In 1962, Lesley made her debut appearance in the film “The Chapman Report”, followed by her breakthrough title role in “Cinderella” (1965), which marked the beginning of an increase of her net worth as well as her popularity. During the 1960s, she also appeared in the role of Bonda Jo Weaver in the TV series “Dr. Kildare” (1966), played Deborah Cabot in the film “Seven In Darkness” (1969), directed by Michael Caffey, and was chosen to portray Dana Lambert in the TV series “Mission: Impossible” from 1970 to 1971, steadily increasing her net worth.

Lesley’s next major role came in 1971, when she was cast as the title role in the TV film “Cat Ballou”, which was followed by a number of roles in such film and TV titles as “Pickup On 101” (1972), “S.W.A.T.” (1975), and “Harry And Walter Go To New York” (1976). In the following year, she was selected to play Marja Fludjicki in the TV mini-series “Harold Robbins’ 79 Park Avenue”, for which she won a Golden Globe Award for Best Actress, adding a considerable amount to her net worth.

Afterwards, Lesley won her first nomination for an Oscar in the category of Best Actress in a Supporting Role in 1982, thanks to her portrayal of Norma Cassady in the film “Victor Victoria”, directed by Blake Edwards. This was followed by the role of Faye Hanlon in the 1983 film “A Night In Heaven”, starring alongside Christopher Atkins. She also appeared in such film and TV titles as “Clue” (1985), “Baja Oklahoma” (1988), which earned her CableACE Award for Best Actress in a Movie or Miniseries, and “Family Of Spies” (1990), for which she won nominations for Emmy and Golden Globe Awards – these appearances increased her net worth considerably.

The next decade increased the number of her roles, as she appeared in more than 15 film titles, including as Molly in “Life Stinks” (1991), Sondra in “Color Of Night” (1994), Elaine in “The Limey” (1999), and as Dawn Sloane in “Trixie” (2000), all of which contributed to her wealth.

The new millennium didn’t change too much for Lesley, as she appeared in the role of Tina in the TV series “Will & Grace” (2001-2006), portrayed Joan Holloway in Steven Shainberg’s film “Secretary” (2002), and was seen as Vee in the 2004 film “My Tiny Universe”. Moreover, in 2005, she won the role of Sophie Bremmer in the TV series “Desperate Housewives”, which lasted until 2011, and in 2008 was chosen to portray Jinx Shannon in another TV series. entitled “In Plain Sight”, through 2012.

To speak further about her career, Lesley was cast as Clara Jobs in the 2013 film “Jobs”, and as Susan in a film entitled “I Am Michael” in 2015. Most recently, she starred in the role of Elsa in the film “Between Us” and she portrayed Cornelia in the TV series “Blunt Talk”, both in 2016. She will also appear in the 2017 film “Dying: 101”, which will certainly increase her fortune.

Regarding her personal life, Lesley Ann Warren has been married to Ronald Taft since 2000. Previously, she was married to producer Jon Peters (1967-1974), with whom she has a son, Christopher Peters, a well-known actor and producer. Her current residence is in Los Angeles.

IMDB Wikipedia $12 Million 1946 1946-8-16 5′ 8″ (1.73 m) Actors Studio Actress August 16 Christopher Peters Fiorello H. LaGuardia High School Jobs (2013) Jon Peters m. 1967–1977 Leo Lesley Ann Warren Lesley Ann Warren Net Worth Margot Warren Michael Caffey New York New York City producer Professional Children’s School Ronald Taft Ronald Taft (m. 2000) School of American Ballet Secretary (2002) Soundtrack The Limey (1999) U.S. Victor Victoria (1982) William Warren

Lesley Ann Warren Quick Info

Lesley Ann Warren Quotes

• [on Color of Night (1994)] That was a real heartbreaker. My participation was mostly in the scenes with the therapy group, and each of us was supposed to have had a relationship with the Jane March character. Our director, Richard Rush, struggled with what went on between Bruce Willis’ character and Jane March’s character, and how he had envisioned that to go. It was a tough film–it was tense, it was difficult. I think Jane was only 21. Even though she had done The Lover (1992), she was a young, young, young girl, and she had a lot of anxiety about doing all that nudity and all that erotic stuff. Even though she knew what she had signed on to do, it doesn’t matter; somehow when you get to the point where you have to do it, it’s a different experience. I remember one night when we were shooting our little love scene in somebody’s house, and we were upstairs, shooting past the allotted time that the city had allowed us to shoot. I don’t remember what that was, maybe 10 or 11. The police were called, and the crew just said, “Keep shooting, keep shooting! Keep kissing her, keep kissing her!” We’re half-undressed, with these police officers coming up the stairs. “Keep shooting! Keep shooting!” It was a little crazy-making for sure, but exciting in a way. All the characters were so intense and neurotic in their own issues, and it was fraught with a lot of high anxiety just because of its material.
• [on making Songwriter (1984)] What happened on “Songwriter” was that I was doing that movie, but with a different director. Sydney Pollack was producing, and I remember a week into shooting, I got a call from Sydney, and I thought, “Oh no. Oh dear.” He said, “I want to tell you that we’re replacing the director,” and I said, “You’re kidding, why?” He said, “They weren’t happy with the way things look.” I said, “Well, why not replace the cinematographer if you’re not happy with how it looks?” He said, “Trust me, just trust me,” and I said, “Well, who’s directing?” And he said, “You’ll see, you’ll see . . . ” And he surprised me with Alan Rudolph. It was really interesting, because from the first day of Alan’s dailies, they looked extraordinary. So it’s interesting how much impact a director will have on a cinematographer and the look of a film. It’s definitely a collaborative situation . . . I was terrified, terrified in “Songwriter”, because there I was, New York Jewish girl, singing country-western onstage with Kris Kristofferson and Willie Nelson. I mean, forget it. I was so terrified. Alan was amazing. He just kind of hand-held me during that entire experience.
• [on The Happiest Millionaire (1967))] I was a baby; I think I was 18, or maybe 18 and a half. I had just done Cinderella (1965), and I was touring a Broadway show. I had been asked to come out and do a screen test, which, in those days, was a real screen test. They put me up at the Beverly Hills Hotel for two weeks. I had rehearsals, I had to do costume fittings and hair consultations and makeup, etc. Then at the end, you do this full on-screen test, with dance numbers and musical numbers and acting scenes in costume. Getting that job, that wonderful role and incredible experience, was just a huge accomplishment for me. I got to know Walt Disney; he was very much present. This is a man who knew what hair ribbon I was wearing, as well as what they were serving at the commissary, as well as what the animators were doing. He was a genius, and he had such vision, such a hands-on approach to everything. So to be picked by him was such an unbelievable honor for me.
• [on landing Victor Victoria (1982)] I had my hair in braids and a baseball cap on and my agent at the time,Ron Meyer–who’s now the head of Universal–called me and said, “You have to go in and meet Blake Edwards,” and I said, “I can’t! I have no makeup on.” He said, “You have to. He’s leaving for London tomorrow, you have to go meet him.” So I went in, and we sat and talked for about 15 minutes, had a lot of laughs, and then he just said, “Do you want to do this role?” And I had not read the script, but I had seen Breakfast at Tiffany’s (1961) 11 times, and I had seen Pink Panther, and Days of Wine and Roses (1962) is a genius movie, so I said, “Yes, I want to work with you on whatever.” And then I went home and read the script, and in the script Norma wasn’t blonde, didn’t have an accent and didn’t have a dance number or a musical number. She was pretty much a classic chorine of the time. So I started to think about what I wanted to do with this role, and I made up this whole history for her. She grew up on the Lower East Side in a family of 14, and she had to yell to be heard. She worked at Woolworth’s and read the movie magazines and wanted to look like Jean Harlow. I created this character in my head, and then I called Blake–he was already in London–and he said, “Yes.” He sent his hair and makeup people and the costume designer, Patricia Norris, over to my house, and we created this character. When I walked on the set in hair and makeup for the first time, I thought, “I’m either going to be fired, or he’s gonna love it,” and luckily for me, he loved it. For me, she was very real. That’s why I did that fabricated history, to fool myself, so she was a real person and had a real background and real reasons why she behaved the way she did. It was all for me. I know that some people work differently, but I have to work from the inside out. It doesn’t matter how big the character is, there has to be a truthful core. And that’s how I was taught; I studied with Lee Strasberg in New York, and he was my teacher for ten years, so that’s how I was trained, and that’s what I know. On top of that, if you have comedic sensibilities, you intuitively know how to bring that forward on top of a real person. What Blake would do a lot with me was, he would let the cameras roll and I would improvise, so a lot of what’s in the movie is improvised. But I couldn’t do that improvisation successfully if I didn’t know who she was on the inside, operating from a real core.
• Your best is good enough. The only one you have to please is yourself.
• Good work is good work wherever it is.
• When I went to do Joseph (1995), it was working with Ben Kingsley that reignited in me my passion for acting. He was so dedicated and so impassioned himself, that it reignited that in me. That was a tremendous blessing.
• I find that there are more interesting roles for women my age in the independent world, which is not to say that there aren’t phenomenal roles in studio films, but 99% of the time they go to Meryl Streep or a very short list of women. Very short. And because they want to work as well as we all do, they take them. So now there’s not a lot left over.
• When I was a young girl, I had really long hair and I went to Jon Peters for the first time. He cut my hair within an inch of its life. I was traumatized!
• Trust your own instincts, go inside, follow your heart. Right from the start. go ahead and stand up for what you believe in. As I’ve learned, that’s the path to happiness.
• I’ve been a character actress right from the beginning. I was no more like Cinderella in my real life than I was like the neurotic poet in Cop (1988). Age has nothing to do with being the kind of actress who relies not on magnetic personality, but on disappearing into the person you’re playing instead. For my money, Michelle Pfeiffer’s a character actress–it’s got nothing to do with looks, or age, or whether it’s the leading role.
• The truth is, I would do anything for Alan Rudolph. If he asked me to stand on my head and spit wooden nickels, I would. I love him. I loved working with him. I did two movies before with him [Choose Me (1984) and Songwriter (1984)], and they were some of the highlights of my working life. He’s just an inspired guy and a great person to work with.
• [reflecting on her career] I have come far, but not far enough. It is still a man’s world.

Lesley Ann Warren Important Facts

• Is one of 26 actresses to have received an Academy Award nomination for their performance in a musical; hers being Victor Victoria (1982). The others, in chronological order, are: Bessie Love (The Broadway Melody (1929)), Grace Moore (One Night of Love (1934)), Jean Hagen (Singin’ in the Rain (1952)), Marjorie Rambeau (Torch Song (1953)), Dorothy Dandridge (Carmen Jones (1954)), Deborah Kerr (The King and I (1956)), Rita Moreno (West Side Story (1961)), Gladys Cooper (My Fair Lady (1964)), Julie Andrews (Mary Poppins (1964), The Sound of Music (1965), and Victor Victoria (1982)), Debbie Reynolds (The Unsinkable Molly Brown (1964)), Peggy Wood (The Sound of Music (1965)), Carol Channing (Thoroughly Modern Millie (1967)), Kay Medford (Funny Girl (1968)), Barbra Streisand (Funny Girl (1968)), Liza Minnelli (Cabaret (1972)), Ronee Blakley (Nashville (1975)), Lily Tomlin (Nashville (1975)), Ann-Margret (_Tommy(1975)_), Amy Irving (Yentl (1983)), Nicole Kidman (Moulin Rouge! (2001)), Queen Latifah (Chicago (2002)), Catherine Zeta-Jones (Chicago (2002)), Renée Zellweger (Chicago (2002)), Jennifer Hudson (Dreamgirls (2006)), Penelope Cruz (Nine (2009)), Anne Hathaway (Les Misérables (2012)), and ‘Meryl Streep (Into the Woods (2014)).
• She’s designated Elia Kazan’s “Splendor in the Grass” as her favorite film.
• Acting protégée of Peter Graves.
• Gave birth to her 1st child at age 22, a son Christopher Peters on September 23, 1968. Child’s father is her now ex-1st husband, Jon Peters.
• Offered the stage role of Norma Cassidy (her Oscar-nominated role) in the stage version of “Victor/Victor” starring Julie Andrews, but had to turn it down due to other movie commitments.
• Suffered from Anorexia nervosa in her teen years and into her twenties.
• Won the most promising newcomer on Broadway for her work in 110 in the shade in 1963.
• Was originally offered Jean Seberg’s role in Paint Your Wagon (1969).
• Was in a relationship with choreographer Jeffrey Hornaday (1980-1987).
• Appeared as one of the celebrity models in a charity fashion show staged by Thierry Mugler to benefit AIDS Project Los Angeles. [April 1992]
• Was fired after only the second day of filming for The Devil You Know (2013) due to reported unreasonable ‘diva’ demands and tantrums. Similar reports were made back in 1997 when Warren wasn’t getting star treatment for her Broadway show: ‘Dream: the Johnny Mercer Musical Revue’.
• Friend of Marianne Williamson.
• Played Lois Lane in a television production of the musical It’s a Bird… It’s a Plane… It’s Superman! (1975), and later screen tested for the role in Superman (1978).
• Lesley was to co-star in the beautician comedy series Snip (1976), a TV takeoff of the Warren Beatty movie Shampoo (1975) starring David Brenner as a divorced hairdresser. Just before its scheduled September 30, 1976, debut, NBC abruptly canceled the show, so fast in fact that TV Guide did not even have time to remove a special feature on the show in its Fall Preview of September 18-24, 1976. Why? One of the show’s supporting characters, a fellow hairdresser named “Michael”, was openly gay and NBC got cold feet at the last minute. Had Snip (1976) premiered, it would have been a first on American series TV. Instead, Billy Crystal went on to receive that honor with his gay character a year later on the popular series Soap (1977). Seven episodes of Snip (1976) were completed when it got the ax. The only place the series ended up airing was in Australia, and it became the highest rated show in Australian history up until that time.
• Was extremely upset at first about her performance as the gangster’s moll in Victor Victoria (1982) prior to its release, having thought she went horribly over the top. She did go over the top and the audiences loved her for it. Lesley was nominated for a “Supporting Actress” Academy Award, her only nod so far.
• Walt Disney hand-picked Lesley for the ingénue role in the film The Happiest Millionaire (1967) after her “Cinderella” success. This film was the last live-action movie Disney supervised before his death.
• Starred in an early 1970s busted TV pilot as “Cat Ballou,” the role Jane Fonda made famous on film.
• Says her favorite genre is the Musical.
• Of all her television experiences, Warren said she had an especially great time on Will & Grace (1998) and Dr. Kildare (1961), and that her favorite television experience was the making of Cinderella (1965).
• When she first auditioned for Cinderella, she was so nervous that the audition tanked. She had to audition a second time, and then was hired.
• Started working on her first Broadway show (110 in the Shade) at sixteen and a half years old.
• Was very proud of her work in Willing to Kill: The Texas Cheerleader Story (1992), and was disappointed that it got clobbered by an HBO movie on the same story (The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom (1993)) that came out at about the same time, starring Holly Hunter.
• Was supposed to play the role of Brenda in Goodbye, Columbus (1969), but she got pregnant and had to be replaced. Ali MacGraw then got the part.
• Warren says she won the highly-coveted part of Susan’s high-maintenance mom “Sophie” on Desperate Housewives (2004) because of her son, Christopher Peters.
• She once enrolled in an acting class with drama coach Stella Adler.
• At age 13, she won a scholarship to study with ballet legend George Balanchine.
• Her father was a World War II vet and realtor while her mother was a nightclub singer who stopped working when Lesley Ann was born.
• Is a vegetarian.
• Tried out for the role of Lois Lane in Superman (1978), but lost to Margot Kidder.
• Auditioned for the role of Liesl in The Sound of Music (1965).
• Lives in LA with her companion Ronald Taft, an ad executive.
• Was a student at the School of American Ballet when she switched to acting.
• Youngest actor ever to have attended NY’s Actors Studio. She was 17.

Lesley Ann Warren Filmography

Lesley Ann Warren Awards