M. Night Shyamalan’s net worth is $50 Million. Also know about M. Night Shyamalan bio, salary, height, age weight, relationship, and more …

M. Night Shyamalan Wiki Biography

• Manoj Shyamalan, usually known as M. Night Shyamalan, is a popular American movie maker and chief, entertainer, money manager, voice entertainer, just as a screenwriter. 
• M. Night Shyamalan appeared in the entertainment world in 1992, with the arrival of his show film named “Imploring with Anger”, which zeroed in on Dev Raman’s re-visitation of India, played by Shyamalan. 
• M. Night Shyamalan started acquiring through his business accomplishment in the mid-2000s when he came out with a science fiction thrill ride film called “Signs“, which included Mel Gibson, Joaquin Phoenix, and Rory Culkin in the fundamental jobs. 
• Upon its delivery, “Signs” was met with rather sure basic surveys, even though some of them reprimanded its content. 
• Modern, the film has figured out how to net more than $408 million in the movies around the world, which demonstrated it to be a colossal monetary achievement, considering its $72 million financial plan. 
• Notwithstanding that, “Signs” got a few Empire Awards, and Online Film Critics Society grants, just as winning an American Society of Composers, Authors and Publishers grant. 
• Following the accomplishment of “Signs”, M. Night Shyamalan delivered “The Village“, a spine chiller featuring Bryce Dallas Howard, Joaquin Phoenix, William Hurt, and Adrien Brody. 
• Even though the film was at first censured and gotten rather blended surveys, it turned out to be more valued lately and even acquired a religious following. 
• Some of M. Night Shyamalan’s other mainstream films incorporate “Tough” with Bruce Willis and Samuel L Jackson, “Sense”, and all the more as of late, “After Earth”, featuring Will Smith and Jaden Smith. 
• A renowned filmmaker, how rich is M. Night Shyamalan? 
• As indicated by sources, M. Night Shyamalan’s net worth is assessed to be $50 million. 
• Without a doubt, the majority of M. Night Shyamalan’s net worth and abundance comes from his association in the entertainment world. 
• Night Shyamalan was born in the world in 1970, in Mahe, India, however, his family moved out to the United States soon after his introduction to the world. 
• Shyamalan was brought up in Pennsylvania and learned at the Waldron Mercy Academy. 
• IMDB Wikipedia “Sense” “Wide Awake” $50 million 1970 5 ft 10 in (1.8 m) Actor Adrien Brody After Earth American movie chiefs August 6 Bhavna Vaswani Bhavna Vaswani (m. 
• 1993) Bruce Willis Bryce Dallas Howard Businessperson Cinema of the United States Dana Delany Denis Leary Directors Film chief Filmmaker Greg Brooker India Indian American Jaden Smith Joaquin Phoenix Lady in the Water M. Night Shyamalan Net Worth Mahé Malayali individuals Manoj Nelliyattu Shyamalan Manoj Night Shyamalan Manoj Shyamalan Mark Wahlberg Praying with Anger Rory Culkin Saleka Shyamalan Samuel L. Jackson Screenwriter Signs Stuart Little Tamil American The Happening The Village Unbreakable United States of America Voice Actor Will Smith William Hurt Year of birth missing Mel Gibson Zooey Deschanel 

M. Night Shyamalan Quick Info

M. Night Shyamalan Trademarks

1. Frequently uses broken glass as a symbol of fragility or to foreshadow a terrible event.
2. Emphasizes beats between actions and dialogue delivery, so his character’s lines and actions seldom (if ever) overlap.
3. Often includes a spiral motif or pattern in environments. The stairway at the birthday party in The Sixth Sense (1999), a chalk pattern in a school playground in Unbreakable (2000), the direction in which the corn was bent in Signs (2002).
4. His characters are often ordinary individuals caught up in extraordinary circumstances
5. Films contain widowed spouses or struggling/abandoned marriages. Anna Crowe in The Sixth Sense was a widow and Lynn Sear’s husband had abandoned them. The struggling relationship of David and Audrey in Unbreakable. Graham was a widower in Signs. Alice was a widow in The Village. Cleveland was a widower in Lady in the Water. Finally, the struggling marriage of Alma and Elliott in The Happening.
6. Often works with particular actors twice in consecutive movies. For example Bruce Willis in The Sixth Sense and Unbreakable, both Joaquin Phoenix and Cherry Jones in Signs and The Village, and Bryce Dallas Howard in The Village and Lady in the Water.
7. Never uses stock sound effects; insists that all foley sounds, ambiance, and other audio be created
8. Always works with James Newton Howard for the musical score
9. Use of bright colors, especially red, to signify a clue or crucial item in the movie.
10. Lengthy, uncut, immovable shot of two people talking. Usually, the two characters are standing a distance from the camera.
11. His films tend to be religiously themed
12. Many of his films have an important scene set in a basement. The Sixth Sense (1999): Malcolm is in the basement when discovering important plot information; Unbreakable (2000): David discovers his strength in a basement; Signs (2002): The family is in the basement when the aliens attack. In The Village (2004), when they are in the cellar (basement) Ivy discovers that Lucius really does care for her.
13. Car crashes play pivotal roles in all his films: Cole reveals his gift to his mother during a traffic jam in The Sixth Sense (1999), David “loses” his football abilities in a car accident in Unbreakable (2000), and Graham’s wife dies in a bizarre car accident in Signs (2002).
14. Frequently uses water as a sign of death or weakness (the aliens in Signs (2002) and David Dunn in Unbreakable (2000) both have the same weakness; in The Sixth Sense (1999), Malcolm Crowe’s killer is hiding in a bathroom. In The Village (2004), Finton becomes too scared to continue with Ivy when it is raining.)
15. Makes cameo appearances in his own movies, like Alfred Hitchcock, one of his favorite directors.
16. Films often use an event from the main character’s past as a major connection to what is happening in the present (the Vincent Gray case in The Sixth Sense (1999), the car crash in Unbreakable (2000), the death of the wife in Signs (2002))
17. Frequently uses fluttering curtains, such as when Bruce Willis discovers the victimized mother in Unbreakable (2000) and the last shot of Signs (2002).
18. Many of his films involve two ordinary individuals with extraordinary abilities or events happening to them. One of the people either has connections to a child or is a child, and the one connected to the child is always having marital difficulties.
19. Frequently uses shots of people’s reflections in various objects
20. Having some sort of twist in the end or surprise ending in his films
21. Frequently uses Philadelphia as the backdrop in his movies. As seen in the films Wide Awake (1998), The Sixth Sense (1999), Unbreakable (2000), Signs (2002), and The Village (2004).

M. Night Shyamalan Quotes

• My smallest movie, in terms of the number of people that saw it in the theaters, is Lady in the Water (2006), and that was always meant to be a kind of super unusual, very quirky fairy tale. That’s the movie that has the most intense following, but the smallest group. Do you know what I mean? The people that saw it, they are like, die-hard fans of that thing! And for me, if my house is burning down and I can only grab one or two movies, that would be one of the two movies.
• [on the criticism of his work] It really doesn’t bother me because my aspiration, as I said, isn’t necessarily acceptance. But I always want to understand what’s going on. What are the principles behind the tension or the miscommunication? I want to totally get that. Then I can choose not to react to it, or react to it. My constant, in self-analysis, is to try to figure out: Am I complicit in this situation? How did I create this situation? What is my role in it? Do I want to continue that role? Do I want to change the course of that role? As long as I understand it, I’m much more comfortable with it. And I feel I’m in a strangely decent place of wanting that amount of passion [and debate] people have when they speak about the movies and the expectations. My obligation is to figure out the bridge so that I don’t just let go of me and please them. That would be the disaster.
• [His advice to younger filmmakers] Work on your authenticity, your own voice. It’s true for everything, not just movie-making. Know yourself. Hone your point of view with the people you’re around and the experiences you have. Be attentive. A rich, specific, and unusual point of view is going to be very successful in any film.
• [on his legacy as a filmmaker] After I made _Wide Awake_, the critics said I was worthless. A year later I released The Sixth Sense (1999) and the same critics called me a master. A year later I released Unbreakable (2000) and they called me pretentious. Then I released Signs (2002) and they said I was the next Spielberg. After Lady in the Water (2006) they said I was an egomaniac and a charlatan. Now, after The Last Airbender (2010), I’m a worthless filmmaker again. When the next movie comes out I’ll [probably] get called a master. And after that, they’ll call me a charlatan. It goes back and forth to the point where you can’t really take it seriously. You’re only as good as your last movie, but I feel like I’m at a point in my life [now] where I want to take risks, where I want to make movies that don’t necessarily “work”, where all the elements seem misplaced, and maybe in doing this I can find a new way of expressing myself through movies. A style of filmmaking that is my own and true to my own sensibilities.
• [When asked the question “What determines the success of a film for you?”] If I can I look myself in the eye and say I was artistically truthful.
• [on Lady in the Water (2006)] Making that film for me, as an artist, was the greatest moment in my entire life.
• I want to make tonal movies [like The Last Picture Show (1971) ] where the plot is almost obscene. In fact, I think I get in trouble because my movies are presented as plot-driven vehicles, so I’m perceived more for that characteristic when in reality my tastes are more here, more like Kubrick and Blow-Up (1966).
• [on his love for The Last Picture Show (1971)] I think Peter Bogdanovich’s mastery of tone in this film is the holy grail of filmmaking. I’m voraciously after that as both an audience member and a filmmaker.
• [on the kind of films he’d like to make] Right now, I’m starting to believe that the future for me, what I want to do, and I know it sounds very hypocritical now since I’m making this giant movie with Will Smith, is to be like the Coen brothers and make small movies where I can take great artistic risks and do stuff that I know 30% of the audience is not going to like, because I’m making it for the appropriate budget. I believe the future will be in marketing those movies through social networking avenues, as opposed to just TV; 95% of the way we sell movies is through TV commercials. It will be more of an underground movement.
• [on the power of cinema] I once wrote an article about the Nuremberg trial and on the evil of the Nazis. These people were animals. And their faces throughout the trial were like ice, except for the moment when they showed a movie in the courtroom. When the lights went down and they showed the footage of the bodies being pushed into the pits, their expressions changed and they became emotional. They were watching the events on the screen through the eyes of everyone in the theater. They were having a joint experience. They were all connected, and they saw the horror, saw that their victims were human beings, and they changed.
• [on making movies for the cinema] I am an artist whose art-form is making cinema for a group of people to watch together. That’s what I do for a living. The exploitation of that is unending, but that isn’t what I do it for. That’s not the artist that I am. Someone who makes TV shows is a different kind of artist. The experience of being in a room with 500 people is different; you literally share points of view when you watch together.
• [on his influences] At 14, I was at the airport, dropping off my grandmother. I went into the bookstore and picked up Spike Lee’s book, “Gotta Have It”, documenting his early filmmaking experiences. If I hadn’t picked up that book, I don’t know if I would have been a filmmaker. Lee was from the East Coast and had no family in the business. He just found the way to make movies. And somehow, it demystified it for me. Perhaps that was his intention. And I was like, “I’m going to go do this for real.” At 14, that was it. There was no way of talking me out of anything.
• My intention, whether it’s fictional or not, is a retreat back to making small, personal visions.
• If I’m hesitant at all about an idea, then that’s not the right idea.
• When we made The Sixth Sense (1999) in 1999, every film had an original film-maker with an original point of view – American Beauty (1999), Being John Malkovich (1999), The Matrix (1999), The Blair Witch Project (1999), Magnolia (1999). Clearly, that’s not the case today.
• My movies don’t get acclaim the day they come. I have to wait longer.
• Except for Pixar, I have made the four most successful original movies in a row of all time.
• If you’re not betting on me, then nobody should get money. I’ve made profit a mathematical certainty. I’m the safest bet you got.
• I am fully aware of the giant risk I’m taking. Being as eccentric as my mind will let me and then hearing people’s responses. This requires an incredible amount of pain. Everyone around me, 98%, at some point doubted.
• “It’s human nature. Twenty-six people love the movie, and the 27th person hates it, and the only thing you can think about is the 27th person.” (on critics)
• You get in my corner, you’re going to get pummeled.
• I’m going to stop making movies if they end the cinema experience. If there’s the last film that’s released only theatrically, it’ll have my name on it. This is life or death to me. If you tell audiences there’s no difference between a theatrical experience and a DVD, then that’s it, the game’s over, and that whole art form is going to go away slowly. Movies will end up being this esoteric art form, where only singular people will put films out in a small group of theaters.
• I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it’s an A-movie in terms of my approach, my crew, my actors, my ethics, and so on. I guess that’s my trademark or one of them anyway!
• I have this whole picture of the film in my head and then I put it all down on paper and storyboard it; showing the movie shot by shot. I like to feel that I have thought of everything before the camera starts rolling but I think that’s probably my asset and weakness as a filmmaker. I am giving my cast a target that I have in my mind and they are trying to hit it. It’s positive because I know exactly what I want to get out of my actors and the scene. But the negative is that I might not catch the lightning in the bottle, I may not get that unexpected improvised brilliance.
• When you say fear of the unknown, that is the definition of fear; fear is the unknown, fear is what you do not know, and it’s genetically within us so that we feel safe. We feel scared of the woods because we’re not familiar with it, and that keeps us safe.
• That’s the way stories come to me, they come to me very naturally like that. If this was a story about me and someone else, I would be withholding information about them immediately. The negative thing about the twist is that it’s all people are occupied with; all the gentleness in the movie is being overshadowed by the flashy cousin in the sequined vest taking center-stage. [on surprise endings]
• All of my movies have made money, and that’s important for me – it’s my job to make money for the studio…
• Movie making is not like other art forms, like painting, or writing a novel, because that can be disgested or interpreted… It takes two years to make each one of these, and it’s always judged on the money.
• The idea is to always go for the risky thing. I want to be courageous and original. And original means, you don’t know what ‘color’ movie you just saw.
• My hope is we broke so many rules we created a new rule.
• I play for a living…Success is tied to a feeling of magic, which I can protect.

M. Night Shyamalan Important Facts

• $10,700,000 (Story rights ($7,200,000); Writing services ($300,000); Producing ($3,000,000); Directing ($221,000).).
• $12,500,000 (writing, directing, and co-producing)
• $10,000,000
• $3,000,000
• Was set to direct an original screenplay for Fox called The Connected; a supernatural thriller about a father’s search for his missing child. Shyamalan had already cast Bruce Willis, Bradley Cooper, and Gwyneth Paltrow in the lead roles with a tentative start date set for early 2011, but for unknown reasons, the project collapsed.
• Was offered the opportunity to direct The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (2005) but turned it down.
• Was attached to write and direct an adaption of the Yann Martel novel The Life of Pi intended for production in 2005. When the project stalled, Shyamalan left the movie to direct his own screenplay for Lady in the Water (2006). The Life of Pi was subsequently passed over to Alfonso Cuarón and then later to Jean-Pierre Jeunet (both subsequently dropped out) before eventually being brought to the screen by director Ang Lee.
• Was offered the chance to write and direct new versions of both Spider-Man (circa 2000) and either Superman or Batman (circa 2002), but having already directed a superhero project of his own with Unbreakable (2000) turned them down.
• Turned down the opportunity to direct the Harry Potter franchise on three separate occasions. He was first offered Harry Potter and the Sorcerer’s Stone (2001) on a recommendation from friend Steven Spielberg (who had previously been considered to direct) but turned it down due to post-production commitments on his own film Unbreakable (2000). After the massive success of his own film, Signs (2002), Shyamalan was once again offered Harry Potter and the Prisoner of Azkaban (2004) and later Harry Potter and the Goblet of Fire (2005), turning down the former to direct his own project The Village (2004) and the latter to work on his since the aborted adaptation of the Yann Martel novel The Life of Pi.
• Directed two Oscar-nominated performances: Haley Joel Osment and Toni Collette both in The Sixth Sense (1999).
• Maintains his offices and screening room in a converted barn in suburban Philadelphia.
• His six favorite movies are Raiders of the Lost Ark (1981), The Exorcist (1973), Die Hard (1988), Psycho (1960), Nayakan (1987) and Reservoir Dogs (1992).
• He and Dan Aykroyd, are the only two men to direct themselves in performances that “won” them a Razzie Award for Worst Supporting Actor. Shyamalan “won” the award for, and also directed, the film Lady in the Water (2006).
• Has a reputation for attaining A-list actors of his first choice to star in his films, in roles specifically written for them. Shyamalan was able to cast Bruce Willis in The Sixth Sense (1999), Samuel L. Jackson in Unbreakable (2000), Mel Gibson in Signs (2002), Joaquin Phoenix in The Village (2004), Paul Giamatti in Lady in the Water (2006), and Mark Wahlberg in his next project, The Happening (2008).
• Has worked with two Academy Award-nominated child actors. He directed the first one to a nomination–Haley Joel Osment in The Sixth Sense (1999) )–and then helped introduce the second, Abigail Breslin in Signs (2002) prior to her nomination for Little Miss Sunshine (2006).
• Father of Saleka Shyamalan.
• Ranked #30 on Premiere’s 2005 Power 50 List. Had ranked #23 in 2004.
• Completed 45 homemade movies by age 17.
• His Wide Awake (1998) was one of the year’s lowest-grossing, least- profitable films; in contrast, The Sixth Sense (1999) was 1999’s No.2 box-office phenomenon, surpassed only by Star Wars: Episode I – The Phantom Menace (1999).
• His inspiration for The Sixth Sense (1999) was based on an episode from Are You Afraid of the Dark?: The Tale of the Dream Girl (1994) directed by David Winning.
• Made many films using a video camera when he was young. When his theatrical films go to DVD, he puts in a scene from one of his childhood films that marks his first attempt at the same kind of movie. The Sixth Sense (1999) includes the ghost story Nightmare on Old Gulf, Unbreakable (2000) includes the action movie Millionaire, Signs (2002) includes the monster movie Pictures, and The Village includes an untitled period piece.
• Has in his office posters from 3 of his most favorite movies: Raiders of the Lost Ark (1981), The Exorcist (1973), and Die Hard (1988).
• His three supernatural thrillers, The Sixth Sense (1999), Unbreakable (2000), and Signs (2002), grossed over $1.3 billion worldwide.
• Favorite film of all time is Raiders of the Lost Ark (1981).
• Ranked #23 in Premiere’s 2004 annual Power 100 List. He was the 5th-highest ranked director. Had ranked #21 in 2003.
• Ranked #21 in Premiere’s 2003 annual Power 100 List. Had ranked #64 in 2002.
• Said in the bonus disk that the movie Unbreakable (2000) was made from what started as only the first third of the original script. He said he felt no connection to the last two thirds of the text and decided to discard them.
• Son of Jayalakshmi Shyamalan and Nelliate C. Shyamalan.
• Became the highest paid screenwriter in Hollywood when Disney gave him $5 million to write Signs (2002).
• The silver charm worn around his neck was given to him by his father and contains Sanskrit proverbs to keep him safe.
• After attending private schools Waldron and then Episcopal Acaedmy, he received a Distinguished Alumni Award from the latter in 2001.
• He is an avid comic book fan, which was made apparent in his film Unbreakable (2000).
• Graduated from New York University.
• One of the first scripts he sold was called “Labor of Love” about a man who walks across country to prove his love for his recently deceased wife. As of March 2001, it has still not been made.
• Has made on-screen appearances in several of his own movies, beginning with a lead role in his debut feature, Praying with Anger (1992), and including subsequent supporting roles and cameo appearances in the films The Sixth Sense (1999), Unbreakable (2000), Signs (2002), The Village (2004) and Lady in the Water (2006).
• His middle name “Night” was made up during college.
• Name pronounced “SHAH-ma-lawn”.
• His parents, wife, and 9 other family members are MDs and/or Ph.Ds.
• Shymalan lives in Wayne, Pennsylvania, part of the affluent “Main Line” suburban region of Philadelphia.
• Episcopal Academy, where Shyamalan was sent, is actually a private academy that is affiliated with the Episcopalian Church. It is a private school in Lower Merion, PA, one of the wealthiest suburbs in the U.S. and home at one time or another to the likes of Kobe Bryant and Blythe Danner, among others.

M. Night Shyamalan Filmography

M. Night Shyamalan Awards