Max Carl Adolf von Sydow net worth is $12 Million. Also know about Max Carl Adolf von Sydow bio, salary, height, age weight, relationship and more …

Max Carl Adolf von Sydow Wiki Biography

Carl Adolf “Max” von Sydow (/vɒn ˈsiːdoʊ/; Swedish: [fɔn ˈsyːdɔv]; born 10 April 1929) is a Swedish actor who has also held French citizenship since 2002. He has starred in many films and had supporting roles in dozens more in many languages, including Swedish, Norwegian, English, Italian, German, Danish, French and Spanish. Von Sydow received the Royal Foundation of Sweden’s Cultural Award in 1954, was made a Commandeur des Arts et des Lettres in 2005, and was named a Chevalier de la Légion d’honneur on 17 October 2012.Some of his most memorable film roles include Knight Antonius Block in Ingmar Bergman’s The Seventh Seal (1957), the first of his eleven films with Bergman, and the film that includes the iconic scenes in which he plays chess with Death; Martin in Through a Glass Darkly (1961); Jesus in The Greatest Story Ever Told (1965); Oktober in The Quiller Memorandum (1966); Karl Oskar Nilsson in The Emigrants (1971); Roy Lindberg in Eblekrigen (The Applewar) (1971); Father Lankester Merrin in The Exorcist (1973); Joubert the assassin in Three Days of the Condor (1975); Ming the Merciless in Flash Gordon (1980); the villain Ernst Stavro Blofeld in the James Bond film Never Say Never Again (1983); Liet-Kynes in Dune (1984); Frederick in Hannah and Her Sisters (1986); Lassefar in Pelle the Conqueror (1987), for which he received his first Academy Award nomination; Dr. Peter Ingham in Awakenings (1990); Lamar Burgess in Minority Report (2002) and The Renter in Extremely Loud and Incredibly Close (2012), which earned him his second Academy Award nomination. IMDB Wikipedia $12 Million 1929 1929-4-10 6′ 4″ (1.93 m) Actor April 10 Aries Catherine Brelet Director Lund Max Carl Adolf von Sydow Max Von Sydow Net Worth Minority Report (2002) Robin Hood (2010) Shutter Island (2010) Skåne län Soundtrack Sweden The Exorcist (1973)

Max Carl Adolf von Sydow Quick Info

Max Carl Adolf von Sydow Trademarks

1. His ability to convincingly portray deeply complex emotions with minimal dialogue
2. Often plays stern, oppressive characters
3. His towering height, sandy hair and thin face
4. Deep commanding voice

Max Carl Adolf von Sydow Quotes

• I want variety, and I have had it, but at times it’s been difficult and tough to achieve because people have a tendency to typecast you. If you have been successful doing one thing, they want you to copy that success all the time. And I hate that.
• You see, I had an odd upbringing. My father was a scholar, a professor in the town where I was born, and his subject was folklore. He was a master at telling stories — folk tales and adventures. I was very shy as a boy, and heard more fairy tales than the average child because of my father. This and my shyness prompted my imagination, and led to an interest in make believe.
• [on making The Greatest Story Ever Told (1965)] Playing Christ, I began to feel shut away from the world. A newspaper became one of my biggest luxuries. I noticed that some of my close friends began treating me with reverence. Playing the role of Christ was like being in a prison. It was the hardest part I’ve ever had to play in my life. I couldn’t smoke or drink in public. I couldn’t. The most difficult part of playing Christ was that I had to keep up the image around the clock. As soon as the picture finished, I returned home to Sweden and tried to find my old self. It took six months to get back to normal. When I finished the role of Christ, I felt as though I’d been let out on parole. A man who has served 18 months isn’t eager to go back to prison.
• When we were filming The Greatest Story Ever Told (1965), we were in Utah and many of the people on the set expected me to behave like Jesus all the time, day and night. But it’s not method acting, is it? I couldn’t have my wife visit me openly because Jesus was not married, and I couldn’t take a drink and relax when I was Christ. It’s much easier now.
• [on how he wants people to perceive him] I want people to think, “Maybe there is something more there”. I want to be a mystery.
• Acting is such a weird profession. It’s such a futile thing. Even when it’s there on film, there’s nothing really to it. It is not like making a piece of furniture or writing a book.
• People seem to think I’m a very religious person, very serious, that I’m an old man by now – and that I play a great deal of chess. Actually, I’m a family person. I’m rather private. I enjoy my work very much when it’s interesting and, fortunately, it’s been mostly interesting. I like nature and being outdoors. I’m a gardener at my summer home. I like to travel. I’m not as serious as they think I am – I don’t even play chess. And I really don’t know myself too well.
• I don’t think they [Ingmar Bergman’s roles] were written for me as a personality. Many of his characters through the years have been related: there are those who want to believe but cannot, and there are those who believe like children and it’s no problem for them at all, and there are those who do not want to believe, and there are the strains between these various characters and their conflicts, which are all probably conflicts within Ingmar himself.
• You have to get more involved in a [Ingmar Bergman] film than you do in others, because it deals with much deeper and more philosophic questions than the average movie. He also establishes a much closer relationship with his actors and technicians than would ever be possible on larger productions.
• Many persons believe that an actor must identify himself with his role. I do not do that, although I do become involved with my parts while I play them. But I find it a virtue to do things which are not of myself. This is the Swedish concept of an actor.
• I am considered to be an intellectual actor and I also am one inasmuch as I want to be aware of what I am doing. But I never try to influence the writing of the manuscript.
• I have been brought up as a stage actor and there is where I feel at home, but I still feel that the cinema has one great advantage over the theater. Namely, proximity to the audience. Of course in a film an actor always has only himself as an audience while on a stage he can achieve a result along with his audience. However, when you stand on a stage, you can never work with your face in the same way as you can in front of a camera.
• At home [in Sweden], the actor’s profession was not considered particularly reputable, but being an actor or star in a Hollywood film was something very important in American eyes. Then I slowly realized that as an actor in Sweden you were allowed to be involved in some kind of artistic project which could be a flop and yet still be justifiable if it carried artistic weight and ambitions. In Hollywood, on the other hand, if you do not succeed you are nobody. You become a mere piece of paper with a figure on it. You are just as good-or bad-as your last film was financially. And while Sweden remains sufficiently small for you to work in, say, Malmö and still make films in Stockholm, in the States you either work in Hollywood or you live somewhere else and you work for the legitimate theater.
• I admire people like Al Pacino, Robert De Niro, Marlon Brando, Spencer Tracy, who seem to be so very real-I don’t know how they do it. When I was young, I admired Leslie Howard enormously, in films like The Scarlet Pimpernel (1934), Gone with the Wind (1939), and Pygmalion (1938). Also Gary Cooper; perhaps he was not a great actor, but he had a great presence.
• Sometimes I receive strange letters, and occasionally people come up to me in the street and say odd things. They want to be deceived, so it is difficult to disabuse them. At times it is tiring not to be allowed to be a private person. If you are really marked out as a film star in the United States, then it must be absolutely exhausting and hard to maintain your integrity. Fortunately, Swedes are very reserved as a people and seldom show their emotions or feelings in public, so one is not subject to that kind of pressure in the country where I come from.
• If I watch my old films, for example The Seventh Seal (1957), I realize I do a lot of stage acting there; I have always been disturbed by the declamatory fashion in which I speak in a film like that. But then TV suddenly swept through Sweden, and we were all soon accustomed to realism, from newsreels, talk shows, and then of course there was the Method school of acting, which exerted an influence in Europe also. Today, theater actors, and film actors with a stage background, use a different style to the one we subscribed to during the 1940s and 1950s. Bergman’s dialog in those days was very stylized, so it would have been difficult for me to speak those lines realistically.
• The theater is more a medium for an actor than the cinema is. You are totally responsible for what you do on the stage; in a film, someone else can come in and edit you and do something totally different to what you had in mind originally, and they can cut you out, play around with the scenes or the chronology of the story. This happens always-more or less-in the cinema. On the stage, you deliver a performance and that is your responsibility. So film-making is much more a director’s medium than it is an actor’s.

Max Carl Adolf von Sydow Important Facts

• Is one of five Swedish actors to be nominated for an Academy Award. The others are Greta Garbo, Ingrid Bergman, Lena Olin and Ann-Margret. Max is the only male Swedish actor to be nominated for an Oscar.
• He and his The Greatest Story Ever Told (1965) co-stars Donald Pleasence and Telly Savalas all later played the Bond villain Ernst Stavro Blofeld: Pleasence in You Only Live Twice (1967), Savalas in On Her Majesty’s Secret Service (1969) and von Sydow in Never Say Never Again (1983).
• His second Oscar nomination (Best Supporting Actor for Extremely Loud & Incredibly Close (2011)) came at age 82, which was the same age as front-runner Christopher Plummer who was competing with him in the category (also in a second nomination). Plummer won the Oscar for Beginners (2010), in a role previously turned down by von Sydow.
• As of 2015, has appeared in five films that were nominated for the Best Picture Oscar: The Emigrants (1971), The Exorcist (1973), Hannah and Her Sisters (1986), Awakenings (1990) and Extremely Loud & Incredibly Close (2011).
• Was among the actors in the running for Dr. Hans Fallada in the science fiction horror film Lifeforce (1985). Frank Finlay was cast instead.
• Most of his ancestry is Swedish. His parents also both had more distant German roots, and his mother had a remote Scottish ancestor.
• Received French citizenship in 2002.
• Fluent in a number of languages, including Swedish, English, French and Italian.
• His performance as Lasse Karlsson in Pelle the Conqueror (1987) is ranked #57 on Premiere Magazine’s 100 Greatest Performances of All Time (2006).
• One of very few actors to be nominated for an Oscar for a role in a foreign language film, for his performance in Pelle the Conqueror (1987).
• After not appearing in an Ingmar Bergman film since The Touch (1971), Von Sydow was reunited with the master, playing his grandfather in The Best Intentions (1991). While the film was directed by Bille August, the screenplay was written by Ingmar Bergman. Ironically, despite all the classic work Von Sydow did with Ingmar Bergman such as the Knight in The Seventh Seal (1957), the eponymous role in The Magician (1958), and the father in The Virgin Spring (1960), his first Oscar nomination came under the hand of Bille August, for Pelle the Conqueror (1987).
• Was co-head of the jury at the Berlin International Film Festival in 1985.
• He and Ingmar Bergman made 13 movies together: The Magician (1958), The Touch (1971), Mr. Sleeman Is Coming (1957) (not released), The Virgin Spring (1960), Winter Light (1963), Brink of Life (1958), The Passion of Anna (1969), Rabies (1958), The Seventh Seal (1957), Shame (1968), Wild Strawberries (1957), Through a Glass Darkly (1961) and Hour of the Wolf (1968).
• Has appeared in two films as a leading villain, in which plots include the use of eye replacement surgery as a means of fooling security eye scanners; as Blofeld in Never Say Never Again (1983) and Lamar Burgess in Minority Report (2002).
• Distant relative of Swedish speaker of parliament and ex-minister of defence, ‘Björn von Sydow’.
• One of the few actors to have played both God (in The Greatest Story Ever Told (1965)) and the Devil (in Needful Things (1993)).
• Father of Henrik von Sydow and Clas S. von Sydow.
• Has lived in Los Angeles, California, Rome, Italy and Paris, France.
• One of his favorite movies is Pelle the Conqueror (1987).
• Was offered the title role in the first James Bond film Dr. No (1962), which went to Joseph Wiseman.
• Has four sons, Clas S. von Sydow and Henrik von Sydow with his first wife; and Cédric and Yvan with his second wife. In 1951, von Sydow married actress Christina Olin with whom he had two sons, Claes and Henrik. His children appeared with him in the film Hawaii (1966), playing his son at different ages. He and Olin divorced on 26 February 1979 then he married French filmmaker Catherine Brelet in April 1997 in the Provence, France. He has two sons, Yvan and Cedric, with his second wife. Cédric has appeared and has worked with him since 1994. Von Sydow lives in Paris, France with his second wife.

Max Carl Adolf von Sydow Filmography

Max Carl Adolf von Sydow Awards