William M. Hurt net worth is $15 Million. Also know about William M. Hurt bio, salary, height, age weight, relationship and more …

William M. Hurt Wiki Biography

William McChord Hurt was born on 20 March 1950, in Washington D.C., USA, and is an actor probably best known for his performances in films such as “Altered States”, “Kiss of the Spider Woman”, “Children of a Lesser God”, and “A History of Violence”. He’s also been awarded numerous times, and all of his efforts have helped put his net worth to where it is today.

How rich is William Hurt? As of mid-2016, sources inform us of a net worth that is at $15 million, mostly earned through a successful career in acting. He’s been in the industry since the 1980s and has made appearances in several high profile projects. He’s played a diversity of roles, and all of these have ensured the position of his wealth.

Hurt attended Middlesex School, and during his time there he appeared in several school plays with the Dramatics Club. After matriculating, he attended Tufts University where he would study theology for a short time. However, he decided to focus on acting instead, and joined the Julliard School, meeting classmates such as Christopher Reeve and Robin Williams.

After finishing his studies, William started his career appearing in several stage productions as part of the Circle Repertory Company. His debut was in “My Life” which won him an Oble Award. He would then appear in “Ulysses in Traction”, “Lulu” and “Fifth of July” which won him a Theatre World Award. His first major film appearance was in “Altered States” in which he played an obsessed scientist. After his appearance in the neo-noir film “Body Heat”, William became one of the top actors of the industry, and his next notable performance would be in the “Kiss of the Spider Woman”, which won him an Academy Award. He would continue racking -up Academy Award nominations, for “Children of a Lesser God”, “Broadcast News”, and “A History of Violence”. His net worth benefited accordingly.

Hurt is known for his versatility in playing a variety of roles,, which can often be seen when comparing two performances such as “Lost in Space” and “Syriana”. He appeared in the adaptation of Stephen King’s “Nightmares and Dreamscapes” and then in Sean Penn’s “Into the Wild”. In 2008, he was cast in “Vantage Point” as President Henry Ashton, and played the alter ego in “Mr. Brooks”. In 2009, he became a series regular of the TV show “Damages” which got him a Primetime Emmy Award nomination. He also became a part of several television films including “Too Big to Fail” and “Moby-Dick”. One of his latest projects is in “Captain America: Civil War” playing General “Thunderbolt” Ross. He also played the role in a previous Marvel film, “The Incredible Hulk”.

For his personal life, it is known that Hurt spends a lot of time in his home near Paris and is fluent in French. He married Mary Beth Hurt in 1971 but it ended in 1982 after he became involved with Sandra Jennings and got her pregnant; the two allegedly shared a common-law marriage. The two eventually separated, and William was married to Heidi Henderson from 1989-93. Later dated Marlee Matlin for a year in a relationship that was apparently filled with substance and physical abuse. Hurt stated that they later reconciled and helped each other recover; he has four children. He is also a private pilot in his leisure pursuits.

IMDB Wikipedia $15 Million 1950 1950-3-20 6′ 2″ (1.88 m) A History of Violence (2005) Actor Alexander Devon Hurt Alfred McChord Hurt American Christopher Reeve Claire Isabel Hurt Dark City (1998) District of Columbia Heidi Henderson Heidi Henderson (m. 1989–1993) Into the Wild (2007) Jeanne Bonnaire-Hurt March 20 Marlee Matlin Mary Beth Hurt (m. 1971–1982) Pisces producer Robin Williams Samuel Hurt The Incredible Hulk (2008) USA Washington William Hurt William Hurt Net Worth William M. Hurt

William M. Hurt Quick Info

William M. Hurt Trademarks

1. Deep mellow voice
2. Slow mannered style of delivery

William M. Hurt Quotes

• [2013 interview] Fame….it’s been a challenge, let’s put it that way. It’s a privilege and a responsibility, and I’m not sure I carried the responsibility well at times, which is embarrassing. And I’ve had to look and be disappointed in myself occasionally for how I behaved in some circumstances.
• Body Heat (1981) was the best structured film I ever read. It was a better structure than Altered States (1980). But I spent the first six hours of my life with Larry Kasdan telling him why he couldn’t direct it. He didn’t know what he had. It was a gem, pure and simple. He listened. Because I was the only person that was honest with him. He had not directed before. I was simply saying that his odds of pulling off were remote. Which was true. It’s much nicer to be treated with honesty than it is to be treated fatuously.
• [on Altered States (1980)] I was jumping out of my skin because Paddy Chayefsky was articulating ideas that were so far ahead of their time. Molecular biology and quantum physics, the sources of altruism, the notion of love over truth. I had been thinking about the beginnings of our current situation, intellectual property in bio-engineering, I had been thinking about computers and all that. And then I read this script and I was in a Cuban coffee shop up on 78th and Amsterdam and I couldn’t stop reading it and I couldn’t stop weeping for about half an hour and I couldn’t stand up for 45 minutes because it was every idea that I had been thinking about. Everything was in this thing.
• A lot of what we do as actors now, it simply isn’t acting. Because you can’t get a script at 11 o’clock at night and shoot at 9 o’clock the next morning and call that acting. You can call that being well-used by a director. You can call it being a wonderful reflection of what your teachers instilled in you over the years and years of hopeful study. But you can’t call it personal participation in the work. You can call it showing up in terror.
• The enemies of acting are mood, and attitude, and other general homogenized disruptive entities. Whereas acting is about action — doing — and unless you can figure out a way to craft in an imaginative reality to which you don’t submit, you’re going to be out of control. You’ll flip out. The job is to be surprised.
• [on winning the Academy Award for Best Actor in 1986] Every award is a standard bearer. But the night that I got mine was also the night they gave one to the producer of 007 for selling more theatre tickets than anybody ever sold. So OK I’m going, “Is this the same statue, is this the same golden dildo they ram down your throat to make sure you never work unconditionally again?”
• [on roles] It’s always different. It’s like you’re always wearing a mask. It’s what mask you’re wearing. Which one are you using? The more complete your mask is, whether it’s in flagrante delicto or subtle, the more complete it is in its psychology, the more you see the soul of your own being. That’s what masks are for. The key to the mask is that if the mask that you make proves your value, proves that you have been attentive to a human being, then through those dark holes you’re in there. That’s what you want. You want to share that. You want to be in there with others. And that’s a feeling that I can’t describe. I have to do it. I have been there. I have done it. I have participated in moments when that was reached and it is a prize without price. It cannot be quantified. It is a state which is so wonderful, so useful, that you cannot sell that, you cannot buy that cheap. It’s there. It’s among, not about. And that’s why you do it. That’s why I do it. There’s all kind so accoutrements that people are going to judge things by, but that’s really got nothing to do with it.
• When they gave me the Academy Award that night I was tremendously conflicted. I thought I was going to get away with it, I thought I was going to put on my penguin suit and have a couple of drinks and go and look at the other salivating guys in the penguin suits and I was going to watch them like you study a character. When they called my name out I really thought, “Oh no no no no, don’t put that target on my chest, don’t do this.”
• Acting is building the tip of the iceberg, you have to build what isn’t seen and then play the tip. Only a little bit of the iceberg is ever seen, but it is massive. That’s sometimes hard to do in American movies, where the philosophy is to show the whole iceberg. We’re not used to having passive heroes, we’re used to the active, go get ’em guy. […] I oppose this idea that we have to vicariously live in the images of movie heroes who always know what’s going to happen next. That’s just not how life is. What’s wrong with heroism being a man who has traveled 2 inches? That 2 inches is very profound. The real heroes are people who walk and talk in streets and in homes and in the air. Why is it that in the movies we have to spend so much time escaping rather than being freed by accepting?
• [on winning the Academy Award for Best Actor in 1986] There’s always a part of you that wants to be, you know, the so-called best. But when you’re a human being you know that doesn’t exist any more. […] And I went up onstage and Sally Field whom I knew very well, because we’d done a play together which was broadcast live, she brings it over, and I said to her, “Sally” – this is the words I said to her, onstage, she put it in my hand and I said, “Sally, what the hell do I do with this?” She looked at me hard because she knew me – she was a wonderful woman – and she looked back and she said, “You live with it,” which was a wonderful response. So I held it, I walked over, and I started living with it.
• [on Kiss of the Spider Woman (1985)] It was written by a saint. I met that guy. A living saint. He was dying of AIDS when I met him. An angel on this planet. I met a few. Manuel Puig, amazing man. How good a film is it? It’s a little slow. It’s a good film.
• You can go anywhere with someone who admits what they don’t know, but if they don’t have that basic courage to say, “Well, I don’t know, I’m not sure, what do you think?” it doesn’t mean you can’t get it done, it doesn’t mean you cry and go “boo hoo” and sit in a puddle on the ground. You still have to solve the problem and do the best you can. You got a time limit, you got a money limit. You don’t have a love limit.
• Nothing came fast for me. I had done sixty plays before I did a movie. I took it slow – I wanted it to be deep, didn’t want it to be superficial so I slowed down instead of speeding up.
• [2010] I am a repertory ensemble actor. I’m the luckiest person I know as far as my vocation is concerned; I can’t imagine being happier or more fulfilled as an artist than I’ve been allowed to be. I have struggled – I struggle mightily. But I’m lucky enough to be allowed to struggle – that’s something I appreciate. Especially as you get older and you know the days are dwindling.
• Film is not the innate art, theatre is. If all the film in the world burnt down today, you’d still have acting.
• [accepting his Best Actor Oscar for Kiss of the Spider Woman (1985)] I share this with Raul (Julia).
• [on getting into his supporting role as the final-act villain in A History of Violence (2005)] – David [Cronenberg] was so kind with with me. I arrived 10 days early. I filmed only for a couple days. I’m of the belief ‘There are no small roles. Only small actors.’ … The so-called main characters? What’s that? We’re all main characters. We’re all main characters in our lives.
• [on playing a drag queen in Kiss of the Spider Woman (1985)] – I didn’t play him as gay. I played him as a woman … the key for me as an artist, I was researching the character – I had a wonderful dance teacher who was helping me try to figure out how to move, because every character has different movement …. And I spent time … in gay bars and trying to soak that up too – I’m not gay myself, but many of my friends are – and I wasn’t getting it. There was something that wasn’t working. And I was walking in the street one day and I was looking at a woman who was walking ahead of us, and I said “I don’t think Molina’s gay. I think he’s a woman. I think he really is a woman, he’s just caught in a man’s body.” Like sometimes I’m an actor caught in a movie star’s body.
• [on being taken hostage in Brazil while filming Kiss of the Spider Woman (1985)] – We had 36 hours off from filming and me and my date at the time get into a car and we drove south to a village where her parents had a small villa in a very modest town with dirt streets. And as we drove into the driveway at midnight a car pulled up behind us and blocked our exit. The engine of that car was turned off. There were four people in it: two men and two women. One of the men had a ski mask on … . The one man leaned out the window and he said to us in Portuguese and I asked my date what he said, and she turned white. She said “He wants directions. So she knew right away. And after that the doors of the car opened and they both got out with guns. [Hurt and his date were let go some hours later.]
• I am not a star, I am an actor.
• I am a character actor in a leading man’s body.
• I am not an actor. I’m just a man who likes acting. I am what I am. I am nobody. I don’t exist. But the work exists. The work is more than the actor.
• A lot of people are taking those risks on the basis of something so unconsidered that it’s completely capricious. That’s one of the reasons why actors are not respected anymore as actors.
• [on drinking] This is a big subject. And I don’t want to use my troubles as an example of what to do and what not to do. But there’s that old credo, in vino veritas. In wine lies truth. And a lot of people believe that. But one day you wake up and say, ‘This is stupid and this is wrong.’ And it was wrong, so I did something about it. It’s a complete myth that living life on the edge is conducive to great acting. But it’s also another myth to think that you should be as tight as a drum and not have any frailties or fagilities. So you have to find that balance. All I know is that my best work has come out of being committed and happy.
• The simple fact of existence, of being aware that you are aware; this to me is the most astounding fact. And I think that it has something to do with dying. When you are a kid you are beset by fears and you think, ‘I’ll solve the fear by living for ever and becoming a movie star.’ But I am not going to live for ever. And the more I know it, the more amazed I am by being here at all. I am so thrilled by the privilege of life, and yet at the same time I know that I have to let it go.
• I’m still not comfortable with all this. I’m not comfortable with walking the red carpet in a tuxedo and seeing all the women with their boobs pushed up and all the men dressed as penguins – particularly when the subject of your film is the nature of violence and humanity. But that’s the nature of Cannes. That’s the process that we are both dealing with today.

William M. Hurt Important Facts

• $1,250,000
• He has worked with 4 directors who have won a Best Director Oscar: James L. Brooks, Woody Allen, Anthony Minghella, and Steven Spielberg.
• He had a role in the since suspended Gregg Allman biopic, Midnight Rider. Production was halted when 1 crew member was killed and 7 others were injured when hit by a freight train on the first day of filming.
• He has English, as well as German, Scottish, and Irish, ancestry.
• Is a big fan of the comic book character The Incredible Hulk and got to play his enemy Thaddeus Ross in the 2008 adaption.
• Acted in five Best Picture nominees in the 1980s: The Big Chill (1983), Kiss of the Spider Woman (1985), Children of a Lesser God (1986), Broadcast News (1987) and The Accidental Tourist (1988).
• Studied acting with Michael Howard in New York City.
• He waived his salary for Kiss of the Spider Woman (1985) so that the film could be made within its budget.
• Went to the Middlesex School; graduated 10 years before Steve Carell.
• Is the uncle of Oliver Hurt.
• Made his stage debut in “Henry V” in 1977 for the Oregon Shakespeare Festival.
• Lived with Children of a Lesser God (1986) actress Marlee Matlin for some years in the 1980s.
• Godfather of actress Meghan Glennon.
• On May 25, 2005, he was awarded the honorary degree of Doctor of Fine Arts by Tufts University.
• Was nominated for Broadway’s 1985 Tony Award as Best Actor (Featured Role – Play) for David Rabe’s Hurlyburly.
• Has four children: Daughter Jeanne Bonnaire-Hurt (born February 1, 1994) with Sandrine Bonnaire, son Alexander Devon Hurt (born 1983) with Sandra Jennings, and sons Samuel Hurt (born August 7, 1989) and William Hurt (born 1991) with ex-wife Heidi Henderson.
• Speaks French fluently.
• Turned down the lead role of Paul Sheldon in Misery (1990).
• He is an avid private pilot with taildragger experience.
• Recipient of the first Spencer Tracy Award in 1988 for outstanding screen performances.
• He is the son of Claire Isabel (McGill) and Alfred McChord Hurt, who worked in the state department. His stepfather, Henry Luce III, was the son of Time magazine founder Henry Luce.
• Turned down the role played by Sam Neill in Jurassic Park (1993).
• Lives in Oregon with his two sons, Willie and Sam from his marriage to Heidi Henderson. [2004]
• He lived with Sandra Jennings from 1981-1984.
• His ex-wife, Heidi, is the daughter of Skitch Henderson.

William M. Hurt Filmography

William M. Hurt Awards