How rich is Brian De Palma?
Brian De Palma Net Worth:
|Birth date:||September 11, 1940|
|Birth place:||Newark, New Jersey, United States|
|Height:||5 ft 10 in (1.8 m)|
|Profession:||Film director, Screenwriter, Actor, Film Producer, Film Editor, Writer|
|Nationality:||United States of America|
|Spouse:||Darnell Gregorio-De Palma (m. 1995–1997), Gale Anne Hurd (m. 1991–1993), Nancy Allen (m. 1979–1984)|
|Awards:||Silver Lion for Best Director, Future Film Festival Digital Award, Youth Jury Award|
|Books:||Brian De Palma, Dressed to Kill|
Brian De Palma wiki & biography:
The Number One Question You Must Ask for Brian De Palma
Brian De Palma net worth: Brian De Palma is an American film director and screenwriter with a net worth of $40 million. Brian De Palma has constructed his net worth writing and directing suspense and crime thriller films for example Carrie, Dressed to Kill, Scarface, The Untouchables, and Mission: Impossible. He got interested in film while he was a physics student at Columbia University. He co-directed and co-produced The Wedding party in 1963 which starred a young Robert De Niro. De Palma produced some pictures for The Treasury Department along with the NAACP. He started making documentaries including The Responsive Eye and Dionysus in 69. His best known movies in the late 60s are Greetings, Hi, Mom!, and Murder a la Mod. De Palma began working in Hollywood in the 70s. De directed the popular pictures Carrie, Scarface, Dressed to Kill, The Untouchables, Mission: Impossible, and Carlito’s Way. His latest picture was 2012’s Fire which competed for the Golden Lion in the Venice International Film Festival. De has been married to Nancy Allen, Gale Anne Hurd, and Darnell Gregorio and has two daughters.
De Palma began in Hollywood by directing short films, his first feature movie was “Murder a la mod,” he directed his first major hit “Carrie” in 1976, with Sissy Spacek nominated for an Academy Award in the lead character.
In 1983, he directed “Scarface” starring Al Pacino. The film was critical panned because of the violence, and Cuban Americans didn’t like the way that they were portrayed in the film. After several years, it has grown into a cult classic and certainly one of the most quoted films ever.
Following the first disappointment of “Scarface,” De Palma teamed up with Robert Deniro and Kevin Costner for “The Untouchables.” Sean Connery won an Academy Award for his portrayal of shrewd cop Jim Malone. Brian De Palma collaborated with Al Pacino again in “Carlito’s Way,” it additionally got mixed reviews, but went on to be a cult classic.
Brian De Palma hasn’t been directing movies together with the frequency he used to, his style is still being copied by the new generation of directors, it’s their way of paying court to among the greatest directors.
Brian Russell De Palma (created September 11, 1940) is an American film director and screenwriter. In a career spanning over 40 years, he is likely famous for his suspense and crime thriller movies. He directed successful and popular movies like “Carrie”, “Dressed to Kill”, “Scarface”, “The Untouchables”, “Carlito’s Way”, and “Mission: Impossible”.
After the accomplishment of his 1968 breakthrough, De Palma and his producing partner, Charles Hirsch, were given the opportunity by Sigma 3 to make an unofficial sequel of forms, initially entitled Son of Greetings, and subsequently released as Hi, Mom!. While “Greetings” accentuated its diverse cast, Hi, Mom! focuses on De Niro’s character, Jon Rubin, an essential carry over from your previous picture. The film is finally essential insofar as it displays the initial enunciation of De Palma’s style in all its leading traits — voyeurism, guilt, plus a hyper-consciousness of the medium are all on full display, not just as hallmarks, but assembled into this proper, material apparatus itself. This sequence parodies cinma vrit, the dominant documentary tradition of the 1960s, while concurrently giving the audience with a visceral and disturbingly mental encounter. De Palma describes the sequence as a constant invocation of Brechtian distanciation: “First of all, I am interested in the medium of film itself, and I’m constantly standing outside and making folks conscious they are consistently watching a film. At precisely the same time I am evolving it. In Hi, Mom! For example, there exists a sequence where you’re clearly watching a foolish documentary and you might be told that and you are conscious of it, but nonetheless, it still sucks you in. There is a kind of Brechtian alienation notion here: you are aware of what you are watching at the same time that you are emotionally involved by it.”