Brendan Gleeson was born on the 29th March 1955, in Dublin, Ireland, and is an actor who is widely recognized for his roles in blockbusters such as “Braveheart” (1995), “Gangs of New York” (2002), “Troy” (2004), “Edge of Tomorrow” (2014) and the “Harry Potter” franchise, among numerous others. For his role of Winston Churchill in the 2009 historical drama “Into the Storm”, Gleeson was honored with Primetime Emmy Award, and for the leading role in 2014 drama “Calvary” he was rewarded with several awards including IFTA, BOFCA and British Independent Film Award.
Have you ever wondered how much wealth this critically acclaimed actor has accumulated so far? How rich Brendan Gleeson is? According to sources, it is estimated that the total of Brendan Gleeson’s net worth, as of early 2017, exceeds the sum of $4 million, acquired through his career in the moviemaking industry which has been active since 1989.
Brendan Gleeson Net Worth $4 million
Brendan was born to Pat and Frank Gleeson. As an avid reader, he developed his interest in acting at an early age. He attended St. Joseph’s CBS where he was a member of its drama group, and began his career as an Irish and English language teacher in a secondary school. He debuted as an actor in 1989 with a side role in the TV movie “Dear Sarah”, followed by several similar roles in TV series and TV movies including “The Treaty” (1991), in which he portrayed Michael Collins and was rewarded with the Jacob’s Award; all these engagements provided the basis for Brendan’s current net worth, so that later in 1991, Brendan decided to abandon his teaching career in order to pursue his acting one full time.
Through the 1990s, Brendan managed to maintain an uninterrupted streak of acting appearances, primarily starring in various supporting roles. Some of his notable roles were in the movies “Into The West” (1992), “Braveheart” and “The Life of Reilly” both in 1995, “Michael Collins” (1996) and “The Butcher Boy” (1997) as well as leading roles in “I Went Down” (1997) and “The General” (1998). For the latter two performances, he was rewarded with BSFC Award in 1998. It is certain that all these appearances helped Brendan Gleeson to massively increase the amount of his wealth.
He came into greater prominence in 2000, when he appeared in “Mission: Impossible II” and later starred as Simple Simon in “Saltwater”, Marc Stevenson in “Harrison’s Flowers” before appearing in the title role of Harry McKee in “Wild About Harry”. In 2002, Gleeson was cast as Walter ‘Monk’ McGinn in the now cult classic crime drama “Gangs of New York”, opposite Leonardo DiCaprio, Daniel Day-Lewis and Cameron Diaz. For his role of Stobrod Thewes in “Cold Mountain” (2003), Gleeson was nominated for a Gold Derby as well as ACC Award, and in the 2004 epic historical spectacle “Troy” featuring Brad Pitt and Eric Bana in the main roles, Gleeson starred as king Menelaus, while in 2005 Ridley Scott’s historical drama “Kingdom of Heaven” he portrayed Reynald de Chatillon. However, the real breakthrough in Gleeson’s career occurred later in 2005 when he was cast as Alastor ‘MadEye’ Moody in the fourth movie of the “Harry Potter” saga – “Harry Potter and the Goblet of Fire”. He reprised the same role in its sequels as well, including “Harry Potter and the Order of the Phoenix” (2007) and “Harry Potter and the Deathly Hollows: Part 1” (2010). Doubtlessly, all these ventures helped Brandon Gleeson to add a significant sum to his net worth.
Brendan Gleeson has since managed to add several more memorable appearances to his professional portfolio, including in “Black Irish” (2007), “Beowulf” (2007), “In Bruges” (2009), “The Secret of Kells” (2009), “Green Zone” (2010), “The Guard” (2011), “Safe House” (2012) as well as “The Grand Seduction” (2013), “Song of the Sea” (2014) and “In the Heart of the Sea” (2015).
Some of the most recent of Brendan Gleeson’s engagements include supporting roles in the 2016 WWII drama “Alone in Berlin” and Sci-Fi historical adventure “Assassin’s Creed”. All these roles have certainly helped Brendan Gleeson to further increase his net worth by a large margin.
When it comes to his personal life, Gleeson has been married since 1982, to Mary Weldon with whom he has four sons, of which the eldest two decided to purse acting careers as well.
He taught English, Irish & Physical Education at Belcamp College Secondary School in Dublin.
He played Irish leader Michael Collins in The Treaty (1991). He later had a supporting role in the biopic Michael Collins (1996).
Taught Maths at St. Joseph's Secondary school in Fairview, Dublin.
He started acting at the age of 34.
Plays a professor of Defense Against the Dark Arts in Harry Potter and the Goblet of Fire (2005). This makes him the first, and to date, only actor to play a Hogwarts professor who has himself been employed as a teacher.
Participated in the Dublin Shakespeare Theatre Festival the during mid-eighties.
Joined the Royal Shakespeare Company (RSC) in Stratford Upon Avon, England, in the late eighties for two seasons where his credits included King Lear and King Richard II.
He was a teacher for 10 years before becoming an actor.
When I first was able to fill in A-C-T-O-R for the occupation line on my passport, that was the first time I really felt, 'Wow, I'm home.'
My grandfather played a mandolin, so I got my hands on that. Then on down to a banjo, and I found I couldn't play any kind of soft or mournful music with that so I took up the fiddle in my late 20s or early 30s - and that was far too late. But it keeps me off the streets. It has been a love of mine since I was 17 maybe.
You can channel a lot within a comic framework, and I think The Guard (2011) had a lot going on outside of the comedy, which is satisfying.
The good thing about my part in 'Harry Potter' was that I was pretty well disguised. When I was walking down the street, there was no real recognition factor. Parents would sometimes call their children to come say hello to Mad-Eye, and the kids wouldn't know what they were looking at.
I don't maybe follow the normal star profile, and it's not something that I particularly want to embrace in terms of the publicity thing and wanting to be famous and known.
I think it's what art should do: make you feel less alone - either in the quest for truth or in dealing with any pain you have.
I started hitching about the country when I was 16 or 17 years old. I found the music that was played around the country - Irish music - had a particular resonance.
I'd never had any problem finding inspiration; Ireland was always just there, you know? All this richness of culture was there to tap into.
I think every character actor at some stage likes to carry a film. It can be extremely liberating to just come in for a scene or two and do your thing. But I find it frustrating if I'm just doing little bits here and there for too long.
The whole point of film for me is that it's such a joy. It's such a wonder. The possibilities are literally endless in terms of what you can creatively do.
I don't plan in terms of career ambitions. The only career ambition I have is to work with people who are going to bring you up and elevate your performance. They'll let you know things that you didn't know already and bring you places that you might not have gotten to otherwise.
I tend to look for the good in bad people and the bad in good people, to make them human. 'Cause I don't think that people generally are that black and white. Maybe in movie-land they can be... but that isn't necessarily all there is.
I find myself really privileged to be able to go in and look at a set that the likes of Hollywood can provide, and say, 'My God, look at the craftsmanship in this; look at the ambition in it, the scale of it.'
What I voice, I voice though my art, if that's not too vainglorious a word. But I don't think it is.
I loved teaching. And I always used to say that acting was just something I did purely on my own terms, and that if I had to make a living from it there would be too much pressure.
I think it was a possibility, I think we're all kind of delusional like that, we think that we can all carry on being who we are without bending ourselves to make ourselves acceptable and expect someone to come along and see to us and rescue to us.
I'm aware now over the last 5 or 10 years that when you do an accent, you really have to kind of get down to the nitty gritty and go into the phonetics of it, if necessary. Find out not just the sounds but the rhythms and the music - or lack thereof - in a particular accent.
I worked with Steven Spielberg on 'AI' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.
I hope I'm worthy in my dying. I hope I can maintain myself - that I wouldn't become pathetic and needy, and the worst part of myself come out in adversity. But I'm not afraid of it. It'd be such a silly thing to do! To ruin the life you have by fearing its ending.
Winston was a bit of a challenge, all right, from a lot of different perspectives. It wasn't just the culture or the class divide or the historical baggage - it was also the age difference. We had to see if I could be aged-up legitimately, without it becoming some sort of hokey acting challenge.
Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.
Actors will always tell you it's more fun playing bad guys. A lot of the time, it's criminals who are the people who don't care. There's something extraordinarily seductive about the guy who doesn't care, and to play that guy is terribly empowering, because you don't have to worry about the consequences of your actions.
Everyone's waiting for the seventh book, and looking at each other saying, 'Oh, I wonder will I be in the running?'
I'm very proud of Calvary (2014). It's been doing well; it has legs. It's no easy ride. It packs a punch, this one.
It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.
When I started out at about 19, 20, it took me two years just to tell the difference between a jig and a reel. It does all sound the same, but what you can find once you go in - it's never-ending. So that's my love.
The horror of a death without dignity has so much implications for the people who are left behind.
For me, it's just about keeping the standards up. We're a small country, so we have to punch above our weight. I'm not a great man for doing something just because it's Irish, and you never know what's going to work. But as long as we keep the standards up, people will continue to invest in films. It's as simple as that.
I don't want people poking around in my private stuff. They've no business in it. My work is what I give to people, that's my job, and that's where it stops.
[About In Bruges (2008) director Martin McDonagh] Yeah, similar to that, I'd kind of worked with Martin on Six Shooter (2004)... he showed me that script before we knew it was going to happen... It was kind of a notion at that time, so you just kind of think, 'how cool this would be to make'.
[on In Bruges (2008)] A real test of our acting ability.