Emily Kathleen Anne Mortimer is an actress and a screenwriter, born on 1st December 1971 in London, UK. One of her first notable roles was that of Kate, Queen Elizabeth’s hand-maiden in the drama movie “Elizabeth”(1998) and later rose to fame by appearing in “Lovely and Amazing” (2001). She went on to play in several other movies she is now recognized for, such as “Lars and the Real Girl”(2007), “Harry Brown” (2009), “Shutter Island” (2010) and “Hugo”(2011).
Have you ever wondered how rich Emily Mortimer is? According to sources it has been estimated that Emily Mortimer’s overall net worth is $2 million. Mortimer acquired her wealth thanks to her dedicated career as an actress and by appearing in numerous films and TV series.
Emily Mortimer Net Worth $2 Million
Emily was born to Sir John Mortimer, the creator of TV series “Rumpole of the Bailey” and his second wife Penelope. This actress’ education is quite stunning as she first attended St Paul’s Girls’ School in west London and later enrolled at Oxford University to study English literature and Russian. Upon her graduation in 1994, Mortimer went on to study acting at the Moscow Arts School of Theatre. Before starting her acting career, Emily practiced her writing skills as a columnist for “The Daily Telegraph” and later went on to become the screenwriter for “Bad Blood” (2000), a biography and memoir work by the Welsh novelist Lorna Sage. These contributed a steady start to her net worth.
Emily Mortimor began her career as an actress by performing in various stage productions, and while acting, she was noticed by a producer who afterwards chose her as the lead role in the TV movie “The Glass Virgin”(1995). Some of her later television roles include those in “Lord of Misrule”(1996) and “Coming home”(1998). In 1996 she obtained her first film role, next to Val Kilmer in “The Ghost and the Darkness”, and appeared in the coming of age comedy-drama film “The Last of the High Kings”, which was released the same year. Two years later, she secured the role of Kate Ashley, Queen Elizabeth’s hand-maiden, in the biographical film “Elizabeth”, which turned out to be one of her best known roles. The same year she appeared in the TV mini-series adapted by her father, “Cider with Rosie”. Her net worth was rising steadily.
Mortimer continued to work at full steam during the late ‘90s and the beginning of the 2000’s, appearing in movies which made her famous even outside her native country. Some of these roles include that in “Notting Hill” (1999) where she played alongside Hugh Grant, “Noah’s Ark”(1999) an American TV mini-series, “Scream 3”(2000) and “Love’s Labour’s Lost”(2000) a musical adaptation on whose shooting she met her future husband Alessandro Nivola. She starred next to Bruce Willis in Disney’s “The Kid”(2002) and alongside Samuel L. Jackson and Robert Carlyle in “The 51st State” (2002). In 2003, Mortime played Elizabeth in the American comedy-drama film “Lovely and Amazing”, a role which brought her the Independent Spirit Award for Best Supporting Female. Such recognition inevitably helped her net worth to climb.
Emily’s other notable appearances include the films “Lars and the Real Girl”(2007) – a role for which she was nominated a Satellite Award – and “Transsiberian”(2008) which brought her the Best Actress nomination at the Saturn Awards. Some of Emily’s more recent work includes her roles in “City Island”(2009), where her colleague was Andy Garcia, and Martin Scorsese’s “Shutter Island” (2010). In 2010 and 2011 she appeared in “Leonie” and “Our Idiot Brother”. Soon after she started working with Aaron Sorkin, thus appearing in HBO’s political TV series “The Newsroom”. In 2013 it was published that Mortimer would co-create and star in the “Doll&Em” comedy series beside her friend and actress Dolly Wells.
Regarding her private life, Emily married her colleague, American actor Alessandro Nivola in 2003. The couple have two children and reside in Los Angeles, USA.
Was chosen to voice the young Sophie in the English language version of Howl's Moving Castle (2004) because the producers felt that her voice resembled that of the young Jean Simmons, who voiced the old Sophie.
Educated at the prestigious St Paul's Girls School in London. Was in the same class as fellow actress Rachel Weisz.
Fluent in Russian
The name of her mother, Penelope, was also the name of her father's first wife.
Studied English & Russian at Lincoln College, Oxford (1990-1994). Daughter of John Mortimer and Penelope Gollop Mortimer.
high meek voice
[on Martin Scorsese] He gives you license to find the lights and darks in a character.
But, yes, no matter how in character actresses are in a film, the moment they take off their clothes, you start wondering about them as a person. You start checking them out, in a way. It's a self-conscious moment for both the audience and for the actor and always, I think, slightly embarrassing.
The preparation for a film is so ephemeral and hard -- you're lucky if you get a day of rehearsal or a chat with the director or actors on set. You really don't know what to do. Accents are very tangible, blessedly, and if you have to do one, it's a way of getting into character. I can read it through a few times and pretend I know what I'm doing!
I wasn't prepared for the inexplicable, overwhelming feeling of love and protection, or how hard it would be to have to leave this little thing in the morning. The good thing about movies is that while you work hard for three or four months, you can have three months or so off afterward. Hopefully, it all works out. I'm trying to avoid, you know, guilt, even though before the child is born, you're already thinking you're doing things wrong. . . . Why do I think that will probably carry over until the day you die? [on having her son]
...you can imagine, or think you can imagine, how to play almost anything - a drug addict, a bank robber, a killer - but the imagination doesn't prepare you for being a mother and those particular feelings.
...acting was something I pretended I didn't want to do as I was growing up.
I want any excuse to come home. My dad is not a spring chicken any more. If anyone says, go buy a postage stamp in London, I'll go and do it.
It doesn't feel like that. The big producers still want Kate Winslet and Kate Beckinsale, I suppose. - on whether she has made it into mainstream Hollywood.
Until Frankie [Dear Frankie (2004)], I didn't realise that feeling part of a film was about staying up late, getting drunk, smoking and all that. And I wasn't doing it, obviously; or if I did, I felt wracked with guilt about it. That was odd. It felt much more like a job of work.
I have to say that, though it sounds so superficial, the accent really does help. I like having accents preparing for a part. It's a hard thing to do, to be given a script, and know that you've got to turn up on the first day of the shoot - generally without having had any rehearsal - and present a character. It's really baffling; it's incredibly hard to know how to begin, to approach it, other than just thinking about it. But how do you think about it? There's no guidebook.
To be in the hands of an auteur like [Andrei Tarkovsky], that would be just brilliant. But I don't know if those kind of films can ever be made any more. To get art nowadays, in cinema or books or anything, that grapples with the possibility of a meaningless universe . . . it just doesn't happen any more. In even the most indie of the indie films, everything has to come to some kind of neat conclusion. But that's part of the problem with politics and history and everything today, that people think there's a right and a wrong, a good and a bad . . . maybe there just isn't . . . .
This is not meant to have happened to me at all. I am a Sloane, from the Chilterns.