Harry Dean Stanton Net Worth, Biography & Wiki 2017
Harry Dean Stanton was born on the 14th July 1926, in West Irvine, Kentucky USA, and was an actor, musician and singer, but widely known for his roles in Hollywood movies, and classics such as “Cool Hand Luke” (1967), “The Godfather: Part II” (1974), “Alien” (1979), “Escape from New York” (1981) as well as “Paris, Texas” (1984), “Repo Man” (1984), “The Last Temptation of Christ” (1988), “The Green Mile” (1999) and “Seven Psychopaths” (2012). One critic commented that “…no movie featuring either Harry Dean Stanton or M Emmet Walsh in a supporting role can be altogether bad”. He passed away in 2017.
Have you ever wondered how much wealth this Hollywood veteran accumulated? How rich Harry Dean Stanton was? According to sources, it is estimated that the amount of Stanton’s net worth was $10 million, acquired through his acting career which spanned well over 60 years.
Harry Dean Stanton Net Worth $10 million
Harry was the eldest of three sons of hairdresser Ersel, and barber and tobacco farmer Sheridan Harry Stanton. After matriculating from Lafayette High School, Harry joined the US Navy in which he served as a cook on an LST (Landing Ship, Tank) during the 1945 Battle of Okinawa in World War II. Upon returning from his service, Harry enrolled at the University of Kentucky in Lexington, where he studied radio arts and journalism. Parallel to his studies, he was actively involved in the Guignol Theatre, and so dropped out of university to pursue his acting career. He relocated to California where he crafted his skills and honed his talent at the prestigious Pasadena Playhouse.
Prior to his on-camera debut in one episode of the 1954 TV series “Inner Sanctum”, Harry earned his living as a singer, touring with a 24-piece choir. In 1957, he officially debuted on the big screen in the role of Pte. Miller in the western “Tomahawk Trail”. In the course of the next 10 years, Harry maintained a continuous streak of acting engagements, mostly in westerns. His real career breakthrough came in 1967, when he appeared as Tramp in Stuart Rosenberg’s drama “Cool Hand Luke”, featuring Paul Newman and George Kennedy in the leading roles. This performance showed the full potential of Stanton’s acting talent and capabilities and launched his career to the stars. All these roles provided the basis for Harry Dean Stanton‘s wealth, and helped to establish him as an worthwhile actor.
In 1974 Harry Dean Stanton appeared in the sequel of the Francis Ford Coppola’s cult movie – “The Godfather: Part II”, followed by another memorable role as Brett in Ridley Scott’s 1979 sci-fi horror movie “Alien”. Two years later, Harry was cast in John Carpenter’s sci-fi action movie “Escape from New York” (1981) in which he starred opposing Kurt Russell and Lee Van Cleef. 1984 was one of the more significant years in Stanton’s career with two leading roles, in the sci-fi comedy “Repo Man” and the role of Travis Henderson in Wim Wenders’ drama “Paris, Texas”. It is certain that all these engagements helped Harry Dean to dramatically increase his overall net worth.
In 1988 Harry collaborated with Martin Scorsese and appeared in “The Last Temptation of Christ”. Then for his portrayal of the side character Toot-Toot in the 1999 classic with Tom Hanks in the leading role – “The Green Mile”, Stanton was nominated for the prestigious Screen Actors Guild Award as well as Circuit Community Award. In 2004, he added a cameo appearance in the popular CBS sitcom “Two and a Half Men” to his abundant portfolio. Another memorable cameo appearance was in the 2012 rather dark comedy “Seven Psychopaths” alongside Colin Farrell, Christopher Walken and Woody Harrelson. Doubtlessly all these ventures impacted on Harry Dean’s overall net worth in a positive manner.
Since 2011 the Harry Dean Stanton Fest has been held annually in Lexington, Kentucky. In his career which has been active since 1954, Harry Dean Stanton recorded 198 acting credits, including in movies, TV series and even one video game. He was active almost until his passing – one of his last engagements was an appearance in the first episode of the “Twin Peaks” TV series remake announced for April 2017. Also, with his own “The Harry Dean Stanton Band”, he still regularly performed on the Hollywood club circuit.
When it comes to his personal life, it is known only that Harry Dean Stanton was in a relationship with actress Rebecca De Mornay between 1981 and 1983, however, apparently he never married nor has any children. He passed away on 15 September 2017, in Los Angeles.
In an interview with Marc Maron on his WTF Podcast in 2013, Stanton mentioned that he was offered the lead in an unnamed series as a private investigator for director John Carpenter, but turned it down as he didn't want so much work (it wasn't said when this was that the offer or series took place, and it doesn't seem like the series ever got made).
Stanton has been named as a favorite actor by characters in novels by Elmore Leonard. Skip Gibbs, a serial bomber in the novel Freaky Deaky, watches Straight Time (1978) because Stanton is his favorite actor. Two characters in Leonard's novel Maximum Bob chat about how much the novel's title character resembles Stanton, an actor they both admire. Stanton did not appear in the Maximum Bob (1998) TV series, but did have a role in The Big Bounce (2004), also based on an Elmore Leonard novel.
Was drafted into the Navy in World War II. He was in the Battle of Okinawa.
1988: Member of the jury at the Venice Film Festival.
Critic Roger Ebert so admires him that he created the "Stanton-Walsh Rule," which states that "no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad." Ebert later admitted that Dream a Little Dream (1989), in which Stanton appeared, was a "clear violation" of this rule.
Lived in Lexington, Kentucky and graduated from Lafayette Senior High School with the class of 1944.
Was tied up and pistol-whipped at his home in L.A. after a robbery. The thieves then took off in the actor's car, but were soon apprehended after the car was traced by a tracking device. Stanton suffered only minor injuries. [January 1996]
The name of his musical group was originally "Harry Dean Stanton and the Repo Men".
Prior to 1971, he was credited in films and on TV as Dean Stanton so as to avoid any confusion with character actor Harry Stanton, both of whom would appear together in a 1969 episode of Petticoat Junction (1963). Harry Dean Stanton later co-starred in The Green Mile (1999), which has a character named Dean Stanton.
He fronts a band called "The Harry Dean Stanton Band" which regularly performs in the Los Angeles area. He sings and plays guitar. The band plays a mix of jazz, pop, and tex-mex styles. The band often plays in Hollywood at 'Jack's Sugar Shack'.
If I like the role, I'll just do it. I don't care how small it is. There are no small parts. You know that old saying, right? There are only small actors.
You get older. In the end, you end up accepting everything in your life -- suffering, horror, love, loss, hate -- all of it. It's all a movie anyway, the whole phantasmagoria -- it's all meaningless. There is no answer to any of it ultimately. It's just what is. There is only the moment. Be still and see what happens. All of this unfolds perfectly. You've got to get beyond consciousness.
[asked to describe himself] As nothing. There is no self...I'm big into Eastern concepts. The horror of life, the love of children, the whole phantasmagoria--it's all meaningless. Be still and see what happens. All of this unfolds perfectly, You've got to get beyond consciousness.
When you're deep asleep and not dreaming, where the fuck are you? There's total blackness, it's nothing, right? So I'm hoping that's what death is, that it's all gonna go. I don't want to deal with any consciousness afterward.
I learn about myself. There is no self. You learn you're not a self. You learn you're nothing. Ultimately. Hopefully.
Ultimately the atomic physicists--[Albert Einstein, Niels Bohr, [Martin Heisenberg]--all agreed that science couldn't answer the mystery of the universe. So I was impressed with all that. Once it gets organized--even if it's Buddhism or Taoism or Kabbalah--I'm not a member. Einstein said Buddhism was the only religion that could cope with modern scientific needs. So they arrived at the same place the Buddhists did 2,500 years ago. There's no answer to any of it. That's liberating. It's an enlightening concept.
[on his disdain for labels] When you label something, you dismiss it.
Usually, I just play myself. Whatever psychological traumas or conflicts I'm going through at the time I try to put into the role. Sometimes it's quite a feat to pull off, but sometimes it works. If it doesn't correspond to the dilemmas of the character, then I don't do the film.
I've always felt as an outsider. I've been rebellious against any iconoclastic thing. It's true about the industry, but also about society as a whole. I don't blame anyone, but I think that society is negative in that people are terrified to be free. I was born on the edge of the mountains in Kentucky and now although I live in Hollywood I still feel more related to nature. It's an attitude. I have a pool, but it's to do laps in, not a status symbol.
Acting is my connection to the community, with the world at large. I hope what I do benefits the community without being moralizing.
It's certainly not an ideal situation. I don't want to be whipping myself to the point where I have no joy in doing it, you know? But that has been a problem with too many artists -- too much pain and not enough joy. I want to be able to work and enjoy it more and it takes a lifetime to learn that. I'm enjoying it more and more; I'm learning that. Someone printed on a Thai temple, "How joyous I am now that I've learned there's no such thing as happiness." Pretty good, huh?
Hopefully it's a life positive thing that I've been been blessed to be balled into for a lack of a better way to put it. I find younger people less conditioned and therefore more alive. I don't take a paternal or authority position with them; I don't play mentor. I try to relate to them on a peer level. I'm trying to function totally in the moment.
As a child, I felt rage against adults who didn't treat me as a person, adults that were brutalized themselves by having an angry, vindictive God watching them all the time. I come from a broken home and I realize it's the rule rather than the exception.
I felt very much at home on the stage, more so than off it because I could express everything that I couldn't express elsewhere -- yes, anger, but also tenderness. It's not always easy to be as gentle as you wish to be.
Early on the whole point of acting was mostly getting a job and then the experience of doing it. But when I did Ride in the Whirlwind (1966) with Jack Nicholson in 1965 I discovered there was more to it than that. It was a key film for me because of that. Jack told me not to do anything, just let the wardrobe do the acting. It was a great revelation that became an acting principle. To be rather than to do. You have to behave on screen as much as you do in real life. You don't kill anyone in life, but you understand the anger that may bring it about.
I'm a late bloomer. It's just a matter of how you evolve; of what your pace is. Hopefully, the older you get the more you grow. So, that has been my speed, the beat of my drum. I march to the beat of a different drum -- you'll pardon me for using this expression.
I've always been a singer; it's not new to me. I've been singing since I was a child. I've always had a guitar and a harmonica and I played drums in high school -- in a marching band, anyway. I like different kinds of music and I'm exploring them: ballads, blues, blues-rock, country rock, whatever. I'm just focusing on singing a lot so I can get good at it. But don't say I play "country music." It's just another label, like "character actor." One term simply can't say it all.
[on his role in Paris, Texas (1984)] The whole film evolved on a very organic level. It almost had a documentary feel to it. It wasn't odd to be in the lead, I took the same approach as I would to any other part. I play myself as totally as I possibly can. My own Harry Dean Stanton act . . . I don't know whatever happened to Travis. I'd say . . . it's me. Still searching for liberation, or enlightenment, for lack of a better way to put it, and realizing that it might happen, it might not.
I've been rather like a cat. I'm finicky and I've done a lot of things, and made career choices, missed meetings and so forth that would have made me a much bigger actor, I think. But, by the same token, that would have demanded more of my time, too.