Jeffrey David Fahey was born on 29 November 1952, and is an acclaimed actor and humanitarian. He is known mostly for his roles on “Lost” and “The Marshal”, as well as for his work with refugees and orphans.
Have you ever wondered how rich Jeff Fahey is, as of late 2016? According to authoritative sources, Fahey’s net worth is estimated to be around $5 million, an amount gained by his work as an actor.
Jeff Fahey Net Worth $5 Million
Born in Olean, New York to a Irish-American parents, Fahey was one of thirteen siblings. At ten years old, his family moved to Buffalo, New York State where he went to Father Baker’s High School. However, at 17 he decided to leave home, hitchhiking to Alaska. Then he went to work on an Israeli kibbutz, and backpacked through Europe.
At 25, he received a full scholarship to dance at the Joffery Ballet School, and went on to perform at theaters across the country, including on Broadway. His first acting role came in the form of a soap opera, “One Life to Live” (1984). His first film role came in 1985, when he starred in “Silverado”, which was a box office and critical success, and which really kick-started Fahey’s acting career. In 1986, he famously guest starred on “Miami Vice”, in which he destroyed Sonny Crockett’s Ferrari, but his net worth was rising.
During the early ‘90s, Fahey went on to star in some big movies with some big stars; in 1990 he starred in “Parker Kane” opposite Marisa Tomei, and also starred in “White Hunter Black Heart” with Clint Eastwood that same year. After that, Jeff appeared in “The Lawnmower Man”, with Pierce Brosnan in 1992, and all of these movies served to further his career as well as increasing his wealth. However, it was in 1995 that he found the role that defined him; that year, Fahey was chosen to star as Winston McBride in the new ABC show, “The Marshal” (1995). Although only lasting for two seasons, the show was met with critical acclaim and Fahey himself was particularly praised. This opened up a lot of doors in the industry for Fahey, as well as adding to his net worth.
After “The Marshal”, Fahey went back to playing in various movie and TV roles, but not doing anything noteworthy. He starred in movies such as “Apocalypse II: Revelation” (1999), “Planet Terror” (2007), and “Messages” (2007), then in 2008 he was cast in the hit show “Lost”, as Frank Lapidus, and spent three seasons in the show, drawing acclaim from critics and audiences everywhere, and further adding to his wealth – it is one of his best-known roles. After his stint on “Lost” ended, Jeff remained active as an actor, however, he hasn`t had any major roles, but has featured in such films as “Machete” (2010), “Beneath” (2013), “Dawn Patrol” (2014), and “The Hollow” (2016), which have certainly added further to his net worth.
While he is primarily known for his acting, Fahey has also made a considerable humanitarian effort in his life. Fahey spent time in Afghanistan in 2006 and 2007, helping at the American University of Afghanistan. He also launched a project in an effort to help orphans in Kabul. Recently, he has focused on the US Committee for Refugees and Immigrants. Specifically, he has focused on warehousing, when the rights and mobility of refugees is limited by a country. He has specifically tackled warehousing of Sahrawi refugees in Algeria.
In regards to his personal life, he is not married and does not have any children, but apparently was in a relationship with Yancy Butler. He focuses mostly on acting and his humanitarian efforts.
Spent time trekking through the Himalayas and Afghanistan in his younger years while traveling around the world.
Was once a vacuum cleaner salesman, encyclopedia salesman, and a trainer in a health club.
Danced with the Joffrey ballet for three years.
Taught ballroom dancing.
Was invited to take ballet and instantly caught the bug. Despite being at the advanced age of 25, he won a full scholarship to dance with the Joffrey Ballet in New York City.
He owns his own production company under the banner Tyree Productions, which he is partners in with his 5 brothers.
He is the co-founder of the American Road Production Workshop Series at the Raft Theatre in New York, and participates in the Writers' & Directors' Workshops there.
He is a partner in a construction company and a film grips group called "Black Sheep Grips".
He is one of 13 children.
Piercing blue eyes
(2012, on White Hunter, Black Heart) It was an amazing experience... and, sorry, but you're gonna hear that a lot connected to all my work, because I've always felt fortunate to even be able to make a living in this arena and go off on all these adventures. But that was wonderful to go to Africa. We shot that down in Zimbabwe, so to travel over to Africa on the Warner Bros. jet with Clint Eastwood, and then stop in Paris and meet with Peter Viertel to do the first part of my research. And then Peter came and visited us down in Zimbabwe. Of course, you probably know it was based on his book that he wrote about his experiences with John Huston, so to be sitting there on numerous occasions with Peter Viertel and hear his stories about his relationship with John Huston, it was fascinating. And, of course, obviously working with Clint and developing that relationship. Yeah, once again, gosh, you bring these up and realize... well, not that I've forgotten, but it brings to mind all of these great people I've been fortunate enough to meet and work with. But Africa? That was a great one.
(2012, on Body Parts) Well, the first thing I can tell you is that I think it was about eight hours in special effects for that whole opening sequence of putting the arm on. Yeah, that was quite an experience. I didn't realize that would turn into such a cult film. Again, you never know. I remember when we did that, the nights in Toronto were very cold. Also, just as it was about to come out, right before the opening, was when that whole Jeffrey Dahmer thing happened. I remember they were thinking about delaying the opening of the film, or at least I heard talks about toning down some of the ads. But it certainly became quite a cult film over the years.
(2012, Woman of Desire) Well, I have to say, Bob [Mitchum] and I became very close over the years. He actually came in and played my father on an episode of The Marshal. And Bo Derek was a great gal to work with. I don't know if people realize-well, I'm sure they do-but back then I think everybody thought of her just as this beautiful woman from 10. But she's a really intelligent, giving, warm individual. And Steven Bauer, I just worked with Steven on an episode of Common Law a couple of months ago, but before that, I hadn't worked with him since we were in South Africa on Woman of Desire, so that's, what, almost 20 years? So we've reconnected from that. I'd have to say that the relationships were the best part of what came out of that film. And I always enjoyed working in different parts of Africa, and that was shot down in Cape Town.
(2012, on Bad Blood: The Hatfields And McCoys) Well, I have to tell you, this was very interesting because, I didn't get the job, but it was on the table that I might possibly go off to Romania and go off to work on the Hatfields And McCoys with Kevin Costner. I'm not saying I had the job, but I was in the mix, as it were. But then I had an opportunity at the same time to do a play at the Geffen Theater here in Los Angeles, one called Next Fall, with Lesley Ann Warren, and I hadn't been on stage in 27 years. So I had two wonderful things in front of me, and I had to make a decision: I could take the play, which was a definite, and fulfill another chapter of my career-because I did want to get back to theater, since the last time had been in London, doing Orphans with Albert Finney, with Gary Sinise directing-or there was the possibility of doing Hatfields And McCoys. So I took the play.While I was doing the play, obviously the bigger production of Hatfields And McCoys with Costner was happening, and these guys from a small production company got a hold of my manager and said they were doing this little low-budget film on the Hatfields and McCoys, and it was filming, like, three days after finishing the play. And I thought, "You know what? Here's a chance to jump into that world." Again, I want to stress that I didn't have the job, so it wasn't like I turned it down. I didn't have it. But I thought this was serendipitous that this would appear, so I took it and had a great experience. And let me tell you, the best part of it, I would say, was working with Perry King. After all these years of having not seen Perry... I mean, we'd met, our paths had crossed over the years, but working with Perry King and seeing him in that role and in that environment, I really realized-not that I didn't think so before, but I actually saw it-that that guy's a damned good actor. He's still got a whole other chapter of his career in front of him. So little things like that were great.
(On being directed by Anthony Perkins in Psycho 3) That was pretty wild to be shooting at Universal Studios. It was my second film and to be on the backlot at night with the fake rain and lightning and you look up and there's the Bates Motel house and all of a sudden Anthony is talking to you, man. There I am with a crew of one hundred and fifty people around, but you're in between this little space called action and cut talking to Norman Bates - I mean my God! You know what I mean? It's been a wild ride.
I have an affinity for good roles in good films. I like a variety of parts, and if some of the good stuff happens to be in fantasy and horror, I do them.
(On appearing on the new TV show "The Marshall"): "All my buddies over the years, like Kevin Costner and the guys -- I see 'em go here, I see 'em go there -- but I just do my work. And now this. People say it's going to change your life. I tell them that it's always changing anyway."
Eventually, I'll build a ranch and raise horses.
(Making so many movies at once on a regular basis): "I got used to it quickly, because it's an easier job than what I was doing. I was making four or five films a year, mostly independent films, around the world. Out of the 41 films I've done, maybe seven of them have been studio films, I had an easy gig. So I would go from film to film. And there would be a new crew, new actors, new directors, new producers, new locations, some much worse than others. I'm not complaining about the work; I'm just saying that having a nice trailer on the set, a nice hotel, and a studio and a network behind your show is a lot easier than wondering why your tent is leaking."