Jonathan Michael Lovitz was born on July 21, 1957, in Los Angeles, California, USA, into a Jewish family with roots traceable to Russia, Hungary and Romania. He is a comedian and actor, also known for his activities as a singer, perhaps still best known for his work on the television show, called “Saturday Night Live”, on which he worked from 1985 to 1990. During his career, Jon has won the Mark Twain Prize, Screen Actors Guild Award and Primetime Emmy Award twice. Lovitz has been working in the movie and television industries for more than 30 years and he is now one of the most experienced actors and comedians.
So how rich is Jon Lovitz? It is estimated that Jon’s net worth is over $12 million, undoubtedly mainly gained through his appearances in various shows and movies. In addition to this, Jon’s career as a comedian has also had a huge influence on the growth of his wealth. His other activities have also made this sum of money higher.
Jon Lovitz Net Worth $12 Million
Jon studied at the University of California at Irvine, from where he graduated with a degree in theatre. Later he met Tony Barr and together learned more about acting at the Film Actors Workshop. Soon Lovitz joined the comedy troupe called “The Groundlings”, and began his career as a comedian. In 1985 Jon started working on the “Saturday Night Live” show, and it had a huge impact on the growth of Jon’s net worth. Jon worked on this show until 1990 and it still remains one of the most famous projects that Lovitz was associated with. Other television shows that Jon has appeared in include “Married…with Children”, “Friends”, “The Naked Truth”, “Two and a Half Men”, “New Girl” among many others. In addition to this, Jon has acted in numerous movies, for example “Matilda”, “High School High”, “Rat Race”, “Grown Ups 2”, “Casino Jack” and others. All these appearances added significantly to Jon Lovitz’s net worth.
What is more, in 2007 Jon opened his own comedy club, called “The Jon Lovitz Comedy Club at Aubergine”, later changed to “The Jon Lovitz Comedy Club & Podcast Theatre”. Sadly, in 2014 this club was closed. It is clear that Jon is a very busy person as he is a part of various upcoming movies and current television shows and even finds time for doing stand-up comedy as well. Undoubtedly, his hard-working personality helped him to become one of the most acclaimed and experienced actors, comedians in the industry.
In his personal life, Jon keeps it private, but is known to be romantically linked with actress Janice Dickenson. All in all, it can be said that Jon Lovitz is a very talented personality, who has achieved acclaim in various spheres of show business. As he has been working in this industry for a very long time, he can share his experience and knowledge with contemporary actors and comedians, who have only started their career. Jon has numerous fans who have been supporting him from the beginning of his career up till now and who will support him in the future as well. Undoubtedly, Jon’s achievements and talent will remain respected and acclaimed for a long time in the future even when he will decide to end his acting career.
His paternal grandparents were Romanian Jewish immigrants. His mother's family was Hungarian Jewish.
Owner of the "Jon Lovitz Theater".
Penny Marshall let him live at her house when he was first starting out in show business.
Sang with British pop star Robbie Williams in the song "Well, Did You Evah?" on Williams' album "Swing When You're Winning".
Began acting in plays in high school.
In the 1990s was featured as the "Author of the Yellow Pages" in comedic print ads and commercials.
Once worked at the New York Renaissance Faire (in Tuxedo, NY) and was almost fired for referring to himself as "the town Jew."
Had two guest appearances on the popular sitcom Friends (1994). His first appearance, as successful restaurant owner with a drug abuse problem and Phoebe's massage client Steve, in Season One was intended to be a one-time appearance, but he returned as Steve in Season Nine, set up with Rachel by Phoebe on what was an intentionally torturous blind date, In this appearance it was revealed in the eight years in between his first appearance, Steve had lost his restaurant to his addiction, was now silk screening shirts and had developed low self-esteem due to his weight gain and recent impotence.
Met Phil Hartman at the Groudlings in 1984. Suggested and encouraged Saturday Night Live (1975) creator Lorne Michaels to hire Hartman for the show, telling Lorne, "If you think I'm good, you should see Phil. He's even better!" He and Phil helped each other get acting jobs through the rest of Phil's life.
B.A. from University of California Irvine. 
His Saturday Night Live (1975) character "Master Thespian" is an imitation of a professor he had at the University of California-Irvine.
(2010, on landing Big) Penny Marshall gave me the part in Big. She goes, "You can improvise again." So I get on set and I start trying to improvise and she goes, "No, you can't do that." I said, "Penny, the part's nothing. You said I could." She said, "I know, but the writers don't want you to." I go, "Then what am I here for?" She didn't want me to do anything-just play it totally straight. I go, "Crap. I'll just be subtly funny. I'll sneak it in." And later on she goes, "See, that's why I said that. So you would do that." I worked on it for about a week, and one day I said, "Listen, I feel really sick. I think I'm going to throw up." She goes, "All right, well, try." We're doing a scene, and in the middle they go, "Cut," and I ran and threw up. I said to her, "I can't work anymore." I was sick as shit. So I went home, and I had the flu bad for about a week. And then I felt better, and I thought, "Maybe I should call her up and tell her I'm feeling better, see if she wants to put me back into the movie." But then I thought, "Ah, forget it! The part was nothing." And then it turns out to be this huge hit, and I'm like, "I'm an idiot."
(2010, on Trapped in Paradise) Well, I feel like I'm very fortunate to be in movies at all, but I called it Trapped In Shit. I love Dana Carvey, and Nicolas Cage was great and we became friends, but the director [George Gallo] just wasn't there. He wasn't directing. It was a bad time in my life personally, because my father had just died Dec. 25. And I'm up in the snow with no light-we did night shoots for six weeks. It was like 25-below. Everyone was fine, but after six weeks, the whole crew started going crazy 'cause there's no light. It really affects your mood. Then we moved to Toronto, so we're shooting inside. It wasn't fancy, but inside during the day, this was a luxury. It was like 31 degrees, but it felt like summer. So as soon as I worked during the daylight, my mood changed... But the director would say, "Just do whatever you want." He was bragging about what a great director he was before he hired us: "I'm as good as Rob Reiner and Martin Scorsese." This is George Gallo. I said, "Don't you think you should let other people say that?" We never even got to read the script. He'd go, "Well, let's rehearse this." I'd go, "Oh good, we get to rehearse." And he'd start screaming at me, "Do whatever you want!" And I go, "Saying 'do whatever you want' is not direction."
(2010, on Happiness) Todd Solondz was trying to decide if I would play that part or the part that Philip Seymour Hoffman played. I met with him once to talk about it. I didn't think I got it, and then five months after that meeting, they said he wanted me to play that scene. Here's the thing about that scene: It's very, very well written. A lot of times I get a scene, it's not very well written, and they'll say to me, "Can you add jokes? You've got to punch it up." And I don't mind doing that, but I kind of do, because I want to say, "Would you do your job? You didn't hire me to write the thing. Come on." This thing, though, was like Shakespeare. It's hard, because now you have to raise yourself to the level of the writing. It's like playing an easy piano piece like "Chopsticks" or playing Tchaikovsky-or Liszt or George Gershwin. It's fantastic, and it's very hard to play. I think it's a brilliant scene, but I don't take credit for it. It's like some guy wrote a great musical piece and goes, "Can you play it?" That scene is really funny and really sad at the same time, and it goes back and forth. It was hard to do-and it was hard to do because my character breaks down and cries. That's in the scene. It goes, "Breaks down and cries." So I had to cry all day for 12 hours, and I kept thinking of more and more sad stuff. Then it wouldn't work and I'd try something else. At first I'm crying about the scene. Then I'm thinking about a girl leaving me. Then I'm thinking about my dad-who's dead-waving to me. On and on, trying to make myself cry. By the end of the day I was exhausted, and then I was depressed for like two weeks. Because it's not real, but physically you're crying for 12 hours. Even though you're making it up, you're still doing it. Your body doesn't know that it's not real. Imagine for 12 hours-or even for 10 minutes-you have to cry and cry. It was hard... Everyone goes, "What's Todd Solondz like?" And I say, "Well, if Penny Marshall and Woody Allen had a kid, it'd be Todd."
(2010, on Tales from the Crypt in the episode "Top Billing") That was really fun. John Astin and Bruce Boxleitner were in it. I remember Joel Silver was producing the series and he asked me to do it. I had the lead, and when you have the lead, it's fun. I was playing a struggling actor, and it wasn't that long after I'd been struggling-maybe five years. I remember thinking, "I have to lose some weight. I'm too fat! I don't look like a struggling actor." I weighed 145 in high school; when I was in New York, when I was 24, I weighed 136 pounds. I didn't have much money to eat.
I like getting up in front of an audience. It's fun when you go to a baseball game and the crowd is cheering you. I can't deny it. And it's very funny, too. Sometimes you're shy; you go somewhere and everyone's looking at you, so you feel a little self-conscious.
At a certain point, if you work really hard and you get good and people like your work, you do deserve the fame -- but you shouldn't take it for granted.
[about his portrayal of Harvey Fierstein on Saturday Night Live (1975), and Fierstein's response to it] I did Harvey Fierstein. He didn't like it. He came in to the show to complain about it. His point was that he was getting more famous as me than as him . . . He came in to talk about it and, watching him, I realized that I was doing him quite well. He thought I was doing a gay stereotype.
[To Conan O'Brien] I heard you call me immature earlier. Well, you're just a big poop-head.