Vincent D’Onofrio Net Worth, Biography & Wiki 2017
Vincent D’Onofrio was born Vincent Philip D’Onofrio on 30 June 1959 in Brooklyn, New York. He is a singer, producer and actor, best known for his role in the film ‘Full Metal Jacket,’ in which he plays Leonard Lawrence. Some of the films that have made him extremely popular include ‘Men in Black,’ ‘The Judge,’ and ‘Jurassic World.’
Do you want to know what the net worth of Vincent D’Onofrio is, as of early 2016? His net worth is estimated to be more than $16 million. He has acquired his fortune from the entertainment industry, mostly as an actor and a producer. He has starred in numerous films and appeared in many in TV shows, all of which have seen him add to his net worth.
Vincent D’Onofrio Net Worth $16 Million
Vincent D’Onofrio was born in Brooklyn’s neighborhood of Bensonhurst, but grew up in Colorado and Hawaii. He is a son to Gennaro D’Onofrio and Phyllis D’Onofrio. As a teen, Vincent worked at community theatres that his father operated, running sound and building sets. He joined Hialeah-Miami Lakes Senior High School, and after graduating he immediately started to appear in small community theatre productions. Some of the productions he was featured in include ‘Sexual Perversity in Chicago,’ and ‘Of Mice and Men,’ In order to make ends meet, he also worked as a bodyguard for Yul Brynner and Robert Plant, and Hard Rock Café’s bouncer. He made a Broadway debut in 1984 in ‘Open Admissions,’ in which he played Nick Rizzoli.
Vincent D’Onofrio landed bigger roles, appearing in ‘Full Metal Jacket’ in 1986. He was featured in a dozen other films as well as TV shows, which include ‘The Player,’ ‘Law & Order: Criminal Intent,’ ‘Little Victories,’ ‘The Break-up,’ ‘Staten Island,’ ‘Kill the Irishman,’ and ‘Brooklyn’s Finest’ among many others. His appearance in ‘Homicide: Life on the Street’ saw him get an Emmy nomination in 1997. In 2005, he was selected as the Best Actor during the Stockholm International Film Festival thanks to his role in the film ‘Thumbsucker.’
In other works, Vincent D’Onofrio co-founded RiverRun International Film Festival in 1998. In 2008, he started hosting events aimed at raising money in support for Utah Meth Cops Project, serving as the spokesperson of the project from 2009 to 2012. In 2011, he was selected to become one of the members of Woodstock Film Festival’s Advisory Board. All his works in the entertainment industry has seen him earn a lot of money, increasing his net worth significantly.
In his personal life, Vincent D’Onofrio was in a relationship with Greta Scacchi, a lady whom he starred with in various films, in the early 90s, and the couple had one child: Leila in 1992. On 22 March 1997, he married Carin van der Donk, a Dutch model, and they had a son called Elias in December 1999. In the early 2000s, the couple split, but later reconciled, having another son called Luka on 14 February 2008. Today, he lives together with his wife in Manhattan, New York.
Played the character of "Bill Newman" in both JFK (1991) and Malcolm X (1992).
Towering height and rotund frame
To me the definition of true masculinity - and femininity, too - is being able to lay in your own skin comfortably.
When you're a child you're able to assimilate so easily into any situation. You even start talking like the people you're around. I wasn't conscious that I was so good at that until I started to truly feel like an actor.
It's like why people read scary books or go see scary movies. Because it creates a distance. They're scared, but they're not going to get hurt.
When you are a character actor they trust you will go in and give them a full character and leave.
The more you are known, the more difficult it is to hide behind characters.
When I was younger I used to pick things just to face the fear.
With [Robert] Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
What kind of recognition do I deserve? I don't deserve any recognition.
Acting is not a mystery. There's nothing that I know that other actors don't know. We all act, we're all actors, we all know the same thing. The only thing that separates us is experience.
The minute you start feeling like you've got it down, you know what you're doing, you're dead in the water.
The most fun you can possibly have as an actor is to walk that line between what's real and what's interesting.
Unless you look like Brad Pitt, it's really hard to have full control of your character.
[on playing real-life characters] There's a lot of shame that goes on when you're playing someone who has really lived and has passed. You're struggling with it all the time. I am, anyway. When I played Robert Howard in The Whole Wide World (1996), I was struggling with it. There's this dual thing where you feel real good about being able to play this juicy part, and then there's constant shame: "Who am I to pretend to know who this guy was? Who am I to represent this guy for people who never knew him?" The pressure is unbelievable, I can't tell you.
[on his role in Ed Wood (1994)] I never was happy with the job I did in "Ed Wood". Even though [Tim Burton] was, I wasn't. Because it's not what I wanted, it's not what I wanted. First of all, the company, for whatever reason, not Tim, but the company took a very long time to hire me and I was busy doing another project. I eventually only ended up with three weeks to prepare for it and that bothered me. But, you know, I had to be brave and I had to do it the best I could. It was too much of a caricature. I didn't like it. It was too surface of a performance.
[on being a "Method" actor] The thing is, it's the research that you do that is exhausting. That's what always affects you. When I did The Cell (2000)--no matter what you think of that movie, because I have my opinions of it, too--it was, you know, I still have nightmares from the research that I did. Not from playing the part, just from the research. There was stuff that I should have never looked at, that I should have never gone anywhere near. As a father, I can't imagine going to that place again. I'm not saying I wouldn't, I'm just saying it was too much.
I'm not gonna make excuses for other actors. I'm just talking about myself. The good actors that I've met - I've met some of the best actors that we'll ever see - and I know for sure the one thing that we all have in common when we all look in each other's eyes, is that we're all struggling to achieve 100%. That's all I see when I see another artist. All of us are trying to achieve 100% in our work. That's all we struggle to do. We never do, but we never stop trying until the day we die. It's that struggle to achieve 100%, that's where our performance lies, that's what the audience gets. They get the struggle.
I am a method actor, but I'm also a film actor as well as a method actor. Characters that don't have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don't, then they're a cartoon character. I know that during actual performance scenes, what I need to trigger myself off, and I know how to trigger it off so that it will trigger you off, which will also influence how you feel when I'm expressionless.
[on his career choices] It's something that I've been saying for years when people ask me how I pick the things that I do. I pick the things that scare me the most. You have to like the story first. I'm not gonna play a part that doesn't instill some kind of fear in me. If I read a part, and suddenly, I'm thinking halfway through, "I'm not sure I could get away with this", I think of everything I can think of to keep me from doing it, that's the one I should do.
I took a route of acting, rather than starmaking, so it cost me a lot financially.
[on acting] Some scenes you juggle two balls, some scenes you juggle three balls, some scenes you can juggle five balls. The key is always to speak in your own voice. Speak the truth. That's Acting 101. Then you start putting layers on top of that.