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Bret Easton Ellis Net Worth

How rich is Bret Easton Ellis?

Bret Easton Ellis net worth:
$200 Thousand

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Bret Easton Ellis net worth, biography & wiki:

The book chronicled the lives of a group of wealthy adolescents in Los Angeles. It sold well, and was afterwards made into a film that actually had little to do with all the book itself. His next novel, “The Rules of Attraction”, was a moderate success. He’s since published four more novels. Most recently, Bret wrote the screenplay for the film, “The Canyons”, starring Lindsay Lohan and James Deen. Although the picture hasn’t yet been released, it has attained notoriety, as the production was hampered by Ms. Lohan’s unpredictable behavior.

Bret Easton Ellis Net Worth $200,000 Dollars

According to a January 2013 New York Times article, Bret Easton Ellis is purportedly facing financial troubles. The article indicated that Ellis is almost out of cash and has been forced to mortgage his condo. Hopefully Ellis can churn out another awesome novel or screenplay quickly to return on top!



More about Bret Easton Ellis:

  • Filmography
  • Awards
  • Salaries
  • Facts
  • Quotes
  • Trademarks
  • Pictures


Writer

Writer

TitleYearStatusCharacter
Disappear Here2018announced
Figaro2016Short
The Curse of Downers Grove2015screenplay / writer
Orpheus2015/IIShort
Placebo: Loud Like Love2014Short writer
Dum Dum Girls: Are You Okay2014Video short story
The Canyons2013written by
Inspired by Bret Easton Ellis2010Short characters
The Informers2008novel / screenplay
Glitterati2004characters
The Rules of Attraction2002novel "The Rules of Attraction"
As Regras da Atracção2001Video play
American Psycho2000novel
This Is Not an Exit: The Fictional World of Bret Easton Ellis1999Documentary uncredited
Less Than Zero1987novel

Director

Director

TitleYearStatusCharacter
The Deleted2016TV Series 8 episodes
Figaro2016Short
Orpheus2015/IIShort
All That Glitters2010Video short

Producer

Producer

TitleYearStatusCharacter
Disappear Here2018producer announced
The Deleted2016TV Series executive producer - 8 episodes
The Informers2008executive producer

Actor

Actor

TitleYearStatusCharacter
Placebo: Loud Like Love2014ShortNarrator
All That Glitters2010Video shortBret Easton Ellis - Author

Thanks

Thanks

TitleYearStatusCharacter
Frank & Lola2016special thanks
Absent2015/IDocumentary very special thanks
Jasmine2015/Ispecial thanks
The Automatic Hate2015special thanks
Arbitrage2012the director wishes to thank
The Replacement Child2007Short special thanks
Dealer2004/Ispecial thanks

Self

Self

TitleYearStatusCharacter
78/522017Documentary post-productionHimself
Le petit journal2016TV SeriesHimself
La grande librairie2010-2016TV SeriesHimself
Ànima2010TV SeriesHimself
Le grand journal de Canal+2005-2010TV Series documentaryHimself
Tavis Smiley2010TV SeriesHimself
The Playlist2010TV SeriesHimself (2010)
Silenci?2006TV SeriesHimself
Deadline2005TV Series documentaryHimself
Campus, le magazine de l'écrit2005TV Series documentaryHimself
Store studio2005TV SeriesHimself
Tout le monde en parle2005TV SeriesHimself
Sunday AM2005TV SeriesHimself
Fernanda Pivano: A Farewell to Beat2001DocumentaryHimself
Charlie Rose2000TV SeriesHimself
This Is Not an Exit: The Fictional World of Bret Easton Ellis1999DocumentaryHimself (uncredited)
Ruby1998TV SeriesHimself
C.P.W.1995TV SeriesHimself
Lauren Hutton and...1995TV SeriesHimself
Late Night with Conan O'Brien1994TV SeriesHimself

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2013Best ScreenplayMelbourne Underground Film FestivalBest ScreenplayThe Canyons (2013)


Looks like we don't have Bret Easton Ellis salary information. Sorry!


#Fact
1Working on his 7th novel and sequel to "Less Than Zero", entitled "Imperial Bedrooms". Expected release is 2010. [February 2009]
2Is a fan of Elvis Costello and Bruce Springsteen.
3Has cross-referenced characters in his books. For example, Blair and Julian from "Less Than Zero" are mentioned in "The Informers", Sean Bateman from "The Rules of Attraction" is the younger brother of Patrick Bateman in "American Psycho".
4Is close friends with fellow novelist Jay McInerney.
5In his novel "American Psycho", he borrowed a character from Tana Janowitz's short story collection "Slaves of New York" (Stash) and a character from Jay McInerney's book "Story of My Life" (Alison Poole). In a recent interview he said that the inclusion of Alison Poole was because he was upset at McInerney over something (he couldn't recall) and his revenge was to have her attacked by Patrick Bateman. She then appeared in his novel "Glamorama."
6Received numerous death threats and hate mail after the publication of his graphically violent novel American Psycho. Today, the novel is considered by many his best work yet.
7Played keyboards in some new wave bands in the early 1980s.
8Was 21 when his first novel was published (Less Than Zero, 1985) while Bret was still a student at Bennington College).
9Simon and Schuster gave him a $300,000 advance for American Psycho then refused to publish it after women's groups and women within the company protested. Luckily, the book was picked up by Vintage.
10His influences include: Hemingway, Joan Didion, Joyce, Flaubert, and Dennis Cooper; plus books, movies, TV and rock and roll.

#Quote
1[on his screenplay for American Psycho (2000)] [I wrote the script] in the early 90s with a young actor attached named Brad Pitt. David [director David Cronenberg] was lovely - is lovely, I still like David - but he had strange demands. He hated shooting restaurant scenes, and he hated shooting nightclub scenes. And he didn't want to shoot the violence. I ignored everything he said. So of course he was disappointed with it and he hired his own writer; that script was worse for him and he dropped out. I did another pass on the script for Rob Weiss in 1995. That didn't work out either. And then it was Mary Harron and Oliver Stone and again Mary Harron, who made the film, and the draft that Mary wrote with Guinevere Turner had a lot of similarities to the drafts I did for Cronenberg and Weiss. That really was what you could take from the book. [2016]
2When you become well known the first year is really, really fun and then you spend the rest of your life humiliated or trying to avoid humiliation. Everyone is so nice to you in that first year and then they all want to see something different. They want to see you get fucked up a bit and they want to take you down. It's just the nature of the world. You can deal with it or you can fight it. Whatever. Then I realized how - this sounds like such a cliché - empty it all is. There is nothing there. It's an idea. It's a concept. It's not real.
3Every one of my books is an exercise in voice and character, an exploration, through a male narrator who is always the same age I am at the time, of the pain I'm dealing with in my life. [Interview with Jon-Jon Goulian, 2012.]
4When a movie doesn't take itself seriously, then why are we taking it seriously?
5Regardless of the business aspect of things, is there a reason that there isn't a female Hitchcock or a female Scorsese or a female Spielberg? I don't know. I think it's a medium that really is built for the male gaze and for a male sensibility. I mean, the best art is made under not an indifference to, but a neutrality [toward] the kind of emotionalism that I think can be a trap for women directors. But I have to get over it, because so far this year, two of my favorite movies were made by women, Fish Tank (2009) and The Runaways (2010). I've got to start rethinking that, although I have to say that a lot of the big studio movies I saw last year that were directed by women were far worse than the shitty big-budget studio movies that were directed by men.
6It's interesting. It's interesting to be a producer and a writer on a movie that's going to be shot in this town. It's very interesting to see what happens with actors and actresses....It's very interesting... what is available to you.
7(on The Informers (2008)) "I was involved until the writer's strike hit, and that banned any writers from visiting the set. Everyone followed that rule because everyone was really scared about what might happen. So, I was involved with The Informers until about a week or two after filming [began], because I was on set rewriting scenes. Then when the writer's strike hit, I was told I could not go back on that set or I would be...whatever. Whatever happens to writers when they do that."
8(on what went wrong with The Informers (2008)) "You need someone who understood that milieu. You need a Breck Eisner, you need someone who grew up around here. You also need someone with an Altman-esque sense of humor, because the script is really funny. The movie is not funny at all, and there are scenes in the movie that should be funny that we wrote as funny, and they're played as we wrote them, but they're directed in a way that they're not funny. It was very distressing to see the cuts of this movie and realize that all the laughs were gone."
9I think my sensibility is very literary; all my books were built as books, and I wasn't thinking about them being movies. If I want to write a movie, I'll write a screenplay, but if I have an idea for a book, it's something that I think can only be done novelistically. That's why I think, personally, that they're very tricky to adapt - that, and the fact that my narrators are semi-secretive and unreliable at times.
10(why The Rules of Attraction (2002) was not set in the 1980's) "I think there were some sort of commercial problems with that. The studio thought its main audience was college kids today - which it wasn't, because no one went to see the movie. I think there was a compromise, because the movie doesn't announce so strongly that it's taking place now. It's in this hazy middle period of 80's music and 80's references, and yet there are cell phones and computers. But that's just wallpaper. I think the movie itself is the one movie that captured my sensibility in a visual and cinematic language."
11(on the negative reception of Less Than Zero (1987)) "Well, who was happy with it? I don't know anyone who was happy with it. The director wasn't happy with it, and it was this compromised movie for many, many reasons. I don't think it began that way - I think that Scott Rudin and Barry Diller, who were the ones who brought it to 20th Century Fox, had a very different movie in mind. I think when there was the regime change at the studio with Leonard Goldberg taking over, who was a family man who had kids, it became a different beast. I grew up around Hollywood, and I had no real desire to see the book made into a movie. I thought, 'Well, we'll take the money, and 98% of all books optioned never make it to the screen, so...'"
12(Movies are) much more powerful sensory experiences than novels. A novel is a different kind of transport, I guess, and it's very easy to let a movie envelop you. It's difficult for a novel to have that same power, because one is a passive experience and one is an active experience. You're working with the novel as you read it, creating your own virtual reality. You're picturing what everyone looks like, what everyone's wearing, what the scene looks like in your mind, and the movie's doing all that for you. It's the rare book that's able to transport you in a way that a movie does. Even a not-so-good movie can kind of give you some thrills or a rush. I mean, we all see so many more movies than we do read novels. It's not a problem, it's just how it is.

#Trademark
1Long descriptive paragraphs in which characters discuss meaningless or unimportant events and objects
2Often reuses or references characters from previous works
3Narcissistic characters

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