Adrian Lyne Net Worth 2018, Biography/Wiki, Married/Wedding
Adrian Lyne Net Worth $20 Million Dollars
Adrian Lyne net worth: Adrian Lyne was born in Peterborough, Northamptonshire, England in March 1941. He started off with television advertisements. Lyne directed the films Foxes, Flashdance, Nine Weeks, Fatal Attraction, Jacob’s Ladder, Indecent Proposal, Lolita, and Unfaithful. His next movie The Associate in scheduled to be published in 2015 and he’s scheduled to direct Back Roads on the basis of the novel by Tawni O’Dell. His movies frequently focus on sexually energized characters. Lyne’s fashion comprises using natural light and fog machines to produce an erotic feeling. He was likely to direct Stand by me, but cannot take on the job because Nine Weeks ran over program. He’s directed three performers who have been nominated for Oscars: Diane Lane, Glenn Close, and Anne Archer. Adrian is married to wife Samantha Lyne.
March 4, 1941
Peterborough, Northamptonshire, England, United Kingdom
Director, Writer, Producer
Academy Award for Best Director, Golden Globe Award for Best Director - Motion Picture, Directors Guild of America Award for Outstanding Directing – Feature Film
Foxes, Flashdance, 9½ Weeks, Fatal Attraction, Jacob's Ladder, Indecent Proposal, Lolita, Unfaithful, Back Roads, Mr Smith, The Table
People say, "Oh, you're good visually." Of course I care about that, but the only thing that is really important is the performances.
I've always hated advertising, but I treated commercials as little films. I wasn't remotely interested in whether or not they sold the product, it was just a fabulous way for me to learn how to do it.
Before I started my first film, Foxes (1980), with Jodie Foster, I rang up Howard Zieff, who was a very famous commercial director, and actually quite successful as a feature film director. I said, "What would you tell me? Give me some advice before I start this film." He thought for a long while and finally said: "Be on it at the end."
[on Lolita (1997)] I wanted to make a movie of Nabokov's novel, because it's, I think, one of the great novels of this century. In the end, it's a love story - it's a strange and awful love story. This subject seems to be the last taboo. I think that what the audience maybe will find disturbing is that they don't hate Humbert, at least they don't totally hate him - they kind of like him in some ways - and I think that this is disturbing for an audience to deal with and I think that that will create discussion. They want to hate him but they can't really. It's awful what he does to Lolita, obviously, but then they find themselves laughing with him and sometimes sympathizing with him and, ultimately, they understand that he really did love her. It would be much more convenient, much easier, if they just loathed him, if he was a monster. It's the most extraordinary mix; it makes you laugh, it makes you cry, it makes you horrified and that's all you can want from a movie.
[on Mickey Rourke] He fascinates me. I can't take my eyes off him because he's never doing nothing.
I never understood how a director can impose a style on a movie. I think the drama within the scene should dictate the way it is shot.
I'm fascinated by relationships and how they work or don't work. I'm much more interested in the small picture than the big one, because I think the minutiae and the breath in one's face are much more interesting than the landscape out there.
I like movies that create discussion; I love it when they haven't forgotten about your movie by dinnertime and they're still arguing about it the next day - that's what a movie should do, it should create discussion.