Salvatore "Robert" Loggia net worth is $10 Million
Salvatore "Robert" Loggia Wiki Biography
Salvatore “Robert” Loggia was born on the 3rd January 1930, in Staten Island, New York City USA of Italian descent. He was an actor and film director, nominated for an Academy Award in the category of the Best Supporting Actor, and winning the Saturn Award as the Best Supporting Actor for “Big” in 1988. He had been active in the entertainment industry from 1951 until his death in 2015.
How rich was the actor and film director? It has been estimated by authoritative sources that the total size of Robert Loggia’s net worth was as much as $1.5 million, converted to the present day.
Robert Loggia Net Worth $1.5 Million
To begin with, Robert Loggia studied at Wagner College and majored in journalism at University of Missouri. Later, he served in the USA military during the Korean War, and then pursued a career as an actor which added significant sums to the outright size of his net worth.
In 1956, he created his first film role in Robert Wise’s boxing drama “Somebody Up There Likes Me” with Paul Newman. He played his first leading role as Detective Steve Carella in “Cop Hater” (1958). In 1965, Loggia had a small role in the epic film “The Greatest Story Ever Told”, and the following year he starred in the series “The Cat”, which was followed by roles in the main cast of other series: “Columbo: Now You See Him” (1976) and “Rockford Files” (1977 – 1978).
Between 1976 and 1981, Robert Loggia worked as the director in some episodes of the television series “Quincy”, “Hart to Hart” and “Magnum”. In the early 1980s, Loggia experienced increasing success with critics and audiences establishing himself as a sensitive and versatile actor, as in Taylor Hackford’s drama “An Officer and a Gentleman” (1982). In Brian De Palma’s remake of the classic “Scarface” (1983) he played the role of the most ruthless drug lord Frank Lopez , while in Blake Edwards’ “SOB” (1981) he created the role of a lawyer. In 1985, he landed roles in John Huston’s “Prizzi’s Honor” and Richard Marquand’s “Jagged Edge” – for the latter, Loggia was nominated for the Oscar as the Best Supporting Actor. In Blake Edwards’ “That’s Life” (1986) he starred opposite Jack Lemmon and Julie Andrews, then starred alongside Tom Hanks and Elizabeth Perkins in the hit comedy “Big” (1988), for his role of Mr. MacMillan in the previously mentioned film he won the Saturn Award.
In 1996, he played a General in the blockbuster “Independence Day”. In 1997, he was in David Lynch’s enigmatic film “Lost Highway”. The same year he landed the main role in the film “The Don’s Analyst”. Moreover, he starred in “Holy Man” (1998) directed by Stephen Herek, “Return to Me” (2000) by BJ Davis, “Forget About It” (2006) by Bonnie Hunt and other films. In 2004, he had several appearances in the series “The Sopranos”. The last films the actor appeared in were “Sicilian Vampire” (2015) and “Independence Day: Resurgence” (2016), the latter being a posthumous release.
Finally, in the personal life of Robert Loggia, he was married twice. He was married to Marjorie Sloan from 1954 to 1981, with whom he had three children. From 1982 he lived with his second wife Audrey O’Brien and had four children. He died being 85 years old in Brentwood, Los Angeles on the 4th December 2015.
Academy Award for Best Supporting Actor (1985), Cable ACE Award (1988), Fangoria Chainsaw Award for Best Actor (1993), Primetime Emmy Award for Outstanding Lead Actor in a Drama Series (1990), for Outstanding Guest Actor in a Comedy Series (2001)
Movies
“Somebody Up There Likes Me” (1956), “Cop Hater” (1958), "The Greatest Story Ever Told" (1965), “Big” (1988), "Jagged Edge" (1985), “Quincy”, “Hart to Hart”, “Magnum”, “The Don's Analyst”, “Sicilian Vampire” (2015), “Independence Day: Resurgence” (2016)
TV Shows
“Columbo: Now You See Him” (1976) and “Rockford Files” (1977 - 1978), “The Sopranos”, "Mancuso, FBI" (1989–1990), "Malcolm in the Middle" (2001)
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Trademark
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Distinctive raspy voice
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Quote
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[on being 100% natural in every film to the point where he's always himself] Which is boring to the audience and boring to me. In the old days, I used to prepare, run around the block, do push-ups, psych it up, all that. When I say conceptual, I mean that I read the script, and it's ingested. There was a book, by Arthur Koestler, called "The Art of Creation". One of his examples was that Handel [George Frideric Handel] dreamed "The Messiah"; when he awakened, he set it right down on paper. There's a certain truth for me in that as an actor. I do dream it, I do conceive it, and it's there.
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[on being typecast in Mafioso roles and the acting process in general] It's like eating steak every day. It's not that I'm tired of eating steak, it's that I'd like some lamb or chicken, a change of pace. No two tennis balls are the same. You can hit thousands and thousands of tennis balls, and it seems like the same stroke, but no two are the same. It's the same with acting, one take to the other. There's always a variance, so you try to play it fresh each time.
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[on Psycho II (1983)] Meg Tilly was wonderful and went on to do very well after that. They did that movie for spit -- if they spent $5 million on it, that was a lot. But it was the only picture I was in from which I was actually paid a bonus.
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[on The Believers (1987)] It isn't what Schlesinger [director John Schlesinger] intended; he wanted to make a serious picture about the aberration of power, but the picture fell through the cracks. The audience didn't know whether they were being served a horror film, or a movie of a different nature. It was like going into a restaurant and not knowing what the menu is.
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I thought my career was over as an actor at one point and I decided if I was going to be trapped in episodic television, I would direct in episodic television.
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(2011, on making Lost Highway (1997)) It's certainly in my memory book as a thrill. Working with David Lynch was like taking a bullet. A gun at you. Lost Highway (1997) is, I think, one of the best films I've ever been in. It'll endure a long, long time.
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(2011, on Mancuso, FBI (1989)) Well, I liked playing the cop. It should have gone on longer. I don't know why it was canceled, but Mancuso, FBI, it should have had a good long run, but it wasn't picked up. Maybe there was a problem with me. I have no idea.
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(2011, on Independence Day (1996)) It was a thrill to do that movie. For all the actors. It was challenging, and you stepped to the plate and try to hit it out of the park, I guess...You're dealing with aliens and all of that. It's an obvious challenge. Scripts like that don't come your way that often. It's nice to have it in my acting agenda. Nice to take it on.
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(2011, on playing a lot of different ethnicities in your career) I'd have to thank Stella Adler for that. She didn't want her actors to be a one-trick pony. An actor is an impersonator; he plays many different roles. If you played the same role all the time, God that'd be a boring career. When you take on different roles and become a different person, that's called acting ... It's a challenge. When you read a script, you don't want to be the same guy all the time, you want to change, you're a different person. That's why acting is a wonderful career. You're not the same guy all the time.
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(2011, on A Woman Called Golda (1982)) I worked with Ingrid [Bergman]. Ingrid and I became very close during filming. She became Golda Meir. She had a problem with her circulation in her left arm. So the whole time it was swollen. She was in pain. Ingrid and I became very, very close in the film. I think it became a real classic.
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(2011, on Big (1988)) Well, when we came to the set, which was... what's the store? F.A.O. Schwartz. We went up there, Tom [Hanks] and I, we see two guys dressed like we were, and they were going to shoot [the piano dance scene] with just the feet. We thought that was ridiculous. We told the guys who were dressed like we were to take a hike. So we were full-figure, which made it much more of a classic scene. Tom and I did all the dance. Full-figured view...It didn't take long at all, really. Just about one take.
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(2011, on Prizzi's Honor (1985)) What stands out for me in that shoot is John Huston's daughter [Anjelica]. I don't know what adjective to use. He wasn't uncomfortable with her, but he felt that it would be better if I worked with his daughter more than he did. That I would shield Anjelica from any problems. So I became her off-screen mentor at the behest of John Huston. He wanted me to work with his daughter. He felt, I guess, uncomfortable doing it himself.
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(2011) We rehearsed our Scarface (1983) to the nines. Long period of rehearsal, so that by the time we started to shoot, it was almost like doing a play. We all had a grand time doing it. It was a wonderful cast. We all got along well together, and that's it...The acting talent, the cinematography, we were propelled into a real class action film. Long after I kick the bucket it'll be played.
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Fact
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Robert Loggia passed away on December 4, 2015, a month away from what would have been his 86th birthday on January 3, 2016.
Began his acting career on Broadway in the play "The Man with the Golden Arm" (1955).
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Attended and graduated from New Dorp High School in Staten Island, New York (1947).
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Received his Bachelor's degree in Journalism from the University of Missouri (1951). He later received an honorary degree from the university on December 17, 2011.
In an interview on Pat Sajak Weekend (2003), he talked about when he first expressed an interest in acting while in his early twenties. Initially, he was reluctant to tell his father what he wanted to do with his life and, when he finally confessed, his father was less than happy with his son's career choice. But the man had blessed his son by simply telling Robert he had to go with how he felt and follow his passion.
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His hair and eyebrows are more than often dyed a brown-like color in his movies, so often that his naturally white hair comes as a surprise when seen in real life and in films without that.
$10 Million
