Vincent D’Onofrio was born on 30th June 1959, in Brooklyn, New York City USA, of part-Italian ancestry, and is an actor and film producer. He became known through his roles in the films “Full Metal Jacket” and “Men in Black”, and then for starring in the television series’ “Law & Order: Criminal Intent” and “Daredevil”. D’Onofrio has been active in the entertainment industry since 1983.
How much is the net worth of Vincent D’Onofrio? It has been estimated by authoritative sources that the overall size of his wealth is as much as $40 million, as of the data presented at the beginning of 2018. Film and television are the major sources of D’Onofrio’s fortune.
Vincent D’Onofrio Net Worth $40 million
To begin with, D’Onofrio grew up in Hawaii, Colorado and Miami as his father moved with the US Air Force. In Florida he played in theatre under the direction of his father, then in the early 1970s he moved back to New York, where he debuted on Broadway in a theatre evening with two pieces under the title “Open Admissions”, and then joined the American Stanislavsky Theatre. There he appeared in the plays “The Mice and Humans”, “The Petrified Forest”, “The Indian Wants The Bronx” and “Sexual Perversions in Chicago”, steadily establishing his net worth.
Concerning his roles landed on television and the big screen, he starred in episodes of the television series’ “The Equalizer” and “Miami Vice” in 1987, but really gained popularity that year through his portrayal of the soldier Leonard Lawrence in Stanley Kubrick’s film “Full Metal Jacket” – for this role, he put on over 30 pounds of weight, surpassing Robert De Niro 27.3 kilograms, and was nominated for the New York Film Critics Circle Award as the Best Supporting Actor. D’Onofrio also received accolades for his roles as Joseph Santangelo in the film “Household Saints” (1993) (nominated for the Independent Spirit Award as the Best Male Lead), Robert E. Howard in “The Whole Wide World” (1996) (won Golden Space Needle, Lone Star Film & Television and National Society of Film Critics Awards as the Best Actor) and Edgar in “Men in Black” (1997) (won Saturn Award as the Best Supporting Actor), no doubt potentially adding to his net worth.
In addition, he was nominated for the Blockbuster Entertainment Award as the Best Supporting Actor in the film “The Cell” (2000), then for the crime thriller “The Salton Sea” (2002) D’Onofrio repeated his weight increase, this time of 20 kilograms. Because of this acting commitment and his other acting versatility, D’Onofrio acquired the nickname Human Chameleon in film circles.
Twice D’Onofrio portrayed the filmmaker Orson Welles in the short film “Five Minutes, Mr. Welles” (2005), and previously in “Ed Wood” (1994).
In addition to numerous film roles in which he often embodied psychopathic or malignant characters, D’Onofrio also appeared in the role of a proud father in the film “The Narrows”, for which role the actor won the Special Grand Jury Prize for Acting at Nashville Film Festival. From 2001 to 2010, D’Onofrio interpreted the role of the idiosyncratic detective Robert Goren in crime series “Law & Order: Criminal Intent”, adding considerably to his reputation as well as net worth.
In 2012, Vincent was honoured at the Sitges Film Festival as the Best Actor for his role of Bob in the film “Chained”. In 2015, he was seen in “Jurassic World”, and also took over the role of Wilson Fisk / Kingpin in the Netflix series “Daredevil”.
Recently, the actor has starred in a number of films, including “Rings”, “CHiPs” (2017) and “El Camino Christmas” (2017). More, Vincent is the main in the paranormal TV action series “Ghost Wars” (2017 – present), and the film “Death Wish” is scheduled to be released in March 2018, in which the actor stars opposite Bruce Willis.
Finally, in the personal life of the actor, he was married to the actress Greta Scacchi from 1991 to 1993, with whom he has a daughter. Since 1997 he has been married to Carin van der Donk, and although the couple parted their ways temporarily in 2003, have been back together since 2005. They have two sons, and continue to live in New York City.
To me the definition of true masculinity - and femininity, too - is being able to lay in your own skin comfortably.
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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.
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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.
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When you are a character actor they trust you will go in and give them a full character and leave.
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The more you are known, the more difficult it is to hide behind characters.
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When I was younger I used to pick things just to face the fear.
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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.
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What kind of recognition do I deserve? I don't deserve any recognition.
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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.
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The minute you start feeling like you've got it down, you know what you're doing, you're dead in the water.
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The most fun you can possibly have as an actor is to walk that line between what's real and what's interesting.
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Unless you look like Brad Pitt, it's really hard to have full control of your character.
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[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.
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[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.
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[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.
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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.
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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.
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[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.
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I took a route of acting, rather than starmaking, so it cost me a lot financially.
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[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.
Was considered for the role of Knuckles in Suburban Commando (1991).
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Coincidentally, he played Moriarty in the TV movie Sherlock (2002) while he starred as Robert Goren in Law & Order: Criminal Intent (2001), whose character is based on Sherlock Holmes.
One of the founders of the River Run Film Festival (Winston-Salem, North Carolina), along with his sister, Elizabeth D'Onofrio, and their father, Gene D'Onofrio.
$40 million
