Data
Green=Breakthrough EP=Executive Producer P=Producer D=Director S=Screenwriter
Methodology
The upfront pay is determined by the artist’s role and the movie budget. An actor who is also the director and a screenwriter in a big budget movie will be paid more than someone with a supporting role in a small movie. The backend pay is only included after becoming a bankable star, a recognizable face capable of drawing people to the theaters. For this rare ability they are compensated a share of the gross box office (deducting the movie theater’s split). The total is then combined while subtracting 15% for the talent agent’s commission and business manager.
To be conservative we assume all money earned is spent every year until the actor’s breakthrough role. After that, the earnings are put into an index fund that buys shares in the biggest companies (the “Cumulative” column), which goes up in value every year. Funds are withdrawn from this account every year, which are taxed and paid out to the artist for personal expenditures. Finally, the value of the actor's primary residence(s) is deducted
To be conservative we assume all money earned is spent every year until the actor’s breakthrough role. After that, the earnings are put into an index fund that buys shares in the biggest companies (the “Cumulative” column), which goes up in value every year. Funds are withdrawn from this account every year, which are taxed and paid out to the artist for personal expenditures. Finally, the value of the actor's primary residence(s) is deducted
($10.5M).
Budget estimated (most are direct to video) for Jumpin' at the Boneyard (1991), Fathers & Sons (1992), The New Age (1994); 1994 films The New Age, Hail Caesar, Assault at West Point; Hard Eight (1996), Kite (2014) and The Protégé (2021).
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