Scott Rudin
Producer

Scott Rudin Net Worth

He is also a casting director and miscellaneous crew member. He has won numerous awards, including an Academy Award, a Golden Globe Award, and a BAFTA Award. He has produced over 50 films and has been nominated for over 100 awards.
Scott Rudin is a member of Producer

Age, Biography and Wiki

Who is it? Producer, Miscellaneous Crew, Casting Director
Birth Day July 14, 1958
Birth Place  New York City, New York, United States
Age 65 YEARS OLD
Birth Sign Leo
Occupation Producer
Years active 1978–present
Partner(s) John Barlow

💰 Net worth: $14 Million (2024)

Scott Rudin, a renowned figure in the entertainment industry, has an impressive estimated net worth of $14 million as of 2024. Hailing from the United States, Rudin has made a notable impact as a producer, miscellaneous crew member, and casting director. Through his transformative work, Rudin has earned critical acclaim and numerous accolades throughout his career. His dedication and expertise have not only contributed to the success of countless productions but have also catapulted him to great financial success. With his exceptional talent and business acumen, Scott Rudin continues to solidify his position as a key player in the American entertainment landscape.

Biography/Timeline

1977

At the age of 16, he started working as an assistant to theatre Producer Kermit Bloomgarden. Later, he worked for producers Robert Whitehead and Emanuel Azenberg. In lieu of attending college, Rudin took a job as a casting Director and ended up starting his own company. His newly minted firm cast numerous Broadway shows, including Annie (1977) for Mike Nichols. He also cast PBS's Verna: USO Girl (1978), starring Sissy Spacek and william Hurt; and the mini-series The Scarlet Letter (1979) starring Meg Foster, Kevin Conway and John Heard; also, the films King of the Gypsies (1978), The Wanderers (1979), Simon (1980) with Alan Arkin and Resurrection (1980).

1980

In 1980, Rudin moved to Los Angeles, taking up employment at Edgar J. Scherick Associates, where he served as Producer on a variety of films including I'm Dancing as Fast as I Can (1981), the NBC miniseries Little Gloria... Happy at Last (1982) and the Oscar-winning documentary He Makes Me Feel Like Dancin' (1983).

1984

Rudin then formed his own company, Scott Rudin Productions. His first film under that banner was Gillian Armstrong's Mrs. Soffel (1984). Not long after, Rudin placed his production shingle in dormancy and joined 20th Century-Fox as an executive Producer. At Fox, he met Jonathan Dolgen, a higher-level executive, with whom he would be working once again at Paramount Pictures years later. Rudin rose through the ranks at Fox and became President of production by 1986 at the age of 29.

1992

His stint at the top of Fox was short lived, and he soon left and entered into a producing deal with Paramount. On August 1, 1992, Rudin signed a deal with Tri-Star Pictures but soon moved back to Paramount. Rudin's first look deal with Paramount Pictures lasted nearly 15 years, producing pictures including Addams Family Values.

1994

Rudin co-produced the unsuccessful staging of David Henry Hwang's Face Value with Stuart Ostrow and Jujamcyn Theaters. He started a deal with Jujamcyn to develop and produce new plays for the theater chain. In 1994, Rudin won the Best Musical Tony Award for his production of Stephen Sondheim and James Lapine's Passion. The following year, he, along with others, produced Kathleen Turner's Broadway comeback, Indiscretions, and Ralph Fiennes' New York theatre debut in Hamlet. In 1996, Rudin produced the revival of the Stephen Sondheim and Larry Gelbart musical A Funny Thing Happened on the Way to the Forum, which starred Nathan Lane, Ernie Sabella and Mark Linn-Baker.

2002

He co-produced Edward Albee's The Goat or Who Is Sylvia? in 2002. He also produced Seven Guitars, The Ride Down Mt. Morgan, Copenhagen, Deuce, The History Boys, Beckett/Albee, Closer, The Blue Room, and Doubt. He co-produced the 2005 revival of Albee's Who's Afraid of Virginia Woolf? starring Kathleen Turner and Bill Irwin and directed by Anthony Page. In 2010, he co-produced, along with Carole Shorenstein Hays, the Broadway revival of August Wilson's Pulitzer Prize-winning play Fences, starring Denzel Washington and Viola Davis, which garnered ten Tony Award nominations and three wins, including Best Revival of a Play.

2004

After the resignation of Paramount's chairwoman Sherry Lansing in 2004 and nearly simultaneous departure of Jonathan Dolgen (then President of the company), Rudin left the studio and set a five-year first-look pact with Disney that allowed him to make movies under their labels Touchstone Pictures, Walt Disney Pictures, Hollywood Pictures, and Miramax Films, whose founders Harvey and Bob Weinstein had departed. Previously, Harvey Weinstein and Rudin had public confrontations during the production of The Hours (2002), which Rudin produced for Miramax Films after it became a studio subsidiary under Disney. Rudin later said he and Weinstein "are both control freaks. We both want to run our own shows. When I'm doing a Miramax movie, I work for him. And I don't like that feeling. I chafe under that. I especially chafe under it when I feel that I'm on a leash."

2008

In January 2008, two of Rudin's productions—the Coen brothers' No Country for Old Men, which they adapted from the Cormac McCarthy book of the same name, and Paul Thomas Anderson's There Will Be Blood, which was adapted from the Upton Sinclair novel, Oil!—were nominated for eight Oscars apiece at the 2008 Academy Awards, including a Best Picture nod for each of them. The two films shared the distinction of being the most nominated movie at that year's Oscar ceremony. Ultimately, No Country for Old Men won the Best Picture prize.

2011

At the 2011 Producers Guild of America (PGA) Awards, Rudin became the only person ever to be nominated twice in one year. He was nominated (along with Dana Brunetti, Ceán Chaffin and Michael De Luca) for producing the Facebook biographical film The Social Network and was also nominated (along with Joel and Ethan Coen) for their remake of the classic western True Grit (2010). That same year, the PGA also awarded Rudin the David O. Selznick Achievement Award in Motion Pictures which recognizes an individual's outstanding body of work in the field of motion picture production.

2014

On December 9, 2014, a major illegal breach of Sony's computer systems by "Guardians of Peace" hackers using Shamoon malware led to disclosure of many gigabytes of stolen information, including internal company documents. In subsequent news coverage SPE Co-Chair Amy Pascal and Scott Rudin were noted to have had an email exchange about Pascal's upcoming encounter with President Barack Obama that included characterizations described as racist. Both he and Pascal later apologized.

2015

In 2015 Rudin produced Larry David's Fish in the Dark, a hit comedy that took in "more than $13.5 million in advance sales at the box office [which] beats the previous record for a play, $13.05 million for the 2013 revival of Harold Pinter's Betrayal," which was also a Rudin production.

2016

Six Rudin productions received major Tony nominations in 2016. Nominated for Best Play were The Humans and King Charles III. Competing against Hamilton for Best Musical was Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed (with ten nominations, the second most after Hamilton). Three revivals were nominated for Best Revival: Blackbird, The Crucible and A View From the Bridge. Rudin was lead Producer on all the productions except King Charles III.

2017

In 2017, Rudin produced a revival of Hello, Dolly! on Broadway with Bette Midler starring in the title role.

Some Scott Rudin images

About the author

Lisa Scholfield

As a Senior Writer at Famous Net Worth, I spearhead an exceptional team dedicated to uncovering and sharing the stories of pioneering individuals. My passion for unearthing untold narratives drives me to delve deep into the essence of each subject, bringing forth a unique blend of factual accuracy and narrative allure. In orchestrating the editorial workflow, I am deeply involved in every step—from initial research to the final touches of publishing, ensuring each biography not only informs but also engages and inspires our readership.