Peter Hyams net worthy of: Peter Hyams can be an American director, screenwriter, and cinematographer who includes a net worthy of of $14 million. Peter Hyams was created in NEW YORK, NY in July 1943. Peter Hyams earned a Hugo Award in 1985 for Best Dramatic Presentation in 2010 2010. Peter may be the dad of film director John Hyams and performed cinematography responsibilities on his film Common Soldier: Regeneration. He spent some time working on the movies Goodnight, My Like, Rolling Man, Our Period, Busting, Peeper, Capricorn One, Hanover Street, The Celebrity Chamber, 2010, Operating Scared, The Presidio, Narrow Margin, KEEP TUNED IN, Timecop, Sudden Loss of life, The Relic, End of Times, The Musketeer, A Audio of Thunder, Beyond an acceptable Question, and Enemies Closer. Peter may be the dad of film director John Hyams and performed cinematography responsibilities on his film Common Soldier: Regeneration. Peter Hyams was created in NEW YORK, NY in July 1943. He spent some time working on the movies Goodnight, My Like, Rolling Man, Our Period, Busting, Peeper, Capricorn One, Hanover Street, The Celebrity Chamber, 2010, Operating Scared, The Presidio, Narrow Margin, KEEP TUNED IN, Timecop, Sudden Loss of life, The Relic, End of Times, The Musketeer, A Audio of Thunder, Beyond an acceptable Question, and Enemies Closer. Go through even more: Peter Hyams Net Well worth Peter Hyams net well worth: Peter Hyams can be an American director, screenwriter, and cinematographer who includes a net well worth of $14 million. Peter Hyams earned a Hugo Award in 1985 for Best Dramatic Presentation in 2010 2010.
Known for movies
2010 (1984) as Director
End of Days (1999) as Director
Timecop (1994) as Director
Outland (1981) as Director
Quick Facts
Full Name
Peter Hyams
Net Worth
$14 Million
Height
1.85 m
Profession
Journalist, Screenwriter, Musician, Film producer, Film director, Cinematographer, Television Director
Education
Hunter College Elementary School, Art Students League of New York, Syracuse University
Nationality
American
Spouse
George-Ann Spota
Children
John Hyams, Nick Hyams, Chris Hyams
Parents
Ruth Hurok, Barry Hyams
Siblings
Nessa Hyams
Awards
Hugo Award for Best Dramatic Presentation
Nominations
Edgar Award for Best Motion Picture Screenplay
Movies
Outland, End of Days, Timecop, 2010, Capricorn One, Sudden Death, Enemies Closer, A Sound of Thunder, The Relic, Beyond a Reasonable Doubt, The Musketeer, Narrow Margin, The Presidio, Running Scared, Hanover Street, The Star Chamber, Busting, Stay Tuned, Peeper, Our Time, T.R. Baskin, Universal Soldier: Regeneration, Rolling Man, Goodnight, My Love, Telefon
Interesting Facts
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Fact
1
His son Nicholas is a rapper named Lush One. He Was one of the CEO's of the rap battle league Grindtime and has gone onto to be the head of King Of The Dot's Fresh coast division.
2
Was the first director of major films to be admitted into the cinematographers' union.
Claims that he has never been invited to join the American Society of Cinematographers (ASC) because they "don't like" him and are biased against directors who shoot their own films. In 1997, he said this to Conrad L. Hall, who didn't believe him. After Hall and Haskell Wexler offered to sign recommendations on an application letter for him, the ASC summoned him for a 90-minute interview. Several days later he received a rejection letter in the mail. He keeps it framed on his office wall.
"Spota" (the name used in most Hyams movies) is his wife's maiden name. His love for her and her family makes the fact that most of the "Spotas" in his movies are villains ironic.
10
One of the few writer/directors of major films who also serves as his own cinematographer.
Likes to shoot his movies on soundstages, where none of the light is natural and all of it can be controlled.
2
All his movies have a character (usually a minor one) named "Spota."
Quotes
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Quote
1
There's a really wretched invention called a zoom lens, which is the most abused, single abused, thing in filmmaking. It's more abused by young filmmakers than anybody. It's just a vile piece of equipment. As for tricky scene transitions, I know directors who sit down and literally look for those things as ways to get from scene to scene. I mean, what is the point of starting on a blade of grass with a blur behind you and racking focus then to the lady? I mean, what is so critical about that? I mean, why are you doing that? And then, the zoom lens thing does something that I don't think people understand. When you zoom in to something, you are not bringing the audience to the subject. You are bringing the subject to the audience. Major emotional difference. People do not realize that. You zoom back, you are not moving away from that subject. You are pushing the subject away from the audience. It's a tremendous difference.
2
I've never done anything that's totally worked for me. It has always been very painful to watch what I've done. Filmmaking, by definition, is a process of failure and because of that I always seem to be looking for the blemishes in my work.
$14 Million
