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Eli Roth Bio

Eli Raphael Roth who commonly known as Eli Roth is an American film director, producer, writer, and actor. He was born on April 18, 1972.

As an actor, Roth’s most prominent role has been as Donny “The Bear Jew” Donowitz in Quentin Tarantino’s war film Inglourious Basterds for which he won both a SAG Award (Best Ensemble) and a BFCA Critic’s Choice Award (Best Acting Ensemble).

Journalists have included him in a group of filmmakers dubbed the Splat Pack for their explicitly violent and bloody horror films. In 2013, Roth received the Visionary Award for his contributions to horror, at the Stanley Film Festival. He directed the 2015 erotic thriller film Knock Knock and the 2018 action film Death Wish, a remake of the 1974 original. In 2018, he also directed The House with a Clock in Its Walls, his first PG-rated film and his highest domestic grosser to date.

Eli Roth Height and Weight

He stands at an impressive height of 6 feet and has a body weight of 78 kgs.

Eli Roth Education

He graduated from Newton South High School and attended film school (the Tisch School of the Arts) at New York University. To fund his films while in college Roth worked as an online cybersex operator for Penthouse Magazine, posing as a woman, as well as a production assistant on feature films.

Eli Roth Family

Roth was born in Newton, Massachusetts, to Sheldon Roth, a psychiatrist/psychoanalyst and clinical professor at Harvard Medical School, and Cora Roth, a painter. Roth family were Jews from Austria, Hungary, Russia, and Poland.He grew up with two siblings named Adam and Gabriel.

Eli Roth Wife

Roth married Chilean actress and model Lorenza Izzo in November 2014, on the beach of Chilean town Zapallar. The two worked together on the Roth directed horror film “The Green Inferno,the couple divorced in July 2018.

Eli Roth Photo

Eli Roth Kids

After being couple for period of year, the two have not been blessed with any kid until they divorced.

Eli Roth Net Worth

He has a net worth of $19 million dollars, gained as a film director, producer, writer, and actor.

Eli Roth Career

• During his early days in Hollywood, Eli tried to amass money to shoot his script ‘Cabin Fever’, and it finally came through in the year 2001.The film was made on a budget of1.5 million USD and was sold to Lionsgate at the Toronto Film Festival for3.5 million USD. After receiving rave reviews at the festival, the film was released by Lionsgate and grossed 35 million dollars at the box office.

• This was a huge beginning for Eli as a director. However, he had a hard time finding producers for his second feature film, ‘Hostel’, which was an out and out body horror movie. Meanwhile, he played minor roles and cameos in films like ‘Tales from the Crapper’ and ‘2001 Maniacs’.

• In 2005, Quentin Tarantino, a famous filmmaker, came to his aid and Eli’s second directorial project eventually went on floors. In order to make the film, Eli turned down some highly lucrative mainstream Hollywood projects. To keep the budget to a minimum, he just took USD 10,000for directing the movie.

• The film, which was made on a small budget of USD 4 million went on to gross more than 40 times its budget, and introduced a whole new class of body horror. Experts called it a new genre and termed it ‘torture porn’.

• Quentin Tarantino had earlier said that ‘Cabin Fever’ was his new favorite film and hence, he kept in touch with Eli. Quentin eventually asked Eli to direct a segment of his pulp film titled, ‘Grindhouse’. Eli directed a segment named ‘Thanksgiving’, which became highly popular. Eli also ended up playing a role in the film.

• In 2007, ‘Hostel 2’ was released and it became a box office success. However, it could not repeat the success of its prequel. Piracy was the main reason behind the film’s ordinary performance as ‘Hostel 2’became the most downloaded film. Eli was nominated for Best Horror Film Director at Spike TV Screams Awards and Entertainment Weekly deemed it as one of the ‘20 Best Horror Films of Last 20 Years’.

• The 2009 film ‘Inglorious Basterds’ turned out to be a major breakthrough for Eli as an actor. He played the role of Donny ‘The Bear Jew’ Donowitz who beats Nazi soldiers to death with a baseball bat. The film revolves around an American crew, stuck in Nazi occupied France at the peak of World War 2.

• The film became a mega success and Eli went on to act in guest roles and wrote screenplays for many films. But he didn’t seem very keen in an acting career or in a career which required him to direct mainstream Hollywood movies. He kept rejecting many offers to direct big budget films that promised him a good pay.

• In 2013, Eli returned as a writer and director for the film ‘The Green Inferno’, which was an out and out horror flick, inspired by some notorious films like ‘Cannibal Holocaust’. The film opened to highly negative reviews, with Eli commenting that it was one of the best films he has made or will ever make.

• In 2015, he came back to ‘disgust’ the audience with the film ‘Knock Knock’ and this time around, he was backed by Hollywood superstar Keanu Reeves, who not only starred in the film, but also contributed as an executive producer.

Eli Roth Movies

Eli Roth TV Shows

Eli Roth Horror Movies

• The Green Inferno
• Hostel 2005
• Knock Knock 2015
• Clown 2014
• The Stranger 2014
• Cabin Fever 2002
• Hostel: Part II
• Grindhouse 2007
• The House with a Clock in Its Walls
• Aftershock 2012
• The Last Exorcism
• Piranha 3D
• The Sacrament 2013
• The Last Exorcism Part II
• cabin fever 2016 plot
• cabin fever 2016 plot
• Don’t Look Up 2009
• Tales from the Crapper
• Citizen Toxie: The Toxic Avenger IV

Eli Roth Green Inferno

A group of student activists travels to the Amazon to save the rain forest and soon discover that they are not alone, and that no good deed goes unpunished.

Eli Roth Interview

Cabin Fever. Hostel. The Green Inferno. The House With a Clock in Its Walls. One of these things is not like the others.
Eli Roth:In my mind, it’s a natural progression. When you see the movie, you’ll see stuff from my other movies — just done in the PG version of it, in a very subversive way. My films have always had a kind of Monty Python insanity to them, where you’re watching the movie and suddenly it does things that movies aren’t supposed to do.

But this project was brought to me last June, right after I finished Death Wish. They were looking for a director. I read it, and within five pages, I was like, “I have to do this!” And they said, “We’re gonna move fast. We need to be shooting by October.” We were racing the entire time to get it done. We finished in December.

A lot of people are going to have a hard time accepting an Eli Roth kids’ film. I’m sure you’re aware of that.
Eli Roth: I’ve always wanted to do my version of a kids’ movie. And by that I mean a film like Time Bandits or Beetlejuice or Gremlins or Goonies. As much as I love and am known for really gory movies, those kind of Amblin movies were my earliest theatrical experiences.

Nobody does it better than those early Spielberg movies. There was a danger. The first 20 minutes of E.T.were very scary when you were a kid. When E.T. is dying? You believe that E.T.’s dead! The movie goes dark and that’s what makes the best children’s movies. That’s what makes them resonate with children. It gives them their first experience of being scared, but in a really fun, fantastic way.

Across your filmography, your tendency has been to shock and provoke. To make a more family-friendly film, did you have to staunch those impulses?
Eli Roth:You have to respect the genre you’re working in and do what the genre requires. So if you’re making a shocking horror movie, the task is to provoke and push people’s buttons.

If you’re making a scary, fun kids’ fantasy-adventure, it’s to thrill people. Give them Raiders of the Lost Ark where you have those exciting set pieces like the boulder and the basket chase, but you also have the melting faces and the spirits coming out and stabbing people in the eye. So that’s the fun of it — mixing all the different tones.

Cate had the best quote. She’s like, “Your movie is a mixture: the lunacy and fun of Gremlins, the heart of E.T., the beauty of Barry Lyndon. And then it goes into Virginia Woolf at some point.”

When your Netflix series Hemlock Grove was coming out, you famously said, “This is going to fuck up an entire generation.” In fact, you’ve said plenty of provocative things like that in interviews and set out to deliberately stir people up with what you put on the screen. Why should people trust their children to you with this?
Eli Roth:Look, I’m certainly aware of my reputation. But I would say this: I think everybody grows up. And you grow out of certain things. You look at your favorite rock stars — the way they’re behaving at 20 versus when they’re 40 and have become parents. At a certain point, saying stuff like that feels very 2012.

I wouldn’t say something like that now. That was the fun of Hemlock Grove; people legitimately got screwed up by it. As far as I’m concerned, mission accomplished. Plenty of people come up to me and go, “Yeah, your movies really screwed me up.” And I think that’s great! I look back now and go, Wow, that’s who I was then. Man, have I grown, have I changed.

I’m not disowning that. But at a certain point that gets old. It’s like, “Okay, well, how can I surprise people now? What’s the new shocking?’” The new shocking is doing a PG movie. A scary PG movie. A movie for 9- and 10-year-olds that still has a sense of mischief and danger, that’s not about sweetness or some heavy-handed message.

Just so I’m clear, you’re not turning your back on horror, are you?
Eli Roth:No, I’m not. Look, this is the seventh movie I’ve directed. I was ready for a bigger canvas, something more visually spectacular. The movie sort of plays into my reputation.

I know there’s a little bit of danger of, Oh my gosh, I can’t believe I’m taking my kids to an Eli Roth movie. And I certainly want that going in. That’s part of the fun of it. The fun is surprising people. I think this is the best film I’ve ever done. It’s my favorite movie.

Amblin is rebooting itself as a company with this movie. Interesting they should choose the hard-R horror guy to do it.
Eli Roth:They really wanted to relaunch what Amblin was in the ’80s. Steven [Spielberg] couldn’t have been more supportive of me. And when he saw the movie, he said, “Eli, you really did it. You really made a true Amblin movie. It’s not mocking or beholden to something before it, yet it feels like it’s in the tradition of those. You’re really carrying the torch.” It was pretty magical.

You showed me a scary scene in which a room full of automatons come to life and attack the protagonists. What’s the difference between directing a sequence like that for a kids’ film and showcasing the horrific violence for which you are known?
Eli Roth:Well, you know, Steven said to me, “Make it scary.” He said, “Kids want to be scared. You gotta make it scary.” Sebastian’s lab in Blade Runner was a huge influence on this. Terry Gilliam’s Brazil. The clown dream in Pee-wee’s Big Adventure — there are shades of that. Tim Burton, you can feel that influence.

It’s not horror because horror implies that you’re really trying to horrify people. When you make a horror movie, you’re really trying to disturb someone. When it’s scary and magical and fun, it’s like a haunted house, where it’s scary and spooky, but it’s not going to traumatize you. It actually gets kids really excited.

It sounds like this movie is, in a way, the culmination of all your years of studying and making movies. 
Eli Roth:Well, I look at what Sam Raimi did with Spider-Man or what Peter Jackson did with Lord of the Rings. I love their early horror films. Those are the directors that I aspire to be like. You go see Spider-Man and you see the Sam Raimi in it, and his Evil Dead fans, there are little jokes in there for them, too. So people that love my horror films are going to see this and definitely see my sensibility.

So are there winks that you give to your horror films in The House With a Clock in Its Walls?
Eli Roth:Oh, for sure!

source: www.vulture.com