Age, Biography and Wiki
Gary Graver (Gary Foss Graver) was born on 20 July, 1938 in Portland, Oregon, USA, is a Cinematographer, Director, Camera Department. Discover Gary Graver's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Gary Graver networth?
|Popular As||Gary Foss Graver|
|Age||68 years old|
|Born||20 July 1938|
|Birthplace||Portland, Oregon, USA|
|Date of death||16 November, 2006|
|Died Place||Rancho Mirage, California, USA|
We recommend you to check the complete list of Famous People born on 20 July. He is a member of famous Cinematographer with the age 68 years old group.
Gary Graver Height, Weight & Measurements
At 68 years old, Gary Graver height not available right now. We will update Gary Graver's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
|Body Measurements||Not Available|
|Eye Color||Not Available|
|Hair Color||Not Available|
Who Is Gary Graver's Wife?
His wife is April Silva (1 April 1974 - 1976) ( divorced) ( 1 child), Connie Nelson (22 November 1969 - 1972) ( divorced), Andrea Ellestad (19 November 1960 - ?) ( divorced) ( 1 child), Jillian Kesner (? - 16 November 2006) ( his death)
|Wife||April Silva (1 April 1974 - 1976) ( divorced) ( 1 child), Connie Nelson (22 November 1969 - 1972) ( divorced), Andrea Ellestad (19 November 1960 - ?) ( divorced) ( 1 child), Jillian Kesner (? - 16 November 2006) ( his death)|
Gary Graver Net Worth
His net worth has been growing significantly in 2020-2021. So, how much is Gary Graver worth at the age of 68 years old? Gary Graver’s income source is mostly from being a successful Cinematographer. He is from USA. We have estimated Gary Graver's net worth, money, salary, income, and assets.
|Net Worth in 2021||$1 Million - $5 Million|
|Salary in 2020||Under Review|
|Net Worth in 2019||Pending|
|Salary in 2019||Under Review|
|Source of Income||Cinematographer|
Gary Graver Social Network
(1989), "Deadly Revenge" (1988), Night Children (1989), Alienator (1990), L. A.
Bounty (1989) and Wizards of the Demon Sword (1991).
Also in 1988 Graver photographed B. O. R. N.
The next year was spent mostly on directing, photographing and editing Moon in Scorpio (1987) for Trans World Entertainment. This supernatural thriller set on the high seas with a vampire and astrological plot involving several decadent characters was re-edited many times by the producers and then released only on video, where it made money. Graver directed John Phillip Law, Britt Ekland, William Smith, Lewis Van Bergen, Jillian Kesner and April Wayne.
In 1986 he photographed Party Camp (1987) for Vestron, which had a limited theatrical release before going to video.
Other projects included Orson Welles' Magic Show (1985) and the essay film Filming 'Othello' (1978). On the morning of Welles' death, he and Graver were to begin filming "Julius Caesar" with Orson playing all of the parts. Two days previously the stage had been pre-lit at the UCLA Theatre Arts Department.
The solid, hard-hitting drama, as originally shot using the director's screenplay, emerged as a stupid comedy released by Film Ventures International as Texas Lightning (1981).
He also photographed The Toolbox Murders (1978), The Attic (1980) with Carrie Snodgress and Ray Milland, Mortuary (1983), Chattanooga Choo Choo (1984) and the remake of Stagecoach (1986) with Willie Nelson, Johnny Cash, Kris Kristofferson and Waylon Jennings.
Between times, in the midst of all the Welles projects, Graver maintained his professional status as a first-rate Hollywood cinematographer and shot many feature films for Roger Corman: Moonshine County Express (1977), Deathsport (1978) with David Carradine and Grand Theft Auto (1977), directed by Ron Howard.
Shooting was completed in Los Angeles in 1975 at the home of Peter Bogdanovich, after a marathon schedule that took the project to Arizona, France, Spain, Belgium, New York, Hollywood, Yugoslavia, Italy and England. Because of a series of legal entanglements the film was never brought through post-production, although Welles left an edited 45-minute version and editing notes.
During this period, in 1973, Welles, Kodar and Graver made a feature in Europe titled F for Fake (1973).
Frankenstein (1971), he decided to call on Orson Welles--whom he did not know nor had ever met--because he read that Welles was in town.
In 1970 Graver, Welles and his collaborator, Oja Kodar, started filming a feature project, The Other Side of the Wind (2018). The production of this movie was to take place over a period of five years.
Gary Graver was born and raised in Portland, Oregon. In high school he produced and starred in his own weekly radio show. Moving into acting, he studied and performed at the Portland Civic Theatre and Grant High School as well as being a child circus clown and magician. He built a theater in his basement, showing 16mm films and producing plays for the neighborhood kids. At age 20 he moved to Hollywood to continue his studies. He studied with Jeff Corey, Douglas Fowley, Lee J. Cobb and Lucille Ball. Finding acting jobs hard to come by, he switched to production work and produced and directed a short film and a feature. He was soon drafted into the military and shipped overseas, where he became a member of the U. S. Navy Combat Camera Group. Not really being a cameraman, he went to all the camera rental houses in Hollywood and picked up as much knowledge as he could to prepare for his two-year tour of duty in the Far East, including Vietnam, Japan and the Philippines. After leaving the military, he worked in documentaries for a year before getting into feature productions. After photographing such "classics" as Satan's Sadists (1969) and Dracula vs.
Welles explained that only one other cameraman had just called him up and said he wanted to work with him--Gregg Toland, who photographed Citizen Kane (1941). Welles and Graver immediately embarked on a series of half-hour shows for the Sears department store chain. It was called "An Evening with Orson Welles". It consisted of six stories told on film by Orson and then to be transferred to a new, up-and-coming medium--videotape. It was the beginning of a close friendship and creative filmmaking partnership.