Joe Roth Biography,Age,Height,Early Life,Wife,Career,Movies,N | Joe Roth Biography,Age,Height,Early Life,Wife,Career,Movies,N

Joe Roth Biography,Age,Height,Early Life,Wife,Career,Movies,Net worth And Interview

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Joe Roth Biography

Joe Roth born Joseph E.Roth, is an American film executive,producer and director.He co-founded Morgan Greek Productions in 1988 and was chairman of 20th Century Fox (1989-1993),Caravan Pictures (1993-1994) and Walt Disney Studios (1994-2000)before founding Revolution Studios in 2000,then Roth Films.

Joe Roth Age

He was born on 13th June 1948 in New York City,New York,United States.He’s 71 years old as of 2019.

Joe Roth Height

He stands at a height of 5 feet,1 inch taller.

Joe Roth Early Life

Joe Roth was born on June 13, 1948, in New York City, the United States of America to Lawrence Roth, a foreman at a plastics plant, and Frances Roth.

Joe Roth

His father volunteered his son to be a plaintiff in the ACLU’s effort to abolish obligatory prayer in the public schools in 1959.

The case was finally filed in U.S. Supreme Court in 1962 and the court ruled that such prayer was unconstitutional under the First Amendment, in the landmark case of Engel v. Vitale.

Joe graduated from Boston University with a bachelor’s degree in communication in the year 1970.

Regarding his ethnicity and nationality, Joe is a White American. He was brought up in his New York City hometown with his younger brother actor, George Roth.

Joe Roth Wife|Divorced

An American film executive, producer and film director, Joe Roth is currently single. He previously married to film producer Donna Roth.

The couple married in 1980 and divorced in 2004.

They had three children. Zack Roth is his first son, Daniel Pinder Roth is his second son and Julia Roth is his third daughter.

Joe Roth Career

Over the course of his career, he has produced over 40 films, and has directed six to date, including 1990’s Coupe de Ville, 2001’s America’s Sweethearts and 2006’s Freedomland.


Roth, who was ranked 6th in Premiere Magazine’s 2003 Hollywood Power List, produced the 76th annual Academy Awards.

Roth announced that in October 2007, when Revolution’s distribution deal with Sony Pictures ends, Revolution Studios will close and he will join Sony as a producer.

On November 13, 2007, Roth was introduced as the majority owner of a Seattle, Washington–based Major League Soccer franchise along with Paul Allen.

Seattle Sounders FC—which calls CenturyLink Field home—began regular season play in 2009. On November 12, 2015, Roth passed on majority ownership to Adrian Hanauer.

Joe Roth Movies

As a Producer

Year     Title
1976 Tunnel Vision
1978 Our Winning Season
1979 Americathon
1982 Ladies and Gentlemen, The Fabulous Stains
1983 The Final Terror
1984 The Stone Boy
1985 Moving Violations
1986 Off Beat
Where the River Runs Black
Streets of Gold
1987 P.K. and the Kid
1988 Young Guns
1989 Major League
1990 Nightbreed
1994 Angels in the Outfield
A Low Down Dirty Shame
1995 Houseguest
The Jerky Boys: The Movie
Tall Tale
While You Were Sleeping
1996 Before and After
2004 The Forgotten
2007 The Great Debaters
2010 Alice in Wonderland
2012 Snow White and the Huntsman
2013 Oz the Great and Powerful
2014 Heaven Is for Real
Million Dollar Arm
2015 In the Heart of the Sea
2016 Miracles from Heaven
The Huntsman: Winter’s War
Alice Through the Looking Glass
2017 XXX: Return of Xander Cage
2019 Maleficent: Mistress of Evil
2020 The Voyage of Doctor Dolittle

As Executive Producer
Year Title
1977 Cracking Up
1984 Bachelor Party
1987 Revenge of the Nerds II: Nerds in Paradise
1988 Dead Ringers (uncredited)
1989 Skin Deep
Enemies, a Love Story
1990 Young Guns II
The Exorcist III
Pacific Heights
1993 The Three Musketeers
1994 Angie
2003 Tears of the Sun
Daddy Day Care
Hollywood Homicide
Mona Lisa Smile
2005 An Unfinished Life
2010 Knight and Day
2014 Sabotage

As Director
Year Title
1986 Streets of Gold
1987 Revenge of the Nerds II: Nerds in Paradise
1990 Coupe de Ville
2001 America’s Sweethearts
2004 Christmas with the Kranks
2006 Freedomland

As Actor
Year Title Role
1976 Tunnel Vision Player-Announcer
1977 Cracking Up Man (uncredited)

Joe Roth Net worth

Roth is an American film executive, producer and film director who has a net worth of $600 million.

Joe Roth Interview

Producer Joe Roth Talks OZ THE GREAT AND POWERFUL, Sam Raimi, MALEFICENT, the ALICE IN WONDERLAND Sequel, and More
      MARCH 6, 2013

From director Sam Raimi, Oz the Great and Powerful imagines the origins of the wizard that was first brought to life in author L. Frank Baum’s book The Wizard of Oz, in a fantastical adventure that utilizes 3D to enhance what is truly an awe-inspiring movie-going experience.  When small-time circus magician Oscar Diggs (James Franco) is unexpectedly carried from Kansas to the vibrantly beautiful Land of Oz in a tornado, he soon meets three witches – Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams) – who are unsure about whether he truly is the great wizard that they’ve been expecting.  In one of the biggest tales of fake it ‘til you make it, Oscar must use his magical skill and a little ingenuity to help good triumph over evil.

At the film’s press day, Collider got the opportunity to speak with producer Joe Roth during both the press conference and a 1-on-1 interview about how this project came about, his prior experience with the original The Wizard of Oz film, how involved he was in shaping which Baum tales they would blend together to tell this origin story, how important it was to center the film around a flawed hero, why Sam Raimi was the right director, assembling this talented cast, and the most challenging aspects of such a big production.  He also talked about the high-risk and high-reward involved in taking on such iconic characters (he’s done it with OzAlice in Wonderland and Snow White), their spin on the Sleeping Beauty story forMaleficent and how crucial the casting of Angelina Jolie and Elle Fanning was, how they’re approaching the Alice in Wonderland sequel, and that he hopes to go into production on a very low-budget movie based on the book Heaven is for Realin the summer.  Check out what he had to say after the jump. 

Question:  As a producer on a movie like this, is it a little bit nerve-wracking to know that you can’t really even see the finished product with the effects and 3D finished until pretty close to the release date?


JOE ROTH:  Yeah, it’s a little nerve-wracking, but there are steps along the way.  I had seen the movie in 2D, many, many, many times.  The last piece that comes in is the 3D.  You see examples of it, along the way, and you know the guys that are working on it, which gives you a bit more comfort. 

How did you come to this?  Were you brought the idea and then immediately signed on, or did you need some convincing to get involved?


ROTH:  Well, the truth is that a writer, named Mitchell Kapner, came in with a couple of ideas that he didn’t sell.  And then, I asked him what he was doing and he said that he was reading the Baum books to his children.  I wasn’t aware that there was a series of books about Oz, so I said, “Well, tell me some of the storylines,” and the storyline that captured my attention was, who was the guy behind the curtain and how did he get there?  I loved The Wizard of Oz, but Oz was there for two minutes and I didn’t know who he was.  So, I thought, “What a great idea to go back to the beginning and not trample on this hallowed ground, and tell his story.

What was your prior experience with the original The Wizard of Oz film?

ROTH:  Well, I watched The Wizard of Oz, as a kid.  I think it came out every Thanksgiving or Christmas, and I would never miss it.  It was a great, fantastical journey.  It was one of those two or three movies that I couldn’t wait to see, every year, and it resonates for so many different reasons.  Each of the main characters have to go through a transformation.  The coward becomes a hero.  Someone gets a heart.  Dorothy gets to grow up.  In the Baum book, it’s not a dream.  In the MGM movie, it is a dream.  We wanted to make sure that we were consistent with Baum’s work, and say this is not a dream, this is really happening.  It’s just a really memorable piece of work for not just me, but for most everybody.

Were you very involved in shaping what you would take from the books and how the story would blend together? 

ROTH:  Yes

Were there a lot of ideas that you considered?

ROTH:  Yeah, there was a lot on the ground, not that we shot, but that we couldn’t use in the script because it was just too much.  There were all races of characters that we couldn’t use.  You just try to shape it as best you can.

Was it important to make sure this was centered around a flawed hero and that it wasn’t somebody who things came too easy for?

ROTH:  I thought it was very important.  One of the reasons that I like origin stories is that I know where they’re going to end.  I know that here’s a guy who, at the end of this story, will have done a tremendously selfless act.  He will have essentially died and be seen no more in that form.  So, I think that gives you room to have a flawed character because you know his end point.  There were two simple, very central themes.  One was that we all want to have a life with second chances, and this is a second chance movie.  This man gets a second chance.  And also, we all want to believe that no matter how selfish we are or can be, that there’s a selflessness in us that, when the occasion comes, we will rise to it.   

Was it immediately Sam Raimi that you thought of to direct?

ROTH:  It was immediately Sam Raimi that I thought of.  As a producer, I went, “Okay, I’d like somebody who’s been to the top of the mountain.”  The Spider-Man were certainly at the top of the mountain.  I wanted somebody who has heart, as Sam does.  I wanted somebody who was brave, who was a showman, who was not afraid of the technology, and who the actors would respond to.  That cuts down a lot of directors.  So, Sam was a guy who was at the very top of each one of those things.  It would have been a very different story with someone else.  If we had gone with somebody who was more interested in the technique of it, we likely wouldn’t have had the heart.  If we had gone with somebody who was just an actor’s director, I’m not sure how we could have ever gotten the spectacle. 

What was it about this cast that drew you to these actors? 

ROTH:  The idea behind it was to find a quartet of actors who were in the prime of their careers, who only had their career ahead of them, and that a movie-going audience would know who they were and would be attractive to people.  And then, what you really hope for, as a producer, is that 20 or 30 years from now, when you’re watching this movie like you would with The Wizard of Oz, this would be a step along the way of four very distinguished careers.  The last person cast was Michelle [Williams], who I had wanted from the beginning, but she was living in upstate New York with her kid.  It wasn’t the material or Sam.  She just wasn’t ready to work.  And then, once we got Rachel [Weisz] and Mila [Kunis] and James [Franco], she came to us.  She never turned us down, she was just unavailable.  But, I think she had a great time.

A movie like this depends on the heart of the story and, to get that, you have to rely on the soul of an actor coming through their performance, primarily through their eyes.  So, when you have a character that’s a China doll, what were the challenges of still conveying that emotion?

ROTH:  We had a little bit of a failsafe in that we had a master marionette actually act out the China Girl with however many strings there were.  It seemed like a thousand.  But, you could see the emotion coming out, in doing that, and if he could do that, then certainly our artists could render that, as well. 

With all of the aspects of production that need to come together in order to pull something like this off, what was the most challenging thing? 

ROTH:  There were so many!  There were the schedules of the actors, who were all busy doing other things, as well.  Rachel was doing the Bourne movie, right in the middle of this, Michelle was promoting My Week with Marilyn, Mila was doing Ted, and James was doing 53 things, at the same time.  That was nerve-wracking.  And then, there’s seeing it all come together.  Now, the nerve-wracking part is making sure that we, in a not heavy-handed way, tell people that this is not a remake of The Wizard of Oz.  This is a story that takes place beforehand.  That’s nerve-wracking. 

Were you able to apply anything you had learned from making Alice in Wonderland to this film?

ROTH:  If you are a producer with a brain, at all – and not even a big one, but a brain – you try to at least reverse engineer thoughts.  So, with Alice, we had a story that people loved, we picked out things that we thought made it memorable, we hired a fantastic visual director with Tim Burton, and had a really wonderful cast.  So, when the idea of, “Who’s the man behind the curtain and how did he get there?,” I was immediately struck by the idea.  Here is a movie that everybody had seen, but nobody really knew who that guy was.  He was only in the last few minutes of the movie.  But, I thought that was a really wonderful starting point.  And then, I brought along Robert Stromberg, who I worked with as the production designer on Alice, and introduced him to Sam, and he became an integral part of that. And for me, as a producer, casting is the most fun, and I wanted to make sure that we had a cast that would stand the test of time.

You’ve taken on OzAlice in Wonderland and Snow White, and now you’re doing Maleficent.  Do you get nervous about taking on such iconic characters? 

ROTH:  It’s high-risk, high-reward.  These are stories that have translated into every language, and that people from every generation know, in every country.  The job is for me to figure out which ones really do stand the test of time and what it is about them that makes them so universal.  Once I think I’ve figured it out, which I may or may not be right about, I have to say, “Okay, how do I use modern technology and great filmmakers to make it feel fresh?” 

How did you approach the Sleeping Beauty story for Maleficent?

ROTH:  We flipped it on its head.  Linda Woolverton wrote that, who also wrote Alice in Wonderland, and she also wrote Beauty and the Beast and The Lion King.  So, I’m trusting her imagination and understanding of telling a story that the curse on Sleeping Beauty wasn’t made by someone who was completely evil, and that she also had a story.

Was the casting crucial then, so that audiences would feel sympathy for that character? 

ROTH:  Yes.  It would have been really difficult to make Maleficent without Angie (Angelina Jolie).  And I think that movie will be Elle Fanning’s coming out.  People will be like, “Oh, I remember Elle Fanning when she was in Maleficent.  That was where I first saw her.” 

How are you approaching the sequel for Alice in Wonderland?

ROTH:  It’s a whole new cloth.  In that case, I went to the writer, Linda Woolverton, who came up with a story that takes place in a different time, but has the same characters.

Do you know which of the many projects you have in development is most likely to go into production next? 

ROTH:  The next movie that I’m going to put into production is the opposite of the four movies I just made.  It’s a very low-budget movie based on a book called Heaven is for Real.  I think we’ll be in production this summer.

Is it important to you to also do those smaller films? 

ROTH:  Absolutely!  I’m attracted by story, but I also don’t want to get caught up doing one thing, over and over again.  So, I think the next two or three films that I do will be earth-bound and less monumental.