How 4 Oscars and 24 Nominations Built Woody Allen’s Fortune — What He’s Worth Today

Woody Allen is one of those names that sparks two very different conversations at the same time: the movies and the mess. On the numbers side, his reported 2025 net worth sits around $140 million, and his catalog still pops up on cable and streaming like clockwork. On the awards shelf, he has four Oscars — three for Best Original Screenplay (Annie Hall, Hannah and Her Sisters, Midnight in Paris) and one for Best Director (Annie Hall) — plus a mountain of nominations: 16 in Original Screenplay alone, 24 overall. On the other side are the allegations, the backlash, and the way the industry’s attitudes toward him have shifted. Let’s lay it out cleanly.

How the money stacked up

Allen didn’t stumble into a big bank account — he built it across six decades by writing, directing, acting, and repackaging his work across formats. The early film checks set the tone and the later international runs kept it going.

• 1965: What’s New, Pussycat? hits $18.8 million, followed by 1967’s Casino Royale. Early momentum secured.
• 1969: Take the Money and Run lands him two Golden Laurel nominations and kicks off the do-it-all phase (write, direct, act).
• 1971–1973: Bananas, Everything You Always Wanted to Know About Sex (But Were Afraid to Ask), and Sleeper turn modest ~$2 million budgets into eight-figure returns.
• 1977: Annie Hall (opposite Diane Keaton) launches his most celebrated run, followed by the more somber Interiors and the iconic Manhattan.
• Early 1980s: A cooler stretch with Stardust Memories and A Midsummer Night’s Sex Comedy.
• Mid-1980s rebound: Broadway Danny Rose and The Purple Rose of Cairo build to Hannah and Her Sisters, which pulls $40.1 million off a $6 million budget.
• Late 1980s: Radio Days, New York Stories, and Crimes and Misdemeanors during his heavy-collaboration period with Mia Farrow.
• 1990s: Bullets Over Broadway and Mighty Aphrodite keep him commercially relevant; newcomer Mira Sorvino nabs an Oscar.
• 2005: Match Point, starring Scarlett Johansson, surges to $85.3 million on a $15 million budget.
• Beyond film: Broadway plays, bestselling humor books, comedy albums, and long-running jazz gigs add steady side income.
• Real estate: Reportedly sold a duplex for $14 million and bought a Manhattan townhome for $26 million — the portfolio moves matter at this scale.

The allegations, the denials, and the fallout

The accusations that he sexually abused his adopted daughter, Dylan Farrow, date back to 1992. They’ve been investigated multiple times without charges, and Allen has consistently denied wrongdoing, calling the claims fabricated. Dylan has repeatedly maintained her account as an adult.

When the MeToo movement reignited scrutiny, Hollywood’s posture toward Allen changed fast. Amazon Studios shelved A Rainy Day in New York before it eventually saw a limited rollout and grossed about $22 million worldwide (per the BBC). Wonder Wheel underperformed, reaching just $16 million globally. Some actors publicly distanced themselves; Timothée Chalamet said he regretted a past collaboration. Michael Caine, Colin Firth, and Greta Gerwig also stepped back from working with him.

Allen vs. the industry mood

In a September interview with the Wall Street Journal, Allen said the industry’s temperature changed after the allegations resurfaced and called cancel culture 'just dumb.' He has also stood by his account of events in his memoir Apropos of Nothing, where he wrote that Dylan became convinced she had been abused, tying it to Mia Farrow singing a song called 'Daddy in the Attic.'

'I am sick and tired of the misogynistic and unscientific narrative that I was coached or brainwashed. Far from it, this is a truth I reported as a child and have continued to recount consistently since. I am a 40-year-old woman. I was s*xually assaulted by Woody Allen.'

That was Dylan Farrow’s response to the Journal, and it reflects how immovable each side is — and how hard it is for the public to land anywhere but one side or the other.

'If an actor says, 'I won’t work with him,' basically, the actor is thinking, 'I’m doing a good thing,' from his point of view, 'I’m making a contribution, I’m making a statement,' but he’s really making a mistake. Some day he may learn that.'

Allen also said he isn’t angry at those who have distanced themselves, though he added he’s surprised by how quickly people embrace the accusations when they read them. Mia Farrow, for her part, told CBS’s Sunday Morning: 'I completely understand if an actor decides to work with him. I’m not one who’d say, 'Oh, they shouldn’t.''

So where does that leave his legacy?

Financially and artistically, Allen’s footprint is undeniable — the award totals, the films that still circulate, the overseas box office that kept humming well into the 2000s. But the long shadow of the allegations has clearly reshaped how the industry treats his work and whether talent wants to stand next to it.

Will future viewers separate the filmography from the accusations, or decide they’re inseparable? That’s the question his catalog has to live with now, no matter how many Oscars or worldwide grosses are attached to it.