In 1979, Sam founded Renaissance Motion Pictures with good friend and president of Renaissance Motion Pictures Bruce Campbell in Ferndale, Michigan. Sam served as vice president.
Sam founded and was president of the Michigan State University Society for Creative Filmmaking in 1978.
Sam's family name was changed from the German name Reingewertz.
Sam's oldest brother, Sander, died in a swimming pool accident at the age of 15 while on a scholarship trip to Israel. Sander used to perform magic tricks for Sam and his friends; when he died, Sam learned to perform the tricks himself.
Sam was born on the same day as performer "Weird Al" Yankovic.
Sam's wife, Gillian, is the daughter of actor Lorne Greene.
During the mid-80s, Sam used to live in an apartment with actor Bruce Campbell, writer/director Scott Spiegel, writer/director Joel Coen, writer/producer Ethan Coen and actresses Holly Hunter, Frances McDormand and Kathy Bates.
Flimmakers Joel and Ethan Coen use many of Sam's trademark camera movements in their films.
Sam attended Michigan State University in East Lansing MI, as an English major.
Sam is the father of three children.
Sam has been married to actress Gillian Greene since 1993.
Sam is 5' 11" (1.80 m) tall.
Sam used the pseudonym "R.O.C. Sandstorm" for his editing work on his film Army of Darkness (1993). This same pseudonym was also used by Sam's friend and favorite actor Bruce Campbell when he wrote the screenplay for the 1992 film The Nutt House (1992).
Sam is the brother of actor Ted Raimi.
Sam is an avid comic book collector. This played a large part in his desire to direct the Spider-Man films, and is one of the reasons that Marvel Comics wanted him to get the job.
Sam was the director of the cult classic film, The Evil Dead (1981), and its sequels, and is best friends with the star of the film, Bruce Campbell.
Sam's car, a yellow 1973 Oldsmobile Delta 88, has appeared onscreen in all of his films with the obvious exception of The Quick and the Dead (1995). Although Bruce Campbell has stated that the chassis for the car was used in one of the wagons for the movie.
Sam is a huge Three Stooges fan.
Sam Raimi: Audiences really don't go see a lot of movies - except in L.A. and New York I think, and maybe one or two other cities, maybe Chicago - where there are foreign-born, foreign-speaking actors. That's just the culture we are.
Sam Raimi: I love the Spider-Man character. And that's what's at the heart of it. That's why I really love it. But there's another fun thing that I never had before where you make your movie and a lot of people see it and they seem to like it. So it's like oh my god, I've always been the nerd, lame ass guy on the side, but I made something that a lot of people like. I know that won't last for long, and I'm obviously riding the Spider-Man thing. He's a popular character for 40 years. So anyone who makes a Spider-Man movie gets to make a popular movie. But it's fun to be popular, even if it's a brief, lame thing, and even though I know it's not important. I can't help it. It's really fun and I know how quickly things turn in Hollywood.
Sam Raimi: And it was great making movies in college because if you made the right movie you'd get this cigar box full of $5 and $1 bills, you'd have like 500 bucks after a weekend. And it was like oh my god, we're rich! We've got to make another picture. But if the movie bombed, you spent a lot of money on the movie, on the ads at the State news, renting the theater, lugging these heavy speakers, the projector bulbs, [and] it was a washout, you realize this movie is not making money. I'm broke. I've got to make the movie that they want to see. So it was a great learning experience.
Sam Raimi: And I do think there's a new crop of American filmmakers coming. And they're in high school right now. They're in Mrs. Dawson's English class! They've got new tools, they've got computers and the video cameras, which are the equivalent of our super-8mm training ground. It's even better because they can shoot for free. We had to gather up like four bucks, five bucks to buy a roll of film, another three bucks to process it, and that was a very limiting [thing], in high school you've gotta rake leaves for three hours to shoot a roll of film! So these new filmmakers have these advanced editing tools with the incredible manipulation of imagery available on a standard computer.
Sam Raimi: I think if people love the source material, and that's really whey they're making the movie, then that's a natural outcome. That the things we all love, and work with the creators of the movie to save the things that were so effective. I think it's situations where people don't love the material, they just say, oh that was a big hit, it could be a big hit here. It's just generalizing. Things got lost if you don't understand why people like a thing. When you love something, it's easy to say, 'That's my son, cut out his heart? No, he needs the heart.' It's harder when you don't love the thing yourself.