John Marcellus Huston (/ˈhjuːstən/; August 5, 1906 – August
28, 1987) was an American-Irish film director, screenwriter and
actor.[3] He wrote the screenplays for most of the 37 feature films he
directed, many of which are today considered classics: The Maltese
Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt
Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City
(1972) and The Man Who Would Be King (1975). During his 46-year
career, Huston received 15 Oscar nominations, won twice, and directed
both his father, Walter Huston, and daughter, Anjelica Huston, to
Oscar wins in different films.
Huston was known to direct with the vision of an artist, having
studied and worked as a fine art painter in Paris in his early years.
He continued to explore the visual aspects of his films throughout his
career: sketching each scene on paper beforehand, then carefully
framing his characters during the shooting. While most directors rely
on post-production editing to shape their final work, Huston instead
created his films while they were being shot, making them both more
economical and cerebral, with little editing needed.
Most of Huston's films were adaptations of important novels, often
depicting a "heroic quest," as in Moby Dick, or The Red Badge of
Courage. In many films, different groups of people, while struggling
toward a common goal, would become doomed, forming "destructive
alliances," giving the films a dramatic and visual tension. Many of
his films involved themes such as religion, meaning, truth, freedom,
psychology, colonialism and war.
Before becoming a Hollywood filmmaker, he had been an amateur boxer,
reporter, short-story writer, portrait artist in Paris, a cavalry
rider in Mexico, and a documentary filmmaker during World War II.
Huston has been referred to as "a titan", "a rebel", and a
"renaissance man" in the Hollywood film industry. Author Ian Freer
describes him as "cinema's Ernest Hemingway"—a filmmaker who was
"never afraid to tackle tough issues head on."[4]
Contents
1 Early life
2 Early career as writer
3 Screenwriter and director
3.1 The Maltese Falcon (1941)
3.2 Army years during World War II
3.3 The Treasure of the Sierra Madre (1948)
3.4
The Asphalt Jungle

The Asphalt Jungle (1950)
3.5 The Red Badge of Courage (1951)
3.6 The African Queen (1951)
3.7
House Committee on Un-American Activities

House Committee on Un-American Activities period
3.8 Moby Dick (1956)
3.9 The Misfits (1961)
3.10 Freud: the Secret Passion (1962)
3.11
The Night of the Iguana (1964)
3.12 The Bible: In the Beginning (1966)
3.13 Involvement with the Irish Film Industry
3.14 Fat City (1972)
3.15 The Man Who Would Be King (1975)
3.16 Wise Blood (1979)
3.17 Under the Volcano (1984)
3.18 The Dead (1987)
4 As an actor
5 Movie themes
6 Directing techniques
7 Awards and honors
8 Personal life and death
9 Archives
10 Filmography
10.1 Director
10.2 Screenwriter
10.3 Actor
11 References
12 External links
Early life[edit]
John Huston

John Huston was born on August 5, 1906, in Nevada, Missouri. He was
the only child of Rhea[5] (née Gore) and Canadian-born Walter Huston,
originally Walter Houghston. His father was an actor, initially in
vaudeville, and later in films. His mother initially worked as a
sports editor for various publications but gave it up after Huston was
born. Similarly, his father gave up his stage acting career for steady
employment as a civil engineer, although he returned to stage acting
within a few years. He would later become highly successful on both
Broadway and then in motion pictures. He had Scottish, Scotch-Irish,
English and Welsh ancestry.
Huston's parents divorced in 1913, when he was 6, and as a result much
of his childhood was spent living in boarding schools. During summer
vacations, he traveled with each of his parents separately —
with his father on vaudeville tours, and with his mother to racetracks
or other sports events. The young Huston benefited greatly from seeing
his father act on stage, as he was later drawn to the world of
acting.[2] Some critics, such as Lawrence Grobel, surmise that his
relationship with his mother may have been the cause of his five
marriages, and why few of his relationships lasted. Grobel wrote,
"When I interviewed some of the women who had loved him, they
inevitably referred to his mother as the key to unlocking Huston's
psyche."[6] According to actress Olivia de Havilland, "she [his
mother] was the central character. I always felt that John was ridden
by witches. He seemed pursued by something destructive. If it wasn't
his mother, it was his idea of his mother."[6]
As a child he was often ill and was treated for an enlarged heart and
kidney ailments. He recovered after an extended bedridden stay in
Arizona, and moved with his mother to Los Angeles, where he went to
Abraham Lincoln High School. He dropped out of high school after two
years to become a professional boxer, and by age 15 was already a
top-ranking amateur lightweight boxer in California. He ended his
brief boxing career after suffering a broken nose.[2]
He also "plunged" himself into a multitude of interests, including
abstract painting, ballet, English and French literature, opera, and
horseback riding. Living in Los Angeles he became "infatuated" with
the new film industry and motion pictures, but as a spectator only. To
Huston, "
Charlie Chaplin

Charlie Chaplin was a god."[7]
He moved back to New York to live with his father, who was then acting
in off-Broadway productions, and John had a few small roles.[8] He
remembers, while watching his father rehearse, being fascinated with
the mechanics of acting:
What I learned there, during those weeks of rehearsal, would serve me
for the rest of my life.[7]
After a short period acting on stage, and having undergone surgery, he
traveled on his own to Mexico. During his two years there, among his
other adventures, he got a position riding as an honorary member of
the Mexican cavalry. He returned to Los Angeles and married a
girlfriend from high school, Dorothy Harvey. Their marriage lasted
seven years, (1926–1933).
Early career as writer[edit]
During his stay in Mexico, he wrote a play called "Frankie and
Johnny", based on the ballad of the same title. After selling it
easily, he decided that writing would be a viable career, and he
focused on it. His self-esteem was enhanced when H. L. Mencken, editor
of the popular magazine, American Mercury, bought two of his stories,
"Fool" and "Figures of Fighting Men." During subsequent years his
stories and feature articles were published in Esquire, Theatre Arts,
and The New York Times. He also worked for a period on the New York
Graphic. In 1931, when he was 25, he moved back to Los Angeles with
his hopes aimed at writing for the blossoming film industry, where the
silent film industry had given way to "talkies", and writers were in
demand.[8] In addition, his father had earlier moved there where he
was already successful in a number of films.
He received a script editing contract with Samuel Goldwyn Productions,
but after six months of receiving no assignments, quit to work for
Universal Studios, where his father was by then a star. At Universal,
he got a job in the script department, and began by writing dialogue
for a number of films in 1932, including Murders in the Rue Morgue, A
House Divided, and Law and Order. The last two also starred his
father, Walter Huston. In addition, House Divided was directed by
William Wyler, who gave Huston his first real "inside view" of the
filmmaking process during all stages of production. Wyler and Huston
would also later become close friends and collaborators on a number of
leading films.[8]
Huston gained a reputation as a "lusty, hard-drinking libertine"
during his first years as a writer in Hollywood.[2] Huston describes
those years as a "series of misadventures and disappointments",
however. His brief career as a Hollywood writer ended suddenly after a
car he was driving struck and killed actress Tosca Roulien, wife of
actor Raul Roulien. There is a rumor that it was actually Clark Gable
that was actually to blame for the hit and run but MGM General
Manager, Eddie Mannix, paid Houston to take the blame.[9] He was
absolved of blame by a coroner's jury, but the incident left him
"traumatized" nonetheless, and he moved to London and Paris, living as
a "drifter."[2]
By 1937, after five years, the 31-year-old Huston returned to
Hollywood intent on being a "serious writer." He also married Lesley
Black. His first job was as scriptwriter with Warner Brothers Studio,
with his personal longterm goal of directing his own scripts. For the
next four years, he co-wrote scripts for major films such as Jezebel,
The Amazing Dr. Clitterhouse, Juarez,
Dr. Ehrlich's Magic Bullet

Dr. Ehrlich's Magic Bullet and
Sergeant York (1941).[2] He was nominated for an
Academy Award

Academy Award for his
writing both Ehrlich and Sergeant York. Huston writes that Sergeant
York, which was directed by Howard Hawks, has "gone down as one of
Howard's best pictures, and
Gary Cooper

Gary Cooper had a triumph playing the
young mountaineer."[10]:77
Huston was becoming a recognized and respected screenwriter. He was
able to persuade Warners to give him a chance to direct, under the
condition that his next script also became a hit. Huston writes:
They indulged me rather. They liked my work as a writer and they
wanted to keep me on. If I wanted to direct, why, they'd give me a
shot at it, and if it didn't come off all that well, they wouldn't be
too disappointed as it was to be a very small picture.[7]
The next script he was given to work on was High Sierra (1941), to be
directed by Raoul Walsh. The film became the hit Huston wanted. It
also made
Humphrey Bogart

Humphrey Bogart a star with his first major role, as a
gunman on the run. Warners kept their end of the bargain, and gave
Huston his choice of subject.[7]
Screenwriter and director[edit]
The Maltese Falcon (1941)[edit]
For his first directing assignment, Huston chose Dashiell Hammett's
detective thriller, The Maltese Falcon, a film which had already
failed at the box office in two earlier versions by Warners. However,
studio head
Jack L. Warner

Jack L. Warner approved of Huston's treatment of Hammett's
1930 novel, as he stood by his word to let Huston choose his first
subject.[7]
Huston kept the screenplay close to the novel, keeping much of
Hammett's dialogue, and directing it in an uncluttered style, much
like the book's narrative. He also did the unusual preparation for
this, his first directing job, by sketching out each shot beforehand,
including camera positions, lighting, and compositional scale, for
such things as closeups.[8]
He especially benefited by selecting a superior cast, giving Humphrey
Bogart the lead role. Bogart was happy to take the role, as he liked
working with Huston. In addition, the supporting cast included other
noted actors: Mary Astor, Peter Lorre,
Sydney Greenstreet

Sydney Greenstreet (his first
film role), and his own father, Walter Huston. The film, however, was
given only a small B-movie budget, and received minimal publicity by
Warners, as they had low expectations.[7] The entire film was made in
eight weeks for only $300,000.[2]
Upon receiving immediate enthusiastic response by the public and
critics, Warners was surprised. Critics hailed the film as a
"classic", and up until the present day it is claimed by many to be
the "best detective melodrama ever made."[7] Herald Tribune critic
Howard Barnes called it a "triumph."[7] Huston again received an
Academy Award

Academy Award nomination for the screenplay. After this film, Huston
would from then on direct all of his screenplays, except for one,
Three Strangers (1946).[8] In 1942, he directed two more hits, In This
Our Life (1942), starring Bette Davis, and Across the Pacific, another
thriller starring Humphrey Bogart.
Army years during World War II[edit]
Play media
The Battle of San Pietro (1944)
In 1942 he served in the
United States Army

United States Army during
World War II

World War II to
make films for the Army Signal Corps. While in uniform with the rank
of captain, he directed and produced three films that some critics
rank as "among the finest made about World War II: Report from the
Aleutians (1943), about soldiers preparing for combat; The Battle of
San Pietro (1945), the story (censored by the Army) of a failure by
America's intelligence agencies which resulted in many deaths, and Let
There Be Light (1946), about psychologically damaged veterans, also
censored for 35 years, until 1981.[2]
He rose to the rank of major and received the
Legion of Merit

Legion of Merit award
for "courageous work under battle conditions."[2] Nonetheless, all of
his films made for the Army were "controversial", and either not
released, censored, or banned outright, as they were considered
"demoralizing" to soldiers and the public.[8] Years later, after
moving to Ireland, his daughter, actress Anjelica Huston, recalled
that the "main movies we watched were the war documentaries."[11]:10
Huston did an uncredited rewrite of Anthony Veiller's screenplay for
The Stranger (1946), a film he was to have directed. When Huston
became unavailable
Orson Welles

Orson Welles was offered the opportunity to direct.
He had been cast in the role of a high-ranking Nazi fugitive who
manages to settle in New England under an assumed name.[12]
The Treasure of the Sierra Madre (1948)[edit]
His next picture, which he wrote, directed, and briefly appeared in as
an American, asked to "help out a fellow American, down on his luck",
was The Treasure of the Sierra Madre (1948). It would become one of
the films which established his reputation as a leading filmmaker. The
film, also starring Humphrey Bogart, was the story of three drifters
who band together to prospect for gold. Huston also gave a supporting
role to his father, Walter Huston.
Warners studio was initially uncertain what to make of the film. They
had allowed Huston to film on location in Mexico, which was a "radical
move" for a studio at the time. They also knew that Huston was gaining
a reputation as "one of the wild men of Hollywood." In any case,
studio boss
Jack L. Warner

Jack L. Warner initially "detested it." But whatever
doubts Warners had were soon removed, as the film achieved widespread
public and critical acclaim. Hollywood writer
James Agee

James Agee called it
"one of the most beautiful and visually alive movies I have ever
seen."[7] Time magazine described it as "one of the best things
Hollywood has done since it learned to talk."[7] Huston won Oscars for
Best Director and Best Adapted Screenplay; his father won for Best
Supporting Actor. It also won other awards in the U.S. and overseas.
Film Comment

Film Comment magazine devoted four pages to the film in its May–June
1980 edition, with author Richard T. Jameson offering his impressions:
This film has impressed itself on the heart and mind and soul of
anyone who has seen it, to the extent that filmmakers of great
originality and distinctiveness like
Robert Altman

Robert Altman and Sam Peckinpah
can be said to have remade it again and again ... without
compromising its uniqueness.[7]
Also in 1948 he directed his next film, Key Largo, again with Humphrey
Bogart starring. It was the story about a disillusioned returning
veteran clashing with gangsters on a remote Florida key. It co-starred
Lauren Bacall, Claire Trevor, Edward G. Robinson, and Lionel
Barrymore. The film was an adaptation of the stage play by Maxwell
Anderson, and the film itself seemed overly stage-bound for many
viewers. However, the "outstanding performances" by all the actors
saved the film, and
Claire Trevor

Claire Trevor won an Oscar for best supporting
actress.[7] Huston was annoyed that the studio cut several scenes from
the final release without his agreement. That, along with some earlier
disputes, angered Huston enough that he left the studio when his
contract expired.[7]
The Asphalt Jungle

The Asphalt Jungle (1950)[edit]
In 1950 he wrote and directed The Asphalt Jungle, a film which broke
new ground by depicting criminals as somewhat sympathetic characters,
simply doing their professional work, "an occupation like any
other",[8] or what Huston calls "a left-handed form of human
endeavor."[10]:177 Huston achieved that effect by giving "deep
attention" to the plot, involving a large jewelry theft, by examining
the minute, step by step details and difficulties each of the
characters had of carrying it out. In doing so, some critics felt that
Huston had achieved an almost "documentary" style.[8] His assistant
director
Albert Band

Albert Band explains further:
I'll never forget it. We got on that set and he composed a shot in
which ten elements were working all at the same time. Took half a day
to do it, but it was fantastic. He knew exactly how to shoot a
picture. His shots were all painted on the spot...He had a great eye
and he never lost his sense of composition.[13]:335
Film critic
Andrew Sarris considered it to be "Huston's best film",
and the film that made
Marilyn Monroe

Marilyn Monroe a recognized actress. Sarris
also notes the similar themes in many of Huston's films, as
exemplified by this one: "His protagonists almost invariably fail at
what they set out to do."[14] This theme was also similar to the story
in Treasure of the Sierra Madre, where greed became the cause of the
group's undoing.
It starred
Sterling Hayden

Sterling Hayden and Huston's personal friend, Sam Jaffe. It
also became the first serious role for Marilyn Monroe, according to
Huston: "it was, of course, where
Marilyn Monroe

Marilyn Monroe got her
start."[10]:177 Monroe said Huston was the first genius she had ever
met; and he made her feel that she finally had a chance of becoming a
professional actress:[13]:336
Even though my part was a minor one, I felt as if I were the most
important performer in the picture—when I was before the camera.
This was because everything I did was important to the
director.[13]:336
The film succeeded at the box office and Huston was again nominated
for an Oscar for best screenplay and best director, along with winning
the
Screen Directors Guild

Screen Directors Guild Award.[7] It would subsequently become a
model for many similar movies by other filmmakers.
The Red Badge of Courage (1951)[edit]
After completing The Asphalt Jungle, Huston's next film, The Red Badge
of Courage (1951), was of a completely different subject: war and its
effect on soldiers. While in the army during World War II, he became
interested in Stephen Crane's classic
American Civil War

American Civil War novel of the
same title. For the starring role, Huston chose
World War II

World War II hero
Audie Murphy

Audie Murphy to play the young Union soldier who deserts his company
out of fear, but later returns to fight alongside them. MGM, however,
saw the message of the movie as too antiwar. Without Huston's input,
they cut down the running time of the film from eighty-eight minutes
to sixty-nine, added narration, and deleted what Huston felt was a
crucial scene.[8]
The movie did poorly at the box office. Huston suggests that it was
possibly because it "brought war very close to home."[15] Huston
recalls that at the preview showing, before the film was halfway
through, "damn near a third of the audience got up and walked out of
the theater."[15] Despite the "butchering" and weak public response,
film historian Michael Barson describes the movie as "a minor
masterpiece."[16]
The African Queen (1951)[edit]
Humphrey Bogart

Humphrey Bogart in The African Queen (1951)
Before the Asphalt Jungle opened in theaters, Huston was already in
Africa shooting The African Queen (1951), a story based on C. S.
Forester's popular novel. It starred
Humphrey Bogart

Humphrey Bogart and Katharine
Hepburn in a combination of romance, comedy and adventure. Barson
calls it "one of the most popular Hollywood movies of all time."[16]
The film's producer, Sam Spiegel, urged Huston to change the ending to
allow the protagonists to survive, instead of dying. Huston agreed,
and the ending was rewritten. It became Huston's most successful film
financially, and "it remains one of his finest works."[8] Huston was
nominated for two Academy Awards—Best Director and Best Adapted
Screenplay. Bogart, meanwhile, won his only Oscar for Best Actor for
his role as Charlie Allnut. Hepburn wrote about her experiences
shooting the film in her memoir, The Making of the African Queen: Or
How I went to Africa with Bogart, Bacall, and Huston and almost lost
my mind.[17]
Clint Eastwood

Clint Eastwood directed and starred in the film White
Hunter, Black Heart, based on Peter Viertel's novel of the same name,
which tells a fictional version of the making of the film.[18]
House Committee on Un-American Activities

House Committee on Un-American Activities period[edit]
In 1952 Huston moved to Ireland as a result of his "disgust" at the
"witch-hunt" and the "moral rot" he felt was created by House
Committee on Un-American Activities (HUAC), which had affected many of
his friends in the movie industry. Huston had, with friends including
director
William Wyler

William Wyler and screenwriter Philip Dunne, established the
"Committee for the First Amendment", as a response to the ongoing
government investigations into communists within the film industry.
The HUAC was calling numerous filmmakers, screenwriters, and actors to
testify about any past affiliations.[16] He tries to describe in
general the types of people who were alleged communists:
"The people who did get caught up in it were, for the most part,
well-intentioned boobs from a poor background. A number of them had
come from the Lower East Side of Manhattan, and out in Hollywood, they
sort of felt guilty for living the good life. Their social conscience
was more acute than the next fellow's."[19]
Moby Dick (1956)[edit]
Huston took producing, writing, and directing credits for his next two
films: Moulin Rouge (1952); and Beat the Devil (1953). Moby Dick
(1956), however, was written by Ray Bradbury, although Huston had his
name added to the screenplay credit after the completion of the
project. Although Huston had personally hired Bradbury to adapt Herman
Melville's novel into a screenplay, Bradbury and Huston did not get
along during pre-production, and Bradbury later dramatized their
relationship in the short story "Banshee";
Peter O'Toole

Peter O'Toole would later
play the role based on
John Huston

John Huston when "Banshee" was adapted into an
episode of The
Ray Bradbury
_-cropped-.jpg/440px-Ray_Bradbury_(1975)_-cropped-.jpg)
Ray Bradbury Theater.[20] Bradbury wrote more poems,
essays, and stories on his time in Ireland, but was reluctant to write
a book because he did not want to gossip about Huston. It was not
until after he read Katharine Hepburn’s memoir The Making of the
African Queen: Or How I went to Africa with Bogart, Bacall, and Huston
and almost lost my mind that he decided that he could write “a book
which is fair, which presents the Huston that I loved along with the
one that I began to fear on occasion.” He published Green Shadows,
White Whale, a novelization of his time in Ireland with Huston, almost
40 years after he wrote the screenplay for Moby Dick.[21]
Huston had been planning to film Herman Melville's
Moby-Dick

Moby-Dick for the
previous ten years, and originally saw it as an excellent part for his
father, Walter Huston. However, his father died in 1950, and he chose
Gregory Peck

Gregory Peck to play the starring role of Captain Ahab. The movie was
filmed over a three-year period on location in Ireland, where Huston
was then living. The fishing village of
New Bedford, Massachusetts

New Bedford, Massachusetts was
recreated along the waterfront; the sailing ship in the film was fully
constructed to be seaworthy; and three 100-foot whales were built out
of steel, wood, and plastic. However, the film failed at the box
office, with some critics, like David Robinson, suggesting that the
movie lacked the "mysticism of the book" and thereby "loses its
significance."[7]
The Misfits (1961)[edit]
Of his next five films, only The Misfits (1961), found critical
approval.[4] However, critics have noted the "retrospective atmosphere
of doom" which now hangs over the film. Clark Gable, the star, died of
a heart attack a few days after the filming was completed; Marilyn
Monroe never did another film and died a year later; and costars
Montgomery Clift

Montgomery Clift and
Thelma Ritter

Thelma Ritter also died over the next few years.
During the filming itself, Monroe was often on drugs of various kinds,
which led to her arriving late on the set and often forgetting her
lines. Monroe's problems also led to the breakup of her marriage to
the film's scriptwriter, Arthur Miller, "virtually on set."[7] Miller
dramatized the making of The Misfits in his final play, Finishing the
Picture, where Huston is represented as the director.[22] Huston later
commented about this period in her career: "Marilyn was on her way
out. Not only of the picture, but of life."[15]
Freud: the Secret Passion (1962)[edit]
He followed The Misfits with Freud: The Secret Passion, a film quite
different from most of his others. Besides directing, he also narrates
portions of the story. Film historian
Stuart M. Kaminsky notes that
Huston presents Sigmund Freud, played by Montgomery Clift, "as a kind
of savior and messiah", with an "almost Biblical detachment." As the
film begins, Huston describes
Freud
.jpg/440px-Sigmund_Freud,_by_Max_Halberstadt_(cropped).jpg)
Freud as a "kind of hero or God on a
quest for mankind":[23]
This is the story of Freud's descent into a region as black as hell,
man's unconscious, and how he let in the light.
Huston explains how he became interested in psychotherapy, the subject
of the film:
I first got into that through an experience in a hospital during the
war, where I made a documentary about patients suffering from battle
neuroses. I was in the army and made the picture "Let There Be Light".
That experience started my interest in psychotherapy, and to this day
Freud
.jpg/440px-Sigmund_Freud,_by_Max_Halberstadt_(cropped).jpg)
Freud looms as the single huge figure in that field.[15]
John Huston's Night of the Iguana set on
Mismaloya Beach, in Puerto
Vallarta, Mexico
The Night of the Iguana (1964)[edit]
For his next film, Huston once again traveled down to Puerto Vallarta,
Mexico, after meeting an architect by the name of Guillermo Wulff who
owned property and businesses in the town. The filming would take
place in a beach cove called Mismaloya, about thirty minutes south of
town. Huston adapted the stage play by Tennessee Williams. The film
stars
Richard Burton

Richard Burton and Ava Gardner, and was nominated for several
Academy Awards. Production attracted intense worldwide media
attention, due to Burton bringing his celebrity mistress Elizabeth
Taylor (who was still married to singer Eddie Fisher at the time) to
Puerto Vallarta, Mexico. Huston liked the town where filming took
place so much that he bought a house near there. As did Richard Burton
and Elizabeth Taylor. Guillermo Wulff and Huston became friends and
always spent time together while Huston was in town, more frequently
at Wulff's El Dorado Restaurant on Los Muertos Beach. The owners of
Taylor's original home have since completely remodeled the property;
Casa Kimberly is a luxury boutique hotel with high-end restaurant.[24]
The Bible: In the Beginning (1966)[edit]
Producer
Dino De Laurentis

Dino De Laurentis traveled to Ireland to ask Huston to direct
The Bible: In the Beginning. Although De Laurentis had ambitions for a
broader story, he realized that the subject could not be adequately
covered and limited the story to the first half of the Book of
Genesis. Huston enjoyed directing the film, as it gave him a chance to
indulge his love of animals. Besides directing he also played the role
of
Noah

Noah and the voice of God. The film did poorly at the box office,
however, and at a cost of 18 million dollars, it was the most
expensive movie in his career.[7] Huston likes describing details
about the filming:
Every morning before beginning work, I visited the animals. One of the
elephants, Candy, loved to be scratched on the belly behind her
foreleg. I'd scratch her and she would lean farther and farther toward
me until there was some danger of her toppling over on me. One time I
started to walk away from her, and she reached out and took my wrist
with her trunk and pulled me back to her side. It was a command:
"Don't stop!" I used it in the picture.
Noah

Noah scratches the elephant's
belly and walks away, and the elephant pulls him back to her time
after time.[10]:317
Involvement with the Irish Film Industry[edit]
“
I think the politicians who supported building the studio can take
consolation in the fact that it’s brought a lot of money to Ireland.
We’re spending more than a million dollars in Ireland and we
wouldn’t be here if it weren’t for Ardmore.
”
— John Huston, in an interview on RTE[25]
While working on Casino Royale (1967), Huston took interest in the
Irish film industry, which had historically struggled to attain
domestic or international success. There were rumors that he would buy
Ireland’s premiere film location,
Ardmore Studios in Bray, County
Wicklow. In 1967, Huston gave
Taoiseach
_(cropped).jpg/440px-Tallinn_Digital_Summit._Handshake_Leo_Varadkar_and_Jüri_Ratas_(36679163084)_(cropped).jpg)
Taoiseach
Jack Lynch
.jpg)
Jack Lynch a tour of Ardmore
and asked to form a committee to help foster a productive Irish film
industry. Huston served on the resulting committee with Irish
filmmakers and journalists.[25]
Lynch also ultimately agreed to offer tax breaks to foreign production
companies if they shot in location in Ireland through the Film Act of
1970. [26]
Huston was interviewed in Irish journalist Peter Lennon’s Rocky Road
to Dublin (1967), where he argued that it was more important for Irish
filmmakers to make films in Ireland than for foreign production
companies to make international films.[27]
Fat City (1972)[edit]
After several films that were not well received, Huston returned to
critical acclaim with Fat City. Based on Leonard Gardner's 1969 novel
of the same name, it was about an aging, washed-up alcoholic boxer in
Stockton, California

Stockton, California trying to get his name back on the map, while
having a new relationship with a world weary alcoholic, and an amateur
boxer trying to find success in boxing. The film was nominated for
several awards upon its release. It starred Stacy Keach, a young Jeff
Bridges, and Susan Tyrrell, in which she was nominated for an Academy
Award for Best Supporting Actress.
Roger Ebert

Roger Ebert stated Fat City as one
of Huston's best films, giving it four out of four stars.[28]
The Man Who Would Be King (1975)[edit]
Perhaps Huston's most highly regarded film of the 1970s, The Man Who
Would Be King was both a critical and commercial success. Huston had
been planning to make this film since the '50s, originally with his
friends
Humphrey Bogart

Humphrey Bogart and Clark Gable. Eventually the lead roles
went to
Sean Connery

Sean Connery and Michael Caine. The movie was filmed on
location in North Africa. The film was praised for its use of old
fashioned escapism and entertainment.
Steven Spielberg

Steven Spielberg has cited the
film as one of his inspirations for his film Raiders of the Lost Ark.
Wise Blood (1979)[edit]
After filming The Man Who Would Be King, Huston took his longest break
between directing films. He returned with an offbeat and somewhat
controversial film based on the novel Wise Blood. Here, Huston showed
his skills as a storyteller, and boldness when it came to difficult
subjects such as religion.
Under the Volcano (1984)[edit]
Huston's last film set in
Mexico

Mexico stars
Albert Finney

Albert Finney as an alcoholic
ambassador during the beginnings of World War II. The film gained a
strong critical reception, most notably for Finney's portrayal of a
desperate and depressed alcoholic. The film was also a success on the
independent circuit.
The Dead (1987)[edit]
John Huston's final film is an adaptation of the classic short story
by James Joyce. This may have been one of Huston's most personal
films, due to his citizenship in Ireland and his passion for classic
literature. Huston directed most of the film from a wheelchair, as he
needed an oxygen tank to breathe during the last few months of his
life. The film was nominated for two Academy Awards, and was praised
by critics.
Roger Ebert

Roger Ebert eventually placed it in his Great Movies list;
a section of movies he claims to be some of the best ever made. Huston
died nearly four months before the film's release date. In the 1996
RTE

RTE documentary John Huston: An t-Éireannach, Anjelica said that
“it was very important for my father to make that film.” She
contends that Huston did not think that it was going to be his last
film, but that it was his love letter to Ireland and the Irish.[25]
As an actor[edit]
Toward the end of his career he also began to act in various films. In
1963, director
Otto Preminger

Otto Preminger asked if he would portray a Boston
prelate in The Cardinal, and, writes author Philip Kemp, he "virtually
stole the picture."[7] He was nominated for an
Academy Award

Academy Award for Best
Supporting Actor for his role. He had a little participation (as did
many others) in 1967's Casino Royale as actor and director. He acted
in Roman Polanski's Chinatown (1974) as the film's master villain, and
as Teddy Roosevelt's secretary of state
John Hay

John Hay in The Wind and the
Lion. Huston enjoyed acting and denied that he took it all that
seriously. "It's a cinch," he once said, "and they pay you damn near
as much as you make directing."[7]
Huston said he did not regard himself very highly as an actor, saying
he was only proud of his performance in Chinatown, although he had
also greatly enjoyed acting in Winter Kills.[29] He also played the
Lawgiver in Battle for the Planet of the Apes.
Huston is also famous to a generation of fans of J. R. R. Tolkien's
Middle-earth

Middle-earth stories as the voice of the wizard
Gandalf

Gandalf in the
Rankin/Bass

Rankin/Bass animated adaptations of The Hobbit (1977) and The Return
of the King (1980).
Movie themes[edit]
"I miss the order that old Hollywood had. It was much easier then to
get a picture made than it is today. It's become a cliché that the
studio people were picture makers then, but there is a large element
of truth in it. They were people who wanted to make pictures, and they
knew how to make them. They weren't accountants and bookkeepers, tax
consultants and efficiency experts who don't know how to make
pictures, or wheeler-dealers; that element just seems to have taken
over today—promoters who just want to get a part of the action
rather than people who want to make good movies."
John Huston, Playboy interview, 1985[30]
Huston's films were insightful about human nature and human
predicaments. They also sometimes included scenes or brief dialogue
passages that were remarkably prescient concerning environmental
issues that came to public awareness in the future, in the period
starting about 1970; examples include The Misfits and The Night of the
Iguana (1964). Huston spent long evenings carousing in the Nevada
casinos after filming, surrounded by reporters and beautiful women,
gambling, drinking, and smoking cigars.
According to Kaminsky, Huston's stories were often about "failed
quests" by a group of different people. The group would persist in the
face of poor odds, doomed at the outset by the circumstances created
by an impossible situation.[23] However, some members of the doomed
group usually survive, those who are "cool" and "intelligent", or
someone who "will sacrifice everything for self-understanding and
independence". Those types of characters are exemplified by Bogart in
The Maltese Falcon, and
Montgomery Clift

Montgomery Clift in Freud.
Another type of quest often seen in Huston's films involve a pair of
potential lovers trying to face a hostile world.[23] Flint adds,
however, that he "bucked Hollywood's penchant for happy endings", and
many of his stories ended with "love unsatisfied".[2]
Film historian James Goodwin adds that in virtually all of his films,
there is some type of "heroic quest — even if it involves
questionable motives or destructive alliances". In addition, the quest
"is preferable to the spiritless, amoral routines of life".[8] As a
result, his best films, according to Flint, "have lean, fast-paced
scripts and vibrant plots and characterizations, and many of them deal
ironically with vanity, avarice and unfulfilled quests".[2]
However, in the opinion of critics Tony Tracy and Roddy Flynn,
"... what fundamentally fascinated Huston was not movies per
se — that is, form — but the human condition ...
and literature offered a road map for exploring that condition." In
many of his films, therefore, he tried to express his interest by
developing themes involving some of the "grand narratives" of the
twentieth century, such as "faith, meaning, truth, freedom,
psychology, colonialism, war and capitalism".[11]:3
To Jameson, all of Huston's films are adaptations, and he believes
that through his films there was a "cohesive world-view, not only
thematically but also stylistically; there is the Huston look".[7] The
"Huston look" was also noted by screenwriter James Agee, who adds that
this "look proceeds from Huston's sense of what is natural to the eye
and his delicate, simple feeling for space relationships."[7] In any
case, notes Flint, Huston took "uncommon care to preserve the writer's
styles and values ... and sought repeatedly to transpose the
interior essence of literature to film with dramatic and visual
tension", as he did in Red Badge of Courage, Moby Dick, and Under the
Volcano.[2]
Religion is also a theme that runs through many of Huston's films. In
The Night of the Iguana, Kaminsky notes how Richard Burton, while
preaching a sermon to his congregation, seems "lost, confused, his
speech is gibberish", and leads his congregation to turn away from
him. In other films, adds Kaminsky, religion is seen as "part of the
fantasy world", that the actors must overcome to survive physically or
emotionally. "These religious zealots counsel a move away from the
pleasure of the world and human love, a world that Huston believes
in," concludes Kaminsky.[23] Such religious themes were also seen in
The Bible, and Wise Blood, for example.
To Barson, however, Huston was among the "least consistent"
filmmakers, although he concludes that he was one of the "most
interesting directors of the past sixty years".[16] Throughout his
long career, many of his films did poorly and were criticized as a
result. To a writer in 1972 he commented, "Criticism isn't a new
experience for me. Pictures that are now thought of as, forgive the
term, classics, weren't all that well thought of at the time they came
out."[31] After an interview a few years before he died, the reporter
writes that "Huston said he missed the major studio era when people
savored making movies, not just money."[2]
According to Roger Ebert, on his review of Fat City, "His fascination
with underdogs and losers. The characters in Huston movies hardly ever
set out to achieve what they're aiming for. Sam Spade, in The Maltese
Falcon, Huston's first film, ends up minus one partner and one woman
he thought he could trust. Everyone is a loser in The Treasure of the
Sierra Madre, and the gold blows back into the dust and is lost in it.
Ahab, in Moby Dick. Marlon Brando's career Army officer in Reflections
in a Golden Eye, even Bogart and Hepburn in The African Queen – they
all fall short of their plans. The African Queen does have a happy
ending, but it feels tacked-on and ridiculous, and the Queen destroys
itself in destroying the German steamer. So this [Fat City] is a theme
we find in Huston's work, but rarely does he fit it to characters and
a time and place so well as in Fat City. Maybe that's because Huston
knows the territory: he was a professional boxer himself for a while,
and not a very good one."[32]
Directing techniques[edit]
John has meant a great deal in my life. Nobody would have heard of me
if it hadn't been for him. Working with John ten years later is very
good. He's a different kind of director than the people I've been
working with. He's an artist with a camera—he sees it like a
painter.
Marilyn Monroe[13]:495
George Stevens, Jr. notes that while many directors rely on
post-production editing to shape their final work, Huston instead
created his films while they were being shot: "I don't even know the
editor of my films most of the time," Huston said.[15] Actor Michael
Caine also observed the same technique: "Most directors don't know
what they want so they shoot everything they can think of —
they use the camera like a machine gun. John uses it like a
sniper."[15]
Film writer Peter Flint also agrees and points out other benefits to
that style: "He shot economically, eschewing the many protective shots
favored by timid directors, and edited cerebrally so that financial
backers would have trouble trying to cut scenes." Huston shot most of
his films on location, working "intensely" six days a week, and "on
Sundays, played equally intense poker with the cast and crew."[2]
When asked how he envisions his films while directing and what his
goals are, Huston replied:
To me the ideal film — which I've never succeeded in
making — would be as though the reel were behind one's eyes and
you were projecting it yourself, seeing what you wish to see. This has
a great deal in common with thought processes ... That's why I
think the camera is an eye as well as a mind. Everything we do with
the camera has physiological and mental significance.
According to Kaminsky, much of Huston's vision probably came from his
early experience as a painter on the streets of Paris. While there, he
studied art and worked at it for a year and a half. Huston continued
painting as a hobby for most of his life. Kaminsky also notes that
most of Huston's films "reflected this prime interest in the image,
the moving portrait and the use of color."[23] Huston explored the use
of "stylistic framing", especially well-planned close-ups, in much of
his directing. In his first film, The Maltese Falcon, for instance,
Huston sketched out all of his scenes beforehand, "like canvases of
paintings".[23] His daughter,
Anjelica Huston
.jpg/440px-Anjelica_Huston_March_21,_2014_(cropped).jpg)
Anjelica Huston adds that even for his
subsequent films, he sketched storyboards "constantly". She agrees
that for her father, "it was a form of study, and my father was a
painter, a very good one." She also notes that "there was an extremely
developed sensory quality about my father, he didn't miss a
trick."[11]:20
Awards and honors[edit]
Statue of John Huston, Puerto Vallarta, Mexico
Huston received 15 Oscar nominations in the course of his career, and
is the oldest person ever to be nominated for the Best Director Oscar
when, at 79 years old, he was nominated for
Prizzi's Honor

Prizzi's Honor (1985). He
won two Oscars, for directing and writing the screenplay for The
Treasure of the Sierra Madre. Huston also won a Golden Globe for that
film. He received the Life Achievement Award from the American Film
Institute in 1983,[33] and the Career Achievement Award from the U.S.
National Board of Review of Motion Pictures

National Board of Review of Motion Pictures in 1984.[34]
He also has the unique distinction of directing both his father Walter
and his daughter Anjelica in Oscar-winning performances (in The
Treasure of the Sierra Madre and Prizzi's Honor, respectively), making
the Hustons the first family to have three generations of Academy
Award winners. He also directed her in
Sinful Davey

Sinful Davey in 1969.[35]
In addition, he also directed 13 other actors in Oscar-nominated
performances: Sydney Greenstreet, Claire Trevor, Sam Jaffe, Humphrey
Bogart, Katharine Hepburn, José Ferrer, Colette Marchand, Deborah
Kerr, Grayson Hall, Susan Tyrrell, Albert Finney,
Jack Nicholson

Jack Nicholson and
William Hickey.
In 1960, Huston was honored with a star on the Hollywood Walk of Fame
for his contribution to motion pictures.
In 1965, Huston received the Laurel Award for Screenwriting
Achievement from the Writers Guild of America.
In 1981 his film
Escape to Victory

Escape to Victory was nominated for the Golden Prize
at the 12th Moscow International Film Festival.[36]
A statue of Huston, sitting in his director's chair, stands in Plaza
John Huston

John Huston in Puerto Vallarta, Mexico.[37][38]
Personal life and death[edit]
With daughter Anjelica, c. 1960
To producer George Stevens, Jr., Huston symbolized "intellect, charm
and physical grace" within the film industry. He adds, "He was the
most charismatic of the directors I knew, speaking with a soothing,
melodic voice that was often mimicked, but was unique to him."[15]
While driving on Sunset Boulevard on September 25, 1933, Huston struck
and killed a pedestrian, a Brazilian dancer named Tosca Roulien. The
resulting media frenzy forced Huston to retreat temporarily from
public performance, and he took work as a screenwriter instead. A
subsequent inquest absolved Huston of any blame for the accident.[39]
Huston loved the outdoors, especially sports such as hunting while
living in Ireland. He claimed that he had no orthodox
religion.[10]:234 Among his life's adventures before becoming a
Hollywood filmmaker, he had been an amateur boxer, reporter,
short-story writer, portrait artist in Paris, a cavalry rider in
Mexico, and a documentary filmmaker during World War II. Besides
sports and adventure, he enjoyed hard liquor and relationships with
women of all types — one of the reasons he was married five
times. Stevens describes him as someone who "lived life to its
fullest".[15] Barson even suggests that Huston's "flamboyant life" as
a rebel would possibly make for "an even more engaging tale than most
of his movies".[16]
His daughter,
Anjelica Huston
.jpg/440px-Anjelica_Huston_March_21,_2014_(cropped).jpg)
Anjelica Huston notes that he did not like Hollywood,
and "especially despised Beverly Hills ... he thought it was just
fake from the ground up. He didn't like any of that; he was not
intrigued or attracted by it." She notes that in contrast, "he liked
to be in the wild places; he liked animals as much as he liked
people."[11]:20
It has been suggested that
John Huston

John Huston was an atheist, but his
religious beliefs are hard to determine. His daughter, Anjelica, was
raised Roman Catholic.[40]
He was married five times:
Dorothy Harvey (1906–1982) — This marriage ended after a
year in 1926. (Steve Hodell states "Their marriage lasted seven years,
from 1926 to 1933." Her second husband, Dr. George Hodell, was one of
the people accused of the Black Dahlia murder.)[41]
Lesley Black — It was during his marriage to Black that he
embarked on an affair with married New York socialite Marietta
FitzGerald. While her lawyer husband was helping the war effort, the
pair were once rumoured to have made love so vigorously, they broke a
friend's bed.[42]
Evelyn Keyes (1916–2008) — The Hustons adopted a son Pablo,
from Mexico.
Enrica Soma (1929–1969) — They had two children: a daughter,
Anjelica Huston, and a son, Walter Antony "Tony" Huston, now an
attorney and father of actor Jack Huston. Soma also had a daughter,
Allegra Huston, as the result of an extramarital affair with John
Julius Norwich; Huston treated the girl as one of his own children
following Soma's death four years later.
Celeste Shane — In his autobiography, An Open Book, Huston
refers to her as a "crocodile", and states only that if he had his
life to do over, he would not marry a fifth time.
Four of his marriages ended in divorce. His fourth wife, Enrica Soma,
died in a car accident in 1969, while they were married. In addition
to his children with Soma, he fathered a son, actor Danny Huston, with
author Zoe Sallis.
Among his friends were
Orson Welles

Orson Welles and Ernest Hemingway. Humphrey
Bogart was one of his best friends and Huston delivered the eulogy at
his funeral.
Huston visited Ireland in 1951 and stayed at Luggala, County Wicklow,
the home of Garech Browne, a member of the
Guinness

Guinness family. He visited
Ireland several times afterwards and on one of these visits he
purchased and restored a Georgian home, St Clerans, of Craughwell,
County Galway. Between 1960 and 1971 he served as Master of Fox Hounds
(MFH) of the
County Galway

County Galway Hunt – the famous "Galway Blazers" –
whose kennels are at Craughwell. He renounced his U.S. citizenship and
became an Irish citizen in 1964.[43][44] His daughter Anjelica
attended school in Ireland at
Kylemore Abbey

Kylemore Abbey for a number of years. A
film school is now dedicated to him on the
NUIG

NUIG campus.
Grave of
John Huston

John Huston and his mother, Rhea, at Hollywood Forever
Huston was an accomplished painter who wrote in his autobiography,
"Nothing has played a more important role in my life". As a young man
he studied at the Smith School of Art in Los Angeles but dropped out
within a few months. He later studied at the Art Students League of
New York. He painted throughout his life and had studios in each of
his homes. He had owned a wide collection of art, including a notable
collection of Pre-Columbian art.[45]
A heavy smoker, he was diagnosed with emphysema in 1978. By the last
year of his life he could not breathe for more than twenty minutes
without needing oxygen.[46] He died on August 28, 1987, in his rented
home in Middletown, Rhode Island, from pneumonia as a complication of
lung disease.[47] Huston is interred in the Hollywood Forever Cemetery
in Hollywood with his mother.
Archives[edit]
The moving image collection of
John Huston

John Huston is held at the Academy Film
Archive. The film material at the Academy Film Archive is complemented
by production files, photographs, and personal correspondence found in
the
John Huston

John Huston papers, 1932-1981, at the Academy’s Margaret Herrick
Library.[48]
Filmography[edit]
Director[edit]
Year
Film
Notes
1941
The Maltese Falcon
Nominated-
Academy Award

Academy Award for Best Writing Adapted Screenplay
1942
In This Our Life
Across the Pacific
1946
Let There Be Light
Documentary
1948
The Treasure of the Sierra Madre
Academy Award

Academy Award for Best Director
Academy Award

Academy Award for Best Adapted Screenplay
Golden Globe Award for Best Director
New York Film Critics Circle Award for Best Director
Nominated—
Venice Film Festival

Venice Film Festival Grand International Award
Key Largo
1949
We Were Strangers
1950
The Asphalt Jungle
National Board of Review Award for Best Director
Nominated—
Academy Award

Academy Award for Best Director
Nominated—Directors Guild of America Award for Outstanding Directing
– Feature Film
Nominated—Golden Globe Award for Best Director
Nominated—New York Film Critics Circle Award for Best Director
Nominated—
Venice Film Festival

Venice Film Festival Golden Lion
1951
The Red Badge of Courage
The African Queen
Nominated—
Academy Award

Academy Award for Best Director
Nominated—New York Film Critics Circle Award for Best Director
1952
Moulin Rouge
Venice Film Festival

Venice Film Festival Silver Lion
Nominated—
Academy Award

Academy Award for Best Picture
Nominated—
Academy Award

Academy Award for Best Director
Nominated—
Venice Film Festival

Venice Film Festival Golden Lion
1953
Beat the Devil
1956
Moby Dick
Silver Ribbon for Best Foreign Film
National Board of Review Award for Best Director
New York Film Critics Circle Award for Best Director
Nominated—Directors Guild of America Award for Outstanding Directing
– Feature Film
1957
Heaven Knows, Mr. Allison
Nominated—Directors Guild of America Award for Outstanding Directing
– Feature Film
1958
The Barbarian and the Geisha
The Roots of Heaven
1960
The Unforgiven
The Misfits
Nominated—Directors Guild of America Award for Outstanding Directing
– Feature Film
1962
Freud
Nominated—Directors Guild of America Award for Outstanding Directing
– Feature Film
Nominated—Golden Globe Award for Best Director
Nominated—
Golden Bear

Golden Bear for Best Motion Picture
1963
The List of Adrian Messenger
1964
The Night of the Iguana
Nominated—Directors Guild of America Award for Outstanding Directing
– Feature Film
Nominated—Golden Globe Award for Best Director
1966
The Bible
Nominated—
David di Donatello

David di Donatello for Best Foreign Director
1967
Reflections in a Golden Eye
Casino Royale
1969
Sinful Davey
A Walk with Love and Death
1970
The Kremlin Letter
1972
Fat City
The Life and Times of Judge Roy Bean
1973
The Mackintosh Man
1975
The Man Who Would Be King
1976
Independence
Documentary
1979
Wise Blood
Nominated—Gold Hugo for Best Feature
Nominated—
San Sebastián International Film Festival

San Sebastián International Film Festival for Best Film
1980
Phobia
1981
Victory
Nominated—
Moscow International Film Festival

Moscow International Film Festival Golden Prize
1982
Annie
1984
Under the Volcano
Nominated—Cannes Film Festival Palme d'Or
1985
Prizzi's Honor
Boston Society of Film Critics Award for Best Director
Golden Globe Award for Best Director
National Society of Film Critics Award for Best Director
New York Film Critics Circle Award for Best Director
Venice Film Festival

Venice Film Festival Golden Ciak for Best Film
Nominated—
Academy Award

Academy Award for Best Director
Nominated—
David di Donatello

David di Donatello for Best Foreign Director
Nominated—Directors Guild of America Award for Outstanding Directing
– Feature Film
Nominated—Silver Ribbon for Best Foreign Director
Nominated—
Venice Film Festival

Venice Film Festival Golden Lion
1987
The Dead
Bodil Award for Best Non-European Film
French Syndicate of Cinema Critics for Best Foreign Film
Independent Spirit Award for Best Director
London Film Critics Circle Award for Director of the Year
Silver Guild Film Award for Best Foreign Film
Nominated—
David di Donatello

David di Donatello for Best Foreign Film
Nominated—
David di Donatello

David di Donatello for Best Foreign Director
Nominated—National Society of Film Critics Award for Best Director
Nominated—New York Film Critics Circle Award for Best Director
Nominated—
Tokyo International Film Festival

Tokyo International Film Festival Grand Prix
Screenwriter[edit]
Year
Title
Director
Notes
1930
The Storm
William Wyler
(written with Charles Logue, Langdon McCormick, Tom Reed, and Wells
Root)
1931
A House Divided
William Wyler
(written with John B. Clymer, Olive Edens, and Dale Van Every)
1932
Murders in the Rue Morgue
Robert Florey
(written with Tom Reed, and Dale Van Every)
1935
Death Drives Through
Edward L. Cahn
(written with Katherine Strueby, and Gordon Wellesley)
It Happened in Paris
Robert Wyler
Carol Reed
(written with Katherine Strueby, H. F. Maltby)
1938
The Amazing Dr. Clitterhouse
Anatole Litvak
(written with John Wexley)
Jezebel
William Wyler
(written with Clements Ripley, Abem Finkel, and Robert Buckner)
1940
Dr. Ehrlich's Magic Bullet
William Dieterle
(written with Norman Burnstine and Heinz Herald)
Nominated—
Academy Award

Academy Award for Best Original Screenplay
1941
High Sierra
Raoul Walsh
(written with W. R. Burnett)
The Maltese Falcon
Himself
Nominated—
Academy Award

Academy Award for Best Adapted Screenplay
Sergeant York
Howard Hawks
(written with Abem Finkel, Harry Chandler, and Howard Koch)
Nominated—
Academy Award

Academy Award for Best Original Screenplay
1946
The Killers
Robert Siodmak
(written with Anthony Veiller)
(uncredited)
The Three Strangers
Jean Negulesco
(written with Howard Koch)
1948
The Treasure of the Sierra Madre
Himself
Academy Award

Academy Award for Best Adapted Screenplay
National Board of Review Award for Best Screenplay
Writers Guild of America Award for Best Written American Western
Nominated—
Writers Guild of America Award for Best Written American
Drama
Key Largo
Himself
(written with Richard Brooks)
Nominated—
Writers Guild of America Award for Best Written American
Drama
1949
We Were Strangers
Himself
(written with Peter Viertel)
1950
The Asphalt Jungle
Himself
(written with Ben Maddow)
Nominated—
Academy Award

Academy Award for Best Adapted Screenplay
Nominated—Golden Globe Award for Best Screenplay
Nominated—The Robert Meltzer Award (Screenplay Dealing Most Ably
with Problems of the American Scene)
Nominated—
Writers Guild of America Award for Best Written American
Drama
1951
The African Queen
Himself
(written with James Agee)
Nominated—
Academy Award

Academy Award for Best Adapted Screenplay
1952
Moulin Rouge
Himself
(written with Anthony Veiller)
Nominated—
Writers Guild of America Award for Best Written American
Drama
1953
Beat the Devil
Himself
(written with Truman Capote)
1956
Moby Dick
Himself
(written with Ray Bradbury)
New York Film Critics Circle Award for Best Screenplay (2nd place)
1957
Heaven Knows, Mr. Allison
Himself
(written with John Lee Mahin)
Nominated—
Academy Award

Academy Award for Best Adapted Screenplay
Nominated—
Writers Guild of America Award for Best Written American
Drama
1961
The Asphalt Jungle
Herman Hoffman
(written with Ben Maddow; teleplay by George Bellak)
Television; episode "The Professor"
1964
The Night of the Iguana
Himself
(written with Anthony Veiller)
Nominated—
Writers Guild of America Award for Best Written American
Drama
1970
The Kremlin Letter
Himself
(written with Gladys Hill)
1975
The Man Who Would Be King
Himself
(written with Gladys Hill)
Nominated—
Academy Award

Academy Award for Best Adapted Screenplay
Nominated—
Writers Guild of America Award for Best Drama Adapted from
Another Medium
1988
Mr. North
Danny Huston
(written with Janet Roach and James Costigan)
Actor[edit]
Year
Title
Role
Notes
1929
The Shakedown
Extra
Directed by William Wyler
Uncredited
Hell's Heroes
Bit part
Directed by William Wyler
Uncredited
1930
The Storm
Extra
Directed by William Wyler
Uncredited
1948
The Treasure of the Sierra Madre
American in Tampico in White Suit
Also director
Uncredited
1949
We Were Strangers
Señor Muñoz
Also director
Uncredited
1951
The Red Badge of Courage
Grizzled union veteran
Also director
Uncredited
1956
Moby Dick
Barman / ship's lookout (voice)
Also director
Uncredited
1961
The Misfits
Extra in Blackjack scene
Also director
Uncredited
1962
Freud: The Secret Passion
Narrator
Also director
Uncredited
The List of Adrian Messenger
Lord Ashton
Also director
Uncredited
1963
The Cardinal
Glennon
Directed by Otto Preminger
Golden Globe Award for Best Supporting Actor – Motion Picture
Nominated—
Academy Award

Academy Award for Best Supporting Actor
Nominated—Laurel Award for Top Male Supporting Performance
1966
The Bible
Noah
Also director
The Legend of Marilyn Monroe
Narrator
Directed by Terry Sanders
1967
Casino Royale
M / General McTarry
Also co-director
1968
Candy
Dr. Arnold Dunlap
Directed by Christian Marquand
1969
De Sade
The Abbe
Directed by Cy Endfield
A Walk with Love and Death
Robert the Elder
Also director
1970
The Kremlin Letter
Admiral
Also director
Myra Breckinridge
Buck Loner
Directed by Michael Sarne
1971
The Bridge in the Jungle
Sleigh
Directed by Pancho Kohner
The Deserter
General Miles
Directed by Burt Kennedy
Man in the Wilderness
Captain Henry
Directed by Richard C. Sarafian
1972
Appointment with Destiny
Narrator
Episode: "The Crucifixion of Jesus"
The Life and Times of Judge Roy Bean
Grizzly Adams
Also director
The Other Side of the Wind
J. J. Jake Hannaford
Directed Orson Welles
Unfinished film
1973
Battle for the Planet of the Apes
The Lawgiver
Directed by J. Lee Thompson
1974
Chinatown
Noah

Noah Cross
Directed by Roman Polanski
Kansas City Film Critics Circle Award for Best Supporting Actor
Nominated—BAFTA Award for Best Supporting Actor
Nominated—Golden Globe Award for Best Supporting Actor – Motion
Picture
1975
Breakout
Harris Wagner
Directed by Tom Gries
The Wind and the Lion
John Hay
Directed by John Milius
1976
Sherlock Holmes in New York
Professor Moriarty
Directed by Boris Sagal
1977
The Rhinemann Exchange
Ambassador Henderson Granville
Tentacles
Ned Turner
Directed by Ovidio G. Assonitis
Angela
Hogan
Directed by Boris Sagal
The Hobbit
Gandalf
Directed by Arthur Rankin, Jr., Jules Bass
1978
The Greatest Battle
Sean O'Hara
Directed by Umberto Lenzi
The Bermuda Triangle
Edward
Directed by René Cardona, Jr.
The Word
Nathan Randall
TV miniseries
1979
The Visitor
Jerzy Colsowicz
Directed by Giulio Paradisi
Winter Kills
Pa Kegan
Directed by William Richert
Wise Blood
Grandfather
Also director
Jaguar Lives!
Ralph Richards
Directed by Ernest Pintoff
1980
The Return of the King
Gandalf
Directed by Jules Bass, Arthur Rankin, Jr.
Head On
Clarke Hill
Directed by Michael Grant
1982
Cannery Row
Narrator
Directed by David S. Ward
Annie
Actor on radio
Also director
Uncredited
1983
Lovesick
Larry Geller, M.D.
Directed by Marshall Brickman
A Minor Miracle
Father Cardenas
Directed by Raoul Lomas
1985
Alfred Hitchcock

Alfred Hitchcock Presents
Carlos
Narrator
Episode: "Pilot"
Segment: "Man from the South"
Epic
Narrator
Directed by Yoram Gross
The Black Cauldron
Narrator
1986
Momo
Meister Hora
Directed by Johannes Schaaf
1987
Mister Corbett's Ghost
Soul collector
Directed by Danny Huston
References[edit]
^ Byrne, James Patrick (2008). Philip Coleman, Jason Francis King, ed.
Ireland and the Americas: Culture, Politics, and History : a
Multidisciplinary Encyclopedia, Volume 2. ABC-CLIO. p. 442.
ISBN 9781851096145. Retrieved May 23, 2013.
^ a b c d e f g h i j k l m n Flint, Peter (August 29, 1987). "John
Huston, Film Director, Writer and Actor, Dies at 81". New York Times.
Archived from the original on January 11, 2013.
^
http://www.rte.ie/archives/2016/0802/806458-john-huston-becomes-irish-citizen/
^ a b Freer, Ian. Moviemakers Quercus (2009), pp. 70–71.
^ Rhea Gore Huston; findagrave.com
^ a b Grobel, Lawrence. The Art of the Interview: Lessons from a
Master of the Craft, Random House (2004).
^ a b c d e f g h i j k l m n o p q r s t u Wakeman, John. (Ed.) World
Film Directors, Vol. I, 1890–1945, New York, The H. W. Wilson Co.
(1987), pp. 485–493.
^ a b c d e f g h i j k Goodwin, James; Morsberger, Robert E. (editor)
American Screenwriters, Gale Research Co. (1984), pp. 164–171.
^
http://www.huffingtonpost.co.uk/entry/hollywood-scandals-eddie-mannix_uk_577fa12ae4b0935d4b4aaf73
^ a b c d e Huston, John. An Open Book, New York. Alfred A. Knopf
(1980).
^ a b c d Tracy, Tony; Flynn, Roddy. John Huston: Essays on a Restless
Director, McFarland (2010).
^ "The Stranger". AFI Catalog of Feature Films. American Film
Institute. Retrieved 2015-05-10.
^ a b c d Grobel, Lawrence. The Hustons, Charles Scribner's Sons, N.Y.
(1989)
^ Sarris, Andrew. The American Cinema: Directors and Directions,
1929–1968 Dutton (1968), pp. 156–158.
^ a b c d e f g h Stevens, George Jr. Conversations with the Great
Moviemakers of Hollywood's Golden Age, New York. Alfred A. Knopf
(2006), pp. 335–355.
^ a b c d e Barson, Michael. The Illustrated Who's Who of Hollywood
Directors, Vol 1: The Sound Era Noonday Press (1995), pp. 208–215.
^ Hepburn, Katharine. The Making of The African Queen, Or, How I Went
to Africa with Bogart, Bacall, and Huston and Almost Lost My Mind. 1st
ed, Knopf : Distributed by Random House, 1987.
^ Hoberman, Jim (July 13, 2010). "Voice Choices: White Hunter, Black
Heart". The Village Voice. Retrieved 2015-01-04.
^ Grobel, Lawrence. "Playboy Interview with John Huston", Playboy
magazine, September 1985.
^ Ray Bradbury: An American Icon.
^ Bradbury, Ray. Green Shadows, White Whale. Harper Perennial, 2002.
^ Brantley, Ben (October 11, 2004). "Theater Review: Some Like It Hot,
Some Like It Painted in Words". The New York Times.
^ a b c d e f Kaminsky, Stuart M. International Dictionary of Films
and Filmmakers: Directors 3rd ed., St. James Press (1997), pp.
459–463.
^ http://casakimberly.com/
^ a b c John Huston: An t-Éireannach. Directed by Brian Reddin,
interviews with Anjelica Huston, Louis Marcus, and Ann Fahys, TG4,
1996.
^ O'Shea, Joe (3 August 2014). "Irish Film: The Force is with us".
Irish Independent. Retrieved 7 February 2017.
^ Lennon, Peter. Rocky Road to Dublin. Cinematography by Raoul
Coutard, 17 May 1968.
^ "Fat City :: rogerebert.com :: Reviews". January 1,
1972.
^ Long, Robert Emmet John Huston: Interviews (Conversations with
Filmmakers) (2001), p. 178.
^ Grobel, Lawrence. "Playboy Interview with John Huston," Playboy
magazine, September 1985.
^ Life magazine, August 4, 1972, p. 69.
^ Ebert, Roger. Chicago Sun-Times, film review, January 1, 1972.
^ "
John Huston

John Huston Accepts the
AFI Life Achievement Award

AFI Life Achievement Award in 1983",
American Film Institute
^ "1984 Award Winners". National Board of Review of Motion Pictures.
2016. Retrieved November 7, 2016.
^ Photo of John and
Anjelica Huston
.jpg/440px-Anjelica_Huston_March_21,_2014_(cropped).jpg)
Anjelica Huston on the set of Sinful Davey
Archived October 13, 2016, at the Wayback Machine.
^ "
12th Moscow International Film Festival (1981)". MIFF. Archived
from the original on April 21, 2013. Retrieved January 27, 2013.
^ Lieber et al. 2007, p. 468.
^ Greensfelder & Read 2006, p. 64–65.
^ Meyers, Jeffrey (2011). John Huston: Courage and Art. New York:
Crown/Archetype. p. 40. ISBN 9780307590695.
^ "That character had such a weird internal life." What help could
Huston give you? "Not much. I was on my own there. I think Huston was
baffled by the script, which was very Catholic, whereas he was a
devout atheist." Brad Dourif interviewed by Ryan Gilbey, 'How Weird is
Brad?', The Independent (London), December 20, 2002, Features, Pg. 12.
^
http://stevehodel.com/2016/04/dorothy-huston-hodel-1906-1983-remembrance-110th-birthday/
^ "Running Around in High Circles". The New York Times.
^ "Veteran Film Producer Becomes Irish Citizen". Spokane Daily
Chronicle. January 3, 1964. Retrieved May 14, 2012.
^ "It's Sean Huston Now". St. Petersburg Times. January 4, 1964.
Retrieved May 14, 2012.
^ Art by Directors, Karl French, Granta 86, 2004,
ISBN 0-903141-69-8.
^ "
John Huston

John Huston Is Not Well But He's Very Much Alive – Chicago
Tribune". Articles.chicagotribune.com. March 12, 1987. Retrieved March
3, 2013.
^ "Actor
John Huston

John Huston Warns Others About
Emphysema

Emphysema With PM-Obit-Huston
Bjt". Apnewsarchive.com. August 29, 1987. Retrieved March 3,
2013.
^ "
John Huston

John Huston Collection". Academy Film Archive.
External links[edit]
John Huston

John Huston on IMDb
They Shoot Pictures, Don't They?
Literature on John Huston
"John Huston". Find a Grave. Retrieved June 11, 2013.
John Huston

John Huston papers, Margaret Herrick Library, Academy of Motion
Picture Arts and Sciences
Awards for John Huston
v
t
e
Academy Award

Academy Award for Best Director
1927–1950
Frank Borzage

Frank Borzage (1927)
Lewis Milestone

Lewis Milestone (1928)
Frank Lloyd

Frank Lloyd (1929)
Lewis Milestone

Lewis Milestone (1930)
Norman Taurog

Norman Taurog (1931)
Frank Borzage

Frank Borzage (1932)
Frank Lloyd

Frank Lloyd (1933)
Frank Capra

Frank Capra (1934)
John Ford

John Ford (1935)
Frank Capra

Frank Capra (1936)
Leo McCarey (1937)
Frank Capra

Frank Capra (1938)
Victor Fleming

Victor Fleming (1939)
John Ford

John Ford (1940)
John Ford

John Ford (1941)
William Wyler

William Wyler (1942)
Michael Curtiz

Michael Curtiz (1943)
Leo McCarey (1944)
Billy Wilder

Billy Wilder (1945)
William Wyler

William Wyler (1946)
Elia Kazan

Elia Kazan (1947)
John Huston

John Huston (1948)
Joseph L. Mankiewicz

Joseph L. Mankiewicz (1949)
Joseph L. Mankiewicz

Joseph L. Mankiewicz (1950)
1951–1975
George Stevens

George Stevens (1951)
John Ford

John Ford (1952)
Fred Zinnemann

Fred Zinnemann (1953)
Elia Kazan

Elia Kazan (1954)
Delbert Mann

Delbert Mann (1955)
George Stevens

George Stevens (1956)
David Lean

David Lean (1957)
Vincente Minnelli

Vincente Minnelli (1958)
William Wyler

William Wyler (1959)
Billy Wilder

Billy Wilder (1960)
Jerome Robbins

Jerome Robbins and
Robert Wise

Robert Wise (1961)
David Lean

David Lean (1962)
Tony Richardson

Tony Richardson (1963)
George Cukor

George Cukor (1964)
Robert Wise

Robert Wise (1965)
Fred Zinnemann

Fred Zinnemann (1966)
Mike Nichols

Mike Nichols (1967)
Carol Reed

Carol Reed (1968)
John Schlesinger

John Schlesinger (1969)
Franklin J. Schaffner

Franklin J. Schaffner (1970)
William Friedkin

William Friedkin (1971)
Bob Fosse

Bob Fosse (1972)
George Roy Hill (1973)
Francis Ford Coppola

Francis Ford Coppola (1974)
Miloš Forman

Miloš Forman (1975)
1976–2000
John G. Avildsen

John G. Avildsen (1976)
Woody Allen

Woody Allen (1977)
Michael Cimino

Michael Cimino (1978)
Robert Benton (1979)
Robert Redford
.jpg/440px-Robert_Redford_(cropped).jpg)
Robert Redford (1980)
Warren Beatty

Warren Beatty (1981)
Richard Attenborough

Richard Attenborough (1982)
James L. Brooks

James L. Brooks (1983)
Miloš Forman

Miloš Forman (1984)
Sydney Pollack

Sydney Pollack (1985)
Oliver Stone

Oliver Stone (1986)
Bernardo Bertolucci

Bernardo Bertolucci (1987)
Barry Levinson

Barry Levinson (1988)
Oliver Stone

Oliver Stone (1989)
Kevin Costner

Kevin Costner (1990)
Jonathan Demme

Jonathan Demme (1991)
Clint Eastwood

Clint Eastwood (1992)
Steven Spielberg

Steven Spielberg (1993)
Robert Zemeckis

Robert Zemeckis (1994)
Mel Gibson

Mel Gibson (1995)
Anthony Minghella

Anthony Minghella (1996)
James Cameron

James Cameron (1997)
Steven Spielberg

Steven Spielberg (1998)
Sam Mendes

Sam Mendes (1999)
Steven Soderbergh
.jpg/440px-Steven_Soderbergh_66ème_Festival_de_Venise_(Mostra).jpg)
Steven Soderbergh (2000)
2001–present
Ron Howard

Ron Howard (2001)
Roman Polanski

Roman Polanski (2002)
Peter Jackson

Peter Jackson (2003)
Clint Eastwood

Clint Eastwood (2004)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2005)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (2006)
Joel Coen and Ethan Coen (2007)
Danny Boyle

Danny Boyle (2008)
Kathryn Bigelow

Kathryn Bigelow (2009)
Tom Hooper

Tom Hooper (2010)
Michel Hazanavicius

Michel Hazanavicius (2011)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2012)
Alfonso Cuarón
_cropped.jpg/440px-Alfonso_Cuarón_(2013)_cropped.jpg)
Alfonso Cuarón (2013)
Alejandro G. Iñárritu (2014)
Alejandro G. Iñárritu (2015)
Damien Chazelle
.jpg/440px-Damien_Chazelle_on_the_set_of_La_La_Land_(cropped).jpg)
Damien Chazelle (2016)
Guillermo del Toro

Guillermo del Toro (2017)
v
t
e
Academy Award

Academy Award for Best Adapted Screenplay
1928–1950
Benjamin Glazer (1928)
Hanns Kräly (1929)
Frances Marion

Frances Marion (1930)
Howard Estabrook

Howard Estabrook (1931)
Edwin J. Burke (1932)
Victor Heerman

Victor Heerman and
Sarah Y. Mason

Sarah Y. Mason (1933)
Robert Riskin

Robert Riskin (1934)
Dudley Nichols (1935)
Pierre Collings

Pierre Collings and
Sheridan Gibney (1936)
Heinz Herald, Geza Herczeg, and
Norman Reilly Raine

Norman Reilly Raine (1937)
Ian Dalrymple, Cecil Arthur Lewis, W. P. Lipscomb, and George Bernard
Shaw (1938)
Sidney Howard

Sidney Howard (1939)
Donald Ogden Stewart

Donald Ogden Stewart (1940)
Sidney Buchman and
Seton I. Miller (1941)
George Froeschel, James Hilton, Claudine West, and Arthur Wimperis
(1942)
Philip G. Epstein, Julius J. Epstein, and
Howard E. Koch (1943)
Frank Butler, and Frank Cavett (1944)
Charles Brackett and
Billy Wilder

Billy Wilder (1945)
Robert Sherwood (1946)
George Seaton

George Seaton (1947)
John Huston

John Huston (1948)
Joseph L. Mankiewicz

Joseph L. Mankiewicz (1949)
Joseph L. Mankiewicz

Joseph L. Mankiewicz (1950)
1951–1975
Harry Brown and Michael Wilson (1951)
Charles Schnee (1952)
Daniel Taradash (1953)
George Seaton

George Seaton (1954)
Paddy Chayefsky

Paddy Chayefsky (1955)
John Farrow, S. J. Perelman, and
James Poe (1956)
Carl Foreman

Carl Foreman and Michael Wilson (1957)
Alan Jay Lerner

Alan Jay Lerner (1958)
Neil Paterson (1959)
Richard Brooks

Richard Brooks (1960)
Abby Mann (1961)
Horton Foote (1962)
John Osborne

John Osborne (1963)
Edward Anhalt (1964)
Robert Bolt (1965)
Robert Bolt (1966)
Stirling Silliphant (1967)
James Goldman (1968)
Waldo Salt (1969)
Ring Lardner Jr.

Ring Lardner Jr. (1970)
Ernest Tidyman (1971)
Francis Ford Coppola

Francis Ford Coppola and
Mario Puzo

Mario Puzo (1972)
William Peter Blatty

William Peter Blatty (1973)
Francis Ford Coppola

Francis Ford Coppola and
Mario Puzo

Mario Puzo (1974)
Bo Goldman

Bo Goldman and
Lawrence Hauben (1975)
1976–2000
William Goldman

William Goldman (1976)
Alvin Sargent (1977)
Oliver Stone

Oliver Stone (1978)
Robert Benton (1979)
Alvin Sargent (1980)
Ernest Thompson

Ernest Thompson (1981)
Costa-Gavras

Costa-Gavras and
Donald E. Stewart (1982)
James L. Brooks

James L. Brooks (1983)
Peter Shaffer (1984)
Kurt Luedtke (1985)
Ruth Prawer Jhabvala

Ruth Prawer Jhabvala (1986)
Bernardo Bertolucci

Bernardo Bertolucci and
Mark Peploe (1987)
Christopher Hampton

Christopher Hampton (1988)
Alfred Uhry

Alfred Uhry (1989)
Michael Blake (1990)
Ted Tally (1991)
Ruth Prawer Jhabvala

Ruth Prawer Jhabvala (1992)
Steven Zaillian (1993)
Eric Roth (1994)
Emma Thompson
.jpg/440px-Emma_Thompson_at_2013_TIFF_1_(cropped).jpg)
Emma Thompson (1995)
Billy Bob Thornton

Billy Bob Thornton (1996)
Curtis Hanson

Curtis Hanson and
Brian Helgeland (1997)
Bill Condon (1998)
John Irving
.jpg/440px-John_Irving_at_Cologne_2010_(7108).jpg)
John Irving (1999)
Stephen Gaghan
.jpg)
Stephen Gaghan (2000)
2001–present
Akiva Goldsman

Akiva Goldsman (2001)
Ronald Harwood (2002)
Philippa Boyens, Peter Jackson, and
Fran Walsh (2003)
Alexander Payne

Alexander Payne and Jim Taylor (2004)
Larry McMurtry

Larry McMurtry and
Diana Ossana (2005)
William Monahan

William Monahan (2006)
Joel Coen and Ethan Coen (2007)
Simon Beaufoy (2008)
Geoffrey S. Fletcher

Geoffrey S. Fletcher (2009)
Aaron Sorkin

Aaron Sorkin (2010)
Alexander Payne, Jim Rash, and
Nat Faxon
.jpg/440px-Nat_Faxon_July_14,_2014_(cropped).jpg)
Nat Faxon (2011)
Chris Terrio (2012)
John Ridley

John Ridley (2013)
Graham Moore (2014)
Adam McKay
.jpg/440px-Adam_McKay_(cropped).jpg)
Adam McKay and
Charles Randolph (2015)
Barry Jenkins
.jpg/440px-Barry_Jenkins_(cropped).jpg)
Barry Jenkins and
Tarell Alvin McCraney
.jpg/440px-Tarell_McCraney_(32303406504).jpg)
Tarell Alvin McCraney (2016)
James Ivory
.jpg/440px-James_Ivory_(1991.09).jpg)
James Ivory (2017)
v
t
e
AFI Life Achievement Award
John Ford

John Ford (1973)
James Cagney

James Cagney (1974)
Orson Welles

Orson Welles (1975)
William Wyler

William Wyler (1976)
Bette Davis

Bette Davis (1977)
Henry Fonda
.JPG/440px-Henry_Fonda_as_Mr._Roberts_1948_(cropped).JPG)
Henry Fonda (1978)
Alfred Hitchcock

Alfred Hitchcock (1979)
James Stewart
_01.jpg/440px-Annex_-_Stewart,_James_(Call_Northside_777)_01.jpg)
James Stewart (1980)
Fred Astaire

Fred Astaire (1981)
Frank Capra

Frank Capra (1982)
John Huston

John Huston (1983)
Lillian Gish

Lillian Gish (1984)
Gene Kelly

Gene Kelly (1985)
Billy Wilder

Billy Wilder (1986)
Barbara Stanwyck

Barbara Stanwyck (1987)
Jack Lemmon

Jack Lemmon (1988)
Gregory Peck

Gregory Peck (1989)
David Lean

David Lean (1990)
Kirk Douglas

Kirk Douglas (1991)
Sidney Poitier

Sidney Poitier (1992)
Elizabeth Taylor

Elizabeth Taylor (1993)
Jack Nicholson

Jack Nicholson (1994)
Steven Spielberg

Steven Spielberg (1995)
Clint Eastwood

Clint Eastwood (1996)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (1997)
Robert Wise

Robert Wise (1998)
Dustin Hoffman

Dustin Hoffman (1999)
Harrison Ford

Harrison Ford (2000)
Barbra Streisand

Barbra Streisand (2001)
Tom Hanks

Tom Hanks (2002)
Robert De Niro

Robert De Niro (2003)
Meryl Streep

Meryl Streep (2004)
George Lucas

George Lucas (2005)
Sean Connery

Sean Connery (2006)
Al Pacino

Al Pacino (2007)
Warren Beatty

Warren Beatty (2008)
Michael Douglas

Michael Douglas (2009)
Mike Nichols

Mike Nichols (2010)
Morgan Freeman

Morgan Freeman (2011)
Shirley MacLaine

Shirley MacLaine (2012)
Mel Brooks

Mel Brooks (2013)
Jane Fonda

Jane Fonda (2014)
Steve Martin

Steve Martin (2015)
John Williams

John Williams (2016)
Diane Keaton
.jpg/440px-Diane_Keaton_2012-1_(cropped).jpg)
Diane Keaton (2017)
George Clooney

George Clooney (2018)
v
t
e
BAFTA Fellowship recipients
1971–2000
Alfred Hitchcock

Alfred Hitchcock (1971)
Freddie Young (1972)
Grace Wyndham Goldie (1973)
David Lean

David Lean (1974)
Jacques Cousteau
.jpg/440px-Cousteau1972_(cropped).jpg)
Jacques Cousteau (1975)
Charlie Chaplin

Charlie Chaplin (1976)
Laurence Olivier

Laurence Olivier (1976)
Denis Forman (1977)
Fred Zinnemann

Fred Zinnemann (1978)
Lew Grade

Lew Grade (1979)
Huw Wheldon

Huw Wheldon (1979)
David Attenborough

David Attenborough (1980)
John Huston

John Huston (1980)
Abel Gance

Abel Gance (1981)
Michael Powell

Michael Powell &
Emeric Pressburger

Emeric Pressburger (1981)
Andrzej Wajda
.jpg/440px-Andrzej_Wajda_OFF_Plus_Camera_2012_(cropped).jpg)
Andrzej Wajda (1982)
Richard Attenborough

Richard Attenborough (1983)
Hugh Greene (1984)
Sam Spiegel

Sam Spiegel (1984)
Jeremy Isaacs (1985)
Steven Spielberg

Steven Spielberg (1986)
Federico Fellini

Federico Fellini (1987)
Ingmar Bergman

Ingmar Bergman (1988)
Alec
Guinness

Guinness (1989)
Paul Fox (1990)
Louis Malle

Louis Malle (1991)
John Gielgud

John Gielgud (1992)
David Plowright (1992)
Sydney Samuelson (1993)
Colin Young (1993)
Michael Grade

Michael Grade (1994)
Billy Wilder

Billy Wilder (1995)
Jeanne Moreau

Jeanne Moreau (1996)
Ronald Neame

Ronald Neame (1996)
John Schlesinger

John Schlesinger (1996)
Maggie Smith

Maggie Smith (1996)
Woody Allen

Woody Allen (1997)
Steven Bochco

Steven Bochco (1997)
Julie Christie
_(2).jpg/440px-Julie_Christie_(1997)_(2).jpg)
Julie Christie (1997)
Oswald Morris (1997)
Harold Pinter

Harold Pinter (1997)
David Rose (1997)
Sean Connery

Sean Connery (1998)
Bill Cotton

Bill Cotton (1998)
Eric Morecambe

Eric Morecambe &
Ernie Wise

Ernie Wise (1999)
Elizabeth Taylor

Elizabeth Taylor (1999)
Michael Caine
.jpg/440px-Michael_Caine_-_Viennale_2012_g_(cropped).jpg)
Michael Caine (2000)
Stanley Kubrick
.jpg)
Stanley Kubrick (2000)
Peter Bazalgette

Peter Bazalgette (2000)
2001–present
Albert Finney

Albert Finney (2001)
John Thaw

John Thaw (2001)
Judi Dench

Judi Dench (2001)
Warren Beatty

Warren Beatty (2002)
Merchant Ivory Productions (2002)
Andrew Davies (2002)
John Mills

John Mills (2002)
Saul Zaentz

Saul Zaentz (2003)
David Jason (2003)
John Boorman

John Boorman (2004)
Roger Graef (2004)
John Barry (2005)
David Frost

David Frost (2005)
David Puttnam

David Puttnam (2006)
Ken Loach

Ken Loach (2006)
Anne V. Coates (2007)
Richard Curtis

Richard Curtis (2007)
Will Wright (2007)
Anthony Hopkins

Anthony Hopkins (2008)
Bruce Forsyth

Bruce Forsyth (2008)
Dawn French

Dawn French &
Jennifer Saunders

Jennifer Saunders (2009)
Terry Gilliam

Terry Gilliam (2009)
Nolan Bushnell

Nolan Bushnell (2009)
Vanessa Redgrave

Vanessa Redgrave (2010)
Shigeru Miyamoto
.JPG/440px-Shigeru_Miyamoto_at_E3_2013_1_(cropped).JPG)
Shigeru Miyamoto (2010)
Melvyn Bragg

Melvyn Bragg (2010)
Christopher Lee

Christopher Lee (2011)
Peter Molyneux

Peter Molyneux (2011)
Trevor McDonald (2011)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (2012)
Rolf Harris

Rolf Harris (2012)
Alan Parker
,_London,_2012.jpg/440px-Alan_Parker_(Director),_London,_2012.jpg)
Alan Parker (2013)
Gabe Newell

Gabe Newell (2013)
Michael Palin

Michael Palin (2013)
Helen Mirren

Helen Mirren (2014)
Rockstar Games

Rockstar Games (2014)
Julie Walters

Julie Walters (2014)
Mike Leigh
_cropped.jpg/440px-Mike_Leigh_(Berlinale_2012)_cropped.jpg)
Mike Leigh (2015)
David Braben (2015)
Jon Snow (2015)
Sidney Poitier

Sidney Poitier (2016)
John Carmack

John Carmack (2016)
Ray Galton & Alan Simpson (2016)
Mel Brooks

Mel Brooks (2017)
Joanna Lumley

Joanna Lumley (2017)
Ridley Scott

Ridley Scott (2018)
v
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e
Film Society of Lincoln Center

Film Society of Lincoln Center Gala Tribute Honorees
Charlie Chaplin

Charlie Chaplin (1972)
Fred Astaire

Fred Astaire (1973)
Alfred Hitchcock

Alfred Hitchcock (1974)
Joanne Woodward

Joanne Woodward and
Paul Newman

Paul Newman (1975)
George Cukor

George Cukor (1978)
Bob Hope

Bob Hope (1979)
John Huston

John Huston (1980)
Barbara Stanwyck

Barbara Stanwyck (1981)
Billy Wilder

Billy Wilder (1982)
Laurence Olivier

Laurence Olivier (1983)
Claudette Colbert

Claudette Colbert (1984)
Federico Fellini

Federico Fellini (1985)
Elizabeth Taylor

Elizabeth Taylor (1986)
Alec
Guinness

Guinness (1987)
Yves Montand

Yves Montand (1988)
Bette Davis

Bette Davis (1989)
James Stewart
_01.jpg/440px-Annex_-_Stewart,_James_(Call_Northside_777)_01.jpg)
James Stewart (1990)
Audrey Hepburn

Audrey Hepburn (1991)
Gregory Peck

Gregory Peck (1992)
Jack Lemmon

Jack Lemmon (1993)
Robert Altman

Robert Altman (1994)
Shirley MacLaine

Shirley MacLaine (1995)
Clint Eastwood

Clint Eastwood (1996)
Sean Connery

Sean Connery (1997)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (1998)
Mike Nichols

Mike Nichols (1999)
Al Pacino

Al Pacino (2000)
Jane Fonda

Jane Fonda (2001)
Francis Ford Coppola

Francis Ford Coppola (2002)
Susan Sarandon

Susan Sarandon (2003)
Michael Caine
.jpg/440px-Michael_Caine_-_Viennale_2012_g_(cropped).jpg)
Michael Caine (2004)
Dustin Hoffman

Dustin Hoffman (2005)
Jessica Lange
.JPG/440px-Jessica_Lange_(Cropped).JPG)
Jessica Lange (2006)
Diane Keaton
.jpg/440px-Diane_Keaton_2012-1_(cropped).jpg)
Diane Keaton (2007)
Meryl Streep

Meryl Streep (2008)
Tom Hanks

Tom Hanks (2009)
Michael Douglas

Michael Douglas (2010)
Sidney Poitier

Sidney Poitier (2011)
Catherine Deneuve

Catherine Deneuve (2012)
Barbra Streisand

Barbra Streisand (2013)
Rob Reiner

Rob Reiner (2014)
Robert Redford
.jpg/440px-Robert_Redford_(cropped).jpg)
Robert Redford (2015)
Morgan Freeman

Morgan Freeman (2016)
Robert De Niro

Robert De Niro (2017)
Helen Mirren

Helen Mirren (2018)
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Golden Globe Award for Best Director
Henry King (1943)
Leo McCarey (1944)
Billy Wilder

Billy Wilder (1945)
Frank Capra

Frank Capra (1946)
Elia Kazan

Elia Kazan (1947)
John Huston

John Huston (1948)
Robert Rossen

Robert Rossen (1949)
Billy Wilder

Billy Wilder (1950)
László Benedek (1951)
Cecil B. DeMille

Cecil B. DeMille (1952)
Fred Zinnemann

Fred Zinnemann (1953)
Elia Kazan

Elia Kazan (1954)
Joshua Logan (1955)
Elia Kazan

Elia Kazan (1956)
David Lean

David Lean (1957)
Vincente Minnelli

Vincente Minnelli (1958)
William Wyler

William Wyler (1959)
Jack Cardiff

Jack Cardiff (1960)
Stanley Kramer

Stanley Kramer (1961)
David Lean

David Lean (1962)
Elia Kazan

Elia Kazan (1963)
George Cukor

George Cukor (1964)
David Lean

David Lean (1965)
Fred Zinnemann

Fred Zinnemann (1966)
Mike Nichols

Mike Nichols (1967)
Paul Newman

Paul Newman (1968)
Charles Jarrott (1969)
Arthur Hiller

Arthur Hiller (1970)
William Friedkin

William Friedkin (1971)
Francis Ford Coppola

Francis Ford Coppola (1972)
William Friedkin

William Friedkin (1973)
Roman Polanski

Roman Polanski (1974)
Miloš Forman

Miloš Forman (1975)
Sidney Lumet

Sidney Lumet (1976)
Herbert Ross (1977)
Michael Cimino

Michael Cimino (1978)
Francis Ford Coppola

Francis Ford Coppola (1979)
Robert Redford
.jpg/440px-Robert_Redford_(cropped).jpg)
Robert Redford (1980)
Warren Beatty

Warren Beatty (1981)
Richard Attenborough

Richard Attenborough (1982)
Barbra Streisand

Barbra Streisand (1983)
Miloš Forman

Miloš Forman (1984)
John Huston

John Huston (1985)
Oliver Stone

Oliver Stone (1986)
Bernardo Bertolucci

Bernardo Bertolucci (1987)
Clint Eastwood

Clint Eastwood (1988)
Oliver Stone

Oliver Stone (1989)
Kevin Costner

Kevin Costner (1990)
Oliver Stone

Oliver Stone (1991)
Clint Eastwood

Clint Eastwood (1992)
Steven Spielberg

Steven Spielberg (1993)
Robert Zemeckis

Robert Zemeckis (1994)
Mel Gibson

Mel Gibson (1995)
Miloš Forman

Miloš Forman (1996)
James Cameron

James Cameron (1997)
Steven Spielberg

Steven Spielberg (1998)
Sam Mendes

Sam Mendes (1999)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2000)
Robert Altman

Robert Altman (2001)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (2002)
Peter Jackson

Peter Jackson (2003)
Clint Eastwood

Clint Eastwood (2004)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2005)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (2006)
Julian Schnabel
.jpg)
Julian Schnabel (2007)
Danny Boyle

Danny Boyle (2008)
James Cameron

James Cameron (2009)
David Fincher
_3.jpg)
David Fincher (2010)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (2011)
Ben Affleck

Ben Affleck (2012)
Alfonso Cuarón
_cropped.jpg/440px-Alfonso_Cuarón_(2013)_cropped.jpg)
Alfonso Cuarón (2013)
Richard Linklater

Richard Linklater (2014)
Alejandro G. Iñárritu (2015)
Damien Chazelle
.jpg/440px-Damien_Chazelle_on_the_set_of_La_La_Land_(cropped).jpg)
Damien Chazelle (2016)
Guillermo del Toro

Guillermo del Toro (2017)
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Golden Globe Award for Best Supporting Actor – Motion Picture
Akim Tamiroff

Akim Tamiroff (1943)
Barry Fitzgerald

Barry Fitzgerald (1944)
J. Carrol Naish
.png/440px-J_Carroll_Naish_in_Hit_The_Deck_(Trailer).png)
J. Carrol Naish (1945)
Clifton Webb

Clifton Webb (1946)
Edmund Gwenn

Edmund Gwenn (1947)
Walter Huston

Walter Huston (1948)
James Whitmore

James Whitmore (1949)
Edmund Gwenn

Edmund Gwenn (1950)
Peter Ustinov

Peter Ustinov (1951)
Millard Mitchell

Millard Mitchell (1952)
Frank Sinatra

Frank Sinatra (1953)
Edmond O'Brien

Edmond O'Brien (1954)
Arthur Kennedy

Arthur Kennedy (1955)
Earl Holliman

Earl Holliman (1956)
Red Buttons

Red Buttons (1957)
Burl Ives
_1958.jpg)
Burl Ives (1958)
Stephen Boyd

Stephen Boyd (1959)
Sal Mineo

Sal Mineo (1960)
George Chakiris

George Chakiris (1961)
Omar Sharif

Omar Sharif (1962)
John Huston

John Huston (1963)
Edmond O'Brien

Edmond O'Brien (1964)
Oskar Werner

Oskar Werner (1965)
Richard Attenborough

Richard Attenborough (1966)
Richard Attenborough

Richard Attenborough (1967)
Daniel Massey (1968)
Gig Young

Gig Young (1969)
John Mills

John Mills (1970)
Ben Johnson (1971)
Joel Grey

Joel Grey (1972)
John Houseman

John Houseman (1973)
Fred Astaire

Fred Astaire (1974)
Richard Benjamin

Richard Benjamin (1975)
Laurence Olivier

Laurence Olivier (1976)
Peter Firth

Peter Firth (1977)
John Hurt

John Hurt (1978)
Melvyn Douglas/
Robert Duvall

Robert Duvall (1979)
Timothy Hutton
.jpg/440px-Timothy_Hutton_(Sundance_2006).jpg)
Timothy Hutton (1980)
John Gielgud

John Gielgud (1981)
Louis Gossett Jr.

Louis Gossett Jr. (1982)
Jack Nicholson

Jack Nicholson (1983)
Haing S. Ngor

Haing S. Ngor (1984)
Klaus Maria Brandauer

Klaus Maria Brandauer (1985)
Tom Berenger

Tom Berenger (1986)
Sean Connery

Sean Connery (1987)
Martin Landau

Martin Landau (1988)
Denzel Washington
.jpg/440px-The_Equalizer_07_(15127104638).jpg)
Denzel Washington (1989)
Bruce Davison
.jpg/440px-Bruce_Davison_52nd_Annual_Publicists_Awards_-_Feb_2015_(cropped).jpg)
Bruce Davison (1990)
Jack Palance

Jack Palance (1991)
Gene Hackman

Gene Hackman (1992)
Tommy Lee Jones

Tommy Lee Jones (1993)
Martin Landau

Martin Landau (1994)
Brad Pitt

Brad Pitt (1995)
Edward Norton

Edward Norton (1996)
Burt Reynolds

Burt Reynolds (1997)
Ed Harris

Ed Harris (1998)
Tom Cruise
.jpg/440px-Jack_Reacher-_Never_Go_Back_Japan_Premiere_Red_Carpet-_Tom_Cruise_(35375035831).jpg)
Tom Cruise (1999)
Benicio del Toro
.jpg/440px-Benicio_Del_Toro_-_Guardians_of_the_Galaxy_premiere_-_July_2014_(cropped).jpg)
Benicio del Toro (2000)
Jim Broadbent

Jim Broadbent (2001)
Chris Cooper

Chris Cooper (2002)
Tim Robbins

Tim Robbins (2003)
Clive Owen
.jpg)
Clive Owen (2004)
George Clooney

George Clooney (2005)
Eddie Murphy

Eddie Murphy (2006)
Javier Bardem

Javier Bardem (2007)
Heath Ledger

Heath Ledger (2008)
Christoph Waltz
.jpg/440px-Christoph_Waltz_Viennale_2017_b_(cropped).jpg)
Christoph Waltz (2009)
Christian Bale
.jpg/440px-Christian_Bale_2014_(cropped).jpg)
Christian Bale (2010)
Christopher Plummer

Christopher Plummer (2011)
Christoph Waltz
.jpg/440px-Christoph_Waltz_Viennale_2017_b_(cropped).jpg)
Christoph Waltz (2012)
Jared Leto
.jpg/440px-Jared_Leto,_San_Diego_Comic_Con_2016_(2).jpg)
Jared Leto (2013)
J. K. Simmons

J. K. Simmons (2014)
Sylvester Stallone

Sylvester Stallone (2015)
Aaron Taylor-Johnson
.jpg/440px-Aaron_Taylor-Johnson_SDCC_2014_(cropped).jpg)
Aaron Taylor-Johnson (2016)
Sam Rockwell
.jpg/440px-Sam_Rockwell_(8279227257).jpg)
Sam Rockwell (2017)
v
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e
Independent Spirit Award for Best Director
Joel Coen /
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (1985)
Oliver Stone

Oliver Stone (1986)
John Huston

John Huston (1987)
Ramon Menendez (1988)
Steven Soderbergh
.jpg/440px-Steven_Soderbergh_66ème_Festival_de_Venise_(Mostra).jpg)
Steven Soderbergh (1989)
Charles Burnett (1990)
Martha Coolidge (1991)
Carl Franklin

Carl Franklin (1992)
Robert Altman

Robert Altman (1993)
Quentin Tarantino

Quentin Tarantino (1994)
Mike Figgis
.jpg/440px-Mike_Figgis_-_Deloitte_Ignite_2011_(2).jpg)
Mike Figgis (1995)
Joel Coen (1996)
Robert Duvall

Robert Duvall (1997)
Wes Anderson

Wes Anderson (1998)
Alexander Payne

Alexander Payne (1999)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2000)
Christopher Nolan
.jpg/440px-Christopher_Nolan,_London,_2013_(crop).jpg)
Christopher Nolan (2001)
Todd Haynes

Todd Haynes (2002)
Sofia Coppola

Sofia Coppola (2003)
Alexander Payne

Alexander Payne (2004)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2005)
Jonathan Dayton and Valerie Faris

Jonathan Dayton and Valerie Faris (2006)
Julian Schnabel
.jpg)
Julian Schnabel (2007)
Tom McCarthy (2008)
Lee Daniels

Lee Daniels (2009)
Darren Aronofsky

Darren Aronofsky (2010)
Michel Hazanavicius

Michel Hazanavicius (2011)
David O. Russell

David O. Russell (2012)
Steve McQueen (2013)
Richard Linklater

Richard Linklater (2014)
Tom McCarthy (2015)
Barry Jenkins
.jpg/440px-Barry_Jenkins_(cropped).jpg)
Barry Jenkins (2016)
Jordan Peele
.jpg/440px-Jordan_Peele_Peabody_2014_(cropped).jpg)
Jordan Peele (2017)
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London Film Critics' Circle Award for Director of the Year
Nicolas Roeg

Nicolas Roeg (1980)
Andrzej Wajda
.jpg/440px-Andrzej_Wajda_OFF_Plus_Camera_2012_(cropped).jpg)
Andrzej Wajda (1981)
Costa-Gavras

Costa-Gavras (1982)
Andrzej Wajda
.jpg/440px-Andrzej_Wajda_OFF_Plus_Camera_2012_(cropped).jpg)
Andrzej Wajda (1983)
Neil Jordan

Neil Jordan (1984)
Roland Joffé

Roland Joffé (1985)
Akira Kurosawa

Akira Kurosawa (1986)
Stanley Kubrick
.jpg)
Stanley Kubrick (1987)
John Huston

John Huston (1988)
Terence Davies (1989)
Woody Allen

Woody Allen (1990)
Ridley Scott

Ridley Scott (1991)
Robert Altman

Robert Altman (1992)
James Ivory
.jpg/440px-James_Ivory_(1991.09).jpg)
James Ivory (1993)
Steven Spielberg

Steven Spielberg (1994)
Peter Jackson

Peter Jackson (1995)
Joel Coen (1996)
Curtis Hanson

Curtis Hanson (1997)
Peter Weir

Peter Weir (1998)
Sam Mendes

Sam Mendes (1999)
Spike Jonze
.jpg/440px-Spike_Jonze_Her_Premiere_NYFF_2013_(cropped).jpg)
Spike Jonze (2000)
Alejandro González Iñárritu

Alejandro González Iñárritu (2001)
Phillip Noyce

Phillip Noyce (2002)
Clint Eastwood

Clint Eastwood (2003)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (2004)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2005)
Paul Greengrass

Paul Greengrass (2006)
Paul Thomas Anderson

Paul Thomas Anderson (2007)
David Fincher
_3.jpg)
David Fincher (2008)
Kathryn Bigelow

Kathryn Bigelow (2009)
David Fincher
_3.jpg)
David Fincher (2010)
Michel Hazanavicius

Michel Hazanavicius (2011)
Ang Lee
.jpg/440px-Ang_Lee_-_66ème_Festival_de_Venise_(Mostra).jpg)
Ang Lee (2012)
Alfonso Cuarón
_cropped.jpg/440px-Alfonso_Cuarón_(2013)_cropped.jpg)
Alfonso Cuarón (2013)
Richard Linklater

Richard Linklater (2014)
George Miller (2015)
László Nemes

László Nemes (2016)
Sean Baker (2017)
v
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e
National Society of Film Critics Award for Best Director
Michelangelo Antonioni

Michelangelo Antonioni (1966)
Ingmar Bergman

Ingmar Bergman (1967)
Ingmar Bergman

Ingmar Bergman (1968)
François Truffaut

François Truffaut (1969)
Ingmar Bergman

Ingmar Bergman (1970)
Bernardo Bertolucci

Bernardo Bertolucci (1971)
Luis Buñuel

Luis Buñuel (1972)
François Truffaut

François Truffaut (1973)
Francis Ford Coppola

Francis Ford Coppola (1974)
Robert Altman

Robert Altman (1975)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (1976)
Luis Buñuel

Luis Buñuel (1977)
Terrence Malick

Terrence Malick (1978)
Woody Allen

Woody Allen /
Robert Benton (1979)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (1980)
Louis Malle

Louis Malle (1981)
Steven Spielberg

Steven Spielberg (1982)
Paolo Taviani and Vittorio Taviani (1983)
Robert Bresson (1984)
John Huston

John Huston (1985)
David Lynch

David Lynch (1986)
John Boorman

John Boorman (1987)
Philip Kaufman

Philip Kaufman (1988)
Gus Van Sant

Gus Van Sant (1989)
Martin Scorsese
.jpg/440px-Martin_Scorsese_Berlinale_2010_(cropped).jpg)
Martin Scorsese (1990)
David Cronenberg

David Cronenberg (1991)
Clint Eastwood

Clint Eastwood (1992)
Steven Spielberg

Steven Spielberg (1993)
Quentin Tarantino

Quentin Tarantino (1994)
Mike Figgis
.jpg/440px-Mike_Figgis_-_Deloitte_Ignite_2011_(2).jpg)
Mike Figgis (1995)
Lars von Trier

Lars von Trier (1996)
Curtis Hanson

Curtis Hanson (1997)
Steven Soderbergh
.jpg/440px-Steven_Soderbergh_66ème_Festival_de_Venise_(Mostra).jpg)
Steven Soderbergh (1998)
Mike Leigh
_cropped.jpg/440px-Mike_Leigh_(Berlinale_2012)_cropped.jpg)
Mike Leigh (1999)
Steven Soderbergh
.jpg/440px-Steven_Soderbergh_66ème_Festival_de_Venise_(Mostra).jpg)
Steven Soderbergh (2000)
Robert Altman

Robert Altman (2001)
Roman Polanski

Roman Polanski (2002)
Clint Eastwood

Clint Eastwood (2003)
Zhang Yimou
.svg/200px-Zhang_Yimou_(Chinese_characters).svg.png)
Zhang Yimou (2004)
David Cronenberg

David Cronenberg (2005)
Paul Greengrass

Paul Greengrass (2006)
Paul Thomas Anderson

Paul Thomas Anderson (2007)
Mike Leigh
_cropped.jpg/440px-Mike_Leigh_(Berlinale_2012)_cropped.jpg)
Mike Leigh (2008)
Kathryn Bigelow

Kathryn Bigelow (2009)
David Fincher
_3.jpg)
David Fincher (2010)
Terrence Malick

Terrence Malick (2011)
Michael Haneke

Michael Haneke (2012)
Joel Coen and Ethan Coen (2013)
Richard Linklater

Richard Linklater (2014)
Todd Haynes

Todd Haynes (2015)
Barry Jenkins
.jpg/440px-Barry_Jenkins_(cropped).jpg)
Barry Jenkins (2016)
Greta Gerwig

Greta Gerwig (2017)
v
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e
Films directed by John Huston
Films
The Maltese Falcon (1941)
In This Our Life

In This Our Life (1942)
Across the Pacific

Across the Pacific (1942)
Report from the Aleutians (1943)
The Battle of San Pietro (1945)
Let There Be Light (1946)
The Treasure of the Sierra Madre (1948)
Key Largo (1948)
We Were Strangers (1949)
The Asphalt Jungle

The Asphalt Jungle (1950)
The Red Badge of Courage (1951)
The African Queen (1951)
Moulin Rouge (1952)
Beat the Devil (1953)
Moby Dick (1956)
Heaven Knows, Mr. Allison

Heaven Knows, Mr. Allison (1957)
The Barbarian and the Geisha

The Barbarian and the Geisha (1958)
The Roots of Heaven (1958)
The Unforgiven (1960)
The Misfits (1961)
Freud: The Secret Passion (1962)
The List of Adrian Messenger

The List of Adrian Messenger (1963)
The Night of the Iguana (1964)
The Bible: In the Beginning... (1966)
Casino Royale (1967)
Reflections in a Golden Eye (1967)
Sinful Davey

Sinful Davey (1969)
A Walk with Love and Death

A Walk with Love and Death (1969)
The Kremlin Letter

The Kremlin Letter (1970)
Fat City (1972)
The Life and Times of Judge Roy Bean

The Life and Times of Judge Roy Bean (1972)
The Mackintosh Man

The Mackintosh Man (1973)
The Man Who Would Be King (1975)
Independence (1976)
Wise Blood (1979)
Phobia (1980)
Victory (1981)
Annie (1982)
Under the Volcano (1984)
Prizzi's Honor

Prizzi's Honor (1985)
The Dead (1987)
Related
Five Came Back (2017 documentary)
Authority control
WorldCat Identities
VIAF: 114480829
LCCN: n78096855
ISNI: 0000 0001 2096 8885
GND: 118555014
SELIBR: 303032
SUDOC: 061749664
BNF: cb119080970 (data)
BIBSYS: 90262165
NLA: 35215653
NDL: 01067643
NKC: mzk2004225248
ICCU: ITICCURAVV29452
BNE: XX1643464
SN