Robert Wise


Director, Producer
Robert Wise

About

Also Known As
Robert Earl Wise Jr., Robert E Wise
Birth Place
Winchester, Indiana, USA
Born
September 10, 1914
Died
September 14, 2005
Cause of Death
Heart Failure

Biography

Veteran Hollywood director Robert Wise was credited with helming 39 feature films from 1944 to 1989, establishing an admirable reputation in such a wide variety of genres as to prompt some critics to unfairly posit that there was no "Wise style." At the beginning of his career, he worked with equal facility in horror ("The Curse of the Cat People") (1944), film noir ("Born to Kill") (194...

Photos & Videos

The Day the Earth Stood Still - Lobby Cards
Born to Kill - Lobby Card Set
The Haunting - Behind-the-Scenes Photos

Family & Companions

Patricia Doyle
Wife
Actor. Married from May 25, 1942 until her death in 1975.
Millicent Franklin
Wife
Married on January 29, 1977.

Notes

The library of the Directors Guild of America was named in honor of Wise in 1998.

Received the first Sidney P. Solow Memorial Award from the Technology Council (1992)

Biography

Veteran Hollywood director Robert Wise was credited with helming 39 feature films from 1944 to 1989, establishing an admirable reputation in such a wide variety of genres as to prompt some critics to unfairly posit that there was no "Wise style." At the beginning of his career, he worked with equal facility in horror ("The Curse of the Cat People") (1944), film noir ("Born to Kill") (1947), Westerns ("Blood on the Moon") (1948), sports ("The Set-Up") (1949) and sci-fi ("The Day the Earth Stood Still") (1951), demonstrating a visual and narrative dexterity that other filmmakers could only marvel at. After earning his stripes in the 1950s, Wise went on to become one of the most successful and revered directors of the following decade, winning four Oscars for his work on the musical extravaganzas "West Side Story" (1961) and "The Sound of Music" (1965). As film budgets - and studio expectations - skyrocketed, more personal projects, such as the uncompromising Steve McQueen war drama "The Sand Pebbles" (1966), became increasingly difficult for Wise to mount. And although one of his final directorial efforts, the big-budget spectacular "Star Trek: The Motion Picture" (1979), may not have been greeted with the unqualified praise the studio had hoped for, it nonetheless demonstrated the work of a master craftsman, still in full possession of his artistic powers. When responding to the charges of some that Wise never left a personal, artistic imprint on his films, the director replied that it was not the director's job to tailor the film to themselves, but rather, to tailor themselves to the film.

Born Robert Earl Wise on Sept. 10, 1914 in Winchester, IN to parents Olive and Earl Wise, he attended Connersville High School, prior to a brief stint at Franklin College near Indianapolis. Forced to drop out of college in the midst of the Great Depression, Wise - a life long film devotee - followed his older brother to Los Angeles, where he secured a job in the editorial department at RKO Pictures. In the decade that followed his arrival in Hollywood, Wise worked his way through the ranks; first, as an assistant, then an apprentice sound effects editor, and eventually, film editor. After editing such notable films as Lon Chaney's "The Hunchback of Notre Dame" (1939), Wise went on to earn an Oscar nomination for his work on Orson Welles' "Citizen Kane" (1941) and following it up with some early uncredited - and somewhat controversial - directorial work on Welles' troubled "The Magnificent Ambersons" (1942). An even greater influence than Welles on the young Wise was B-movie producer Val Lewton, who tapped him to take over for the faltering Gunther von Fritsch as director of the low-budget horror picture "The Curse of the Cat People" (1944). Wise's first three directorial projects - also including "Mademoiselle Fifi" (1944) and "The Body Snatcher" (1945) - were all under Lewton's aegis at RKO, and Wise benefited greatly from his mentor's affinity for literate material, psychological drama, and a deeply atmospheric style.

RKO finally provided Wise with his first "A" film budget for the ambitious Western "Blood on the Moon" (1948), which starred Robert Mitchum, but it was Wise's work on his final RKO film, the boxing feature "The Set-Up" (1949), that established him as a leading Hollywood talent. Praised for its uncompromising realism, the virtuoso editing of the fight sequences, and the quasi-expressionistic reaction shots of the ringside crowd, "The Set-Up" won the Critics' Prize at Cannes. Wise departed RKO for a three-year, non-exclusive contract with 20th Century-Fox, where he helmed the landmark science fiction classic "The Day the Earth Stood Still" (1951), a so-called "message movie" in a genre given little credibility or respect at the time. The cautionary tale of an extraterrestrial emissary of peace (Michael Rennie) was blatantly anti-nuclear at the height of the Cold War, and a significant step in sci-fi's development away from the simple whiz-bang storytelling of the past. Wise later entered the MGM fold to direct the multifaceted tale of a company power struggle, "Executive Suite" (1954), the first of four collaborations with esteemed screenwriter Ernest Lehman. He reteamed with Lehman for the second time on "Somebody Up There Likes Me" (1956), adapted from the autobiography of the middleweight boxing champion Rocky Graziano. It became Wise's biggest hit of the 1950s, and offered an outstanding performance by Paul Newman in only his second film role, in addition to noteworthy debuts by Steve McQueen and Robert Loggia.

On a roll, the young director continued to work with the best and brightest in Hollywood, on such projects as the psychological WWII naval drama "Run Silent, Run Deep" (1958), co-starring leading men icons Clark Gable and Burt Lancaster. That same year, Wise earned his first Oscar nomination as Best Director for "I Want to Live!" (1958), a pointedly anti-capital punishment prison drama, which won star Susan Hayward the Best Actress statuette for her portrayal of a woman condemned to death for a crime she may or may not have committed. A few short years later, Wise followed with "West Side Story" (1961), a spectacular updating of Shakespeare's "Romeo and Juliet" set in the streets of modern day New York City. The musical went on to win a grand total of 10 Oscars, including Best Picture and Best Director. Shifting gears once again, the chameleon-like director returned to the genre of horror with "The Haunting" (1963). Regarded by many as one of the best haunted house movies ever committed to film, the story would later be frequently imitated, but never duplicated. At the height of his professional career, Wise returned with another musical, this one following the exploits of a governess and a brood of musically gifted children in Nazi-controlled Austria during World War II. "The Sound of Music" (1965) - the film that made an international superstar of Julie Andrews - would earn Wise another Best Director Oscar, as well as one for Best Picture, going on to become the most financially successful picture of its time. Wise returned one year later with the sprawling war saga "The Sand Pebbles" (1966), starring Steve McQueen as a sailor on a U.S. gunboat in China at the outbreak of the country's civil war in the 1920s. The film, seen by many as an implicit anti-Vietnam War statement, earned Wise another Oscar nomination for Best Picture, as well as one for McQueen as Best Actor - his only Academy Award nomination.

As the 1960s drew to a close, so too did Wise's halcyon days as an in-demand director. In keeping with her two-picture deal with 20th Century Fox, Julie Andrews signed on for the lead in Wise's next project, "Star!" (1968), a musical chronicling the life of legendary British entertainer Gertrude Lawrence. Unfortunately, the American public's appetite for musical spectaculars had dropped off as the decade wore on, and audiences expecting a "Sound of Music" reprisal were wholly disappointed. The film suffered from indifference at the box office, as well as last-minute retooling by the studio, and was soon consigned to the cinematic equivalent of persona-non-grata. The venerable director bounced back with a return to science fiction in the moderately successful "The Andromeda Strain" (1971). Based on the novel by Michael Crichton, the film told the story of a small team of scientists in a race against time as they investigate a deadly organism of extraterrestrial origin. Working on a much grander scale, Wise directed the historical disaster epic "The Hindenburg" (1975), featuring and an all star cast that included George C. Scott and Anne Bancroft. Despite its impressive array of special effects and Wise's usual keen attention to detail, the film was savaged by critics and eschewed by audiences. Not fairing much better was "Audrey Rose" (1977), a metaphysical thriller about reincarnation, wrong-headedly promoted by the studio as a shocker in the vein of "The Exorcist" (1973).

With "Star Trek: The Motion Picture" (1979), Wise found himself once more at the helm of a science fiction project, but also resurrecting one of the more beloved properties in television history - not to mention working on a budgetary scale larger than anything he had previously attempted. The production was plagued by problems from the start, soon running over budget and over schedule. When the "Star Trek" feature film arrived in theaters it was met with mixed reactions, and despite earning impressive box office returns, was not the blockbuster Paramount Studios had hoped for. It would be 10 years before Wise would return to the director's chair with "Rooftops" (1989), an urban crime drama, infused with a combative dance style known as capoeira. The film, starring Jason Gedrick, was clearly an attempt to revisit Wise's "West Side Story" glory days, but instead became a rare blemish on the revered filmmaker's lengthy résumé after receiving a nearly unanimous drubbing from critics. Sadly, this would mark Wise's final theatrical effort as a director. A decade later, Wise directed his first made-for-television movie "A Storm in Summer" (Showtime, 2000), starring Peter Falk and written by the late Rod Serling. The highly regarded and decidedly unsentimental family drama would be his final film. In 2005, Robert Wise died of a heart attack at the age of 91.

Filmography

 

Director (Feature Film)

A Storm in Summer (2000)
Director
Rooftops (1989)
Director
Star Trek: The Motion Picture (1979)
Director
Audrey Rose (1977)
Director
The Hindenburg (1975)
Director
Two People (1973)
Director
The Andromeda Strain (1971)
Director
Star! (1968)
Director
The Sand Pebbles (1966)
Director
The Sound of Music (1965)
Director
The Haunting (1963)
Director
Two for the Seesaw (1962)
Director
West Side Story (1961)
Director
Odds Against Tomorrow (1959)
Director
I Want to Live! (1958)
Director
Run Silent Run Deep (1958)
Director
This Could Be the Night (1957)
Director
Until They Sail (1957)
Director
Tribute to a Bad Man (1956)
Director
Somebody Up There Likes Me (1956)
Director
Helen of Troy (1956)
Director
Executive Suite (1954)
Director
The Desert Rats (1953)
Director
So Big (1953)
Director
Destination Gobi (1953)
Director
Something for the Birds (1952)
Director
The Captive City (1952)
Director
The House on Telegraph Hill (1951)
Director
The Day the Earth Stood Still (1951)
Director
Three Secrets (1950)
Director
Two Flags West (1950)
Director
The Set-Up (1949)
Director
Blood on the Moon (1948)
Director
Mystery in Mexico (1948)
Director
Born to Kill (1947)
Director
Criminal Court (1946)
Director
The Body Snatcher (1945)
Director
A Game of Death (1945)
Director
Marine Raiders (1944)
Director addl scenes
Action in Arabia (1944)
2nd Unit Director
Mademoiselle Fifi (1944)
Director
The Curse of the Cat People (1944)
Director
The Magnificent Ambersons (1942)
Director

Cast (Feature Film)

Lugosi: Hollywood's Dracula (2000)
All Is Brazil (1998)
The Stupids (1996)
Wild Bill: Hollywood Maverick (1995)
Himself
With Orson Welles: Stories From A Life (1989)
50 Years of Action! (1986)
Himself
The Fantasy Film Worlds of George Pal (1985)

Writer (Feature Film)

The House on Telegraph Hill (1951)
Contract Writer

Producer (Feature Film)

Wisdom (1986)
Executive Producer
The Hindenburg (1975)
Producer
Two People (1973)
Producer
Happy Birthday, Wanda June (1971)
Producer
The Sergeant (1968)
Executive Producer
The Sand Pebbles (1966)
Producer
The Sound of Music (1965)
Producer
The Haunting (1963)
Producer
Two for the Seesaw (1962)
Presented By
West Side Story (1961)
Producer
Odds Against Tomorrow (1959)
Producer
Return to Paradise (1953)
Presented By

Editing (Feature Film)

The Fallen Sparrow (1943)
Editing
The Iron Major (1943)
Editing
Bombardier (1943)
Editing
The Magnificent Ambersons (1942)
Film Editor
Seven Days' Leave (1942)
Editing
All That Money Can Buy (1941)
Editing
Citizen Kane (1941)
Film Editor
My Favorite Wife (1940)
Editing
Dance, Girl, Dance (1940)
Editing
Fifth Avenue Girl (1939)
Editing
Bachelor Mother (1939)
Editing
The Hunchback of Notre Dame (1939)
Editing

Production Companies (Feature Film)

The Baby Maker (1970)
Company
The Sergeant (1968)
Company
The Sand Pebbles (1966)
Company
The Sound of Music (1965)
Company
The Haunting (1963)
Company

Misc. Crew (Feature Film)

Wild Bill: Hollywood Maverick (1995)
Other
Wisdom (1986)
Other
50 Years of Action! (1986)
Other
The Fantasy Film Worlds of George Pal (1985)
Assistant

Cast (Special)

TCM Interviews: Robert Wise (2010)
Hollywood Screen Tests: Take Two (2001)
The American Film Institute Salute to Robert Wise (1998)
Steve McQueen: The E! True Hollywood Story (1998)
Susan Hayward: The Brooklyn Bombshell (1998)
The Battle Over Citizen Kane (1996)
The Moviemakers: Robert Wise (1996)
Himself
Darryl F. Zanuck: 20th Century Filmmaker (1995)
Paul Newman: Hollywood's Charming Rebel (1995)
Julie Andrews: Back on Broadway (1995)

Misc. Crew (Special)

The 69th Annual Academy Awards (1997)
Archival Footage

Life Events

1933

After dropping out of college moved to Southern California, where his brother worked as an accountant at RKO Pictures

1933

Hired by RKO as general editing gofer; promoted to apprentice sound editor after nine months; then music editor (i.e., "The Gay Divorcee" 1934 and "Top Hat" 1935)

1937

Moved up to assistant picture editor, working under William Hamilton

1939

First three films as co-editor (with Hamilton), "Fifth Avenue Girl", "The Story of Vernon and Irene Castle" and "The Hunchback of Notre Dame"

1940

First two films as sole editor; "My Favorite Wife" and "Dance, Girl, Dance"

1944

First film as sole director, "Mademoiselle Fifi"

1944

First film as co-director (due to illness and slowness of project's original director, Gunther von Fritsch), "The Curse of the Cat People"

1947

Helmed the supertough cult film noir "Born to Kill"; uncharacteristically mean-spirited for Wise

1949

Made first boxing picture "The Set-Up", starring Robert Ryan

1951

Directed the sci-fi classic "The Day the Earth Stood Still"

1954

Brought into MGM fold to direct "Executive Suite"; following its preview, MGM signed Wise to three-year contract

1956

Provided Paul Newman his big break in "Somebody Up There Likes Me", the boxing tale of Rocky Graziano; Wise's biggest hit of the 1950s

1958

Received second Oscar nomination (this time for Best Director) for "I Want to Live!", starring Susan Hayward

1959

First film as producer, "Odds Against Tomorrow"; also directed

1961

Co-directed "West Side Story" with Jerome Robbins; also was one of the film's producers; won Best Director Oscar and Best Picture Oscar

1963

Completed original commitment to MGM with a return to the horror genre, "The Haunting"

1965

Earned third and fourth Oscars for directing and producing "The Sound of Music", starring Julie Andrews

1968

Experienced box-office failure with "Star!", a biopic of Gertrude Lawrence starring Julie Andrews

1970

Joined with Robson (again), James Bridges and former Paramount vice president Bernard Sonnenfield to form the Filmmaker's Group

1971

Produced and directed film adaptation of Michael Cricton's first novel "The Andromeda Strain"

1979

Boarded the Enterprise to direct "Star Trek--The Motion Picture"

1989

Directed last feature to date, "Rooftops", an urban B musical about a teenaged white male, his forbidden Hispanic girlfriend, drug pushers and a form of "combat dancing" (martial arts without the sound of bones snapping)

1996

Screen acting debut in John Landis' "The Stupids"

1998

Received American Film Institute Life Achievement Award

2000

Returned to directing at the helm of the Showtime remake of the TV-movie "A Storm in Summer"

Photo Collections

The Day the Earth Stood Still - Lobby Cards
Here are some Lobby Cards from The Day the Earth Stood Still (1951). Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.
Born to Kill - Lobby Card Set
Here is a set of Lobby Cards from RKO's Born to Kill (1947), starring Claire Trevor and Lawrence Tierney. Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.
The Haunting - Behind-the-Scenes Photos
Here are a few behind-the-scenes photos taken during the shooting of The Haunting (1963), directed by Robert Wise.
Somebody Up There Likes Me - Behind-the-Scenes Photos
Here are a number of photos taken behind-the-scenes during production of MGM's Somebody Up There Likes Me (1956), starring Paul Newman and Pier Angeli, and directed by Robert Wise.
The Set-Up - Lobby Card Set
Here is a set of Lobby Cards from RKO's The Set-Up (1949), starring Robert Ryan and directed by Robert Wise. Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.
The Haunting - Pressbook
Here is the campaign book (pressbook) for The Haunting. Pressbooks were sent to exhibitors and theater owners to aid them in publicizing the film's run in their theater.
Until They Sail - Behind-the-Scenes Photos
Here are some photos taken behind-the-scenes during production of MGM's Until They Sail (1957), starring Paul Newman and Jean Simmons and directed by Robert Wise.
The Set-Up - Movie Poster
Here is the American one-sheet movie poster for RKO's The Set-Up (1949), starring Robert Ryan. One-sheets measured 27x41 inches, and were the poster style most commonly used in theaters.

Videos

Movie Clip

Blood On The Moon (1948) - You'll Make Up The Difference Rilling (Robert Preston) brings pal Jim (Robert Mitchum) to meet crooked partner Pindalest (Frank Faylen), explaining his proposition, in Robert Wise's high-brow Western Blood On The Moon, 1948.
Blood On The Moon (1948) - If I Can Find My Blanket Opening sequence finds Jim Garry (Robert Mitchum) making camp, dodging a stampede, and meeting cowboy Bart (Robert Bray), in director Robert Wise's arty Western Blood On The Moon, 1948.
Blood On The Moon (1948) -- You're Working For Us Now? En route to deliver a note for a rancher, Garry (Robert Mitchum) meets his feisty daughter Amy (Barbara Bel Geddes), then her sister (Phyllis Thaxter) and brother (Tom Tully), in Robert Wise's range-war Western Blood On The Moon, 1948.
Bombardier (1943) - You Look Scared Stiff Part of a series of impressive technical sequences, Russell Wade as Army Air Force trainee Harris, leading man Pat O’Brien narrating, Charles Russell the instructor, Randolph Scott in the cockpit, Academy Award-nominated Special Effects by Vernon L. Walker, editing by Robert Wise (assisted by young Robert Aldrich), in RKO’s Bombardier, 1943.
Mademoiselle Fifi (1944) - In Occupied France Opening from director Robert Wise and screenwriters Josef Mischel and Peter Ruric, from a Guy de Maupassant story, establishing France during the 1870 Prussian occupation, Charles Waldron a priest, Kurt Kreuger the improbably named title character, in Mademoiselle Fifi, 1944, starring Simone Simon.
Mademoiselle Fifi (1944) - Little Launderesses Or Liberals Introducing the protagonist, Simone Simon as laundress Elisabeth, catching a stage during the 1870 Prussian occupation of France with her social superiors (the bourgeoisie Alan Napier, Romaine Callender, Helen Freeman, Norma Varden, and Edmund Glover the priest), Jason Robards the voluble merchant, John Emery the agitator, in Mademoiselle Fifi, 1944.
Mademoiselle Fifi (1944) - More Than A Patriot Everybody happier as resourceful laundress Elisabeth (Simone Simon) has shared her plentiful poultry with her famished upper-class stage coach companions, congratulated especially by Norma Varden and Jason Robards Sr., during the 1870 Prussian occupation of France, in RKO’s Mademoiselle Fifi, 1944.
Mademoiselle Fifi - With Fifi Fellow travelers listen in as Prussian Lieutenant "Fifi" von Eyrick (Kurt Kreuger) attempts to bend Elizabeth (Simone Simon) to his will in Mademoiselle Fifi, 1944.
West Side Story (1961) - America The show-stopping number for Rita Morena in her Academy Award-winning role as Puerto Rican Anita, George Chakiris similarly honored as her boyfriend Bernardo, the song by Leonard Bernstein and Stephen Sondheim, in West Side Story, 1961.
West Side Story (1961) - Tonight Enraptured on the night of their meeting, Tony (Richard Beymer) and Maria (Natalie Wood) on the fire escapes, director Robert Wise mingling the Leonard Bernstein/Stephen Sondheim song with Ernest Lehman's script, singing voices by Marni Nixon and Jimmy Bryant, in West Side Story, 1961.
West Side Story (1961) - Jet Song One of the earliest, briefest and best-remembered songs from the piece, Leonard Bernstein music, Stephen Sondheim lyric, Jerome Robbins’ dance, Russ Tamblyn leading the New York street gang (Tucker Smith, Tony Mordente, David Winters et al), in West Side Story, 1961.
Tribute To A Bad Man (1956) - Saved By A Grocery Clerk Joining the opening narration by Don Dubbins as tenderfoot "Steve Miller," meeting the titular James Cagney as "Jeremy Rodock," southeast Wyoming, 1875, in Tribute To A Bad Man, 1956, directed by Robert Wise, photographed by Robert Surtees.

Trailer

I Want to Live! - (Original Trailer) The true story of a small-time lady crook who fought to escape the electric chair in I Want to Live! (1958), starring Susan Hayward.
Day The Earth Stood Still, The (1951) -- (Original Trailer) Original theatrical trailer for hit 195 real-world cold-war science fiction thriller The Day The Earth Stood Still, from Twentieth Century-Fox, starring Michael Rennie and Patricia Neal.
Seven Days' Leave - (Original Trailer) A G.I. (Victor Mature) must marry an heiress (Lucille Ball) whom he's never met to get $100,000, all in a Seven Days' Leave (1942).
This Could Be the Night - (Original Trailer) A schoolteacher (Jean Simmons) gets a secretarial job at a gangster-run nightclub in This Could Be the Night (1957).
Curse Of The Cat People, The - (Original Trailer) In the 1944 sequel to Cat People (1942), a lonely child creates an imaginary playmate with surprisingly dangerous results.
Haunting, The - (Original Trailer) A team of psychic investigators moves into a haunted house that destroys all who live there in The Haunting (1963), directed by Robert Wise (Telluride Film Festival honoree 1979).
Citizen Kane -- (Original Trailer) The investigation of a publishing tycoon's dying words reveals conflicting stories about his life in this famous trailer for Citizen Kane (1941).
Bachelor Mother - (Re-issue Trailer) Ginger Rogers is a fun-loving shop girl who is mistaken for the mother of a foundling in Bachelor Mother (1939) co-starring David Niven.
Bombardier - (Original Trailer) Military officers compete for the same woman while training pilots for World War II in the adventure movie Bombardier (1943).
Fallen Sparrow, The - (Original Trailer) Nazi spies pursue a Spanish Civil War veteran (John Garfield) in search of a priceless keepsake in The Fallen Sparrow (1943).
Iron Major, The - (Original Trailer) Frank Cavanaugh proves himself as a football coach and a World War I hero in the true story of The Iron Major (1943), starring Pat O'Brien.
Blood on the Moon - (Original Trailer) A gunslinger hired to drive off a rancher falls in love with the man's daughter in Blood on the Moon (1949), directed by Robert Wise and starring Robert Mitchum, Barbara Bel Geddes and Robert Preston.

Family

Olive R Wise
Mother
Robert Earl Wise Sr
Father
Meat packing executive.
David Wise
Brother
Accountant. Worked at RKO; helped secure brother's first job at RKO.
Robert A Wise
Son
Born c. 1943; mother, Patricia Doyle.

Companions

Patricia Doyle
Wife
Actor. Married from May 25, 1942 until her death in 1975.
Millicent Franklin
Wife
Married on January 29, 1977.

Bibliography

Notes

The library of the Directors Guild of America was named in honor of Wise in 1998.

Received the first Sidney P. Solow Memorial Award from the Technology Council (1992)

"In 1947, I had just finished editing a film called 'My Favorite Wife', when my boss asked if I knew Orson Welles. The studio had just given him a green light, and he needed an editor. I was aware of his remarkable record on the stage in New York and on radio but had never met him. To meet him, I visited a stage where he was shooting a test. We chatted for just a few minutes and I headed back to the editing department. My boss told me Orson had already called and wanted me to edit 'Citizen Kane'. It was an incredible experience."I've been asked many times if Orson looked over my shoulder and directed the editing. He never came into the editing room. I worked with him as I had with any other director. I would take notes on his comments when we ran dailies. There was a lot of give and take. There was a certain timing and rhythm he was after." --Robert Wise, from American Society of Cinematographers press material on the occasion of his receiving their Board of Governors Award

"On 'I Want to Live!' Susan Hayward wanted us to use a cameraman that she liked very much, someone who had made other pictures with her and had a knack for the glamorous look. Well, he had been last on my list for this particular drama, which was a gritty sort of crime story, the Barbara Graham murder trial piece."I had liked [Lionel] Curly Lindon's texture on a couple of films that he gave a documentary-like look to. So, I had a set-to with Susan Hayward and then a stand-off. Her agent finally got us to meet. And she said, 'So-and-so is free to do this,' and I said he won't be able to give us the documentary look we want. She finally decided to go along with us and won the Academy Award for best actress. But she sure watched the rushes." --Robert Wise in DAILY VARIETY, February 21, 1997

Inducted into the Producers Guild Hall of Fame in 1999