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ABOUT THE GUILD’S HALL OF FAME

To honor contributions of legendary Production Designers and Art Directors of the past, the ArtDirectors Guild (ADG) established a Hall of Fame in 2005 that annually inducts new members intoits ranks. The first group was formally inducted in a special segment at the Ninth Annual ArtDirectors Guild Awards on February 12, 2005.

Once inducted, the ADG Hall of Famers will be the subject of seminars, events and screenings andtheir at-work images will be permanently displayed at ADG offices on a Hall of Fame wall.

In making the initial announcement about its Hall of Fame, ADG Council President Thomas A.Walsh said:

"This is a proud moment for our Guild as we look to our past so we may build the bridges toour future. The ADG Hall of Fame will recognize the many contributions and achievements ofthose artists who created and evolved our unique art and craft of design and art direction forthe moving image. Their creative legacy continues to inspire and challenge all of those whohave chosen the art of Production Design as their profession and it is appropriate that wehonor their memory through their induction into the ADG Hall of Fame."

Here is a brief background about each of the Guild’s Hall of Fame inductees from 2005 thru 2008:

JOHN BOX (1920-2005) was nicknamed “the magician” and

received an Academy Award after he created a snowy Russia whileon location in scorching Spain for Doctor Zhivago (1966). For TheInn of the Sixth Happiness (1958) he built a Chinese wall in Walesand for Rollerball (1975) he designed the arena and devised thegame. Box is known for his collaborations with famed director DavidLean, beginning with the film Lawrence of Arabia (1962), for whichhe won the Academy Award in 1963. Box was a graduate of theLondon School of Architecture. He began his career as anarchitect and stage designer, turning to films during the mid-1950s.Box is best known for creating exotic foreign settings and makingthe repulsive and lifeless look lively, colorful and exciting. OtherAcademy Awards came for Oliver! (1968) and Nicholas andAlexandra (1971). Box won BAFTA Awards for A Man For AllSeasons (1966), The Great Gatsby (1974) and Rollerball (1975)and was nominated for Oliver! (1968), Nicholasand Alexandra (1971) and A Passage to India (1984).Inducted in 2006

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HILYARD BROWN (1910-2002) won an Academy Award!

in1963 for Cleopatra, the film that almost ruined 20th Century

Fox. His portfolio includes Hooper, Billy Jack Goes toWashington, Hustle, Von Ryan’s Express, Creature from theBlack Lagoon, Al Capone and All My Sons. Brown entered theindustry in 1937 as a draftsman for Warner Bros. His firstscreen credit was as an Assistant Art Director on Citizen Kane(1941), widely recognized as a masterpiece. The mostimportant of Brown’s later films, from a design perspective, wasThe Night of the Hunter, the only film directed by CharlesLaughton. Inducted in 2007

WILFRED BUCKLAND (1866-1946) is famed for developing a

revolutionary use of lighting, circa 1914-1920. He began his career as atheatrical designer and producer, working his way into Hollywood in 1914as one of industry’s first recognized Art Directors. “Klieg lighting” wasdeveloped from Buckland’s continuous experimentations with lightingand copied by Production Designers and Art Directors throughout theindustry. Such Klieg lighting, which became known as “Lasky lighting,”uses spotlighting for both indoors and outdoors, creating great dramaticeffects. Previously sets had been flat-lighted with natural daylightsettings. Buckland is also well known for his work alongside legendarydirector Cecil B..DeMille, contributing to his early success by creatingcontemporary themes and authentic set designs. Buckland’s renownedlighting techniques are admired in such films as Joan the Woman (1916),Carmen (1915), The Cheat (1915), For Better, For Worse (1919 withMichell Leisen), A Perfect Crime (1921), Robin Hood (1922 with Irvin J.Martin) and Almost Human (1927). Inducted in 2005

HENRY “BUMMY” BUMSTEAD (1915-2006) passed away in 2006,

designing after a 70-year career and more than 100 movies. He had justconcluded work on two still unreleased Clint Eastwood movies—Flags ofOur Fathers and Letters from Iwo Jima. “Bummy” designed a total of 13films for Eastwood. He received Oscars! for recreating rural Alabama ofthe 1930s in To Kill a Mockingbird (1962) and for his sets of Depression-era Chicago in The Sting (1973). He received Academy Award!nominations for Eastwood’s 1992 western Unforgiven and for AlfredHitchcock’s thriller Vertigo. The Art Directors Guild honored him with theirLifetime Achievement Award in 1998. “Bummy” worked on three otherHitchcock films—The Man Who Knew Too Much (1956), Topaz (1969)and Family Plot (1976). His association with Clint Eastwood began withthe 1972 western Joe Kidd. His first job as an Art Director was in the1948 Paramount film Saigon. Other credits include The Great WaldoPepper, Slap Shot, The Front Page, Cape Fear, Mystic River andMidnight in the Garden of Good and Evil. Inducted in 2007

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EDWARD CARFAGNO (1907 – 1996)

Three-time Academy Award winner and member of the 1940 Olympic fencing team, Edward Carfagno, served as Art Director on 60 films and Production Designer on 20 films. He established himself in the 1950s with his work on epic films such as Quo Vadis (1951), and his Oscar winning Julius Caesar (1953) and Ben-Hur (1959). Nominated for an Academy Award a total of seven times, Carfagno’s first Oscar was for The Bad and the Beautiful (1952). Later in his career, Carfagno collaborated with director Clint Eastwood on five films: Tightrope (1984), Pale Rider (1985), Heartbreak Ridge (1987), Bird (1988) and The Dead Pool (1988). Inducted in 2008.

CARROLL CLARK (1894-1968) was nominated for seven

Academy Awards" including The Gay Divorcee (1934), Top Hat(1935), A Damsel in Distress (1937), Flight for Freedom (1943),Step Lively (1944), The Absent Minded Professor (1961), andMary Poppins (1964). He won the Scientific and EngineeringAcademy Award" in 1943, sharing it with F. Thomas Thompsonfor the design and construction of a moving cloud and horizonmachine. Clark was trained as an architect, but he pursued acareer in commercial design before joining Pathé Studio in themid-twenties. His most important early assignment was HowardHughes’ extravagant war film Hell’s Angels (1930). But his realachievements came when he joined RKO two years later. Heworked with the great Production Designer Van Nest Polglase onKing Kong. He created some of the most memorable and elegantsets of the era with some of the great Fred Astaire movies andthen adopted the totally different noir style with Hitchcock’sSuspicion and Notorious. When RKO closed shop Clark joinedDisney as Supervising Art Director and was largely responsiblefor creating its powerful image in the 1960s. Inducted in 2007

RICHARD DAY (1896-1972) had a nontraditional career compared with

other Art Directors of his time. He was the first, and possibly the greatest,of the early independent Art Directors in Hollywood. He began his trend-setting work in the silent era as Erich Von Stroheim’s designer in 1919and 1920. In the 1930’s Day worked as an Art Director for SamuelGoldwyn where he designed a majority of Goldwyn Studios feature filmsfor eight years. He also worked for United Artist, MGM, and Warner Bros.and at Twentieth Century Fox, where he served as supervising ArtDirector for many years. Day’s career lasted for 40 years, during whichtime he was nominated for 20 Academy Awards", winning seven. Hisportfolio of designed films includes Whoopee! (1930), The Dark Angel(1936), Dodsworth (1936), The Goldwyn Follies (1938), Lillian Russell(1940), How Green Was My Valley (1941), A Streetcar Named Desire(1951), On the Waterfront (1954), and Tora! Tora! Tora! (1970). Todayhe is more remembered for his modern realism than for the musicals orperiod spectacles at which he was equally adapt. Inducted in 2005

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JOHN DECUIR, SR. (1918-1991) is best known for elaborate set

designs that were illustrated with amazing watercolor paintings. Hebegan his career in 1938 at 20 when he joined Universal, where heremained until 1949. He then moved to 20

th Century Fox where he

specialized in large-scale productions. He was one of the first ArtDirectors to work with Cinemascope. He won Academy Awards" for ArtDirection for the films The King and I (1956), Cleopatra (1963) andHello, Dolly! (1969). Other films for which he received nominations wereThe House On Telegraph Hill (1951), The Snows of Kilimanjaro (1952),My Cousin Rachel (1952), Daddy Long Legs (1955), A Certain Smile(1958), The Big Fisherman (1959), The Agony and the Ecstasy (1965)and The Taming of the Shrew (1967). He also received a BAFTAnomination for Hello Dolly. He won an Emmy for his sole television film,Ziegfield: The Man and His Woman (1978). DeCuir also designedtheme parks and museums, stage plays and operas, both in the U.S.and Europe. He was the pre-eminent designer of his generation.Inducted in 2005

HANS DREIER (1885-1966) won Academy Awards for his work on

Frenchman’s Creek (1944), Samson and Delilah (1949) and Sunset Blvd(1950). Dreier’s production designs contributed to the development of anew genre, screwball comedy, which was influenced by a combination ofEuropeans and Americans from the past and present. Dreier used thesedesigns in collaborations with famed director Ernest Lubitsch in the filmsForbidden Paradise (1924), The Love Parade (1929) and Trouble inParadise (1932). He was also known for his collaborations with fameddirector Josef von Sternberg on the film Underworld (1927), one of themost influential films of the late silent era. He moved to Hollywood in1923 to work at Paramount Studios where he served as supervising ArtDirector until his retirement in 1950. Other films earning him AcademyAward nominations include The Patriot (1928), The Vagabond King(1930), The Love Parade (1929), Morocco (1930), A Farewell to Arms(1932), The Lives of a Bengal Lancer (1935), Souls at Sea (1937), If IWere King (1938), Beau Geste (1939), North West Mounted Police(1940), Arise, My Love (1940), Hold Back the Dawn (1941), Reap the

Wild Wind (1942), For Whom the Bell Tolls (1943) and Kitty (1945). Inducted in 2006

CEDRIC GIBBONS (1892-1960) received 37 Academy Award

nominations, more than any other Art Director in Hollywood. He won 11Academy Awards for The Bridge of San Luis Rey (1929), The MerryWidow (1934), Pride and Prejudice (1940), Blossoms In the Dust(1941), Gaslight (1944), The Yearling (1946), Little Woman (1949), AnAmerican in Paris (1951), The Bad and the Beautiful (1952), JuliusCaesar (1953) and Somebody Up There Likes Me (1956). Gibbons isone of the most celebrated and influential Production Designers in thehistory of American film. He is one of the 36 founders of the Academyof Motion Pictures Arts and Sciences and designed the Oscarstatuette. Gibbons began working in 1914 as an Art Director for theEdison Studios. In 1924 Gibbons joined the staff at MGM as thesupervising Art Director along with Richard Day, and remained there for32 years. Gibbons and Day redefined Art Deco, creating the legacy of“big white” sets and influencing American interior design. His name hasappeared in the credits of over 1500 films, more than any other personin the history of motion pictures. Inducted in 2006

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STEPHEN GOOSSON (1889-1973) began his career as an

architect before moving on to moving pictures as Art Director for filmproducer Lewis J. Selznick in 1919. He later worked for MaryPickford Productions, Frank Lloyd, DeMille Productions and Foxuntil being hired by Columbia, where he would work for the rest ofhis career. This included 25 years as its Supervising Art Director.His work was always meticulously researched, authentically builtand rich in details from the pencil drawings to the final full-scalesets. He won an Academy Award" in 1937 for his incredible sets ofShangri-La for Frank Capra’s Lost Horizon. He was also nominatedfor four Academy Awards" for Just Imagine (1930), Holiday (1938),The Little Foxes (1941), and A Thousand and One Nights (1945).A hall of mirrors, the climactic sequence in Orson Welles’ The Ladyfrom Shanghai (1948), designed by Goosson with Sturges Carne,is one of film’s most arresting images. Inducted in 2007

ANTON GROT (1884-1974) began his career in 1913 working as an Art

Director for the Lubin Film Company in Philadelphia, at the same timedoing work for Vitagraph and for Pathé. After working on a number ofmemorable Hollywood films, he joined Warner Bros. in 1927 where hestayed for 20 years, designing 80 films, mostly solo. He dominated ArtDirection at the studio until his retirement at the end of the forties. Hedid as much to set the style of Warner’s musicals as did its more famouschoreographer, Busby Berkeley. Grot is known for his outstandingdesigns in realism during the 1930’s and ‘40’s and also for creatingspecial effects with water. His creative contributions with water effects--by creating water ripple and wave illusion machines--lead to hisreceiving an honorary Academy Award" in 1941. Grot was additionallynominated for five Academy Awards" for Svengali (1937), AnthonyAdverse (1936), Life of Emile Zola (1937), The Private Lives ofElizabeth and Essex (1939) and The Sea Hawk (1940). Grot was thefirst Art Director to present a sequence of sketches showing all of afilm’s sets. Inducted in 2005

STEPHEN GRIMES (1927 – 1988) English born Production

Designer Stephen Grimes enjoyed lasting relationships withnotable directors John Huston and Sydney Pollack. Grimesfirst worked as an Art Director for Huston in 1957 on Heaven Knows,Mr. Allison. He continued to work with Huston on The Unforgiven (1960), The Misfits (1961), Freud (1962), and The Night of the Iguana (1964)for which he received an Oscar nomination. Grimes’ Production Designwork with Sydney Pollack included films such as The Way We Were(1973), which garnered him an Oscar nomination, Three Days of the Condor (1975), and Out of Africa (1985), which won him the Academy Award. Pollack also used Grimes as a second unit director on BobbyDeerfield (1977), and The Yakuza (1974). Grimes’ other film creditsinclude: Urban Cowboy (1980), True Confessions (1981),On Golden Pond (1981), Never Say Never Again (1983), andRyan’s Daughter (1970). Inducted in 2008

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TED HAWORTH (1918-1993) A Cleveland native, Haworth became

an Art Director after graduating from the University of California, LosAngeles. Haworth’s first film was Hitchcock’s extraordinary Strangerson a Train, which he followed with Invasion of the Body Snatchers.Other film credits include Marty (1955), Some Like it Hot (1959), Pepe(1960), The Longest Day (1962), and What a Way to Go! (1964).His more recent film credits include Batteries not Included (1987) andMr. Baseball (1992). One of Mr. Haworth’s most noteworthyachievements was his work on Sayonara, for which he received theAcademy Award® for Excellence in Art Direction. The film, which wasbased on a James Michener novel, and starred Marlon Brando, washeralded for its artistic appeal. The New York Times reviewed the artdirection as: “A richly colorful film…shown in colors of exceptional tasteand blend.” Inducted in 2009

DALE HENNESY (1926 – 1981) Academy Award winner Dale

Hennesy’s career as an Art Director and Production Designer spreadover several different film genres: comedy, adventure, sci-fi, crimedrama, and musical. Hennesy began with comedies such as Underthe Yum Yum Tree (1963), Good Neighbor Sam (1964), In Like Flint(1967), and eventually Everything You Always Wanted to Know AboutSex * But Were Afraid to Ask (1972). His science fiction and fantasycredits include Young Frankenstein (1974) for which he won a GoldenScroll from the Academy of Science Fiction, Fantasy & Horror Film,Sleeper (1973), King Kong (1976), Logan’s Run (1976) for which hereceived an Oscar nomination, and Fantastic Voyage (1966), whichwon him an Academy Award. Hennesy’s work in the crime dramagenre included Slither (1973) and Dirty Harry (1971). Hennesy’s lastfilm, Annie (1982) earned him another Academy Award nomination.Inducted in 2008

HARRY HORNER (1910-1994) won two Academy Awards!

for The Heiress (1949) and The Hustler (1961). He wasalso nominated for They Shoot Horses, Don’t They?(1969). He worked for a young Otto Preminger and later forthe legendary producer Max Reinhardt, whom he followedto the United States in 1935. Horner worked on manyBroadway and Metropolitan Opera productions beforemoving to Hollywood in the ‘40s. He directed a number of“B” movies and early television series, but it is asProduction Designer that he will be remembered. Afterdirecting such films as the cult favorite Red Planet Mars(1952) he returned exclusively to Art Direction.Inducted in 2007

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JOSEPH MCMILLAN JOHNSON (1912-1990) Los Angeles

born Mac Johnson was an architect before he became anAcademy Award® winning Production Designer. Hesubsequently began working with David O. Selznick in filmproduction and contributed to such films as Gone With theWind, as an illustrator, and The Wizard of Oz (1939), doingvisual effects. After working on several more of Selznick’sfilms, including Duel in the Sun (1946) and The ParadineCase (1947), he garnered an Oscar® win for visual effects forThe Portrait of Jennie (1948). Johnson was later nominatedfor an Oscar® for his work with Alfred Hitchcock for To Catch aThief in 1955. He earned Oscar® nominations for his work onThe Facts of Life (1960), Mutiny on the Bounty (1962), TheGreatest Story Ever Told (1965) and Ice Station Zebra (1968).Mac was consistently successful both for visual effects and artdirection. His six Oscar® nominations were equally dividedbetween the two disciplines. Perhaps his greatestachievement as an art director was for a set that didn’t getnominated—Rear Window. Inducted in 2009

ROMAIN JOHNSTON (1929-1995)

A legend in the Variety Show or Musical genre, Johnston won threeEmmys® and was nominated an additional ten times. Johnston got hisstart in art direction with the television series Number Please (1961) andwent on to win his Emmys for work on The Mac Davis Show (1974),The Sentry Collection Presents Ben Vereen: His Roots (1978) andPryor’s Place (1984). In 1978, Johnston received three of the five Emmynominations for Art Direction of a Variety or Musical Program. He hasalso worked on iconic series Barbara Mandrell and the Mandrell Sisters,The Flip Wilson Show and The Smothers Brothers Comedy Hour.Inducted in 2009

BORIS LEVEN (1908-1986) began career as an Art Director in

1933 as a sketch artist for Paramount, where he learned the craftfrom the legendary Hans Dreier. He stayed there for three years,believing this was just temporary work until he could start a careerin architecture. But moving to 20

th Century Fox, he finally found

his calling. His first film for the studio, Alexander’s Ragtime Band(1938) earned him his first of nine Oscar® nominations. Othernominations included The Shanghai Gesture (1941), Giant(1956), The Sound of Music (1965), The Sand Pebbles (1966),Star! (1968), The Andromeda Strain (1971) and The Color ofMoney (1986). He frequently worked with Martin Scorsese andRobert Wise. His assignments ranged widely from westerns toscience fiction to musicals. He won an Academy Award" for hisProduction Design work on West Side Story (1961). He was amaster colorist and achieved his finest work on Technicolordramas and musicals. He became a freelancer in the early fiftiesand in 1956 worked on George Stevens’ Giant, one of the firstHollywood epics to shoot primarily on location. Inducted in 2005

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JOHN MEEHAN (1902-1963)

Three-time Academy Award® winner and graduate of USC School ofArchitecture; Meehan served as an Art Director on 19 films. His initialcredit was for his work on Bring on the Girls (1945). Meehan won histhree Academy Awards® for the classic films The Heiress (1949) (withHarry Horner), Sunset Blvd. (1950) and 20,000 Leagues Under theSea (1954). He worked with legendary directors George Cukor, RichardFleischer and Billy Wilder. In addition, Meehan was Emmy nominatedfor his work on the television show G.E. True Theater (1953). Meehanalso worked on Leave it to Beaver (1957-1962), Alfred HitchcockPresents (1958-1960) and The Millionaire (1955-1956) among others.Inducted in 2009

WILLIAM CAMERON MENZIES (1896-1957), the first Art Director to

gain the title of Production Designer as a result of his Academy-Award-winning work on Gone With the Wind (1939), was an independent ArtDirector working under non-exclusive short-term contracts. Thisallowed him to move from studio to studio. As an independent he wasable to experiment with his artistic visions, making him one of the bestArt Directors of his time. Menzies befriended famed Art Director AntonGrot, who taught Menzies his techniques of forced perspective andcontinuity sketching, which were very useful throughout both theircareers. They eventually worked together on The Thief of Baghdad(1924), where, in a change of roles, Grot was an assistant to Menzies,a dominant force among Art Directors from silent films until the 1950’s.He was given an honorary Academy Award" for his work on Gonewith the Wind, won Oscars" for The Dove (1927) and The Tempest(1928) and received nominations for his work on The Awakening(1928) [the very first Academy Award® for Art Direction], Alibi (1929),and Bulldog Drummond (1929). Inducted in 2005

HAROLD MICHELSON (1920-2007)

A two-time Academy Award® nominee; Michelson washonored with the Art Director’s Guild Lifetime AchievementAward in 1999. After serving in World War II, Michelson beganhis career as an illustrator at Columbia Pictures before movingon to Paramount Pictures. Examples of his illustration workcan be seen in the classic films The Ten Commandments(1956), Ben-Hur (1959), Cleopatra (1963) and Fiddler on theRoof (1971). Michelson’s initial work as an Art Director was onPretty Poison (1968). His Academy Award® nominations werefor Star Trek: The Movie (1979) and Terms of Endearment(1983). In addition, Michelson served as the Art Director forCatch-22 (1970), Hair (1971) and Dick Tracy (1990) amongmany other films. Inducted in 2009

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VAN NEST POLGLASE (1898-1968) began his career as an architect

and at 20 worked on the presidential palace in Havana. Polglase movedto Hollywood in 1919, beginning his Art Direction career at FamousPlayers-Lasky {later to become Paramount), where he rose to theposition of department head. Here he evolved the flamboyant Deco-inspired style to be copied by other designers throughout the 1930s.After 10 years he moved to MGM. When David O. Selznick raided otherstudios to bring talent to RKO, Polglase was hired as Supervising ArtDirector and designed the RKO “Beeping Tower.” His personal stylecame to define RKO’s most successful film series, the Astaire and Rogersmusicals. Polglase went to Columbia for a short period, eventuallyreturning to RKO in the 1950’s for a series of Technicolor programs.Polglase was nominated for six Academy Awards" for The Gay Divorcee(1934 shared with Caroll Clark), Top Hat (1935 shared with Caroll Clark),Carefree (1938), Love Affair (1938), My Favorite Wife (1940 shared withMark-Lee Kirk), and Citizen Kane (1941 shared with Perry Ferguson).Inducted in 2005

JAN SCOTT (1915-2003) is the winner of more Primetime Emmy Awards

(11) than any other Production Designer or woman in the history of thetelevision industry. She received a record 30 Primetime Emmynominations. Scott is a past Art Directors Guild president. She alsoserved as a vice president, second vice president and governor of theAcademy of Television Arts & Sciences and was a member of theAcademy of Motion Pictures Arts & Sciences. Scott was recognized asboth an innovator in production design for the mini-series format and atrailblazer in a field once dominated by men. During the course of herlong career she successfully crossed over from television to theatrical filmProduction Design to work on six theatrical films (including Rich andFamous and The World of Henry Orient). She has designed for romanceand slapstick movies as well as docu-dramas. Scott studied Architectureand Fine Arts at the University of Chicago and continued her educationat the Art Institute of Chicago and MIT. Among the productions for whichScott won Emmy Awards for Art Direction were Eleanor & Franklin: TheWhite House Years (1977), Foxfire (1987), Evergreen (1985), StudsLonigan (1979), I’ll Be Home for Christmas (1988), and Hallmark Hall of Fame (1951). Inducted in 2006

ALEXANDRE TRAUNER (1906-1993) was invited to Hollywood by

director Billy Wilder to work on The Apartment (1960) for which hewon an Academy Award. His career as a Production Designer beganin the late 20’s as assistant to Lazare Meerson. Meerson was thecreator of “poetic realism,” a cinematic style of Art Direction usingstudio sets over real locations and a metaphorical style, whichmirrored character and action. Trauner was an advocate of this stylethroughout his career. Trauner (who was Jewish) went into hidingwhen the Nazis invaded France, but still worked uncredited on films.This is when he began his collaborations with Marcel Carne, aleading French Director. Trauner received an Academy Awardnomination for The Man Who Would Be King (1975). Trauner wonCesar Awards for Monsieur Klein (1976), Don Giovanni (1979) andSubway (1985), and received nominations for Coup de Torchon(1981), La Truite (1982), Tchao Pantin (1983) and ’Round Midnight(1986). Inducted in 2006

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JAMES TRITTIPO (1928 – 1971)

Art Director James Trittipo is known for his contribution to bothstage and television. Trittipo served as a Scenic Designer for“A Funny Thing Happened on the Way to the Forum” (1972),“On the Town” (1971-1972), “Ovid’s Metamorphoses” (1971) and“The Captains and the Kings” (1962). Moving to television,Trittipo soon became the go-to man for variety shows with creditsincluding “The Frank Sinatra Show” (1957), “Frank Sinatra’sWelcome Home Party for Elvis Presley” (1960), “The Fred AstaireShow” (1968) and seven years designing for “The HollywoodPalace” (1964). He is credited as being the first to use vinylpaneling as a backdrop. Trittipo’s other television credits include“The Guy Mitchell Show” (1957), “The Diahann Carrol Show” (1976)and several Bing Crosby specials. Inducted in 2008

LYLE WHEELER (1905 – 1990)

Educated at the University of Southern California, Oscarwinning Art Director Lyle R. Wheeler got his start in 1936 whenhe was hired by David O. Selznick to design sets for Selznick'smotion picture production company. Wheeler proved to be acreative genius when it came to designing quality sets atreasonable costs and was very much in demand in theindustry. During his prolific career, Wheeler created sets formore than three hundred and fifty motion pictures, many ofwhich are considered film classics. His work garnered twenty-nine Academy Award nominations, of which he won five forGone with the Wind (1939), Anna and the King of Siam(1946), The Robe (1953), The King and I (1956) and TheDiary of Anne Frank (1959). Wheeler’s other film creditsinclude: The Prisoner of Zenda (1937), The Adventures ofTom Sawyer (1938), Rebecca (1940), Gentlemen’s Agreement(1947), All About Eve (1950), The Snows of Kilimanjaro(1952), Titanic (1953), The Sun Also Rises (1957) and WildRiver (1960). Inducted in 2008