John Huston - Filmography - Actor

Actor

Does not include films which he also directed

  • The Cardinal (1963, dir: Otto Preminger)
  • Candy (1968, director: Christian Marquand)
  • Rocky Road to Dublin (Documentary) (as Interviewee, 1968, director: Peter Lennon)
  • De Sade (1969, dir: Cy Endfield)
  • Myra Breckinridge (1970, dir: Michael Sarne)
  • The Deserter (1971, dir: Burt Kennedy)
  • Man in the Wilderness (1971, dir: Richard C. Sarafian)
  • The Bridge in the Jungle (1971)
  • Rufino Tamayo: The Sources of his Art (documentary) (1972, dir: Gary Conklin)
  • Battle for the Planet of the Apes (1973, dir: J. Lee Thompson)
  • Chinatown (1974, dir: Roman Polanski)
  • Breakout (1975)
  • The Wind and the Lion (1975, dir: John Milius)
  • Tentacles (1977, dir: Ovidio G. Assonitis)
  • The Hobbit (1977, dir: Arthur Rankin, Jr., Jules Bass)
  • The Greatest Battle (1978, dir: Umberto Lenzi)
  • The Bermuda Triangle (1978, dir: RenĂ© Cardona, Jr.)
  • Angela (1978, dir: Boris Sagal)
  • The Visitor (1979, dir: Giulio Paradisi)
  • Winter Kills (1979, dir: William Richert)
  • Head On (1980)
  • The Return of the King (1980, dir: Jules Bass, Arthur Rankin, Jr.)
  • Cannery Row (1982, narrator)
  • A Minor Miracle (1983, dir: Raoul Lomas)
  • Notes from Under the Volcano (documentary) (as himself, 1984, dir: Gary Conklin)
  • Lovesick (1984, dir: Marshall Brickman)
  • The Black Cauldron (1985) Narrator
  • Momo (1986, dir: Johannes Schaaf)

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Famous quotes containing the word actor:

    “As in a theatre the eyes of men,
    After a well-graced actor leaves the stage,
    Are idly bent on him that enters next,
    Thinking his prattle to be tedious,
    Even so, or with much more contempt, men’s eyes
    Did scowl on gentle Richard.”
    —William Shakespeare (1564–1616)

    “An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
    —Eleanor Robson Belmont (1878–1979)

    “Mr. [John] Barrymore’s smile was the smile of an actor who hates actors, and who knows that he is going to kill two or three before the play is over. I am not an actor-killer, but I like my Hamlets to dislike actors, if you know what I mean, and I think you don’t.”
    —Robert Benchley (1889–1945)