Film and Television Credits
This is the not-entirely complete table of credits that can be sorted by date, title or type of credit.
| Year | Title | Credit type | Notes | |
|---|---|---|---|---|
| 1953 | Hamlet | Production designer | Hallmark Hall of Fame telefeature | |
| 1954 | King Richard II | Production designer | Hallmark Hall of Fame telefeature | |
| 1956 | Baby Doll | Art director | ||
| 1960 | Murder, Inc. | Production designer | ||
| 1961 | Splendor in the Grass | Production designer | ||
| 1961 | Young Doctors, The | Production designer | ||
| 1961 | Connection, The | Production designer | ||
| 1962 | Manchurian Candidate, The | Production designer | ||
| 1962 | Long Day's Journey Into Night | Production designer | ||
| 1962 | Walk on the Wild Side | Production designer | ||
| 1963 | All the Way Home | Production designer | ||
| 1963 | East Side/West Side | Production designer | (1963-64 TV series) | |
| 1964 | Lilith | Production designer | ||
| 1964 | Pawnbroker, The | Production designer | ||
| 1965 | How to Murder Your Wife | Production designer | ||
| 1966 | Grand Prix | Production designer | ||
| 1966 | Who's Afraid of Virginia Woolf? | Production designer | Best Art Direction (Black-and-White) shared with George Hopkins | |
| 1967 | Graduate, The | Production designer | ||
| 1968 | Rosemary's Baby | Production designer | ||
| 1969 | The April Fools | Production designer | ||
| 1970 | Catch-22 | Production designer | ||
| 1971 | Carnal Knowledge | Production designer | ||
| 1972 | Fat City | Production designer | ||
| 1973 | The Day of the Dolphin | Production designer | ||
| 1974 | Chinatown | Production designer | Academy Award nominee | |
| 1975 | The Fortune | Production designer | ||
| 1975 | Last Hours Before Morning | Production designer | TV movie | |
| 1975 | Shampoo | Production designer | Academy Award nominee | |
| 1976 | Partners | Production designer | Canadian feature. He was also credited for 1982 film of same title. | |
| 1979 | Players | Production designer | ||
| 1981 | Reds | Production designer | Academy Award nominee for Art Direction-Set Decoration; co-nominee Michael Seirton | |
| 1982 | Partners | Production designer | ||
| 1982 | Frances | Production designer | ||
| 1982 | Cheers | Production designer | (1982-1993 TV series) | |
| 1983 | Breathless | Production designer | ||
| 1984 | The Cotton Club | Production designer | Academy Award nominee | |
| 1986 | Under the Cherry Moon | Production designer | ||
| 1987 | Heartbeat (video) | Production designer | Directed by John Nicolella; stars Don Johnson | |
| 1988 | Tequila Sunrise | Production designer | ||
| 1988 | Shoot to Kill | Production designer | ||
| 1990 | The Bonfire of the Vanities | Production designer | ||
| 1990 | Dick Tracy | Production designer | Academy Award for Best Art Direction shared with set decorator Rick Simpson | |
| 1991 | Mobsters | Production designer | ||
| 1993 | Carlito's Way | Production designer | ||
| 1993 | Ruby Cairo | Production designer | ||
| 1996 | Blood and Wine | Production designer | ||
| 1996 | Mulholland Falls | Production designer | ||
| 2002 | Unconditional Love | Production designer |
Read more about this topic: Richard Sylbert
Famous quotes containing the words film and television, film and/or television:
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.”
—Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)
“Never before has a generation of parents faced such awesome competition with the mass media for their children’s attention. While parents tout the virtues of premarital virginity, drug-free living, nonviolent resolution of social conflict, or character over physical appearance, their values are daily challenged by television soaps, rock music lyrics, tabloid headlines, and movie scenes extolling the importance of physical appearance and conformity.”
—Marianne E. Neifert (20th century)