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Joseph Walton Losey III (January 14, 1909 – June 22, 1984) was an American theatre and film director, born in Wisconsin. He studied in Germany
Germany
with Bertolt Brecht
Bertolt Brecht
and then returned to the United States, eventually making his way to Hollywood. Blacklisted in the United States in the 1950s, he moved to Europe where he made the remainder of his films, mostly in the United Kingdom. Among the most critically and commercially successful were three films with screenplays by Harold Pinter, The Servant (1963), Accident (1967) and The Go-Between (1971).

Contents

1 Early life and career 2 Politics and exile 3 Career in Europe 4 Personal life 5 Filmography as director 6 Notes and references 7 Further reading 8 External links

Early life and career[edit]

Losey Memorial Arch (1901) was erected by the city of La Crosse, Wisconsin, in tribute to Losey's grandfather, a prominent attorney and civic leader[1]

Joseph Walton Losey III was born on January 14, 1909 in La Crosse, Wisconsin, where he and Nicholas Ray
Nicholas Ray
were high-school classmates.[1][2][3] He attended Dartmouth College
Dartmouth College
and Harvard University, beginning as a student of medicine and ending in drama.[4] Losey became a major figure in New York political theatre, first directing the controversial failure Little Old Boy in 1933.[5] He declined to direct a staged version of Dodsworth by Sinclair Lewis, which led Lewis to offer him his first work written for the stage, Jayhawker. Losey directed the show, which had a brief run.[4] Bosley Crowther in The New York Times
The New York Times
noted that "The play, being increasingly wordy, presents staging problems that Joe Losey's direction does not always solve. It is hard to tell who is responsible for the obscure parts in the story."[6] He visited the Soviet Union
Soviet Union
for several months in 1935, to study the Russian stage. In Moscow he participated in a seminar on film taught by Sergei Eisenstein.[7] He also met Bertolt Brecht
Bertolt Brecht
and the composer Hanns Eisler, who were visiting Moscow at the time.[8] In 1936, he directed Triple-A Plowed Under on Broadway, a production of the WPA's Federal Theatre Project.[9] He then directed the second Living Newspaper
Living Newspaper
presentation, Injunction Granted.[10] From 1946 to 1947, Losey worked with Bertolt Brecht—who was living in exile in Los Angeles—and Charles Laughton
Charles Laughton
on the preparations for the staging of Brecht's play Galileo
Galileo
(Life of Galileo) which he and Brecht eventually co-directed with Laughton in the title role, and with music by Eisler. The play premiered on July 30, 1947, at the Coronet Theatre in Beverly Hills.[11] On October 30, 1947 Losey accompanied Brecht to Washington DC for Brecht's appearance before the House Un-American Activities Committee
House Un-American Activities Committee
(HUAC).[11] Brecht left the US the following day. Losey went on to stage Galileo, again with Laughton in the title role, in New York City
New York City
where it opened on December 7, 1947 at the Maxine Elliott Theatre. More than 25 years later Losey, in exile in England, would direct a film version of Brecht's play Galileo (1975). Losey's first feature film was a political allegory entitled The Boy with Green Hair (1947), starring a young Dean Stockwell
Dean Stockwell
as Peter, a war orphan who is subject to ridicule after he awakens one morning to find his hair mysteriously turned green. Seymour Nebenzal, the producer of Fritz Lang's classic M (1931), hired Losey to direct a remake set in Los Angeles rather than Berlin. In the new version, released in 1951, the killer's name was changed from Hans Beckert to Martin W. Harrow. Nebenzal's son Harold was associate producer of this version. Politics and exile[edit] The HUAC's longstanding interest in Losey was based on extensive - and error riddled - FBI files.[12] In the 1930s and 1940s he had had extensive contacts with people on the political left, including radicals and Communists or people who subsequently became such. He had collaborated with Brecht and had a long association with Hanns Eisler, both targets of HUAC's interest.[13] Losey had written to the Immigration and Naturalization Service
Immigration and Naturalization Service
in support of a resident's visa for Eisler, who had many radical associations. They had collaborated on a "political cabaret" from 1937 to 1939, and Losey had invited Eisler to compose music for a short public relations film he had been commissioned to produce for presentation at the 1939 New York World's Fair, Pete Roleum and His Cousins.[14] Losey had also worked on the Federal Theatre Project, long a target of HUAC. Triple-A Plowed Under, on which Losey had worked, had been denounced by HUAC's antecedent, the Dies Committee, as Communist propaganda.[13] His Hollywood
Hollywood
collaborators included a long list of other HUAC targets, including Dalton Trumbo and Ring Lardner Jr.[13] Losey's first wife Elizabeth Hawes
Elizabeth Hawes
worked with a wide range of Communists and anti- Communist
Communist
liberals at the radical newspaper PM. After their divorce in 1944, she wrote about working as a union organizer just after World War II, where "one preferred the Communists to the Red-Baiters".[15] At some point, probably early in the 1940s, the FBI was maintaining dossiers on both Losey and Hawes. His included charges that he was a Stalinist agent as of 1945.[13] In 1946 Losey joined the Communist
Communist
Party. He later explained to a French interviewer:[13]

I had a feeling that I was being useless in Hollywood, that I'd been cut off from New York activity and I felt that my existence was unjustified. It was a kind of Hollywood
Hollywood
guilt that led me into that kind of commitment. And I think that the work that I did on a much freer, more personal and independent basis for the political left in New York, before going to Hollywood, was much more valuable socially.

Losey had a long-term contract with Dore Schary at RKO
RKO
when Howard Hughes purchased the company in 1948 and began purging it of leftists. Losey later explained how Hughes tested employees to determine if they had Communist
Communist
sympathies:[16]

I was offered a film called I Married a Communist, which I turned down categorically. I later learned that it was a touchstone for establishing who was a "red": you offered I Married a Communist
Communist
to anybody you thought was a Communist, and if they turned it down, they were.

Hughes responded by holding Losey to his contract without assigning him any work.[13] In mid-1949, Schary persuaded Hughes to release Losey, who soon began working as an independent on The Lawless for Paramount Pictures.[13] Soon he was working on a three-picture contract with Stanley Kramer. Then his name was mentioned by two witnesses before HUAC in the spring of 1951. Losey's attorney suggested arranging a deal with the committee for testimony in secret. Instead Losey abandoned his work editing The Big Night[17] and left for Europe with his wife Louise a few days later, while HUAC took weeks to try unsuccessfully to serve him with a subpoena compelling his testimony.[13] After more than a year working on Stranger on the Prowl
Stranger on the Prowl
in Italy, Losey returned to the US on October 12, 1952. He found himself unemployable:[13]

I was [in the United States] for about a month and there was no work in theatre, no work in radio, no work in education or advertising, and none in films, in anything. For one brief moment, I was going to do the Arthur Miller
Arthur Miller
play, The Crucible. Then they got scared because I had been named. So after a month of finding that there was no possible way in which I could make a living in this country, I left. I didn't come back for twelve years.... I didn't stay away for reasons of fear, it was just that I didn't have any money. I didn't have any work.

He returned briefly to Rome
Rome
and settled in London
London
on January 4, 1953.[13] Career in Europe[edit] He settled in Britain and worked as a director of genre films. His first British film, The Sleeping Tiger
The Sleeping Tiger
(1954), a noir crime thriller, under the pseudonym Victor Hanbury, because the stars of the film, Alexis Smith
Alexis Smith
and Alexander Knox, feared being blacklisted by Hollywood in turn if it became known they had worked with him. The Intimate Stranger (1956) carried a pseudonym as well.[4] His films covered a wide range from the Regency melodrama The Gypsy and the Gentleman (1958) to the gangster film The Criminal
The Criminal
(1960).[18] Losey was also originally slated to direct the Hammer Films
Hammer Films
production X the Unknown
X the Unknown
(1956), but after a few days' work the star Dean Jagger refused to work with a supposed Communist
Communist
sympathiser and Losey was removed from the project.[19][20] Losey was later hired by Hammer Films to direct The Damned, a 1963 British science fiction film based on H.L. Lawrence's novel "The Children of Light". In the 1960s, Losey began working with playwright Harold Pinter, in what became a long friendship and initiated a successful screenwriting career for Pinter. Losey directed three enduring classics based on Pinter's screenplays: The Servant (1963), Accident (1967) and The Go-Between (1971). The Servant won three British Academy Film Awards. Accident won the Grand Prix Spécial du Jury award at the 1967 Cannes Film Festival.[21] The Go-Between won the Golden Palm Award at the 1971 Cannes Film Festival, four prizes at the 1972 BAFTA
BAFTA
awards, and 'Best British Screenplay' at the 1972 Writers' Guild of Great Britain awards.[22] Each of the three films examines the politics of class and sexuality in England
England
at the end of the 19th century (The Go-Between) and in the 1960s. In The Servant, a manservant facilitates the moral and psychological degradation of his privileged and rich employer. Accident explores male lust, hypocrisy and ennui among the educated middle class as two Oxford tutors competitively objectify a student against the backdrop of their seemingly idyllic lives. In The Go-Between, a young middle class boy, the summer guest of an upper-class family, becomes the messenger for an affair between the daughter of his hosts and a working class farmer. Although Losey's films are generally naturalistic, The Servant's hybridisation of Losey's signature Baroque
Baroque
style, film noir, naturalism and expressionism and both Accident's and The Go-Between's radical cinematography, use of montage, voice over and musical score amount to a sophisticated construction of cinematic time and narrative perspective that edges this work in the direction of neorealist cinema. All three films are marked by Pinter's sparse, elliptical and enigmatically subtextual dialogue, something Losey often develops a visual correlate for (and occasionally even works against) by means of dense and cluttered mise en scene and peripatetic camera work. In 1966 Losey directed Modesty Blaise, a comedy spy-fi film produced in the United Kingdom
United Kingdom
and released worldwide in 1966. Sometimes considered a James Bond
James Bond
sendup, it was loosely based on the popular comic strip Modesty Blaise
Modesty Blaise
by Peter O'Donnell. Losey also worked with Pinter on The Proust Screenplay (1972), an adaptation of A la recherche du temps perdu
A la recherche du temps perdu
by Marcel Proust. Losey died before the project's financing could be assembled. In 1975 Losey realized a long-planned film adaptation of Brecht's Galileo
Galileo
released as Life of Galileo
Life of Galileo
starring Chaim Topol. Galileo
Galileo
was produced as part of the subscription film series of the American Film Theatre, though it was shot in the UK. In the context of that production, Losey also made a half-hour film based on Galileo's life.[citation needed] Losey's Monsieur Klein
Monsieur Klein
(1976) examined the day in Occupied France when Jews in and around Paris
Paris
were arrested for deportation. He said he so completely rejected naturalism in film that in this case he divided his shooting schedule into three "visual categories": Unreality, Reality and Abstract.[3] In 1979 Losey filmed Mozart's opera Don Giovanni, shot in Villa La Rotonda and the Veneto
Veneto
region of Italy: this film was nominated for several César Awards
César Awards
in 1980 including Best Director. He demonstrated a facility for working in the French language
French language
and Monsieur Klein (1976) gave Alain Delon
Alain Delon
as star and producer one of French cinema's earliest chances to highlight the background to the infamous Vel' d'Hiv Roundup of French Jews in July 1942. Personal life[edit] In 1964 Losey told The New York Times: "I'd love to work in America again, but it would have to be just the right thing."[4] He told an interviewer the year before he died that he was not bitter about being blacklisted: "Without it I would have three Cadillacs, two swimming pools and millions of dollars, and I'd be dead. It was terrifying, it was disgusting, but you can get trapped by money and complacency. A good shaking up never did anyone any harm."[2] Dartmouth College, his alma mater, awarded Losey an honorary degree in 1973.[2] In 1983, the University of Wisconsin-Madison
University of Wisconsin-Madison
did the same.[2] Losey married three times and divorced twice. He married Elizabeth Hawes on July 24, 1937.[23] They had a son, Gavrik Losey, in 1938, but divorced in November 1944.[24] Gavrik helped out with the production on some of his father's films. Gavrik's two sons are film directors Marek Losey and Luke Losey. From 1956 to 1963 Losey was married to British actress Dorothy Bromiley. On July 16, 1957 they had a son, Joshua Losey, who has become an actor. Losey then married the former Patricia Mohan, who adapted Lorenzo Da Ponte's opera libretto for Losey's Don Giovanni
Don Giovanni
and Nell Dunn's play for Steaming. He died at his home in London
London
on June 22, 1984 following a brief illness, just four weeks after completing his last film.[2] Filmography as director[edit]

Pete Roleum and His Cousins (1939, short. Music by Hanns Eisler)[25] Youth Gets a Break (1941, short) A Child Went Forth (1941, short. Music by Hanns Eisler) A Gun in His Hand (1945, short) Leben des Galilei
Leben des Galilei
(1947, short) The Boy with Green Hair
The Boy with Green Hair
(1948) The Lawless (1950) The Prowler (1951) M (1951) The Big Night (1951) Imbarco a mezzanotte
Imbarco a mezzanotte
(1951) The Sleeping Tiger
The Sleeping Tiger
(1954) A Man on the Beach (1955) The Intimate Stranger (1956) Time
Time
Without Pity (1957) The Gypsy and the Gentleman
The Gypsy and the Gentleman
(1958) Blind Date (1959) First on the Road (1959, launch of the Ford Anglia 105E) The Criminal
The Criminal
(1960)

Eva (1962) The Damned (1963) The Servant (1963) King & Country (1964) Modesty Blaise
Modesty Blaise
(1966) Accident (1967) Secret Ceremony
Secret Ceremony
(1968) Boom! (1968) Figures in a Landscape (1970) The Go-Between (1971) The Assassination of Trotsky
The Assassination of Trotsky
(1972) A Doll's House (1973) The Romantic Englishwoman (1975) Galileo
Galileo
(1975) Monsieur Klein
Monsieur Klein
(1976) Les Routes du sud (1978) Don Giovanni
Don Giovanni
(1979) La Truite (1982) Steaming (1985)

Notes and references[edit]

^ a b Brouwer, Scott. "FilmFreaks: Nicholas Ray
Nicholas Ray
& Joseph Losey". La Crosse Public Library Archives. Retrieved 2016-09-22.  ^ a b c d e Apple, Jr., R.W. (June 23, 1984). "Joseph Losey, Film Director Blacklisted in 1950's, Dies at 75". The New York Times. Retrieved April 3, 2013.  ^ a b Brody, Richard (November 8, 2012). "DVD of the Week: Joseph Losey's "Mr. Klein"". The New Yorker. Retrieved April 4, 2013.  ^ a b c d Archer, Eugene (March 15, 1964). "Expatriate Retraces his Steps". The New York Times. Retrieved April 3, 2013.  ^ Little Ol' Boy at the Internet Broadway Database ^ Crowther, Bosley (November 6, 1934). "Fred Stone as a Civil War Senator..." The New York Times. Retrieved April 3, 2013.  ^ See Michel Ciment: Conversations with Losey. London
London
New York: Methuen, 1985, p. 37. ^ See Robert Cohen: "Bertolt Brecht, Joseph Losey, and Brechtian Cinema." "Escape to Life:" German Intellectuals in New York: A Compendium on Exile after 1933. Eckart Goebel and Sigrid Weigel (eds.). De Gruyter, 2012. 142-161, here p. 144 ff. ^ McGilligan, Patrick (2011). Nicholas Ray: The Glorious Failure of an American Director. NY: HarperCollins. pp. 64–5.  ^ Atkinson, Brooks (July 25, 1936). "The Play: WPA Journalism". The New York Times.  ^ a b See Cohen, "Bertolt Brecht, Joseph Losey," p. 149. ^ See FBI files on Losey: file # 100-343468; and file # 100-8587, vol. 2 (vol. 1 is on Elisabeth Hawes). ^ a b c d e f g h i j Gardner, Colin (2004). Joseph Losey. Manchester University Press. pp. 8–11.  ^ Palmier, Jean-Michel (2006). Weimar in Exile: The Antifascist Emigration In Europe And America. NY: Verso. pp. 532, 802n131.  ^ Horowitz, Daniel (1998). Betty Friedan and the Making of the Feminine Mystique: The American Left, the Cold War and Modern Feminism. p. 129.  ^ Milne, ed., Tom (1968). Losey on Losey. Garden City, NY: Doubleday & Company. p. 73. CS1 maint: Extra text: authors list (link) ^ Hoberman, J. (2011). An Army of Phantoms: American Movies and the Making of the Cold War. NY: The New Press. p. 174.  ^ French, Philip (May 23, 2009). "Blacklisted but unbowed". Guardian (UK). Retrieved April 3, 2013.  ^ "R U Sitting Comfortably - Dean Jagger". RUSC.com. Retrieved 2 May 2016.  ^ Sanjek, David. "Cold, Cold Heart: Joseph Losey's The Damned and the Compensations of Genre". senses of cinema. Retrieved 2 May 2016.  ^ "Accident". Festival Archives. Festival de Cannes. Archived from the original on January 18, 2012. Retrieved April 3, 2013.  ^ "IMDb: Awards for The Go-Between" http://www.imdb.com/title/tt0067144/awards ^ "Elizabeth Jester Wed". New York Times. July 24, 1937. Retrieved March 31, 2013.  ^ Berch, Bettina (1988). Radical by Design: The Life and Style of Elizabeth Hawes. NY: Dutton. p. 103.  ^ While Losey has been credited as the director of Pete Roleum and his Cousins, Helen van Dongen wrote that he was its producer, and that she had directed and edited the film. See Durant, Helen; Orbanz, Eva (1998). Filming Robert Flaherty's Louisiana Story: The Helen Van Dongen Diary. The Museum of Modern Art. p. 121. ISBN 9780870700811. A number of published sources list this as the first film directed by Joseph Losey; however, Helen van Dongen recalls ' Joseph Losey
Joseph Losey
was the producer ... It was I who made all the breakdowns and sketches for the changes in facial expressions and movement frame by frame'. 

Further reading[edit]

Caute, David (1994). Joseph Losey: A Revenge on Life. Faber. ISBN 978-0-571-16449-3.  Ciment, Michel, Conversations with Losey (NY: Metheun, 1985); originally published as (in French) Ciment, Michel, Le Livre de Losey. Entretiens avec le cinéaste (Paris: Stock/Cinéma, 1979) (in French) Ciment, Michel, Joseph Losey: l'oeil du Maître (Institut Lumière/Actes Sud, 1994) Cohen, Robert, "Bertolt Brecht, Joseph Losey, and Brechtian Cinema." "Escape to Life:" German Intellectuals in New York: A Compendium on Exile after 1933. Eckart Goebel and Sigrid Weigel (eds.). De Gruyter, 2012. 142-161. ISBN 978-3112204160 DeRahm, Edith, Joseph Losey: An American Director in Exile (Pharos, 1995) Hirsch, Foster Joseph Losey
Joseph Losey
(Twayne, 1980) Houston, Penelope, "Losey's Paper Handkerchief", Sight and Sound, Summer 1966 Jacob, Gilles, "Joseph Losey, or The Camera Calls", Sight and Sound, Spring 1966 Leahy, James The Cinema of Joseph Losey
Joseph Losey
(A.S Barnes, 1967) (in French) Ledieu, Christian, Joseph Losey
Joseph Losey
(Seghers, 1963) Palmer, Palmer and Michael Riley, The Films of Joseph Losey
Joseph Losey
(Cambridge University Press, 1993) (in Spanish) Vallet, Joaquín, Joseph Losey
Joseph Losey
(Cátedra, 2010)

External links[edit]

Wikimedia Commons has media related to Joseph Losey.

Filmography at BFI Film & TV Database Joseph Losey
Joseph Losey
at the British Film Institute's Screenonline Joseph Losey
Joseph Losey
on IMDb Joseph Losey
Joseph Losey
at the Internet Broadway Database
Internet Broadway Database
A Child Went Forth at Archive.org Robert Maras, "Dissecting class relations: The film collaborations of Joseph Losey
Joseph Losey
and Harold Pinter", May 28, 2012

v t e

Films directed by Joseph Losey

The Boy with Green Hair
The Boy with Green Hair
(1948) The Lawless (1950) M (1951) The Prowler (1951) The Big Night (1951) Stranger on the Prowl
Stranger on the Prowl
(1952) The Sleeping Tiger
The Sleeping Tiger
(1954) A Man on the Beach (1955) The Intimate Stranger (1956) Time
Time
Without Pity (1957) The Gypsy and the Gentleman
The Gypsy and the Gentleman
(1958) Blind Date (1959) The Criminal
The Criminal
(1960) Eva (1962) The Damned (1963) The Servant (1963) King and Country
King and Country
(1964) Modesty Blaise
Modesty Blaise
(1966) Accident (1967) Boom! (1968) Secret Ceremony
Secret Ceremony
(1968) Figures in a Landscape (1970) The Go-Between (1971) The Assassination of Trotsky
The Assassination of Trotsky
(1972) A Doll's House (1973) Galileo
Galileo
(1975) The Romantic Englishwoman (1975) Monsieur Klein
Monsieur Klein
(1976) Roads to the South (1978) Don Giovanni
Don Giovanni
(1979) The Trout (1982) Steaming (1985)

v t e

César Award for Best Director

1976 Bertrand Tavernier 1977 Joseph Losey 1978 Alain Resnais 1979 Christian de Chalonge 1980 Roman Polanski 1981 François Truffaut 1982 Jean-Jacques Annaud 1983 Andrzej Wajda 1984 Ettore Scola 1985 Claude Zidi 1986 Michel Deville 1987 Alain Cavalier 1988 Louis Malle 1989 Jean-Jacques Annaud 1990 Bertrand Blier 1991 Jean-Paul Rappeneau 1992 Alain Corneau 1993 Claude Sautet 1994 Alain Resnais 1995 André Téchiné 1996 Claude Sautet 1997 Patrice Leconte
Patrice Leconte
/ Bertrand Tavernier 1998 Luc Besson 1999 Patrice Chéreau 2000 Tonie Marshall 2001 Dominik Moll 2002 Jean-Pierre Jeunet 2003 Roman Polanski 2004 Denys Arcand 2005 Abdellatif Kechiche 2006 Jacques Audiard 2007 Guillaume Canet 2008 Abdellatif Kechiche 2009 Jean-François Richet 2010 Jacques Audiard 2011 Roman Polanski 2012 Michel Hazanavicius 2013 Michael Haneke 2014 Roman Polanski 2015 Abderrahmane Sissako 2016 Arnaud Desplechin 2017 Xavier Dolan 2018 Albert Dupontel

v t e

Cannes Film Festival
Cannes Film Festival
jury presidents

1946–1975

Georges Huisman (1946) Georges Huisman (1947) Georges Huisman (1949) André Maurois
André Maurois
(1951) Maurice Genevoix
Maurice Genevoix
(1952) Jean Cocteau
Jean Cocteau
(1953) Jean Cocteau
Jean Cocteau
(1954) Marcel Pagnol
Marcel Pagnol
(1955) Maurice Lehmann
Maurice Lehmann
(1956) André Maurois
André Maurois
(1957) Marcel Achard (1958) Marcel Achard (1959) Georges Simenon
Georges Simenon
(1960) Jean Giono (1961) Tetsurō Furukaki (1962) Armand Salacrou (1963) Fritz Lang
Fritz Lang
(1964) Olivia de Havilland
Olivia de Havilland
(1965) Sophia Loren
Sophia Loren
(1966) Alessandro Blasetti (1967) André Chamson
André Chamson
(1968) Luchino Visconti
Luchino Visconti
(1969) Miguel Ángel Asturias
Miguel Ángel Asturias
(1970) Michèle Morgan
Michèle Morgan
(1971) Joseph Losey
Joseph Losey
(1972) Ingrid Bergman
Ingrid Bergman
(1973) René Clair
René Clair
(1974) Jeanne Moreau
Jeanne Moreau
(1975)

1975–2000

Tennessee Williams
Tennessee Williams
(1976) Roberto Rossellini
Roberto Rossellini
(1977) Alan J. Pakula
Alan J. Pakula
(1978) Françoise Sagan
Françoise Sagan
(1979) Kirk Douglas
Kirk Douglas
(1980) Jacques Deray (1981) Giorgio Strehler (1982) William Styron
William Styron
(1983) Dirk Bogarde
Dirk Bogarde
(1984) Miloš Forman
Miloš Forman
(1985) Sydney Pollack
Sydney Pollack
(1986) Yves Montand
Yves Montand
(1987) Ettore Scola
Ettore Scola
(1988) Wim Wenders
Wim Wenders
(1989) Bernardo Bertolucci
Bernardo Bertolucci
(1990) Roman Polanski
Roman Polanski
(1991) Gérard Depardieu
Gérard Depardieu
(1992) Louis Malle
Louis Malle
(1993) Clint Eastwood
Clint Eastwood
(1994) Jeanne Moreau
Jeanne Moreau
(1995) Francis Ford Coppola
Francis Ford Coppola
(1996) Isabelle Adjani
Isabelle Adjani
(1997) Martin Scorsese
Martin Scorsese
(1998) David Cronenberg
David Cronenberg
(1999) Luc Besson
Luc Besson
(2000)

2001–present

Liv Ullmann
Liv Ullmann
(2001) David Lynch
David Lynch
(2002) Patrice Chéreau
Patrice Chéreau
(2003) Quentin Tarantino
Quentin Tarantino
(2004) Emir Kusturica
Emir Kusturica
(2005) Wong Kar-wai
Wong Kar-wai
(2006) Stephen Frears
Stephen Frears
(2007) Sean Penn
Sean Penn
(2008) Isabelle Huppert
Isabelle Huppert
(2009) Tim Burton
Tim Burton
(2010) Robert De Niro
Robert De Niro
(2011) Nanni Moretti
Nanni Moretti
(2012) Steven Spielberg
Steven Spielberg
(2013) Jane Campion
Jane Campion
(2014) Joel and Ethan Coen (2015) George Miller (2016) Pedro Almodóvar
Pedro Almodóvar
(2017) Cate Blanchett
Cate Blanchett
(2018)

Authority control

WorldCat Identities VIAF: 44301933 LCCN: n79021807 ISNI: 0000 0003 6855 1565 GND: 118574493 SELIBR: 207029 SUDOC: 026994909 BNF: cb11913388v (data) NDL: 00627821 BNE: XX1297466 RKD: 404243 SN

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