DGA Quarterly | Volume II, Number 1 - Spring 2006 - click here to return to Table of Contents
Robert Wise at work on Odds Against Tomorrow (1959). - Photos courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
Robert Wise at work on Odds Against Tomorrow (1959). - Photos courtesy Academy of Motion Picture Arts and Sciences | click images for larger view.
Space Case: Wise gives scientists marching orders as they search for an alien virus in The Andromedia Strain (1971). - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
Space Case: Wise gives scientists marching orders as they search for an alien virus in The Andromedia Strain (1971).
Rocky 1: Wise directs Paul Newman in his first film role as the boxer Rocky Graziano in Somebody Up There Likes Me (1956) with Pier Angeli as his wife. - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
Rocky 1: Wise directs Paul Newman in his first film role as the boxer Rocky Graziano in Somebody Up There Likes Me (1956) with Pier Angeli as his wife.
Going Downtown: Robert Mitchum plays a Nebraska lawyer and Shirley MacLaine is a dancer from Greenwich Village in Wise’s adaptation of the Broadway play Two for the Seesaw (1962). - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
Going Downtown: Robert Mitchum plays a Nebraska lawyer and Shirley MacLaine is a dancer from Greenwich Village in Wise’s adaptation of the Broadway play Two for the Seesaw (1962).
Pulling the Strings: Wise was so skillful with actors he could coax a good performance from puppets. He works here with Julie Andrews (center) and the von Trapp kids in The Sound of Music (1965). - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
Pulling the Strings: Wise was so skillful with actors he could coax a good performance from puppets. He works here with Julie Andrews (center) and the von Trapp kids in The Sound of Music (1965).
One of the Boys: Wise hanging out on the set with Robert Mitchum (left) and a young Robert Preston in the noir western Blood on the Moon (1948). - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
One of the Boys: Wise hanging out on the set with Robert Mitchum (left) and a young Robert Preston in the noir western Blood on the Moon (1948).
Mean Streets: Wise shows Natalie Wood how to get the most out of the moment as she mourns the death of her lover Richard Beymer in West Side Story (1961). Wise directed with choreographer Jerome Robbins. - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
Mean Streets: Wise shows Natalie Wood how to get the most out of the moment as she mourns the death of her lover Richard Beymer in West Side Story (1961). Wise directed with choreographer Jerome Robbins.
On His Knees: Audrey Totter begs her husband Robert Ryan, with an assist from Wise, to give up the fight game in The Set-Up (1949). - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
On His Knees: Audrey Totter begs her husband Robert Ryan, with an assist from Wise, to give up the fight game in The Set-Up (1949).
Not Guilty: Susan Hayward gets some legal advice from Wise on the set of I Want To Live! (1958). Based on a real-life murder case, the film was nominated for six Oscars with Hayward winning for best actress.  - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view.
Not Guilty: Susan Hayward gets some legal advice from Wise on the set of I Want To Live! (1958). Based on a real-life murder case, the film was nominated for six Oscars with Hayward winning for best actress.
Into the Sunset: James Cagney and Wise on location shooting Tribute to a Bad Man (1956). The film was Wise’s big-sky western shot in CinemaScope and Technicolor. - Photo courtesy Academy of Motion Picture Arts and Sciences | click image for larger view. Into the Sunset: James Cagney and Wise on location shooting Tribute to a Bad Man (1956). The film was Wise’s big-sky western shot in CinemaScope and Technicolor.
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