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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 Art Directors Guild (ADG) established a Hall of Fame in 2005 that annually inducts new members into its ranks. The first group was formally inducted in a special segment at the Ninth Annual Art Directors Guild Awards on February 12, 2005. Once inducted, the ADG Hall of Famers will be the subject of seminars, events and screenings and their 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 to our future. The ADG Hall of Fame will recognize the many contributions and achievements of those artists who created and evolved our unique art and craft of design and art direction for the moving image. Their creative legacy continues to inspire and challenge all of those who have chosen the art of Production Design as their profession and it is appropriate that we honor 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 while on location in scorching Spain for Doctor Zhivago (1966). For The Inn of the Sixth Happiness (1958) he built a Chinese wall in Wales and for Rollerball (1975) he designed the arena and devised the game. Box is known for his collaborations with famed director David Lean, beginning with the film Lawrence of Arabia (1962), for which he won the Academy Award in 1963. Box was a graduate of the London School of Architecture. He began his career as an architect and stage designer, turning to films during the mid-1950s. Box is best known for creating exotic foreign settings and making the repulsive and lifeless look lively, colorful and exciting. Other Academy Awards came for Oliver! (1968) and Nicholas and Alexandra (1971). Box won BAFTA Awards for A Man For All Seasons (1966), The Great Gatsby (1974) and Rollerball (1975) and was nominated for Oliver! (1968), Nicholas and Alexandra (1971) and A Passage to India (1984). Inducted in 2006

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HILYARD BROWN (1910-2002) won an Academy Award! th in1963 for Cleopatra, the film that almost ruined 20 Century Fox. His portfolio includes Hooper, Billy Jack Goes to Washington, Hustle, Von Ryan’s Express, Creature from the Black Lagoon, Al Capone and All My Sons. Brown entered the industry in 1937 as a draftsman for Warner Bros. His first screen credit was as an Assistant Art Director on Citizen Kane (1941), widely recognized as a masterpiece. The most important of Brown’s later films, from a design perspective, was The Night of the Hunter, the only film directed by Charles Laughton. Inducted in 2007

WILFRED BUCKLAND (1866-1946) is famed for developing a revolutionary use of lighting, circa 1914-1920. He began his career as a theatrical designer and producer, working his way into Hollywood in 1914 as one of industry’s first recognized Art Directors. “Klieg lighting” was developed from Buckland’s continuous experimentations with lighting and copied by Production Designers and Art Directors throughout the industry. Such Klieg lighting, which became known as “Lasky lighting,” uses spotlighting for both indoors and outdoors, creating great dramatic effects. Previously sets had been flat-lighted with natural daylight settings. Buckland is also well known for his work alongside legendary director Cecil B..DeMille, contributing to his early success by creating contemporary themes and authentic set designs. Buckland’s renowned lighting techniques are admired in such films as Joan the Woman (1916), Carmen (1915), The Cheat (1915), For Better, For Worse (1919 with Michell 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 just concluded work on two still unreleased Clint Eastwood movies—Flags of Our Fathers and Letters from Iwo Jima. “Bummy” designed a total of 13 films for Eastwood. He received Oscars! for recreating rural Alabama of the 1930s in To Kill a Mockingbird (1962) and for his sets of Depressionera Chicago in The Sting (1973). He received Academy Award! nominations for Eastwood’s 1992 western Unforgiven and for Alfred Hitchcock’s thriller Vertigo. The Art Directors Guild honored him with their Lifetime Achievement Award in 1998. “Bummy” worked on three other Hitchcock films—The Man Who Knew Too Much (1956), Topaz (1969) and Family Plot (1976). His association with Clint Eastwood began with the 1972 western Joe Kidd. His first job as an Art Director was in the 1948 Paramount film Saigon. Other credits include The Great Waldo Pepper, Slap Shot, The Front Page, Cape Fear, Mystic River and Midnight 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), and Mary Poppins (1964). He won the Scientific and Engineering Academy Award" in 1943, sharing it with F. Thomas Thompson for the design and construction of a moving cloud and horizon machine. Clark was trained as an architect, but he pursued a career in commercial design before joining Pathé Studio in the mid-twenties. His most important early assignment was Howard Hughes’ extravagant war film Hell’s Angels (1930). But his real achievements came when he joined RKO two years later. He worked with the great Production Designer Van Nest Polglase on King Kong. He created some of the most memorable and elegant sets of the era with some of the great Fred Astaire movies and then adopted the totally different noir style with Hitchcock’s Suspicion and Notorious. When RKO closed shop Clark joined Disney as Supervising Art Director and was largely responsible for 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 trendsetting work in the silent era as Erich Von Stroheim’s designer in 1919 and 1920. In the 1930’s Day worked as an Art Director for Samuel Goldwyn where he designed a majority of Goldwyn Studios feature films for eight years. He also worked for United Artist, MGM, and Warner Bros. and at Twentieth Century Fox, where he served as supervising Art Director for many years. Day’s career lasted for 40 years, during which time he was nominated for 20 Academy Awards", winning seven. His portfolio 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). Today he is more remembered for his modern realism than for the musicals or period 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. He began his career in 1938 at 20 when he joined Universal, where he remained until 1949. He then moved to 20th Century Fox where he specialized in large-scale productions. He was one of the first Art Directors to work with Cinemascope. He won Academy Awards" for Art Direction for the films The King and I (1956), Cleopatra (1963) and Hello, Dolly! (1969). Other films for which he received nominations were The 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 BAFTA nomination for Hello Dolly. He won an Emmy for his sole television film, Ziegfield: The Man and His Woman (1978). DeCuir also designed theme 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 a new genre, screwball comedy, which was influenced by a combination of Europeans and Americans from the past and present. Dreier used these designs in collaborations with famed director Ernest Lubitsch in the films Forbidden Paradise (1924), The Love Parade (1929) and Trouble in Paradise (1932). He was also known for his collaborations with famed director Josef von Sternberg on the film Underworld (1927), one of the most influential films of the late silent era. He moved to Hollywood in 1923 to work at Paramount Studios where he served as supervising Art Director until his retirement in 1950. Other films earning him Academy Award 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 I Were 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 11 Academy Awards for The Bridge of San Luis Rey (1929), The Merry Widow (1934), Pride and Prejudice (1940), Blossoms In the Dust (1941), Gaslight (1944), The Yearling (1946), Little Woman (1949), An American in Paris (1951), The Bad and the Beautiful (1952), Julius Caesar (1953) and Somebody Up There Likes Me (1956). Gibbons is one of the most celebrated and influential Production Designers in the history of American film. He is one of the 36 founders of the Academy of Motion Pictures Arts and Sciences and designed the Oscar statuette. Gibbons began working in 1914 as an Art Director for the Edison Studios. In 1924 Gibbons joined the staff at MGM as the supervising Art Director along with Richard Day, and remained there for 32 years. Gibbons and Day redefined Art Deco, creating the legacy of “big white” sets and influencing American interior design. His name has appeared in the credits of over 1500 films, more than any other person in 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 film producer Lewis J. Selznick in 1919. He later worked for Mary Pickford Productions, Frank Lloyd, DeMille Productions and Fox until being hired by Columbia, where he would work for the rest of his career. This included 25 years as its Supervising Art Director. His work was always meticulously researched, authentically built and rich in details from the pencil drawings to the final full-scale sets. He won an Academy Award" in 1937 for his incredible sets of Shangri-La for Frank Capra’s Lost Horizon. He was also nominated for 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 Lady from 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 time doing work for Vitagraph and for Pathé. After working on a number of memorable Hollywood films, he joined Warner Bros. in 1927 where he stayed for 20 years, designing 80 films, mostly solo. He dominated Art Direction at the studio until his retirement at the end of the forties. He did as much to set the style of Warner’s musicals as did its more famous choreographer, Busby Berkeley. Grot is known for his outstanding designs in realism during the 1930’s and ‘40’s and also for creating special effects with water. His creative contributions with water effects-by creating water ripple and wave illusion machines--lead to his receiving an honorary Academy Award" in 1941. Grot was additionally nominated for five Academy Awards" for Svengali (1937), Anthony Adverse (1936), Life of Emile Zola (1937), The Private Lives of Elizabeth and Essex (1939) and The Sea Hawk (1940). Grot was the first Art Director to present a sequence of sketches showing all of a film’s sets. Inducted in 2005 STEPHEN GRIMES (1927 – 1988) English born Production Designer Stephen Grimes enjoyed lasting relationships with notable directors John Huston and Sydney Pollack. Grimes first 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 Design work 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 Bobby Deerfield (1977), and The Yakuza (1974). Grimes’ other film credits include: Urban Cowboy (1980), True Confessions (1981), On Golden Pond (1981), Never Say Never Again (1983), and Ryan’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, Los Angeles. Haworth’s first film was Hitchcock’s extraordinary Strangers on 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) and Mr. Baseball (1992). One of Mr. Haworth’s most noteworthy achievements was his work on Sayonara, for which he received the Academy Award® for Excellence in Art Direction. The film, which was based on a James Michener novel, and starred Marlon Brando, was heralded for its artistic appeal. The New York Times reviewed the art direction as: “A richly colorful film…shown in colors of exceptional taste and blend.” Inducted in 2009

DALE HENNESY (1926 – 1981) Academy Award winner Dale Hennesy’s career as an Art Director and Production Designer spread over several different film genres: comedy, adventure, sci-fi, crime drama, and musical. Hennesy began with comedies such as Under the Yum Yum Tree (1963), Good Neighbor Sam (1964), In Like Flint (1967), and eventually Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972). His science fiction and fantasy credits include Young Frankenstein (1974) for which he won a Golden Scroll from the Academy of Science Fiction, Fantasy & Horror Film, Sleeper (1973), King Kong (1976), Logan’s Run (1976) for which he received an Oscar nomination, and Fantastic Voyage (1966), which won him an Academy Award. Hennesy’s work in the crime drama genre included Slither (1973) and Dirty Harry (1971). Hennesy’s last film, 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 was also nominated for They Shoot Horses, Don’t They? (1969). He worked for a young Otto Preminger and later for the legendary producer Max Reinhardt, whom he followed to the United States in 1935. Horner worked on many Broadway and Metropolitan Opera productions before moving to Hollywood in the ‘40s. He directed a number of “B” movies and early television series, but it is as Production Designer that he will be remembered. After directing 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 an Academy Award® winning Production Designer. He subsequently began working with David O. Selznick in film production and contributed to such films as Gone With the Wind, as an illustrator, and The Wizard of Oz (1939), doing visual effects. After working on several more of Selznick’s films, including Duel in the Sun (1946) and The Paradine Case (1947), he garnered an Oscar® win for visual effects for The Portrait of Jennie (1948). Johnson was later nominated for an Oscar® for his work with Alfred Hitchcock for To Catch a Thief in 1955. He earned Oscar® nominations for his work on The Facts of Life (1960), Mutiny on the Bounty (1962), The Greatest Story Ever Told (1965) and Ice Station Zebra (1968). Mac was consistently successful both for visual effects and art direction. His six Oscar® nominations were equally divided between the two disciplines. Perhaps his greatest achievement as an art director was for a set that didn’t get nominated—Rear Window. Inducted in 2009 ROMAIN JOHNSTON (1929-1995) A legend in the Variety Show or Musical genre, Johnston won three Emmys® and was nominated an additional ten times. Johnston got his start in art direction with the television series Number Please (1961) and went on to win his Emmys for work on The Mac Davis Show (1974), The Sentry Collection Presents Ben Vereen: His Roots (1978) and Pryor’s Place (1984). In 1978, Johnston received three of the five Emmy nominations for Art Direction of a Variety or Musical Program. He has also 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 craft from the legendary Hans Dreier. He stayed there for three years, believing this was just temporary work until he could start a career in architecture. But moving to 20th 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. Other nominations 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 of Money (1986). He frequently worked with Martin Scorsese and Robert Wise. His assignments ranged widely from westerns to science fiction to musicals. He won an Academy Award" for his Production Design work on West Side Story (1961). He was a master colorist and achieved his finest work on Technicolor dramas and musicals. He became a freelancer in the early fifties and in 1956 worked on George Stevens’ Giant, one of the first Hollywood 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 of Architecture; Meehan served as an Art Director on 19 films. His initial credit was for his work on Bring on the Girls (1945). Meehan won his three Academy Awards® for the classic films The Heiress (1949) (with Harry Horner), Sunset Blvd. (1950) and 20,000 Leagues Under the Sea (1954). He worked with legendary directors George Cukor, Richard Fleischer and Billy Wilder. In addition, Meehan was Emmy nominated for his work on the television show G.E. True Theater (1953). Meehan also worked on Leave it to Beaver (1957-1962), Alfred Hitchcock Presents (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-Awardwinning work on Gone With the Wind (1939), was an independent Art Director working under non-exclusive short-term contracts. This allowed him to move from studio to studio. As an independent he was able to experiment with his artistic visions, making him one of the best Art Directors of his time. Menzies befriended famed Art Director Anton Grot, who taught Menzies his techniques of forced perspective and continuity sketching, which were very useful throughout both their careers. 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 Gone with 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 was honored with the Art Director’s Guild Lifetime Achievement Award in 1999. After serving in World War II, Michelson began his career as an illustrator at Columbia Pictures before moving on to Paramount Pictures. Examples of his illustration work can be seen in the classic films The Ten Commandments (1956), Ben-Hur (1959), Cleopatra (1963) and Fiddler on the Roof (1971). Michelson’s initial work as an Art Director was on Pretty Poison (1968). His Academy Award® nominations were for Star Trek: The Movie (1979) and Terms of Endearment (1983). In addition, Michelson served as the Art Director for Catch-22 (1970), Hair (1971) and Dick Tracy (1990) among many 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 moved to Hollywood in 1919, beginning his Art Direction career at Famous Players-Lasky {later to become Paramount), where he rose to the position of department head. Here he evolved the flamboyant Decoinspired style to be copied by other designers throughout the 1930s. After 10 years he moved to MGM. When David O. Selznick raided other studios to bring talent to RKO, Polglase was hired as Supervising Art Director and designed the RKO “Beeping Tower.” His personal style came to define RKO’s most successful film series, the Astaire and Rogers musicals. Polglase went to Columbia for a short period, eventually returning 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 with Mark-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 the television industry. She received a record 30 Primetime Emmy nominations. Scott is a past Art Directors Guild president. She also served as a vice president, second vice president and governor of the Academy of Television Arts & Sciences and was a member of the Academy of Motion Pictures Arts & Sciences. Scott was recognized as both an innovator in production design for the mini-series format and a trailblazer in a field once dominated by men. During the course of her long career she successfully crossed over from television to theatrical film Production Design to work on six theatrical films (including Rich and Famous and The World of Henry Orient). She has designed for romance and slapstick movies as well as docu-dramas. Scott studied Architecture and Fine Arts at the University of Chicago and continued her education at the Art Institute of Chicago and MIT. Among the productions for which Scott won Emmy Awards for Art Direction were Eleanor & Franklin: The White House Years (1977), Foxfire (1987), Evergreen (1985), Studs Lonigan (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 he won an Academy Award. His career as a Production Designer began in the late 20’s as assistant to Lazare Meerson. Meerson was the creator of “poetic realism,” a cinematic style of Art Direction using studio sets over real locations and a metaphorical style, which mirrored character and action. Trauner was an advocate of this style throughout his career. Trauner (who was Jewish) went into hiding when the Nazis invaded France, but still worked uncredited on films. This is when he began his collaborations with Marcel Carne, a leading French Director. Trauner received an Academy Award nomination for The Man Who Would Be King (1975). Trauner won Cesar Awards for Monsieur Klein (1976), Don Giovanni (1979) and Subway (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 both stage 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 credits including “The Frank Sinatra Show” (1957), “Frank Sinatra’s Welcome Home Party for Elvis Presley” (1960), “The Fred Astaire Show” (1968) and seven years designing for “The Hollywood Palace” (1964). He is credited as being the first to use vinyl paneling 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, Oscar winning Art Director Lyle R. Wheeler got his start in 1936 when he was hired by David O. Selznick to design sets for Selznick's motion picture production company. Wheeler proved to be a creative genius when it came to designing quality sets at reasonable costs and was very much in demand in the industry. During his prolific career, Wheeler created sets for more than three hundred and fifty motion pictures, many of which are considered film classics. His work garnered twentynine Academy Award nominations, of which he won five for Gone with the Wind (1939), Anna and the King of Siam (1946), The Robe (1953), The King and I (1956) and The Diary of Anne Frank (1959). Wheeler’s other film credits include: The Prisoner of Zenda (1937), The Adventures of Tom 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 Wild River (1960). Inducted in 2008

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http://www.adg.org/sites/art/pdf/Hall_of_Fame.2009