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Ace Wilder

Biography

Scandinavian pop singer who became known for a 2014 Swedish chart-topping solitary entitled “Busy Doin’ Nothin.'” Her additional popular songs consist of “GET IT DONE” and “Bitches Like Fridays.” She positioned second within the 2014 Melodifestivalen vocal skill competition. Her 1st recording, A Wilder, received a Scandipop Honor for Best Recording of the entire year. She was created Alice Kristina Ingrid Gernandt in Stockholm, Sweden. She spent a big part of her youngsters in Miami, Florida. She was raised having a sister. She and Eric Saade both experienced professions as early 21st-century Swedish pop performers.

Quick Facts


Full Name Ace Wilder
Date Of Birth July 23, 1982
Place Of Birth Sweden
Profession Pop Singer
Nationality Swedish
Parents Gudrun Gernandt, Fredrik Gernandt
Nominations Grammis Award for Song of the Year
Star Sign Leo

  • Facts
  • Filmography
  • Awards
  • Salaries
  • Quotes
  • Trademarks
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#Fact
1Gaylord Larsen's 1988 novel "A Paramount Kill" features Wilder as a character. A whodunit set in 1940s Hollywood, it has Raymond Chandler as the hero and Wilder as his antagonist, causing trouble for Chandler because of their bad blood during the making of Double Indemnity (1944).
2He directed two Best Picture Academy Award winners: The Lost Weekend (1945) and The Apartment (1960).
3He was always uncomfortable around children and was an absentee father to his two children from his first marriage. He and his second wife, Audrey, agreed that they didn't want children.
4Was a fan of the British film Brief Encounter (1945). It inspired him to make the movie The Apartment (1960). The premise for The Apartment is based on a male character who loans out his flat to a friend and doesn't care what happens while he's out.
5Honored on a US Postage Stamp in May 2012 (along with Frank Capra, John Ford, and John Huston).
6Ingmar Bergman claimed that Wilder was his favorite Hollywood director.
7He worked closely with two co-writers in his career: earlier in his career with Charles Brackett, an older man who frequently provided a strong argumentative counterpoint in the writing room and later with I.A.L. Diamond, who possessed a cynical, humorous world view more in line with Wilder's.
8Directed four of the American Film Institute's 100 Greatest Movies: Sunset Blvd. (1950) at #16, Some Like It Hot (1959) at #22, Double Indemnity (1944) at #29 and The Apartment (1960) at #80.
9He wrote five of the American Film Institute's 100 Funniest Movies: Some Like It Hot (1959) at #1, The Apartment (1960) at #20, The Seven Year Itch (1955) at #51, Ninotchka (1939) at #52 and Ball of Fire (1941) at #92.
10The song, "Isn't it Romantic?" is featured in many of Wilder's films, not particularly because he liked the song, but, as he said of himself, "I'm cheap." Wilder got a great deal when he originally licensed the song for use, which allowed him to use it over and over.
11Profiled in "Conversations with Directors: An Anthology of Interviews from Literature/Film Quarterly", E.M. Walker, D.T. Johnson, eds. Lanham, MD: Scarecrow Press, 2008.
12His favorite film was Battleship Potemkin (1925).
13His directorial debut was The Major and the Minor (1942).
14On the first page of every screenplay of his own he used to write "Cum Deo" (With God), a habit he said he had taken from Pauline Kael. "It's not harmful, anyway," Wilder explained, "and could corrupt that guy dwelling up there".
15He was awarded the American National Medal of the Arts in 1993 by the National Endowment of the Arts in Washington, DC.
16In his last years he became patron of the "Billy-Wilder-Institute" located in Germany, a film school founded to educate only producers and screenwriters. The school was closed after just two years because of the death of its founder and dean Lothar Rhode.
17He died on the same day as Dudley Moore and Milton Berle. He and Moore both died of pneumonia. Of the three, Wilder is the only one who never made a guest appearance in The Muppet Show (1976).
18One of the most eclectic writer-directors ever. He excelled in film noir (Double Indemnity (1944)), drama (The Lost Weekend (1945)), comedy (Some Like It Hot (1959)) and war (Stalag 17 (1953)).
19As a writer, he had odd habits. On the one hand, he hated writing alone, so he almost always used a partner, someone to be in the room with him while he worked. On the other hand, many of the partners complained that if he heard an idea he did not like, he could be cruel and insulting. Many writers quit on him because they could not take his abuse.
20Is portrayed by Howard Caine in Marilyn: The Untold Story (1980), by Allan Corduner in Norma Jean & Marilyn (1996) and by Peter Feder in The Audrey Hepburn Story (2000)
21He is among an elite group of eight directors who have won Best Picture, Best Director and Best Screenplay (Original/Adapted) for the same film. In 1961 he won all three for The Apartment (1960). The others are Leo McCarey, Francis Ford Coppola, James L. Brooks, Peter Jackson, Joel Coen and Ethan Coen, and Alejandro G. Iñárritu.
22He directed 14 different actors in Oscar-nominated performances: Barbara Stanwyck, Ray Milland, William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson, Robert Strauss, Audrey Hepburn, Charles Laughton , Elsa Lanchester, Jack Lemmon, Jack Kruschen, Shirley MacLaine and Walter Matthau. Milland, Holden and Matthau won Oscars for their performances in a Wilder film.
23Wilder had tried to enter the U.S. via Mexico, where U.S. officials repeatedly denied him entry for several months. At the point of losing hope, he went to a new immigration officer who asked him his profession. After stating he was a filmmaker, the officer stamped his papers, and upon entering the U.S. the officer said,"Make good ones, then."
24Not having seen his parents since he went to Berlin to make films, he joined American patrols through war-torn Europe shortly after the war. Through intense research he found out that both his mother and grandmother were killed in concentration camps, a subject that he usually declined to discuss. However, when shooting a film with Wilder, an actor expressed sympathy for his own Nazi character, to which the usually cool-headed Wilder roared, "Those bastards killed my mother!!!"
25It is thought that Wilder gained his acerbic view of people early on. His family, Austrian Jews, traveled constantly, and Wilder almost never made friends among his peers at school and instead found himself the subject of persecution as both a Jew and a foreigner.
26Was the subject of the 1999 book "Conversations with Wilder," written by director/writer Cameron Crowe.
27Liked the name "Sheldrake" so much that he used it in three different films, most prominently in The Apartment (1960), but also in Sunset Blvd. (1950) and Kiss Me, Stupid (1964).
28Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945". Pages 1206-1210. New York: The H.W. Wilson Company, 1987.
29Because of his rounded face and non-stop elfin energy, people often pictured him as short and wiry, but he was in fact near 6 feet tall (taller than his favorite star, Jack Lemmon).
30Was voted the 24th Greatest Director of all time by Entertainment Weekly.
31Although born as Samuel Wilder, he was called "Billy" by his mother from infancy and it stuck. Some theorize it was due to her fascination with the western character Buffalo Bill Cody, but it may have been just because she thought it sounded American (she was obsessed with American culture).
32His idol and mentor was German director Ernst Lubitsch. Wilder always kept a sign hanging in his office that asked, "How would Lubitsch do it?"
33In the early 1950s, Wilder had planned on doing a film with Stan Laurel and Oliver Hardy. The film was to open with Stan and Ollie each sleeping in one of the "o"s of the Hollywood sign. The plot centered on a woman coming between them. The film was never made due to Hardy's failing health.
34In 1949 he married Audrey Young, an actress and former singer with the Tommy Dorsey band, whom he met on the set of The Lost Weekend (1945).
35His mother, Gitla Siedlisker, was murdered in 1943 in the Plaszow concentration camp. His stepfather, Bernard (Berl) Siedlisker, died in 1942 in the Belzec concentration camp, while his grandmother, Balbina Baldinger, died in 1943 in the ghetto of Nowy Targ.
36He collaborated closely with Steven Spielberg on the script for Schindler's List (1993), and was one of several directors considered to direct it (Roman Polanski and Martin Scorsese; both turned down the project). Although Wilder strongly considered directing Schindler's List (1993), he felt he was a little too old (he had already retired) and the subject was almost too personal (his mother, step-father and grandmother were killed in the Holocaust). It was ultimately Wilder who told Spielberg he should direct it.
37At one point he was slated to direct a movie about the Marx brothers running the United Nations. This was around 1960. The project fell apart after Chico Marx's death in 1961, which was followed by Harpo Marx's death in 1964.
38Once told Billy Bob Thornton that he was too ugly to be an actor and he should write a screenplay for himself in which he could exploit his less than perfect features. Thornton later collected an Oscar for his Sling Blade (1996) screenplay.
39At least three of his films have been made into Broadway musicals. The Apartment (1960) was the basis for "Promises, Promises" in 1968. Some Like It Hot (1959) was the basis for "Sugar" in 1973. And Sunset Blvd. (1950) was adapted into a musical by Andrew Lloyd Webber in 1993.
40Had a long-standing partnership with screenwriter I.A.L. Diamond, with whom he won an Oscar for The Apartment (1960).
41He wanted to direct Schindler's List (1993), but Steven Spielberg preferred doing it himself. Wilder has been quoted saying it would have become his most personal film.
42Tom Cruise and Cameron Crowe begged Wilder to appear in Jerry Maguire (1996), but he turned them down flat.
43An inveterate clotheshorse, at age 83 he still owned over 60 cashmere sweaters.
44Awarded Austria's Golden Order, First Class for Meritorious Services. [1991]
45Long famous for the modern-art collection he put together over his lifetime (he sold only a portion of it in 1989 for $32.6 million)
46Estranged brother of producer/director W. Lee Wilder, uncle of Myles Wilder.
47He used "Billie" as his first name until his emigration in 1933.
48Met Audrey Young at Paramount Studios on set for The Lost Weekend (1945), as his divorce from Judith was in progress and he had a liaison with the actress Doris Dowling.
49Father of the twins Victoria and Vincent (born 1939). Their mother was Judith. Vincent died shortly after birth.


Writer

Writer

TitleYearStatusCharacter
The Spirit of St. Louis1957screenplay
Robert Montgomery Presents1956TV Series story - 1 episode
The Seven Year Itch1955screenplay
Lux Video TheatreTV Series previous screenplay - 3 episodes, 1954 - 1955 film story - 1 episode, 1955
Emil und die Detektive1954earlier screenplay - as Billie Wilder
Sabrina1954written for the screen by
Stalag 171953written for the screen by
Ace in the Hole1951written by
Sunset Blvd.1950written by
La voyageuse inattendue1950screenplay: "Mauvaise graine"
A Song Is Born1948based on the story "From A to Z" by
A Foreign Affair1948screenplay
The Emperor Waltz1948written by
The Bishop's Wife1947uncredited
The Lost Weekend1945screen play
Double Indemnity1944screenplay
Five Graves to Cairo1943screenplay
The Major and the Minor1942written by
Tales of Manhattan1942uncredited
Ball of Fire1941from an original story by / screen play
Hold Back the Dawn1941written by
Arise, My Love1940screen play
Rhythm on the River1940story
French Without Tears1940treatment - uncredited
Ninotchka1939screen play
What a Life1939screenplay
Midnight1939screenplay
That Certain Age1938uncredited
Bluebeard's Eighth Wife1938screenplay
Champagne Waltz1937story
Emil and the Detectives1935uncredited
The Lottery Lover1935screenplay
Under Pressure1935additional dialogue - uncredited
Mauvaise graine1934screenplay - as Billie Wilder
Music in the Air1934adaptation and screenplay
One Exciting Adventure1934story
Adorable1933story "Ihre Hoheit Befiehlt" - as Billie Wilder
Was Frauen träumen1933writer
Madame ne veut pas d'enfants1933screenplay - as Billie Wilder
Madame Wants No Children1933adaptation
Un peu d'amour1932screenplay
The Blue from the Sky1932
Where Is This Lady?1932story "Es War Einmal Ein Walzer"
Ein Mädel der Strasse1932
Un rêve blond1932screenplay - as Billie Wilder
A Blonde Dream1932
A Blonde Dream1932
Once There Was a Waltz1932
Liebe ist Liebe1932
Emil und die Detektive1931screenplay - as Billie Wilder
Princesse, à vos ordres!1931
The Wrong Husband1931
Seitensprünge1931idea
Her Grace Commands1931
Der Mann, der seinen Mörder sucht1931
Ein Burschenlied aus Heidelberg1930
Der Kampf mit dem Drachen oder: Die Tragödie des Untermieters1930Short idea - uncredited
Menschen am Sonntag1930screenplay - as Billie Wilder
Hell of a Reporter1929as Billie Wilder
Love, Marilyn2012Documentary excerpts from letters
Sabrina1995earlier screenplay
Witness for the Prosecution1982TV Movie 1957 screenplay
Buddy Buddy1981
Fedora1978screenplay
The Front Page1974screenplay
Double Indemnity1973TV Movie 1944 screenplay
Avanti!1972screenplay
The Private Life of Sherlock Holmes1970written by
Casino Royale1967uncredited
The Fortune Cookie1966written by
Ates gibi kadin1965story "Ball of Fire" - uncredited
Kiss Me, Stupid1964screenplay
Irma la Douce1963writer
Mutiny on the Bounty1962storyline consultant - uncredited
One, Two, Three1961screenplay
Ocean's 111960uncredited
The Apartment1960written by
Ninotchka1960TV Movie 1939 screenplay
Some Like It Hot1959screenplay
Witness for the Prosecution1957screen play
Love in the Afternoon1957screenplay

Director

Director

TitleYearStatusCharacter
Buddy Buddy1981
Fedora1978
The Front Page1974
Avanti!1972
The Private Life of Sherlock Holmes1970
The Fortune Cookie1966
Kiss Me, Stupid1964
Irma la Douce1963
One, Two, Three1961
The Apartment1960
Some Like It Hot1959
Witness for the Prosecution1957
Love in the Afternoon1957
The Spirit of St. Louis1957
The Seven Year Itch1955
Sabrina1954
Stalag 171953
Ace in the Hole1951
Sunset Blvd.1950
A Foreign Affair1948
The Emperor Waltz1948
Death Mills1945Documentary short
The Lost Weekend1945
Double Indemnity1944
Five Graves to Cairo1943
The Major and the Minor1942
Mauvaise graine1934as Billie Wilder

Producer

Producer

TitleYearStatusCharacter
Fedora1978producer
Avanti!1972producer
The Private Life of Sherlock Holmes1970producer
The Fortune Cookie1966producer
Kiss Me, Stupid1964producer
Irma la Douce1963producer
One, Two, Three1961producer
The Apartment1960producer
Some Like It Hot1959producer
Love in the Afternoon1957producer
The Seven Year Itch1955producer
Sabrina1954producer
Stalag 171953producer
Ace in the Hole1951producer

Miscellaneous

Miscellaneous

TitleYearStatusCharacter
Sabrina1995consultant
Parade, or Here They Come Down Our Street1952Short toy winding-up

Actor

Actor

TitleYearStatusCharacter
Hell of a Reporter1929as Billie Wilder

Editorial Department

Editorial Department

TitleYearStatusCharacter
Die Todesmühlen1945Documentary editors supervisor

Soundtrack

Soundtrack

TitleYearStatusCharacter
Der Mann, der seinen Mörder sucht1931"Am Montag hab' ich leider keine Zeit!.."

Thanks

Thanks

TitleYearStatusCharacter
Nosferatu vs. Father Pipecock & Sister Funk2014special thanks
Dutta Vs. Dutta2012we thank
A Little Bit Zombie2012acknowledgment to the works of
10 pelis2011special thanks
Variations on a High School Romance2010inspirational thanks
Bal-Can-Can2005dedicatee
'Sunset Blvd.': A Look Back2002Video documentary short dedicatee
The Man You Loved to Hate1979Documentary special thanks
That's Entertainment, Part II1976Documentary acknowledgment: the non-musical sequences represent outstanding contributions by

Self

Self

TitleYearStatusCharacter
Billy Wilder Speaks2006TV Movie documentaryHimself
The 75th Annual Academy Awards2003TV SpecialHimself (Memorial Tribute)
Backstory2000TV Series documentaryHimself - Director
AFI's 100 Years... 100 Laughs: America's Funniest Movies2000TV Special documentaryHimself
The Shoe Store1999DocumentaryHimself
American Masters1986-1998TV Series documentaryHimself
Gloria Swanson: The Greatest Star1997TV Movie documentaryHimself
Fred MacMurray: The Guy Next Door1996TV MovieHimself
Jack Lemmon: America's Everyman1996TV Movie documentaryHimself
Marlene Dietrich: Shadow and Light1996TV Movie documentaryHimself
The 20th Annual Los Angeles Film Critics Awards1995TV SpecialHimself
Audrey Hepburn Remembered1993TV Movie documentaryHimself
Billy Wilder, wie haben Sie's gemacht?1992TV SeriesHimself
The Kennedy Center Honors: A Celebration of the Performing Arts1990TV SpecialHimself - Honoree
The Exiles1989DocumentaryHimself
AFI Life Achievement Award: A Tribute to Jack Lemmon1988TV Special documentaryHimself
The 60th Annual Academy Awards1988TV SpecialHimself - Winner: Irving G. Thalberg Memorial Award
AFI Life Achievement Award: A Tribute to Barbara Stanwyck1987TV Special documentaryHimself
AFI Life Achievement Award: A Tribute to Billy Wilder1986TV Special documentaryHimself - Guest of Honor
The 58th Annual Academy Awards1986TV SpecialHimself - Co-Presenter: Best Picture
Hollywood '841984TV Mini-Series documentaryHimself
The 55th Annual Academy Awards1983TV SpecialHimself - Presenter
Live from Lincoln Center1982TV SeriesHimself
Portrait of a '60% Perfect Man': Billy Wilder1982DocumentaryHimself
The Dick Cavett Show1982TV SeriesHimself
Hollywood Greats1978TV Series documentaryHimself
Regie: Billy Wilder1978TV Movie documentaryHimself
Jack Lemmon: A Twist of Lemmon1976TV Movie documentaryHimself
Film '721974TV SeriesHimself
The Tonight Show Starring Johnny Carson1973-1974TV SeriesHimself
Today1974TV SeriesHimself
Billy Wilder1970TV Movie documentaryHimself
The 42nd Annual Academy Awards1970TV SpecialHimself
Neues aus der Welt des Films1969TV SeriesHimself
Um uns die Fremde - Die Vertreibung des Geistes 1933-19451967TV Mini-Series documentaryHimself
The Jack Benny Program1962TV SeriesHimself
The 33rd Annual Academy Awards1961TV SpecialHimself - Winner
The Ed Sullivan Show1949-1960TV SeriesCameo Appearance / Himself - Movie Director / Audience Bow
Cinépanorama1956TV Series documentaryHimself

Archive Footage

Archive Footage

TitleYearStatusCharacter
Die Öscars2016TV Mini-Series documentaryHimself
Oh du mein Österreich2015TV Movie documentaryHimself
Once in a Lew Moon2015DocumentaryHimself
Von Caligari zu Hitler: Das deutsche Kino im Zeitalter der Massen2014DocumentaryHimself
Night Will Fall2014DocumentaryHimself
And the Oscar Goes To...2014TV Movie documentaryHimself
Swan Song: The Story of Billy Wilder's Fedora2014DocumentaryHimself
Arena2012TV Series documentaryHimself
Love, Marilyn2012DocumentaryHimself
Stars of the Silver Screen2011TV SeriesHimself
Moguls & Movie Stars: A History of Hollywood2010TV Mini-Series documentaryHimself
Gilles Jacob: CIitizen Cannes2010TV Movie documentaryHimself
Cinema's Exiles: From Hitler to Hollywood2009TV Movie documentaryHimself
Il falso bugiardo2008Himself
Il était une fois...2008TV Series documentaryHimself
Helmut by June2007TV Movie documentaryHimself
Poison d'avril2007TV MovieHimself (uncredited)
The Making of 'Some Like It Hot'2006Video documentary shortHimself
Ciclo Agatha Christie2006TV Series documentaryHimself
RIP 20022002TV Movie documentaryHimself
Sendung ohne Namen2002TV Series documentaryHimself
Klaus Kinski - Ich bin kein Schauspieler2000DocumentaryHimself
A Personal Journey with Martin Scorsese Through American Movies1995TV Movie documentaryHimself (uncredited)
The Legend of Marilyn Monroe1966DocumentaryHimself (uncredited)
The Cinematographer1951Documentary shortHimself (uncredited)

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2002OFTA Film Hall of FameOnline Film & Television AssociationCreative
2000Career AwardFlaiano International PrizesCinema
2000PGA Hall of Fame - Motion PicturesPGA AwardsSome Like It Hot (1959)
1999OFTA Film Hall of FameOnline Film & Television AssociationCreative
1997Lifetime Achievement AwardGerman Film Awards

Billy Wilder was not present at the award's ceremony. The presentation was made at his home in Los ... More

1997Lifetime Achievement Award in Motion PicturesPGA Awards
1995Academy FellowshipBAFTA Awards
1994Career Achievement AwardLos Angeles Film Critics Association Awards
1994Billy Wilder AwardNational Board of Review, USAFor excellence in directing
1993Honorary Golden Berlin BearBerlin International Film Festival
1992Lifetime Achievement AwardEuropean Film Awards
1991Preston Sturges AwardDirectors Guild of America, USA
1988Irving G. Thalberg Memorial AwardAcademy Awards, USA
1986Life Achievement AwardAmerican Film Institute, USA
1985Lifetime Achievement AwardDirectors Guild of America, USA
1982Gala TributeFilm Society of Lincoln Center
1982Fotogramas de PlataFotogramas de PlataBest Foreign Film (Mejor Película Extranjera)Fedora (1978)
1980Laurel Award for Screen Writing AchievementWriters Guild of America, USA
1975DavidDavid di Donatello AwardsBest Foreign Director (Migliore Regista Straniero)The Front Page (1974)
1973Honorary AwardGerman Film AwardsFor his continued outstanding individual contributions to the german film over the years.
1972Career Golden LionVenice Film Festival
1963Golden LaurelLaurel AwardsTop Producer/Director
1961OscarAcademy Awards, USABest PictureThe Apartment (1960)
1961OscarAcademy Awards, USABest DirectorThe Apartment (1960)
1961OscarAcademy Awards, USABest Writing, Story and Screenplay - Written Directly for the ScreenThe Apartment (1960)· I.A.L. Diamond
1961BAFTA Film AwardBAFTA AwardsBest Film from any SourceThe Apartment (1960)
1961DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Apartment (1960)· Hal W. Polaire (assistant director plaque)
1961WGA Award (Screen)Writers Guild of America, USABest Written American ComedyThe Apartment (1960)· I.A.L. Diamond
1960NYFCC AwardNew York Film Critics Circle AwardsBest DirectorThe Apartment (1960)
1960NYFCC AwardNew York Film Critics Circle AwardsBest ScreenplayThe Apartment (1960)· I.A.L. Diamond
1960Star on the Walk of FameWalk of FameMotion PictureOn 8 February 1960. At 1751 Vine Street.
1960WGA Award (Screen)Writers Guild of America, USABest Written American ComedySome Like It Hot (1959)· I.A.L. Diamond
1958WGA Award (Screen)Writers Guild of America, USABest Written American ComedyLove in the Afternoon (1957)· I.A.L. Diamond
1957Boxoffice Blue Ribbon AwardBoxoffice Magazine AwardsBest Picture of the Month for the Whole Family (April)The Spirit of St. Louis (1957)
1957Laurel Award for Screen Writing AchievementWriters Guild of America, USA
1955Golden GlobeGolden Globes, USABest ScreenplaySabrina (1954)· Samuel A. Taylor
· Ernest Lehman
1955WGA Award (Screen)Writers Guild of America, USABest Written American ComedySabrina (1954)· Samuel A. Taylor
· Ernest Lehman
1952Blue Ribbon AwardBlue Ribbon AwardsBest Foreign Language FilmSunset Blvd. (1950)
1951OscarAcademy Awards, USABest Writing, Story and ScreenplaySunset Blvd. (1950)· Charles Brackett
· D.M. Marshman Jr.
1951Golden GlobeGolden Globes, USABest DirectorSunset Blvd. (1950)
1951BodilBodil AwardsBest American Film (Bedste amerikanske film)Sunset Blvd. (1950)
1951Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Sunset Blvd. (1950)
1951International AwardVenice Film FestivalAce in the Hole (1951)
1951WGA Award (Screen)Writers Guild of America, USABest Written American DramaSunset Blvd. (1950)· Charles Brackett
· D.M. Marshman Jr.
1946OscarAcademy Awards, USABest DirectorThe Lost Weekend (1945)
1946OscarAcademy Awards, USABest Writing, ScreenplayThe Lost Weekend (1945)· Charles Brackett
1946Golden GlobeGolden Globes, USABest DirectorThe Lost Weekend (1945)
1946Grand Prize of the FestivalCannes Film FestivalFeature FilmThe Lost Weekend (1945)
1946NYFCC AwardNew York Film Critics Circle AwardsBest DirectorThe Lost Weekend (1945)

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
1978Gold HugoChicago International Film FestivalBest FeatureFedora (1978)
1975WGA Award (Screen)Writers Guild of America, USABest Comedy Adapted from Another MediumThe Front Page (1974)· I.A.L. Diamond
1973Golden GlobeGolden Globes, USABest Director - Motion PictureAvanti! (1972)
1973Golden GlobeGolden Globes, USABest Screenplay - Motion PictureAvanti! (1972)· I.A.L. Diamond
1973WGA Award (Screen)Writers Guild of America, USABest Comedy Adapted from Another MediumAvanti! (1972)· I.A.L. Diamond
1971Golden LaurelLaurel AwardsBest Producer-Director4th place.
1971WGA Award (Screen)Writers Guild of America, USABest Comedy Written Directly for the ScreenThe Private Life of Sherlock Holmes (1970)· I.A.L. Diamond
1970Golden LaurelLaurel AwardsProducer-Director7th place.
1967OscarAcademy Awards, USABest Writing, Story and Screenplay - Written Directly for the ScreenThe Fortune Cookie (1966)· I.A.L. Diamond
1967WGA Award (Screen)Writers Guild of America, USABest Written American ComedyThe Fortune Cookie (1966)· I.A.L. Diamond
1965Golden LaurelLaurel AwardsProducer-Director9th place.
1964Golden LaurelLaurel AwardsTop Producer/Director4th place.
1964WGA Award (Screen)Writers Guild of America, USABest Written American ComedyIrma la Douce (1963)· I.A.L. Diamond
1962Golden LaurelLaurel AwardsTop Producer/Director5th place.
1962WGA Award (Screen)Writers Guild of America, USABest Written American ComedyOne, Two, Three (1961)· I.A.L. Diamond
1961Golden GlobeGolden Globes, USABest DirectorThe Apartment (1960)
1960OscarAcademy Awards, USABest DirectorSome Like It Hot (1959)
1960OscarAcademy Awards, USABest Writing, Screenplay Based on Material from Another MediumSome Like It Hot (1959)· I.A.L. Diamond
1960BAFTA Film AwardBAFTA AwardsBest Film from any SourceSome Like It Hot (1959)
1960DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesSome Like It Hot (1959)
1960Golden LionVenice Film FestivalThe Apartment (1960)
1959Golden LionVenice Film FestivalSome Like It Hot (1959)
1958OscarAcademy Awards, USABest DirectorWitness for the Prosecution (1957)
1958Golden GlobeGolden Globes, USABest DirectorWitness for the Prosecution (1957)
1958DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesWitness for the Prosecution (1957)
1958DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesLove in the Afternoon (1957)
1958EdgarEdgar Allan Poe AwardsBest Motion PictureWitness for the Prosecution (1957)· Harry Kurnitz
1958Golden LaurelLaurel AwardsTop Producer/Director7th place.
1956DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Seven Year Itch (1955)
1956WGA Award (Screen)Writers Guild of America, USABest Written American ComedyThe Seven Year Itch (1955)· George Axelrod
1955OscarAcademy Awards, USABest DirectorSabrina (1954)
1955OscarAcademy Awards, USABest Writing, ScreenplaySabrina (1954)· Samuel A. Taylor
· Ernest Lehman
1955DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesSabrina (1954)
1954OscarAcademy Awards, USABest DirectorStalag 17 (1953)
1954DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesStalag 17 (1953)
1954WGA Award (Screen)Writers Guild of America, USABest Written American ComedyStalag 17 (1953)· Edwin Blum
1952OscarAcademy Awards, USABest Writing, Story and ScreenplayAce in the Hole (1951)· Lesser Samuels
· Walter Newman
1951OscarAcademy Awards, USABest DirectorSunset Blvd. (1950)
1951Golden GlobeGolden Globes, USABest ScreenplaySunset Blvd. (1950)· Charles Brackett
· D.M. Marshman Jr.
1951DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesSunset Blvd. (1950)
1951Golden LionVenice Film FestivalAce in the Hole (1951)
1949OscarAcademy Awards, USABest Writing, ScreenplayA Foreign Affair (1948)· Charles Brackett
· Richard L. Breen
1949WGA Award (Screen)Writers Guild of America, USABest Written American ComedyA Foreign Affair (1948)· Charles Brackett
· Richard L. Breen
1949WGA Award (Screen)Writers Guild of America, USABest Written American MusicalThe Emperor Waltz (1948)· Charles Brackett
1945OscarAcademy Awards, USABest DirectorDouble Indemnity (1944)
1945OscarAcademy Awards, USABest Writing, ScreenplayDouble Indemnity (1944)· Raymond Chandler
1942OscarAcademy Awards, USABest Writing, Original StoryBall of Fire (1941)· Thomas Monroe
1942OscarAcademy Awards, USABest Writing, ScreenplayHold Back the Dawn (1941)· Charles Brackett
1940OscarAcademy Awards, USABest Writing, ScreenplayNinotchka (1939)· Charles Brackett
· Walter Reisch

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1961Golden LaurelLaurel AwardsTop Producer/Director
1961NYFCC AwardNew York Film Critics Circle AwardsBest ScreenplayOne, Two, Three (1961)· I.A.L. Diamond
1959Golden LaurelLaurel AwardsTop Producer/Director

3rd place awards

3rd place awards

YearAwardCeremonyNominationMovieAward shared with
1960Golden LaurelLaurel AwardsTop Producer/Director
1950NYFCC AwardNew York Film Critics Circle AwardsBest DirectorSunset Blvd. (1950)
1944NYFCC AwardNew York Film Critics Circle AwardsBest DirectorDouble Indemnity (1944)


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#Quote
1I had no problem with Monroe. Monroe had a problem with Monroe.
2[his thumbnail example of how he pictured existentialism] This boy falls in love with his mother and marries her. They live together quite happily until one day he learns that she isn't his mother. So he commits suicide.existialism is
3[on William Holden's death] If someone had said to me, 'Holden's dead,' I would have assumed that he had been gored by a water buffalo in Kenya, that he had died in a plane crash approaching Hong Kong, that a crazed, jealous woman had shot him, and he drowned in a swimming pool. But to be killed by a bottle of vodka and a night table - what a lousy fade-out of a great guy!
4[on film critic Judith Crist ] Inviting her to review one of your pictures is like inviting the Boston Strangler to massage your neck.
5There was an actress named Marilyn Monroe. She was always late. She never remembered her lines. She was a pain in the ass. My Aunt Millie is a nice lady. If she were in pictures she would always be on time. She would know her lines. She would be nice. Why does everyone in Hollywood want to work with Marilyn Monroe and no one wants to work with my Aunt Millie? Because no one will go to the movies to watch my Aunt Millie.
6[on why his films rarely feature children]: I could direct a dog. Kids, I don't know.
7I don't think that making movies is my entire life. But there's one thing, you know, that I hate more than not being taken seriously, is to be taken too seriously.
8When you say that I am searching for truth, and uh so and so, you French really know how to flatter somebody. I'm just trying to make a living. Get two hours of film, and I don't really give a shit if whether how true it is, great it is. Just get it over with. Where's that?
9Everybody in the audience is an idiot, but taken together they're a genius.
10[on Jack Lemmon] I'm terribly fond of Jack. We understand each other very well and it's a pleasure to work with him. He is a thinking actor, but not an argumentative one. By that way I mean if we start shooting at nine o'clock, he would be there at 8:15 and would come to my office and say, "Hey, I've got a great idea! Look, why don't we do this? Blah, blah, blah, blah." And I just look at him, and he says, "I don't like it either." And he walks out.
11[When asked what the purpose of making films is] Well, number one, it's too late for me now to change and to become a gardener. Number two is to get away from the house and the vacuum cleaner. I want to be in my office and think. And number three, it's very exciting. I like to tell stories. Ultimately it's interesting. You meet nice people, it's glamorous, and, if you get lucky, very profitable. You suffer a great deal, but to paraphrase President Truman, if you can't take all that crap, get out of the studio. Believe me, this is not a profession for a dignified human being. I can see the interest in pictures when I talk to you students [at the American Film Institute], especially now that almost every university has something connected with movies. But if I had a son I would beat him with a very large whip trying to make a gardener, a dentist or something else out of him. Don't do it. It's just too tough. It hurts, and the moments of glory are very far between. Well, it's too late for me to turn back, too late for me to become a gardener. I can't bend over the azaleas. Not anymore.
12The close-up is such a valuable thing -- like a trump at a bridge.
13The best director is the one you don't see.
14An actor enters through a door, you've got nothing. But if he enters through a window, you've got a situation.
15What critics call dirty in our movies, they call lusty in foreign films.
16You watch, the new wave will discover the slow dissolve in ten years or so.
17In certain pictures I do hope they will leave the cinema a little enriched, but I don't make them pay a buck and a half and then ram a lecture down their throats.
18The subtlest comedy you can get right now is MASH (1970). They don't want to see a picture unless Peter Fonda is running over a dozen people or unless Clint Eastwood has got a machine gun bigger then 140 penises. It gets bigger all the time, you know; it started out as a pistol and now it's a machine gun. Something which is warm and funny and gentle and urbane and civilized hasn't got a chance today. There is a lack of patience which is sweeping the nation - or the world, for that matter.
19An audience is never wrong. An individual member of it may be an imbecile, but a thousand imbeciles together in the dark - that is critical genius
20If there's anything I hate more than not being taken seriously, it's being taken too seriously.
21If you're going to tell people the truth, be funny or they'll kill you.
22My Aunt Minnie would always be punctual and never hold up production, but who would pay to see my Aunt Minnie?- on Marilyn Monroe
23The Austrians are brilliant people. They made the world believe that [Adolf Hitler] was a German and [Ludwig van Beethoven] an Austrian.
24[on Marilyn Monroe] An endless puzzle without any solution.
25[on Marlene Dietrich] Mother Teresa with better legs.
26[on Ace in the Hole (1951)] I was attacked by every paper because of that movie. They loathed it. It was cynical, they said. Cynical, my ass. I tell you, you read about a plane crash somewhere nearby and you want to check out the scene, you can't get to it because ten thousand people are already there: they're picking up little scraps, ghoulish souvenir hunters. After I read those horrifying reviews about "Ace in the Hole", I remember I was going down Wilshire Boulevard and there was an automobile accident. Somebody was run over. I stopped my car. I wanted to help that guy who was run over. Then another guy jumps out of his car and photographs the thing. "You'd better call an ambulance," I said. "Call a doctor, my ass. I've got to get to the L.A. Times. I've got a picture. I've got to move. I just took a picture here. I've got to deliver it." But you say that in a movie, and the critics think you're exaggerating."
27France is the only country where the money falls apart and you can't tear the toilet paper.
28Hindsight is always twenty-twenty.
29You're only as good as the best thing you've ever done.
30You have to have a dream so you can get up in the morning.
31Trust your own instinct. Your mistakes might as well be your own, instead of someone else's.
32People copy, people steal. Most of the pictures they make nowadays are loaded down with special effects. I couldn't do that. I quit smoking because I couldn't reload my Zippo.
33[asked if it was important for a director to know how to write] No, but it helps if he knows how to read.
34[about the Hotel Marmont on Sunset Blvd., a piece of Hollywood history] I would rather sleep in a bathroom than in another hotel.
35I have ten commandments. The first nine are, thou shalt not bore. The tenth is, thou shalt have right of final cut.
36Hollywood didn't kill Marilyn Monroe; it's the Marilyn Monroes who are killing Hollywood.
37[on Marilyn Monroe] Breasts like granite and a brain like Swiss cheese.
38A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.
39[to a cameraman on one of his pictures] Shoot a few scenes out of focus. I want to win the foreign film award.
40Today we spend 80% of the time making deals and 20% making pictures.
41I was not a guy writing deep-dish revelations. If people see a picture of mine and then sit down and talk about it for 15 minutes, that is a very fine reward, I think.
42Making movies is little like walking into a dark room. Some people stumble across furniture, others break their legs but some of us see better in the dark than others. The ultimate trick is to convince, persuade.
43[in 1976] They say Wilder is out of touch with his times. Frankly, I regard it as a compliment. Who the hell wants to be in touch with these times?
44[opon seeing Sigmund Freud's therapy couch] It was a very tiny little thing. All his theories were based on the analysis of very short people!
45I just made pictures I would've liked to see.
46The Wilder message is don't bore - don't bore people.
47A bad play folds and is forgotten, but in pictures we don't bury our dead. When you think it's out of your system, your daughter sees it on television and says, "My father is an idiot."
48My English is a mixture between Arnold Schwarzenegger and Archbishop Tutu.
49Anyone who doesn't believe in miracles isn't a realist.
50Some pictures play wonderfully to a room of eight people. I don't go for that. I go for the masses. I go for the end effect.
51[after directing Marilyn Monroe for the second time in Some Like It Hot (1959)] I have discussed this with my doctor and my psychiatrist and they tell me I'm too old and too rich to go through this again.

#Trademark
1Cynical yet humorous films
2Characters often look themselves on a little mirror
3Featured dangerous, manipulative women in his films
4Films often featured low key lighting
5Frequently cast Marilyn Monroe, William Holden, Jack Lemmon and Fred MacMurray. Wilder directed Jack Lemmon in seven movies: The Apartment (1960), Avanti! (1972), Buddy Buddy (1981), The Fortune Cookie (1966), The Front Page (1974), Irma la Douce (1963) and Some Like It Hot (1959).
6A few of his films feature scenes where characters play cards (Sunset Blvd. (1950), Stalag 17 (1953), The Apartment (1960)). Wilder himself was an avid bridge and poker player.
7Films feature a sharp wit and characters who frequently try to change their identity.
8His movies frequently started with narration

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