John Huston - Filmography - Actor

Actor

Does not include films which he also directed

  • The Cardinal (1963, dir: Otto Preminger)
  • Candy (1968, director: Christian Marquand)
  • Rocky Road to Dublin (Documentary) (as Interviewee, 1968, director: Peter Lennon)
  • De Sade (1969, dir: Cy Endfield)
  • Myra Breckinridge (1970, dir: Michael Sarne)
  • The Deserter (1971, dir: Burt Kennedy)
  • Man in the Wilderness (1971, dir: Richard C. Sarafian)
  • The Bridge in the Jungle (1971)
  • Rufino Tamayo: The Sources of his Art (documentary) (1972, dir: Gary Conklin)
  • Battle for the Planet of the Apes (1973, dir: J. Lee Thompson)
  • Chinatown (1974, dir: Roman Polanski)
  • Breakout (1975)
  • The Wind and the Lion (1975, dir: John Milius)
  • Tentacles (1977, dir: Ovidio G. Assonitis)
  • The Hobbit (1977, dir: Arthur Rankin, Jr., Jules Bass)
  • The Greatest Battle (1978, dir: Umberto Lenzi)
  • The Bermuda Triangle (1978, dir: René Cardona, Jr.)
  • Angela (1978, dir: Boris Sagal)
  • The Visitor (1979, dir: Giulio Paradisi)
  • Winter Kills (1979, dir: William Richert)
  • Head On (1980)
  • The Return of the King (1980, dir: Jules Bass, Arthur Rankin, Jr.)
  • Cannery Row (1982, narrator)
  • A Minor Miracle (1983, dir: Raoul Lomas)
  • Notes from Under the Volcano (documentary) (as himself, 1984, dir: Gary Conklin)
  • Lovesick (1984, dir: Marshall Brickman)
  • The Black Cauldron (1985) Narrator
  • Momo (1986, dir: Johannes Schaaf)

Read more about this topic:  John Huston, Filmography

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Famous quotes containing the word actor:

    The actor is too prone to exaggerate his powers; he wants to play Hamlet when his appearance is more suitable to King Lear.
    Sarah Bernhardt (1845–1923)

    Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third.
    Sarah Bernhardt (1845–1923)

    An actor must communicate his author’s given message—comedy, tragedy, serio- comedy; then comes his unique moment, as he is confronted by the looked-for, yet at times unexpected, reaction of the audience. This split second is his; he is in command of his medium; the effect vanishes into thin air; but that moment has a power all its own and, like power in any form, is stimulating and alluring.
    Eleanor Robson Belmont (1878–1979)